Jazz Combo - Level 2 - Digital Download SKU: A0.1224688 By The Crystals. By Ellie Greenwich, Jeff Barry, and Philip Spector. Arranged by Nigel Hanley. Contemporary,Funk,Pop,Rock. 28 pages. Nigel Hanley Music #820795. Published by Nigel Hanley Music (A0.1224688). This chart is an eight-piece arrangement of the Crystals' 1963 hit 'Then He Kissed Me'.It is scored for rhythm section and four horns. The instrumentation is:Piano/StringsGuitarBassDrumsTrumpetTenor SaxTromboneBaritone Sax+ Lyric sheetThe complete backing track is available for download at www.nigelhanleymusic.comOther keys and instrumentation are available on request:  info@nigelhanley.com60s - Pop - Rock - Funk -  Key of ESuitable for: pop, rock bands with horns, little big bands, cover bands, cruise ship bands,  high school & college bands, cabaret bands & cabaret artists, tribute bands.

Jazz Combo - Level 3 - Digital Download SKU: A0.1435112 By Holiyo. By Holyone Tombari Dodoh. Blues,Contemporary,Jazz,Pop,Soul. 58 pages. Holyone Tombari Dodoh #1015217. Published by Holyone Tombari Dodoh (A0.1435112). Lyrics:Everyone thinks that I'm nothing, Everyone thinks that I'm a burden Everyone thinks I'm unlucky None believes in my struggles No one thinks I'm unhappy None believes that I've something. It's go'n be alright It's go'n be okay It's go'n be so good; I'm leaving Then it's go'n be alright You'll have peace of mind You'd feel so good Like never before And you'd smile all day You'd see no more The trouble of mind Plaguing youIt's go'n be happy It's go'n be loving It's go'n be savour There after It's go'n be alright It's go'n be okay It's go'n be so good I'm leaving And you'd smile all day You'd see no more The trouble of mind Plaguing you. Then it's go'n be alright You'll have peace of mind You'd feel so good Like never before No one would believe me That I'm doing all I can And I say sorry I'm go'ng to a new path Never, never a burden You all be so happy Everyone thinks I'm the problem No one sees above the ocean Everyone thinks I'm the sickness No one sees me swimming the ocean No matter my impart All you see is wretched Want me unhappy Said I am unlucky, I'm a huge burden Taking vantage of you. I assure you that You'd never see me For I'll be so gone Deep in the wild Then it's go'n be alright You'll have peace of mind You'd feel so good Like never before And you'd smile all day You'd see no more The trouble of mind Plaguing you. It's go'n be happy It's go'n be loving It's go'n be savour There after It's gonna be alright.

Jazz Combo - Level 3 - Digital Download SKU: A0.1413606 By Billy Joel. By Billy Joel. Arranged by Michael J. Glasgow (ASCAP). 20th Century,Jazz,Pop,Rock,Singer/Songwriter. 12 pages. New Domain Music #995389. Published by New Domain Music (A0.1413606). Billy Joel's Grammy-Award-winning 1977 smooth-jazz hit has become an enduring standard of the soft-rock genre.  This arrangement is in the same key as the original recording, and is a faithful represention of Joel's original recording.Accomplished composer/arranger/conductor Michael J. Glasgow created this arrangement for Velocity Handbell Ensemble, and is excited to share it with the larger handbell community via Hal Leonard's ArrangeMe program and Glasgow's publishing division, New Domain Music.  The handbell folio (NDM-0002B) includes a part for advanced bell-tree soloist, who covers the iconic  Phil Woods saxophone solos on a second set of handbells.This product is NDM-0002I, which is the companion instrument pack for Glasgow's handbell arrangement (NDB-0002B).  It includes parts for drums and auxiliary percussion (finger cymbal, wood block, and egg shaker) to bring even more authenticity to this great arrangement!Want to include those great sax solos but don't have an advanced-level bell-tree soloist (or a second set of bells)?  No problem!  This instrumental pack also includes substitute parts (in octaves) for treble instruments in C, B-flat, and E-flat.Instrumentation Details:Drums: straightforward, moderate difficulty, simple kit.Percussion: finger cymbal (played with triangle beater), wood block (medium-high), egg shaker.  Straightforward part for one player, but of course may be split over multiple players.Substitute Solos: moderately advanced, depending on the instrument.  All parts appear in octaves to allow players to choose the most fitting range for the instrument(s) used.Search for Glasgow and the title of the piece to purchase the handbell folio!

Jazz Combo - Level 4 - Digital Download SKU: A0.1431877 Composed by JC Croyle. Jazz. 20 pages. JC Croyle #1012351. Published by JC Croyle (A0.1431877). Lies in Lairs is a jazz pice in 5/4 for a small combo.  It is written for Vibraphone to be the lead instrument but coudl easily be re-arranged for a different lead such as Trumpet or Sax.  It is about 3 minutes in length but with solos over various sections could be easily lengthened in performance.  Instrumentation:VibesUpright BassDrums.

Jazz Combo - Digital Download SKU: A0.979629 Composed by Roger Aldridge. 20th Century,Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #427659. Published by Roger Aldridge (A0.979629). Pi, Why? is an unconventional blues that uses Pi (3.1415926....) as a sequence of melodic intervals. Do not let that scare you away -- the music swings. The structure of this 18-bar tune is based on 3-bar phrases and there is shifting time in places. The first 32 digits of Pi are used in this tune: 3.1415926535897932384626433832795. Here is how I converted the Pi numbers to melodic intervals: Simply, each number becomes an interval in relation to the root of the chord being used at the time. That is, the relationships change when the chords change. The intervals are natural or altered (b9, #9, #11, etc.) chord tones or higher tensions. For 3 on V7 chords, I use either natural 3 or minor 3 (enharmonically #9). The tune starts with the sequence of 3 (#9), 1, 4 (#11), 1, 5, 9 (b9) played twice with C7 (#9) and then transposed down a half-step for B7 (#9). The next sequence -- 2 (b9), 6, 5, 3 (natural), 5 -- is played with the Bb7 (#9) chord and so on through the rest of the 32-note sequence. While 3 is the first number of Pi, that is not why the tune is structured with 3-bar phrases. Simply, the 3-bar phrases felt natural and swinging to me. This tune has a strong blues flavor; however, it is not a conventional 12-bar blues in its structure or chord progression. The A part is 12 bars. Then, the B part is 6 bars with alternating 4/4 and 3/4 (one can think of it as 7/4). The B part also has a harmonic shift from V7 (#9) chords to V9 sus4 and major 7th chords. CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ DURATION: around 4:00 YEAR OF RELEASE: 1999.

Jazz Combo - Level 3 - Digital Download SKU: A0.1095185 Composed by Hanley. Arranged by Robert V. Parisi. Jazz. Score and parts. 43 pages. Robert V. Parisi #699222. Published by Robert V. Parisi (A0.1095185). Back Home Again In Indiana has been a staple of Dixieland musicians since 1917, when the Original Dixieland Jazz Band recorded it on Columbia Records. Louis Armstrong and his All Stars also recorded it, and opened their public performances with their version of this popular selection. The arrangement, found here, captures the flavor of those early improvised Jazz performances. The Tenor Sax part can be played by the clarinetist for a more authentic New Orleans sound. The Tenor Sax part is included to accommodate party bands whose saxophonist does not double on clarinet. The second Trumpet part is optional. Have Fun!

Jazz Combo - Level 4 - Digital Download SKU: A0.774463 By Bobby Darin. By Hoagy Carmichael and Sidney Arodin. Arranged by Brad Esbensen. Contemporary,Jazz,Pop,Standards. 48 pages. Brad Esbensen Music Services #6216751. Published by Brad Esbensen Music Services (A0.774463). Arranged for jazz combo consisting of six front line (playable by a minimum of three - trumpet, tenor sax, trombone) and rhythm section, Lazy River is a vocal feature in the key of G major and loosely follows a version of the song as recorded by Louis Armstrong. The first chorus features the transcribed solos for trumpet and trombone, followed by a vocal chorus. The feel then changes to double time with another vocal chorus that may be sang as written or scatted and then an optional repeat for a piano solo. The final chorus features another of Louis' transcribed trumpet solos to take the chart out. Some notation in the piano and bass parts will help to make this chart more accessible to less experienced players. I hope you enjoy performing this chart and if you would like it transposed into another key, please e-mail me at brad@bemus.com.au. www.bemus.com.au

Jazz Combo - Level 3 - Digital Download SKU: A0.1135834 Composed by Sarah Josepha Hale. Arranged by Anthony Hoots. Classical,Folk,Jazz. Score and parts. 7 pages. Anthony Hoots #735861. Published by Anthony Hoots (A0.1135834). This arrangement includes a diverse amount of styles and difficulties, and it progressively gets jazzier. It starts off with the basic melody that everyone knows, but it then starts to add jazz chords and more swing and rhythm. By the end, it turns into a jazz combo with Tenor Saxophone, Piano, and Drums. This arrangement has the opportunity to be played as a whole or in fragments based on the desired style/difficulty. It could be played with only the piano section or possibly the jazz combo section with improvisation or any other way.

Jazz Combo - Digital Download SKU: A0.979641 Composed by Roger Aldridge. Celtic,Jazz. Score and parts. 1 pages. Roger Aldridge #432873. Published by Roger Aldridge (A0.979641). October Joy is a slip jig (Celtic dance music in 9/8) with touches of contemporary jazz. I consider it to be one of my best fusions of roots music and jazz. Besides being a blend of Celtic and jazz styles, this piece has a number of unusual features. Structurally, I think of it as AAAB. The first A is 5 bars, the second A is 3 bars (transposed up a half-step to Ab), and the third A is 3 bars (transposed back to G). The B part, 9 bars in length, has a sudden change to E for the first 3 bars. Then, the chord progression becomes harmonically vague -- including a shift from major 7th chords to V9 sus4 chords. Shifting time is used throughout the piece with single or multiple bars of 6/8 interjected into the 9/8. While it has some quirky touches, this is music with a driving and joyful spirit. CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ YEAR OF RELEASE: 1999.

Jazz Combo - Level 5 - Digital Download SKU: A0.1487008 Composed by Dastan Duisenbayev. Contemporary,Funk,Jazz. 38 pages. DUISENGROOVE #1064031. Published by DUISENGROOVE (A0.1487008). This is my second original composition. It has a Tom Kennedy-Mezzoforte fusion type feel. I wrote this a month ago, with total of three drafts. Writing a piece of music is like writing a screenplay. Very first draft had a motif to build the tutti section upon, a whole different melody, consisting of basically a complex melody, and the chord progression was two times faster. I wasn't happy with the direction, so I decided to slow down the chord progression, write a completely new melody, and only then I had the structure planned out. I named Episode, because my neighbor at the dorm, who is a classical pianist, said that this idea sounds like an episode (musical form). I am not sure if it reflects any understanding of said form, but I will say this. This is definitely an episode of pure passion. This package includes the score, parts: both transposed (Eb and Bb) and concert pitch, and the audio demo of how it should sound like.

Jazz Combo - Level 3 - Digital Download SKU: A0.1412152 Composed by DONALDSON/WHITING. Arranged by BRIAN W. COPPING. Contest,Festival,Jazz,Standards. 33 pages. EMK Music #994391. Published by EMK Music (A0.1412152). Scored for Clarinet, Tenor Saxophone (optional), Trumpet, Trombone, Piano, Double Bass and Drums.  Print normally (Portrait) on A4 paper and score will come out as Landscape and parts as Portrait.‘My Blue Heaven’, written by Walter Donaldson with lyrics by George A. Whiting, first came to notice in 1927 in the show Ziegfeld Follies. As a popular jazz standard, it has subsequently been recorded many times by well-known artists. In 1940, Artie Shaw recorded it with his Big Band and he then played it again with his small group the Gramercy Five.  This arrangement, with its mainly Clarinet lead, pays tribute to the latter’s style.

Jazz Combo - Level 5 - Digital Download SKU: A0.1486861 Composed by Dastan Duisenbayev. Jazz,Latin. 16 pages. DUISENGROOVE #1063931. Published by DUISENGROOVE (A0.1486861). This is my first original composition, written in late summer 2023. Would you believe me if I told you I wrote this in a single day? Probably not! XD. I was experimenting with chords, and everything just sort of clicked. Then came the melody.  I called it Contrast, because, in my honest opinion, I used both bright sounding and dark sounding chords in jazz. This package includes the score, the parts: both transposed (Eb and Bb) and concert pitch, and the audio demo of how it should sound. So if you're interested in buying and playing this piece of music, by all means, go for it!If you want to listen to the live performance, you can go by the YouTube link that I provided below. The audio isn't the best, but you'll be able to hear enough.

Jazz Combo - Level 4 - Digital Download SKU: A0.1160585 By MuseVerse. By Lataydrick Willis. Jazz,Latin. Score and parts. 30 pages. Lataydrick Willis #760872. Published by Lataydrick Willis (A0.1160585). A development of a exerpt of a jazz solo of my friend, who inspired me to do more musically. Listening back on his solos, I then took a piece of it, and made it into the melody of this song.

Jazz Combo - Digital Download SKU: A0.979642 Composed by Roger Aldridge. Blues,Jazz. Score and parts. 1 pages. Roger Aldridge #432833. Published by Roger Aldridge (A0.979642). A slow, soulful blues for those times when we need to play a slow, soulful blues. The title comes from a day when I was reflecting upon lost ancient civilizations and wondering about their music. What did the music sound like? Did the musicians back then have steady gigs? This is a fairly conventional 12-bar blues, however it has some interesting quirks. The 4th bar has a sustained C with V7 (#9) chords moving chromatically upwards against it. In terms of conventional harmony, the C is a wrong note on several of the chords (like the Db7). The chord changes have reharmonization in several places. The ending, with a shift to major 7th chords, is unusual for a blues. CONTACT: http://www.rogeraldridge.com/contact.html PRO: BMI WEBSITE: http://www.rogeraldridge.com/ YEAR OF RELEASE: 2000.