News & Views Wednesday, October 23, 2024

recommended by Ken Tilger and Austin Swack, Band Education Specialists

Avalon arr. Dallas C. Burke, Medium Easy
This uptempo take on the jazz classic sits right in the pocket and swings hard while remaining playable.

Basin Street Blues arr. Dallas C. Burke, Medium Easy
This sultry, bluesy take on the iconic Dixieland standard offers a nice change of pace that’s perfect for a production number.

Mack the Knife arr. Allen Gray, Medium Easy
This version of the jazz standard gives everyone in the band a shot at the melody and swings hard from the opening measure until the dynamic finish!

Malaguena arr. Dallas C. Burke, Medium Easy
Dallas Burke delivers a take on the ultimate Latin opener that is truly fire from start to finish! There’s no better way to start a show!

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About the Authors:
A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.

Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!

recommended by Christopher B., Organ Music Specialist

The Holy City: Hymn Settings with Jazz Spirit arr. Marianne Kim
Marianne Kim’s signature jazz-tinged style pervades this new collection of hymn settings. Nearly all the hymn tunes are American in organ, including folk hymns, spirituals, and 19th century gospel songs. Varied characters provide music useful for preludes, offertories, or postludes throughout the church year. Titles include: “What a Friend We Have in Jesus,” “All the Way My Savior Leads Me,” “Battle Hymn of the Republic,” “Come, Thou Fount of Every Blessing,” “I’ve Got Peace Like a River,” “If Thou But Suffer God to Guide Thee,” “Jesus Loves the Little Children,” “Postlude on The Holy City,” and “We Shall Overcome.”

More Love to Thee: Hymn Settings with Jazz Spirit arr. Marianne Kim
Marianne Kim’s jazz-influenced style is in full evidence in this collection of pieces based on familiar hymns. The works range in size from several shorter preludes and postludes to two extended sets of variations particularly suitable for concert. The setting of the spiritual “Do, Lord” also includes an optional part for trumpet. Titles include: “More Love to Thee, O Christ,” “America, the Beautiful,” “Do, Lord,” “Variations on The Church in the Wildwood,” “Lauda Anima,” “Variations on Handel’s Sarabande,” and “God Be with You Till We Meet Again.”

Spirituals for Organ: Vibrant Settings with Jazz Spirit arr. Marianne Kim
The music and lyrics of African American spirituals form a rich tradition that has become an important part of Christian worship across the world. They were strong expressions of deep religious faith in the midst of tremendous adversity, and it is through that resonance that they speak powerfully to the hearts of Christians today. Marianne Kim’s organ music always draws on jazz, blues, and gospel elements-styles that (because of their shared African American roots) are especially effective when applied to spirituals. These pieces will be useful as preludes, offertories, and postludes. Titles include: “Every Time I Feel the Spirit,” “Down by the Riverside,” “Ain’t-a That Good News,” “Fix Me, Jesus,” “Jesus Walked This Lonesome Valley,” “Let Us Break Bread Together,” “My Lord, What a Morning,” “Steal Away,” and “Swing Low, Sweet Chariot.”

Lead, Kindly Light: Hymn Settings with Jazz Spirit arr. Marianne Kim
Marianne Kim’s style blends both jazz and classical influences to create vibrant and expressive music for worship. In this volume, she has arranged a number of beloved hymns of the faith for use as preludes and postludes. Also included are three original meditations that can be played separately or as a suite of expandable length for Communion. Titles include: “Grace,” “Hail to the Brightness of Zion’s Glad Morning,” “I Want Jesus to Walk with Me,” “Lead, Kindly Light,” “Meditation Suite,” “Once to Every Man and Nation,” “Sweet Hour of Prayer,” “Were You There?,” and “Something for Thee.”

Jazz Hymns and Spiritual Songs: Soulful Organ Settings for Worship or Recital arr. Marianne Kim
Deeply rooted, heartfelt harmonies and rhythmic nuance combine to produce a wealth of material to uplift and bless your congregation. Featuring a varied gathering of styles and moods, these amazing selections based on some of the best-loved melodies of the church are fun to play and a joy to hear. Titles include: “Savior, Like a Shepherd Lead Us,” “Deep River,” “Wonderful Words of Life,” “Nobody Knows the Trouble I’ve Seen,” “Pass Me Not, O Gentle Savior,” “Blessed Assurance,” “Sometimes I Feel Like a Motherless Child,” “Joshua Fit the Battle of Jericho,” “Beneath the Cross of Jesus,” and “In the Sweet By and By.”

Hymns of Faith: Organ Settings with Jazz Spirit arr. Marianne Kim
In this organ collection, Marianne Kim arranged some of her favorite hymns with her signature jazz-influenced style. Included are eight familiar hymns of faith and assurance, most of which are drawn from the beloved American gospel tradition. Also included is one exciting original postlude. Titles include: “Blessed Assurance,” “I Need Thee Every Hour,” “Jesus Loves Me,” “Joy, Love, and Peace,” “My Jesus, I Love Thee,” “Nearer, My God, to Thee,” “Only a Step to Jesus,” “Softly and Tenderly,” and “Leaning on the Everlasting Arms.”

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About the Author:
Christopher B. grew up in eastern Kentucky in a musically diverse family, and began playing organ at the age of 12. He majored in vocal performance with minors in keyboards and conducting at Marshall University and later received a Master of Theological Studies in congregational ministry from Trinity Lutheran Seminary. Christopher has served as a church music director and organist for more than 20 years, presently serving as Director of Music and Worship Arts/Organist at Church of the Master United Methodist in Westerville, OH.

So You Want to Be a Music Major: A Guide for High School Students, Their Parents, Guidance Counselors, and Music Teachers by Robert Franzblau
This book details the fundamental knowledge, skills, and attitudes that prospective music majors need in order to make a successful transition from high school to college. Specific exercises are offered, along with supporting online resources. It also suggests steps that parents, high school guidance counselors, and music teachers can take to identify, encourage, and guide future musicians and music educators.

Majoring in Music: All the Stuff You Need to Know by Rich Holly
Highlights the major components for survival and success during the formative years in a college, university or conservatory and provides examples and strategies to greatly assist the student musician. With no-nonsense advice and practical tips, this guide will prepare music students (and their parents!) to meet the many challenges, and take advantage of the opportunities afforded them during the glorious college years.

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recommended by Jen Sper and Lisa Springer, School Choral Music Specialists

Rehearsing the Vocal Jazz Ensemble by Daniel Gregerman
From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone.

Includes chapters by: Andrew Dahan, Roger Emerson, Daniel Gregerman, Greg Jasperse, Connaitre Miller, Kate Reid, John Stafford II, Janice Vlachos, Gaw Vang Williams, and Natalie Wilson.

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About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lisa Springer joined the Stanton’s choral staff in July 2023. She taught middle and high school choirs for 27 years in addition to serving as Artistic Director of the Columbus Women’s Chorus. She holds degrees from Heidelberg University and Cleveland Institute of Music. She has enjoyed an extensive professional singing career and continues to perform in the greater Columbus area. During her free time, she enjoys spending time in southern Ohio playing with her grandchildren.

recommended by Jen Sper and Lisa Springer, School Choral & Classroom Music Specialists

Jazz Is Elementary: Creativity Development through Music Activities, Movement Games, and Dances by Darla S. Hanley & Allison P. Kipp
Use jazz to develop children’s creativity! This book is a collection of 60 jazz-based teaching strategies designed to foster music making, creative movement, and improvisation in the K-5 music classroom. The innovative strategies are grounded in the best practices in elementary music education and partner with a curated playlist of jazz music that is available via streaming audio platforms. These strategies represent the music of nearly 80 iconic jazz artists of yesterday and today (e.g. Louis Armstrong, John Coltrane, Ella Fitzgerald, Dizzy Gillespie, Quincy Jones, Wynton Marsalis, Sarah Vaughan). All teaching strategy concepts were extensively field-tested with children in the elementary music classroom and with teachers around the world.

Designed with music teachers, parents/caregivers, traditional school, home-school, and arts-based community organizations in mind, the strategies in this book can be used to engage children and prompt their creative and original expressions. Strategies include singing, instrument play, body percussion, games, chants, and dances that support both individual and group assessment.

Companion materials are offered online to support the strategies including instructional videos for dances; printable resources such as visual aids, notation cards, movement directives, and color sheets; and artist profiles that provide brief biographies and put each musician in historical and musical context.

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About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lisa Springer joined the Stanton’s choral staff in July 2023. She taught middle and high school choirs for 27 years in addition to serving as Artistic Director of the Columbus Women’s Chorus. She holds degrees from Heidelberg University and Cleveland Institute of Music. She has enjoyed an extensive professional singing career and continues to perform in the greater Columbus area. During her free time, she enjoys spending time in southern Ohio playing with her grandchildren.

recommended by Jen Sper and Lisa Springer, School Choral Music Specialists

Realizing Diversity: An Equity Framework for Music Education by Karen Howard
Questions abound about diversity in music education. How can we engage with diverse populations, repertoire, and identities while upholding integrity and achieving equity? What are cultural appropriation, othering, tokenizing, and essentializing? How can we avoid bias in our teaching and repertoire selection? How do we create a more socially just music education?

These are critical questions with accessible answers. But if we are to become better music educators, we must reflect on these questions, our own identities, and our relationships with the music and people of the world.

“Realizing Diversity” by Karen Howard is a groundbreaking and practical resource for crafting diverse and anti-bias music education in classrooms, ensembles, and studios at all levels—from preschool to university and community settings.

At the book’s core is an Anti-Bias Framework intended to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome. Structured around the four social justice domains of identity, diversity, justice, and action, this framework explores topics of anti-racism, gender and sexual identity, power and privilege, disabilities, economic realities, empathy, and critical consciousness.

Dr. Howard also includes discussion of educational movements in United States history, the challenging “world music” label and related authenticity, the hyper-prevalence of Western Eurocentric music, inclusive repertoire selection, as well as appendices with critical practices for educators and a sample curriculum.

An indispensable book for pre-service, beginning, and veteran music teachers of toddlers through adults, “Realizing Diversity” considers the many separate but deeply interrelated questions related to creating a more socially just music education.

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About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lisa Springer joined the Stanton’s choral staff in July 2023. She taught middle and high school choirs for 27 years in addition to serving as Artistic Director of the Columbus Women’s Chorus. She holds degrees from Heidelberg University and Cleveland Institute of Music. She has enjoyed an extensive professional singing career and continues to perform in the greater Columbus area. During her free time, she enjoys spending time in southern Ohio playing with her grandchildren.

recommended by Jen Sper and Lisa Springer, School Choral Music Specialists

Almost Like Being in Love arr. Roger Emerson, 2-part with piano
Filled with jazz stylings from swing to scat, this arrangement of “Almost Like Being in Love” is perfect for developing choirs. Choirs will love the bright, upbeat setting with its smooth conversational style and colorful piano accompaniment!

It’s Only a Paper Moon arr. Mac Huff, 3-part mixed with piano
This jazz and pop standard is masterfully arranged with both unison and easy part-singing opportunities. The accessible voice parts make the piece an ideal choice for middle school choirs or any choir with developing singers.

If Ever I Would Leave You arr. Kirby Shaw, SATB a cappella
The cherished love song from “Camelot” receives a classic choral treatment in this lush, a cappella setting. Equally suitable for large ensembles or small vocal jazz groups, Kirby Shaw’s impressive arrangement rises to meet Lerner and Loewe at their finest!

Fly Me to the Moon (In Other Words) arr. Roger Emerson, TB with piano
“Fly Me to the Moon,” written in 1954, has become a part of the Great American Songbook. Not surprisingly, Buzz Aldrin played the song when he stepped onto the moon’s surface in 1969. Many singers have recorded the tune, but Frank Sinatra’s version has become the standard for this immortal song of love and admiration.

Higher Ground arr. Matt & Adam Podd, SSATBB with piano
The Podd Brothers are accomplishing something unique: pop arrangements that completely capture the spirit and emotions of the original song, yet make rhythmic and harmonic choices that reach an entirely new echelon of musical idiosyncrasy! Have you heard Stevie Wonder’s “Higher Ground” with a gospel-style choral intro smoothly dissolving into a back-beat modern-groove choral exercise complete with 2nd and 9th harmonic intervals throughout? You have now!

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About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lisa Springer joined the Stanton’s choral staff in July 2023. She taught middle and high school choirs for 27 years in addition to serving as Artistic Director of the Columbus Women’s Chorus. She holds degrees from Heidelberg University and Cleveland Institute of Music. She has enjoyed an extensive professional singing career and continues to perform in the greater Columbus area. During her free time, she enjoys spending time in southern Ohio playing with her grandchildren.

recommended by Eric Stratton, Jazz Specialist

Some Day My Prince Will Come arr. Chuck Israels, Grade 3-4
Best known for his work with the Bill Evans Trio – as well as luminaries such as Billie Holiday, Benny Goodman, and Stan Getz – Chuck Israels is also a masterful composer and arranger. Here is his vocal solo arrangement of this timeless standard, beautifully scored as a jazz waltz with tasteful background figures. Also included are short solos for trumpet and piano.

Cheek to Cheek arr. Mark Taylor, Grade 3-4
Originally composed for the 1935 movie “Top Hat” starring Fred Astaire and Ginger Rogers, this classic has remained a jazz favorite ever since. Arranged in a very comfortable key for female vocalists, this swinging chart also has a marvelous feature section for the full ensemble.

Rio de Janeiro Blue arr. Rick Stitzel, Grade 3-4
Inspired by the recording by jazz singer, Randy Crawford, Rick’s version of this marvelous tune features a smooth rock style and a sultry, singable melody. Scored for vocal soloist, this classy chart also features a brief solo for alto sax.

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About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.

recommended by Ken Tilger and Austin Swack, Band Education Specialists

GO ON, Tell Your Story! by LaToya A. Webb and Julia L. Baumanis
“GO ON, Tell Your Story! Voices of Women Band Directors” is a powerful collection of real-life stories told by trailblazing women band directors of varied experiences and identities about the world of professional music and conducting.

Poignant, funny, sad, and uplifting, these stories offer a unique perspective into the challenging and rewarding world of music education and performance, inviting readers to listen and grow with each vignette.

The stories in the book are organized by theme into four sections – Pride, Affirmation, Togetherness, and Happiness – and readers are encouraged to use the book as more of a handbook than a front-to-back read. Along with stories, the book also includes affirmational quotes, a playlist of inspirational songs, and space for readers to reflect.

With the goal of building true support, community, and understanding, “GO ON, Tell Your Story!” is a wonderful companion for all musicians and educators as they grow in their lives and careers.

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About the Authors:
A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.

Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!

recommended by Jen Sper and Lisa Springer, School Choral Music Specialists

What Every Musician Needs to Know About the Body (Revised Edition) by Bridget Jankowski
This primer for all musicians provides a reliable base for a lifetime of playing and singing. The principles in these pages are the elemental foundation of music education, and will protect a musician from injury, promote the physical freedom and sensitivity needed for technical mastery, and secure the embodied intelligence that grounds musical power and subtlety. Musicians teaching from these principles will see their students thrive. Students studying and restudying these pages will delight in their enhanced performance. This book also serves as the text of a six-hour course on Body Mapping for musicians developed by Barbara Conable.

What’s New in the Revised Edition? Created with the input of experienced Licensed Body Mapping Educators, and led by Body Mapping expert Bridget Jankowski, this revision includes:
• Updated and enlarged images – big enough for coloring.
• Streamlined and clarified content based on new science.
• An updated format that follows the associated Body Mapping course more closely.
• Additional room for notes at the end of each section.

Knowledge from the scientific community continues to inform the work of the Association for Body Mapping Education. The book’s associated Body Mapping course of the same name has evolved over the past two decades, and an updated text for the course will be a valuable resource for novice and seasoned Body Mapping Educators alike.

Shop Stanton’s for all your sheet music needs!

About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lisa Springer joined the Stanton’s choral staff in July 2023. She taught middle and high school choirs for 27 years in addition to serving as Artistic Director of the Columbus Women’s Chorus. She holds degrees from Heidelberg University and Cleveland Institute of Music. She has enjoyed an extensive professional singing career and continues to perform in the greater Columbus area. During her free time, she enjoys spending time in southern Ohio playing with her grandchildren.

recommended by Eric Stratton, Jazz Specialist

25 or 6 to 4 arr. Mike Tomaro, Grade 4
One of the early hits from the rock band Chicago, this hard-hitting tune is always exciting to play! Powerfully scored here in the 6-horn format by Mike Tomaro.

Chega de Saudade (No More Blues) by Antonio Carlos Jobim/arr. Mark Taylor, Grade 3
Featuring tenor sax and trombone, here’s a smooth arrangement of one of Jobim’s best melodies! With a medium samba groove and skilled scoring throughout, this one sounds great in the six-horn format.

A Nightingale Sang in Berkeley Square arr. Roger Holmes, Grade 3
Originally composed in 1939, this popular standard features the amazingly tuneful melody and lush chords. Perfectly suited to the little big band format, this ballad is a perfect change of pace.

Deck the Hall arr. Mark Taylor, Grade 3
This holiday favorite is arranged here in a light Latin style with some clever twists and turns. Featuring a smooth moderate tempo and full scoring throughout, this is sure to be a winter concert standout.

Oye Como Va by Tito Puente/arr. Paul Murtha, Grade 2
One of the best-known Latin tunes ever written, Tito Puente’s hit is arranged here in a medium Latin rock style skillfully scored in the 6-horn format. With easy rhythms and modest ranges, this chart also includes written or ad lib. solos for alto sax and trumpet.

C-Jam Blues by Duke Ellington/arr. Rick Stitzel, Grade 2
Rick Stitzel skillfully dresses up this amazingly simple melody with counter lines and solid scoring for the little big band format. Solos are provided for alto sax and trumpet, but with the easy blues changes anyone can take a shot at an improvised solo.

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About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.

Little Jazz Madrigals by Bob Chilcott, SATB with piano and optional bass & drum kit
This dynamic collection presents four jazzy settings of favourite madrigals by Thomas Morley, John Bennet, and Orlando Gibbons. The first, “Sing we and Chant it,” is a relaxed jazz waltz with a compelling melody, and singers will especially revel in the rich harmonies of the expressive “Weep, O mine eyes” setting that follows. “Learned Poets” has a bossa nova feel with a strong rhythmic groove and characterful syncopations, and the urgent rolling tempo of movement four captures the text’s calamity and titular call of “Fire, fire!,” also expressed by a walking bass line that continually drives towards the work’s emphatic conclusion. The stylistic piano part may be played as written or serve as a guide, and a bass and drum kit part is available separately for trio accompaniment.

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recommended by Eric Stratton, Jazz Specialist

Sleighin’ It arr. Steve Parsons, Grade 2
The talented composer Steve Parsons has paired an original melody with a funky Motown version of “Jingle Bells” to create the piece he calls “Sleighin’ It.” This is definitely a fresh take on this carol and your band will have a terrific time with the Motown groove and all the clever ways Steve has incorporated the simple “Jingle Bells” melody.

A Christmas Mambo arr. Tim Waters, Medium Easy
This cool mambo version of the Christmas classic “We Three Kings” will add some heat and a nice change of styles to your next holiday concert! This chart opens with an infectious mambo groove that keeps building before the melody is passed from the saxes to the bones and then the trumpet section. The solo section includes written or ad-lib solos for Alto Sax, Tenor Sax, Trumpet or Trombone. Next there is a cool shout chorus before returning to the opening theme.

A Little Christmas Spirit arr. Doug Beach & George Shutack, Grade 1
Bring the holidays on in a Latin fashion with this medley of three Christmas classics. “God Rest Ye Merry, Gentlemen,” “O Christmas Tree,” and “Jingle Bells” are all arranged over a strong Bossa Nova groove. Great tunes, solid voicings and space for your soloists all add up to a medley that will be the hit of your holiday program. And the flexible Jazz Foundations scoring guarantees that virtually any combination of instruments will work.

I Saw Three Ships arr. Kris Berg, Grade 3.5
“I Saw Three Ships” is not only an absolute perfect chart for your December concerts, but it’s so much fun to play that you should program it anytime! This 17th century English carol takes on a whole new life reset in a New Orleans second-line style groove. There’s plenty of ensemble work for each section and solo space in the middle for your lead alto and lead trombone. Don’t miss a chance to jam out on this one! Great fun!

This Christmas arr. Mark Taylor, Grade 3-4
Recorded by Donny Hathaway in 1970 and covered countless times since then, this familiar tune features a funky, upbeat pop style and memorable horn riffs. Scored for vocal soloist with band, this is the perfect change of pace for the holidays.

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About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.

recommended by Eric Stratton, Jazz Specialist

The Practice Notebooks of Michael Brecker
The legendary saxophonist Michael Brecker kept extensive notes on things to practice over the whole span of his career. This book contains over 700 entries, beautifully re-engraved from his hand-written notebooks.

This valuable resource for all treble clef instruments (since Michael often advised “Play in all keys”) includes:
• 35 years of Michael Brecker’s musical inspirations at your fingertips!
• First-hand accounts of how Michael actually worked on these ideas from his bandmates Joey Calderazzo, John Patitucci, Richie Beirach, Steve Khan, Dave Liebman, etc.
• An appendix of his saxophone-specific ideas on fingerings, multiphonics, etc.

For intermediate as well as advanced musicians – you don’t have to be a genius to learn from a genius!

Spherical by Michael Brecker, for Grade 5 Jazz Ensemble
What an absolute treat! Play Michael Brecker’s quintessential fusion tune “Spherical,” expertly arranged especially for Randy Brecker’s big band. Every nuance of the original track is captured with precise detail and clear notation. This chart pays fond tribute to an American master with passion and a smart, hard edge. All sax parts include optional flute doubles.

The Michael Brecker Collection
A fabulous collection featuring 14 authentic, note-for-note transcriptions from this revered sax master. Also includes a biography and discography, a sax notation guide, suggested alternative and altissimo fingerings, and more. Titles include: “African Skies” (2 Solos), “Cabin Fever,” “Delta City Blues,” “El Niño,” “Impressions,” “Slings and Arrows,” “Syzygy,” and more.

Shop Stanton’s for all your sheet music needs!

About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.

recommended by Eric Stratton, Jazz Specialist

Maple Leaf Rag by Scott Joplin/arr. Jim Weisheit, Medium
Excellent orchestration of one of the most famous Ragtime pieces written by Scott Joplin, the King Of Ragtime. No ad-lib solos. Tpt. 1 top note G5 top of staff. Complete transposed score.

All the Things You Are arr. Mark Taylor, Grade 4
Using duet pairings mixed in with counterlines and background figures from the entire ensemble, this medium swing chart is scored for small band but still has a rich full sound. Includes solos for alto and trumpet.

A Night in Tunisia by Dizzy Gillespie/arr. Michael P. Mossman, Grade 3.5
Michael Mossman takes Dizzy Gillespie’s signature tune into new territory, with a touch of mambo in this distinctive arrangement. A perfect way to showcase a trumpet soloist, the full ensemble also plays in important role in this sophisticated and dynamic arrangement for little big band.

Spain by Chick Corea/arr. John LaBarbera, Grade 4
John La Barbera has taken his well-known version of Chick Corea’s “Spain” and done a great job of adapting it for the small band format. Certainly an exciting offering for mature players in an arrangement for six horns plus rhythm.

Shop Stanton’s for all your sheet music needs!

About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.

recommended by Eric Stratton, Jazz Specialist

All Blues by Miles Davis/arr. Michael Sweeney, Grade 2
Here’s the classic Miles Davis tune from the landmark album “Kind Of Blue” carefully arranged for young groups. Written in 3/4 for ease of reading, Mike has kept the feel and sound of the original in this excellent setting. Enjoy great flexibility with the Easy Jazz Ensemble series! Playable with 4 saxes, 3 trumpets, 3 trombones and rhythm.

Blue Skies by Irving Berlin/arr. Rick Stitzel, Grade 2
One of Irving Berlin’s most performed melodies, “Blue Skies” is arranged here in a medium swing style to sound great with inexperienced players. Enjoy great flexibility with the Easy Jazz Ensemble series! Playable with 4 saxes, 3 trumpets, 3 trombones and rhythm.

Recorda Me (Remember Me) by Joe Henderson/arr. Mike Kamuf, Grade 2.5
One of the best jazz standards arranged in a Latin groove played at 156 BPM. The melody is handled by tenor, trumpet, and guitar with written solos provided for tenor and trumpet. Lead trumpet range is to written G on top of the staff. Optional parts provided for vibraphone, flute, and clarinet.

The Biscuit Shuffle by Greg Yasinitsky, Easy
If you are looking for a blues tinged shuffle that features all the sections of the band, you’ve found the right chart with “The Biscuit Shuffle!” The catchy riff that starts the chart is the figure that ties this piece together beautifully. There is a cool passage for the brass and saxes with light rhythm section figures that follows the solo section.

Midnight Express by Doug Beach, Grade 1
Here is the perfect combination of an infectious melody, great scoring and many of the swing figures that are essential for young players to learn. Scored for 4 horns with rhythm section and expandable to full big band at the very easy level, written or ad lib solos for all are included, along with optional parts for flute, clarinet and horn in F.

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About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.