This chart is a fun tribute to Regents Professor Emeritus Jim Riggs of the University of North Texas. This chart in the Nestico style captures his personality and sense of humor while providing a focus on the saxophone section. The chart begins in the key of F and modulates to Bb. Written solos are provided for alto sax and trumpet or piano. A swinging shout chorus drives to a restatement of the melody before bringing everything to a close with the ensemble. A great sounding chart for a great saxophonist, teacher, and friend. Trumpet range is to written G on top of the staff.
This chart is a fun tribute to Regents Professor Emeritus Jim Riggs of the University of North Texas. This chart in the Nestico style captures his personality and sense of humor while providing a...
Based on the chord changes for Cantaloupe Island, this high energy rock chart shines the spotlight on each section of the band, and features a sax soli as well. Written solos are provided for alto sax and trumpet, and there is a four bar drum solo as well. Trumpet range is to written high G. Trombone range is to F.
Based on the chord changes for Cantaloupe Island, this high energy rock chart shines the spotlight on each section of the band, and features a sax soli as well. Written solos are provided for alto...
Solidly in the Basie/Nestico tradition, this swing chart exemplifies the title’s instructions – stay positive and Roll with the Punches. Written solos are provided for trombone (opt. trpt) and alto sax. Every section gets a chance to shine in the full shout section which leads to the final ending “punch”. Trumpet range is to written G. Trombone range is to written F.
Solidly in the Basie/Nestico tradition, this swing chart exemplifies the title’s instructions – stay positive and Roll with the Punches. Written solos are provided for trombone (opt. trpt) and...
A straight ahead swinger in the style and vocabulary of the late, great Sammy Nestico, this chart features numerous opportunities to feature soloists (written solos provided for alto sax, trpt, trombone and piano) as well as each section of the band. A 16 bar unison sax soli leads into a driving shout section dominated by the brass section. Trumpet range to written G, trombone to F.
A straight ahead swinger in the style and vocabulary of the late, great Sammy Nestico, this chart features numerous opportunities to feature soloists (written solos provided for alto sax, trpt,...
Paul Baker | Grade 2 | First Chorus | Swing | 2023
Translated “Blue Samba”, this chart is a take-off on the traditional 12 bar blues changes with a distinctly smooth South American flavor. Solos for alto sax and trumpet.
Translated “Blue Samba”, this chart is a take-off on the traditional 12 bar blues changes with a distinctly smooth South American flavor. Solos for alto sax and trumpet.
An easy samba groove that features a relaxed melody accompanied by melodic counterlines and rhythmic accents. Written solos and chord changes are provided for alto sax, tenor sax, trumpet, and trombone. Each solo can be played using a single major or minor scale so soloists can feel secure. Following the horn solos, the drums trade two bar phrases with the ensemble before the chart returns to the melody. Trumpet range is to written G on top of the staff.
An easy samba groove that features a relaxed melody accompanied by melodic counterlines and rhythmic accents. Written solos and chord changes are provided for alto sax, tenor sax, trumpet, and...
A breezy samba melody suited for a beach in Rio while melodic counterpoint plays in the sand. Following a funky half time interlude the trumpet takes the first solo, followed by the tenor sax (or piano or guitar). Both solos can be played using only a concert Bb major scale. Following the solos, the drums (or optional congas) trade phrases with the ensemble before moving on to a sax soli and shout section. Trumpet range is to written B natural.
A breezy samba melody suited for a beach in Rio while melodic counterpoint plays in the sand. Following a funky half time interlude the trumpet takes the first solo, followed by the tenor sax (or...
Possibly the most “feel good” tune you’ll ever play. This smooth samba tune features contrapuntal interplay between and across the sections while still providing ample solo space for trumpet and alto sax. In between those soloists is the drum/aux. percussion feature section where the ensemble provides its own stop time rhythmic counterpoint. After the alto solo, the ensemble builds through a harmonic progression before arriving at the shout section and montuna ending. Trumpet range is to written A with a high D stinger on the final note.
This tune is also available for marching band. Please click here for more information.
Possibly the most “feel good” tune you’ll ever play. This smooth samba tune features contrapuntal interplay between and across the sections while still providing ample solo space for trumpet...
In the relaxed swinging tradition of Sammy Nestico and Count Basie, Say What? refers to the conversation that begins in the melody as two groups call and respond to each other. After the melody is thoroughly discussed, the chart moves on to a 16-bar written piano solo which is followed by a 16 bar written tenor sax solo. Chord changes are provided for both. A powerful 16 bar shout chorus is followed by a return to the bridge and then a final hard-swinging hurrah before the classic Count Basie piano ending. Trumpet range is to written G. Trombone range is to F.
In the relaxed swinging tradition of Sammy Nestico and Count Basie, Say What? refers to the conversation that begins in the melody as two groups call and respond to each other. After the melody is...
“Mr. Cool” was literally composed while Robert was sitting in a meat locker – or so he tells me. You’ll have to ask him. The beginning bass line, enhanced with bari and bass trombone, sets the rockin’ tone for this chart – attitude all the way. Solos all around for trumpet, alto and tenor sax, and trombone. The sax section gets some work, too. If you can’t dance to this one……….Trumpet range is to written high Bb with optional high B and high D in the part.
“Mr. Cool” was literally composed while Robert was sitting in a meat locker – or so he tells me. You’ll have to ask him. The beginning bass line, enhanced with bari and bass trombone, sets...
