Bone Talk (Trombone Section Feature): Jazz Ensemble Conductor Score & Parts
By Mark Taylor
Grade: 4
Item: 35-PK00159524
$50.00
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Description
When the trombone section gets a chance to speak, it's usually with a touch of attitude and style. This sassy shuffle tune in a moderately slow tempo gives them a great opportunity to take the spotlight. Includes a flexible solo section and some nice ensemble sections as well.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00159524
More about this title
About the Composer: Mark Taylor
Mark Taylor is a prolific composer and arranger whose work spans jazz education, concert band, and wind ensemble literature. His arrangements and original compositions are staples in secondary music programs, known for balancing accessibility with genuine musical substance and contemporary style.
Why we love this
Taylor writes for the trombone section with real understanding of what makes them tick. The shuffle groove sits naturally in their range, the flexible solo section lets individual voices shine without demanding superhuman chops, and the ensemble writing creates genuine ensemble moments that feel earned rather than obligatory.
What to expect
Confident and playful. The moderately slow shuffle has room to breathe and space to settle into the groove, but the attitude is always present. It's the sound of a section that knows its role and owns it completely.
Who it's for
Jazz ensembles at the Grade 4 level who want a feature that gives the trombone section real musical authority without requiring years of advanced technique. This works equally well for groups with strong soloists or for showcasing section strength as a whole.
How to get the most out of it
- Shape the shuffle articulation as a group. Have the trombones rehearse their subdivision feel together before adding the soloist, so everyone locks into the same pocket.
- Let the ensemble sections breathe. The sassy character comes through when players commit to the phrasing as written rather than rushing the harmonic changes.
- Balance the solo section carefully. The feature works best when the accompanying sections lay back enough to let the soloist project without having to force.
- Pay attention to dynamics across the section. Independent voice leading in the ensemble parts creates texture; make sure all three (or four) voices remain audible.
How to use it
Slot this into a concert where you're highlighting section features or building a jazz set around different voices. It works well paired with a trumpet feature or soprano soloist, creating momentum through contrasting textures. The moderate tempo and accessible level also make it viable earlier in the school year when ensemble cohesion is still developing.
Skills your students will build
- Shuffle rhythm articulation and subdivision consistency
- Ensemble blend and balance within a three to four-part section
- Solo phrasing and lyrical expression over a steady groove
- Reading jazz articulation and interpretation markings
- Balancing structural clarity with stylistic freedom in jazz contexts