Bossa de Cancun: Jazz Ensemble Conductor Score & Parts
As performed by Mike Steinel
Grade: 1-2
Item: 35-PK01638733
$40.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Bossa de Cancun - Full Score | $7.50 | |
| Bossa de Cancun - Alto Sax 1 | $6.00 | |
| Bossa de Cancun - Alto Sax 2 | $6.00 | |
| Bossa de Cancun - Tenor Sax 1 | $6.00 | |
| Bossa de Cancun - Tenor Sax 2 | $6.00 | |
| Bossa de Cancun - Baritone Sax | $6.00 | |
| Bossa de Cancun - Trumpet 1 | $6.00 | |
| Bossa de Cancun - Trumpet 2 | $6.00 | |
| Bossa de Cancun - Trumpet 3 | $6.00 | |
| Bossa de Cancun - Trombone 1 | $6.00 | |
| Bossa de Cancun - Trombone 2 | $6.00 | |
| Bossa de Cancun - Trombone 3 | $6.00 | |
| Bossa de Cancun - Guitar | $6.00 | |
| Bossa de Cancun - Piano | $6.00 | |
| Bossa de Cancun - Bass | $6.00 | |
| Bossa de Cancun - Drums | $6.00 | |
| Bossa de Cancun - Aux Percussion | $6.00 | |
| Bossa de Cancun - C Treble/Vibes | $6.00 | |
| Bossa de Cancun - Flute | $6.00 | |
| Bossa de Cancun - Bb Clarinet | $6.00 | |
| Bossa de Cancun - F Horn | $6.00 | |
| Bossa de Cancun - Tuba | $6.00 |
Parts Added to Cart!
Description
Supplementing the Essential Elements Jazz Ensemble Method, this extremely playable Latin number evokes the sea and the beach. It has interesting harmonies, appealing rhythms, and features a very approachable solo section that can be opened for anyone in the band. ¶These full-length Grade 1.5 arrangements are the perfect "next step" for bands using the EE Jazz method, and also stand on their own as great easy charts for young players.¶· Written for full band/playable with 3 saxes, 2 trumpets, 1 trombone and rhythm section¶· Full recording included¶· Each arrangement is a self-contained teaching unit with exercises for melody, rhythm and improvisation¶· Includes opt. parts for flute, clarinet, F horn and tuba
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01638733
More about this title
About the Artist: Mike Steinel
Mike Steinel is a composer and arranger whose work has become foundational to jazz education in American schools. His contributions to the Essential Elements Jazz Ensemble Method have shaped how thousands of young musicians encounter jazz fundamentals, combining pedagogical clarity with genuine musical interest. Steinel understands what beginning jazz ensembles can achieve and writes accordingly, creating arrangements that challenge students without overwhelming them.
Why we love this
Steinel captures something essential here: a Latin groove that sounds effortless but teaches real harmonic and rhythmic literacy. The solo section, genuinely open to any voice, creates space for different student strengths to shine without requiring a jazz virtuoso lurking in your saxophone section. It's the kind of piece that anchors a concert while teaching something students will use in every jazz standard they encounter afterward.
What to expect
Sun-warmed and spacious. The arrangement carries genuine seaside atmosphere without resorting to novelty; the harmonies shift in ways that feel both surprising and inevitable. It's the kind of piece that sticks with students because it sounds like jazz they actually want to play.
Who it's for
Ensembles working through the Essential Elements Jazz method will recognize this as their natural progression, but any Grade 1.5 jazz group benefits from this material. Directors seeking accessible Latin repertoire that builds real musicianship rather than just fun will find this invaluable.
How to get the most out of it
- Establish the bossa nova clave clearly in rhythm section rehearsals before the full ensemble joins. The groove won't breathe without a secure foundation underneath.
- Cast the solo section strategically. This isn't about finding your best improviser; it's about giving different students the chance to construct simple melodic ideas over a forgiving harmonic foundation.
- Balance the full band texture by keeping the horn section lean on the head. The arrangement is scoring for liftoff, not wall of sound, so trust the spacing and let air move through the ensemble.
- Layer in the Latin percussion elements (congas, bongos) during your final rehearsals. They'll transform the piece from competent to convincing.
How to use it
Slot this into a spring concert where you need something energetic but not bombastic, or program it early in the year as proof to your ensemble that jazz can feel fresh and inviting from day one. It pairs well alongside standards you're teaching through the method book, reinforcing those same harmonic and rhythmic concepts in a more polished performance setting.
Skills your students will build
- Reading and executing bossa nova rhythmic figures
- Navigating quartal and extended harmonies in a jazz context
- Improvising melodically over an eight-bar blues-based progression
- Balancing ensemble texture in a Latin jazz context
- Understanding and performing the clave rhythm as a structural anchor