Broadway by Special Arrangement: Flute/Oboe Book & CD

Strommen's jazz arrangements for flute and oboe strike a rare balance: each melody sits beautifully in the instrument's core range while the accompaniment CD provides a rhythm section that swings authentically. Flute and oboe players hear the full orchestral sound they're stepping into, not a click track or a skeletal reduction. The collection spans from introspective ballads (My Funny Valentine, Have You Met Miss Jones) to driving standards (All the Things You Are, Just in Time), giving your soloists variety and programming flexibility without requiring them to invent melodies or negotiate jazz improvisation.

Stepping into a jazz club from the classical concert hall. The melodies are immediately familiar and singable, yet the harmonies and rhythmic sensibility push slightly outside standard classical phrasing into something more conversational and relaxed. With the recorded accompaniment, even a young player experiences the full weight of a rhythm section that swings, breathes space, and supports the soloist like a real ensemble would.

Intermediate flute and oboe students ready to play jazz-inflected standard repertoire with confidence and musicality. This collection suits solo recitalists, wind ensemble soloists, or advanced high school and early college players who want to explore the Great American Songbook in a jazz idiom without learning to improvise. Directors programming recital soloists or looking for feature-worthy jazz arrangements will find this book hits that specific need.

• Listen to the recorded accompaniment before the first rehearsal so you understand the tempo, groove, and where the melody lives in the mix. Strommen's arrangements sit the flute or oboe part front and center, but hearing how the rhythm section breathes will change how you approach phrasing.
• In passages with written articulation or dynamic contrast, commit to those markings; they're part of the jazz style and shape how the line sits against the swing rhythm. Half measures and tied notes matter in this context.
• Practice with the CD from the start rather than learning the melody alone and adding the accompaniment later. The groove and time feel are essential to how these arrangements work, not optional texture.

Feature these arrangements on a solo recital or wind ensemble concert to give your audience variety and energy. Pairing a classical solo with one of these jazz standards creates programming contrast and showcases your student's interpretive range. These work equally well as a solo feature in a concert where multiple students are performing, or as a mid-year recital project that builds confidence before tackling unaccompanied classical repertoire.

• Jazz articulation and phrasing (swing interpretation without improvisation)
• Playing musically over a recorded rhythm section (listening and blending)
• Reading and executing written jazz stylizations (articulation marks, syncopation)
• Understanding jazz harmony aurally while reading standard notation
• Balancing soloist presence with ensemble groove