Evil Ways: Jazz Ensemble Conductor Score & Parts
As performed by Santana / As performed by Sonny Henry / Arranged by Rick Stitzel
Grade: 2
Item: 35-PK00367342
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Evil Ways - Conductor Score (Full Score) | $7.50 | |
| Evil Ways - Alto Sax 1 | $6.00 | |
| Evil Ways - Alto Sax 2 | $6.00 | |
| Evil Ways - Tenor Sax 1 | $6.00 | |
| Evil Ways - Tenor Sax 2 | $6.00 | |
| Evil Ways - Baritone Sax | $6.00 | |
| Evil Ways - Trumpet 1 | $6.00 | |
| Evil Ways - Trumpet 2 | $6.00 | |
| Evil Ways - Trumpet 3 | $6.00 | |
| Evil Ways - Trumpet 4 | $6.00 | |
| Evil Ways - Trombone 1 | $6.00 | |
| Evil Ways - Trombone 2 | $6.00 | |
| Evil Ways - Trombone 3 | $6.00 | |
| Evil Ways - Trombone 4 | $6.00 | |
| Evil Ways - Guitar | $6.00 | |
| Evil Ways - Piano | $6.00 | |
| Evil Ways - Bass | $6.00 | |
| Evil Ways - Drums | $6.00 | |
| Evil Ways - Aux Percussion | $6.00 | |
| Evil Ways - Flute | $6.00 | |
| Evil Ways - Bb Clarinet 1 | $6.00 | |
| Evil Ways - Bb Clarinet 2 | $6.00 | |
| Evil Ways - F Horn | $6.00 | |
| Evil Ways - Tuba | $6.00 |
Parts Added to Cart!
Description
Recorded in 1969, this iconic Latin rock tune helped boost the success of Santana and has remained a familiar classic ever since. This solid arrangement for young players passes the melody around from the brass to the saxes, and includes written or ad lib. solos for tenor sax and trumpet.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00367342
More about this title
About the Artist: Santana
Santana emerged in the late 1960s as pioneers of Latin rock, blending Afro-Cuban percussion, blues-based guitar work, and jazz harmonies into something entirely new. Led by Carlos Santana's distinctive guitar voice, the band's self-titled 1969 debut album introduced "Evil Ways" to the world, a track that became synonymous with the fusion of Latin rhythms and rock energy. For music educators, Santana's catalog offers accessible entry points into world music influences and the rhythmic sophistication that defines Latin jazz.
Why we love this
Rick Stitzel's arrangement captures the groove and accessibility of the original while keeping the instrumentation manageable for Grade 2 ensembles. The melody distribution keeps all sections engaged, and the option for written or improvised solos gives students genuine agency in their musical choices. Young musicians get to perform a song they actually recognize, which builds enthusiasm faster than many educational standards.
What to expect
A groove-centered, propulsive arrangement that channels the swagger of 1960s Latin rock. The melody moves between sections with infectious energy, and the rhythm section locks into a clave feel that makes the whole piece breathe.
Who it's for
Grade 2 jazz ensembles ready to explore rock and Latin music outside traditional jazz vocabulary. Directors looking for high-engagement repertoire that appeals to students and audiences alike will find this a reliable choice.
How to get the most out of it
- Lock the clave rhythm with your rhythm section before rehearsing full ensemble; this is the heartbeat of the arrangement, and everything else sits on top of it.
- Give your saxophone and trumpet soloists time to prepare, whether they choose the written option or attempt an improvisation. Even Grade 2 players respond well to this kind of ownership.
- Balance the Latin percussion carefully. These voices should anchor the groove without overpowering the melody line.
- Work the dynamic shaping in the melody exchanges between brass and woodwinds; clarity here makes the arrangement sing.
How to use it
This works beautifully as a second-half opener on a jazz concert, offering contrast to more standards-based repertoire while remaining accessible to developing ensembles. It also pairs well with other rock or pop arrangements if you're building a contemporary music set.
Skills your students will build
- Clave rhythms and Latin percussion patterns
- Listening and responding to rhythmic feels (groove orientation)
- Trading melody lines between sections
- Solo preparation and improvisation (written and ad lib options)
- Ensemble blend across mixed instrumentation