For Lena And Lennie: Jazz Ensemble Conductor Score & Parts
By Quincy Jones / Arranged by Mark Taylor
Grade: 3
Item: 35-PK00160033
$50.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| For Lena And Lennie - Full Score | $7.50 | |
| For Lena And Lennie - Alto Sax 1 | $6.00 | |
| For Lena And Lennie - Alto Sax 2 | $6.00 | |
| For Lena And Lennie - Tenor Sax 1 | $6.00 | |
| For Lena And Lennie - Tenor Sax 2 | $6.00 | |
| For Lena And Lennie - Baritone Sax | $6.00 | |
| For Lena And Lennie - Trumpet 1 | $6.00 | |
| For Lena And Lennie - Trumpet 2 | $6.00 | |
| For Lena And Lennie - Trumpet 3 | $6.00 | |
| For Lena And Lennie - Trumpet 4 | $6.00 | |
| For Lena And Lennie - Trombone 1 | $6.00 | |
| For Lena And Lennie - Trombone 2 | $6.00 | |
| For Lena And Lennie - Trombone 3 | $6.00 | |
| For Lena And Lennie - Trombone 4 | $6.00 | |
| For Lena And Lennie - Guitar | $6.00 | |
| For Lena And Lennie - Piano | $6.00 | |
| For Lena And Lennie - Bass | $6.00 | |
| For Lena And Lennie - Drums | $6.00 | |
| For Lena And Lennie - Vibes | $6.00 |
Parts Added to Cart!
Description
Here is a wonderful medium swing ballad based on the version Quincy Jones wrote for Count Basie, and also recorded on Quincy's own album "Quintessence." The saxes lead the way to start with, followed by lush, full ensemble writing throughout, plus a short trumpet solo. This very playable arrangement is a perfect "down" number for any contest or festival.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00160033
More about this title
About the Composer: Quincy Jones
Quincy Jones stands among the most influential figures in twentieth-century music, equally at home in jazz, popular music, and orchestral composition. His career spans decades of pioneering work as a trumpeter, bandleader, arranger, and producer, including landmark collaborations with Count Basie, Frank Sinatra, and Michael Jackson. For music educators, Jones's arrangements remain touchstones of clarity and craftsmanship, balancing accessibility with sophisticated harmonic and orchestral thinking.
Jones's work in big band and jazz ensemble settings demonstrates his gift for writing that serves both the ensemble's learning and the listener's ear. His arrangements for Count Basie's orchestra became standards in the jazz repertoire, prized for their structural elegance and the space they create for individual voices within the ensemble texture.
Why we love this
Mark Taylor's arrangement captures the essence of Jones's original conception while remaining genuinely playable at Grade 3. The writing sits perfectly in the middle ground where students can navigate the changes without feeling constrained, and the melodic material is memorable enough that audiences leave humming. Few ballads at this level achieve such balance between sounding sophisticated and feeling manageable.
What to expect
A warmly swinging ballad with an intimate quality, despite the full ensemble writing. The piece has the polish of a classic Basie band record but remains approachable; it feels both like a standard and like a discovery.
Who it's for
Jazz ensembles working at the Grade 3 level, especially those building their repertoire of ballad vehicles. Directors preparing for contests and festivals will find this a sophisticated choice that doesn't overextend younger or less experienced players.
How to get the most out of it
- Shape the sax lead at the opening with rubato and dynamic breathing. Allow the section to phrase naturally rather than mechanically metering every eighth note.
- Keep the ensemble texture lush but not thick. The 'full writing' works best when each section plays with clarity about its role in the harmony rather than blending into one wall of sound.
- Feature the trumpet soloist as a conversation partner with the ensemble, not a spotlight moment. The solo breathes within the ballad's texture.
- Establish a confident tempo early and hold it steady through the form. Medium swing ballads can drift if the rhythm section loses focus on the underlying pulse.
How to use it
Place this as a contrast piece alongside uptempo swingers, or use it as the centerpiece of a set that explores Quincy Jones's compositional voice. It works equally well as a concert ballad or a contest selection where a sophisticated, medium-tempo choice stands out against faster material.
Skills your students will build
- Phrasing and dynamics in swing ballad style
- Reading jazz changes and harmonic movement
- Section blend and ensemble balance in full writing
- Trumpet solo interpretation and accompaniment listening
- Maintaining steady tempo and pulse in medium swing feel