Four on Six: Jazz Ensemble Conductor Score & Parts
As performed by Wes Montgomery / As performed by John Abercrombie / As performed by John Scofield / Arranged by Mike Tomaro
Grade: 4
Item: 35-PK00390036
$55.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Four on Six - Conductor Score (Full Score) | $7.50 | |
| Four on Six - Alto Sax 1 | $6.00 | |
| Four on Six - Alto Sax 2 | $6.00 | |
| Four on Six - Tenor Sax 1 | $6.00 | |
| Four on Six - Tenor Sax 2 | $6.00 | |
| Four on Six - Baritone Sax | $6.00 | |
| Four on Six - Trumpet 1 | $6.00 | |
| Four on Six - Trumpet 2 | $6.00 | |
| Four on Six - Trumpet 3 | $6.00 | |
| Four on Six - Trumpet 4 | $6.00 | |
| Four on Six - Trombone 1 | $6.00 | |
| Four on Six - Trombone 2 | $6.00 | |
| Four on Six - Trombone 3 | $6.00 | |
| Four on Six - Trombone 4 | $6.00 | |
| Four on Six - Guitar | $6.00 | |
| Four on Six - Piano | $6.00 | |
| Four on Six - Bass | $6.00 | |
| Four on Six - Drums | $6.00 | |
| Four on Six - C Solo Sheet | $6.00 | |
| Four on Six - Bb Solo Sheet | $6.00 | |
| Four on Six - Eb Solo Sheet | $6.00 | |
| Four on Six - Bass Clef Solo Sheet | $6.00 |
Parts Added to Cart!
Description
Wes Montgomery's jazz standard is arranged here featuring both the straight-ahead swing style of the original as well as an updated samba version inspired by a recording by John Scofield and John Abercrombie. Solos are indicated for tenor and guitar (or piano), but there's flexibility for anyone to solo.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00390036
More about this title
About the Artist: Wes Montgomery
Wes Montgomery (1923–1968) was a guitarist who fundamentally changed how jazz instrumentalists approach their craft. His innovative use of octaves and block chords created a warm, singing tone that influenced generations of players across multiple genres. Montgomery's ability to swing hard while remaining lyrical made him a bridge figure in jazz history, equally comfortable in bebop contexts and accessible enough to reach mainstream audiences.
Why we love this
Mike Tomaro's dual arrangement gives you real flexibility in how you present this material. The swing version stays true to Montgomery's original voice, while the samba option opens the door to conversations about rhythmic reinterpretation and cross-cultural jazz fusion. Your ensemble gets to experience how the same melody can breathe entirely differently depending on the groove underneath it.
What to expect
Warm and accessible, with that particular joy that comes from a melody that sits naturally in the voice and under the fingers. The samba arrangement adds a lighter, more buoyant energy without losing the blues DNA that makes this tune swing.
Who it's for
Grade 4 jazz ensembles with solid fundamentals who are ready to tackle swing feel and basic blues changes. This works for groups that have some soloists on tenor and guitar (or piano) but want a piece that doesn't hinge entirely on star players.
How to get the most out of it
- Balance the solo voices against the ensemble backgrounds. The arranged comping sections should support without overwhelming the featured soloist.
- Nail the rhythmic feel first before worrying about swing articulation. In the samba version especially, get the pulse locked before layering in the syncopation.
- Rotate soloists across rehearsals. The flexibility built into this arrangement means everyone should have a chance to develop their improvisational voice.
- Let the melody breathe on first and final statements. Resist the urge to rush the head; give the tune room to settle into its groove.
How to use it
Use the swing version early in your jazz concert when you want to establish a classic sound and let your audience settle in. Save the samba arrangement for a second set where you can show growth and musical flexibility. The tune works equally well as a standalone feature or as part of a blues-focused set.
Skills your students will build
- Swing feel and articulation in a traditional blues changes context
- Comping behind soloists using the provided ensemble parts
- Basic blues improvisation with designated solo sections
- Rhythmic adaptation of a single melody to different groove styles
- Balance between section harmony and featured instrumental voices