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Go Tell It on the Mountain: Jazz Ensemble Conductor Score & Parts

$52.00 USD
$52.00 USD
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Go Tell It on the Mountain Cover Image
Go Tell It on the Mountain: Jazz Ensemble Conductor Score & Parts

Go Tell It on the Mountain: Jazz Ensemble Conductor Score & Parts

Traditional / arr. Alan Baylock

Grade: 3 (Medium)

Item: 00-36051
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Description
Play this jazz waltz will work for the holidays or any season! Beginning with claps and foot stomps, the chart builds throughout. Includes a written-out alto solo and lead trumpet range to written B-flat above the staff. Adapted from a chart originally written for the USAF Airmen of Note. (4:35) This title is available in MakeMusic Cloud.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Go Tell It on the Mountain: Jazz Ensemble Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Jazz Band Series
Publisher: Alfred Music
Page Count: 98
UPC: 038081418520
SKU: 00-36051

More about this title

About the Arranger: Alan Baylock

Alan Baylock

Alan Baylock spent two decades as Chief Arranger for the U.S. Air Force Band's Airmen of Note in Washington, D.C., where he shaped the sound of one of America's premier jazz ensembles. He now directs the Grammy-nominated One O'Clock Lab Band at the University of North Texas while leading his own Alan Baylock Jazz Orchestra, which recorded three critically acclaimed albums and toured extensively across the country. His work has been performed and recorded by an extraordinary range of artists spanning jazz, pop, and classical music.

Beyond his composing and arranging, Baylock is deeply committed to jazz education and equity in the field. He has guest-conducted over 100 jazz ensembles at every level, from high schools to professional stages, and was a longtime faculty member of the National Jazz Workshop. In 2022, he co-founded Brava Jazz Publishing with composer Annie Booth to amplify the voices of women composers and arrangers in big band jazz. He holds degrees from Shenandoah University, where he later served as Jazz Composer-in-Residence, and the University of North Texas.

Why we love this

Baylock's arrangement transforms a spiritual into a sophisticated jazz waltz that works equally well in December or any other month on your calendar. The architecture is smart: it builds methodically from body percussion through increasingly full orchestration, giving younger ensembles clear landmarks and allowing for gradual dynamic and textural development. A written alto solo and high trumpet line add character while remaining accessible at Grade 3.

What to expect

A spiritual reimagined through the lens of jazz waltz, with an infectious momentum that builds from intimate and rhythmic to full and celebratory. The arrangement breathes with a warmth that honors the original melody while embracing swing sensibilities, creating something that feels both reverent and joyful.

Who it's for

Developing jazz ensembles ready for a stylistically grounded arrangement that doesn't demand virtuosity. The chart rewards ensemble cohesion and blend while offering soloists a featured moment without excessive technical demands. Ideal for programs looking to expand beyond swing or blues into other jazz feels and song forms.

How to get the most out of it

  • Lock the opening hand claps and foot stomps as an ensemble before adding any pitched material; this establishes the rhythmic pocket that carries the entire arrangement.
  • Balance the alto solo against the background voices during the bridge section. This solo deserves space to breathe, so encourage the rhythm section to listen for and support the soloist's phrasing.
  • Shape the dynamic arc carefully through the chart's build. Each section introduces new instrumental colors, so mark your scores to highlight when the flute or saxophone section enters to avoid muddy texture in the lower register.
  • Experiment with swing feel variations in the waltz; some of your ensemble members may naturally rush or drag the 3/4 time. Subdividing triplet patterns in rehearsal helps cement the jazz waltz feel across all sections.

How to use it

This arrangement fits naturally into holiday concerts but works equally well as a season-spanning opener or closer because of its strong melody and accessible sophistication. Consider pairing it with a traditional swing chart to showcase your ensemble's range across different jazz feels and grooves.

Skills your students will build

  • Comping patterns and accompaniment textures in jazz waltz time
  • Reading and playing with rhythmic precision using body percussion (claps, foot stomps) as a foundation
  • Soloing within a written melody and navigating chord changes
  • Listening and responding to dynamic layering as new sections enter
  • Swing feel and triplet phrasing in 3/4 meter

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