Igor's Paradise: Jazz Ensemble Conductor Score & Parts

Mike Lewis has transformed a beloved masterwork into an energetic swing chart that keeps Borodin's memorable melody front and center while introducing students to real jazz idioms. The written-out solos for all brass players mean every trumpet and trombone section member gets a featured moment, which builds confidence and engagement across the entire section rather than isolating a single soloist.

Borodin's sweeping, lyrical melody finds new life as a swinging groove with just enough harmonic sophistication to sound "real" without overwhelming young players. The arrangement glides between moments of full ensemble strength and intimate solo spotlight, creating a sense of buoyancy and joy that feels both playful and genuinely musical.

Grade 2 jazz ensembles with mixed instrumentation, including flute, clarinet, horn, baritone horn, tuba, and string players alongside standard brass and reeds. Directors working with younger or newer jazz players will appreciate the modest ranges and straightforward rhythms, while the written solos keep every brass player engaged rather than benching half the section.

• Balance the melody against the swing rhythm section so the famous tune remains the focal point. The brass solos should sing over, not compete with, the groove underneath.
• Lock the bass and drums into a relaxed swing feel; this foundation makes the brass phrasing and articulation land naturally rather than forcing the jazz sound.
• Shape each written solo with dynamic contrast. Young players often play every solo at the same volume, but varying intensity between phrases lifts the energy and gives each musician's moment real presence.
• Use the recorded accompaniment (if available as a separate purchase) to help the ensemble hear how the chart sits in a real swing context before tackling live ensemble rehearsal.

Program this as a mid-concert energy booster that bridges classical literacy and jazz vocabulary for young audiences. It works especially well following a more serious classical selection, where its immediate accessibility and recognizable theme give listeners something to hold onto while the ensemble demonstrates jazz interpretation and ensemble swing.

• Reading and playing swing articulation and phrasing
• Interpreting jazz rhythms and syncopation in a through-composed arrangement
• Trading solos and solo playing in a supportive ensemble context
• Balancing melody and accompaniment in a jazz setting
• Playing extended instrumentation beyond standard big band (flute, horn, strings, baritone horn)