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Igor's Paradise: Jazz Ensemble Conductor Score

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Igor's Paradise: Jazz Ensemble Conductor Score

By Alexander Borodin / arr. Mike Lewis

Grade: 2 (Medium Easy)

Item: 00-JEM05024C

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Description
Based on Alexander Borodin's "Polovetzian Dance," this Mike Lewis arrangement is a swing version and it works great. For the young player, the ranges are modest, the rhythms are basic, and the solos are written out for all trumpets and all trombones to give all the brass players a chance to solo. Written for full instrumentation plus flute, clarinet, horn, baritone horn, tuba, and violin, viola and cello. Great chart! (3:28)

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Additional Details
Series: Jazz Expressions
Publisher: Alfred Music
UPC: 654979091363
SKU: 00-JEM05024C

More about this title

About the Composer: Alexander Borodin

Alexander Borodin (1833-1887) was a Russian composer and chemist who balanced two careers with remarkable success. His orchestral works, including the Polovetzian Dances from the opera Prince Igor, remain staples of the concert repertoire for their sweeping melodies, exotic harmonies, and vivid orchestration that captured the spirit of Russian nationalism.

Why we love this

Mike Lewis transforms a Romantic masterwork into an accessible swing vehicle that keeps the source melody's elegance while giving your entire brass section chances to shine. Grade 2 ranges and straightforward rhythms mean students focus on style and phrasing rather than wrestling with technical hurdles, and the written-out solos for all trumpets and trombones ensure no one sits idle during the solo section.

What to expect

Sophisticated yet approachable. The Borodin melody carries its characteristic warmth and elegance, now wrapped in a relaxed swing groove that feels both contemporary and respectful of the original. Lyrical without being slow, rhythmically engaging without being chaotic.

Who it's for

Young jazz ensembles ready to move beyond unison charts into fuller instrumentation. Conductors will appreciate the modest ranges and clear harmonic support that let brass players succeed without advanced technique while still building jazz phrasing and style.

How to get the most out of it

  • Establish the swing eighth-note feel early in rehearsal. Play or sing the rhythm section groove so the whole ensemble hears the pocket before tackling the melody.
  • Let the soloists know these are written parts, not improvisation opportunities. Encourage them to shape phrases with dynamics and articulation to make the written notes feel fresh.
  • Balance the melody line against the ensemble. The tune should sing even when the harmony voices are full; avoid letting background parts bury the lead.

How to use it

Program this as the centerpiece of a concert that balances jazz and classical traditions, or place it between a classical opening number and a bebop-style closer to show students the breadth of what jazz arranging can do with familiar material. It also works well as a spring concert standout that appeals to audiences beyond the typical jazz program listener.

Skills your students will build

  • Swing eighth-note phrasing and articulation
  • Reading jazz chord symbols and harmonic function
  • Solo performance within a section (all trumpets and all trombones)
  • Balancing melody and accompaniment in a jazz texture
  • Interpreting masterwork melodies in contemporary idioms

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