Jeannine: Jazz Ensemble Conductor Score & Parts
As performed by Cannonball Adderley / As performed by Duke Pearson / Arranged by Mark Taylor
Grade: 3
Item: 35-PK00275131
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Jeannine - Conductor Score (Full Score) | $7.50 | |
| Jeannine - Alto Sax 1 | $6.00 | |
| Jeannine - Alto Sax 2 | $6.00 | |
| Jeannine - Tenor Sax 1 | $6.00 | |
| Jeannine - Tenor Sax 2 | $6.00 | |
| Jeannine - Baritone Sax | $6.00 | |
| Jeannine - Trumpet 1 | $6.00 | |
| Jeannine - Trumpet 2 | $6.00 | |
| Jeannine - Trumpet 3 | $6.00 | |
| Jeannine - Trumpet 4 | $6.00 | |
| Jeannine - Trombone 1 | $6.00 | |
| Jeannine - Trombone 2 | $6.00 | |
| Jeannine - Trombone 3 | $6.00 | |
| Jeannine - Trombone 4 | $6.00 | |
| Jeannine - Guitar | $6.00 | |
| Jeannine - Piano | $6.00 | |
| Jeannine - Bass | $6.00 | |
| Jeannine - Drums | $6.00 | |
| Jeannine - Aux Percussion | $6.00 | |
| Jeannine - C Solo Sheet | $6.00 | |
| Jeannine - Bb Solo Sheet | $6.00 | |
| Jeannine - Eb Solo Sheet | $6.00 | |
| Jeannine - Bass Clef Solo Sheet | $6.00 |
Parts Added to Cart!
Description
Often recorded and performed by jazz artists, this tuneful standard by Duke Pearson is skillfully arranged here in an uptempo swing style. Solo duties are shared between trumpet and tenor sax, and there is terrific ensemble writing throughout including backgrounds for the soloists.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00275131
More about this title
About the Artist: Cannonball Adderley
Cannonball Adderley was an alto saxophonist and composer who shaped the sound of modern jazz across five decades. His warm tone, virtuosic technique, and gift for melody made him one of the most recorded and performed jazz musicians of the 20th century, and he collaborated with everyone from Miles Davis to John Coltrane.
Adderley's compositions and interpretations have become core repertoire in jazz education because they balance accessibility with genuine sophistication. His work demonstrates how a soloist can lead an ensemble while keeping the music grounded in blues feeling and swing.
Why we love this
Mark Taylor's arrangement captures the conversational interplay between trumpet and tenor sax without overcomplicating the harmony, making this a model for how to write jazz featuring sections. The ensemble backgrounds are musical and supportive rather than ornamental, so students hear how comping and fills serve the soloists instead of competing with them.
What to expect
Uptempo and driving, with a classic post-bop swing feel that never feels hurried. The tune has warmth and lyricism beneath the tempo, and the back-and-forth between the two solo voices creates a natural conversation that pulls the ensemble forward.
Who it's for
Grade 3 jazz ensembles with solid fundamentals and rhythm section confidence. This arrangement works well for groups that have tackled a few simpler swing pieces and are ready to handle shared solo responsibilities and more involved background writing.
How to get the most out of it
- Shape the swing eighth notes in the intro and ensemble sections with a consistent triplet subdivision; this locks the groove immediately and sets expectations for the soloists.
- Balance the trumpet and tenor sax leads by having them mirror each other's dynamic contours during their solo trades, even when one is playing background figures.
- Keep the rhythm section driving through the form; a laid-back groove here will blur the song's outline and bury the harmonic changes the soloists are navigating.
- Isolate the ensemble riffs in rehearsal so the band speaks as one unit; call-and-response figures only land if the response is tight and committed.
How to use it
Fit this into a concert as a strong mid-set number that shows ensemble musicianship and featured soloists. It pairs well with other standards from the same era and gives your rhythm section a chance to anchor a full feature without the density of more modern material.
Skills your students will build
- Swing eighth-note subdivision and subdivision consistency across ensemble members
- Comping and background figure writing that supports rather than competes with soloists
- Trading improvised choruses between multiple solo voices
- Blues harmonic changes and form awareness
- Dynamic balance between featured soloists and ensemble sections