Jing Jing Jingle Cover Image

Jing Jing Jingle: Concert Band Conductor Score & Parts

$70.00 USD
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Jing Jing Jingle Cover Image

Jing Jing Jingle: Concert Band Conductor Score & Parts

Arranged by Chris Sharp

Grade: 2.5;3

Item: 98-B1636

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Description
Welcome the yuletide season in jazzy style as Saint Nick meets Benny Goodman and his renowned drummer Gene Krupa. This inventive take on the holiday chestnut Jingle Bells begins with the iconic toms solo launching into the familiar melody. When the full ensemble enters on the chorus, sleigh bells add to the festive mood. After a call-and-response section between the brass and woodwind sections, Jolly Old St. Nicholas makes his appearance to close out the piece!

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Jing Jing Jingle: Concert Band 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: FJH Young Band
Publisher: The FJH Music Company, Inc.
SKU: 98-B1636

More about this title

About the Arranger: Chris Sharp

Chris Sharp

Chris Sharp brings decades of professional arranging experience to every score he writes. His background spans Walt Disney World (eleven years as a performing trombonist and band leader), orchestrations for Disney parks worldwide, and commissions from Universal Studios, the Boston Pops, the Dallas Brass, and the USAF Airmen of Note. His work appears regularly at the Midwest Clinic and has earned multiple ASCAP Plus awards.

As an educator, Sharp teaches at Polk State College where he leads the band program while also instructing music theory, technology, and arranging. He has judged for Bands of America and Drum Corps International, bringing his clinician expertise to bands across the country. His formal training at the University of Florida and University of Miami shaped his approach to both composition and pedagogy.

Why we love this

Sharp takes a swinging approach to holiday programming by anchoring the arrangement in early jazz history rather than retreading familiar Christmas band fare. The opening tom solo grabs attention immediately, and the call-and-response dialogue between brass and woodwinds gives every section something engaging to play. It's the kind of arrangement that makes a winter concert feel fresh rather than obligatory.

What to expect

Breezy swing meets winter magic. The piece opens with pure drums-and-brushes cool before warming into a familiar melody dressed up in Goodman-era orchestration. Sleigh bells and the closing nod to St. Nicholas add genuine holiday sentiment without sacrificing the groove.

Who it's for

Grade 2.5 and 3 bands ready for a holiday program that swings rather than marches. This works for groups with solid section balance and enough confidence to nail the jazz idiom without overthinking the style.

How to get the most out of it

  • Balance the drum solo intro so it sits just above the ensemble voicings that follow; the rhythm section needs to stay locked even while the percussion feature takes the spotlight.
  • Shape the call-and-response section with clear articulation differences between sections to make the conversation feel natural rather than mechanical.
  • Let the sleigh bells ring out during the chorus without overwhelming the melody; they're seasoning, not the main dish.
  • Bring out the Jolly Old St. Nicholas transition as a gentle surprise; underscore the shift in character to close the piece with warmth rather than bombast.

How to use it

Slot this into the upbeat middle section of a winter concert to shift the mood from reverent to celebratory. It pairs well alongside more traditional holiday selections and reads as a deliberate programming choice rather than filler. The manageable length and straightforward instrumentation make it ideal for a concert where you're balancing multiple genres and styles.

Skills your students will build

  • Jazz swing articulation and phrasing
  • Section-to-section communication in call-and-response passages
  • Playing as a cohesive rhythm section with a drum feature
  • Dynamic control in ensemble passages featuring percussion textures
  • Balance between solo and ensemble voices

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