Little Red-Haired Girl: Jazz Ensemble Conductor Score & Parts
By Wynton Marsalis / Arranged by Michael Philip Mossman
Grade: 4
Item: 35-PK00129263
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Description
Composed by jazz master Wynton Marsalis and arranged for full jazz ensemble by Michael Philip Mossman, this is an attractive chart featuring muted trumpets on the melody with answering countermelodies in the saxes and bones. The overall feel is light and breezy, with solos included for trumpet and tenor.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00129263
More about this title
About the Composer: Wynton Marsalis
Wynton Marsalis stands as one of the most influential voices in jazz since the 1980s, bringing classical training and deep historical knowledge to everything he writes and arranges. As both a performer and composer, he has shaped how younger musicians understand jazz language, harmonic sophistication, and the connection between jazz and broader American musical traditions.
Marsalis's work as an educator and artistic director has made him particularly attuned to what ensemble musicians need to learn. His compositions and arrangements consistently balance accessibility with real musical substance, giving students pieces they can grow into rather than merely play through.
Why we love this
Mossman's arrangement gives muted trumpets the lyrical weight they deserve, creating an inviting entry point for soloists before the saxes and trombones build texture underneath. The piece achieves that rare quality of feeling conversational rather than showoff, which means your ensemble stays engaged whether they're carrying the melody or answering it.
What to expect
A conversation between friends on a pleasant afternoon. Muted warmth from the trumpet gives way to witty responses from the reeds and bones, all of it moving with the unhurried grace of someone who knows exactly what they're doing. The solos invite genuine interaction rather than mere display.
Who it's for
Jazz ensembles at the intermediate level who have solid section balance and basic soloing experience. This works well for groups ready to handle some textural sophistication without drowning in complexity.
How to get the most out of it
- Balance the muted trumpet melody against the sax and trombone responses; the melody should sing clearly without overpowering the counterlines that give the piece its character.
- Let the light, breezy quality inform your tempo choice and articulation. Crisp tonguing on the comping figures keeps the arrangement from dragging.
- Feature your strongest soloists on the trumpet and tenor parts, but use the solo sections as teaching moments for whoever hasn't yet had a chance to play over changes in an ensemble setting.
How to use it
Pair this with other Marsalis arrangements or contemporary jazz standards to build a set that shows your ensemble's range in ensemble voicing and soloist development. It also fits naturally into a program exploring how classic jazz figures remain relevant teachers for new generations of players.
Skills your students will build
- Balancing muted trumpet tone against ensemble texture
- Reading and executing countermelodic lines while supporting the main melody
- Comping rhythm section figures that sit appropriately in a light, conversational arrangement
- Solo phrasing over changes in an ensemble context
- Listening and responding as a section to other ensemble voices