Lulu's Left Town: Jazz Ensemble Conductor Score & Parts
By Mark Taylor
Grade: 5
Item: 35-PK00250308
$60.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Lulu's Left Town - Conductor Score (Full Score) | $10.00 | |
| Lulu's Left Town - Alto Sax 1 | $6.00 | |
| Lulu's Left Town - Alto Sax 2 | $6.00 | |
| Lulu's Left Town - Tenor Sax 1 | $6.00 | |
| Lulu's Left Town - Tenor Sax 2 | $6.00 | |
| Lulu's Left Town - Baritone Sax | $6.00 | |
| Lulu's Left Town - Trumpet 1 | $6.00 | |
| Lulu's Left Town - Trumpet 2 | $6.00 | |
| Lulu's Left Town - Trumpet 3 | $6.00 | |
| Lulu's Left Town - Trumpet 4 | $6.00 | |
| Lulu's Left Town - Trumpet 5 | $6.00 | |
| Lulu's Left Town - Trombone 1 | $6.00 | |
| Lulu's Left Town - Trombone 2 | $6.00 | |
| Lulu's Left Town - Trombone 3 | $6.00 | |
| Lulu's Left Town - Trombone 4 | $6.00 | |
| Lulu's Left Town - Guitar | $6.00 | |
| Lulu's Left Town - Piano | $6.00 | |
| Lulu's Left Town - Bass | $6.00 | |
| Lulu's Left Town - Drums | $6.00 |
Parts Added to Cart!
Description
This sparkling uptempo swinger from the pen of Mark Taylor is impressive right from the opening full ensemble statement, and it doesn't let up from there. Small ensemble playing is beautifully contrasted with full band writing, and solo space is included for guitar, trumpet and drums. A sax soli, shout chorus, and even some group improvisation round out this impressive offering!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00250308
More about this title
About the Composer: Mark Taylor
Mark Taylor has established himself as one of the most prolific and respected composers for jazz education, with arrangements and original works that balance accessibility with genuine musical substance. His output spans all levels and ensemble sizes, consistently prioritizing the student experience while never compromising on craft or ear appeal.
Why we love this
Taylor writes for jazz ensembles with real understanding of what keeps both players and audiences engaged. The interplay between full band moments and intimate small ensemble passages gives your section leaders something to sink their teeth into while keeping the energy alive throughout, and the solo opportunities feel genuinely musical rather than obligatory.
What to expect
Bright, propulsive, and thoroughly modern without feeling gimmicky. The writing sparkles from the downbeat, balancing moments of transparency that let individual voices shine with full-band textures that deliver genuine punch and swagger.
Who it's for
Grade 5 jazz ensembles with solid fundamentals and at least one strong soloist on trumpet. This works equally well for groups with experienced rhythm sections or those still building confidence in jazz comping and time feel.
How to get the most out of it
- Balance the sax soli against the full ensemble writing by having your rhythm section lock in dynamically on those smaller passages; they need to breathe differently than the shout chorus.
- The group improvisation section works best when you establish clear harmonic boundaries in rehearsal and give students permission to take risks; this isn't the moment to over-conduct.
- Feature your best guitar voice during the guitar solo, and take time beforehand to discuss comping styles with your rhythm section so they're supporting rather than shadowing the soloist.
- The opening ensemble statement should hit with confidence; rehearse the attacks together and make sure your lead voices (trumpet, alto) are locked in on articulation and phrasing.
How to use it
Perfect as a closing number on a jazz concert where you want to send the audience out energized, or as a strong opener if you're programming a set that builds from smaller combo work into full ensemble arrangements. The variety of textures also makes it effective as a bridge piece between more conservative and adventurous repertoire on the same program.
Skills your students will build
- Swing feel and jazz articulation in an uptempo context
- Small ensemble balance and transparency
- Solo phrasing over jazz changes
- Responding to conductor cues while maintaining groove
- Group improvisation and harmonic listening
- Rhythm section comping and responsiveness
- Sax section blend and intonation in soli passages