My Little Suede Shoes: Jazz Ensemble Conductor Score & Parts
As performed by Charlie Parker / Arranged by Mark Taylor
Grade: 3
Item: 35-PK00296678
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Description
This appealing and lighthearted tune by Charlie Parker is treated here in a medium-tempo samba style. A small group comprised of alto, tenor, trumpet, trombone and guitar takes the lead for the first chorus. After a solo section for alto sax and trumpet, the entire ensemble jumps in for a chorus while trading phrases with the drums. A very effective and unique offering for young bands.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00296678
More about this title
About the Artist: Charlie Parker
Charlie Parker revolutionized jazz in the 1940s by developing bebop, a style that prioritized harmonic sophistication and rapid melodic invention over swing's dance rhythms. His alto saxophone playing combined technical brilliance with emotional directness, influencing generations of improvisers across all instruments.
Why we love this
Mark Taylor's samba setting freshens a bebop standard without burying Parker's melodic character, and the scored structure gives young ensembles a genuine way into jazz ensemble playing. The solo opportunities for alto and trumpet feel earned rather than grafted on, and the phrase trading with drums in the final chorus teaches students what conversation in jazz actually sounds like.
What to expect
Bright and swinging despite the medium tempo, with a samba lilt that gives the piece a dance-floor appeal Parker's original bebop line never had. The writing stays light throughout, letting students feel the joy of ensemble playing without technical overwhelm.
Who it's for
Grade 3 jazz ensembles ready to move beyond head arrangements and play scored jazz with structure. This works equally well for groups building their jazz reading skills and for programs seeking a fun vehicle that doesn't require heavy soloist development.
How to get the most out of it
- Let the first chorus breathe as a small group moment. The five-player intro creates intimacy that disappears if the full ensemble rushes in too early.
- Balance the alto and trumpet solos so neither dominates the texture. Both voices need space to develop ideas without stepping on each other.
- Anchor the samba feel with steady hi-hat and ride cymbal work from the drums. The groove depends on that rhythmic consistency underneath the melody.
- Shape the phrase trades with drums by committing fully to each exchange. Hesitation kills the energy that makes this section work.
How to use it
Slot this into a spring concert with other standards arranged at Grade 3, or use it mid-year as a morale builder when students are working through harder classical repertoire. It also pairs well in a jazz showcase where you want a piece that sounds confident without requiring your most experienced players to carry the load.
Skills your students will build
- Reading jazz chord changes and walking bass patterns
- Executing samba rhythms and syncopation in ensemble context
- Trading phrases and responding to other musicians in real time
- Balancing melody and accompaniment voices within a small group texture
- Sustaining forward motion through a structured solo section