On Green Dolphin Street: Jazz Ensemble Conductor Score & Parts

$52.00 USD

On Green Dolphin Street: Jazz Ensemble Conductor Score & Parts

Name: On Green Dolphin Street: Jazz Ensemble Conductor Score & Parts
Brand: Alfred Music
SKU: 00-JEM04022
Price: 52.00 USD
Availability: InStock

Music by Bronislau Kaper, lyrics by Ned Washington / arr. Frank Mantooth

Grade: 3 (Medium)

Item: 00-JEM04022

Need it now?

Buy Digital Version

$52.00

Shipped

One moment…

Frank Mantooth was always thinking out of the box, injecting clever and fresh ideas into jazz standards. Frank's chart On Green Dolphin Street toggles between Latin and swing which will help your band lock in the two styles, and solo space (written or ad-lib) is provided for trumpet, tenor, and trombone. This arrangement delivers interesting rhythms and harmonies that the band can sink its teeth into. (4:22)

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, On Green Dolphin Street: Jazz Ensemble Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

Open in the Player

Jump straight in and assign it today.

Start Your Free Trial

Open this title and explore the full library in minutes.

Series: Jazz Band Series

Publisher: Alfred Music

Page Count: 128

UPC: 654979072980

SKU: 00-JEM04022

More about this title

About the Composer: Bronislau Kaper

Bronislau Kaper (1902-1983) was a Polish-born composer who became one of Hollywood's most prolific film score writers. His work for MGM and other studios earned him multiple Academy Award nominations and two Oscars. On Green Dolphin Street, composed for the 1947 film of the same name, has become a jazz standard beloved for its sophisticated harmonic language and memorable melody.

Kaper's gift for writing singable, harmonically rich themes made his work ideal for jazz interpretation. His melodies invite improvisation while maintaining structural integrity, which is why On Green Dolphin Street continues to be a staple in jazz education and performance.

Show moreShow less

Why we love this

Frank Mantooth's arrangement captures what makes this standard endure: elegant harmonic movement that serves both the ensemble and the soloists. The Latin-to-swing toggle isn't just a stylistic detail; it's a teaching moment that helps your band develop real facility with two distinct rhythmic feels, and the written solo sections give students concrete models before they venture into ad-lib territory.

What to expect

Sophisticated without being austere. The melody sits beautifully in the ensemble's range, and the Latin section moves with genuine momentum before opening into the breezier swing section. There's an elegance to Kaper's harmonic palette that makes the arrangement feel substantial even at Grade 3, with enough rhythmic interest to keep players engaged.

Who it's for

Intermediate jazz ensembles ready to tackle style independence and collaborative solo support. Your trumpet, tenor saxophone, and trombone sections need to be comfortable with both written and ad-lib options, and the full ensemble should have the rhythmic foundation to shift cleanly between Latin and swing feels.

How to get the most out of it

Establish the Latin groove with absolute clarity in the first section; lock the rhythm section (drums, bass, piano) before adding horn accents so the transition to swing feels intentional rather than accidental.
Balance the solo sections carefully. Even written solos benefit from dynamic shaping that suggests improvisation; encourage soloists to phrase through the bar lines and respond to the comping underneath them.
Pay attention to the harmonic movement in the bridge. Kaper's chord changes are sophisticated and reward clean voice leading from the ensemble, especially when supporting trumpet and trombone solos.

How to use it

Use this as a bridge piece in a jazz concert, perhaps pairing it with a funkier contemporary chart or a bebop-era standard. It works well mid-set, after something high-energy, because it settles the ensemble into a sophisticated groove and gives soloists a chance to shine.