Original Big Band Sounds: 2nd B-flat Tenor Saxophone Book

These are genuine transcriptions, not recreations. Hest captured the actual solos and parts from the original recordings, which means your students are learning the real thing from Miller, Dorsey, Goodman, and Ellington's bands. The 2nd tenor book sits perfectly in the section while maintaining the harmonic foundation these classics demand. You get legitimacy, playability, and authentic big band writing all at once.

Stepping into a recording studio from the 1930s and 40s. These arrangements carry the sophistication and swagger of the swing era, with that particular kind of lyricism that made these tunes standards. The 2nd tenor part carries the weight of the section, allowing for a grounded, satisfied sound.

Jazz ensemble directors looking for substantive, historically grounded repertoire that teaches students how the masters actually played. Second tenor players benefit from being positioned as supporting voices in authentic big band voicings. This book works for ensembles with decent reading skills and at least some jazz experience.

• Listen to at least one original recording of each tune before rehearsal. The rhythmic feel and phrasing of these standards matters more than the notes on the page.
• Balance the 2nd tenor line between supporting the section sound and giving it voice when the part moves into the foreground, especially during the transcribed solos.
• Watch the tempo relationships across movements, particularly between the two "Sing, Sing, Sing" parts, which may require adjustment based on your ensemble's comfort level.
• Shade your tone to match the era. These arrangements ask for a warmer, less bright approach than modern tenor writing typically demands.

Program one or two of these in a jazz concert to anchor the set with repertoire your audience actually recognizes. These standards work well alongside original charts or other composers, creating a mix of tradition and contemporary writing. Consider spreading them across the year, using familiar melodies as anchors when introducing students to transcribed improvisation.

• Reading and executing authentic swing feel and big band articulation
• Blending and balancing as a supporting voice in jazz ensemble voicings
• Interpreting transcribed jazz solos with appropriate phrasing and inflection
• Understanding harmonic function through observation of section parts
• Listening and responding to historical recordings as primary texts