Out Back Of The Barn (Bari Sax Feature): Jazz Ensemble Conductor Score & Parts
By Gerry Mulligan / Arranged by Mark Taylor
Grade: 4
Item: 35-PK00175361
$55.00
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Description
What better instrument to feature on a bluesy "bump and grind" swinger like this than baritone sax? Written in a medium slow 12/8 feel, this chart will make your entire band sound great, plus allow an often neglected player to really shine.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00175361
More about this title
About the Composer: Gerry Mulligan
Gerry Mulligan was a baritone saxophonist and composer who fundamentally reshaped what the instrument could do in jazz. Working across bebop, cool jazz, and hard bop, he demonstrated that the baritone sax could carry a melody with sophistication and swing rather than serve purely as a harmonic anchor. His voice on the horn was unmistakable: dry, articulate, and full of wit.
Mulligan's compositional work shows the same clarity and melodic invention as his playing. He wrote for small groups and large ensembles with equal facility, always serving the music rather than the ego. For educators, his pieces offer an ideal entry point into post-bebop jazz language while remaining deeply playable by student musicians.
Why we love this
Mark Taylor has crafted an arrangement that actually features the baritone sax as a solo voice rather than burying it in the harmonic section where it typically hides. The 12/8 feel creates a relaxed groove that lets soloists breathe while keeping the ensemble locked and rhythmically engaged. Your baritone player finally gets a moment to own the room.
What to expect
A slow burn blues with swagger. The 12/8 groove has a hip-swinging quality that feels leisurely but demands precision; players must commit to the feel without rushing or dragging. The baritone carries the melody with understated coolness, backed by a band that knows how to leave space.
Who it's for
Jazz ensembles at the high school or early college level looking for repertoire that features an often sidelined voice. Directors wanting to develop soloist confidence in a player who rarely gets front-and-center opportunities. Any program ready to prove that not every jazz feature has to showcase trumpet or tenor sax.
How to get the most out of it
- Establish the 12/8 pocket early in rehearsal by having the rhythm section lock the feel without the full band. A slow 12/8 can drift into triplet territory if the pulse isn't anchored firmly.
- Let the baritone soloist sit comfortably in the middle register rather than pushing up into the altissimo. The bluesy character lives in warmth and tone quality, not register pyrotechnics.
- Balance the ensemble figures so they support without overwhelming the featured voice. These riffs work best as a cushion for the solo, not a competing element.
- Shape the blues changes with dynamic awareness. The band sounds fuller when it responds to what the soloist offers rather than playing at a flat dynamic level throughout.
How to use it
Drop this into a jazz concert as a palette cleanser between up-tempo swingers, or use it as your closer if you want the audience to leave with a groove in their step. It pairs well with other blues-based charts and works equally well as a semester-long feature item that showcases student progress in groove and soloing.
Skills your students will build
- Playing and soloing in 12/8 jazz feel
- Listening to and supporting a featured soloist
- Blues changes and harmonic navigation
- Baritone sax independence from the harmonic section
- Ensemble cohesion while maintaining individual voice clarity