St. Thomas: Jazz Ensemble Conductor Score & Parts
By Sonny Rollins / Arranged by Mark Taylor
Grade: 3
Item: 35-PK00158166
$50.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| St. Thomas - Full Score | $6.00 | |
| St. Thomas - Alto Sax | $6.00 | |
| St. Thomas - Tenor Sax | $6.00 | |
| St. Thomas - Baritone Sax | $6.00 | |
| St. Thomas - Trumpet 1 | $6.00 | |
| St. Thomas - Trumpet 2 | $6.00 | |
| St. Thomas - Trombone | $6.00 | |
| St. Thomas - Guitar | $6.00 | |
| St. Thomas - Piano | $6.00 | |
| St. Thomas - Bass | $6.00 | |
| St. Thomas - Drums | $6.00 | |
| St. Thomas - Aux Percussion | $6.00 | |
| St. Thomas - C Solo Sheet | $6.00 | |
| St. Thomas - Bb Solo Sheet | $6.00 | |
| St. Thomas - Eb Solo Sheet | $6.00 | |
| St. Thomas - Bass Clef Solo Sheet | $6.00 | |
| St. Thomas - Alternate Alto Sax | $6.00 | |
| St. Thomas - Alternate Tenor Sax | $6.00 | |
| St. Thomas - Alternate Trombone | $6.00 |
Parts Added to Cart!
Description
Plenty of solid tutti ensemble scoring is featured in this arrangement for small group of Sonny Rollins' familiar Latin standard. The solo section can be opened up for any player, and a tasty unison ensemble chorus follows. (Grade 3)
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00158166
More about this title
About the Composer: Sonny Rollins
Sonny Rollins stands as one of jazz's most inventive and technically commanding saxophonists, with a career spanning from the 1940s through the present day. His improvisational approach prioritized melodic development and harmonic sophistication, making him a natural choice for educators seeking to bridge standards and contemporary jazz learning.
Rollins' compositions and arrangements have become staples in jazz education precisely because they balance accessibility with genuine musical substance. St. Thomas, one of his best-known pieces, demonstrates his gift for creating memorable melodies that work equally well in ensemble settings and feature arrangements.
Why we love this
This arrangement captures what makes St. Thomas so enduring: a tune that feels approachable on first hearing but offers plenty of interpretive space for your ensemble to develop musicality. Mark Taylor's scoring provides enough scaffolding that your group can focus on the Latin feel and swing elements without getting lost in complex voicings, yet the unison tutti sections give students the satisfaction of playing something that sounds professionally crafted.
What to expect
St. Thomas has the warmth and forward momentum of a Caribbean-inflected standard, grounded by its memorable head and driven by a groove that feels both laid-back and propulsive. The piece sits comfortably in that sweet spot where students can focus on ensemble blend and intonation while still enjoying the immediate satisfaction of playing something unmistakably jazzy.
Who it's for
Grade 3 jazz ensembles with a functioning rhythm section and at least three horns. The flexible solo section makes it useful whether you have one strong improviser or you want to rotate different players through leadership roles throughout the year.
How to get the most out of it
- Establish the Latin groove early in rehearsal by isolating the rhythm section and locking in the clave feel before adding the horns. Once that foundation is solid, the ensemble parts fall into place naturally.
- Treat the solo section as a true feature moment. Even if you're rotating soloists, give each player time in sectionals to find their own voice over the progression rather than rushing through.
- Balance the ensemble unison chorus by checking that all voices are phrasing the melodic line identically. Small differences in articulation and breath placement can blur what should be a crisp, unified statement.
How to use it
This works beautifully as part of a Latin jazz set on a concert, especially paired with other Caribbean or Afro-Cuban influenced pieces. It's also ideal for early-season programming when you want your ensemble to build confidence and cohesion around material that audiences recognize and respond to.
Skills your students will build
- Latin rhythmic interpretation and clave feel
- Solo trading and listening within an ensemble context
- Balancing individual voice within a unison section
- Understanding how a melody functions across different voicings
- Rhythmic independence between melody and rhythm section