Tanganova Sheet Music Preview

Tanganova: Jazz Ensemble Conductor Score & Parts

By Michael Philip Mossman

Grade: 4

Item: 35-PK00136749

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Description
Leave it to Michael Mossman to combine two unique Latin styles (tango and bossa nova) into a single composition! The saxes take the lead on the sultry tango theme punctuated by the brass, then a trumpet soloist takes over when the bossa style kicks in. This is ingenious writing that really works!

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Additional Details
Publisher: Hal Leonard
SKU: 35-PK00136749

More about this title

About the Composer: Michael Philip Mossman

Michael Philip Mossman is a trumpeter and composer whose work straddles classical, jazz, and Latin music with equal fluency. His arrangements and original compositions have become staples in jazz education, known for their accessibility without sacrificing sophistication and their ability to engage both student players and audiences.

Mossman's gift for blending distinct musical idioms makes his scores valuable teaching tools. Rather than treating styles as separate territories, he finds the natural intersections between them, showing students how different traditions can coexist in a single coherent vision.

Why we love this

This piece asks your ensemble to inhabit two distinct Latin jazz colors in seven minutes, which keeps rehearsals sharp and forces students to shift their interpretive gears. Mossman's orchestration gives each section something memorable to play, and the straightforward harmonic language means your energy goes toward style and execution rather than just reading the notes.

What to expect

The opening tango section carries a sensual, slightly mysterious quality as the saxes float over brass accents. Once the bossa arrives and the trumpet takes the lead, the mood shifts to something lighter and more conversational, with a relaxed groove that feels like a conversation between soloists and ensemble.

Who it's for

Intermediate to advanced high school jazz ensembles and college jazz combos looking for Grade 4 material that teaches style flexibility. This works well for programs developing students' ability to move confidently between Latin jazz idioms.

How to get the most out of it

  • The tango section needs crisp articulation in the saxophone line; clean attacks will bring out the sultry character that the brass punctuation is meant to complement.
  • Make room for the trumpet soloist during the bossa section by keeping the ensemble's accompaniment groove relaxed rather than driving. The soloist should feel supported, not rushed.
  • Emphasize the tonal contrast between the tango's darker, more angular feel and the bossa's warmer, more flowing character. This shift is what makes the form work.
  • Spend time on the transition between sections so it lands as a compositional choice rather than an abrupt gear change.

How to use it

Consider this for a Latin jazz concert or as part of a program exploring how composers blend cultural traditions. Its moderate length and balanced difficulty make it a strong closer for a set of varied ensemble pieces, or it can anchor a concert section focused on tango and bossa repertoire.

Skills your students will build

  • Stylistic interpretation of tango rhythm and phrasing
  • Bossa nova groove and swing feel differentiation
  • Supporting soloists while maintaining ensemble texture
  • Brass punctuation and articulation clarity
  • Transitioning between contrasting sections without losing ensemble cohesion

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