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Teaneck: Jazz Ensemble Conductor Score & Parts

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Teaneck: Jazz Ensemble Conductor Score & Parts

By Nat Adderley / arr. Mike Dana

Grade: 2 (Medium Easy)

Item: 00-45071

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Description
Nat Adderley's "Teaneck" arranged by Mike Dana is a superb swing chart! At around 150 BPM, a well-written arrangement in every way with nice ensemble sections, a sax soli, the initial melody scored for alto and trumpet, written-out solos for trumpet and alto, lead trumpet range to written G, and an optional vibraphone part. This chart is will allow your band to shine. (2:54) This title is available in MakeMusic Cloud.

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

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Additional Details
Series: Young Jazz Ensemble
Publisher: Alfred Music
Page Count: 96
UPC: 038081509891
SKU: 00-45071

More about this title

About the Composer: Nat Adderley

Nat Adderley was a cornet and trumpet player whose warm tone and accessible approach to jazz composition made him a bridge between hard bop and soul jazz. His melodic sensibility and gift for writing infectious grooves brought jazz to broader audiences, particularly through his work with his brother Cannonball and his own prolific recording career spanning from the 1950s through the 1990s.

Adderley's compositional voice emphasized singable melodies and ensemble interplay over abstract complexity, which is why his pieces translate so effectively to the educational setting. His concern for the working musician and the bandstand translated into music that sounds professional yet remains within reach for developing ensembles.

Why we love this

Mike Dana's arrangement captures the easygoing swing of Adderley's original while building in real solo opportunities and ensemble writing that lets each section participate meaningfully. At Grade 2, this chart sounds sophisticated without asking for extended techniques or extreme range demands, which means your students can focus on swing articulation, dynamics, and ensemble blend instead of fighting the chart.

What to expect

Warm, grooving, and approachable. The melody sits naturally on alto and trumpet, and the steady swing feel invites the kind of relaxed confidence that makes young players sound like they belong on a bandstand. This is the sound of a band that knows how to play jazz together.

Who it's for

Jazz ensemble directors working with students at the intermediate level who want to program a chart that sounds polished and plays musically. Alto and trumpet players benefit from the featured solo passages, and the ensemble writing engages every section without isolating any one group.

How to get the most out of it

  • Establish the swing eighth-note feel early in rehearsal by singing the rhythm section's pulse together; the chart's accessibility can tempt ensembles to rush, but the groove depends on a relaxed, grounded tempo around 150 BPM.
  • Balance the sax soli carefully so that section doesn't overpower the brass while still projecting the melody; this moment is the emotional heart of the arrangement.
  • Have your trumpet section work the written-out solos separately first, locking each one before running the full chart; the lead trumpet part requires clean articulation and consistent tone in the upper register (written G).
  • Use the optional vibraphone part if available to add harmonic color and smooth out any rough edges in your ensemble voicings during the initial melody.

How to use it

Program this as an opener or closer at a concert where you want to establish that your ensemble plays jazz with ease and style. It pairs well with a mix of ballads and up-tempo charts in a festival or concert setting, and its length (2:54) fits naturally into most programming formats.

Skills your students will build

  • Swing eighth-note articulation and phrasing
  • Reading and executing written jazz solos
  • Ensemble balance in sectional writing
  • Lead trumpet range management and endurance in the upper register
  • Dynamics and ensemble blend in four-part harmony

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