The Blue Iguana: Concert Band Conductor Score & Parts
By Robert Longfield
Grade: 0.5-1
Item: 35-PK00469092
$40.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| The Blue Iguana - Conductor Score (Full Score) | $6.00 | |
| The Blue Iguana - Flute | $6.00 | |
| The Blue Iguana - Oboe | $6.00 | |
| The Blue Iguana - Bb Clarinet | $6.00 | |
| The Blue Iguana - Bb Bass Clarinet | $6.00 | |
| The Blue Iguana - Eb Alto Saxophone | $6.00 | |
| The Blue Iguana - Bb Tenor Saxophone | $6.00 | |
| The Blue Iguana - Eb Baritone Saxophone | $6.00 | |
| The Blue Iguana - Bb Trumpet | $6.00 | |
| The Blue Iguana - F Horn | $6.00 | |
| The Blue Iguana - Trombone/Baritone B.C./Bassoon | $6.00 | |
| The Blue Iguana - Baritone T.C. | $6.00 | |
| The Blue Iguana - Tuba | $6.00 | |
| The Blue Iguana - Percussion 1 | $6.00 | |
| The Blue Iguana - Percussion 1 (Advanced) | $6.00 | |
| The Blue Iguana - Percussion 2 | $6.00 | |
| The Blue Iguana - Mallet Percussion | $6.00 | |
| The Blue Iguana - Timpani | $6.00 | |
| The Blue Iguana - Piano | $6.00 |
Parts Added to Cart!
Description
Here is a solid teaching piece for beginning bands featuring an infectious rhythmic groove and a contemporary Latin feel. The tuneful melody is passed around to all sections, and the percussion section is featured throughout. The First Concepts Series features simplified instrumentations, unison bass lines, optional advanced snare drum parts, and optional piano accompaniments.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00469092
More about this title
About the Composer: Robert Longfield
Robert Longfield has built a reputation for writing accessible, engaging music that meets young ensembles where they are. His work in the First Concepts Series demonstrates a deep understanding of what beginning band students need: clear melodic lines, achievable technical demands, and parts that keep every player invested in the ensemble sound.
Why we love this
Longfield gives you a piece that works equally well as a festival opener or a concert feature without requiring virtuosic chops from your section leaders. The infectious rhythmic groove does the heavy lifting, so your ensemble sounds polished and confident even in the first semester of playing together, and the rotating melody ensures every student gets a moment to shine.
What to expect
Warm and buoyant, with just enough rhythmic snap to keep the energy moving forward. The Latin flavor sits comfortably in a contemporary concert setting, never feeling exotic or out of reach, and the tuneful melody lingers with the kind of accessibility that makes students want to play it again.
Who it's for
Directors building a first-year band curriculum or programming for early spring festivals. This works for any ensemble still finding its footing technically but ready for music with real personality and style.
How to get the most out of it
- Lock the Latin groove into your rhythm section first. Have the percussion and low brass establish the pocket in sectionals before the full band ever plays together.
- Balance the melody among sections rather than allowing the first parts to dominate. The writing distributes the tune intentionally, so honor that distribution in your blend.
- Lean into the contemporary feel by keeping the articulation crisp and the phrasing conversational. Avoid heavy or overblown attacks that will bury the character Longfield built.
- Take advantage of the optional advanced snare drum part if your percussionists are ready. It deepens the groove without overwhelming beginners playing the basic part.
How to use it
Open a concert with this one to set a relaxed, energetic tone for the audience. It also pairs naturally with other upbeat or Latin-influenced works on the same program and lands well as a festival piece that judges recognize as solid, well-crafted writing.
Skills your students will build
- Maintaining steady rhythmic grooves across an ensemble
- Passing melodic material cleanly between sections
- Latin rhythmic vocabulary and articulation
- Balancing melody and accompaniment within a contemporary harmonic framework
- Reading percussion parts with optional complexity