Yesterdays: Jazz Ensemble Conductor Score & Parts
By Jerome Kern / By Otto Harbach / Arranged by Mark Taylor
Grade: 4
Item: 35-PK00192003
$50.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Yesterdays - Conductor Score (Full Score) | $6.00 | |
| Yesterdays - Alto Sax 1 | $6.00 | |
| Yesterdays - Alto Sax 2 | $6.00 | |
| Yesterdays - Tenor Sax 1 | $6.00 | |
| Yesterdays - Tenor Sax 2 | $6.00 | |
| Yesterdays - Baritone Sax | $6.00 | |
| Yesterdays - Trumpet 1 | $6.00 | |
| Yesterdays - Trumpet 2 | $6.00 | |
| Yesterdays - Trumpet 3 | $6.00 | |
| Yesterdays - Trumpet 4 | $6.00 | |
| Yesterdays - Trombone 1 | $6.00 | |
| Yesterdays - Trombone 2 | $6.00 | |
| Yesterdays - Trombone 3 | $6.00 | |
| Yesterdays - Trombone 4 | $6.00 | |
| Yesterdays - Guitar | $6.00 | |
| Yesterdays - Piano | $6.00 | |
| Yesterdays - Bass | $6.00 | |
| Yesterdays - Drums | $6.00 | |
| Yesterdays - Aux Percussion | $6.00 |
Parts Added to Cart!
Description
All-time great ballad from Jerome Kern! Mark has taken this standard and crafted a beautiful feature for Tenor Sax. Very effective for soloist and ensemble alike.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00192003
More about this title
About the Composer: Jerome Kern
Jerome Kern revolutionized American musical theater by elevating the sophistication of popular song composition. His melodies possess an elegant directness that has made them enduring standards, performed across genres from classical recital halls to jazz clubs for over a century.
Kern's influence on jazz repertoire runs deep. His songs offer musicians the gift of strong, singable lines built on functional harmony that rewards thoughtful interpretation. For educators, his work represents a bridge between Broadway's theatrical roots and the jazz tradition of reimagining standards.
Why we love this
Mark Taylor's arrangement strips away excess and centers the tenor sax feature with the ensemble providing intelligent support rather than accompaniment. The piece trusts the standard's inherent lyricism while giving your soloist genuine space to develop a personal voice, which is exactly what makes a ballad feature memorable for both performer and audience.
What to expect
Nostalgic without being sentimental. The melody unfolds with the kind of quiet inevitability that makes you sit a little straighter in your seat. There's space between the notes, an invitation for the soloist to settle into the story the song wants to tell.
Who it's for
Jazz ensemble directors seeking a feature vehicle that doesn't demand virtuosic soloist fireworks. Tenor sax players who want to build confidence with a standard that sits well on the instrument and has real historical weight. Programs that balance their repertoire with at least one piece built on the ballad form.
How to get the most out of it
- Balance the ensemble carefully during the tenor solo sections. Your accompanying voices should create a cushion of sound, not compete for attention. The magic happens when listeners forget there's an ensemble at all.
- Work the dynamic shape of the melody with your soloist in advance. This ballad rewards phrasing that breathes naturally rather than strict adherence to printed dynamics.
- Layer the chord comping gradually. The rhythm section doesn't need to voice every chord the same way each time. Subtle variations in voicing keep four minutes of ballad time from feeling static.
- Address any exposed harmonic moments in the ensemble parts with care. Clean attacks and releases matter more at this gentle dynamic level than they do in up-tempo pieces.
How to use it
Consider pairing this with uptempo material in the same concert to showcase range. A standalone feature works beautifully as an intermission piece or as part of a Standards bracket. Musically, it fits anywhere in the year once your ensemble has solidified fundamentals like ensemble balance and basic jazz articulation.
Skills your students will build
- Ballad interpretation and phrasing
- Jazz articulation and swing feel in a lyrical context
- Listening and responding to a featured soloist
- Comping and harmonic support as an ensemble function
- Dynamic control at softer volumes