Young And Foolish: Jazz Ensemble Conductor Score & Parts
By Albert Hague / By Arnold B. Horwitt / Arranged by Frank Mantooth
Grade: 5
Item: 35-PK00143253
$60.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Young And Foolish - Full Score | $6.00 | |
| Young And Foolish - Alto Sax 1 | $6.00 | |
| Young And Foolish - Alto Sax 2 | $6.00 | |
| Young And Foolish - Tenor Sax 1 | $6.00 | |
| Young And Foolish - Tenor Sax 2 | $6.00 | |
| Young And Foolish - Baritone Sax | $6.00 | |
| Young And Foolish - Trumpet 1 | $6.00 | |
| Young And Foolish - Trumpet 2 | $6.00 | |
| Young And Foolish - Trumpet 3 | $6.00 | |
| Young And Foolish - Trumpet 4 | $6.00 | |
| Young And Foolish - Trombone 1 | $6.00 | |
| Young And Foolish - Trombone 2 | $6.00 | |
| Young And Foolish - Trombone 3 | $6.00 | |
| Young And Foolish - Trombone 4 | $6.00 | |
| Young And Foolish - Guitar | $6.00 | |
| Young And Foolish - Piano | $6.00 | |
| Young And Foolish - Bass | $6.00 | |
| Young And Foolish - Drums | $6.00 |
Parts Added to Cart!
Description
Available again, here is Frank Mantooth's classic chart from 1987 as performed by the Ashley Alexander Big Band on "Seems Like Old Times." Let your piano player show off with this stunning ballad arrangement by the recognized master of keyboard voicings and harmonic substitutions. The woodwind doubles on flute and clarinet are optional, and the piano part is completed voiced out.
Young And Foolish: Jazz Ensemble Conductor Score & Parts isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.
Request This Title
Tell us you want it.
Start Your Free Trial
Explore everything that's ready to play right now.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00143253
More about this title
About the Composer: Albert Hague
Albert Hague composed music for Broadway and television throughout a prolific career spanning decades. His melodic gift and harmonic sophistication made him a sought-after composer for theatrical projects, and his songs have been performed in countless productions and recordings. His work demonstrates a deep understanding of songwriting craft and the kind of timeless lyricism that translates beautifully to jazz interpretations.
Arnold B. Horwitt was Hague's frequent lyricist collaborator, contributing words to many of his most enduring compositions. Together, they created material that has proven remarkably durable in jazz settings, where their strong harmonic foundation and memorable melodies provide ideal vehicles for improvisation and reharmonization.
Why we love this
Mantooth's voicings are sophisticated without becoming impenetrable; your ensemble will wrestle with real harmonic language while remaining within reach at Grade 5. The piano dominates the musical landscape here, making this an outstanding feature for a strong keyboardist who needs material that showcases harmonic thinking, and the optional woodwind doublings allow flexibility depending on your section strength.
What to expect
Elegant and introspective. Mantooth's harmonies create a subtle sophistication that unfolds across the form rather than hitting hard. This is a piece that rewards careful listening; the melody feels almost simple until the piano speaks, then suddenly you hear how much harmonic depth underlies every phrase.
Who it's for
Advanced high school jazz ensembles and college groups seeking substantial ballad material that develops both harmonic literacy and restrained ensemble playing. A strong pianist is essential; without one, the arrangement loses much of what makes it special.
How to get the most out of it
- Balance the piano carefully in rehearsal. Mantooth's voiced chords contain the harmonic story, so the keyboard should be present enough that players can hear and learn from the reharmonizations without drowning out the ensemble.
- Shape the ballad phrasing as a small group, not a big band. The tempo and intimate quality call for restraint in dynamics and a focus on lyrical continuity rather than power.
- Have your piano player mark all of Mantooth's harmonic substitutions and voice leading before the first rehearsal. Understanding where and why the harmony moves elevates the entire section's response to the arrangement.
How to use it
Place this on a spring concert where it can breathe as a set piece, ideally after something rhythmically driven so the ensemble settles into a more reflective space. It pairs well with uptempo swingers and works especially effectively as a closer or near-closer for a set, giving audiences a chance to sit with the quiet sophistication Mantooth built into the voicings.
Skills your students will build
- Reading and interpreting complex jazz harmony and tritone substitutions
- Accompanying and supporting a prominent soloist (piano) within an ensemble texture
- Balancing dynamics and tone color in a ballad setting
- Understanding voice leading through analysis of Mantooth's harmonic choices
- Phrasing and sustaining longer melodic lines without rhythmic impulse