Kim Richmond : Partitions difficile

Written for Kenton Band. Starts w/fanfare & dirge which builds to a Latin 6/8.Open solo section for drums. Finale features strong Bones & high Trpts, leading to roaring finish. Tenor, Trpr & Drum solo...

Jazz-rock fusion that turns into a samba. Samba provides chord patterns for solos. Linear-styled ens chorus. Dbls.

This chart is a tribute to (and quasi-imitation of) the Bill Russo mid-fifties era pieces for the Stan Kenton Orch. Starting with a double time ensemble section, the piece features a strong trombone s...

Starting with a piano arpeggio pattern, this symphonic style tone poem features a series of unison lines from each section that builds from simple to dramatic. A middle section has a calypso mood whic...

Style is 'African' latin, 6 beats of triplets, taken in a slow three. Although this piece can be performed without extra percussion, it is greatly enhanced by them. Several Cascara or bell patterns an...

This chart presents a rubato dramatic introduction before the piano pattern establishes the mood of the piece (even-eigths, but not Rock). The orchestra is divided into several different color layers...

This second movement of the Trump Card Suite features duo jazz trumpets in an up-tempo line over the ensemble. A spritely melodic line is followed by the two soloists alternately trading 8-bar ad lib...

This composition is drawn basically from one 2-measure melodic/rhythmic figure. The rhythm is even-eighths with the melodic lines, often sequential developement of the main motif, combining the instru...

This is a powerful piece with a strong theme initially stated in the middle low instruments. The even-eighth style is neither Latin nor rock but has a driving distinctive rhythmic pattern in the drums...

This major piece begins with a lengthy introduction in 9/8 (in a fanfare-ish manner), changing to 3/4 that at first features trumpets, then the entire ensemble and develops into a lyrical but still rh...

This short composition (2 pages) has a sweeping angular melodic line intially stated in the low instruments over a Latin (Bolero) rhythm. The melody works its way upward through different sections, an...

This up-tempo jazz piece starts with a tutti which spins off into a division of the ensemble into unisons which spell a main motif for the piece. The middle section of the head has the soloist (to com...

Even with a seriously evil title, this has some beautiful moments. If you include timpani in your ensemble, this can be an outstanding feature (2 timps possible, better with 3), but it's all cued in o...

An ideal opener for a concert program. After a fanfare type intro, a straight-ahead driving rock lifts the band into a striking theme. Fiery vamp for the Alto solo, opt;l open for more. Scored for Alt...

Based on a constant pedal-point & a regular 2-bar accompanying pattern, this uneven-phrased angular melody line spins out into a open free solo section (on an opt+l D pedal). A short background or int...

The mood on this is Latin a la Coltrane/McCoy Tyner/Elvin Jones. It's an extended blues built on 'sus-chords' with a dynamic thematic line. Harmonies on last section built on 4ths. Open solo section i...

This up tempo bebop swing features a horn motif with odd spaces in between. It looks harder than it is, but it sounds hip and natural. The open solo section is over four chords with a break phrase at...

This is the title selection from the Kim Richmond/Clay Jenkins Ensemble CD. The piano pattern establishes the mood of the piece (even-eigths, but not Rock). The unison melody in soft horns (tpt in Har...

Starting with an uneven rhythmic figure vamp intro, the start and stop horn theme is partly octaves, partly built on parallel 4ths, partly 3-part voiced. The rhythm section (especially drums) have ple...