I have been a fan of Scott's arrangements for many years. They are very popular with our students and our bands always enjoy playing them. They are well written, thought out, and creative. His arrangements have a distinctive style and are really fun to play. I highly recommend Scott's catalog.
- Bobby Watson
Scott Arcangel is one of my favorite arrangers. We commissioned him to write a new arrangement for a recent show and it was refreshing, lively, and it became an instant showstopper! His ability to write to the strengths of our ensemble was spot on and I will continue to call upon him in the future.
- Charlton Singleton
Commissioned by the Brockport, NY High School Commission Project 2009-2010, Cancion del Diablo Azul is a high energy latin-infused piece sure to be a favorite of both the band and audience alike! Featuring a breakdown section that builds in layers to a powerful send-off for an open drumset/percussion solo - it's a great piece to feature all of your percussionists! Open solo space over simple chord changes in each horn section, as well as written out rhythm section parts make this an enjoyable chart for schools and intermediate ensembles.
The Dark Moon waxes and wanes very similarly to an actual lunar cycle, with cyclic figures washing in and out over melodic material throughout the piece. Extended solo space for soprano sax and guitar serves the composition as much as it features the soloists. Layers of simple melodic lines over modern harmony and sounds make this a piece any ensemble can enjoy. Great feature for a sax section that can double (alternate non-doubling parts also included). Recorded by the West Point Band's Jazz Knights on "Turning Points."
This flugel/trumpet feature is a medium-swing arrangement of the classic standard that draws stylistically from the writing of Michael Abene and Thad Jones. A through-composed melodic introduction takes its time arriving at the melody. Modal interludes are interspersed with the standard changes throughout the tune. Melody and solo space make this a great feature for flugelhorn. Choruses of ensemble writing make this a showpiece for the entire band.
Opening with a rubato saxophone chorale reminiscent of Herbie Hancock’s original piano introduction, Infant Eyes quickly strays from its original ballad form, launching into an up-tempo, straight-eighth feel in which a trio of trumpet, baritone saxophone, and voice (used as an instrument) share the melody around ensemble interludes and counter lines, building to a powerful finish.
This song has a curious, lyrical melody over a unique set of chord changes that flows naturally, but not predictably over a slow straight-eighth jazz feel. Flugelhorn, baritone saxophone & guitar share the melody as well as the solo space. An easy read that has a modern sound, it's very playable by intermediate ensembles. Performed by the New York All-State Jazz Ensemble. Recorded by the West Point Band’s Jazz Knights on "Commissions 2006."
An aggressive and hardboppish up-tempo powerhouse for the classic pairing of trumpet and tenor. Highlights include a clever intro/send-off to the chart, a “mooing” trombone interlude and an intense shout section which features the drummer soloing around powerful ensemble figures. A showcase for the ensemble as well as trumpet & tenor soloists, The Stakeout makes a great opener or closer. Performed by the New York All-State Jazz Ensemble. Recorded by the West Point Band’s Jazz Knights on "At First Light."
2014 marked the bicentennial of the U.S. National Anthem. This arrangement sticks to the traditional melody and phrasing of the anthem, with several meter changes that allow the phrases to breathe. Starting out as a traditional brass chorale with a slight reharmonization, the saxophones join in and Alto 2 takes the lead on a gospel-tinged bridge. It closes out with a broad, full-ensemble finale that is sure to bring any audience to its feet. Very playable by jazz ensembles of any level. Written for and performed by the West Point Band’s Jazz Knights.
BIG BAND VOCAL
Arrangement for Big Band & Vocalist
My take on one of the quintessential Miles Davis standards, where the melody floats over transparent ensemble. Choruses of ensemble writing build to a showcase for the full ensemble as well as the vocalist. Open solo sections for voice & alto.
Arrangement for Big Band & Vocalist
A playful, Bill Holman-ish medium swing arrangement of the Gigi Gryce tune. A quick intro boils down to just guitar & voice to start the tune, adding the ensemble in piece by piece, building to a full send-off into a trumpet solo & an ensemble shout.
Commissioned by the Charleston Jazz Orchestra to feature vocalist Leah Suarez for Billie Holiday's centennial celebration.
Starts off with a rubato vocal/piano intro before kicking into an uptempo swinger, featuring dueling alto and tenor solos, and an ensemble shout that leads to a half-time swing ending.
A fun feature for the sax & rhythm sections. This unique arrangement with a light reharm and block chord style take on the melody, puts the first half of the song in Eb & the second half in G. It also features space for the drummer to provide some brushwork around the melody - a la Cute.
Changes are cued in all parts for solos.
Odd Man Out is a seven bar blues, in seven. Seven bars times seven beats equals 49 beats – one beat more than a standard twelve bar blues would have (in 4/4). Hence the name – Odd Man Out.
It’s a great showcase for a trombone ensemble to show off its range of talent, pitting Trombones 1 & 2 against each other in a Quien Es Mas Macho moment – both on the melody, and in solos over blues changes.
The song/arrangement is reminiscent of Horace Silver/Cedar Walton era funky jazz – with a more contemporary polyrhythmic feel during the “aftermath” at the end of the song. With the addition of a talented rhythm section, this song can easily be a highlight moment on any program.