After You've Gone: Jazz Ensemble Conductor Score

$5.00 USD

After You've Gone: Jazz Ensemble Conductor Score

Name: After You've Gone: Jazz Ensemble Conductor Score
Brand: Alfred Music
SKU: 98-JE4049S
Price: 5.00 USD
Availability: InStock

By Henry Creamer and Turner Layton / arr. Michael Brown

Grade: 3

Item: 98-JE4049S

$5.00

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Check out this tasty setting of an old standard. It features an alto solo on the intro, then settles into a nice bossa groove. The solo section is double time for an added kick, with the bones playing the familiar melody in the background. Great writing!

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Series: FJH Intermediate Jazz Ensemble

Publisher: The FJH Music Company, Inc.

UPC: 241444601174

SKU: 98-JE4049S

More about this title

About the Composer: Henry Creamer

Henry Creamer was an American songwriter and lyricist active in the early 20th century, co-writing "After You've Gone" with Turner Layton in 1918. The song became one of the era's most enduring jazz standards, recorded by countless artists and serving as a cornerstone of the jazz repertoire for over a century. Creamer's gift for memorable melodies and singable hooks made his compositions natural vehicles for interpretation across genres and instrumental settings.

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Why we love this

Michael Brown's arrangement respects the tune's bones while treating your ensemble to genuine jazz writing: the alto solo over a driving bossa rhythm, the double-time section that demands energy and precision, and the trombone countermelody that gives the brass section something meaty to voice. It's the kind of standard arrangement that makes students actually understand why this melody has lasted a hundred years.

What to expect

Smooth and groovy with forward momentum. The bossa groove gives it a laid-back sophistication, while the double-time solo section kicks the energy into high gear without losing its cool. It swings with the kind of gentle swagger that old standards carry when arranged for modern ensembles.

Who it's for

Jazz ensembles at the intermediate level (Grade 3) with a soloist comfortable with jazz phrasing and a rhythm section ready to lay down a solid bossa foundation. This works equally well for groups building confidence in Latin feels or those strengthening their reading and ensemble balance in a more sophisticated standard arrangement.

How to get the most out of it

Establish the bossa groove early in sectional rehearsals with the rhythm section locked before bringing in the horns. The alto soloist should sit on top of, not rush ahead of, the ground beat.
Balance the trombone's statement of the melody against the ensemble during the solo section. The bones need enough presence to be heard clearly without overpowering the soloist.
Approach the double-time section as a collective shift, not individual acceleration. Make sure all sections understand how the rhythmic subdivision changes and mark clear cut-off points.
Let the intro breathe. The alto solo needs space and pocket before the full ensemble enters. Conductor clarity on the entrance is everything here.

How to use it

Pair this with other Grade 3 jazz pieces to build a full set, or slot it into a concert program featuring American standards and classic jazz literature. The familiar melody makes it an excellent audience connector, and the arrangement's accessibility means you can feature it early in the season while still sounding polished and intentional.