Ain't No Mountain High Enough: Jazz Ensemble Conductor Score & Parts
By Valerie Simpson / By Nickolas Ashford / Arranged by John Berry
Grade: 1-2
Item: 35-PK00117696
$45.00
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Description
Recorded by such greats as Marvin Gaye, Diana Ross, and most recently Michael McDonald, this rockin' Motown classic will sound great with your beginning players. Easy to learn and fun to play.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00117696
More about this title
About the Composer: Valerie Simpson
Valerie Simpson is a legendary songwriter and producer whose partnership with Nickolas Ashford shaped the sound of Motown and soul music. Their compositions defined an era, blending infectious melodies with lyrics that spoke to universal human experience. Simpson's work as both composer and performer demonstrates the deep musicianship behind songs that have endured across generations and genres.
Why we love this
John Berry's arrangement captures the infectious groove of this Motown staple while keeping the part writing accessible for younger players. The chart allows your ensemble to sound polished and energetic from the first rehearsal, building confidence in beginners while maintaining the song's signature charm. It's the kind of piece that reminds students why they love playing music in the first place.
What to expect
Sunny and propulsive, with that unmistakable Motown swagger. The arrangement stays true to the song's optimistic spirit while giving every player a moment to contribute, creating an ensemble sound that feels unified and joyful.
Who it's for
Beginning jazz ensembles and mixed-level groups looking for a piece that builds musicianship without overwhelming younger players. This works equally well for your first jazz experience students and for ensembles seeking accessible material with serious groove.
How to get the most out of it
- Lock in the rhythmic pocket early by having the rhythm section establish the groove independently during the first few rehearsals. Once that foundation is solid, layer in the melodic voices.
- Bring out the call-and-response sections between sections of the ensemble. These moments give the arrangement its conversational energy and keep the performance fresh.
- Balance the horns against the piano and bass so the comping doesn't get buried. This is where the arrangement's Motown DNA really shines.
- Commit to the syncopated figures on the backbeat. The piece relies on that slightly laid-back feel to capture the original's swagger.
How to use it
Pair this with other pop standards to create a full concert section that resonates with audiences beyond the typical classical repertoire. It's equally at home in a pops night, a community concert, or as a morale-building closer to an all-school assembly.
Skills your students will build
- Playing with consistent swing feel and groove orientation
- Reading syncopated rhythmic figures across parts
- Balancing melodic and comping voices in a jazz texture
- Responding to visual cues from the conductor in uptempo material
- Executing section-to-section articulation consistently