All The Things You Are: Jazz Ensemble Conductor Score & Parts
By Jerome Kern / By Oscar Hammerstein II / Arranged by Mark Taylor
Grade: 5
Item: 35-PK00157849
$60.00
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Description
If you're looking for a flagwaver that'll set the audience on the edge of their seats, look no further! Mark Taylor pulls out all the stops with a chart that's full of great counterpoint, powerful ensemble work, and independent combo settings within the full ensemble context. Includes solos for alto sax and trumpet.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00157849
More about this title
About the Composer: Jerome Kern
Jerome Kern stands as one of the defining voices of the American songbook. His gift for melody and harmonic sophistication shaped popular music and musical theater throughout the early-to-mid 20th century, and his compositions remain essential learning material for jazz musicians and composers alike.
Kern's work teaches orchestrators and arrangers how elegant melodic writing can support both accessibility and depth. His standards continue to reveal new harmonic possibilities with each interpretation, making them enduring tools for jazz education.
Why we love this
Mark Taylor's arrangement captures what makes this standard so rewarding to conduct: the opportunity to build independent voices and combo sections that sound intricate without collapsing into chaos. The counterpoint work keeps the ensemble engaged on every measure, while the structured solo spots for alto sax and trumpet give your section leaders a clear moment to shine within an otherwise orchestrated context.
What to expect
Sophisticated and swinging. The piece moves with the confidence of a standard that knows itself, with moments of lush ensemble writing that feel both orchestrated and spontaneous. The solo passages invite conversation while the full section work demands precision.
Who it's for
Advanced high school jazz ensembles and strong college jazz programs looking for a chart that challenges both section players and soloists. Directors seeking a recognizable standard with enough compositional sophistication to keep their best musicians engaged.
How to get the most out of it
- Balance the inner voices in the counterpoint sections by having non-soloing saxes and brass listen for the alto and trumpet lines. These voices often carry essential harmonic movement that shouldn't disappear into the texture.
- Mark tempo relationships between sections carefully. The combo settings need enough breathing room to feel conversational, but not so much space that you lose the forward momentum of the full ensemble.
- Shape the ensemble tutti passages with dynamic contrast. Taylor writes powerful moments that demand commitment, but the ensemble sections that follow them need clear space to register the contrast.
How to use it
Position this as a concert feature that demonstrates your ensemble's full range, from ensemble cohesion to individual soloist maturity. It pairs well on programs where you want to anchor a set of standards with something that sounds both familiar and freshly arranged.
Skills your students will build
- Reading and balancing complex counterpoint in jazz voicings
- Playing as both ensemble members and featured soloists within the same piece
- Responding to harmonic movement and voice leading in sophisticated chord changes
- Maintaining swing feel across tempo variations and textural shifts
- Listen-and-respond ensemble interaction during combo sections