America, The Beautiful: Jazz Ensemble Conductor Score & Parts
By Samuel A. Ward / By Katherine Lee Bates / As performed by Katharine Lee Bates / Arranged by Mike Tomaro
Grade: 4
Item: 35-PK00142014
$55.00
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Description
Mike Tomaro brings us a bluesy and soulful rendition of this patriotic favorite that features either an alto sax soloist or vocal soloist. Great gospel feel for big band!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00142014
More about this title
About the Composer: Samuel A. Ward
Samuel A. Ward (1848-1903) composed the melody for "America, The Beautiful" in 1882, creating one of the most enduring patriotic hymns in American music. A prolific organist and composer rooted in the sacred music tradition, Ward crafted melodies that balanced accessibility with emotional depth, making his work ideal for both church and concert settings.
Why we love this
Mike Tomaro's arrangement strips away the hymnal reverence and leans into blues vocabulary and gospel grooves, which transforms the familiar melody into something your ensemble will genuinely enjoy playing. The flexibility to feature either alto sax or vocal soloist means you can customize this around your strongest player, and the Grade 4 level keeps it playable without sacrificing the sophisticated sound.
What to expect
Warm, soulful, and grounded in the blues while honoring the melody's patriotic weight. The arrangement breathes like a good gospel tune, with space for the soloist to tell the story and the rhythm section to propel it forward with quiet authority.
Who it's for
Jazz ensembles at the intermediate level who want a patriotic title with genuine style and soul. This works equally well for directors seeking concert openers, pep band selections, or special occasion programming where you need something recognizable but not predictable.
How to get the most out of it
- Balance the gospel feel against the hymnal origins of the tune; let the blues articulations breathe without rushing the harmonic resolutions.
- Coordinate with your soloist early on phrasing and cadenza placement, especially if you're alternating between alto sax and vocal interpretations across performances.
- Lock the comping section into a pocket groove before adding the melody; the foundation makes the solo shine.
- Shape dynamics around the solo entrance so the ensemble doesn't overshadow the featured voice.
How to use it
Consider this a concert opener that immediately signals to the audience that your jazz ensemble understands both tradition and contemporary language. It pairs naturally with other patriotic selections in spring concerts or works as a standalone feature for Veterans Day, Memorial Day, or Independence Day programming.
Skills your students will build
- Blues vocabulary and feel (swing eighths, soulful phrasing, subtle syncopation)
- Accompanying and comping techniques for soloists
- Balancing ensemble support with solo clarity
- Gospel harmonic language and chord voicings
- Flexible instrumentation (reading either sax or vocal line)