April in Paris Cover Image

April in Paris: Brass Band Score & Parts

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April in Paris Cover Image

April in Paris: Brass Band Score & Parts

Flugel Horn Solo

By E. Y. Harburg and Vernon Duke

Item: 55-9640A

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Additional Details
Publisher: IMP
ISBN10: 1-84328-158-9
ISBN13: 978-1-84328-158-0
UPC: 9781843281580
SKU: 55-9640A

More about this title

About the Composer: E. Y. Harburg

E. Y. Harburg (1896-1981) was a lyricist and composer whose work shaped the American songbook across Broadway, film, and popular music. He collaborated with Vernon Duke on "April in Paris," which became a jazz standard and enduring favorite in concert and entertainment contexts. Harburg's gift for witty, singable melodies and his ability to craft songs that worked equally well in theatrical productions and instrumental arrangements made him a crucial figure in twentieth-century American music.

Why we love this

This arrangement brings a swinging jazz standard to brass bands with enough harmonic sophistication to keep musicians engaged without demanding avant-garde complexity. The tune has instant appeal and broad recognition, making it a crowd-pleaser at contests and community concerts. It's the kind of piece that reminds audiences why brass band music matters: it's musical, accessible, and genuinely fun to play.

What to expect

The spring evening ease of Paris comes through in the warm, unhurried melody and the gentle sway of the rhythm. Bright yet mellow, romantic without sentimentality, it invites musicians into a relaxed swing pocket while keeping them musically alert.

Who it's for

Brass bands seeking standard-based jazz repertoire that appeals to judges and audiences alike will find this a reliable contest or concert choice. This works for bands with solid fundamentals and comfort with swing feel; players need secure intonation and flexibility to navigate the style, not extended technique.

How to get the most out of it

  • Nail the groove from the opening solo section. The rhythmic clarity in this arrangement depends on the front line locking into a relaxed, behind-the-beat phrasing that defines the jazz idiom.
  • Shape the melody with jazz articulation rather than classical legato. Short, bouncy tonguing on the main theme will highlight the syncopation and keep the energy moving forward.
  • Balance the harmony voices carefully in the ensemble sections. Brass band acoustics can muddy the changes if lower voices overshadow the saxes and trombones carrying the harmonic movement.
  • Treat the dynamic swells as part of the style. The standard notation will guide you, but listen for how real jazz arrangements breathe, and let the accompaniment respond organically to solo lines.

How to use it

Program this as a lighter moment between heavier classical works or concert openers, allowing audiences to settle into the performance and brass band members to showcase their ability to play with style and finesse. It also shines as a contest selection in the jazz or popular music category, where judges reward authentic stylistic voice.

Skills your students will build

  • Jazz phrasing and articulation in a brass band context
  • Swing feel and rhythmic precision in ensemble playing
  • Balancing solo voices against harmonic accompaniment
  • Listening for and responding to dynamic and textural shifts within a standard form

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