Blue Moon Cover Image

Blue Moon: Vocal Solo with Jazz Ensemble Conductor Score

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Blue Moon Cover Image

Blue Moon: Vocal Solo with Jazz Ensemble Conductor Score

Music by Richard Rodgers, lyrics by Lorenz Hart / arr. Dave Wolpe

Grade: 3 (Medium)

Item: 00-SS9109C

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Description
One of the most famous of all standards in an easy arrangement for both vocalist and big band. The vocalist has the spotlight, but the band gets a chance to sparkle, too. Key of C.

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Additional Details
Series: Jazz Vocal Series
Publisher: Alfred Music
Page Count: 8
UPC: 654979037378
SKU: 00-SS9109C

More about this title

About the Composer: Richard Rodgers

Richard Rodgers (1902-1979) fundamentally shaped American musical theater and popular song. His collaborations with lyricist Lorenz Hart and later Oscar Hammerstein II produced some of the most recorded and performed standards in the American songbook, from The Rodgers and Hart songs of the 1920s and 1930s through the groundbreaking musicals Oklahoma!, The King and I, and The Sound of Music. Rodgers's gift for melody and harmonic sophistication made his songs equally at home on Broadway, in jazz clubs, and in concert halls, cementing his influence across generations of music educators and performers.

For jazz educators, Rodgers's standards offer melodic clarity, harmonic interest, and cultural resonance that engage students across skill levels. His songs have been reharmonized and reimagined countless times, making them ideal vehicles for teaching arrangement, improvisation, and the relationship between songwriting and interpretation.

Why we love this

Dave Wolpe's arrangement respects the vocal line while giving the big band genuine moments to shine. The medium difficulty level means your vocalist isn't buried under complex harmony, and the rhythm section gets to drive the groove rather than just accompany. This is the kind of standard that reminds students why these songs endure.

What to expect

Blue Moon carries an unmistakable wistfulness, romantic yet understated. Wolpe's arrangement honors that lyrical quality while adding swing and subtle sophistication; the tempo and groove invite relaxation rather than tension. This is music that feels like a conversation between singer and band, not a performance.

Who it's for

Jazz ensemble directors seeking accessible repertoire for a vocalist who's developing confidence with standards and improvisation. This works equally well for a program focused on teaching the Great American Songbook or for directors looking to balance full-band arrangements with feature opportunities. Any vocalist with basic jazz phrasing experience can succeed here.

How to get the most out of it

  • Let the vocalist settle the tempo before the band enters; a slightly laid-back feel works better than pushing the beat, especially in the ballad sections.
  • Balance the band voicings so the vocal melody cuts through clearly. This is not a showcase for thick lead trumpet writing.
  • Mark dynamic contrasts between the vocal passages and any ensemble tutti sections; the contrast will strengthen both.
  • Work the rhythm section together early (drums, bass, piano, guitar if present) to establish a cohesive pocket before full ensemble rehearsals.

How to use it

Pair this with other vocal features from the Jazz Vocal Series for a mixed concert that highlights individual performers without requiring a full vocal ensemble. It also works as a bridge piece between instrumental jazz standards and more contemporary vocal literature, showing students how the big band vocabulary still serves the voice. Consider programming it mid-concert, where the dynamic shift from instrumental features will refresh the audience.

Skills your students will build

  • Lyrical phrasing and interpretation of a classic standard
  • Ensemble balance and supporting a featured soloist
  • Basic jazz reharmonization and arrangement concepts through close score study
  • Breath control and sustained legit singing over a rhythmic ensemble

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