But Not for Me: Concert Band Conductor Score

Warren Barker's harmonic reimagining of this Gershwin standard gives conductors a vehicle for genuine musical storytelling without sacrificing ensemble musicianship. The flexibility to feature either vocalist or solo clarinet means you can cast it to your ensemble's strengths, and the Grade 4 level makes it accessible to strong high school and college bands without feeling simplified.

Gershwin's melody floats over Barker's lush, modernist harmonies with an elegance that feels both intimate and expansive. The piece has the lyrical warmth of a ballad paired with the harmonic richness of concert music, creating space for genuine expression from both soloist and band.

Directors looking to program a standard with genuine sophistication and showcase a vocalist or solo clarinetist in a setting that doesn't compromise ensemble playing. This works equally well in concert settings where featuring a talented student soloist deepens the program's musicality.

• Rehearse the vocalist or clarinet soloist separately with a pianist before full ensemble rehearsals; the band's accompaniment requires precision and balance that benefits from a stable solo line.
• Shape the harmonic progression with subtle dynamic sculpting in the ensemble, particularly during the soloist's held notes, so the band supports rather than competes with the featured voice or instrument.
• Pay attention to the lyrical phrasing if using a vocalist; Gershwin's melody sits naturally for singers, but the band's articulations and phrase lengths must honor that vocal line's breath and shape.
• Use the recorded performance as a reference for overall tempo and style, but allow flexibility in rubato that serves the soloist's interpretation of the lyrics.

Program this as a centerpiece pops concert or as a bridge between classical and American standards repertoire. It pairs naturally with other Barker arrangements or with other Great American Songbook settings, and it allows you to honor a standout performer while keeping the band fully engaged musically.

• Balancing ensemble accompaniment with solo line without loss of clarity
• Sustaining soft dynamic levels with harmonic cohesion
• Responding to a soloist's phrasing and rubato while maintaining rhythmic security
• Reading and executing Barker's chromatic and extended harmonic language