Diggin' the New Digs (from Incredibles 2) (arr. Paul Murtha): Jazz Ensemble Conductor Score & Parts
Arranged by Paul Murtha
Grade: 3
Item: 35-PK00431353
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Description
From the entertaining soundtrack of "Incredibles 2", Michael Giacchino includes this marvelous jazz waltz that works great for full jazz ensemble. Baritone sax gets a rare turn in the spotlight, followed by the brass section with sax answers. The solo section can feature any combination of alto sax, trumpet or trombone. A fun change of pace.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00431353
More about this title
About the Arranger: Paul Murtha
Paul Murtha stands as one of the most prolific arrangers for school jazz ensembles, with hundreds of publications spanning multiple decades. His arrangements are known for respecting the pedagogical needs of developing musicians while maintaining the integrity and energy of the original compositions.
Why we love this
Murtha captures the infectious charm of Giacchino's original while solving a real programming challenge: you get a sophisticated jazz waltz that showcases your ensemble without requiring soloists to carry the entire weight of the piece. The baritone sax feature is genuinely uncommon in Grade 3 literature, giving that section a rare moment of prominence.
What to expect
Bouncy and cinematic. The waltz meter gives it a buoyant lift while the blue-note inflections in the melody keep it grounded in true jazz vocabulary. You get the sense of something fun and superhero-sized, but approachable and warm rather than bombastic.
Who it's for
Any jazz ensemble director seeking Grade 3 material that feels contemporary and engaging without overshooting the technical demands of developing improvisers and section players. This works especially well for ensembles with solid rhythm section chops but younger or less experienced soloists.
How to get the most out of it
- Balance the waltz rhythm across the ensemble; the three beat feels lazy if the rhythm section drags. Lock the tempo with crisp quarter note subdivisions in the hi-hat or ride cymbal.
- Let the baritone sax solo breathe with space around it. Accompaniment voices should sit back dynamically to let that warm tone project without the soloist having to force.
- Keep the brass section answers bright and articulate when they respond to the sax solos. Clean tonguing on those punchy lines makes the call-and-response feel conversational rather than muddy.
- The fun factor lives in the relaxed swing feel. Encourage students to think "easy and grooving" rather than mechanical, especially in the solo section where spontaneity matters most.
How to use it
Reserve this for a spring concert where you want to shift from heavier midyear repertoire into something lighter. It pairs naturally with other contemporary film or TV soundtrack arrangements, or you can use it as a palate cleanser between ballads and uptempo standards.
Skills your students will build
- Waltz phrasing and three-beat swing feel
- Baritone sax tone production and lead voice articulation
- Jazz section ensemble balance during call-and-response passages
- Solo construction and blues vocabulary in the improvisation section
- Listen-and-respond communication between soloists and comping sections