Do Nothing Till You Hear from Me: Vocal Solo with Jazz Ensemble Conductor Score & Parts

Victor López's arrangement brings this Ellington classic within reach of skilled high school and college jazz ensembles without sacrificing the tune's inherent sophistication. The straightforward swing feel at 96 BPM and the well-balanced ranges for both vocalist and lead trumpet make this a smart choice for festivals where you want to feature a vocalist alongside a tight ensemble.

Cool, sophisticated, and completely assured. The swagger of the melody sits naturally against the easy swing rhythm, creating a vibe that feels both timeless and contemporary. There's an elegance here that doesn't require flash; the tune carries its own quiet confidence.

Vocal jazz directors with Grade 3 ensembles who want a standard that works equally well in contest settings and concert programs. Any program featuring a capable jazz vocalist paired with a skilled big band section will find this arrangement accessible yet musically substantial.

• Establish a clear swing pocket with your rhythm section before rehearsing the melody. The ease of the tempo can trick musicians into playing straight; lock in the shuffle feel early and often.
• Balance the vocalist forward enough to hear the lyrical phrasing, but not so much that the ensemble loses its conversational role. This chart works best when the band sounds like an accompaniment, not a backing track.
• Attend to the lead trumpet range carefully. The F top line sits at the upper limit of comfort for many players; work that part in sections before full ensemble run-throughs.
• Use the length of the arrangement (3:15) to shape the story. Build energy toward the bridge and pull back for the final chorus so the vocalist can leave the strongest musical statement.

This works beautifully as a centerpiece for a vocal jazz feature concert or as a polished contest selection where you want to demonstrate both ensemble musicianship and vocal artistry. Pair it with other standards from the same era to create a cohesive jazz program, or use it as the anchor for a mixed concert that includes both jazz and traditional material.

• Swing rhythm and feel (shuffle articulation, behind-the-beat phrasing)
• Vocal jazz phrasing and lyrical interpretation
• Big band section blend and balance
• Reading and executing jazz chord symbols
• Ensemble communication between soloist and accompaniment