Don't Get Around Much Anymore: String Orchestra Conductor Score & Parts

Robert Gardner's arrangement captures the swagger and sophistication of Ellington's original without overwhelming a developing string orchestra. By distributing the melody across sections and embedding written solos with space for improvisation, it gives students a genuine stake in the performance while keeping the technical demands manageable. The result is a piece that teaches authentic jazz phrasing and call-and-response texture while sounding polished enough to anchor a concert.

A sophisticated night out rendered in strings. The piece swings with a cool, urbane confidence; the famous melody emerges through ensemble exchanges rather than solo spotlight, and the written solos invite playful interpretation. There's wit and elegance here, but nothing precious.

String orchestras at the 3.5 grade level looking to expand beyond traditional classical repertoire. Directors who want their students to experience jazz language, improvisation, and ensemble independence without requiring advanced technical facility.

• Shape the call-and-response sections with clear dynamic separation; let the melody soloists sit forward in the mix while the accompanying figures stay proportional and supportive.
• Encourage violinists to approach the written solos as models rather than fixed interpretations. Discuss how the changes work, then invite students to construct their own lines using the chord chart provided.
• Keep the tempo bouncy and conversational. This arrangement thrives on a relaxed swing feel, not a metronomic pulse.
• Experiment with light vibrato in the opening statements and a leaner sound in the backup parts, which helps distinguish layers without resorting to extreme volume changes.

Pair this with classical repertoire to demonstrate how melody, harmony, and ensemble texture remain constant across musical styles. It works particularly well as a closer on a pops concert or as a bridge piece between a more formal first half and lighter second half of a traditional concert.

• Reading and performing written jazz solos with chord changes
• Understanding call-and-response texture and sectional balance
• Swing rhythms and jazz phrasing without swing notation
• Improvisation within harmonic structure
• First position facility across the string section