Don't Get Around Much Anymore: Jazz Ensemble Conductor Score & Parts

Berger's arrangement captures the elegance and swing of Ellington's original while making it approachable for Grade 4 ensembles. The writing balances solo space with ensemble textures, giving your ensemble opportunities to shine collectively and individually. Programming this at the medium-advanced level gives your students repertoire that honors the jazz tradition without overwhelming their technical resources.

A mature, graceful ballad with understated swing. The melody unfolds with the kind of gentle sophistication Ellington favored, inviting soloists to add their own character while the ensemble provides elegant support. There's both nostalgia and warmth here, a quality that draws listeners in rather than demanding attention.

Jazz ensembles at the Grade 4 level looking for substantial Ellington repertoire that doesn't require professional-level technique. Conductors who want to teach their students to respect the jazz tradition while building their ensemble's swing vocabulary. Festivals and concerts seeking programming that demonstrates sophistication without overreaching your group's abilities.

• Shape the melody with natural phrasing rather than metronomic exactness; swing feel demands space and breath, not rigidity.
• Balance soloists carefully within the ensemble texture so conversations between sections remain audible and musical.
• Use the rhythm section as your foundation; lock the time feel between drums, bass, and chords before adding horns.
• Pay attention to dynamics and articulation markings in the score; Ellington's writing relies on these details to create texture and color.

This works well as a concert centerpiece in a jazz-focused program or as a contrast to higher-energy Ellington selections. Consider pairing it with another Ellington arrangement to spotlight his range, or use it to anchor a ballad set that demonstrates your ensemble's musicality and control. The Grade 4 level makes it ideal for spring concerts once your ensemble has developed confidence in swing feel and section balance.

• Swing rhythm and jazz phrasing conventions
• Solo improvisation and lead voice development within an ensemble context
• Section blend and transparency in mid-range textures
• Reading and interpreting standard jazz notation and articulation marks
• Listening and responding to harmonic movement characteristic of swing-era jazz