Don't Get Around Much Anymore (arr. Michael Sweeney): Jazz Ensemble Conductor Score & Parts

Sweeney's arrangement proves that Grade 1.5 doesn't mean thin or tentative. The writing lets every section taste the melody, gives the pianist a genuine feature role, and builds momentum naturally toward a closing that genuinely swings. Most charts at this level feel like scaffolding; this one sounds like a real jazz tune.

Relaxed and elegant. There's a lightness to this arrangement that lets students breathe between phrases while still delivering that unmistakable Ellington sensibility. The writing swings even at modest tempos, and the layering in the final section builds genuine energy without demanding technical fireworks.

Directors with young jazz ensembles who want to teach Ellington's legacy without requiring advanced reading or complex harmony. It works equally well for bands with limited instrumentation (the flexible setup accommodates small groups) and for programs introducing improvisation for the first time.

• Let the pianist own the opening statement of the melody. This is their moment, and a confident performance here sets the tone for the whole arrangement.
• When the ensemble enters to answer the piano, balance matters. The ensemble's answering phrase should feel like a response, not a takeover.
• Keep the solo section uncluttered. If your saxophonist is still developing, the rhythm section's steady pulse and simple harmonic foundation make it safe to explore.
• Build the final section deliberately. Start with just the saxes; each new layer (trumpets, trombone, full ensemble) should feel like a deliberate choice, not accidental stacking.

Use this as your entry point to Duke Ellington. It pairs well with a unit on jazz history and sits naturally on a pops concert or jazz showcase. The flexibility also makes it valuable late in the school year when attendance fluctuates or schedules tighten.

• Reading jazz notation and basic swing articulation
• Playing melody in ensemble texture (every section gets a turn)
• Listening and responding in call-and-response section writing
• Building dynamic architecture through layered orchestration
• Comping awareness (rhythm section and ensemble interdependence)