Don't Know Why (arr. Paul Murtha): Jazz Ensemble Conductor Score & Parts
As performed by Norah Jones / Arranged by Paul Murtha
Grade: 3
Item: 35-PK01211837
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Description
Recorded by singer/songwriter/pianist Norah Jones, this haunting tune took top honors as "song of the year" in 2003. With a beautiful melody and smooth harmonies, this is a wonderful contemporary feature for vocalist. This arrangement may also be used as a feature for flugelhorn or tenor sax, in place of the vocal part. (Key: B-flat)
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01211837
More about this title
About the Artist: Norah Jones
Norah Jones emerged in the early 2000s as a pianist and singer-songwriter whose understated vocal style and sophisticated harmonic sensibility set her apart in popular music. Her debut album became a cultural phenomenon, earning multiple Grammy Awards and establishing her as an artist who valued musicality and emotional restraint over commercial flash.
For music educators, Jones represents an important voice in contemporary jazz-influenced pop. Her songs work beautifully in ensemble settings because they're built on strong harmonic foundations and melodic clarity rather than production gimmicks. Students encounter her music and recognize immediately that quality songwriting and skillful arranging matter.
Why we love this
Paul Murtha's arrangement captures what made the original recording so compelling: a cool, unhurried groove that lets the melody breathe. The flexibility to feature your vocalist, flugelhorn, or tenor sax means you're not locked into one sound, and the Grade 3 level keeps the technical demands reasonable while maintaining sophistication in the harmonic voicings.
What to expect
Unhurried and introspective, with a gentle melancholy underneath the smooth voicings. The harmonic language is rich enough to hold the attention of serious players, yet the overall mood is conversational and intimate rather than showy.
Who it's for
Jazz ensemble directors seeking contemporary material that works with developing musicians. Choirs and vocal jazz groups looking for a feature piece that doesn't demand belt singing or extreme range. Any program that wants to introduce students to music from the last two decades without sacrificing musical substance.
How to get the most out of it
- Nail the groove pocket. This tune lives in restraint, not volume. Your rhythm section should listen to the original recording to absorb the laid-back feel that defines the song.
- Balance the solo voice against the ensemble. Whether you're using a vocalist, flugelhorn, or tenor sax, the feature part should float slightly above the background rather than compete with it.
- Shape the phrase endings with care. The original melody has a conversational quality. Coach your soloist to avoid sustaining notes longer than written; this piece rewards natural speech rhythm.
How to use it
Place this in a pops or contemporary jazz concert alongside other recent standards. It works especially well mid-program, offering contrast to both hard-swinging uptempo numbers and ballads. The accessible arrangement also makes it ideal for school or community jazz nights where you want material that resonates with non-jazz audiences.
Skills your students will build
- Balancing solo voice with ensemble texture
- Interpreting jazz articulation and phrasing in a contemporary context
- Maintaining a relaxed groove without losing precision
- Voice leading in extended jazz harmonies
- Listening and responding to recorded models