Duke Ellington!: Full Orchestra Conductor Score

This medley captures four of Ellington's most enduring melodies in a single, cohesive piece that works equally well as a concert highlight or a pops program centerpiece. Calvin Custer's arrangement balances authenticity with accessibility, giving a Grade 3.5 orchestra the chance to play real Ellington without oversimplifying the harmonic sophistication that makes these songs special. The fact that it demands full instrumentation and moderate technical facility makes it ideal for ensembles ready to stretch beyond beginner repertoire while still achieving a polished, professional sound.

Four of Ellington's most elegant and swinging compositions unfold in succession, each one a snapshot of his genius for melody and orchestration. The music moves from the relaxed sophistication of "Don't Get Around Much Anymore" through the bluesy grace of "Sophisticated Lady" and lands finally on the irrepressible momentum of "It Don't Mean a Thing." It's sophisticated enough to satisfy musicians who know Ellington's catalog and infectious enough to engage audiences who simply love great American music.

This score is designed for full orchestras at the Grade 3.5 level that want to program recognizable, crowd-pleasing material with musical substance. It works well for ensembles with solid fundamentals in rhythm reading and section balance but who may not yet be ready for complex contemporary works or advanced meter. Conductors seeking to introduce jazz standards to a traditional orchestra setting will find this arrangement both rewarding and achievable.

• Establish the swing feel from the opening. The rhythmic pocket of "It Don't Mean a Thing" should be loose and propulsive; work on getting past the written notes and into the groove that makes Ellington's music breathe.
• Balance the solo voices carefully. These four tunes are built on memorable melodies, so when a section or soloist steps forward, the rest of the orchestra should accompany rather than compete.
• Articulate the section transitions distinctly. Moving between pieces in a medley requires clear punctuation; rehearse the endings and beginnings so the flow feels intentional, not abrupt.
• Pay attention to Ellington's characteristic orchestral colors. His use of unusual instrumental combinations and voicings is central to his sound; precision in the written parts will reveal details that might otherwise disappear.

Feature this as the centerpiece of a pops or jazz-themed concert, or program it as a bridge between classical and contemporary repertoire that demonstrates how jazz composition can hold its own alongside traditional orchestra music. It also serves as an excellent vehicle for introducing students to big band arranging and orchestration techniques without requiring the extended rehearsal time that a full jazz ensemble book demands.

• Understanding swing rhythm and jazz articulation in an orchestral context
• Reading and balancing solo lines within a full ensemble texture
• Executing smooth key changes and section transitions within a medley structure
• Interpreting stylistic nuance in twentieth-century American popular music
• Listening for and responding to orchestral color and unconventional voicing choices