Embraceable You: Jazz Ensemble Conductor Score & Parts

Mike Lewis has done something rare here: he's created an arrangement that honors Gershwin's melodic elegance while remaining genuinely playable for young jazz ensembles. The alto saxophone feature gives your section soloists a rewarding moment without demanding advanced technical chops, and the full-sounding scoring means you don't need a large group to sound polished. This arrangement proves that Grade 1 doesn't mean musically thin.

Warm, approachable, and genuinely swinging. There's an elegance to this melody that doesn't require virtuosity to convey. The arrangement opens with uncluttered voicings that let the tune shine, then gradually builds textural interest without losing that intimate, conversational quality that makes Gershwin's songwriting so appealing.

Beginning jazz ensembles and first-year players who are ready for a standard with real melodic substance. This works equally well for high school jazz groups exploring foundational repertoire or middle school jazz programs building confidence with recognizable material.

• Balance the alto sax solo so it sits naturally above the ensemble; the melody line is strong enough to carry without pushing, especially in the first chorus
• Lock the rhythm section early in rehearsal so the swing feel remains consistent through the bridge and final statement
• Shape the dynamic arc across the full chart; the opening statement sets a moderate level, and ensemble textures can swell when the solo ends
• Listen for the tenor sax solo entrance; it arrives in a more restrained register, so cue the section transition clearly

Program this as part of a standards showcase concert or as a centerpiece of a jazz unit that explores American Songbook classics. It works beautifully alongside other Grade 1 charts in the same series, or as a bridge piece between teaching improvisation fundamentals and exploring more complex jazz composition. The familiar melody also makes it an excellent choice for school assemblies or community concert events where you want to engage non-musician audiences.

• Reading and playing jazz swing rhythms with consistent feel
• Accompaniment section cohesion (rhythm section voicing and comping patterns)
• Featured solo playing with appropriate phrasing and dynamics
• Ensemble balance between solo and background voices
• Recognizing and executing Gershwin-era jazz harmony and voice leading