Every Little Thing She Does Is Magic: Jazz Ensemble Conductor Score & Parts
By Sting / As performed by The Police / Arranged by Paul Murtha
Grade: 3
Item: 35-PK00160032
$50.00
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Description
Recorded by The Police and written in a distinctive reggae/rock vein, this is definitely not just your run-of-the-mill pop tune! Paul uses inventive colors and skilled ensemble writing to take advantage of the inherent fresh-sounding harmonies and energetic rhythmic grooves. A great-sounding chart!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00160032
More about this title
About the Composer: Sting
Sting emerged from Newcastle as the bassist and principal songwriter of The Police, one of rock's most influential bands of the late 1970s and 1980s. His compositions blend sophisticated harmonies, reggae inflections, and literary sensibility into immediately memorable songs. Beyond his work as a performer, Sting has demonstrated a gift for writing music that rewards both casual listening and close study, making his catalog valuable for music educators seeking repertoire with genuine substance.
Why we love this
Murtha's orchestration captures the essence of a Police hit without relying on synths or technology that doesn't translate to acoustic ensembles. The reggae and rock elements sit naturally within jazz ensemble voicings, offering your students a chance to explore contemporary pop songwriting that has more going on harmonically and rhythmically than typical crossover fare.
What to expect
Bright and propulsive, with a laid-back ease that never settles into predictability. The reggae rhythms create forward momentum while the harmonic colors keep things interesting, resulting in a piece that feels both accessible and sophisticated.
Who it's for
Grade 3 jazz ensembles ready to move beyond straight swing into contemporary grooves. Directors seeking pop arrangements that challenge players without condescending to them, and ensembles that benefit from music their audiences will recognize and enjoy.
How to get the most out of it
- Anchor the groove by locking the bass line with the kick drum pattern; the reggae feel depends on rhythmic precision rather than rushing or dragging.
- Balance the horn hits so they pop without overwhelming the ensemble's conversational texture; these punctuations frame the melody but shouldn't dominate.
- Let the harmonic movement breathe naturally. The chord changes support the melody, not the other way around, so resist the temptation to overstate them.
- Employ the recorded accompaniment during rehearsal to internalize the original groove, then gradually transition to live playing so students understand the authentic feel they're after.
How to use it
Pair this with other contemporary pop or rock charts to build a concert segment that appeals to broad audiences while demonstrating your ensemble's stylistic range. It works equally well as a spring concert opener or as a fun closer that sends students home smiling.
Skills your students will build
- Reggae and rock rhythmic feels distinct from jazz swing
- Reading and executing syncopated ensemble figures
- Balancing harmonic support with melodic prominence
- Responding to contemporary song structure without traditional big band conventions