Feeling Good: Jazz Ensemble Conductor Score & Parts
By Anthony Newley / By Leslie Bricusse / As performed by Michael Bublé / Arranged by Roger Holmes
Grade: 4
Item: 35-PK00227725
$55.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Feeling Good - Full Score | $7.50 | |
| Feeling Good - Vocal Solo | $6.00 | |
| Feeling Good - Alto Sax 1 | $6.00 | |
| Feeling Good - Alto Sax 2 | $6.00 | |
| Feeling Good - Tenor Sax 1 | $6.00 | |
| Feeling Good - Tenor Sax 2 | $6.00 | |
| Feeling Good - Baritone Sax | $6.00 | |
| Feeling Good - Trumpet 1 | $6.00 | |
| Feeling Good - Trumpet 2 | $6.00 | |
| Feeling Good - Trumpet 3 | $6.00 | |
| Feeling Good - Trumpet 4 | $6.00 | |
| Feeling Good - Trombone 1 | $6.00 | |
| Feeling Good - Trombone 2 | $6.00 | |
| Feeling Good - Trombone 3 | $6.00 | |
| Feeling Good - Trombone 4 | $6.00 | |
| Feeling Good - Guitar | $6.00 | |
| Feeling Good - Piano/Vocal Solo | $6.00 | |
| Feeling Good - Bass | $6.00 | |
| Feeling Good - Drums | $6.00 | |
| Feeling Good - Alto Sax Solo (Vocal Alt) | $6.00 |
Parts Added to Cart!
Description
From the Broadway musical "The Roar of the Greasepaint, The Smell of the Crowd", this fabulous standard is popular again with a stunning rendition by Michael Buble. Capturing the bluesy flavor of this version, here is a vocal solo feature sure to bring down the house. Can also be used as a tenor sax feature.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00227725
More about this title
About the Composer: Anthony Newley
Anthony Newley was a British performer and composer whose theatrical voice shaped the sound of mid-20th-century Broadway and musical theatre. His gift for writing memorable melodies that sit comfortably in the human voice made him a sought-after collaborator for major productions, most notably "The Roar of the Greasepaint, The Smell of the Crowd" with Leslie Bricusse. Newley's work bridges the worlds of theatre, pop, and jazz, making his compositions natural fits for ensemble arrangements that celebrate vocal storytelling.
Why we love this
This arrangement captures the contemporary Michael Bublé recording while staying true to the song's jazzy roots, giving student ensembles access to a track that feels current and engaging rather than dated. The flexibility to feature either a vocalist or tenor saxophone soloist means you can cast it based on your ensemble's strengths, and Grade 4 orchestration keeps the ensemble writing substantial without overwhelming developing musicians.
What to expect
Sophisticated and bluesy, with the kind of breathy confidence that made the Bublé version so instantly recognizable. The arrangement honors both the Broadway roots and the modern jazz sensibility, landing somewhere between supper club elegance and contemporary cool.
Who it's for
Conductors programming jazz ensemble concerts who want a crowd-pleasing feature that showcases a standout vocalist or tenor saxophone player. This works equally well for in-school performances or community jazz ensemble concerts where the audience expects contemporary sound alongside traditional jazz.
How to get the most out of it
- Lock in the groove during rehearsals by having rhythm section members listen to the Bublé version together; the pocket they create makes the vocal line breathe naturally.
- Shape the melody phrase by phrase rather than note by note, especially with a younger vocalist who might overfocus on hitting individual pitches.
- Balance the ensemble dynamics to support rather than overshadow the solo voice; this isn't a tutti feature but a collaborative moment.
- Pay attention to the harmonic movement underneath the solo line; small adjustments in comping clarity can make the soloist's job significantly easier.
How to use it
Place this in the second half of a concert where your audience is warmed up and ready for a soloist feature; it works beautifully as a set closer or as the bridge between uptempo ensemble selections and a slower ballad. The song's accessibility also makes it a strong choice for mixed audiences that include non-musicians.
Skills your students will build
- Playing behind a featured soloist with responsive ensemble dynamics and comping clarity
- Interpreting a contemporary jazz standard that requires feel and groove rather than strict metronomic precision
- Reading and executing chord changes that support rather than compete with a melodic line
- Building independence within the rhythm section while maintaining cohesion with horn sections