Feeling Good: Jazz Ensemble Conductor Score & Parts

Roger Holmes' arrangement captures the sophisticated ease of the Nina Simone version while keeping the Grade 3 ensemble engaged with purposeful writing rather than padding. The piece balances enough solo space for showcasing strong players with ensemble figures that bind the group together, making it equally valuable for a concert featuring vocals or as an instrumental feature.

Sophisticated optimism. The piece radiates calm confidence and warmth, with a gentle swing that invites listeners into a moment of clarity and hope. There's no forced energy here, just the contentment of a melody that has earned its place in the jazz repertoire.

This works for any jazz ensemble wanting a genuine standard that sits comfortably at Grade 3 without condescension. It's equally at home as a feature in a jazz concert, an arrangement choice for a vocalist, or a piece that introduces ensemble players to how swing jazz approaches a timeless melody.

• Shape the melody with long, legato phrasing in the opening section; resist the urge to chop up the famous opening line.
• Lock the rhythm section into a conversation with the walking bass and comping chords; the swing feel depends on this dialogue staying relaxed and conversational.
• Bring out the horn counterlines when they enter behind the lead voice or melody; they're not accompaniment but active voices responding to the main idea.
• Balance the dynamic arc so that dynamic contrast comes from compositional gesture, not from suddenly getting louder or softer without musical justification.

Pair this with other mid-century standards to build a set that shows the range of jazz composition beyond bebop. It also programs well alongside lighter concert fare when you want to keep the audience engaged without asking the ensemble to scale technical mountains. Consider featuring a strong vocalist if you have one available.

• Swing feel and jazz articulation on written notation
• Comping and chord rhythm coordination in the rhythm section
• Phrasing a standard melody with lyrical shape rather than mechanical phrasing
• Listening to and balancing multiple simultaneous melodic lines