Feeling Good (arr. Rick Stitzel): Jazz Ensemble Conductor Score & Parts
By Leslie Bricusse Anthony Newley / As performed by Nina Simone / As performed by Michael Buble / Arranged by Rick Stitzel
Grade: 2
Item: 35-PK01119965
$45.00
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Description
Arranged for the new easier level of the Little Big Band Series, this familiar standard is set in a slow and sultry swing style with the melody traded between the saxes and trumpets. A great choice for younger players in a smaller group format.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01119965
More about this title
About the Composer: Leslie Bricusse Anthony Newley
Leslie Bricusse and Anthony Newley were British songwriting partners who created some of the most enduring standards of the 1960s. Their collaboration produced "Feeling Good" for the 1964 musical "The Roar of the Greasepaint, the Smell of the Crowd," a song that has since become a jazz canon staple through countless interpretations. Bricusse went on to win Academy Awards for his film scores, while Newley established himself as both a composer and performer, but their partnership remains defined by melodies that sit perfectly in the voice and lend themselves naturally to improvisation.
Why we love this
Stitzel's arrangement respects the song's inherent sophistication while keeping the technical demands manageable for developing players. The melody trades between sections keep students engaged and give everyone a moment in the spotlight, making this an ideal morale builder for a group still building confidence with jazz vocabulary.
What to expect
Sultry and poised, this arrangement lets the tune's inherent elegance come through without overcomplication. Players will feel the satisfaction of swinging a real jazz standard while the slower tempo gives space to think and respond musically rather than scramble technically.
Who it's for
Younger jazz ensemble players who are ready for a standard but need music that isn't rhythmically complex or harmonically dense. This works equally well for school jazz bands, youth jazz programs, or smaller community ensembles where instrumentation varies.
How to get the most out of it
- Shape the phrase with a gentle swell rather than a uniform volume; let the melody breathe as it would in a vocal performance.
- Balance the rhythm section to sit under the melody without dominating. The groove supports, not leads.
- Work the swing feel in sectionals first. Get the rhythm section locking before adding the horns, so everyone hears the pocket clearly.
- Encourage the trading sections to use dynamics as character. When the melody passes from saxes to trumpets, each group can color the same phrase slightly differently.
How to use it
Slot this into a winter or spring concert where you want to showcase maturity without venturing into advanced territory. It pairs well alongside other Grade 2 ensemble pieces and works as a bridge between traditional concert band repertoire and more adventurous jazz explorations later in the year.
Skills your students will build
- Reading and interpreting swing feel at a moderate tempo
- Trading melodic lines between sections and maintaining continuity
- Balancing ensemble sound between rhythm section and melodic voices
- Understanding jazz phrasing and dynamic shaping in a vocal style melody
- Listening to section partners while maintaining rhythmic integrity