For All We Know: Jazz Ensemble Conductor Score & Parts
By Sam M. Lewis / By J. Fred Coots / As performed by Carpenters / As performed by Carmen McRae / Arranged by John Clayton
Grade: 5
Item: 35-PK00161149
$60.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| For All We Know - Full Score | $6.00 | |
| For All We Know - Vocal Solo | $6.00 | |
| For All We Know - Reed 1 (Flute) | $6.00 | |
| For All We Know - Reed 2 (Clarinet) | $6.00 | |
| For All We Know - Reed 3 (Clarinet) | $6.00 | |
| For All We Know - Reed 4 (Clarinet) | $6.00 | |
| For All We Know - Reed 5 (Bass Clarinet) | $6.00 | |
| For All We Know - Trumpet 1 | $6.00 | |
| For All We Know - Trumpet 2 | $6.00 | |
| For All We Know - Trumpet 3 | $6.00 | |
| For All We Know - Trumpet 4 | $6.00 | |
| For All We Know - Trumpet 5 | $6.00 | |
| For All We Know - Trombone 1 | $6.00 | |
| For All We Know - Trombone 2 | $6.00 | |
| For All We Know - Trombone 3 | $6.00 | |
| For All We Know - Trombone 4 | $6.00 | |
| For All We Know - Guitar | $6.00 | |
| For All We Know - Piano/Vocal Solo | $6.00 | |
| For All We Know - Bass | $6.00 | |
| For All We Know - Drums | $6.00 |
Parts Added to Cart!
Description
As performed by Carmen McRae (including the spoken intro), here is John Clayton's senstive and gorgeous version of "For All We Know." The rich ensemble accompaniment is as much a part of the arrangement as the vocal solo. (requires woodwind doubles on flute, clarinets and bass clarinet)
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00161149
More about this title
About the Composer: Sam M. Lewis
Sam M. Lewis was a prolific lyricist and songwriter who shaped American popular music in the early-to-mid twentieth century. His gift for crafting memorable, emotionally resonant lyrics paired with composers like J. Fred Coots produced standards that have endured across generations and genres.
Why we love this
John Clayton's arrangement treats the ensemble not as backdrop but as equal partner to the vocalist, creating textural sophistication that challenges and engages every section. The requirement for woodwind doubles elevates the technical demands while rewarding careful voicing and balance work that teaches students how to voice for color rather than volume.
What to expect
Intimate and reflective, with a gentle sophistication that never tips into sentimentality. The arrangement invites listeners into a moment of quiet vulnerability, anchored by ensemble colors that shimmer and support without calling attention to themselves.
Who it's for
Jazz ensembles at the intermediate level who have secure reed doublers and enough musical maturity to handle conversational phrasing alongside ensemble precision. This works equally well for groups building an all-vocal-feature concert or those looking to deepen their arrangement literacy.
How to get the most out of it
- Build the ensemble accompaniment with intentional layering. Clayton's scoring uses specific doublings and voicings that only land when each section hears itself within the whole.
- Give the vocalist space to deliver the spoken intro with genuine conversational ease. The ensemble's sensitivity in response sets the emotional tone for everything that follows.
- Balance the reeds carefully in the doublings. The flute and clarinet combinations create a particular timbre that disappears if any voice dominates.
How to use it
Pair this with other Clayton arrangements or standards-based repertoire to build a concert program with real emotional architecture. The spoken intro makes it particularly effective as a set opener that shifts audience attention immediately into your hands.
Skills your students will build
- Blending as doublers across different instruments (flute, clarinet, bass clarinet combinations)
- Balancing ensemble texture while supporting a featured vocalist
- Phrasing and responding to rubato in a group setting
- Reading and executing Clayton's sophisticated voicings and voice leading
- Understanding arrangement as orchestration for small ensemble