Frankenstein (arr. Paul Murtha): Jazz Ensemble Conductor Score & Parts

Paul Murtha's arrangement captures the infectious urgency of the original while respecting what young ensembles can actually execute. The carefully voiced parts let students feel the propulsive energy of 1970s rock without requiring virtuosic chops, and the optional solo sections give your strongest players a chance to shine while keeping the arrangement playable without them.

This is pure propulsive energy anchored by a hypnotic synthesizer riff that lodges itself in your brain immediately. The piece pulses with 1970s swagger but remains accessible, letting young musicians feel the infectious drive of classic rock arranged for ensemble.

Jazz ensembles at the Grade 2 level benefit immediately from this arrangement, whether they're still building vocabulary around jazz style and blues tonality or looking for a confident stand-alone selection for a concert. Directors seeking repertoire that generates genuine enthusiasm while maintaining pedagogical value will find this especially useful.

• Lock the rhythm section into a tight, driving groove from the first rehearsal. The synth bass riff is the backbone here, so your bass player and drummer need to sit together like they're glued.
• Shape the written solos with clear articulation and phrasing. Even when players are reading rather than improvising, the solos should feel conversational and intentional, not mechanical.
• Balance the horn sections carefully during the main riff. The saxes and trumpets share melodic material, so blend matters as much as precision does.
• Let the piece breathe during ensemble sections. Resist the urge to push tempo; the groove works because it sits right in the pocket, never rushing.

Use this as a second-half opener where you need a mood shift toward fun and high energy, or program it alongside other Grade 2 jazz selections to show your audience the range of what jazz ensemble repertoire can sound like. It's also an ideal selection for reaching students who don't yet see themselves as "jazz musicians" but respond to rock and pop idioms.

• Reading jazz articulation and phrasing conventions
• Playing with a steady groove and pocket feel
• Interpreting written solo sections with stylistic authenticity
• Balancing melody and accompaniment within ensemble textures
• Responding to rock and pop rhythmic grooves in a jazz context