Georgia on My Mind: Jazz Ensemble Conductor Score & Parts
As performed by Ray Charles / As performed by Willie Nelson / Arranged by Mike Tomaro
Grade: 4
Item: 35-PK00388259
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Georgia on My Mind - Full Score | $6.00 | |
| Georgia on My Mind - Alto Sax | $6.00 | |
| Georgia on My Mind - Tenor Sax | $6.00 | |
| Georgia on My Mind - Baritone Sax | $6.00 | |
| Georgia on My Mind - Trumpet 1 | $6.00 | |
| Georgia on My Mind - Trumpet 2 | $6.00 | |
| Georgia on My Mind - Trombone | $6.00 | |
| Georgia on My Mind - Guitar | $6.00 | |
| Georgia on My Mind - Piano | $6.00 | |
| Georgia on My Mind - Bass | $6.00 | |
| Georgia on My Mind - Drums | $6.00 | |
| Georgia on My Mind - C Solo Sheet | $6.00 | |
| Georgia on My Mind - Bb Solo Sheet | $6.00 | |
| Georgia on My Mind - Eb Solo Sheet | $6.00 | |
| Georgia on My Mind - Bass Clef Solo Sheet | $6.00 | |
| Georgia on My Mind - Alternate Alto Sax | $6.00 | |
| Georgia on My Mind - Alternate Tenor Sax | $6.00 | |
| Georgia on My Mind - Alternate Trombone | $6.00 |
Parts Added to Cart!
Description
Made popular by Ray Charles, but recorded by countless artists through the years, Hoagy Carmichael's beloved classic is instantly recognizable. This arrangement features a slow and bluesy swing style with solos for alto sax and trombone.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00388259
More about this title
About the Artist: Ray Charles
Ray Charles revolutionized American music by merging gospel, blues, country, and jazz into a deeply personal sound that transcended genre boundaries. Born in Albany, Georgia, and blind from childhood, Charles became one of the most influential musicians of the twentieth century, earning the title "The Genius" for his innovative arrangements and emotionally direct performances.
Why we love this
Ray Charles's 1960 recording of this standard showcases how a skilled ensemble handles blues sensibility in a jazz context, making it an excellent model for your own band to study. The arrangement respects the tune's essential character while giving soloists room to stretch; alto sax and trombone take turns with clear solo sections that students can reference and learn from. Most importantly, this tune connects immediately with audiences because the melody itself carries all the warmth and recognition you'd hope for in a concert.
What to expect
Warm, introspective, and gently swinging, this arrangement wraps you in the quiet confidence of a late-night jazz club. The blues undertone keeps things grounded and soulful while the ensemble harmonies suggest sophistication and restraint; nothing feels rushed or showy.
Who it's for
Jazz ensembles working at Grade 4 who want a recognizable standard that teaches genuine swing feel and blues vocabulary without requiring advanced harmonic concepts. Bands looking to program a ballad that audiences will connect with instantly and that gives soloists meaningful featured moments.
How to get the most out of it
- Balance the swing eighth notes with a relaxed, slightly behind-the-beat feel rather than pushing forward; this is blues time, not bebop.
- Let the alto and trombone soloists breathe and explore their lines with flexibility, treating the chord changes as suggestions rather than walls.
- Shape dynamics through the ensemble sections to support the soloists when they enter; use the rhythm section as an anchor so the soloists feel supported but heard.
- Pay close attention to the blue notes and bent pitches in the melody; coach your section leaders to commit to the soulful inflections that make this arrangement sing.
How to use it
Consider this as a closing number on a jazz concert, where its reflective quality and emotional depth leave audiences in a contemplative mood. It pairs well with uptempo swingers earlier in the set and works beautifully as the anchor for a program exploring how standards endure across different eras and artists.
Skills your students will build
- Swing eighth-note feel with behind-the-beat phrasing
- Blues vocabulary including blue notes and bent pitches
- Balancing ensemble support with featured soloist space
- Reading and executing chord changes in a jazz context
- Dynamic shaping and listening to serve ensemble sound