Gimme Some Lovin': Concert Band Conductor Score & Parts
By Muff Winwood / By Spencer Davis / By Steve Winwood / As performed by The Spencer Davis Group / Arranged by Robert Longfield
Grade: 1.5
Item: 35-PK00096467
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Gimme Some Lovin' - Full Score | $6.00 | |
| Gimme Some Lovin' - Flute | $6.00 | |
| Gimme Some Lovin' - Oboe | $6.00 | |
| Gimme Some Lovin' - Bb Clarinet 1 | $6.00 | |
| Gimme Some Lovin' - Bb Clarinet 2 | $6.00 | |
| Gimme Some Lovin' - Bb Bass Clarinet | $6.00 | |
| Gimme Some Lovin' - Eb Alto Saxophone | $6.00 | |
| Gimme Some Lovin' - Bb Tenor Saxophone | $6.00 | |
| Gimme Some Lovin' - Eb Baritone Saxophone | $6.00 | |
| Gimme Some Lovin' - Bb Trumpet 1 | $6.00 | |
| Gimme Some Lovin' - Bb Trumpet 2 | $6.00 | |
| Gimme Some Lovin' - F Horn | $6.00 | |
| Gimme Some Lovin' - Trombone/Baritone B.C./Bassoon | $6.00 | |
| Gimme Some Lovin' - Baritone T.C. | $6.00 | |
| Gimme Some Lovin' - Tuba | $6.00 | |
| Gimme Some Lovin' - Percussion 1 | $6.00 | |
| Gimme Some Lovin' - Percussion 2 | $6.00 | |
| Gimme Some Lovin' - Bells | $6.00 |
Parts Added to Cart!
Description
Give your beginning players a chance to really rock out with this great arrangement of the Spencer Davis Group classic rock hit from the late '60s! Dur: 2:15
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00096467
More about this title
About the Composer: Muff Winwood
Muff Winwood was a keyboardist, vocalist, and songwriter who shaped the sound of the Spencer Davis Group during the mid-1960s. His work on the band's biggest hits, including this track, demonstrated his gift for crafting infectious, radio-friendly melodies that bridged soul, rock, and pop sensibilities.
As a composer and later as a producer and A&R executive, Winwood left a lasting mark on British rock and soul music. His contributions to the Spencer Davis Group's catalog remain essential listening for understanding how British bands translated American soul influences into their own brand of rock and roll.
Why we love this
Robert Longfield's arrangement strips this classic down to its essential energy without demanding advanced technique, making it genuinely fun for younger players to execute. The chart keeps the spirit of the original intact while giving your section leaders manageable responsibility, so the whole band can focus on locking into that driving groove that made the Spencer Davis Group unforgettable.
What to expect
Immediate, propulsive, and impossible to sit still through. The arrangement captures that late-1960s urgency that made this song a radio staple, with a driving rhythm that keeps everyone locked together and a melody that sticks in your head for days.
Who it's for
This works perfectly for beginning concert bands ready to play something that feels current and exciting without technical complexity. Your students get to experience what it means to play as a tight ensemble on material that real musicians have performed professionally, building both confidence and musicianship.
How to get the most out of it
- Keep the eighth-note subdivisions tight and even in the rhythm section. This groove lives or dies by consistency, not flash.
- Shape the melody with forward motion rather than emphasizing individual notes. Think of it as one long phrase that keeps rolling.
- Balance the brass so they support rather than overwhelm the melody. Let the hook breathe.
- Nail the unison or rhythmic hits as ensemble moments. These punctuation points anchor the whole arrangement and build energy naturally.
How to use it
Consider opening a concert or pops show with this to establish energy and audience engagement right away. It also pairs well with other rock and classic pop repertoire, offering a refreshing contrast to traditional band literature while keeping your programming accessible.
Skills your students will build
- Maintaining steady eighth-note rhythms in ensemble contexts
- Balancing melody and accompaniment voices
- Responding to groove-based phrasing rather than classical articulation
- Coordination across rhythm section and pitched instruments
- Executing rhythmic hits with precise ensemble unison