Gold on the Ceiling: Jazz Ensemble Conductor Score & Parts
As performed by The Black Keys / Arranged by Paul Murtha
Grade: 3
Item: 35-PK00273419
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Gold on the Ceiling - Conductor Score (Full Score) | $6.00 | |
| Gold on the Ceiling - Alto Sax 1 | $6.00 | |
| Gold on the Ceiling - Alto Sax 2 | $6.00 | |
| Gold on the Ceiling - Tenor Sax 1 | $6.00 | |
| Gold on the Ceiling - Tenor Sax 2 | $6.00 | |
| Gold on the Ceiling - Baritone Sax | $6.00 | |
| Gold on the Ceiling - Trumpet 1 | $6.00 | |
| Gold on the Ceiling - Trumpet 2 | $6.00 | |
| Gold on the Ceiling - Trumpet 3 | $6.00 | |
| Gold on the Ceiling - Trumpet 4 | $6.00 | |
| Gold on the Ceiling - Trombone 1 | $6.00 | |
| Gold on the Ceiling - Trombone 2 | $6.00 | |
| Gold on the Ceiling - Trombone 3 | $6.00 | |
| Gold on the Ceiling - Trombone 4 | $6.00 | |
| Gold on the Ceiling - Guitar | $6.00 | |
| Gold on the Ceiling - Piano | $6.00 | |
| Gold on the Ceiling - Bass | $6.00 | |
| Gold on the Ceiling - Drums | $6.00 | |
| Gold on the Ceiling - Aux Percussion | $6.00 |
Parts Added to Cart!
Description
Recorded by The Black Keys, this popular rock anthem has been used for sporting events, video games, and television shows. Paul Murtha's driving chart features the trombones on the lead answered by the saxes and finally the entire ensemble. The flexible solo section can be used to feature one or more players.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00273419
More about this title
About the Artist: The Black Keys
The Black Keys emerged from Akron, Ohio in the early 2000s as a driving force in modern rock and blues. The duo of Dan Auerbach and Patrick Carney built their sound on raw energy, stripped-down instrumentation, and infectious grooves that connected deeply with audiences across rock, hip-hop, and popular music.
Their work has transcended traditional rock audiences, landing in films, games, and broadcast media. For ensemble arrangers like Paul Murtha, their songs offer ideal source material: strong melodic hooks, propulsive rhythms, and arrangements that translate naturally to jazz ensemble voicings.
Why we love this
Paul Murtha captures the original's kinetic energy while giving each section a moment in the spotlight. The trombone-led melody answered by saxophones creates a natural call-and-response that feels both fresh and accessible at Grade 3, and the flexible solo section lets you feature your strongest soloists or develop ensemble improvisation skills without requiring extensive jazz vocabulary.
What to expect
A propulsive, bluesy groove that moves forward with purpose. The interplay between sections has that call-and-response swagger that made the original so memorable, wrapped in a sound that feels contemporary but rooted in classic ensemble jazz traditions.
Who it's for
Jazz ensembles working at Grade 3 who want to program something with genuine contemporary appeal. Students respond to music they know, and this arrangement gives them a chance to own a recognizable tune while developing their jazz ensemble skills.
How to get the most out of it
- Nail the trombone entrance with precision articulation. The driving feel depends on everyone locking into the groove from that first statement.
- Balance the sax response carefully so it answers rather than overwhelms the trombone lead. These sections need clarity and separation.
- Treat the flexible solo section as an opportunity to build confidence. Start with a single soloist if needed, then expand to multiple voices as students become comfortable with the chord changes.
- Keep the rhythm section tight and swinging. The piece lives or dies by how locked the drums and bass feel against the written parts.
How to use it
Pair this with concerts featuring rock-influenced jazz arrangements or pop music curricula. It works equally well as an opener to grab attention or as a set highlight that connects with audiences beyond the traditional jazz audience.
Skills your students will build
- Reading and executing a jazz groove feel with proper articulation and swing
- Balancing melody and accompaniment in call-and-response textures
- Playing over basic chord changes (solo section readiness)
- Section leading and individual voice contribution within ensemble texture
- Listening across the ensemble for balance and blend