I Get a Kick Out of You: Jazz Ensemble Conductor Score & Parts

Wolpe's arrangement captures the essential sophistication of Porter's writing while creating genuine showcase moments for your ensemble. The written alto solo and shout chorus give soloists and section players real musical terrain to inhabit, and the rhythmic bounce of the melody keeps the energy infectious without requiring flashy technical writing. This is a tune that sounds like jazz, feels like jazz, and teaches jazz vocabulary in a medium-difficulty setting.

This arrangement sparkles with the kind of rhythmic bounce and harmonic sophistication that makes Porter's writing instantly recognizable. The kickin' intro pulls you in, the melody passes between sections with conversational ease, and the shout chorus swings with genuine exuberance. You're playing American songbook jazz, not a transcription of a transcription.

Jazz ensemble directors working at the Grade 3 level who want to program a genuine standard with solo opportunities and authentic jazz feel. Saxophonists benefit from the alto feature, and trumpet players get a satisfying lead part with a clear high point. Rhythm sections will appreciate having real jazz changes to lock into.

• Balance the melody as it moves between sections; the tune's personality depends on hearing each instrumental group carry the story clearly. Mark your parts to identify who has the lead at each moment.
• Approach the alto solo as a conversation with the rhythm section, not a display piece. Whether your soloist takes the written line or improvises on it, the accompaniment should feel responsive and relaxed.
• Lock the lead trumpet's written B with the exact rhythmic placement of the ensemble's responses around it. That top note becomes a landmark for the shout chorus energy.
• The kickin' intro sets the groove immediately. The rhythm section should feel this tempo and pocket before the melody enters; rehearse that entrance separately if the transition feels loose.

Pair this with other Porter standards or other Grade 3 jazz charts to build a full jazz set; it's substantial enough to anchor a concert but accessible enough to program without extensive rehearsal time. It works equally well as a spring jazz concert feature or as part of a standards-focused program celebrating American songwriting. The variety of solo opportunities makes it ideal for showcasing different section strengths.

• Comping and accompaniment roles in a swinging jazz context
• Reading and interpreting written versus ad lib alto solos
• Ensemble balance when melody moves between instrumental sections
• Rhythmic pocket and groove in a medium swing feel
• Responding to and supporting a lead soloist