I Got The Feelin': Jazz Ensemble Conductor Score & Parts

Paul Murtha's arrangement respects the infectious core of this classic while making it genuinely playable for developing jazz ensembles. The saxophone-forward voicing keeps the melody accessible and engaging, while the brass riff writing teaches students how tight articulation and rhythmic precision drive a groove without requiring virtuosic soloing.

This arrangement channels the propulsive, body-moving energy of James Brown's original without sacrificing clarity or control. The saxophones carry a memorable, almost conversational melody while the brass punctuate with tight hits that snap. There's real joy in playing this kind of music, the kind that makes ensemble members feel the difference between playing the notes and actually grooving.

Grade 4 jazz ensembles with solid fundamentals in section balance and basic swing feel. The chart works equally well for groups looking to build groove vocabulary or for programs seeking accessible funk repertoire that doesn't compromise on musical substance.

• Lock the saxophone section's phrasing to the drum and bass foundation. Even slight rhythmic separation between the reeds and rhythm section will undercut the funky pocket this chart demands.
• Approach the optional solo section as an invitation to explore individual voices within the ensemble's rhythmic framework rather than as free-for-all improvisation. Establish clear harmonic and rhythmic boundaries in rehearsal.
• Balance the brass riff writing carefully so the horns support rather than overpower the saxophone lead. This is an arrangement where the melody matters.
• The drum break provides a moment to showcase your percussionists' command of funk rhythm and dynamics. Schedule rehearsal time for the drums and bass to develop that section's pocket independently.

Program this in a concert showcasing how funk and soul traditions inform modern jazz education. It pairs naturally with other Murtha arrangements or funk-influenced ensemble charts, and it's substantial enough to anchor a set without requiring extensive rehearsal time beyond the Grade 4 level. Consider placing it mid-concert where its energy can lift the room.

• Rhythmic precision and pocket awareness in a funk context
• Sectional balance and blend within a funk/soul style
• Articulation control across different dynamic levels
• Listening and responding to rhythmic cues from the rhythm section
• Basic solo construction and space awareness
• Stylistic authenticity in a contemporary popular music context