I Heard It Through the Grapevine: Jazz Ensemble Conductor Score & Parts
As performed by Marvin Gaye / As performed by Barrett Strong / As performed by Michael McDonald / As performed by Norman J. Whitfield / As performed by Creedence Clearwater Revival / As performed by Gladys Knight The Pips / Arranged by Paul Murtha
Grade: 2
Item: 35-PK00367292
$45.00
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Description
This definitive hit from the Motown era, with its unmistakable style and sound, has remained popular for nearly five decades. Recorded by a number of artists, the version by Marvin Gaye is considered an RB classic. Here is an appealing version for jazz ensemble that features every section of the band as well as a brief written or ad lib. solo for alto sax.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00367292
More about this title
About the Artist: Marvin Gaye
Marvin Gaye fundamentally changed what soul music could be. His voice carried unprecedented emotional depth and sophistication, and his willingness to engage with social and political themes through R&B expanded the genre's artistic reach during the 1960s and 1970s. For music educators, Gaye represents a pivotal figure in American popular music whose work demonstrates how vocal artistry and thoughtful arrangement can elevate a song into something enduring.
Gaye's legacy in jazz and pop education lies in his influence on subsequent generations of singers and arrangers. His interpretations of standards and original compositions show how vocal phrasing, timing, and emotional authenticity drive musical meaning. Teachers use his recordings as reference material for understanding stylistic interpretation and the relationship between melody and arrangement.
Why we love this
Paul Murtha has crafted an arrangement that captures the groove and character of the original while giving your jazz ensemble genuine work to do. Every section gets a moment to shine, and the inclusion of an alto sax solo space (written with room for improvisation) makes this teachable rather than just playable. For a Grade 2 ensemble, balancing accessibility with authentic jazz feel is rare, and this nails it.
What to expect
Smooth, driving, and instantly recognizable. The groove that made the original a hit is still there, underpinned by a rhythm section that feels good to play in. The horn writing has that Motown fullness without overwhelming younger players.
Who it's for
Jazz ensemble directors looking for repertoire that connects with students through a song they actually know and love. The Grade 2 level and Motown era context make this accessible for younger or developing ensembles while still offering genuine musical challenges. Soloists benefit from the alto sax feature, and the full band writing keeps everyone engaged.
How to get the most out of it
- Lock the rhythm section into the pocket before adding horns. This groove lives in how the drums and bass lock together, not in rushing ahead of the beat.
- Balance the alto sax soloist in front of the ensemble during the solo section. A young player will disappear if the rhythm section is playing at full volume.
- Shape the melody phrases the way Marvin Gaye would: lean into the lyrical content even if you're playing an instrumental version. The phrasing should sing.
- Let the dynamic contrasts breathe. The arrangement likely features softer sections that set up the full ensemble hits; resist the urge to play everything at the same volume.
How to use it
Open a pops or jazz concert with this one. Its familiarity immediately connects your audience while signaling that you're playing real jazz, not just concert band arrangements of popular music. It also works beautifully as a warmup feature before tackling more demanding swing or bebop standards later in the year.
Skills your students will build
- Groove-based ensemble playing with focus on pocket and collective rhythm
- Solo improvisation within a written framework for the featured alto saxophonist
- Balancing full ensemble texture while maintaining individual section clarity
- Stylistic interpretation of R&B and soul idioms within a jazz context
- Dynamic control and phrasing that serves the lyrical character of the melody