I've Got You Under My Skin: Jazz Ensemble Conductor Score & Parts

Bill Cunliffe's arrangement captures the swagger and elegance of the original without overwhelming an intermediate ensemble. The written solos give your section leaders clear material to execute, while the shout chorus and development sections provide satisfying moments of collective energy that feel earned rather than imposed.

Urbane and swinging, with a sophisticated harmonic language underneath an accessible melody. There's a sense of ease and charm throughout, punctuated by moments of collective power in the shout sections. The music breathes.

Jazz ensembles working at the Grade 3 level who want to program a recognizable standard with real substance. This is ideal for groups comfortable with written solos and ready to explore the interplay between ensemble texture and featured voices.

• Establish a relaxed, conversational groove at 132 BPM. This tempo sits comfortably for phrasing but can feel rushed if the rhythm section pushes; lock the bass and drums early and often.
• Balance the soprano voices in the shout chorus without letting them overwhelm the inner voicing. The sweetness comes from blend, not volume.
• Shape the alto cadenza with intent. Frame it as a moment of repose before returning to the full ensemble, not as a technical showcase.
• Pay attention to the tension and release in the harmonic movement during the development section. Porter's chords reward thoughtful voice leading and clear articulation.

This works beautifully in a jazz showcase or concert setting where you want to feature your soloists without sacrificing ensemble sound. It's also strong material for a contest or festival where the judges appreciate an arrangement that respects the original while adding genuine musical development.

• Navigating swing rhythm at a relaxed tempo without dragging
• Playing written solos with stylistic authenticity and phrasing control
• Executing four-part jazz voicings with accurate intonation and blend
• Listening to and balancing individual lines within ensemble texture
• Sustaining musical momentum through sectional transitions and harmonic movement