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

Bill Cunliffe's arrangement strikes a rare balance: it respects the sophistication of Porter's original while giving your ensemble genuine solo opportunities and a shout chorus that lands with real impact. The written solos (tenor, trumpet, alto, plus that alto cadenza) mean even groups without fearless improvisers can deliver a polished, swinging performance. At Grade 3, this sits in a sweet spot for jazz bands wanting to program something that sounds substantial without requiring advanced reading or technical extremes.

Smooth and propulsive. The swinging 132 BPM groove sits in that perfect pocket where the tune feels relaxed but never lazy; there's forward motion without rush. The solo spotlights give the band moments to breathe and show personality, while the shout chorus delivers a burst of collective energy that reminds everyone why jazz is fun to play.

Jazz band directors running Grade 2, 3 ensembles who want a standard that won't feel recycled on the contest circuit. This works for groups with confident soloists who thrive under the spotlight, and equally well for sections that need to lock in tight ensemble playing.

• Keep the lead trumpet relaxed in the upper register. The written B-flat climax is high but should feel comfortable, not strained; focus on a warm, centered tone rather than pushing volume.
• Lock the rhythm section's definition of swing early. Nail the feel at 132 BPM before layering in the horns; a tight section makes the solos breathe.
• Shape the alto cadenza with dynamic contrast. Give it room to shine as a featured moment; pull back the section slightly if needed so the soloist commands attention.
• Let the shout chorus build naturally. Resist the urge to crank the volume immediately; start controlled and layer intensity so the climax feels earned.

Pair this with a ballad and an uptempo blues chart for a complete jazz set at contest or concert. It also serves as an excellent vehicle for solo development midway through the season when your section is ready to step into the spotlight without the pressure of a completely improvised solo.

• Swinging 8th notes and groove pocket at moderate tempo
• Written solo interpretation and controlled phrasing
• Section balance and blend in a shout chorus
• Lead trumpet control in the upper register
• Harmonic awareness through Porter's sophisticated changes