It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts
It Don't Mean a Thing (If It Ain't Got That Swing) Sheet Music Preview

It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo with Jazz Ensemble Conductor Score & Parts

Music by Duke Ellington, words by Irving Mills / arr. Victor López

Grade: 2 (Medium Easy)

Item: 00-PK-0006988
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Product Price Quantity
It Don't Mean a Thing (If It Ain't Got That Swing): Score $10.00
It Don't Mean a Thing (If It Ain't Got That Swing): Vocal Solo $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Solo Bb Part (Substitute for Vocal) $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Solo Eb Part (Substitute for Vocal) $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Solo Bass Clef Part (Substitute for Vocal) $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): E-flat Alto Saxophone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 2nd E-flat Alto Saxophone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): B-flat Tenor Saxophone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 2nd B-flat Tenor Saxophone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): E-flat Baritone Saxophone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 1st B-flat Trumpet $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 2nd B-flat Trumpet $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 3rd B-flat Trumpet $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 4th B-flat Trumpet $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 1st Trombone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 2nd Trombone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): 3rd Trombone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Bass Trombone $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Guitar Chords $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Guitar $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Piano Accompaniment $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): String Bass $3.00
It Don't Mean a Thing (If It Ain't Got That Swing): Drums $3.00

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Description
Swingin' and singin' with big band! This chart practically plays itself. The key is F minor, the vocal range is middle C to 3rd space C, and the lead trumpet range is to written F top line. Solo space is for tenor, trombone, alto, and trumpet, or optional vocal scat, all written-out.

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Additional Details
Series: Jazz Vocal Series
Publisher: Alfred Music
Page Count: 90
SKU: 00-PK-0006988

More about this title

About the Composer: Duke Ellington

Duke Ellington fundamentally reshaped jazz composition by bringing sophisticated harmonic language, extended forms, and orchestral thinking to a music often dismissed as ephemeral entertainment. His output spanned nearly five decades and ranged from three-minute pop songs to extended concert works, yet he maintained an unflinching commitment to craft and originality in every format. Educators return to Ellington repeatedly because his arrangements teach voice leading, section balance, and the art of writing for specific musicians, principles that transcend jazz.

Why we love this

Victor López's arrangement respects the song's essential swing while making it genuinely playable by student ensembles. The written-out solos for tenor, trombone, alto, and trumpet remove the improvisation barrier that can derail young jazz groups, yet the chart never feels didactic or lifeless. It's the rare Grade 2 jazz vocal that sounds complete and musically satisfying without depending on soloist virtuosity.

What to expect

Pure joy and sophistication in a compact frame. The F minor tonality lends the tune a sophisticated warmth, while the straightforward big-band groove invites players to lock in and feel the swing immediately. Every note sounds like it belongs, and the arrangement never winks at the audience or apologizes for its accessibility.

Who it's for

Jazz ensembles at the high school and early college level who need a vocalist-centered chart that feels authentic without overwhelming emerging soloists. Directors seeking a fast-learning Grade 2 vehicle for concert programs, jazz festivals, or competitions will find all the musicianship and sophistication they need without extended rehearsal time.

How to get the most out of it

  • Plant the rhythm section's groove from the first rehearsal; this tune's magic lives entirely in the collective feel of the band behind the vocalist.
  • Balance the vocal line carefully against ensemble passages. The written range (middle C to 3rd space C) sits naturally for many singers, but the band must leave room for the lyric to breathe.
  • Frame each of the four solos as a distinct character within the same tune rather than identical repetitions. Tenor and alto should contrast in tone; trumpet and trombone should differ in attack and phrasing.
  • Let the optional vocal scat sections happen only if your soloist demonstrates genuine rhythmic security and comfort with the idiom. Otherwise, stick with the written instrumental solos.

How to use it

Open a jazz concert or festival set with this number to establish energy and ensemble cohesion before moving into more demanding repertoire. It also pairs naturally with other Ellington standards in a swing-era showcase or serves as an engaging finale that leaves audiences smiling.

Skills your students will build

  • Maintaining consistent swing articulation across section entrances
  • Balancing vocal soloist projection against ensemble dynamics
  • Stylistic phrasing and melodic interpretation within jazz idiom
  • Reading and executing written-out solo passages with lyrical fluency
  • Ensemble coordination in medium-tempo big band contexts

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