Let the Good Times Roll: Jazz Ensemble Conductor Score & Parts
As performed by B.B. King / As performed by Sam Theard / As performed by Ray Charles / As performed by Fleecie Moore / As performed by Shirley Lee / Arranged by Paul Murtha
Grade: 2
Item: 35-PK00319394
$45.00
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Description
Patterned after the well-known version recorded by Ray Charles, this effective swing chart for young players opens with the hard-hitting introduction followed by a sultry solo trumpet on the stop-time verse. There are solo spots for alto sax and trumpet, along with terrific ensemble scoring throughout. A classic!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00319394
More about this title
About the Artist: B.B. King
B.B. King stands as one of the most influential blues musicians of the 20th century, whose expressive guitar playing and soulful vocals defined the electric blues sound. His career spanned seven decades, during which he recorded hundreds of songs and performed thousands of concerts, earning him the nickname "The King of the Blues." For music educators, King's work offers a masterclass in call-and-response phrasing, blues form interpretation, and the emotional depth possible within jazz and blues idioms.
King's influence extends far beyond blues purists. His recordings have been covered, reimagined, and adapted across genres, making his compositions valuable teaching tools for understanding how standards evolve across different musical styles. This particular arrangement of "Let the Good Times Roll" demonstrates how his songwriting legacy continues to inspire engaging, accessible repertoire for developing ensemble musicians.
Why we love this
Paul Murtha's arrangement captures the infectious energy of this standard without requiring advanced technical facility from your players. The stop-time verse creates drama and space for young soloists to shine, while the ensemble voicings feel contemporary and swinging without overcomplicating the harmonic landscape. Grade 2 ensembles rarely get material this musically satisfying.
What to expect
The piece swings with infectious good humor from its aggressive opening, then settles into a sultry groove that feels sophisticated and cool. The stop-time verse creates intimate space for individual soloists, before building back to full ensemble jubilation that makes audiences lean forward in their seats.
Who it's for
This arrangement works beautifully for Grade 2 jazz ensembles seeking accessible repertoire with genuine musical substance. Directors building a diverse setlist for jazz festivals, pops concerts, or spring performances will find it fills the need for upbeat material that engages both players and audiences.
How to get the most out of it
- Isolate the rhythmic precision of the hard-hitting introduction by rehearsing it without melody; lock the section rhythms before adding the full texture.
- Balance the sultry trumpet solo in the verse against the rhythm section so the soloist sits naturally in the mix without overwhelming the stop-time feel.
- Work the alto sax solo independently during sectionals, then integrate it back into the ensemble setting to ensure confident execution and clear articulation.
- Shape the ensemble passages by identifying the primary melodic line versus supporting harmony; this prevents a muddy sound and keeps the swing feel buoyant.
How to use it
Slot this into a jazz-focused concert as a crowd-pleaser that bridges classic blues-based songwriting with contemporary swing arranging. It pairs naturally with other Murtha grade-appropriate standards, or use it as an opening number to set an upbeat, energetic tone for the evening.
Skills your students will build
- Swinging articulation and consistent eighth-note subdivision in a jazz context
- Stop-time rhythm interpretation and synchronization across sections
- Solo trumpet and alto sax phrasing with expressive control
- Blues-based harmonic listening and response to ensemble changes
- Jazz ensemble balance between solo and tutti passages