Nice Work If You Can Get It (arr. Mark Taylor): Jazz Ensemble Conductor Score & Parts

Taylor's treatment respects the melodic elegance of Gershwin and Heyward's standard while keeping the ensemble writing lean enough that Grade 3 players can execute it cleanly. The arrangement gives every section a moment to shine without overwhelming younger musicians navigating swing style for the first time.

Sophisticated yet approachable. The arrangement captures the urbane charm of the Gershwin standard, with smooth saxophone harmonies and a snappy brass figure that gives the piece its character. There's a lightness throughout; this is jazz with humor and elegance, not bombast.

Jazz ensembles at the Grade 3 level who are ready to move beyond simple head arrangements into something with real harmonic interest. This works especially well for groups with developing soloists and a rhythm section with some foundational swing experience.

• Establish the swing feel early in rehearsals by isolating the rhythm section (drums, bass, piano, guitar) and locking the triplet interpretation before adding horns.
• Balance the trumpet lead line against the ensemble in measures where both occur; the melody must float above the supporting voices rather than blend into them.
• Attend to dynamic shaping through the phrase contours. Students often play this style too evenly, so mark specific crescendos and diminuendos that let the tune breathe.
• Work the syncopated figures in the saxophone section deliberately. Breaking them into smaller rhythmic chunks in early rehearsals prevents rushing.

Pair this with other standards from the same era to create a program section on American songbook classics. It also serves as an excellent choice for a pops concert or community performance where jazz ensemble music should sound polished and immediately engaging.

• Swing eighth-note interpretation and time feel
• Reading and executing syncopated rhythmic figures
• Balance between solo and ensemble textures
• Dynamic shaping within a jazz idiom
• Harmonic understanding of ii-V-I progressions in context