On a Clear Day (You Can See Forever): Vocal Solo with Jazz Ensemble Conductor Score & Parts

Darmon Meader's arrangement brings this Broadway standard into the jazz ensemble setting without sacrificing the melody's inherent beauty. The scoring uses the ensemble to frame and support the vocal line rather than overshadow it, making this an excellent vehicle for developing singers who can carry a tune with conviction in front of a full jazz band. The optional tenor saxophone substitute part gives directors flexibility in casting and keeps the arrangement accessible across different program configurations.

Optimistic and open, with the kind of soaring melodic gesture that feels earned rather than forced. The arrangement breathes around the vocal, creating moments of intimate ensemble support and passages where the band swells into full color, all while maintaining the song's essential quality of hope and clarity.

High school and college jazz ensembles with a vocalist capable of sustaining a lyrical line at grade 4 difficulty. This works equally well for programs seeking a feature number for a concert or those building a jazz repertoire that bridges standards and contemporary ensemble writing.

• Balance the vocal line prominently in the mix during rehearsals; the band should support and color the lyric, not compete with it. Record a reference take with the vocal well forward to establish the priority.
• Work the rhythm section independently before full rehearsals. The guitar chord frames and suggested voicings in the parts create the harmonic foundation; lock in groove and comping patterns there first.
• Shape the melody with intentional phrasing that respects the Broadway origins while embracing the jazz context. This is not a pop ballad; it rewards singers who understand rubato and space.
• If using the tenor saxophone substitute, rehearse both options and decide based on your soloist's strengths. The sax can cut through ensemble texture differently than a voice and changes the character of the piece.

This works beautifully as a feature or closer on a jazz ensemble concert, especially paired with uptempo swingers or more modern material. It also serves as a strong centerpiece for mixed concert programming where you want to bridge jazz and musical theater idioms without resorting to medleys or novelty arrangements.

• Sustaining a lyrical melodic line over a moving jazz ensemble
• Interpreting jazz phrasing and rhythm section interaction as a vocalist
• Reading and executing chord changes in the context of comping and rhythm section parts
• Balancing blend and texture in large jazz ensemble settings
• Arranging flexibility (understanding how a song can be adapted across instruments while preserving intent)