Out of Sight: Score

Jerry Burns captures the infectious swagger of this James Brown classic without demanding the impossible from a Grade 2 ensemble. The arrangement sits perfectly at the skill level where students can nail the groove early in rehearsals, leaving room to focus on dynamics, articulation, and the attitude that makes funk actually funk. You'll hear this one coming together faster than similar-length pieces, which frees you to program it confidently even during a compressed schedule.

Pure groove with an irresistible bounce. The arrangement captures Brown's signature syncopated energy while keeping the voicings clear and playable at this level. You'll feel the whole ensemble lock into that funky pocket, and the audience will move.

Marching bands seeking a high-energy opener or closer that students genuinely want to play and audiences immediately recognize. This works equally well for pep band contexts, halftime shows, and competitive programs where you need maximum impact with minimal rehearsal overhead.

• Establish the pocket first. Have the battery and low brass lock the fundamental beat before layering the horn sections; once that foundation holds, the syncopated lines sit on top naturally.
• Funky doesn't mean sloppy. Articulation clarity on the staccato figures in the horn sections makes the arrangement read, especially in outdoor acoustics.
• Emphasize the call-and-response sections between brass and woodwinds. These moments define the chart's character and give the audience something to hear beyond the main groove.
• Keep the tempo steady and grounded. Brown's funk thrives on rhythmic confidence; any wavering in the conductor's time will pull the ensemble out of the groove.

Program this as a statement opener to set an energetic tone for your concert, or close a show with it to send audiences out on a high. The 1:20 duration fits perfectly into pep band rotations or as a between-pieces energizer during longer marching band competitions.

• Funk groove pocket and steady internal pulse
• Syncopated rhythms and syncopation reading
• Call-and-response ensemble coordination
• Articulation clarity and stylistic distinction in a groove-based context