Put On A Happy Face: Jazz Ensemble Conductor Score & Parts
By Lee Adams / By Charles Strouse / Arranged by Rick Stitzel
Grade: 3
Item: 35-PK00160034
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Put On A Happy Face - Full Score | $6.00 | |
| Put On A Happy Face - Alto Sax 1 | $6.00 | |
| Put On A Happy Face - Alto Sax 2 | $6.00 | |
| Put On A Happy Face - Tenor Sax 1 | $6.00 | |
| Put On A Happy Face - Tenor Sax 2 | $6.00 | |
| Put On A Happy Face - Baritone Sax | $6.00 | |
| Put On A Happy Face - Trumpet 1 | $6.00 | |
| Put On A Happy Face - Trumpet 2 | $6.00 | |
| Put On A Happy Face - Trumpet 3 | $6.00 | |
| Put On A Happy Face - Trumpet 4 | $6.00 | |
| Put On A Happy Face - Trombone 1 | $6.00 | |
| Put On A Happy Face - Trombone 2 | $6.00 | |
| Put On A Happy Face - Trombone 3 | $6.00 | |
| Put On A Happy Face - Trombone 4 | $6.00 | |
| Put On A Happy Face - Guitar | $6.00 | |
| Put On A Happy Face - Piano | $6.00 | |
| Put On A Happy Face - Bass | $6.00 | |
| Put On A Happy Face - Drums | $6.00 |
Parts Added to Cart!
Description
From the Broadway musical "Bye Bye Birdie," this well-known tune works great in a jazz setting. Written in a medium up-tempo swing style, Rick Stitzel uses skilled ensemble scoring plus a great groove to create a chart that your band (as well as the audience) is sure to enjoy. A quartet of alto, tenor, trumpet and trombone is featured on the head, and solos are included for alto and trumpet.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00160034
More about this title
About the Composer: Lee Adams
Lee Adams wrote lyrics for some of Broadway's most enduring musicals during the 1960s, collaborating with composer Charles Strouse on "Bye Bye Birdie," "Applause," and "Golden Boy." His sharp, singable lyrics and gift for capturing the humor and heart of his subjects made him essential to the success of these shows. Adams' work remains a staple of music theater curricula and continues to inspire arrangements across multiple genres.
Why we love this
Rick Stitzel's arrangement captures the essential brightness of the original while giving your ensemble real voice independence and rhythmic pocket to explore. The combination of a disciplined head section with accessible solo opportunities means both your players and your audience get something satisfying from the same performance.
What to expect
Infectious and optimistic, with the kind of melodic clarity that makes audiences smile. The medium swing pulse feels natural to play rather than forced, and the arrangement gives soloists room to make the tune their own without demanding advanced harmonic knowledge.
Who it's for
Any jazz ensemble at the Grade 3 level looking for a piece with genuine Broadway appeal and straightforward pedagogical payoff. Directors seeking to program familiar material that stretches musicianship without becoming a struggle will find a reliable choice here.
How to get the most out of it
- Keep the swing feel buoyant but not rushed; medium up-tempo is a sweet spot where the groove can breathe without losing energy.
- Balance the quartet voicing on the head so the melody remains clear across the four instruments rather than any single line dominating.
- Encourage soloists to listen actively to the rhythm section and use the groove as a springboard for phrasing choices that sit behind the beat.
- Let the ensemble sectionals lock in their harmonic function before rehearsing with the full band; solid harmony work makes the overall texture sing.
How to use it
This works beautifully on a concert that highlights jazz standards or as a palate cleanser after something more challenging. It's equally at home in a "Broadway and Beyond" themed set or as a standalone feature that shows your ensemble's ability to swing with style and precision.
Skills your students will build
- Reading and executing swing articulation with consistent feel across the ensemble
- Maintaining groove while playing countermelodic lines in a quartet texture
- Soloing over basic jazz changes with harmonic awareness
- Balancing blend and intonation in close-voiced ensemble writing