Satin Doll Cover Image

Satin Doll: Jazz Ensemble Conductor Score & Parts

$62.00 USD
Sale price  $62.00 USD Regular price 
Skip to product information
Satin Doll Cover Image

Satin Doll: Jazz Ensemble Conductor Score & Parts

Words and music by Johnny Mercer, Duke Ellington, and Billy Strayhorn / arr. Terry White

Grade: 1 (Easy)

Item: 00-30620

makemusic Cloud badge

Need it now?

Buy Digital Version
$62.00
Shipped

One moment…

Description
Looking for an easy to play vocal piece? Here is an excellent vocal chart on a well known standard that is arranged at a much easier level by Terry White, with no individual solos, lots of full ensemble, a shout chorus and a modulation. And it's all very easy to rehearse and perform! The vocal range is from F, first space to fourth line D, treble clef. Scored for 5 saxes, 6 brass and 4 rhythm, plus this arrangement will sound full with reduced instrumentation. With very accessible brass ranges and optional parts for flute, horn, tuba and baritone horn T.C., this is a classy chart all the way. (2:45)

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Satin Doll: Jazz Ensemble Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

Sample Pages

Sample Audio
0:00
0:00
Sample Video
Additional Details
Series: First Year Charts for Jazz Ensemble
Publisher: Alfred Music
Page Count: 82
UPC: 038081336787
SKU: 00-30620

More about this title

About the Composer: Johnny Mercer

Johnny Mercer (1909-1976) was one of American popular music's most prolific lyricists, crafting witty, conversational words for hundreds of standards. His collaborations with composers like Duke Ellington and Henry Mancini shaped the sound of American jazz and film music for decades. Mercer's gift for singable, memorable lyrics made him a natural partner for jazz arrangers and bandleaders who valued clarity and charm in their charts.

Why we love this

Terry White's arrangement strips away the complexity while keeping the sophistication intact. The full ensemble writing means every musician stays engaged throughout, and the modulation and shout chorus give your students real jazz chart experience without requiring section leaders or soloists to carry the performance. It's the kind of accessible standard that reminds students why jazz standards endure.

What to expect

Elegant and buoyant. The arrangement lets the melody breathe over smart, accessible voicings that swing naturally. When the full ensemble kicks in, it feels expansive and fun; the modulation lands with genuine freshness rather than fanfare.

Who it's for

First-year jazz ensemble programs looking for their first real vocal chart. The simplified ranges and optional parts mean you can field a full ensemble sound even if you're light on certain instruments. Directors seeking material that sounds polished without demanding advanced section reading or soloists.

How to get the most out of it

  • Drill the shout chorus articulation as a section before full ensemble rehearsals. Tight, rhythmic unison singing will make that moment shine.
  • Balance the vocal line against the ensemble. Bring it forward during the melody and let it settle into the harmonies during the full ensemble passages.
  • Work the modulation as a distinct event in rehearsal. Mark the key change clearly and have rhythm section confirm the new pitch center before running through it multiple times.
  • Use the optional parts strategically. Front the arrangement with full instrumentation first, then rehearse it with reduced forces so students understand it holds together across different combinations.

How to use it

Perfect as a closer on a jazz concert or as part of a standards-themed set. The 2:45 runtime and confident finish give it real programming weight without overshadowing lighter or more experimental pieces earlier in the show. Pair it with another uptempo chart to bookend your set with energy.

Skills your students will build

  • Reading and executing jazz articulation and phrasing in an ensemble setting
  • Balancing solo vocal line with ensemble harmony and background voices
  • Playing through key modulations with rhythm section security
  • Adapting to optional instrumentation and playing reduced arrangements

You May Also Like