The Best Is Yet to Come: Vocal Solo with Jazz Ensemble Conductor Score & Parts

Scott Ragsdale's arrangement captures the infectious energy that has made this standard a perennial favorite, from classic recordings to contemporary interpretations. The chart swings hard while remaining accessible at Grade 3, giving your ensemble genuine musical content without overwhelming complexity. Pairing a strong vocalist with tight horn writing creates immediate engagement in any concert setting.

Optimistic and propulsive, with the sophisticated swing feel that defined the American Songbook. The melody sits comfortably in the voice while the ensemble creates a lively, professional backdrop that honors the song's vintage appeal without sounding dated.

Conductors looking to feature a strong vocalist within a jazz ensemble setting. This works equally well for high school jazz bands with experienced singers, community big bands, and college ensembles seeking a confident crowd-pleaser that doesn't compromise musical integrity.

• Balance the vocal line against the ensemble so the singer remains the focal point; the rhythm section should pocket tightly while the horns support without covering.
• Lock the trumpet section into the swing feel during ensemble passages. Precision here drives the groove and makes room for the vocalist to breathe.
• Work the head arrangement section by section first. Ragsdale's writing is clean, but getting articulation and dynamics aligned across the ensemble takes intentional rehearsal.
• Encourage the vocalist to interpret the lyric with personality. This standard thrives on individual voice; provide space for slight rubato and phrasing choices that feel natural to your soloist.

Open a second half with this number to reset energy and bring the audience back in. It pairs well on a concert alongside other vocal features or standards arranged for jazz ensemble, and the Grade 3 accessibility means rehearsal time stays focused on phrasing and groove rather than basic technical hurdles.

• Swing articulation and phrasing in both vocal and instrumental sections
• Balancing solo voice with ensemble accompaniment
• Reading chord changes and comping rhythms (rhythm section)
• Trumpet range extension (written A above the staff)
• Ensemble cohesion within a jazz idiom