The Days of Wine and Roses: Jazz Ensemble Conductor Score & Parts

Dave Rivello's arrangement captures the sophistication of Mancini's original while giving your ensemble room to breathe and solo. The key changes between F and A-flat create natural momentum, and the written solos for trumpet 2 and alto saxophone are pitched perfectly for students who are ready to step into the spotlight without overextending their range.

Elegant and buoyant, with a touch of nostalgia from its film origins. The modulation between F and A-flat creates a sense of gentle lift, while the swing tempo and written solos invite the ensemble to find its voice within Mancini's sophisticated harmonic framework.

Jazz ensembles at the intermediate level who have developed solid swing feel and are ready to tackle a recognizable standard with stylistic demands. This arrangement works for groups pursuing festival repertoire or looking to add a film-standard to a concert program featuring a mix of original jazz compositions and familiar tunes.

• Lock the swing feel at 148 BPM during sectional rehearsals, paying particular attention to the rhythm section's interpretation of the eighth-note feel; a tight pocket here lifts the entire chart.
• Balance the lead trumpet's written B-flat above the staff with the section underneath; this note sits high enough to carry without forcing, so encourage the player to voice it with projection rather than tension.
• Isolate the key modulation from F to A-flat in rehearsal so the ensemble understands the harmonic shift, not just the mechanical fingering change; this clarity will make the transition sound intentional rather than accidental.
• Feature the vibraphone texture as a distinct voice in the mix; it should sit between the horns and the rhythm section, adding shimmer without muddying the harmonic foundation.

Program this alongside newer jazz originals to show your audience the continuity between classic film standards and contemporary jazz writing. It also pairs well in a concert set that explores different eras of American songwriting, or use it as a festival selection where judges recognize both the quality of the source material and the arrangement.

• Swing feel and articulation at 148 BPM
• Reading written solos and comping changes
• Managing intonation and blend across modulation from F major to A-flat major
• Balancing transparency in voicings with harmonic sophistication
• Ensemble listening to individual section responsibilities (vibraphone as textural voice)