The Frim Fram Sauce (Key: F): Jazz Ensemble Conductor Score & Parts
Arranged by Rick Stitzel
Grade: 3-4
Item: 35-PK00388303
$50.00
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Description
This clever and catchy jazz standard has been recorded notably by Diana Krall, but also by Nat King Cole and Louis Armstrong. Arranged in a comfortable swing style this is a terrific feature for vocalist or solo tenor sax.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00388303
More about this title
About the Arranger: Rick Stitzel
Rick Stitzel has built a reputation as an arranger who understands what works in the jazz ensemble setting. His arrangements consistently balance musicality with playability, giving students genuine jazz vocabulary to work with rather than oversimplified approximations.
Why we love this
Stitzel's treatment respects the song's infectious charm while keeping the ensemble parts accessible. The arrangement opens space for a vocalist or tenor sax soloist to shine, which means every player has a role to fill, and the swing feel sits naturally for groups still building their jazz chops.
What to expect
Playful and swinging, with enough harmonic sophistication to feel genuine and rewarding. The groove is infectious without being complicated, and the melody has a natural warmth that invites the listener in from the first phrase.
Who it's for
Jazz ensembles at the intermediate level who want a standard that actually sounds like jazz without requiring advanced reading skills. It's equally strong as a feature for a vocalist with jazz aspirations or a tenor player ready to handle a meaningful solo.
How to get the most out of it
- Establish the swing eighth-note feel early in rehearsal by playing along with a recording. Hearing the lilt in context will ground your ensemble faster than tapping it out.
- If featuring a vocalist, use sectional rehearsals to lock the ensemble's rhythmic foundation before adding the vocal line. This prevents the ensemble from rushing or dragging as the soloist navigates the melody.
- Balance the tenor sax solo with the ensemble by asking the rhythm section to play with restraint during the feature. The solo should float on top rather than compete with busy comping.
- Work the articulation carefully in the ensemble passages. Light, crisp tonguing on the syncopated rhythms will keep the piece bouncing without sounding stiff.
How to use it
Pair this with other jazz standards in a concert focused on the American songbook, or slot it into a mixed concert as a palate cleanser between classical and contemporary works. It works beautifully as a spring concert feature once your ensemble has settled into its groove for the year.
Skills your students will build
- Swing eighth-note articulation and feel
- Comping rhythms and jazz accompaniment textures
- Solo/ensemble balance in a feature arrangement
- Interpretation of jazz articulation and phrasing marks
- Listening for and responding to soloist interpretation