The Girl from Ipanema: Jazz Ensemble Conductor Score & Parts
As performed by Stan Getz Astrud Gilberto / Arranged by Mark Taylor
Grade: 4
Item: 35-PK00409911
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Description
Normally performed in a Latin style, Mark Taylor has created a marvelous setting of this popular standard as a medium swing shuffle! There's nothing laid back about this as the full ensemble opens up in a power mode setting up the trombones for the first chorus. Solos are featured for tenor followed by trumpet, then an out chorus for the ensemble and a short sax soli. A fresh approach to a trusted favorite.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00409911
More about this title
About the Artist: Stan Getz Astrud Gilberto
Stan Getz brought the cool sophistication of tenor saxophone to bossa nova, becoming an unlikely architect of a musical movement that changed jazz forever. His 1964 recording of "The Girl from Ipanema" with vocalist Astrud Gilberto became a crossover sensation, introducing millions of listeners to the elegant intersection of Brazilian rhythm and American jazz sensibility. That recording remains a touchstone for music educators introducing students to how jazz absorbs and transforms global musical idioms.
Astrud Gilberto's breathy, conversational vocal delivery on the original track became iconic precisely because it sounded effortless. For student ensembles, her interpretation offers a masterclass in understatement and phrasing; the song doesn't need force, just clarity and pocket.
Why we love this
Mark Taylor's decision to reframe this as a medium swing shuffle rather than pursuing yet another Latin reading shows real arranging judgment. It gives your ensemble permission to cut loose while keeping the tune's essential sophistication intact; the power mode opening and featured solos create narrative momentum that holds audiences.
What to expect
The propulsive shuffle rhythm gives the piece a contemporary drive that contrasts beautifully with the melody's sophisticated contour. You get the warmth of a beloved standard wrapped in the energy of a working jazz band playing it like they mean it, not like they're preserving it in amber.
Who it's for
Jazz ensembles at the intermediate level looking for a fresh take on a repertoire staple. Directors who want to program something their audiences know but in a way that surprises both the band and the listeners.
How to get the most out of it
- Lock the trombone section into the opening ensemble hit with crisp articulation. This is your statement, not your whisper.
- Balance the tenor solo spotlight carefully so it sits in front without drowning the rhythm section. The tune lives in conversation, not monologue.
- Shape the sax soli section with unified dynamics and phrasing across all saxes. This moment functions as a collective voice, not four separate soloists.
- Keep the out chorus energized through the final eight bars. Resist the urge to lay back just because the tune is a standard; the swing shuffle demands forward momentum.
How to use it
Pair this with other Taylor arrangements to build a set that shows your band's arranging sophistication. It works equally well as an opener that energizes an audience or as a mid-set palate cleanser between heavier works. The featured solos make it an ideal vehicle for recognizing players who've earned solo time.
Skills your students will build
- Phrasing and articulation in swing style
- Balancing ensemble texture with featured soloists
- Executing shuffle rhythms with precision and pocket
- Reading chord changes and navigating solo sections
- Blending tone within saxophone and trombone sections