The Lady Is a Tramp: Vocal Solo with Jazz Ensemble Conductor Score & Parts

Wolpe designed this chart with the real constraints of the school jazz program in mind. The dual-key option removes the friction of finding the right transposition for your vocalist; you literally have both options printed and ready to go. The integrated trombone solo plus optional scat vocal alternate, combined with ensemble horn lines that support rather than overshadow the vocalist, shows an arranger thinking about how to let your ensemble shine while keeping focus exactly where it belongs.

Sophisticated, swinging, and urbane. This is the kind of tune that belongs in a nightclub or a supper club, and the arrangement captures that intimate sophistication while giving your ensemble genuine opportunities to sound like real jazz musicians responding to a vocalist rather than a backing track.

Jazz ensembles with a strong vocalist and players ready to interact with a vocal soloist in a real ensemble setting. The Grade 3 difficulty suits groups that have covered the fundamentals of jazz feel and are ready to balance accompaniment with front-line focus.

• Assign the trombone solo or scat option based on what your ensemble needs to hear. If your trombonist needs a feature, take the trombone solo; if your vocalist needs rhythmic and harmonic support from the horn section, go with the scat option and lock the ensemble figures to the vocal phrasing.
• Balance the vocal line against the ensemble by checking your blend in the written ensemble sections. Wolpe's voicings sit perfectly for a vocalist with natural acoustics if your lead players aren't overpowering the melody.
• Anchor the rhythm section first. The swing feel on this Rogers and Hart standard needs a solid connection between bass, drums, and comping piano before you add the horn lines or vocal.

This works beautifully as a concert closer or as the feature moment in a jazz showcase where you want to highlight both your vocalist and your ensemble's maturity. Pair it with a fast bebop head earlier in the program to frame your group's range across the jazz vocabulary.

• Accompanying a vocal soloist with ensemble sensitivity and balance
• Navigating swing eighths and jazz phrasing in an ensemble setting
• Responding to vocal phrasing while maintaining ensemble cohesion
• Reading and executing written horn sections that support rather than compete with a melody