This Can't Be Love: Vocal Solo with Jazz Ensemble Conductor Score & Parts

Dave Wolpe's arrangement captures the sophistication of Rodgers' melody while giving your ensemble genuine swing feel and clear sectional writing. The two-key option (high and low) makes this accessible across different vocalist ranges, and the written tenor solo provides a strong featured moment alongside the vocal line.

Charming and warm, with the kind of musical sophistication that comes from a melody built for Broadway. The medium swing tempo creates lift without urgency, inviting the vocalist and ensemble to play conversationally over steady groove.

Vocalists who can navigate swing phrasing and blend with a jazz ensemble, paired with a skilled big band that understands medium-tempo groove. This works well for singers with solid intonation and rhythmic confidence in an ensemble setting.

• Balance the vocal line against the ensemble by keeping the big band section at a warm, supportive dynamic rather than overwhelming the lead. The arrangement works best when the ensemble feels conversational with the vocalist.
• The swing feel hinges on relaxed eighth-note phrasing in the rhythm section. Work the drummer and bass player on the specific pocket before adding the horns; their groove sets the foundation for everything else.
• Feature your best tenor player on the written solo. This moment deserves attention and space to breathe, so give the soloist room to shape the line and connect it vocally to what the singer is doing.

This belongs on a jazz concert featuring vocal standards, or as a concert-closing feature that showcases both your vocalist and the ensemble's swing vocabulary. The familiar melody and elegant arrangement make it approachable for audiences while demonstrating your group's musicianship.

• swing phrasing and vocabulary in a vocal context
• balancing a featured soloist with ensemble texture
• interpreting jazz articulation and dynamics across parts
• reading and performing written-out improvisation (tenor solo)