Use Me: Jazz Ensemble Conductor Score & Parts
As performed by Bill Withers / As performed by Ray Boudreaux / Arranged by Rick Stitzel
Grade: 3
Item: 35-PK00323160
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Use Me - Conductor Score (Full Score) | $6.00 | |
| Use Me - Alto Sax 1 | $6.00 | |
| Use Me - Alto Sax 2 | $6.00 | |
| Use Me - Tenor Sax 1 | $6.00 | |
| Use Me - Tenor Sax 2 | $6.00 | |
| Use Me - Baritone Sax | $6.00 | |
| Use Me - Trumpet 1 | $6.00 | |
| Use Me - Trumpet 2 | $6.00 | |
| Use Me - Trumpet 3 | $6.00 | |
| Use Me - Trumpet 4 | $6.00 | |
| Use Me - Trombone 1 | $6.00 | |
| Use Me - Trombone 2 | $6.00 | |
| Use Me - Trombone 3 | $6.00 | |
| Use Me - Trombone 4 | $6.00 | |
| Use Me - Guitar | $6.00 | |
| Use Me - Piano | $6.00 | |
| Use Me - Bass | $6.00 | |
| Use Me - Drums | $6.00 | |
| Use Me - Aux Percussion | $6.00 |
Parts Added to Cart!
Description
Featured on the TV series "The Voice" performed by Ray Boudreaux, this hit from the 1970s is typical of the infectious bluesy style of composer/singer Bill Withers. Here's a funky chart for young players, and soloing couldn't be easier on the two-chord vamp.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00323160
More about this title
About the Artist: Bill Withers
Bill Withers emerged as a soul and funk innovator in the early 1970s, bringing a deceptively laid-back approach to deeply crafted songs. His work balanced accessibility with genuine artistry, creating music that appealed across generations and genres. Withers' influence extends far beyond his era; his songwriting sensibility and instrumental clarity continue to inspire jazz arrangers and contemporary musicians.
Why we love this
Rick Stitzel's arrangement captures the swagger and simplicity that made the original so enduring, without overwhelming young ensembles with unnecessary complexity. The two-chord vamp creates an ideal platform for developing soloists, removing harmonic obstacles while keeping the groove front and center. Students get to experience what makes funk and soul rhythmically infectious: lock the subdivision, trust the pocket, and let the song breathe.
What to expect
Loose and purposeful at once. The arrangement lives in that sweet spot between relaxed groove and infectious momentum, where notes feel effortless but the ensemble is clearly making every phrase count. Students will recognize the song's familiarity while discovering how much orchestral color and rhythmic sophistication Stitzel brings to the arrangement.
Who it's for
Grade 3 ensembles ready to explore funk and soul without navigating dense harmonic terrain. Young players benefit from the straightforward harmonic structure while still building genuine improvisational skills. This works equally well for jazz combos looking to add contemporary repertoire or full ensembles seeking material with immediate energy.
How to get the most out of it
- Lock the bass and drums into a single conversation. The groove depends on these two voices occupying the same rhythmic space before anything else finds its seat.
- Keep the horn sections light on attack during the vamp sections. Withers' original style relies on restraint; let the arrangement breathe rather than fill every space.
- Encourage soloists to think melodically within the two-chord framework. Limiting harmonic movement often pushes improvisers toward more interesting phrases.
- Balance the funk feel against cleanness in articulation. This music swings, but it also demands precision in how notes begin and end.
How to use it
Position this mid-set where you need a mood shift and audience engagement. The original's TV exposure gives it immediate recognition, making it a natural bridge between more challenging contemporary work and audience favorites. Pair it with other soul or funk standards to build a thematic set that highlights the ensemble's rhythmic maturity.
Skills your students will build
- Groove pocket and subdivision lock between rhythm section and ensemble
- Blues and funk phrasing in improvisation
- Solo construction within limited harmonic movement
- Articulation clarity in funk and soul styles
- Dynamic control and restraint in horn writing