What A Wonderful World: Jazz Ensemble Conductor Score & Parts
As performed by Louis Armstrong / Arranged by Michael Philip Mossman
Grade: 4
Item: 35-PK00381853
$45.00
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Description
Famously recorded by Louis Armstrong, Michael Mossman uses a moderate cha-cha style for a creative version of this classic melody. Even in this small band format there is an amazing variety in textures, harmonies and dynamics. Solo space is flexible
and can be used to feature a number of different players.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00381853
More about this title
About the Artist: Louis Armstrong
Louis Armstrong fundamentally changed what jazz could be. His innovations in improvisation, phrasing, and rhythmic flexibility became the template for generations of soloists across all styles. In the classroom, Armstrong's work demonstrates how personality and individual voice can transform a composition while respecting its core identity.
Why we love this
Mossman's cha-cha treatment honors Armstrong's original while giving student musicians genuine interpretive choices. The flexible solo space means you're not locked into featuring only your strongest player; instead, this arrangement invites multiple voices to shine, and that builds ensemble confidence across the section.
What to expect
Warm and optimistic without sentimentality. The cha-cha rhythms keep the piece moving forward with light sophistication, while the harmonies shift gently enough to feel inevitable. There's room for reflection in the softer passages, but the overall mood stays buoyant and engaging.
Who it's for
Grade 4 jazz ensembles looking for repertoire that balances accessibility with musical substance. This works equally well for groups building their first concert program or those seeking a crowd-pleasing standard that doesn't sacrifice artistic integrity.
How to get the most out of it
- Balance the melody against the rhythmic foundation. The cha-cha pulse sits in the rhythm section, so ensure your bassist and drummer lock the groove before addressing intonation or blend in the horns.
- Shape phrases through dynamic variety rather than tempo changes. Mossman's harmonic richness rewards careful attention to the score's marked dynamics, which help the arrangement breathe.
- Let soloists own their space without accompaniment interference. When you've designated a featured voice, pull back the ensemble accompaniment so the solo idea reads clearly.
How to use it
Feature this as an opener or closer on a jazz or pops concert; audiences connect immediately to the melody, and Mossman's orchestration gives it enough dimension to feel substantial. It also works well as a transition piece between heavier works, offering a moment of genuine warmth that doesn't read as a throwaway novelty number.
Skills your students will build
- Cha-cha rhythmic patterns and their interaction with swing eighth-note feels
- Balancing written ensemble parts against featured solo voices
- Phrasing and dynamic control in a jazz context
- Transposition awareness across multiple parts
- Listening for harmonic movement while maintaining groove