Yesterday: Jazz Ensemble Conductor Score & Parts

Rick Stitzel's orchestration gives this iconic ballad real substance without overcomplicating it. The tenor solo and counterlines create genuine musical interest for your ensemble to sink their teeth into, while the arrangement stays accessible enough that Grade 2 ensembles can sound genuinely polished in performance.

Wistful and introspective. Stitzel's voicings preserve the original's emotional core while the jazz ensemble setting gives it a warm, sophisticated character that feels both contemporary and timeless.

Jazz ensembles at the intermediate level who are ready to interpret a well-crafted arrangement of a genuine standard. Directors seeking repertoire that feels both accessible and musically substantive will find this valuable for building ensemble musicianship.

• Balance the tenor solo against the ensemble voices so the melody emerges clearly; this isn't a feature for the soloist to dominate, but rather a moment of intimacy within the larger tapestry.
• Shape the counterlines with intention. Stitzel has written them to support the harmonic movement, so bring them out enough that listeners hear the richness without overshadowing the main voice.
• Control the tempo with restraint. This arrangement calls for the space that made the original recording so affecting; rushing it collapses the emotional arc.

Program this as a contrast to your higher-energy jazz selections, or use it as the centerpiece of a "standards" set that demonstrates your ensemble's range. It's equally effective as a concert closer or as a bridge between your jazz repertoire and other styles.

• Ensemble balance and blend in divided voicings
• Shaping melodic phrases with harmonic awareness
• Solo accompaniment ensemble roles
• Interpretation of a recognizable standard within jazz idiom
• Control of dynamics across full ensemble texture