A Pretty Girls Is Like A Melody (J.Farley)

Irving Berlin originally introduced "A Pretty Girl Is Like a Melody" in the 1919 edition of the *Ziegfeld Follies*, where it quickly cemented its status as the unofficial anthem of Florenz Ziegfeld’s lavish theatrical productions. Over the subsequent decades, this iconic Tin Pan Alley masterwork transitioned seamlessly into the jazz and Great American Songbook canons, interpreted by legendary dance bands, vocalists, and instrumentalists alike. Its sophisticated, undulating 3/4-to-4/4 hybrid melodic contour possesses a timeless elegance that invites rich harmonic exploration, making it a natural vehicle for sophisticated big band arranging. John Farley’s contemporary big band setting reimagines Berlin’s lush romanticism through a sophisticated medium-swing lens. Opening with an atmospheric, rubato chordal introduction that hints at the familiar melody before settling into a buoyant, relaxed groove, the chart evokes the golden era of mid-century sophisticated dance orchestrations while injecting modern harmonic extensions. The mood shifts fluidly between shimmering, muted brass textures and lush saxophone soli passages, capturing both nostalgic warmth and vibrant swing-era energy. Farley utilizes the standard 16-piece big band instrumentation to its absolute fullest potential, giving each section a distinct voice in the dialogue. The arrangement opens with the saxophone section carrying the primary theme in tight, cascading voicings before handing off to a soaring trumpet melody. A standout feature of the chart is a dynamic, harmonically rich shout chorus that builds steadily in tension and volume, utilizing upper-structure triads and clever cross-rhythms before resolving into a triumphant, full-ensemble refrain. The chart provides ample breathing room for an improvised tenor saxophone or piano solo over standard chorus changes, backed by tasteful, harmonically advanced background figures from the brass. Advanced high school ensembles with strong section players, as well as collegiate and professional community jazz orchestras, will find this chart an ideal centerpiece for a concert program. While the rhythm section requires a steady, driving swing feel and an advanced understanding of comping behind soloists, the brass ranges remain sensible, peaking at concert high B-flat for lead trumpet. The reward for the ensemble lies in executing Farley’s subtle dynamic shifts and achieving a unified, buttery saxophone sound that honors the pristine songwriting of Irving Berlin while driving the big band idiom forward. Balancing stylistic authenticity with modern ensemble clarity requires careful attention to articulation and dynamic control throughout this chart. The tempo should sit comfortably in a medium swing feel around 116 BPM, ensuring the eighth notes remain evenly articulated without rushing the triplet-based pulse. The rhythm section forms the heartbeat of this arrangement; the drummer should maintain a crisp ride cymbal pattern with a feather-light bass drum touch (four-on-the-floor style), while the piano and bass lock in to provide a transparent, harmonic foundation that never overpowers the horns. Brass players should utilize cup mutes or harmon mutes (stem out) where indicated in the introductory and transitional choruses to achieve that velvety, vintage warmth. Rehearsal should begin by isolating the saxophone soli to ensure flawless blend and intonation before integrating the rhythm section. Pay close attention to the dynamic swells leading into the shout chorus; maintaining dynamic restraint in the early measures ensures the climax achieves maximum emotional and sonic impact. Q: What instruments and parts are included in this arrangement? A: This complete big band chart is scored for a standard 16-piece instrumentation, including 2 alto saxophones, 2 tenor saxophones, 1 baritone saxophone, 4 trumpets, 4 trombones, guitar, piano, bass, and drums, alongside a comprehensive conductor score. Q: What is the difficulty level of John Farley's arrangement? A: It is graded as advanced-intermediate to advanced, making it ideal for skilled high school, collegiate, and professional community jazz orchestras seeking a sophisticated swing chart. Q: What is the historical context and musical style of the piece? A: Originally penned by Irving Berlin for the 1919 *Ziegfeld Follies*, this arrangement transforms the classic Tin Pan Alley tune into a swinging, harmonically enriched big band standard set in a comfortable medium swing tempo. Q: What makes this specific arrangement unique? A: John Farley blends vintage dance-band elegance with modern extended harmonies, featuring cascading saxophone voicings, clever cross-rhythms, and a dynamically escalating shout chorus that reimagines the familiar melody. Q: What is the performance duration and recommended tempo for the piece? A: The arrangement runs approximately 4 to 5 minutes when performed at the recommended medium swing tempo of around 116 BPM.