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George Gershwin: Rhapsody in Blue
(Arranged by Arianna Cunningham & Darren Rodney)

Project Info:

George Gershwin’s Rhapsody in Blue celebrates its 100th anniversary! Whether you are a Gershwin enthusiast, a jazz lover, or have enjoyed it in Fantasia 2000 or The Great Gatsby, this project is for you.

The piece originated from American bandleader Paul Whiteman’s ambition to create “An Experiment in Modern Music,” featuring his orchestra in a new style of concerto. Whiteman quickly recognized George Gershwin’s virtuosity and, somewhat impulsively, advertised Gershwin’s involvement in a local newspaper. Within five weeks, despite initial hesitation, Gershwin composed what is now known as Rhapsody in Blue. Its premiere reinvigorated a struggling concert and catalyzed the rapid evolution of both orchestral and jazz music in the United States.

For this project, we plan to perform the entire Rhapsody as it was originally performed in 1924, including the extended Shuffle Theme and the full piano cadenzas. We will also incorporate elements from later jazz band and 1942 symphony orchestra versions. This arrangement, crafted by Darren Rodney and Arianna Cunningham, draws inspiration from a variety of historic performances, including Phil Spitalny’s Hour of Charm, Lawrence Welk, Antonio Davi’, Paul Whiteman, and Eugene Weed. Expect creative liberties and interpretive changes throughout, reflecting the public-domain nature of the work.

Important Performer Notes:

Reference & Interpretation:

  • Reference recordings linked above serve as the basis for interpretation, blending 1924 jazz band influences with a 1942 symphonic orchestration style.

  • Most parts in this arrangement have been transcribed and are not from Grofe’s orchestration.

  • Follow the reference tracks closely, but stay in time and in tune, even if playback seems realistic yet contains minor inaccuracies.

  • PDF parts may have glitches from exporting; use the linked MuseScore or MusicXML files for error-free versions.​

Strings:

  • First Violins: Two divisi staves (A & B) are provided. First-stand violin soli at Rehearsal 28 will be performed by the concertmaster, Arianna. Other players should support the 16-bar 8va lead, inspired by Antonio Davi and Phil Spitalny’s Hour of Charm.

  • Divisi: Record both top and bottom divisi separately if applicable; multiple submissions are encouraged.

  • Rehearsals 29–30 / Love Theme: Emphasise Hollywood-style legato vibrato for orchestral swell.

  • Cellos & Basses / Rehearsal 9: Use snap pizzicato to align with banjo and snare rhythms.

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Woodwinds:

  • Flute 1 & Clarinet 1: Concert Eb trills and scale runs at Rehearsal 1 should be dolce and childlike, with clean releases into Rehearsal 2.

  • Oboe 1: Optional solo at Rehearsal 10; play mezzopiano with awareness of surrounding scoops to high A.

  • Bass Clarinet / Bari Sax: If low extensions are unavailable, play 8va.

  • Saxes: Emphasise 1924 jazz-style vibrato at Rehearsals 28–29; optional flutter tongue/growl for altos/tenor at measure 84.

  • All Woodwinds & Brass (excluding tuba): Players may record up to two parts each.

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Brass:

  • Trumpet 1: Exposed solos use harmon, plunger, and wah-wah mutes. Rehearsal 39 solo may be performed open; Rehearsal 2 with straight mute. Growl as indicated at Rehearsals 1 & 13.

  • Trombone 1: Multiple exposed solos, including soli with Horn 2 at Rehearsal 34. Wah-wah mute and scoops where indicated.

  • Descending Scale (m. 114 / Rehearsal 39): Trombones & tuba: marcato gliss; others: slurred.

  • Tuba: Optional flutter tongue at the end of Rehearsal 36; follow the original jazz band style.

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Percussion, Banjo, Harp, Piano:

  • Sign-ups: First-come, first-served; one recording per part.

  • Drums: Follow indicated setup; adapt if needed (ride cymbal for Turkish, crash for splash, etc.).

  • Harp: Glissandi marked with “x” noteheads can start/end anywhere; ad-lib preferred Phil Spitalny-style. Record in one take if possible.

  • Orchestral Piano / Celesta: Use piano with patches if celesta unavailable; record in a single take.

  • Banjo / Piano II: Chords are clearly indicated; follow as written.

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Solos / Soli:

  • Clarinet 1 Solo: Opening passages staccato, include 1924-style “laughing dips”; use classical jazz vibrato for Train Theme. Creative license encouraged.

  • Oboes, Horns, Trumpets, Trombones, Saxes: Play expressively, with tension and fury where indicated; slower segments may include subtle melancholy.

  • Flutes, Alto Sax, Clarinet 1, etc: Trills, scale runs, and other ornaments should remain clean and musical, supporting ensemble transitions.

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Notes on 8va / 8vb:

  • Parts with multiple 8va markings may be played as written or an octave lower (8vb) if necessary.

Key Signatures / Transpositions:

  • Bb, Eb, and F instruments (especially horns) have parts written with key signatures for convenience.

  • Clarinet and trumpet parts will not double A instruments, differing from the 1942 symphonic version.

Performer Information:

Registration: Click to  sign up

Sheet Music: Click to get yours

Audio/Click Track: Click to get it

Submission Deadline: Now accepting late submissions

Finished Submission link: Click to submit 

Video Guidelines:​

  • Orchestral Players: Concert Black or Casual Black attire.

  • Soloists: Concert Black, Casual Black, or other formal, elegant attire is acceptable.

Instrumentation:

Soloist:

  • Solo Piano (performed by “Hamster Alliance”)

Orchestration:

Woodwinds:

  • Flute 1 & 2

  • Oboe 1 & 2

  • Clarinet 1 & 2

  • Bass Clarinet

  • Alto Sax 1 (doubles Soprano)

  • Alto Sax 2

  • Tenor Sax

  • Baritone Sax

  • Bassoon 1 & 2

Brass:

  • Horn 1, 2, 3 & 4

  • Trumpet 1, 2, 3 & 4

  • Trombone 1, 2 & Bass Trombone

  • Tuba

Percussion:

  • Timpani

  • Drumset

  • Mallet Percussion: Glockenspiel, Tubular Bells

  • Percussion 1: Bass Drum

  • Percussion 2: Snare Drum, Gong/Tam-Tam

  • Percussion 3: Piatti, Suspended Cymbal, Triangle

Keyboard / Harp:

  • Orchestral Piano / Piano 2 (doubles Celesta)

  • Harp

Strings:

  • Violin 1 (A & B divisi)

  • Violin 2

  • Viola

  • Cello

  • Double Bass

*As mentioned before, String players need to record both top and bottom divisi in full length, not partially.

Video Contribution Guidelines – Beginners & Intermediates:

Visual contributions are extremely important for this project, as the piece moves through many distinct themes. Please do not skip any sections. Suggested visuals for each rehearsal/theme are outlined below:

Ritornello Theme

  • Sunrise visuals in urban and suburban settings.

Rehearsal 1

  • Sunlight reflecting off buildings, people waking up, and beginning their day (camera-appropriate).

Rehearsal 2a

  • Preparing or having breakfast; early workers leaving home.

Rehearsal 2b & 3

  • Continued breakfast scenes, opening window blinds, street lights turning off, newspapers being tossed, etc.

Rehearsal 4 & 5

  • Continuation leading up to the piano cadenza; more people getting ready, especially students.

Rehearsal 6 & 7 (Train Theme)

  • Morning rush: commuters traveling to work/school, traffic jams, train stations (document busy areas if possible).

Rehearsals 8–10

  • Peak rush hour; people at work, school, and more traffic shots.

Rehearsal 11

  • Continuation of the above with intensifying workday activity.

Rehearsal 12

  • After the Klezmer-style clarinet solo: parade footage, marching bands, parade floats (optional documentation).

Rehearsal 13

  • Additional visuals from Rehearsals 8–11.

Rehearsals 14 & 15 (Shuffle Theme)

  • Afternoon sporting events (amateur footage encouraged).

Rehearsal 16 (First-Come, First-Serve)

  • Highlight a major play: goal, homerun, touchdown, slam dunk, etc.

Rehearsals 18–21 (Cadenza II)

  • Cooldown sequence: people leaving work or school, showing that the day isn’t over.

Rehearsal 20

  • Students reuniting with family; adults returning home from work.

Rehearsals 22–23 (Dinner Theme)

  • Restaurants or dinner hour footage, inside or outside. Show dishes from your culture if possible, respecting privacy.

Rehearsals 24–27

  • Post-dinner activity: people leaving, evening errands; capture sunset / Golden Hour shots if possible.

Rehearsals 26e–27f

  • Wholesome scenes building toward the Love Theme.

Rehearsal 32 (Love Theme)

  • Families and individuals sharing positive core memories: birthdays, weddings, cultural traditions, humorous but respectful moments. Include adults/guardians if filming children. Optional footage of former family members or friends is welcome. Late-day filming preferred.

Rehearsals 33–35 (Cadenza III)

  • Evening family moments outdoors, city streets encouraged.

Huge Brass Flutter-Tongue Chord

  • Optional: single shot of a clock indicating late evening (first-come, first-served).

Rehearsals 35–39

  • Nightlife visuals; continuation of evening activity.

Rehearsal 40

  • People winding down for the day. On the final chord (measure 562), bedroom lights extinguish, ending with a cut to black.

Visual Video Submissions: Click to submit

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