A Salute to the Big Bands: Full Orchestra Conductor Score & Parts

This medley captures the infectious swing and polish of the Big Band era while remaining Grade 3.5, which means your orchestra can actually sound like a professional ensemble without the technical hurdles. The mix of well-known titles keeps audiences engaged from start to finish, and the 7:54 runtime fits naturally into any concert program without overshadowing other works.

Stepping into a smoky jazz club in the 1940s: crisp articulation, sassy brass hits, and that unmistakable rhythmic lilt that makes audiences want to tap their feet. The familiar melodies keep everyone smiling while the arranging details give skilled young musicians something substantial to execute.

Orchestra directors who want to program recognizable, engaging repertoire that builds student enthusiasm and sits comfortably at Grade 3.5. This works equally well for concert bands seeking big band style (parts available separately) and for full orchestras with mixed instrumentation.

• Establish a steady, propulsive groove from the opening measures; the swing feel depends on relaxed ensemble time-keeping rather than rigid metronomic precision.
• Balance the melodic sections between sections so that soloists (whether trumpet, clarinet, or saxophone family) project over the full orchestra without forcing tone production.
• Use the key changes between medley sections as dramatic moments; give the ensemble clear preparatory beats and allow slightly more space than you might in a single-movement work.
• Keep the rhythmic figures in the rhythm section (if your orchestra includes pizzicato strings or harp) articulate and light to preserve the characteristic bounce of the era.

Open a spring or pops concert with this medley to set a celebratory tone, or pair it with other light concert fare and shorter classical pieces to create a balanced evening. The length and upbeat character make it ideal for family concerts where you want music that's both musically honest and immediately accessible to casual listeners.

• Playing swing rhythms and feeling the triplet subdivision beneath straight notation
• Balancing section blend while maintaining individual voice independence in a large ensemble
• Reading and executing key changes and transitions between distinct melodic sections
• Managing articulation styles across different musical phrases (legato melody, punchy rhythmic figures)
• Responding to rubato and interpretive shaping in a conductor-led ensemble context