After You've Gone: Jazz Ensemble Conductor Score

Rich Sigler's arrangement respects the tune's melodic charm while building genuine ensemble interplay that keeps players engaged throughout. The written solos for alto 1 and trombone 2 give featured voices a spotlight without overwhelming less experienced improvisers, and the shout chorus lands with infectious energy that audiences love. At grade 2, this chart proves you don't need high-range demands or complex voicings to deliver a swinging, musically satisfying performance.

The piece carries the warmth and buoyancy of 1920s songwriting, with a relaxed swing that invites the ensemble to breathe together. There's playfulness in the section interplay and genuine joy in the shout chorus, making this a feel-good moment that energizes both players and listeners.

This chart works for Grade 2 jazz ensembles (middle school through early high school) and adult community jazz bands looking for accessible, crowd-pleasing repertoire. It suits sections with one or two advanced soloists who can shine on alto 1 and trombone 2 parts without requiring the full ensemble to be virtuosic.

• Lock the rhythm section (piano, bass, drums) to establish a solid swing feel at 132 BPM; the written solos depend on rock-solid time underneath.
• Balance the written alto 1 and trombone 2 solos so they sing above the ensemble without losing the groove; this is a feature moment, not a drowning-out moment.
• Shape the shout chorus dynamically; resist the urge to play it at full volume start to finish. Build intensity phrase by phrase to maximize impact at the landing points.
• Check trumpet 1 intonation carefully around the F top line; this range often sits in a spot where players tense up. Work for ease and resonance.

Program this early in your concert as a confidence builder for younger or developing ensembles; its accessibility and inherent charm mean the players can focus on execution rather than survival. It pairs well before a more challenging chart in the same set, giving the rhythm section and soloists a warm-up groove that carries into the next piece.

• Swing rhythm and feel at medium tempo
• Section balance and ensemble listening across trumpet, trombone, and saxophone sections
• Solo construction and phrasing (alto 1 and trombone 2 written solos)
• Reading standard jazz chord changes and ensemble hits
• Dynamic control and shaping over longer phrases