And All That Jazz (from Chicago): Marching Band Conductor Score & Parts

Jerry Burns has given this iconic jazz standard an arrangement that works for developing marching bands while keeping the swagger and style intact. The Grade 1.5 scoring strips away nothing essential about the tune; instead, it lets every section contribute something memorable, making rehearsals rewarding and performances undeniably theatrical. At just 1:27, it fits naturally into a competitive or exhibition set without eating up valuable program time.

Jazz-age swagger meets Broadway pizzazz. The tune moves with sophisticated hip without pretension, and the arrangement captures that razzle-dazzle energy that made Chicago a hit. It's confident and stylish, with enough rhythmic drive to energize a field show while staying true to the song's essential character.

High school and competitive middle school marching bands looking for production-style repertoire that doesn't demand advanced musicianship. Sections with developing players will find parts that sit comfortably in their ranges while still sounding sophisticated, and the arrangement gives every player a moment that matters.

• Pay close attention to the syncopated rhythms in the low brass and reed sections; locking that pocket early in rehearsal keeps the groove honest and prevents dragging during transitions.
• Treat the melody entrances as theatrical moments. Even at this accessible level, clean attacks and releases around the lead line make the difference between a run-through and a performance.
• The accompaniment figures under the melody can blur together if not voiced with clarity; have each section isolate their rhythmic figure and practice it independently before blending.
• Build dynamics gradually through the arrangement. Marching band dynamics are often more extreme than concert band, so use the full range from soft backgrounds to cutting brass leads.

This works beautifully as a centerpiece production number in a show-themed exhibition or as a closing feature that leaves crowds smiling. Its brevity makes it an excellent pairing with a contrasting ballad or comedic number, and the Broadway connection gives your program a polished, cohesive identity without requiring a full pit orchestra or singing soloists.

• jazz rhythm and syncopation in context
• reading and balancing rhythmic figures across sections
• dynamic control and theatrical phrasing
• brass lead playing with stylistic articulation
• ensemble blend in a jazz-inflected texture