Behind You: Jazz Ensemble Conductor Score & Parts

Goodwin's arranging voice shines through in this funky shuffle: the counterpoint is genuinely clever, not showy, and every part gets its moment to solo. The 170 BPM tempo and rhythmic pocket create an infectious groove that keeps students engaged while the harmonic sophistication rewards careful listening and sectional work.

A propulsive, funkified groove that sits somewhere between a contemporary big band and a studio session. The shuffle rhythm gives it swing, but the harmonic sophistication and interlocking instrumental lines keep listeners engaged well beyond the initial hook. There's real joy in the arrangement, a sense of players having fun together without sacrificing musical substance.

Jazz ensembles at the medium-advanced to difficult level with competent soloists across all chairs. The instrumentation (tenor sax, trumpet, trombone, piano, guitar, bass, drums) requires a full rhythm section and frontline players comfortable in a funk context.

• Lock the kick drum and bass into the shuffle pocket first; once that foundation sits solid, everything else will settle into place.
• Balance the counterpoint by having soloists listen across the band during those tutti moments. Goodwin layers lines deliberately, so each voice needs to hear what's happening around it.
• Take the solo passages at face value and let students own them. This piece trusts your players to deliver individually, which builds confidence.
• Record a full run-through early in rehearsal to establish the groove reference. Two minutes one second is a tight window; students need to hear the target sound.

Program this as a centerpiece on a jazz concert or as a high-energy closer that leaves audiences smiling. It pairs well with both straightforward swinging standards and more experimental modern jazz, functioning equally well as a showcase for your ensemble's contemporary vocabulary or as a palate cleanser between heavier repertoire.

• Reading and executing shuffle rhythms at tempo (170 BPM)
• Balancing countermelodies and solo lines within a dense harmonic texture
• Maintaining groove pocket while navigating syncopated ensemble figures
• Jazz soloing with stylistic flexibility (funk and swing sensibilities in one piece)
• Listening across the rhythm section and responding to harmonic movement