Best of Belwin Jazz: Young Jazz Collection for Jazz Ensemble: 2nd Baritone T.C. Book

Trading between grounded, bluesy lines and moments where you lock with the trombone section in tight harmony; there's swagger in the swing charts, warmth in the ballads, and the Latin and rock charts let you feel how jazz borrows from other genres while staying unmistakably itself.

Second baritone players in middle school through early high school jazz ensembles who are building their foundation in jazz style and ensemble awareness. You'll find parts that sit comfortably in your range while giving you real responsibility for holding down the harmonic and rhythmic core of the band.

• Balance your baritone voice against the section: you're often the anchor between trumpet and trombone, so lock in rhythmically with the bass and drums before worrying about blending up.
• Study the written-out solos before rehearsal and mark the chord changes clearly; this trains your ear for the harmonic movement even when you're not soloing.
• On swing charts, keep your tone warm and slightly behind the beat; the written rhythms will sit properly only if you're listening to the ensemble pocket, not fighting it.
• Use the chord voicing suggestions in the rhythm section parts to understand what harmonies you're supporting; this context makes every note you play make sense.

Build a jazz concert around these twelve pieces and let each week's rehearsal focus on a different style; the mix of standards (Moondance, My Funny Valentine, Sing Sing Sing, Stompin' at the Savoy) with original compositions keeps the program balanced between teaching jazz history and exploring contemporary arranging.

• Reading and executing jazz articulations and syncopation across multiple style contexts
• Understanding chord changes and harmonic function through baritone's role as bridge between melody and rhythm section
• Playing with appropriate feel and pocket in swing, Latin, rock, and ballad settings
• Supporting soloists by maintaining clear rhythmic and harmonic foundation
• Reading written-out jazz solos and internalizing how improvisation relates to the chord progression