Big Swing Face: 2nd B-flat Trumpet

Alan Baylock's reharmonization transforms a solid swing foundation into something with real harmonic teeth. Contemporary flat 5 chords and generous solo space across all sections give your ensemble room to develop individual voice while staying grounded in blues vocabulary—exactly what a Grade 3 group needs to sound intentional and mature.

Straight-ahead swing with modern harmonic flavor. The blues scale keeps everything accessible and singable, but Baylock's flat 5 colors and chromatic movement prevent any stuffiness. Soloists get room to breathe over an energetic ensemble groove that locks into a tight three-and-a-half minute package.

Jazz ensembles at the Grade 3 level with players ready to navigate contemporary harmony and solo confidently over a blues foundation. Your group needs solid section readers, at least one capable lead trumpet, and soloists willing to take risks on reeds and brass.

• Balance the lead trumpet carefully at the upper register moments, especially when the part sits above the staff; the section will hear it clearly and adjust accordingly if you model restraint in rehearsal.
• Work the swing figures in isolation during sectional rehearsals. These are the backbone of the chart's groove, and rhythmic precision here makes the solos sit on top of something solid.
• Give soloists space to own their eight or sixteen bars. Use full-ensemble rehearsals to establish form and energy, then carve out time for individuals to find their voice within the blues scale.
• The vibe part, though optional, adds color and harmonic definition if you have the player available. Even tacit through full sections, it enriches those moments where vibes do enter.

Program this as a festival or contest selection where you need a chart that sounds polished without sounding overcooked. It also works well as a morale booster mid-rehearsal season, offering clear wins for soloists and ensemble alike before tackling more complex demands.

• Reading and interpreting flat 5 and chromatic harmony in a swing context
• Solo phrasing and blues scale navigation
• Ensemble groove and rhythmic cohesion in swing figures
• Balancing lead voice clarity with section support
• Listening and responding to other soloists' phrasing and intensity