Both Hands Swingin': Jazz Ensemble Conductor Score

The whole tone introduction immediately signals that this isn't a routine swing chart, and the harmonic sophistication anchors what follows without overwhelming your section leaders. Written solos for tenor and trumpet mean less experienced improvisers can still participate meaningfully, while the professional voicings and comping patterns keep the energy high throughout.

The unusual whole tone opening creates a moment of intrigue before the piece swings into its familiar harmonic pocket. Once the groove settles, the energy is infectious and approachable, with clear solo voices cutting through a supportive ensemble that keeps the swing feeling grounded and intentional.

Jazz ensemble directors working with Grade 4 students who understand basic swing articulation and are ready for harmonic sophistication beyond simple ii-V-I progressions. This score works equally well for ensembles with newer improvisers (thanks to the written solos) and musicians eager to expand their vocabulary around changes rooted in a jazz standard.

• Shape the whole tone introduction with clarity and purpose; it sets the tonal foundation for the familiar changes that follow, so lock the articulation across sections before moving to the melody.
• Balance the solo spotlight between tenor 1 and trumpet 2 by checking blend during the written solo sections; make sure the rhythm section sits confidently beneath both.
• Anchor the swing feel in your section leaders first, then build outward; this prevents the band from rushing through the changes as they settle into the groove.

Use this as a concert closer or centerpiece when you want to showcase both your ensemble's ability to handle modern jazz writing and individual soloists' voices. It pairs well in a set with more straightforward swing charts, since the whole tone introduction gives audiences something they haven't heard in your typical Take the A-Train arrangement.

• Swing articulation and feel over non-diatonic harmonic territory
• Reading and executing whole tone harmony
• Balancing written solos within ensemble texture
• Section voice leading in jazz voicings
• Listening across ensemble to maintain groove cohesion during harmonic movement