Chase the Clouds Away: Jazz Ensemble Conductor Score & Parts

Mike Lewis's arrangement strips away complexity without sacrificing musicality. The unison passages and harmony in thirds give younger ensembles something immediately cohesive to play, while the restricted trumpet range and absence of solos mean every musician contributes meaningfully rather than waiting for a feature. This is a ballad that sounds finished and professional after just a few run-throughs.

Warm, introspective, and gently floating. The harmonic movement feels unhurried, with a quality of reflection that the title captures perfectly. There's nothing precious about it; instead, it has the straightforward beauty of a well-turned melody supported by thoughtful voicing.

This arrangement is built for young jazz ensembles (high school, intermediate college, or advanced middle school) where balance between accessibility and musicality matters most. It works equally well for groups new to jazz repertoire and those seeking a carefully crafted ballad that doesn't rely on soloist heroics.

• Shape the unison lines with clear phrase direction; young ensembles often play in blocks rather than arcs, so mark your breath points and release points to create motion across longer phrases.
• Balance the thirds carefully, especially in the lower voices. Have the second part play slightly under the first part to create a unified sonority rather than parallel melody lines.
• Use the conductor score to identify where harmonies shift or where inner voices carry the harmonic motion; this helps you hear what the parts are actually doing underneath the melody.
• Take time with the tempo in early rehearsals. A hauntingly lyrical ballad loses its character if rushed, even if the technical content is accessible.

Program this as a contrast piece in a concert of uptempo or swinging material, or use it to open a set with something that establishes mood before moving into higher-energy selections. It also pairs naturally with other First Year Charts selections if you're building an all-ensemble program.

• Sustained legato phrasing across longer melodic lines
• Blend and balance in three-part harmony
• Jazz ensemble balance and intonation in unison passages
• Reading jazz notation and articulation conventions
• Listening to harmonic movement rather than playing note-to-note