Chicago! (from the Musical Chicago!): 2nd Trombone

Victor López's medley cuts straight to the heart of what makes Chicago unforgettable, building excitement through familiar melodies while keeping the ensemble engaged throughout. The Grade 3 voicing balances accessibility with genuine sophistication, so your band gets to sound polished without fighting the arrangement. This is the kind of piece that energizes a concert program and reminds audiences why they love live music.

Glamorous, energetic, and unapologetically fun. The music captures the sass and swagger of Chicago's jazz age, shifting from sultry and intimate to bright and propulsive. Your audience will recognize these tunes instantly, and your band will feel the thrill of playing music that swings.

Concert bands working at the Grade 3 level who want to program Broadway material that feels substantial and musically rewarding. Directors seeking an arrangement that builds ensemble cohesion through well-known melodies while staying within accessible technical demands.

• Establish the rhythmic precision early in rehearsal. The jazz inflections and syncopation in selections like 'All That Jazz' demand clean articulation and locked ensemble rhythms, especially in the winds and percussion.
• Shape the dynamic arcs within each section. The medley moves between intimate moments ("My Own Best Friend") and driving ensemble passages; resist the urge to play everything at full volume and let the contrasts breathe.
• Balance the solo and soli passages carefully. Several moments feature small group writing; make sure featured voices can project clearly without drowning out the harmonic foundation underneath.
• Pay attention to style and character in each selection. The Broadway context invites a slightly more theatrical approach to phrasing than a typical concert work, so encourage your ensemble to lean into the personality of each tune.

Program this as a concert centerpiece or closer when you want to shift mood and energy. Pair it alongside other pop or musical theater selections for a themed concert, or use it as a springboard to talk with students about how Broadway scores translate to the concert band medium. The 4:18 duration makes it substantial without overwhelming a single-concert format.

• Articulation and style in jazz-influenced contexts
• Dynamic shaping and musical phrasing across a multi-section form
• Ensemble balance with featured solos and soli passages
• Rhythmic precision in syncopated and swing-oriented figures
• Musicality and character interpretation in theatrical contexts