Don't Steal My Stuff: Jazz Ensemble Conductor Score & Parts

Goodwin understands exactly what Grade 3 ensembles need: music that's immediately fun to play without sacrificing real jazz vocabulary and character. The strategic focus on trumpet 1 and trombone 1 gives your section leaders something substantial to sink their teeth into while keeping the ensemble parts playable, and the accessible 160 BPM tempo means students can actually execute the funky articulations and rhythms without rushing or struggling.

A playful, groove-oriented chart with serious jazz credentials. The funky harmonic language and syncopated rhythms sit comfortably for younger players while delivering the kind of modern big band energy that makes students excited to come to rehearsal.

Grade 3 jazz ensembles ready to showcase their strongest soloists while building cohesive ensemble sound. Directors looking for accessible yet musically substantial material that engages both featured players and the full ensemble.

• Lock the rhythm section into a locked groove from day one. The funk character depends on crisp articulation and tight ensemble togetherness in the drum and rhythm parts, so have them rehearse separately before adding the horns.
• Isolate the trumpet 1 and trombone 1 duet passages in sectional rehearsals. These are the stars of the chart, so give them time to develop their blend, intonation, and phrasing independence.
• Work through the written solos bar by bar to ensure students understand the harmonic and rhythmic context. Goodwin has written these out for a reason: they're teaching tools, not improvisation studies.
• Emphasize the style and articulation markings throughout. The "funky" character lives in how crisply and together the ensemble articulates, especially during the ensemble hits and trading passages.

Program this as a concert opener or closer to set a high-energy, contemporary tone. It works equally well as a festival selection or as a showcase feature for a young jazz program, particularly when you want to demonstrate that Grade 3 ensembles can handle real jazz language and style.

• Reading and executing consistent funk articulation across the ensemble
• Balancing solo voices over an energetic big band texture
• Playing written jazz solos with harmonic awareness and rhythmic precision
• Trading eight-bar and four-bar phrases while maintaining groove integrity
• Listening for and responding to section cues in a syncopated, rhythmically complex chart