Down For Double: Jazz Ensemble Conductor Score & Parts

Rick Stitzel's arrangement captures the essential Basie sound without overwhelming young players. The balanced distribution of melodic material between saxes and brass, paired with accessible solo opportunities, gives students a genuine taste of big band writing rather than a watered-down approximation.

Straightforward swing that grooves from the first measure. The writing has that Basie hallmark of sounding effortless and relaxed while maintaining sophistication beneath the surface.

Jazz ensembles at the middle school or early high school level that are ready to tackle authentic big band repertoire. This arrangement demands musicality and listening skills but not technical impossibilities, making it ideal for groups building their jazz foundation.

• Build the rhythm section's confidence early in rehearsals. The drums, bass, and piano need to lock in before the ensemble enters; their pocket is what makes the swing feel effortless rather than forced.
• Shape the tenor and trumpet solos with rhythmic flexibility. Young soloists often rush swing eighths, so model the laid-back phrasing you want and give them permission to sit slightly behind the beat.
• Balance the sax section's lead with the brass figures underneath. The saxes should sing without covering the supporting harmonies; this is an exercise in blending rather than domination.

Pair this with other medium-difficulty jazz standards to build a jazz concert that feels cohesive. It works particularly well as a centerpiece piece that demonstrates how your ensemble handles authentic swing style alongside other contemporary jazz writing.

• Swing eighth-note articulation and phrasing
• Listening to and responding to harmonic figures in other sections
• Trading phrases between reed and brass sections
• Solo accompaniment in a jazz setting
• Big band ensemble balance and blend