Glory to That Good Jump Swing: Brass Quintet Score & Parts

Ryan Meeboer's arrangement transforms a beloved hymn into a swinging groove that feels fresh without losing its character. The tuba-led bass line approach (modeled after Benny Goodman's "Sing, Sing, Sing") gives players a clear rhythmic anchor, and the unison riff that passes through the ensemble creates immediate musicality without requiring advanced jazz vocabulary. This is exactly the kind of novelty piece that reminds audiences why brass ensembles matter.

A joyful, foot-tapping reimagining of a classic carol. The piece swings with an easygoing groove while maintaining the harmonic identity of the hymn, creating something that feels both reverent and playful. There's an infectious energy to hearing a familiar melody emerge through a jump swing lens.

Brass quintets at the intermediate level looking to add repertoire with personality and humor. This works well for groups comfortable with swing rhythms and unison playing, and for directors seeking Christmas concert material that engages both players and audiences.

• Lock the rhythmic pocket by having the tuba and rhythm section (if including optional drumset) establish the swing feel first, then layer in the other brass parts. The groove's success depends on that foundation.
• Shape each entrance of the riff expressively. Rather than playing it identically each time a different instrument takes it, let articulation and dynamics reflect the shift in color from trumpet to horn to trombone.
• Balance the melody against the walking bass line so that both parts register clearly. Too often the tuba gets buried; remember that the bass line is doing the rhythmic heavy lifting that makes the piece swing.
• Address the optional drumset part early in rehearsal. If you choose to include it, the drummer's interpretation of the swing feel influences how tightly the whole quintet locks together.

Position this as a closing or encore piece for a winter concert. It pairs naturally with more traditional sacred arrangements earlier in the program, offering a tonal shift that audiences genuinely enjoy. The runtime (2:00) makes it ideal for filling a specific concert slot without eating into time for longer works.

• Playing swing rhythms with consistent forward momentum and feel
• Trading a melodic line between different instruments while maintaining phrase shape
• Balancing a walking bass line against upper harmonies
• Articulation choices that color the same musical material differently
• Reading and executing ensemble unison passages with precision