Good King Wenceslas: Score
Traditional / arr. Mike Collins-Dowden
Grade: 2 (Medium Easy)
Item: 00-PR-0005536
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Description
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About the Arranger: Mike Collins-Dowden

Mike Collins-Dowden has been directing band at Pleasant Ridge School in Glenview, Illinois, since 2007, where he works with fourth and fifth grade students. He holds a B.M. in music education and trombone performance from the Eastman School of Music (2003) and an M.M. in music education from Temple University (2007). His experience performing with the Eastman Wind Ensemble's 2004 Japan tour informs his approach to ensemble writing.
As a prolific composer for young concert and jazz bands, Collins-Dowden draws directly from his classroom experience when creating new works. He has published more than 30 pieces through Alfred/Belwin, FJH, and Jalen Music. Beyond composing and teaching, he remains an active performer on trombone and guitar.
Why we love this
This arrangement stays true to the carol's essence while delivering genuine swing feel and section writing that keeps every player engaged. The written solos for tenor sax and trumpet 2 provide defined showcase moments without requiring improvisation, making it approachable for ensembles still building jazz fundamentals. At grade 2, it's genuinely playable for student groups while sounding polished enough for a real holiday concert.
What to expect
A classic carol rendered with warmth and bounce, this chart swings without trying too hard. The familiar melody rides comfortably on top while the ensemble underneath creates forward motion and color, landing somewhere between a traditional holiday arrangement and a proper jazz groove.
Who it's for
Jazz ensembles at the middle school and early high school level looking for a concert-ready holiday chart that doesn't demand years of swing experience. Directors who want every section to have something to play and don't want to spend weeks drilling complex jazz vocabulary will find this accessible. Groups performing holiday concerts benefit from a piece that feels festive and musical without strain.
How to get the most out of it
- Keep the swing feel steady and relaxed at 120 BPM; rushing is the enemy of a groove that feels good. Use the written solos as a chance to highlight your section leaders without overselling them.
- Balance the tutti sections so the melody stays on top. With all parts moving, the lead trumpet's written G needs to cut through without the ensemble drowning it out.
- Lock in rhythmic figures across sections early. The parts work because they're voiced together, so block rehearsal time where brass, reeds, and rhythm section learn their relationships.
How to use it
Anchor the holiday concert's jazz moment with this tune; it works well sandwiched between a concert band piece and an acoustic or classical offering, giving audiences a chance to hear what your jazz students are learning. The accessibility also makes it a smart choice for a mid-year concert if you're building ensemble cohesion and want a morale-boosting win.
Skills your students will build
- Reading and playing swing feel with relaxed eighth-note subdivision
- Balancing melodic content in sectional voicings (lead part audibility)
- Interpreting written jazz solo passages with stylistic phrasing
- Ensemble blend and dynamic control in multi-section textures
- Maintaining steady tempo and groove in a medium swing setting