I Got Rhythm: Jazz Ensemble Conductor Score & Parts

Dave Wolpe's arrangement cuts straight to what makes this standard irresistible: a trombone feature that sits perfectly in the soloist's wheelhouse, brass parts that swing hard without overcomplicating the voicings, and enough solo space throughout the section to keep everyone engaged. This chart respects the original while demanding real musicianship from your lead players and rhythm section.

Pure swing energy with a touch of Broadway shine. The melody sits comfortably in the ear while the harmony underneath moves with sophistication, and the solo sections have that irresistible "let it breathe" quality that makes jazz ensemble playing feel alive. Audiences recognize it instantly, but this arrangement gives it room to stretch.

This is designed for jazz ensembles with an experienced trombone soloist and secure lead trumpet player capable of navigating medium-advanced voicings and the high demands of the chart. Your rhythm section needs reliable swing pocket and basic comping chops. Groups at the Grade 4.5 level and above will find the solo space and sectional writing engaging without becoming unwieldy.

• Balance the trombone soloist prominently in the first chorus; the arrangement is built around showcasing that voice, so resist the urge to fill space around it.
• Lock the rhythm section (piano, bass, drums) into a comfortable swing feel during rehearsals before layering the horns; the groove is the foundation everything else sits on.
• Work the high D passages for trumpet and trombone in separate sectionals to confirm intonation and endurance before full ensemble run-throughs.
• Shape the dynamic contours of the tutti sections crisply; the chart has written swells that define its energy arc.

This works as a centerpiece in any jazz concert where you want to spotlight soloist achievement alongside solid ensemble work. It pairs well alongside other Gershwin-era standards or as the anchor for a program built around American songbook classics. The 78-page score suggests this is substantial enough to close a set or anchor the second half of a concert.

• Swing articulation and phrasing across the brass section
• Leading and responding in small group improvisation
• Reading and executing jazz chord voicings (four-part harmony)
• Building dynamic shape and contrast in ensemble passages
• Trading solo space and maintaining rhythmic cohesion during improvised sections
• Intonation at the extremes of instrument range (high D for trumpet and trombone)