I Let a Song Go Out of My Head: 2nd Trombone

Bill Cunliffe's arrangement captures everything that makes Ellington's writing singable and playable while preserving the sophistication of the original voicings. The included solos for alto, trombone, and piano give section leaders and soloists real musical material to grow into, and the shout chorus provides the kind of moment that makes audiences lean forward. This is a chart that works equally well at a festival competition or a community dance gig.

A medium-tempo swinger with genuine sophistication in its harmonies and section writing, yet one that never feels stiff or academic. The inclusion of vibraphone as optional adds shimmer when available, while the piece holds together beautifully as a core ensemble statement.

High school jazz ensembles, college jazz bands, and community big bands looking for a vehicle that swings hard while offering meaningful solo opportunities. The Grade 3 difficulty sits squarely in the working repertoire zone: challenging enough to require focused rehearsal but accessible enough to prepare in a reasonable timeline.

• Nail the swing feel at 114 BPM by locking the rhythm section's understanding of where the backbeat lives. Once your drummer and bassist agree on the pocket, the horn sections will follow naturally.
• The written solos are starting points, not final answers. Encourage alto, trombone 1, and piano players to learn the written passage first, then develop their own voice within that harmonic and melodic framework.
• Balance the sax soli sections carefully. These moments sit at the heart of the arrangement and need clarity without overpowering the rest of the ensemble. Think transparency rather than volume.
• The shout chorus builds its power through collective energy, not force. Coach the band to think of it as conversation and response, letting each phrase land before the next enters.

This arrangement fits naturally on a concert where you're programming a mix of jazz standards, as an opener or mid-set number that establishes ensemble swing without demanding a ballad or extended feature. It also works as a festival piece where it reads as both musically serious and genuinely enjoyable.

• Medium-tempo swing feel and articulation in both written passages and improvisation
• Voicing blend in four-part saxophone sections and section-to-section balance
• Solo construction over jazz changes, building from the provided melody
• Listening and responding to rhythm section time, particularly backbeat placement
• Phrasing and dynamics across both ensemble and individual passages