It Had to Be You: Jazz Ensemble Conductor Score & Parts

Tom Davis has captured everything that makes this standard enduring: a clever setup that hooks listeners immediately, then hands the melody to the trombone section where it feels both fresh and inevitable. The solo opportunities (written out for trombone, trumpet, and tenor sax) give students room to stretch without overwhelming younger or less experienced soloists, and the brass voicings sit naturally without demanding professional-level chops.

Smooth, confident, and inherently musical from the first bar. The arrangement has swing built into its DNA rather than added as an afterthought. There's warmth in the voicing and enough rhythmic play to keep ensemble members engaged without getting lost in complex changes or rangey parts.

Jazz ensemble directors working at the high school level or strong middle school programs will find this accessible without feeling like a compromise. It works for bands with developing soloists and sections that are still building blend and intonation, yet it's satisfying enough that accomplished players won't feel they're treading water.

• Nail the intro first. This is your grab, so work it as a unit until the articulations and rhythmic precision are locked. The trombone section entrance should announce itself with character but not chaos.
• Balance the melody carefully when the trombones state the theme. These voices sit lower on the staff and can get buried; make sure the section has enough support from the rhythm section to project clearly.
• Treat the written solos as learning opportunities, not obligations. If a student is ready to improvise, encourage it; if they need the roadmap the chart provides, use it without apology.
• Keep the swing feel consistent across the form. This chart rewards a relaxed, confident pocket more than it rewards rushing or dragging.

This sits naturally in a jazz concert program where you want a crowd-pleasing standard that also serves as a teaching vehicle. Program it mid-set as a breather after something more demanding, or use it as an opener that sets a sophisticated tone. It's also effective as a summer concert or festival selection where you need a recognizable title that students will enjoy performing and audiences will recognize.

• Swing feel and jazz articulation within a section context
• Reading and executing jazz notation (syncopation, rhythmic accuracy within a relaxed pulse)
• Solo construction and phrasing (using provided solos as models for jazz language)
• Blend and balance in jazz voicings, particularly in lower brass
• Listening to ensemble sound while maintaining individual responsibility