Love Is Here to Stay: Score

Craig Skeffington's arrangement strikes an ideal balance for Grade 3.5 groups: the chorale introduction gives you genuine musical substance without overcomplicating the texture, and the swing section crackles with energy without demanding virtuosic soloists. The solo opportunities for tenor and alto saxophone mean your section players get meaningful moments in the spotlight, making this a morale builder as much as a festival contender.

A warm, confident welcome from the chorale gives way to a sun-bright swing groove that feels both swinging and accessible. The melody sits in a natural register, the harmonies are sophisticated without sounding academic, and there's genuine joy in the rhythm section's pocket.

Jazz ensembles at the upper end of Grade 3 or solid Grade 4 level looking for a crowd-pleasing contest or concert feature with authentic jazz credentials. Sections need reliable readers and reasonable range facility in the lead trumpet book, but the accompaniment parts are straightforward enough that developing players can support without strain.

• Shape the chorale introduction with clear harmonic direction; let the trumpet melody sit naturally over the voicings rather than fighting for prominence.
• Lock the rhythm section (bass and drums) into a relaxed swing feel before rehearsing the full ensemble; a solid groove makes the trumpet's written B above the staff sit comfortably in the mix.
• Give your tenor and alto soloists space to stretch during their sections; outline the changes and let them find their own phrasing rather than over-conducting.
• The 184 BPM tempo should feel easy and grounded, not rushed; if the ensemble tightens up, slightly back off the tempo and rebuild the groove from the rhythm section.

Program this as a festival selection or a concert centerpiece in a set mixing standards with contemporary material. Its brisk energy and familiar melody make it an excellent complement to ballads or more challenging contemporary charts, and the upbeat finish leaves audiences smiling.

• Swing articulation and phrasing at moderately fast tempos
• Reading chord changes and comping across jazz voicings
• Solo improvisation over a 12-bar blues or tune changes (tenor and alto)
• Section blend and balance in a four-part jazz trumpet section
• Rhythmic independence and groove orientation in rhythm section parts