Lullaby Of Birdland: Jazz Ensemble Conductor Score & Parts

Rick Stitzel's arrangement democratizes this iconic standard by rotating the melody through every section, so your entire ensemble feels ownership of the piece rather than sitting out during the head. The solo options for trumpet and sax let you feature soloists without boxing anyone into a predetermined role, and the Grade 2 level makes this accessible without sacrificing the jazz vocabulary that gives the tune its character.

Sophisticated without pretension. The melody carries an almost wistful elegance over steady, supportive harmonies that feel warm rather than austere. There's a lightness to the groove that invites the ensemble to settle into a genuine swing rather than grind through changes.

Young jazz ensembles working at Grade 2 who want authentic standard repertoire with real jazz language. This works for groups still building swing feel and sectional independence, as well as for concerts where you need a piece that sounds polished without requiring seasoned improvisers.

• Anchor the groove on the rhythm section. The piano comping and bass line should feel relaxed and swinging, not metronomic. This gives the melody sections room to sing rather than rushing.
• Bring out the harmonic sophistication in the voicings. Even at this grade level, Shearing's chords have color. Balance clarity with blend so the audience hears the sophistication of the writing.
• Shape the solo section deliberately. Whether you use the trumpet, sax, or trade both soloists, establish clear entry and exit points so the band stays focused during their improvisation.
• Let the phrase endings breathe. Shearing's melody has natural resting points that benefit from slight space rather than pushing straight to the next section.

Pair this with other jazz standards or original works to build a cohesive set that showcases your ensemble's range. It works equally well as an opener that establishes musicality or as a closer that leaves the audience with something memorable and melodic.

• Reading jazz notation and rhythmic comping
• Balancing individual melody work with ensemble blend
• Listening to chord changes while executing rhythmic figures
• Swing articulation and phrase shaping
• Improvisation over steady harmonic progressions