Maynard & Waynard: 2nd B-flat Trumpet

This arrangement captures the energy and sophistication of Goodwin's Big Phat Band sound while staying firmly within the reach of young players. The written-out trumpet solo that functions across all three parts gives your section creative flexibility, and the optional parts mean you can adapt to your ensemble's size without sacrificing balance or impact.

Bright and infectious, with the swagger of a professional big band scaled down to student-friendly ranges and rhythmic complexity. The piece swings with purpose, delivering that satisfying sense of groove that makes young musicians understand why jazz matters.

First-year jazz ensembles and younger students encountering big band writing for the first time. The Grade 1 difficulty level keeps technical demands manageable while introducing authentic jazz vocabulary and ensemble balance work that typically appears in more advanced charts.

• Balance the sax soli carefully against the ensemble; this section should sing with clarity but remain part of the overall groove rather than sitting on top of it.
• Treat the 12-bar trumpet solo as an ensemble moment, not a spotlight feature. All three parts playing together maintains the swing feel and keeps younger players from feeling isolated.
• Lock the rhythm section into a steady swing eighth-note feel early in rehearsal. Once that pocket is solid, everything else falls into place naturally.
• Pay attention to articulation consistency across the brass section, especially on the backbeats where jazz phrasing matters most.

Program this early in your jazz ensemble season to build confidence and demonstrate what the band can accomplish together. It works equally well as a concert opener or festival entry; the accessibility means students will execute it cleanly while the compositional craft keeps audiences engaged.

• Reading and executing swing eighth-note articulation
• Balancing melody and rhythm section in a jazz context
• Coordinating ensemble soli across multiple parts
• Understanding big band voicing and sectional independence
• Playing written-out solos with ensemble awareness rather than spotlight mentality