Moten Swing (arr. Rick Stitzel): Jazz Ensemble Conductor Score & Parts
As performed by Count Basie / Arranged by Rick Stitzel
Grade: 2
Item: 35-PK00486849
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Description
Recorded in 1932 by Bennie Moten's own Kansas City Orchestra, this jazz classic was notably stylized by Count Basie in 1940. Rick Stitzel's easy version is true to the Basie style, featuring tutti ensemble scoring along with a short solo for any sax followed by a solo for any trumpet. A great lesson in swing style for young players. The Hal Leonard Easy Jazz Ensemble series is written for full band, playable with four saxes, three trumpets, three trombones, and rhythm section. Each arrangement includes optional parts for flute, clarinet, F horn and tuba. Full length recordings available for each arrangement.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00486849
More about this title
About the Artist: Count Basie
Count Basie (1904–1984) shaped the sound of Kansas City jazz and became one of the most influential bandleaders of the swing era. His piano playing was deceptively simple; he used space and silence as skillfully as notes, letting his rhythm section breathe while anchoring the band's groove. Basie's orchestras were known for their irresistible swing, and his arrangements of standards like this one became blueprints for how big bands could balance ensemble power with room for individual expression.
In the classroom, Basie's legacy teaches students that restraint and pocket playing matter as much as technical facility. His bands grooved hard without overcomplicating things, making his work ideal for young ensembles learning what swing really means.
Why we love this
This arrangement captures the essential Basie sound without overwhelming young players. Rick Stitzel has preserved the infectious groove and the call-and-response energy that made the original irresistible while keeping the reading level and part complexity appropriate for ensemble players still building their jazz vocabulary. Your students will feel like they're swinging in a real big band from the first rehearsal.
What to expect
From the opening ensemble statement, this feels like stepping into a Kansas City ballroom in the 1930s. The piece swings with an easy confidence, never straining to impress, and the short solos invite players to find their voice within a supportive ensemble texture. It's joyful and straightforward, exactly the kind of tune that makes young musicians understand why people danced to jazz.
Who it's for
This is built for jazz ensembles at the Grade 2 level who are ready to learn swing style on a piece with real historical credentials. It works equally well for a first jazz band experience or for players who have tackled a few easier pieces and are ready for something with more groove and musical substance.
How to get the most out of it
- Lock the rhythm section into a relaxed, behind-the-beat feel rather than rushing the pulse. Basie's magic lived in the pocket, not in playing fast.
- Let the saxes and trumpets listen to each other during the ensemble sections so their attacks land together. Clean articulation and matched phrasing make the tutti passages shine.
- Shape the solos generously. Even though they're brief, give your soloists space to stretch and breathe so they feel supported, not hurried.
- Lighten the dynamic at key moments rather than pushing volume everywhere. Swing style works when there's contrast and air in the ensemble sound.
How to use it
Open a jazz concert with this piece to set an energetic, authentic tone and show audiences what your ensemble has learned about swing style. It also serves beautifully as a teaching piece midway through the fall semester when you want students to consolidate their understanding of ensemble balance and jazz articulation before moving to more challenging material.
Skills your students will build
- Swing articulation and phrasing in an ensemble setting
- Reading and responding to big band section voicings
- Pocket playing and behind-the-beat pulse awareness
- Solo construction within a composed framework
- Listening to blend with section mates during tutti passages