No Spring Chicken: E-flat Baritone Saxophone

Berg writes with a clear understanding of what works in the rehearsal room and what lands on stage. The funky groove and written-out solos give students immediate musical material to sink into without overshooting their technical reach, while the accessible bass part invites players into active participation rather than keeping them on the sidelines. This is a piece that teaches ensemble cohesion through feel, not through complexity.

The groove is direct and infectious, built on a foundation that swings hard but sits comfortably within reach. The written solos give horns a clear melodic statement rather than asking them to navigate open changes, while the overall vibe stays upbeat and fun without getting precious about the music.

Jazz ensembles at the intermediate level will find a solid piece that delivers a strong groove without demanding virtuosic solo chops or complex harmonic reading. Directors programming concert sets need a funky, audience-friendly selection that also teaches students how to anchor an ensemble sound. This works equally well for mixed or all-trumpet sections.

• Lock the rhythm section (bass, drums, piano) early in rehearsals to establish the groove pocket; once they're locked, the horns will fall in naturally.
• Have the lead trumpet player work the upper register passages separately to build security around the written B; the part sits high but stays in a singable range.
• Emphasize the tenor and trumpet solos during sectionals so both players own their lines before full ensemble rehearsals; these are written opportunities, not improvisation challenges.
• Let the bass line breathe and swing independently rather than doubling it with other voices; Berg's bass writing is the foundation of the funk.

Slot this into a concert as a mid-set energy lift or closer when you want the audience engaged and tapping along. It pairs well with straightforward blues-based or funk-rooted repertoire and gives students a break from more harmonically dense material without sacrificing musical substance.

• Locking into a funk groove and maintaining rhythmic precision across the ensemble
• Playing written solo lines with confidence and articulation
• Reading extended range on lead trumpet (up to written B)
• Supporting the ensemble as a bass player with an active, swinging part
• Balancing tight section work with individual voice in a jazz setting