Oh, Lady Be Good!: Jazz Ensemble Conductor Score & Parts

Terry White's bebop-influenced arrangement captures the energy of a classic standard without getting bogged down in complexity. The written solos for alto 1, trumpet 2, and lead trumpet give developing improvisers a secure foundation to build from, while the sax soli and swing feel throughout demand real ensemble precision. At Grade 3, this sits at the sweet spot where students can focus on authentic jazz phrasing rather than note-reading gymnastics.

Propulsive and urbane. The bebop DNA gives this standard an edge beyond the typical ballroom-era arrangement, with clean lines and driving rhythms that make students feel like they're playing in a real jazz room. It swings hard without ever feeling strained.

Jazz ensemble directors working with intermediate to advanced high school or college players who are ready to tackle swing feel and written solos with confidence. This works equally well for community jazz ensembles seeking repertoire that balances musicality with playability.

• Establish a steady swing pulse from the start. The chart's straightforward harmonic language hinges on a groove that breathes naturally; rushing or playing it straight will drain the tune of its character.
• Balance the sax section carefully when the soli enters. These moments should sit in front of the ensemble without overwhelming the rhythm section or overshadowing the brass.
• Have alto 1 and trumpet 2 practice their written solos as fully realized melodies first, then explore how dynamics and articulation can shape phrasing once the notes are secure.
• Manage the lead trumpet's range strategically. The written A above the staff is accessible at Grade 3, but checking intonation and endurance in rehearsal will prevent a tired upper register by performance time.

Program this early in the season as a confidence-builder for new jazz ensemble students. The tune's familiarity and straightforward architecture make it ideal for concert openers or for pairing alongside more challenging contemporary pieces. It also works beautifully as a showcase for your section leaders' solo abilities.

• Swing articulation and phrasing across the entire ensemble
• Soloing over changes using written models as reference
• Balancing section writing and solos in an ensemble context
• Maintaining consistent groove and feel across tempo and dynamics
• Intonation in the upper register (lead trumpet range to written A)