Old Devil Moon: Jazz Ensemble Conductor Score

Dave Wolpe's arrangement captures the swagger of a classic jazz standard while remaining accessible to Grade 3 ensembles. The written-out trumpet solo gives young soloists a concrete model to learn from, and the optional doubling parts (flute, horn, baritone, tuba) mean you can program this regardless of your instrumentation. It's the kind of opener that reminds audiences why jazz standards endure.

A ballroom swoon wrapped in swagger. The melody glides with romantic warmth while the harmony beneath it provides sophisticated jazz color. There's an ease and elegance here that makes the ensemble sound more mature than its grade level suggests.

Jazz ensemble directors working with Grade 3 groups who want a polished opener that builds student confidence and audience goodwill. The arrangement serves soloists well whether your trumpet section is strong or developing, and the section scoring gives all players meaningful parts to execute.

• Balance the trumpet solo against the section: the melody needs to sing without overwhelming the ensemble backdrop, so pay attention to dynamic shaping across the full 16 pages.
• Anchor the groove in the rhythm section and have the band lock into the swing feel before addressing the written trumpet line. The soloists will land more naturally once the pocket is solid.
• Shape the sax section solis as conversations, not declamations. These moments call for warmth and blend within the section rather than competitive voicing.
• Use the optional instrumentation strategically. If you're doubling the lead trumpet with flute or baritone, ensure those doublings serve the overall color you want, not just fill a gap in your instrumentation.

Open your concert with this. It sets a professional tone immediately, allows your best trumpet player (or gives your developing soloist a defined roadmap to follow), and gives the rest of the ensemble material that sounds substantial without overwhelming them. The 16-page score also works well as a closer if you want to end on a note of classic sophistication.

• Executing written-out solo passages with stylistic phrasing
• Balancing solo lines against ensemble backgrounds
• Locking into swing feel and groove consistency
• Blending within jazz section parts (sax solis, brass writing)
• Navigating optional instrumentation choices and doublings