On a Clear Day (You Can See Forever): Bass Trombone

Darmon Meader's arrangement captures the sophisticated sophistication of Lane's original without overwhelming a high school ensemble; the optional tenor sax substitution for vocal solo gives you flexibility when you don't have a strong singer available, and the inclusion of guitar chord frames makes the rhythm section feel genuinely connected to the jazz tradition. Programming a vocal feature with full jazz ensemble requires material that's both singable and musically substantial, and this delivers on both counts.

Optimistic and soaring, with the kind of open, bright quality that made the original song a standard; Lane's melody unfolds naturally over jazz changes, and the ensemble parts create a lush harmonic backdrop that feels both polished and swinging. There's a buoyant confidence in the writing, an invitation for the vocalist or soloist to sing with freedom and joy.

Jazz ensemble directors working with Grade 4 musicians who want to feature a vocalist or skilled tenor saxophonist and need a Broadway standard that sits comfortably at the medium-advanced level. This works equally well for college jazz ensembles looking to build a vocal-feature program or high school groups ready to tackle sophisticated harmonic language and ensemble voicings.

• Balance the vocal line so it sits slightly forward of the ensemble; the saxophone and brass voicings are rich enough to cover a singer who doesn't project with confidence.
• Use the guitar chord frames as a teaching tool with your rhythm section; understanding the voicings suggested in those frames will sharpen the ensemble's harmonic precision and collective sound.
• If you substitute the B-flat tenor sax for the vocal solo, adjust your rehearsal mindset from accompanying a singer to featuring an instrumental soloist, and give that player the freedom to interpret the melody with rubato.
• Mark the suggested rhythms and voicings in the rhythm section parts; they're not merely suggestions but crucial to maintaining the arrangement's intended groove and texture.

Feature this in a concert that celebrates the intersection of Broadway and jazz, pairing it with other Jazz Vocal Series selections or standalone jazz standards arranged for ensemble. It's particularly effective as a showcase piece mid-concert, where the vocal or saxophone solo can capture audience attention before returning to full ensemble work.

• Balancing soloists with ensemble accompaniment in a jazz context
• Reading and interpreting guitar chord frames and suggested voicings
• Performing jazz style with appropriate articulation and swing feel
• Managing instrumentation flexibility (vocal solo vs. tenor sax substitution)
• Executing complex harmonic progressions common to Broadway jazz standards