Plenty of Nothing: Jazz Ensemble Conductor Score

Herzig and Fraley have constructed a modal swing chart that sounds more sophisticated than its Grade 3 designation might suggest. The open solo section invites any instrumentalist to step forward with confidence, while the note-for-note transcription of the guitar solo gives students a concrete reference point for understanding the tune's harmonic foundation and comping style. This is the kind of accessible yet substantial arrangement that makes developing ensembles sound coherent and intentional.

A purposeful groove that settles into itself once the ensemble finds the pocket. The opening melody has a lightly textured, almost conversational quality that invites soloing without demanding flashiness. This is straightforward swing played with intention rather than spectacle, allowing students to focus on feel and collective listening rather than technical fireworks.

This chart serves developing jazz ensembles ready to explore modal harmony and swing comping in a real musical context. Players who have experienced basic walking bass lines and straightforward swing rhythms will find the Grade 3 difficulty supportive but not simplistic, making it ideal for high school groups or post-beginner community ensembles beginning to develop individual voices within an ensemble sound.

• Establish the groove in the rhythm section first. The straight-ahead swing feel relies on your bass and drums locking into a purposeful pocket; once that foundation is solid, the rest of the ensemble can relax into the time rather than chase it.
• Use the transcribed guitar solo as a study tool during sectionals. Have students listen to how the comping voices shape the solo's phrasing and harmonic movement, then apply those same principles to their own accompaniment figures.
• Balance the opening melody carefully. The alto 1 and trumpet 2 pairing creates a naturally lighter texture; resist the urge to push the dynamic. This restraint sets up the arrangement's overall sophistication.
• Encourage soloists to listen to the full recorded version before stepping forward. Familiarity with the tune's harmonic landscape and the style of playing Herzig favors will make individual contributions sound integrated rather than isolated.

Program this early in the season to establish modal language and swing comping technique before tackling more complex harmonic territory. It also works well as a feature for a jazz appreciation concert or community performance where you want to showcase developing musicianship without overwhelming the audience with technical demands.

• Reading and performing modal swing in straightforward rhythmic contexts
• Supporting and responding to solo voices through comping and ensemble accompaniment figures
• Listening and musical conversation within an ensemble setting
• Understanding the relationship between transcribed reference solos and improvisation
• Playing with intentional groove and swing feel rather than simply marking time