Rock This Town: Jazz Ensemble Conductor Score & Parts

Rick Stitzel's arrangement channels the raw swagger of the original into a vehicle that works brilliantly for young jazz ensembles. The saxes carry the melody with real personality on the head, then the full ensemble locks in on the chorus with just enough sophistication to feel authentic. What sets this apart is the flexibility built into the solo section: whether you use a single sax or multiple soloists, the energy stays intact and every player finds something rewarding to do.

Propulsive and groovy, with a touch of mischief in the melody. The arrangement feels lived-in, like the band has played this a hundred times and knows exactly when to lock tight and when to swing a little looser. It's music designed to move bodies as much as ears.

Grade 2 jazz ensembles with developing section cohesion and at least one reliable soloist in the saxophone section. Works equally well as a concert opener that gets an audience's attention or as a fun closer that leaves them smiling. Young players recognize the rock lineage immediately, which builds confidence and engagement.

• Let the saxophones taste the head unaccompanied first to lock the phrasing before adding rhythm section. The groove matters more than perfect unison.
• Anchor the ensemble sections with a solid time feel from bass and drums; the horns will lock in naturally once the foundation is steady.
• Encourage soloists to lean into the rock attitude while respecting jazz articulation. This is not bebop; it's a groove with attitude.
• Keep the overall tempo driving but not rushed. A relaxed, swinging feel at a moderate uptempo will feel hotter than a frantic pace.

Pair this with other contemporary jazz charts that bridge rock and swing to build a set that speaks to student interests. It works as a natural program partner for other uptempo ensemble pieces and provides contrast to ballads or complex harmonic arrangements elsewhere on the concert.

• Groove-based time feel and rhythmic accuracy in uptempo swing
• Saxophone section balance and blend on a written melody
• Listening and responding to rhythm section foundations
• Solo construction over a 12-bar or 16-bar form
• Stylistic interpretation: rockabilly phrasing within a jazz context