Take Five: Jazz Ensemble Conductor Score & Parts

Take Five has earned its place as the gateway drug to odd-meter jazz, and this arrangement by Rich Derosa makes it genuinely playable for young ensembles without losing the tune's cool sophistication. The straightforward rhythmic feel, modest brass demands, and featured solos that don't overwhelm less experienced players mean your students can focus on locking into the groove and understanding what makes 5/4 work, rather than fighting their way through technical complexity.

Cool and unhurried, with a hypnotic groove that feels far simpler than its unusual meter suggests. The melody floats over a steady, almost meditative accompaniment, creating that signature Brubeck Quartet vibe of intellectual sophistication paired with genuine swing feel.

This is an essential first odd-meter experience for any young jazz ensemble at the Grade 2 level. It works equally well in school jazz band curricula, youth jazz workshops, or smaller ensembles that want to program something recognizable without needing advanced technical skills.

• Establish the rhythmic feel first by isolating the piano and bass line; the 5/4 pattern becomes intuitive once the accompaniment has absolute clarity and pocket.
• Balance the alto sax feature by sitting it just slightly above the ensemble texture rather than spotlighting it; Desmond's melody is meant to feel like a natural extension of the groove, not a spotlight moment.
• Have the ensemble count the phrase structure internally (groups of 2+3 or 3+2) to maintain security; many young players gain confidence faster by subdividing 5/4 into familiar groupings rather than feeling all five beats equally.

Program this as a palate cleanser in a concert that mixes jazz standards with contemporary work, or use it as the anchor for an entire odd-meter set that progresses through other 5/4 and non-standard time pieces. It's also ideal for introducing jazz audiences to your ensemble early in the season when you want something both accessible and genuinely cool.

• Playing in 5/4 time with security and internal pulse
• Feeling and expressing swing rhythm over an unusual meter
• Supporting a featured soloist while maintaining ensemble cohesion
• Reading jazz articulation and phrasing cues from a conductor score
• Understanding how rhythmic grouping (2+3 or 3+2) organizes odd meters