Terminally Hip: Jazz Ensemble Conductor Score & Parts

Goodwin writes for student ensembles with the same sophistication and swing feel that defines his professional big band work. The solo spaces throughout give every section member a chance to shine, and the 160 BPM medium-bright tempo sits perfectly for building confidence without overwhelming younger players.

Bright, energetic, and eminently hip. The chart pulses with an easy confidence that sounds both current and thoroughly grounded in jazz tradition. At three minutes and fifty-two seconds, it moves with purpose but never feels rushed, inviting players into the groove rather than forcing them.

Grade 3 jazz ensembles with solid readers who are ready to explore contemporary swing writing. Directors can use this with groups that have developed basic section independence and at least one capable soloist per instrument.

• Keep the rhythm section locked on the upbeat feel; the guitar and piano should voice chords in a contemporary, light way that supports the horn lines rather than pushing against them.
• Allow soloists time to find their voice during rehearsals before expecting them to fill those spaces confidently in performance. Record a clean rhythm section track and let them work through their sections at home.
• Balance the ensemble blend by bringing the trombone and tenor sax forward during the main theme; they carry the melodic weight and need to cut through the rhythm section.
• Don't rush the groove. At 160 BPM, the swing eighth notes should feel relaxed and almost laid-back, especially in the opening section.

Program this as a centerpiece for a jazz-focused concert, especially alongside other Goodwin charts if your ensemble is building familiarity with his style. The contemporary feel and accessible difficulty make it ideal for spring concerts or festival performances where you want to showcase student musicianship without relying solely on standards.

• Reading and executing swing eighth notes in a medium-tempo setting
• Balancing ensemble blend across seven voices with clear sectional hierarchy
• Solo improvisation and phrasing over a jazz rhythm section
• Responding to section independence cues while maintaining groove continuity
• Navigating syncopated ensemble hits that require rhythmic precision