The Best of Big and Easy, Volume 2: Opt. Baritone T.C. (Tuba Double) Book

These arrangements work because they sound complete and confident even with minimal rehearsal time. The baritone/tuba doubling gives you flexibility in how you deploy your lower brass, and the rhythm section foundation (keyboard, electric bass, drums) keeps everything locked without requiring a full pit orchestra.

These are the tunes people genuinely want to hear. From the swagger of Bad to the Bone to the infectious lift of Gonna Fly Now and Sleigh Ride, there's energy and immediate appeal in every chart. The arrangements have space and clarity; nothing feels cramped or overly complicated, so the fun of the music comes through cleanly.

Marching bands at the Grade 2 level who want a collection that sits perfectly in the easy-to-intermediate range. Directors building a show with multiple styles will find songs here that audiences actually recognize and respond to, while your lower brass players get rewarding, idiomatic parts that don't require advanced technique.

• Find the pocket with your electric bass player early. These charts rely on rhythmic clarity in the rhythm section, so lock in your bass lines before working on any upper-voice details.
• Balance your dynamics against the synthesizer part. Since keyboard fills out much of the harmonic texture, your baritone or tuba voice needs room to cut through without overshadowing the ensemble.
• Articulate crisply on the up-tempo funk and swing tunes (Funkytown, What'd I Say). Tight tonguing keeps the groove clean and prevents muddiness in the lower register.
• Let the drumset carry the tempo. Don't fight the groove; sit back and trust the pocket they establish, especially on the blues and rock-flavored charts.

Program one or two of these charts in a parade or exhibition set where you need immediate crowd response without eating up critical rehearsal time. The collection's variety (rock, swing, holiday, pop) makes it ideal for assembling a short concert or community event where you can rotate in different songs across multiple performances.

• Reading accidentals and chromatic passages in funk and blues contexts
• Phrasing swing eighth-notes with appropriate lilt and pocket
• Balancing tone in lower register against full ensemble texture
• Responding to rhythm section cues and maintaining grid consistency