The Bone Yard: Jazz Ensemble Conductor Score & Parts

Morales understands the trombone section's voice. Rather than burying the feature under complex harmony or demanding high-register fireworks, he gives the bones room to swing with a straightforward melodic concept that lets their character shine. The rotating solo section solves a genuine ensemble problem: every trombonist gets a moment in the spotlight without the pressure of improvisation, building confidence and ownership in younger players.

Light, swinging, and full of character. The piece bounces with the casual groove of a mid-century big band moment, driven by the warmth of the trombone timbre. It has the feeling of a real jazz feature, but with training wheels: the bones get to shine without improvisation adding another layer of pressure.

Jazz ensemble directors teaching at the intermediate level who want to feature their trombone section without the complexity of a full-ensemble chart. This works especially well for ensembles with developing improvisers or younger players who need confidence-building solo moments.

• Shape the swing eighth-note feel from the rhythm section first. Lock the bassist and drummer into a relaxed, behind-the-beat pocket before the trombones enter, so the written solos sit naturally on top of the groove.
• Balance the trombone solos against the ensemble background. The feature works only if the soloist cuts through without the ensemble drowning them out; adjust the full-section dynamics to support whoever is featured.
• Let the trombone section rehearse their solos as a small group. Even though the parts are written and not improvised, trombonists should feel ownership of phrasing and articulation choices within the framework Morales provides.
• Emphasize the character of the title in your rehearsal. 'The Bone Yard' suggests personality and playfulness; encourage the ensemble to bring lift and humor to the swing feel rather than playing it straight.

Program this as a mid-set energy lifter at a jazz concert or festival. Its swing-era charm pairs well alongside more contemporary jazz arrangements, and it works particularly well as a bridge between formal opening selections and closing feature tunes. It also serves well as a fun element in a concert focused on section showcases.

• Swing eighth-note articulation and phrasing
• Solo confidence and ensemble presence without improvisation
• Listening and blending as a section feature
• Groove-oriented rhythm section awareness
• Light, swung articulation and note placement