The Southeast Sixstep: Jazz Ensemble Conductor Score

Richards solves a real problem for advanced jazz programs: finding an original chart that feels genuinely comfortable in an unusual meter rather than fighting it. The 6/4 framework here isn't a gimmick; the piece breathes naturally in six, swinging hard without reverting to 4/4. The solo and section writing gives soloists real estate while keeping the ensemble engaged through shout choruses and a lead trumpet line that sits high but stays singable.

Modern and grounded at once. The piece opens with a straight eighth pocket that feels almost contemporary, then shifts into genuine swing while holding the six/four framework. There's a floating, open quality to the solo sections that hints at Pat Metheny's harmonic approach, balanced by punchy ensemble statements that keep the band in control.

Advanced jazz ensembles (Grade 5) ready to tackle meter and swing feel simultaneously. This score works best with groups that have solid tenor sax and trumpet soloists and an ensemble that can lock a groove without falling back on predictable 4/4 habits.

• Establish the 6/4 pulse early in rehearsal by conducting in two (three beats per side) rather than six. This keeps the straight eighth groove locked and prevents the ensemble from subdividing into 2/4 plus 2/4.
• Balance the sax soli so the section voice reads clearly over the accompaniment. Since this is an ensemble chart, make sure the horns behind the soli support without overwhelming the featured line.
• Encourage the trumpet 2 and tenor sax soloists to stay grounded in the groove during their solo space. The Metheny influence suggests a more atmospheric, conversational approach than hard-driving changes.
• Bring out the shout chorus sections with precision; these unison moments define the chart's energy and give the band collective ownership of the tune.

This chart demands a spot on a jazz festival or concert where it can command full attention. The 7:26 length and advanced demands pair well with a program built around exploring contemporary jazz language; follow it with a straightahead blues or precede it with a Latin standard to show different approaches to the same vocabulary.

• Reading and performing in 6/4 time with swing feel
• Maintaining groove in a non-standard meter across the full ensemble
• Trading solos (tenor sax and trumpet 2) within a fixed harmonic structure
• Balancing section work (sax soli) with accompaniment density
• Producing lead trumpet range at written C above the staff with clarity and control