The Sun Will Shine Today: Guitar

Williams writes swing charts that actually swing, and this one gives your soloist real space to stretch over a solid, playable ensemble foundation. The orchestration across multiple solo voices (clarinet, trombone, B-flat and E-flat instruments) means you can rotate soloists throughout the year or feature different players in different performances without relearning the piece. At Grade 6, it's genuinely challenging for the ensemble parts without being fussy about intonation or articulation details.

Optimistic and groovy, with a title that matches its character. The swinging tempo and bright harmonic movement create forward momentum, while the feature passages invite soloists to play with genuine lyricism and blues inflection. The overall effect is uplifting without being saccharine, a piece that lands as confidently in a jazz festival as it does in a pops concert.

Jazz ensemble directors working with advanced high school, college, or professional groups who want a feature vehicle that serves both the soloist and the ensemble. Musicians at this level appreciate the harmonic sophistication and the opportunity to play authentic swing phrasing without the complexity of difficult ensemble rhythms or exposed tuning challenges.

• Lock in the rhythm section first, especially the walking bass and ride cymbal pattern at 180 BPM. Once the groove sits, the ensemble parts fall into place naturally.
• Give your soloist several rehearsals to develop phrasing and dynamics independently before running full sections. The best swing solos emerge from conversation with the rhythm section, not from following the printed rhythm exactly.
• Balance the ensemble voicings so the soloist never has to oversing to be heard. Reeds and brass should sit comfortably behind, not underneath.
• Use the optional horn in F parts strategically. If you have strong horn players, they add warmth to the mid-range; if not, the piece works completely without them.

Close a first half or program finale with this one. Its energy and clear structure make it an excellent closer that leaves audiences wanting to applaud, and the 2:20 length fits perfectly in contest or festival time slots. It also works beautifully as a feature during a jazz showcase or in a mixed program pairing chamber works with larger ensemble pieces.

• Swing rhythmic feel and articulation (eighth-note triplet interpretation)
• Ensemble balance in feature accompaniment contexts
• Jazz voicing and harmonic awareness (reading chord changes from conductor charts)
• Solo phrasing and blues-inflected language
• Sight-reading multiple solo parts (clarinet, trombone, B-flat and E-flat options)