The Theme: Jazz Ensemble Conductor Score & Parts

Paul Murtha captures the essential character of this closing theme while building in exactly the kind of sectional interplay that keeps young players engaged. The trumpet and tenor sax trading in the opening section gives soloists a clear focal point, and when the full ensemble enters, students experience what it feels like to be part of a tight, swinging whole. This is the kind of tune that sounds professional in performance but remains genuinely playable at Grade 3.

Sophisticated but not complicated. The theme has that Davis hallmark of effortless elegance; it sits naturally under the fingers and sounds instantly polished. When the full ensemble swings together, the tune conveys the cool authority that made it a Davis signature—perfect for closing a set with style.

Young jazz ensembles with solid section work and reliable section leaders. The Grade 3 difficulty assumes players can hold their parts confidently while others take the melody. Directors programming their first or second jazz concert will find this tune both accessible and immediately recognizable.

• Lock the melody line between trumpet and tenor during the opening trades. Neither section should dominate; aim for balanced volume and phrasing so the theme stays crystal clear as it passes back and forth.
• Shape the background figures with consistent articulation across the section. These figures anchor the harmonic motion, so rhythmic precision matters more than volume.
• Build the energy gradually as more voices enter. The chart's strength lies in its gradual expansion, so resist the temptation to play full power from the start.
• Keep the swing feel relaxed and behind the beat. This tune closes sets, so it should land with confidence, not urgency.

Anchor the closing moments of a jazz concert or pops program. This tune works beautifully as a finale piece, especially if your first set includes Davis standards or other cool jazz repertoire. It also pairs naturally with other Grade 3 jazz charts, giving your ensemble continuity in style and difficulty without repetition.

• Trading melodic lines between sections (trumpet and tenor sax)
• Balancing solo and ensemble voices within a single chart
• Swing feel and behind-the-beat phrasing
• Supporting background figures that enhance rather than obscure the melody
• Building dynamic shape across multiple sections