There's the Rub: Piano Accompaniment

Goodwin writes with the confidence of someone whose big band work has been heard on major film soundtracks and recorded by world-class ensembles. The half-time shuffle groove and the sharp melodic writing in the opening section give students a chart that sounds polished and modern without sacrificing clarity of parts. The shout chorus delivers the payoff that makes this arrangement stick in listeners' ears long after the concert ends.

A funky, propulsive big band sound that balances clever compositional detail with raw ensemble energy. The half-time shuffle gives the piece a relaxed but driving feel, while the shout chorus ignites sudden collective power that can electrify an audience.

Advanced high school and college jazz ensembles with solid musicianship across all sections and soloists capable of improvising within chord changes. Directors programming a concert that needs a contemporary chart with recorded credibility and genuine groove will find this title immediately appealing.

• Lock the half-time shuffle feel early in rehearsal; have the rhythm section establish the pocket together before layering in the written parts.
• Balance the alto and trumpet opening melody so both sections are heard equally; this counterpoint is central to the arrangement's identity.
• Give solo space to piano, alto, or tenor sax real rehearsal time; soloists should outline the changes confidently rather than tentatively filling the space.
• The shout chorus builds impact through ensemble precision; mark articulation cues in pencil and rehearse section hits as unit blocks before putting the full sound together.

Program this as a centerpiece of a jazz ensemble concert, particularly when you want to showcase soloists and the band's ability to lock into a contemporary groove. Its recorded pedigree from Swingin' for the Fences makes it an ideal choice when you want students to hear and learn from a professional reference recording.

• Half-time shuffle feel and pocket awareness
• Balancing written melody across sections (altos and trumpets in counterpoint)
• Improvisation within changes for featured soloists
• Ensemble articulation and shout chorus precision
• Learning from and emulating recorded professional big band recordings