Too Close for Comfort: 2nd B-flat Trumpet

Gordon Goodwin's treatment weaves the vocal seamlessly into the ensemble texture rather than sitting it on top, creating a collaborative sound that keeps student musicians engaged throughout. The multiple vocal keys (F, G, and A-flat) with modulations challenge singers while giving directors flexibility to suit ensemble capabilities. At Grade 5, this delivers the harmonic depth and rhythmic sophistication that advanced jazz ensembles crave without sacrificing the visceral fun of a Goodwin chart.

Sleek and intimate despite the ensemble size. The vocal melody has warmth and interpretive room, while the horns provide modern harmonic color and rhythmic drive. There's a conversational quality to how Goodwin has written the vocal into the chart, making it feel like the singer and ensemble are in dialogue rather than performer and accompaniment.

Advanced jazz ensemble directors and vocalists who want to program a Broadway standard with contemporary big band sophistication. This chart works for ensembles with a capable vocalist and solid section players ready to handle Grade 5 complexity and multiple key areas.

• Balance the vocal line against the ensemble by rehearsing sections with the vocalist singing while instrumentalists play at dynamic pianissimo. The vocal should cut through without the ensemble needing to pull back artificially.
• Spend time on the modulations between keys. Mark them clearly in parts and conduct the transitions with visible gesture changes so the ensemble anticipates the key shift rather than reacting to it.
• Use the solo lead sheets for alto sax, tenor sax, trumpet, and trombone as rehearsal tools early on. Have soloists play through their charts independently first, then layer them back into the full ensemble so everyone understands how the solos sit within the arrangement.
• Check intonation carefully in the upper register of the vocal part, especially around the E-flat in the fourth space. This sits where the voice can tire or drift, particularly on repeated performances.

Program this as a headliner on a jazz ensemble concert where you want to showcase both vocal talent and advanced ensemble musicianship. It pairs well alongside other Gordon Goodwin charts or contemporary big band standards, giving the audience a recognizable Broadway melody filtered through modern jazz sensibility. The theatrical origin and sophisticated arranging make it a strong choice for spring concerts or festival appearances.

• Reading and executing key modulations (F to G to A-flat) with clean, centered intonation
• Balancing ensemble dynamics to support a featured vocalist
• Jazz time-feel and rhythmic precision at an advanced level
• Listening to and responding to solo instrumental lines within a full ensemble context
• Vocal range extension and control across nearly two octaves (low E to E-flat fourth space)