What I Did For Love: Jazz Ensemble Conductor Score & Parts

Berry's gift here is making a beloved theater standard breathe like a jazz ballad while keeping the ensemble work manageable. The trumpet and alto sax solos give young soloists the chance to feel the weight of a recognizable melody, and the medium slow Latin groove sits in that sweet spot where students can lock in without feeling rushed.

Warm and introspective. The Latin undercurrent gives it forward motion, but the emotional core of Hamlisch's melody keeps everything intimate and grounded. It's the kind of ballad that makes you listen more carefully, even at a young level.

Young jazz ensembles with at least one trumpet and one alto sax soloist who are ready to step into the spotlight. This works best for groups that have solid ensemble fundamentals and can sit in a groove without rushing, even if individual players are still developing their technique.

• Let the rhythm section establish the Latin pocket before soloists enter; a loose, conversational approach to the groove will feel more authentic than metronomic precision.
• The soloists should be encouraged to find space within the form, resisting the urge to fill every available beat. This ballad lives in restraint.
• Balance the ensemble behind the solos by treating the background as supportive rather than dominant. The soloists are telling the story here.

Pair this with other theater or popular song arrangements to build a set that reaches beyond the traditional jazz canon. It works particularly well as a mid-program reprieve from up-tempo numbers, or as the anchor of a concert exploring contemporary musical theater through a jazz lens.

• Maintaining steady Latin groove while playing solos over changes
• Phrasing and interpretation of a recognizable melody
• Listening and responding to soloist dynamics as an ensemble voice
• Reading and executing voicings that support rather than overshadow featured players
• Translating theatrical expression into instrumental jazz idiom