What Is This Thing Called Love?: Jazz Ensemble Conductor Score & Parts

Craig Skeffington's arrangement captures the swagger of this standard while building in written solos for trumpet 2 and trombone 1 that give section players real chances to shine. The ensemble counterpoint keeps the texture interesting without overwhelming a Grade 3 band, and the rhythm section writing is tight enough to drive the swing without requiring virtuosic rhythm players.

Sophisticated and swinging. The melody feels like a conversation between the lead voices, cool but never cold, with enough harmonic richness underneath to keep players and listeners engaged. At 160 BPM, there's forward momentum without breathlessness.

Jazz ensembles at the intermediate level looking for a standard that offers genuine arranging sophistication without extreme technical demands. Directors programming a concert that balances crowd-pleasing repertoire with solid musicianship will find this ideal.

• Establish the swing feel early in rehearsal by having the rhythm section play through several A sections together before adding horns. A loose, relaxed swing at 160 BPM depends on locked time between piano, bass, and drums.
• Shape the lead trumpet line with phrase contour rather than pushing it louder. The written A's above the staff need space to breathe and sit naturally in the upper range.
• Balance the ensemble counterpoint by having altos, trumpets, and trombones hear their individual lines separately in sectionals. These lines work only if each player knows exactly what the others are doing.
• Let the written solos for trumpet 2 and trombone 1 have their own character. These aren't showpieces but conversations within the ensemble; they should sit in the groove, not step outside it.

This works beautifully in a jazz band concert as a standard that audiences know and expect to hear well played. It also pairs nicely with other Porter standards or with contemporary jazz originals that explore similar harmonic territory.

• Swing articulation and phrasing in an ensemble context
• Reading ensemble counterpoint and maintaining individual lines within a full texture
• Balancing written solo passages with ensemble responsibility
• Listening to and locking with a rhythm section
• Navigating register changes and extended upper range (lead trumpet)