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

Baylock's arrangement captures the sophistication of Porter's harmonic language while building in the kind of rhythmic propulsion that keeps student ensembles engaged and audiences energized. The interplay between the swinging double-time feel and samba groove gives your band textural variety without asking for impossible technical demands, and the provided tenor solo example means you're not starting from scratch when coaching improvisation.

Sophisticated swing energy channeled through a contemporary rhythmic lens. The piece radiates the glamour of Porter's original while the samba section brings an unexpected warmth that feels fresh each time you return to the main groove. There's a sense of controlled exuberance throughout, the kind of musical conversation that makes audiences lean forward.

Jazz ensemble directors seeking a standard that works equally well as a season opener or closing number, with enough solo opportunities and sectional interest to keep experienced players engaged and flexible enough for growing bands at the 3.5 level. The arrangement works for concert settings and competitions alike.

• Lock the double-time swing feel at 110 BPM before layering in the individual section parts; the rhythm section (especially drums and bass) must establish this pocket clearly so soloists can settle in.
• Work the samba groove section separately in rehearsal, paying particular attention to how the ensemble transitions between the straight swing and the rhythmic feel shift.
• Use the provided tenor solo as a teaching moment: have students analyze the phrase shapes and harmonic targets, then encourage individual improvisation built on the same architecture.
• Balance the optional flute and vibes parts so they complement rather than compete with the lead trumpet, which needs clear definition throughout.

Open or close your jazz concert with this one; its energy works equally well in either slot and gives you a statement piece that showcases both ensemble precision and individual voices. Program it alongside more introspective standards to show range, or back it up with other Porter arrangements to build a thematic set.

• Swinging in double-time feel at moderate tempos
• Improvisation over changes with guided examples
• Transitioning between swing and samba grooves
• Balancing solo and ensemble textures
• Reading jazz lead sheets and chord symbols