What Is This Thing Called Love?: E-flat Baritone Saxophone

Craig Skeffington's arrangement brings the swagger and sophistication of a Cole Porter standard into a working jazz ensemble chart that delivers real ensemble sound without sacrificing individual voice. The written solos for trumpet 2 and trombone 1 give younger soloists a secure framework while the well-crafted rhythm section parts ensure the groove stays grounded. This is the kind of chart that sounds polished in performance and teaches swing style authentically.

Sophisticated and playful, with the kind of melodic elegance Porter was known for. The swing tempo keeps energy high while the ensemble counterpoint adds textural interest, and those written solos give the band moments to stretch without losing structure.

This score and parts suit a Grade 3 jazz ensemble with developing soloists and a solid rhythm section. The arrangement works for high school jazz bands, college prep ensembles, and community jazz groups looking for a standard that sounds sophisticated without requiring all-star players.

• Push the articulation on the melody statement (alto 1, trumpet 1, trombone 1) to lock in the swing feel at 160 BPM. Clean, deliberate tonguing will make the unison voices sit together.
• Balance the counterpoint passages so no single voice disappears. The ensemble writing will sound muddy if sections aren't listening to one another.
• Have trumpet 2 and trombone 1 prepare their solo passages early. Written solos give structure, but they still need phrasing and control to sound like they're really playing over the changes.
• Check the lead trumpet's upper register work. Optional higher notes above the staff should be rehearsed separately; don't force them if the player isn't comfortable.

Program this alongside other Porter standards or as part of a jazz standards showcase. It pairs well with similar-level swing arrangements and works equally well as a featured piece on a jazz concert or as a program opener that sets a swinging, professional tone.

• Swing eighth-note articulation and phrasing
• Reading and playing jazz counterpoint
• Soloing over chord changes with written guidance
• Ensemble balance and blend in unison melodic statements
• Jazz comping and time-keeping in the rhythm section