What Is This Thing Called Love? (from Wake Up and Dream): String Bass

Schneller's arrangement captures everything a medium-advanced jazz ensemble needs to sound polished and energetic: a driving swing feel at 180 BPM, a featured alto 1 solo that gives your lead player room to shine, and a blazing unison horn section that gives everyone a moment of collective power. The chart sits at a difficulty level where students can execute the demands without drowning in complexity, making it ideal for festivals where you want to compete seriously without sacrificing musicality.

A perfectly calibrated party in a jazz club: Porter's melody hooks you immediately, Schneller's arrangement keeps the energy high and purposeful, and the unison horn moment feels like everyone in the room is suddenly shouting the same joy at once. The alto solo carves space for individuality within a tightly structured chart, creating the sensation of controlled excitement rather than chaotic fun.

This is built for a Grade 4 jazz ensemble that has solid section discipline and at least one alto saxophonist comfortable with extended solo improvisation. The arrangement rewards bands ready to tackle contemporary swing writing without needing simplified harmonic voicings or stripped-down textures.

• Establish the 180 BPM pulse clearly in sectionals before full ensemble rehearsal. The alto 1 soloist will need time to internalize the harmonic changes under tempo.
• Balance the unison horn interlude carefully in the ensemble. All four horns must lock together rhythmically; any sloppiness in articulation will undermine the impact.
• Anchor the rhythm section's swing feel early. Have the drummer and bass player establish their pocket before the horns enter so soloists have a solid foundation.
• Shape the tutti sections with dynamic contrast. Let the brass breathe after intense passages so the full ensemble statement lands with maximum effect.

This is a natural centerpiece for a jazz festival performance or a concert dedicated to American standards. Pair it with another Porter arrangement or use it as the high-energy closer to a set that explores the jazz-songbook tradition. At 4:54, it's the right length to make an impression without dominating your program.

• Swing articulation and rhythmic phrasing in a straight-eighth ensemble context
• Section precision in unison passages
• Solo improvisation within a defined harmonic structure
• Listening and blending as an ensemble during tempo-driven arrangements
• Reading and executing accented rhythmic figures at a fast tempo