When the Saints Go Marching In: Jazz Ensemble Conductor Score

Mike Lewis understands what makes a jazz ensemble arrangement inclusive without sacrificing character. By opening with a authentic funeral march and pivoting into swinging ensemble sections, he gives every section meaningful moments while keeping ranges and rhythms grounded for Grade 2 players. The string parts transform this from a traditional jazz band piece into something that welcomes your full orchestra into the ensemble.

The piece carries the weight and dignity of a New Orleans funeral procession, complete with the slow, measured tread of a marching band. When it breaks into the swing section, the energy lifts into something infectious and celebratory, full of syncopation and collective joy.

Jazz ensemble directors teaching Grade 2 students who want to explore real jazz traditions without oversimplifying the style. String players and wind players sharing the same stage and parts list become one unified ensemble, making this ideal for schools with mixed instrumental populations.

• Balance the opening funeral march by keeping the accompaniment restrained; the solemnity comes from dynamic control, not volume. Let the melody breathe with space around it.
• Establish the second-line swing feel with your rhythm section before running the full ensemble. The groove shift from slow march to uptempo swing is the emotional heart of the arrangement.
• Feature the improvisation section as a showcase for individual voices. Encourage soloists to listen to classic New Orleans jazz recordings and develop solo lines that sit comfortably in their ranges rather than reaching for pyrotechnics.
• Integrate the string parts early in rehearsals so they hear themselves as equal partners in the ensemble, not as an afterthought. Their voicings anchor the harmonic color.

This works beautifully as a concert closer or a bridge piece between traditional and jazz repertoire, especially if your program celebrates American musical roots. Program it where you can highlight both the contemplative opening and the irrepressible swing ending, allowing audiences to experience the full emotional arc of second-line tradition.

• Swing articulation and phrasing
• Melodic improvisation within chord changes
• Reading and executing syncopated rhythms
• Balance between solo and ensemble responsibility
• Ensemble listening and section coordination
• New Orleans jazz stylistic vocabulary