You'd Be So Nice to Come Home To: Baritone T.C.

Paul Baker's arrangement hits that sweet spot between accessibility and musicianship. The Grade 2 level keeps it manageable for developing ensembles, but the written solos, the sax soli, and that hip interlude keep the chart engaging for both players and listeners. At 168 BPM, this swinger has real momentum without feeling reckless, making it equally at home in a festival setting or a concert program.

This is pure swing sophistication. The melody has that characteristic Porter elegance, and Baker's arrangement respects it while adding jazz texture through the soli sections and the interlude that builds toward the ending. Players will feel like they're part of a real jazz band, not an imitation.

Jazz ensembles at the middle school through early high school level will find this arrangement friendly but rewarding. The Grade 2 difficulty means students can focus on phrasing, ensemble blend, and swing feel rather than wrestling with technical demands. This is an ideal choice for directors building a festival-ready chart that doesn't require students to have advanced soloing skills.

• Keep the tempo steady and relaxed. At 168 BPM, the quarter note should feel easy and conversational, not rushed. Lock in with the rhythm section early in rehearsal.
• Shape the written solos with forward motion. The alto and trumpet solos should sing through the changes without dragging; let them breathe naturally but keep the line moving toward the resolution.
• Balance the sax soli carefully so the blend is tight but each voice remains audible. This section is where the ensemble voice shines, so make sure no one section overshadows the others.
• Build the interlude section with intention. The chart is designed to climb dynamically here, so track your crescendos during rehearsal and hit the fine with confidence.

Program this as a showcase piece in a jazz concert or festival. Its length (3:35) and medium difficulty make it a solid mid-set number that keeps the energy up without exhausting your ensemble. It also works well as a confidence-builder earlier in the season when you're introducing students to jazz standards.

• Swing articulation and phrasing in a medium-tempo setting
• Reading and balancing written ensemble soli
• Supporting and listening to featured soloists
• Maintaining steady tempo and relaxed energy in a swinger
• Harmonic listening (following changes as backdrop for the melody)