Five For A Quarter (A.Dedrick)

"Five For A Quarter," an original composition by the prolific Art Dedrick, stands as a quintessential big band chart from an era when jazz orchestras were the primary vehicle for sophisticated, accessible swing. While not a traditional "jazz standard" in the sense of being widely recorded by numerous artists, Dedrick's compositions, like this one, became foundational repertoire for school and community jazz ensembles, effectively defining a generation's introduction to big band writing. Dedrick, active from the mid-20th century, specialized in crafting highly playable yet musically engaging charts that bridged the gap between complex professional arrangements and educational material. This piece embodies the vibrant, optimistic spirit of post-war big band jazz, often characterized by its clear melodic lines, driving rhythm, and well-defined sectional interplay. It's a testament to Dedrick's skill that his originals often feel as familiar and enduring as the standards they shared the stage with. Musically, "Five For A Quarter" is a bright, medium-up swing chart, typically performed around 160-180 BPM, firmly rooted in a major key (often F or Bb, depending on the specific edition). The mood is consistently energetic and uplifting, designed to showcase the full power and precision of a big band. Its character is defined by crisp articulation, a propulsive rhythm section, and well-balanced brass and saxophone sections. The piece evokes the classic big band sound, with its driving momentum and infectious groove, making it an excellent choice for opening a set or providing a high-energy centerpiece. The harmonic language is accessible yet rich, employing standard jazz voicings and progressions that provide a solid foundation for both ensemble playing and improvisation. Art Dedrick's arrangement of "Five For A Quarter" exemplifies his masterful approach to educational big band writing. The melody is initially presented by the saxophone section in a tight, unison or harmonized soli, immediately establishing the tune's memorable theme. This is often followed by call-and-response figures between the brass and reeds, building dynamic tension and release. Dedrick's voicings are characteristically clear and full, ensuring that each section contributes effectively to the overall sound without undue technical strain. A distinctive feature is the well-placed shout chorus, where the full ensemble comes together in a powerful, harmonically dense statement, often featuring brass fanfares and driving saxophone lines. This arrangement typically includes ample space for improvised solos, usually over a standard 16 or 32-bar form, providing opportunities for a tenor saxophone or trumpet soloist to shine over a swinging rhythm section. Performing "Five For A Quarter" is a highly rewarding experience for big bands at the high school, college, or advanced community level. While the technical demands are moderate, requiring solid articulation and rhythmic precision, the chart's inherent swing feel and engaging melodies make it enjoyable to rehearse and perform. Key challenges include maintaining a consistent, driving swing feel throughout, achieving clean sectional entrances and releases, and balancing the dynamics between the brass and saxophones during the call-and-response passages and shout chorus. The piece offers excellent opportunities to develop ensemble blend, rhythmic tightness, and dynamic control, culminating in a powerful and satisfying musical statement that resonates with both performers and audiences. "Five For A Quarter" thrives on a robust, medium-up swing feel, ideally around 160-180 BPM. Conductors should emphasize a consistent, driving quarter-note pulse from the rhythm section, ensuring the bass line is clear and propulsive. Articulation is paramount: brass should aim for crisp, separated notes on accented figures, while saxophones should maintain a connected, flowing legato on their soli lines, punctuated by precise staccatos. The piece features several call-and-response sections; ensure clear dynamic contrast between the responding phrases, allowing each section to "speak." Technical challenges include maintaining endurance in the brass during the shout chorus and achieving tight unison and harmonized figures in the saxophone soli. Rehearsal time should focus on rhythmic precision in the ensemble hits, balancing the full band during the shout chorus, and encouraging soloists to embrace the energetic swing feel. No special techniques like plunger mutes or extended effects are typically required; focus on fundamental big band execution. Q: What instruments are included in this arrangement of "Five For A Quarter"? A: This big band arrangement is scored for 17 instruments, including Alto Saxophone 1 & 2, Tenor Saxophone 1 & 2, Baritone Saxophone, Trumpet 1-4, Trombone 1-4, Piano, Bass, Drums, and Guitar. Q: What is the difficulty level of "Five For A Quarter (A. Dedrick)"? A: This arrangement is considered to be of moderate difficulty, suitable for advanced high school, college, or community big bands. It requires solid rhythmic precision, articulation, and ensemble blend. Q: What musical style and historical context does "Five For A Quarter" represent? A: "Five For A Quarter" is an original composition by Art Dedrick, embodying the classic medium-up swing big band style prevalent from the mid-20th century. It reflects the energetic and accessible sound of educational jazz repertoire from that era. Q: What makes Art Dedrick's arrangement of this piece unique? A: Dedrick's arrangement is characterized by its clear, full voicings, well-crafted soli sections for the saxophones, engaging call-and-response figures between sections, and a powerful, accessible shout chorus, all designed for maximum playability and impact. Q: What is the typical performance duration or tempo for this piece? A: "Five For A Quarter" is typically performed at a medium-up swing tempo, ranging from approximately 160 to 180 beats per minute, resulting in a performance duration of around 3-4 minutes, depending on the length of improvised solos.