A Minor Interruption: Jazz Ensemble Conductor Score

Biondi understands what makes a Latin number work on a concert program: infectious energy that gets an audience engaged without demanding virtuosic chops from every player. The writing for lead alto and 2nd trumpet gives you clear soloists to feature while keeping the ensemble texture alive and supporting, which is exactly what keeps student sections engaged during a performance.

Bright and infectious, with the forward-moving energy of a Latin dance floor. The piece builds warmth through its grooves and ensemble texture, inviting the audience in without overwhelming them with complexity. Solo moments shine against the supportive backdrop of the band.

Jazz ensemble directors working with Grade 3 players who want a reliable, accessible Latin piece that generates momentum without requiring extended ranges or complex voicings. This is ideal for younger or developing groups that need wins on concert programs.

• Establish a steady clave foundation with your rhythm section; the Latin groove depends on that pocket staying locked throughout.
• Use the lead alto and 2nd trumpet solos as focal points for the ensemble's attention. When soloists are playing, background voices should listen and support, not compete.
• Keep the tempo energetic but controllable. This is a crowd-warmer, so let the rhythm breathe and the infectious character emerge naturally.
• Balance the lead trumpet's written range (up to G) carefully; it may sit high relative to the section, so make sure the player is secure and the horn is not overblown.

Place this early in a concert to establish a confident, energetic tone and build audience engagement. It pairs well with ballads or more intricate pieces that might follow, giving your ensemble a chance to settle the room before moving into deeper material.

• Sustaining a steady Latin groove and clave rhythm
• Supporting soloists with sensitive background voicing
• Playing within an accessible trumpet range while maintaining ensemble balance
• Listening and responding to ensemble texture in an improvisation-adjacent context