A Minor Interruption: Score
By Craig Biondi
Grade: 3
Item: 98-DJE4030S
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Description
From the author of last year's festival favorite, Otra Vez, here is a hot little latin number to warm up your concert crowd. The solo spots are written in the lead alto and 2nd trumpet part with lots of supporting backgrounds written into the other voices. Limited ranges make this an easy number to put together. The lead trumpet only needs a written G.
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Additional Details
Series:
FJH Intermediate Jazz Ensemble
Publisher:
The FJH Music Company, Inc.
SKU:
98-DJE4030S
More about this title
About the Composer: Craig Biondi
Craig Biondi has established himself as a trusted voice in jazz education, with compositions that balance accessibility and genuine musicality. His knack for writing idiomatic parts that sit well for student ensembles while maintaining rhythmic and harmonic interest has made his work a regular fixture at festivals and concerts across the country.
Why we love this
Biondi writes jazz ensemble charts that actually work in rehearsal. The solo writing here lives in the lead alto and 2nd trumpet, which means you're featuring players who can comfortably carry a line without stretching the section's range. Smart voicings and contained ranges across the ensemble mean your students spend rehearsal time on interpretation and pocket, not survival.
What to expect
A propulsive, warm latin chart with enough contemporary energy to grab an audience without losing the ensemble in complexity. The groove is immediate and the solo writing sits comfortably over a bed of background figures that give context without clutter.
Who it's for
Jazz ensemble directors working with Grade 3 groups who want genuine latin repertoire without the range demands that bog down developing players. Lead players need solid control and some solo experience, but the written ranges keep everyone accessible.
How to get the most out of it
- Lock the rhythm section tight first. The latin feel depends entirely on the drums and bass sitting together, so isolate those parts before running full ensemble.
- Balance the lead alto solo against the backgrounds. These supporting voicings are written to sit under the melody, not compete with it, so adjust brass and reed balance to let the soloist breathe.
- Nail the section hits. Background passages include ensemble punctuation that define the groove, so mark those clearly and rehearse them as rhythmic units before layering in the soloist.
How to use it
Program this mid-set to shift energy and temperature in a concert. It works as a natural cooling device after a high-velocity swing chart, or as a momentum builder leading into something more structured. The compact length and straightforward setup make it ideal for pops concerts or community events where you need a confident ensemble moment.
Skills your students will build
- Latin rhythmic vocabulary and clave feeling
- Solo phrasing over ensemble backgrounds
- Reading and executing section hits in real time
- Balancing unison lines with supporting voicings
- Stylistically idiomatic interpretation of jazz comping figures