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La Almeja Pequeña: Jazz Ensemble Conductor Score

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La Almeja Pequeña Cover Image

La Almeja Pequeña: Jazz Ensemble Conductor Score

By Gordon Goodwin / arr. Paul Baker

Grade: 2.5 (Medium Easy)

Item: 00-43675S

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Description
Originally done by the Big Phat Band, La Almeja Pequena arranged by Paul Baker is a samba played around 90 BPM in cut time. It's a very exciting Latin chart with solos for alto 1 and trumpet 2, and the trumpet 1 range is to written G on top of the staff. There are two auxiliary percussion parts, plus the usual optional parts to include flute, clarinet, and vibes. (4:27)

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Additional Details
Series: Young Jazz Ensemble
Publisher: Alfred Music
Page Count: 20
UPC: 038081496719
SKU: 00-43675S

More about this title

About the Composer: Gordon Goodwin

Gordon Goodwin

Gordon Goodwin began composing at age five, transcribing complete works rather than fragments. His big band chart "Hang Loose," written at thirteen, announced a prodigy to the jazz world. His work has earned three Emmy Awards and multiple Grammy nominations across film scores (Bad Boys II, Con Air, Remember the Titans, Star Trek: Nemesis), television, and collaborations with artists including Christina Aguilera, Quincy Jones, Ray Charles, and David Foster.

Since 2000, Goodwin has led Gordon Goodwin's Big Phat Band, one of Los Angeles's most accomplished big band ensembles. The band's debut recording, "Swingin' for the Fences," made history as the first commercially released DVD audio title and earned two Grammy nominations. Goodwin has conducted major symphony orchestras in Atlanta, Dallas, Utah, Seattle, Toronto, and London, combining his gifts as composer, arranger, and performer.

Why we love this

This samba sits at the sweet spot between accessibility and genuine sophistication. The cut-time framework and 90 BPM tempo keep young ensembles grounded while the samba rhythms, solo opportunities, and expanded percussion parts demand real musicianship and give student soloists a chance to shine on a chart that sounds professional from measure one.

What to expect

A samba that bounces with infectious energy. The rhythm section locks into a groove that feels both approachable and authentic, while the front line swings with the kind of joy that makes student soloists eager to prepare their parts. Cut time at 90 BPM creates momentum without breathlessness.

Who it's for

Grade 2.5 jazz ensembles looking for a Latin chart with real character and accessible solo opportunities. This works equally well for festival play or concert programming, and the optional parts make it flexible whether your ensemble is fully staffed or not.

How to get the most out of it

  • Lock the samba clave with your rhythm section before addressing the front line. The percussion parts (both auxiliary voices) anchor everything else; clarity there gives soloists room to breathe.
  • Balance the trumpet 1 writing carefully at the top of the staff, particularly near the written G passages. These moments define the chart's energy, so make sure the lead voice carries without overwhelming the ensemble.
  • Prepare the alto 1 and trumpet 2 soloists early in rehearsal. These are exposed moments that reward individual preparation; feature them confidently rather than burying them in the mix.
  • Use the optional doublings (flute, clarinet, vibes) strategically to reshape the tonal color at sectional breaks, rather than using them throughout. The Young Jazz Ensemble series works best when scoring choices feel intentional.

How to use it

Program this as the centerpiece of a Latin-focused set or as a mid-concert energizer that relieves tension after ballads or classical work. At just over four minutes, it provides excellent pacing and fills a genuine need for accessible samba writing at the high school level.

Skills your students will build

  • Reading and executing samba rhythms in cut time
  • Solo performance with confident phrasing and improvisation
  • Latin ensemble rhythm section coordination and clave awareness
  • Balancing optional instrumentation to reshape ensemble color
  • Playing with stylistically appropriate dynamics and articulation in a jazz context

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