La Quema del Diablo (The Burning of the Devil): Jazz Ensemble Conductor Score & Parts

López delivers a piece that reads as pure fun on the page but demands serious execution in the rehearsal room. The non-stop energy, strategic solo opportunities, and clearly written but genuinely difficult moments (that lead trumpet high D is real) make this a rewarding stretch for a solid Grade 4 ensemble.

Driving, infectious energy with genuine swagger. The swing-shuffle foundation never lets up, while strategic stop moments and a powerful shout section give the piece theatrical peaks and valleys. It swings hard and sounds exactly like what the title promises: mischievous, fun, and built on solid musical ground.

Jazz ensemble directors with players strong enough to handle medium-advanced harmonic and rhythmic demands. The part writing assumes solid readers across the section; this is ideal for a competitive or honors-level ensemble.

• Lock the rhythm section early and often. The swing-shuffle grid needs to be airtight before you layer in the horn lines; run section rehearsals with bass, drums, and piano before full-band passes.
• Build the shout chorus gradually. Start soft, clarify the background figures, then add layers of intensity rather than going for maximum volume from downbeat one.
• Assign the alto and tenor sax solos strategically. These are real solo moments that need players comfortable taking space; rehearse the accompaniment figures separately so your soloists can breathe freely.
• Work the stop-time sections as a conducting exercise. Clean ensemble entries and releases matter here; use a click to lock the articulation, then remove it once the band owns the timing.

Perfect for a Halloween concert or a dedicated jazz night where you want to showcase ensemble work alongside soloists. The four-minute-plus runtime and immediate rhythmic hook make it a strong closer or second-to-last selection; it leaves audiences energized without overstaying its welcome.

• Swing-shuffle rhythmic consistency in ensemble
• Solo performance within a tight rhythmic framework
• Reading and executing stop-time figures with precision
• Lead trumpet range management (written to high D)
• Section-specific articulation and phrasing (jazz idioms)
• Listening and responding to harmonic changes during improvisation