Otra Vez: Score

Biondi nails the trick that so many Grade 3 Latin pieces miss: the groove actually feels alive without requiring your section to sound like professionals. The scalewise approach to the trumpet line removes the intonation landmines that plague young jazz players, while the samba rhythm section gives students real practice in supporting groove rather than just marking time.

Warm and propulsive, with the unmistakable lilt of samba but grounded enough that it never feels exotic or out of reach. The melody moves with natural grace, and the overall texture is intimate rather than bombastic; it invites listening.

Grade 3 jazz ensembles with developing lead trumpet players and soloists who are ready to play changes but need straightforward, singable lines. This works equally well for programs building their Latin jazz repertoire or directors looking for a confident opener that won't expose rhythmic weaknesses.

• Lock the samba clave pattern early in rehearsal before touching the melody. Have your rhythm section tap or play it while the horns listen; once they feel it in their bones, the ensemble clicks immediately.
• Balance the trumpet and tenor when they state the head together. The trumpet sits naturally high, so lean on the tenor to anchor the line and prevent the section from sounding shrill.
• Give your soloists enough rehearsal time to internalize the changes and their chord extensions. Even though this is medium-easy, a solo that sounds unprepared will derail the swing.
• Push the piano and bass to listen to each other constantly. Clean comping and supportive bass lines are what make a samba swing; sloppy time in the rhythm section will flatten the whole performance.

Pair this with a straightahead blues or bebop standard to show students how different Latin grooves sit alongside the American jazz tradition. It's light enough for a concert opener that builds confidence before heavier material, and substantial enough to earn its place in a festival or clinic setting.

• Samba rhythm section coordination (piano, bass, drums working as one unit)
• Scalewise melodic reading at moderate tempos
• Blues-based improvisation over Latin changes
• Listening to and following a steady clave pattern
• Ensemble balance when trumpet and tenor voice the same line
• Phrasing and articulation in a non-straight-eighths groove