Party Peeps: Drums
By Kris Berg
Grade: 2.5 (Medium Easy)
Item: 00-PC-0018592_D
$3.00
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Description
Okay, it's chicken time! Party Peeps by Kris Berg is a funky rock groove played around 130 BPM. Solos provided for tenor 1 and trumpet 2, lead trumpet range is to written G-sharp on top of the staff and a sweet bari part. Easy to rehearse with a rock-infused guitar for an effective contemporary sound. The usual optional parts plus flute and vibes. (3:57)
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Party Peeps: Drums comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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Additional Details
Series:
Young Jazz Ensemble
Publisher:
Alfred Music
Page Count:
102
SKU:
00-PC-0018592_D
More about this title
About the Composer: Kris Berg
Kris Berg directs the Jazz Studies program at Collin County Community College in Texas and holds degrees in jazz studies from the University of North Texas. His big band charts have earned worldwide performances and recordings, and he serves as a prolific composer and arranger for Belwin Jazz under Alfred Publishing. Beyond the classroom, Berg founded and directs both the Collin Jazz Fest and the Texas All-Star Jazz Camp, bringing significant recognition to the region as the Collin ensembles have received multiple invitations to perform at the Montreux Jazz Festival.
As an active clinician and artist for Yamaha Corporation, Berg has shared the bandstand with jazz luminaries including Kurt Elling, Randy Brecker, Peter Erskine, Bob Mintzer, and Clark Terry. He is also the author of Bass Lines in Minutes, a method resource widely used in jazz education. His work as both an educator and performer positions him at the intersection of professional jazz practice and student development.
Why we love this
Berg writes with an ear for what young ensembles can genuinely groove on. The rock-infused guitar color and funky 130 BPM pulse give this chart contemporary appeal without sacrificing clarity of voicing, making it a rare Grade 2.5 piece that sounds professional while remaining accessible. The solo opportunities for tenor 1 and trumpet 2 invite individual voices forward, while the sweet baritone part and optional vibes add textural sophistication that rewards careful listening.
What to expect
Party Peeps lands somewhere between a funk workout and a hip-hop-adjacent groove, full of swagger without pretension. The bright trumpet lines and crisp saxophone parts speak in a musical language students actually hear in their world, while the underlying harmonic sophistication keeps things interesting for listening ears.
Who it's for
Jazz ensemble directors seeking contemporary material that engages young players without sacrificing musicianship. Ensembles with at least solid section balance and a willingness to explore rock-inflected grooves will find this accessible and energizing.
How to get the most out of it
- Lock the kick drum and bass line together first; the groove lives or dies on that pocket, so isolate those parts before layering the horns.
- Push the tempo slightly into 130 BPM rather than dragging it; the rock feel requires forward momentum to breathe properly.
- Balance the guitar color carefully against the ensemble so it reads as seasoning, not the main dish; let the saxes and trumpets carry the harmonic weight.
- Give soloists permission to sit behind the beat on their passages; that's where the funk lives, and it'll feel more authentic than playing straight with the ensemble.
How to use it
Use this as a first-half closer or high-energy second-half opener when you need the audience and ensemble both waking up. It pairs well alongside other contemporary jazz pieces as part of a concert exploring funk and rock influences in jazz writing, or stand it alone as a statement piece that says your ensemble can swing modern sounds with genuine style.
Skills your students will build
- Playing and maintaining funk grooves at tempo (130 BPM)
- Reading and executing rock-influenced rhythmic figures
- Solo improvisation over a consistent harmonic foundation
- Balancing individual voice with ensemble blend in a contemporary jazz context
- Responding to guitar and percussion-led textures rather than traditional big band voicing