A driving samba with modest ranges and a fiery sax soli section, Porto Alegre features carefully notated rhythm section parts, suggested piano voicings, a transcribed solo for trombone and/or trumpet, and great input from every section. The entire ensemble gets in on the action and there are optional parts for flute/violin, clarinet and F horn, with the lead trumpet range to written F top of staff. A fresh approach to jazz for developing ensembles!
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Ryan Fraley is a composer and arranger with deep roots in jazz education. His writing for developing ensembles balances authentic jazz vocabulary with pedagogical clarity, making him a trusted voice in school jazz programs across the country.
Why we love this
Fraley refuses to condescend to Grade 2.5 ensembles. Porto Alegre gives every section real musical work to do, from the driving rhythm section parts to the featured sax soli, without overwhelming players who are still building technique. The optional parts mean you can scale it to your instrumentation, and the transcribed solos for trombone and trumpet give developing soloists a concrete model to learn from.
What to expect
Propulsive and warm. The samba rhythm carries you forward with natural momentum, while the fiery sax solos add urgency and color. It feels like a piece that knows exactly what it wants to be, which matters at this level.
Who it's for
Jazz bands at the developing level who need real material, not watered-down pop arrangements. Directors looking for something that respects student musicianship while staying within reasonable technical reach will find Porto Alegre genuinely useful.
How to get the most out of it
Lock the rhythm section into the samba pocket early in rehearsal. The carefully notated parts are your roadmap; spend time getting the feel authentic before layering in the ensemble.
Highlight the suggested piano voicings in your score study. They're not decorative; they anchor the harmonic language and give your pianist clear targets to aim for.
Balance the sax soli so they shine without drowning out the section hits. A modest hall will project them naturally if the rhythm section sits back slightly.
Let the optional parts inform your arrangement decisions during the first read. If you have flute and F horn available, those colors brighten the texture significantly.
How to use it
Drop this into a jazz showcase or festival set where you need a high-energy opener with real personality. The contest-ready arrangement makes it a natural choice for adjudicated events, and its Latin jazz credentials give your program stylistic breadth beyond swing standards.
Skills your students will build
Reading and executing samba rhythm patterns with proper articulation and swing feel
Balancing ensemble blend in a Latin jazz texture while featuring solo voices
Interpreting suggested voicings and accompaniment figures from a jazz perspective
Playing transcribed solos with idiomatic phrasing and jazz articulation
Responding to dynamic layering across multiple ensemble sections
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