Soul Vaccination: Jazz Ensemble Conductor Score & Parts
By Emilio Castillo / By Stephen Kupka / As performed by Tower Of Power / Arranged by Paul Murtha
Grade: 3
Item: 35-PK00185241
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| Product | Price | Quantity |
|---|---|---|
| Soul Vaccination - Conductor Score (Full Score) | $6.00 | |
| Soul Vaccination - Alto Sax 1 | $6.00 | |
| Soul Vaccination - Alto Sax 2 | $6.00 | |
| Soul Vaccination - Tenor Sax 1 | $6.00 | |
| Soul Vaccination - Tenor Sax 2 | $6.00 | |
| Soul Vaccination - Baritone Sax | $6.00 | |
| Soul Vaccination - Trumpet 1 | $6.00 | |
| Soul Vaccination - Trumpet 2 | $6.00 | |
| Soul Vaccination - Trumpet 3 | $6.00 | |
| Soul Vaccination - Trumpet 4 | $6.00 | |
| Soul Vaccination - Trombone 1 | $6.00 | |
| Soul Vaccination - Trombone 2 | $6.00 | |
| Soul Vaccination - Trombone 3 | $6.00 | |
| Soul Vaccination - Trombone 4 | $6.00 | |
| Soul Vaccination - Guitar | $6.00 | |
| Soul Vaccination - Piano | $6.00 | |
| Soul Vaccination - Bass | $6.00 | |
| Soul Vaccination - Drums | $6.00 | |
| Soul Vaccination - Aux Percussion | $6.00 |
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Description
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More about this title
About the Composer: Emilio Castillo
Emilio Castillo co-founded Tower of Power in 1968 and served as the band's primary songwriter and saxophonist. His compositions defined the sound of West Coast funk and established a blueprint for horn-driven ensemble music that influenced generations of players. Castillo's work with Tower of Power demonstrated how brass sections could drive rhythmic and harmonic sophistication without sacrificing groove.
Why we love this
Paul Murtha's arrangement honors the original groove while making the piece genuinely playable for younger ensembles. The brass parts avoid the extreme registers of the recorded version, yet the signature riffs remain instantly recognizable. You get the authentic funk vocabulary your students will hear in recordings, adapted thoughtfully for their current abilities.
What to expect
The groove is immediate and irresistible. You'll feel the propulsive energy of '70s funk, driven by crisp brass stabs and a locked rhythm section that makes your students want to move. There's real sophistication here in how the melody and harmony sit against the beat, yet the overall character remains joyful and accessible.
Who it's for
Grade 3 jazz ensembles ready to tackle authentic funk repertoire. Students should be comfortable reading rhythmically dense parts and playing with a steady funk pocket. This works for ensembles with a solid rhythm section and brass players who can handle syncopated phrasing.
How to get the most out of it
- Lock the kick drum and bass line together first. The pocket of this tune lives in how tightly those two voices sit. Once your rhythm section owns the groove, everything else clicks into place.
- Mark the exact pulse of the hi-hat pattern in your score. It's easy to rush when the energy builds, so anchor your downbeats and keep returning to the written subdivisions.
- Balance the brass section horizontally rather than vertically. Each section should blend within itself before you worry about brass-to-rhythm ratio. This arrangement rewards clear voice leading in the horn lines.
- Pay attention to mute selections and articulation consistency across the brass. The funk sound depends on matched attacks and releases, especially in the hit-driven moments.
How to use it
This arrangement fits perfectly on a jazz concert showcasing different funk styles, or as a closing number that sends the audience out energized. It also works well as a teaching piece mid-rehearsal season when your ensemble has developed enough rhythmic maturity to handle the syncopation without falling apart. Consider pairing it with other Tower of Power tunes to show students how one group shaped funk history.
Skills your students will build
- Playing syncopated rhythms with precision while maintaining the underlying pulse
- Balancing individual voice responsibility within a section blend
- Understanding funk articulation and how to match attacks across brass
- Reading and executing coordinated brass stabs and hits
- Locking into a groove-based time feel rather than conducting-based time
- Distinguishing between rhythmic figures that land on the beat and those that land off it