Talk Is Cheep: Tuba

Berg's writing here delivers exactly what a Grade 3.5 ensemble needs: a chart that sounds big and confident without overwhelming the section. The funky groove sits naturally for young soloists, the written-out solos give students a model to follow, and the shout chorus payoff is substantial enough to feel like a real achievement. Directors will appreciate how the chorale intro sets serious tone before the energy kicks in, creating contrast that reads well in a concert setting.

A tongue-in-cheek funk groover with real swagger. The opening chorale gives space and sophistication, then the energy snaps into a clean, driving groove that feels contemporary and fun. The tenor and trumpet solos invite personality and flair, while the shout chorus builds to a moment of collective power that leaves the ensemble and audience energized.

This chart works for high school jazz ensembles, college jazz bands at the developing level, and community ensembles building confidence in the funk/groove idiom. Students should have secure fundamentals in their section and basic jazz feel vocabulary; this level doesn't require extensive improvisation experience if you use the written solos.

• Establish the groove pocket during the funky section (around 116 BPM) with your rhythm section locked in before the full ensemble enters; a slight deliberate approach to the backbeat helps younger players nail the feel.
• Feature the tenor and trumpet 2 soloists with confidence. If you're using the written solos, mark phrase shapes and dynamics in rehearsal so the solos land with intention rather than floating.
• Balance the sax melody line carefully when the brass joins; saxes should remain the primary voice with brass providing color and harmonic support.
• Build the shout chorus dynamically. Map out dynamics from section to section across the ensemble so the final payoff feels like a true crescendo, not just volume.

Program this on a jazz festival setlist or informal concert to showcase your ensemble's funk chops and solo culture. The substantial page count and contest/festival designation make it a solid choice for jazz competition entries. It also pairs well on a concert with more lyrical or standards-based tunes, offering the stylistic and energy contrast that keeps audience engagement high.

• Funk and groove feel (backbeat pocket, swing eighth notes in a contemporary groove context)
• Jazz soloing within a structured form (reading changes, trading phrases)
• Section balance and blend in a contemporary idiom
• Reading and executing lead trumpet range extending to written A above the staff
• Ensemble dynamics and shaping in a large-form arrangement