Terminally Hip: 2nd B-flat Trumpet
By Gordon Goodwin
Grade: 3.5
Item: 00-PC-0019360_T2
$3.00
Pickup currently not available
Description
Yes, it's hip! A clever swinging treatment of a catchy tune played around 150 BPM. Lead trumpet range is to written B above the staff, the solo section includes suggested solos written for C, B-flat, E-flat and trombone players, your choice. The shout chorus features drums trading with the ensemble and the optional parts include flute and vibes. (5:20)
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Terminally Hip: 2nd B-flat Trumpet comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
Open in the Player
Jump straight in and assign it today.
Start Your Free Trial
Open this title and explore the full library in minutes.
Sample Audio
1
Audio File
--:--
0:00
0:00
Sample Video
Additional Details
Series:
Jazz Band Series
Publisher:
Alfred Music
SKU:
00-PC-0019360_T2
More about this title
About the Composer: Gordon Goodwin
Gordon Goodwin began composing full arrangements at an age when most musicians are still learning scales. By thirteen, he had already written his first big band chart, demonstrating a gift for orchestration that would define his career. His work in television and film scoring has earned him three Emmy Awards and multiple Grammy nominations, with his orchestrations featured in blockbuster films including Bad Boys II, Con Air, Remember the Titans, and Star Trek: Nemesis.
Beyond Hollywood, Goodwin has collaborated with vocalists ranging from Christina Aguilera to Ray Charles, and has conducted major symphony orchestras across North America and Europe. Since 2000, he has led Gordon Goodwin's Big Phat Band, a Los Angeles-based ensemble that has itself received Grammy recognition. His arrangements balance sophisticated harmonic writing with infectious energy, a signature approach that translates powerfully to ensemble and educational settings.
Why we love this
Goodwin's arrangement crackles with the kind of infectious groove that makes audiences lean forward in their seats. The writing balances accessibility for Grade 3.5 ensembles with genuine sophistication, offering multiple solo vehicles so every section feels ownership over the performance.
What to expect
Terminally Hip swings with the confidence of a seasoned big band arrangement, layering clever harmonic movement under a deceptively simple melody. The trading section between drums and ensemble gives the performance a conversational, almost comedic energy that keeps both players and listeners engaged.
Who it's for
Jazz ensembles at the intermediate level looking for a chart that delivers immediate satisfaction without sacrificing musicianship. The piece suits festival and contest programming, where its tight construction and energetic character command attention.
How to get the most out of it
- Lock the swing feel at 150 BPM during rehearsals; this tempo drives the groove but can feel rushed if the rhythm section rushes the subdivisions. Use a metronome to establish the pocket before adding articulation.
- Assign solos strategically across your chairs. The written solo options for C, B-flat, E-flat, and trombone give you flexibility to feature your strongest players or develop emerging soloists.
- Shape the shout chorus's trading section between drums and ensemble by rehearsing them separately first. The ensemble needs crisp, unified articulation in the stabs to make the conversation with the drummer land with impact.
- Balance the optional vibes and flute parts for color without losing the punch of the core ensemble. Test both with and without these colors during sectional work to find what suits your sound.
How to use it
Program this mid-concert to shift energy and showcase your rhythm section's sophistication. At just over five minutes, it pairs well with a ballad or standard, offering the kind of contemporary swing energy that festival audiences expect from intermediate jazz ensembles.
Skills your students will build
- Articulation and phrasing in a swing style (tonguing, staccato, and legato within a jazz context)
- Trading and call-and-response patterns between sections and the rhythm section
- Solo improvisation (or execution of written solos) in multiple keys and horn voices
- Rhythmic precision at medium tempo with emphasis on subdivision control and pocket playing
- Ensemble unity in stabs and shout chorus sections under pressure