Wise Up: Optional Solo Bb Trumpet

Goodwin knows how to write for a section so everyone feels like the star. The groove sits perfectly at 150 BPM—fast enough to feel energetic, slow enough that high school players can articulate cleanly—and the solo spaces are genuinely inviting without requiring virtuosic chops. This is the kind of chart that makes students excited to come to rehearsal.

Hip and propulsive. The swing-shuffle grove has a natural bounce that invites movement, and the writing is transparent enough that you hear every voice without sacrificing fullness. Solo sections breathe with personality rather than formality, creating the feeling of musicians jamming together rather than reading charts.

Jazz ensembles at the 3.5 grade level who are ready for genuine swing feel and solo responsibility without getting bogged down in complex harmony or extreme ranges. This works equally well for a first-time jazz director looking for a surefire crowd-pleaser and for an experienced program seeking a high-energy feature.

• Lock the swing feel first. The shuffle groove depends on consistent eighth-note interpretation across the entire ensemble; isolate the rhythm section and lock that pocket before layering in the horns.
• Showcase the provided sample solos as learning models, but encourage soloists to find their own voice. Goodwin built in flexibility here intentionally, so your alto player doesn't need to copy the written solo verbatim.
• Balance the lead trumpet's high D passages with the ensemble texture. At 150 BPM, this sits comfortably, but clarity matters more than volume; have the trumpet player support the line without overshooting.
• Use the optional parts strategically. Flute, vibes, and percussion can thicken the sound, but the chart works without them; try running it stripped down first, then add color in the final week of rehearsal.

Program this as your spring concert opener or as a festival feature when you want immediate energy and ensemble engagement. The five-and-a-half-minute runtime and accessible difficulty make it an ideal vehicle for showcasing your developing jazz soloists without requiring students to prepare competition-level arrangements.

• Swing eighth-note articulation and feel
• Solo improvisation over chord changes with provided harmonic framework
• Section balance and blend in a groove-based texture
• Reading and executing jazz notation (swing shuffles, rhythmic hits, and ensemble figures)
• Listening across the ensemble to maintain groove integrity while soloing