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ZB417

Correlated with the STANDARD OF EXCELLENCE JAZZ ENSEMBLE METHOD

NEIL A. KJOS MUSIC COMPANY, PUBLISHER

JAZZ ENSEMBLEGRADE 1

DIRECTOR SCORE ZB417F $8.00

BRUCE PEARSON

SUPONGO

STANDARD OF EXCELLENCE

Jazz In Concert

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ZB417

2

THE COMPOSER

Bruce Pearson (b. 1942) is a world-renowned educator, composer, author, and conductor. Agraduate of St. Cloud State University and the University of Northern Colorado, his teachingexperience spans over three decades at all levels of instruction. Most recently, he servedas Director of Bands and Coordinator of Instrumental Studies at Northwestern College inSt. Paul, Minnesota. Bruce is the recipient of numerous honors and awards, including theprestigious Midwest Clinic Medal of Honor and the Wenger “Most Outstanding in the Field

of Music Education” award for the State of Minnesota.

A prolific composer of music for concert band, Bruce is also author of the Best in ClassComprehensive Band Method and Standard of Excellence Comprehensive Band Method ,and co-author of the Standard of Excellence Jazz Ensemble Method . As an adjudicator,clinician, guest speaker, and conductor, Bruce continually shares his talents, insights, andgoodwill with both teachers and students worldwide in every conceivable jazz ensembleand concert setting.

THE COMPOSITION

SUPONGO begins with the full ensemble playing the melody together. The brass then continue the melody at bar 13 with acounterline in the woodwinds. There is a little trading between sections at bar 21 before the ensemble comes together again tokick off the solo section. There are some short drum solos following the solo section before the piece comes to a conclusion.

The mood of this piece should suggest beaches and warm breezes.

As with all Standard of Excellence Jazz In Concert selections, SUPONGO is designed to be played by the full jazz ensemble.The chart will, however, sound full and complete when performed by as few as nine players: 1st and 2nd Alto Saxophones,1st Tenor Saxophone, 1st and 2nd Trumpets, 1st Trombone, Piano, Bass, and Drums. The solo section of SUPONGO (bars37-44) is equally flexible and can be deleted entirely or repeated as necessary to accommodate multiple soloists. Demonstrationrecordings of all Jazz in Concert selections can be found on the Kjos website at www.kjos.com.

To allow as many students as possible the opportunity to experience a jazz education, SUPONGO and all other Standard ofExcellence Jazz In Concert selections include optional supplemental parts for Flute, Bb Clarinet, French Horn, Baritone T.C.,and Tuba. The included parts are readily adaptable for other non-standard jazz ensemble instruments (Oboe, Bassoon, E b AltoClarinet, Bb Bass Clarinet, Baritone/Euphonium, Violin, Viola, and Cello).

INSTRUMENTATION LIST

1 – 1st Alto Saxophone 1 – 1st Trombone 1 – Flute1 – 2nd Alto Saxophone 1 – 2nd Trombone 1 – Clarinet1 – 1st Tenor Saxophone 1 – 3rd Trombone 1 – French Horn1 – 2nd Tenor Saxophone 1 – 4th Trombone 1 – Baritone T.C. (3rd Trombone T.C.)1 – Baritone Saxophone 1 – Guitar 1 – Tuba1 – 1st Trumpet 1 – Piano 1 – Director Score1 – 2nd Trumpet 1 – Bass1 – 3rd Trumpet 1 – Drums1 – 4th Trumpet 1 – Vibes

THE CONTRIBUTING EDITOR

Dean Sorenson (b. 1963) is Associate Professor and Director of Jazz Studies at the University ofMinnesota and is a composer, arranger, trombonist, and clinician. Mr. Sorenson’s most recentpublication is Standard Of Excellence First Jazz Performance, a collection of jazz charts for elementarybands and jazz bands. He is the co-author of the Standard Of Excellence Jazz Ensemble Method and Advanced Jazz Ensemble Method , an innovative and comprehensive series for middle school and highschool jazz ensembles. He also maintains a full schedule of concert and recording dates as a Yamahaperforming artist. For more information please visit www.deansorensonmusic.com.

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3

RHYTHM SECTION NOTATION

Rhythm section parts in jazz ensemble charts traditionally call for a great deal of playing ad lib. For a student to develop theskills necessary to fill in this “missing music,” he or she must be exposed to appropriate, clearly notated models. Such modelsare provided throughout SUPONGO.

GuitarSuggested chord voicings for every chord used in the chart are provided in the guitar part.

Piano and BassFully “written-out” piano and bass parts are provided below chord symbols. Players may alter the parts as long as the alterationsfollow the chord changes and are stylistically compatible with the groove established by the rest of the rhythm section. Themarking “as is” is used to indicate music that should be played exactly as written.

DrumsThe drum part is notated on a five-line staff with spaces representing different drum kit surfaces:

All grooves are completely “written out.” The drummer may alter a groove as long as the alterations are stylistically compatiblewith the groove established by the rest of the rhythm section.

Auxiliary Percussion and VibesThe auxiliary percussion is tacet on SUPONGO.

Traditionally, the vibes hold a dual function in a jazz ensemble setting. Sometimes, vibes function as a melody-playing instrumentwith the saxes, trumpets, and trombones. Other times, they function as a chord-playing instrument, helping to establish thegroove with the rest of the rhythm section. In SUPONGO, the vibes function exclusively as a melody-playing instrument. Nochord symbols appear in the vibes part except during the SUGGESTED SOLOS and the open solo section of the chart; in those

cases, the symbols should be used to guide players in the creation of single-note improvisations.

RHYTHM STUDIES AND SUGGESTED SOLOS

To better assist students and directors in understanding and performing jazz, all Standard of Excellence Jazz In Concert selectionsinclude RHYTHM STUDIES and SUGGESTED SOLOS. These exercises are based on similar studies that are included with theStandard of Excellence Jazz Ensemble Method and the Standard of Excellence Advanced Jazz Ensemble Method , both publishedby the Neil A. Kjos Music Company.

The RHYTHM STUDIES combine vocalization (using a rhythmic syllable system) and instrumental performance to help developa better understanding of the rhythms, phrasings, and articulations used in the chart. The RHYTHM STUDIES are included ona photocopyable page (score page 4) that can be passed out to the entire ensemble. For more information on the syllablesystem used in the RHYTHM STUDIES or for suggestions and information on the notation and teaching of Latin rhythms, seethe Standard of Excellence Jazz Ensemble Method Director Score (Neil A. Kjos Music Company edition number W31F).

Singing (or vocalizing) rhythms is an excellent way to internalize the feel of the rhythm while avoiding the technical problems ofthe instrument. It also is very helpful in saving the chops. Have the students sing each rhythm study until they are comfortablewith it, then have them play it on their instruments. The RHYTHM STUDIES are written using “X” noteheads on the studentstudy sheet, which allows you to assign whatever pitch you would like for them to play. Generally, this will be a tonic pitch ina middle register.

Each student part includes two SUGGESTED SOLOS, which can be performed during the solo section of SUPONGO (bars37-44). SOLO PRACTICE TRACKS are also provided on the Kjos website at www.kjos.com. These tracks provide recordedrhythm section accompaniment to the solo section of SUPONGO, allowing students to practice improvising solos in preparationfor performance. Encourage students to improvise their solos using the SUGGESTED SOLOS as models, or by using the pitchesof the scale notated in the grey box above the SUGGESTED SOLOS on the student parts.

/¿ ˝ ¿ ˝

œ ˙œ ˙ ¿ œ ¿

¿ œ

Ride Cymbal orHi-Hat (with Stick) Crash Cymbal

Snare Drum

Bass (Kick) Drum Hi-Hat

(with foot) FeetCombined

HandsCombined

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ZB417

4 RHYTHM STUDIES

RHYTHM STUDIES - SUPONGO

uThe RHYTHM STUDIES combine vocalization (using a rhythmic syllable system) and instrumental performance to helpdevelop a better understanding of the rhythms, phrasings, and articulations used in the chart.

uBegin by singing the rhythm on a unison pitch, paying close attention to the articulations. Try to internalize the rhythm,and listen to those around you to ensure that it is phrased consistently across the entire ensemble.

uPlay the rhythm on a unison pitch that your director will give to you. Strive to match the feel and phrasing of the rhythmwithin your section, and within the entire ensemble.

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Copyright ©2010 Neil A. Kjos Music CompanyThis page authorized for duplication

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ZB417

SUGGESTED SOLOS 5

SUGGESTED SOLOS - SUPONGO

All except Drums:

MAJOR SCALE

The solo section for SUPONGO is based on theMajor Scale.

E b Instruments: D Major Scale (Concert F Major)

B b Instruments: G Major Scale (Concert F Major)

C Instruments:

F Major Scale

F Instruments: C Major Scale (Concert F Major)

& # œ œ œ œ œ œ œ œwholesteps: 11 /21 1 /21 1 1

& # # œ œ œ œ œ œ œ œwholesteps: 11 /21 1 /21 1 1

& b œ œ œ œ œ œ œ œwholesteps: 11 /21 1 /21 1 1

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? b œ œ œ œ œ œ œ œ

wholesteps: 11 /21 1 /21 1 1

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ZB417

6 SUGGESTED SOLOS

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TromboneBass

Tuba (8vb)

Drums

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SupongoSuggested Solo #1

©2010 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California 92117. International copyright secured. All rights reserved. Printed in U.S.A.

WARNING! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of thecopyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.

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ZB417

SUGGESTED SOLOS 7

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TromboneBass

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SupongoSuggested Solo #2

©2010 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California 92117. International copyright secured. All rights reserved. Printed in U.S.A.

WARNING! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of thecopyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.

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ZB417

8 Full Jazz Ensemble Chart

DIRECTOR:

u Bars 37-44 of SUPONGO are open for solos. Students soloing may use the SUGGESTED SOLOS, or create their ownsolos based on licks they know, or new ideas derived from the RHYTHM STUDIES or the SUPONGO chart itself. Ifdesired, the open solo section may be omitted entirely.

u Backgrounds (solo accompaniment figures) begin at bar 37. Backgrounds may be cued at the beginning of any solochorus. When more than one soloist plays, it is suggested that the backgrounds be used to accompany alternatingsolo choruses, or the last chorus only. The rhythm section should accompany every chorus. Players should overlookbackground figures written in their parts while soloing.

u In jazz, pianists frequently comp to accompany and complement the parts played by the other members of the ensemble.Comping involves creating a rhythmically appropriate part that follows the chord changes of the music. The writtenSUPONGO Piano part is an example of a comped part. Advanced pianists should be encouraged to comp ad lib., usingthe written part as a model.

u Guitarists frequently comp when playing Latin style music. There are suggested comping rhythms in the Guitar part forSUPONGO. Advanced guitarists should be encouraged to comp ad lib., using the written part as a model. For moreinformation, refer guitarists to the page FOR GUITAR ONLY exercises in the Standard of Excellence Jazz Ensemble Method Guitar student book.

u For SUPONGO, acoustic bass and acoustic piano is recommended, however, electric instruments are also appropriate.Acoustic piano will typically require amplification to ensure proper balance with the rest of the jazz ensemble. For moreinformation, see the Standard of Excellence Jazz Ensemble Method Director Score.

u Auxiliary Percussion is tacet on SUPONGO.

REHEARSAL SUGGESTIONS:

u Begin the rehearsal in a way that prepares players’ minds, muscles, and instruments. See page 14 of the Standard ofExcellence Jazz Ensemble Method Director Score for specific suggestions.

u Throughout the rehearsal, focus attention on achieving a good ensemble sound. The first step to achieving this soundis establishment of the proper relative balance between instruments. In general, lower-pitched woodwinds and brassshould play at a louder dynamic level than higher-pitched woodwinds and brass. This “pyramid of sound” concept appliesto both harmonic and melodic passages in charts. An appropriate balance must also be established within the rhythmsection, and between the rhythm section and the rest of the ensemble. Listen to the recording of SUPONGO as a modelof appropriate balances.

u The entire ensemble (except drums) should make a confident accent on beat 4 of bar 3. Rehearse with Rhythm Study #1.u The unison melody beginning at bar 5 should be played mezzo-forte as marked. Do not allow it to get too loud.u Brass and woodwinds should balance equally at bar 13.u There are short drum fills written at phrase points throughout the chart (bars 12, 20, and elsewhere). The drums should

bring these out slightly and make certain they do not get in the way of the overall groove.u Drum solos in bars 46, 48, 50, and 52 should be simple and rhythmic. The drummer should avoid overplaying. Make time

and tempo the most important priority.u Play bar 61 very quiet for a most effective final bar!

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ZB417

Full Jazz Ensemble Chart 13

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Alto Sax 2

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Trumpet 2

Trumpet 3

Trumpet 4

Trombone 1

Trombone 2

Trombone 3

Trombone 4

F Horn

Baritone T.C.

Tuba

Guitar

Piano

Bass

Drums

Vibes

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ZB417


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Alto Sax 2

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Baritone Sax

FLute

Clarinet

Trumpet 1

Trumpet 2

Trumpet 3

Trumpet 4

Trombone 1

Trombone 2

Trombone 3

Trombone 4

F Horn

Baritone T.C.

Tuba

Guitar

Piano

Bass

Drums

Vibes

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