Utopia and a Rose Jazz Ensemble - Digital Sheet Music

SKU: A0.1606920

Overview of the Arrangement
This piece, based on Steve Johnson's earlier version for smaller forces and with an aaba structure, is a fun feature for flugelhorn (or trumpet) in a classic medium-up swinging style, with just a hint of Film Noir about it. It's suitable for a wide range of high school and community bands, as the parts and ranges are not too challenging: if you can play Nestico/Hefti arrangements, then this chart should be well within your band's capabilities.

The lead trumpet part tops out at (written) C6. Having a drummer with a good feel for swinging brushes will help a great deal: have your player listen to Cute by Neal Hefti (recorded by the Count Basie Orchestra) and Vernell Fournier playing on [There is] No Greater Love (on Ahmad Jamal's Live At The Pershing), if they don't know these records already.

Structure and Key Points
After an establishing INTRODUCTION, during which the drummer should use brushes and the pianist play light, basie-style fills, the HEAD (main melody) begins in the (featured) flugelhorn at m.25. The rest of the band responds at m.41 (ensure the dynamic remains soft at first), rising into the B SECTION of the theme at m.57: initially in the saxes, then building up to a peak in the full band; the drummer should switch to sticks towards the end of this passage. M.73 brings the focus back down to the flugelhorn and rhythm section before rising in intensity again into the solo section. Ensure that the peak doesn't arrive until m.89.

The SOLO SECTION (mm.89-120) for flugelhorn and tenor sax can be futher opened up for longer/other solos if desired (with muted BACKINGS on cue). Example solos have been provided, which can be ignored or played at your preference. The initial four-bar SEND-OFF is indicated to only be played the very first time; if you add multiple, longer solos, it could be repeated to provide some variety between solos. A supplementary sheet is provided giving the chord changes in concert, bflat and e-flat pitches so you can distribute solos as suits your band.

An ensemble SOLI follows next (mm. 123-154), featuring all sections of the band. It starts quite restrained, only gradually rising in volume and intensity to m.139, which should be quite full; drop back somewhat at m.150 and crescendo to a final high point at m.154. Throughout this section in particular, try to ensure the rhythm section pay close attention to variations in dynamics, which can sometimes change quite suddenly.

After a short reprise of part of the intro (m.155; during which the drummer should return to brushes), there is a section for TRADING between the drums (mm.159-162) and flugelhorn (mm.163-166). Piano and guitar should not play during the drum measures, but bass should continue throughout. The written BACKINGS need only be played the very last time (or otherwise at your preference). When continuing on at m.167, have the flugelhorn and drums both continue to play small fills but bring the intensity right down into the ENDING at m. 175.