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THE COMPOSER

Fred Sturm is Director of Jazz and Improvisational Music at the Lawrence University Conservatory of Music and has served as guest conductor/composer/arranger of professional jazz ensembles and radio orchestras in Germany, Italy, Denmark, Sweden, Scotland, and Norway. He previously served as Professor of Jazz Studies and Jazz Ensemble/Studio Orchestra Director at the Eastman School of Music from 1991 to 2002.

Fred's works have been performed by jazz, orchestral, wind, choral, and chamber ensembles worldwide, printed by 8 international publishers, and issued on four record labels. He received the 2010 Downbeat Magazine Jazz Education Achievement Award, the 2003 ASCAP/IAJE Commission in Honor of Quincy Jones, and Downbeat has cited his collegiate ensembles as America's best nine times. He studied at Lawrence, Eastman, and the University of North Texas.

THE COMPOSITION

Also known as “Pick a Bale of Cotton” and “Jump Down, Spin Around,” the tune Jump Down, Turn Around is a traditional American work song that dates back at least two centuries. It was popularized by the great American blues and folk singer Leadbelly and has been recorded by Harry Belafonte, Pete Seeger, Sonny Terry, Brownie McGhee, and many others. The lyrics in the verse are Jump down, turn around, pick a bale of cotton. Jump down, turn around, pick a bale a day.

All charts in the First Place for Jazz series feature flexible instrumentation. They can be performed by the full jazz ensemble, or will sound full and complete with as few as nine players: 1st and 2nd Alto Saxophone, 1st Tenor Saxophone, 1st and 2nd Trumpet, 1st Trombone, Piano, Bass, and Drums. Parts are also included for Flute, Clarinet, F Horn, Tuba, and Baritone T.C.

INSTRUMENTATION LIST

1 – 1st Alto Saxophone 1 – 4th Trumpet 1 – Drums 1 – 2nd Alto Saxophone 1 – 2nd 1st Trombone 1 – Auxiliary Percussion 1 – 1st Tenor Saxophone 1 – 3rd Trombone 1 – Vibes 1 – 2nd Tenor Saxophone 1 – 4th Trombone 1 – Flute 1 – Baritone Saxophone 1 – Trombone 1 – Clarinet 1 – 1st Trumpet 1 – Guitar 1 – French Horn 1 – 2nd Trumpet 1 – Piano 1 – Baritone T.C. (Trombone 2 T.C.) 1 – 3rd Trumpet 1 – Bass 1 – Tuba

1 – Full Conductor Score

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IMPROVISING SOLOS ON JUMP DOWN TURN, AROUND

The solo section of Jump Down, Turn Around is flexible and can be deleted entirely or repeated as necessary to accommodate multiple soloists. A suggested solo is provided for all instruments at 53, but students are encouraged to improvise using the concert F pentatonic scale (F, G, A, C, D). Backgrounds can be cued at any time. Starting in bar 69, the soloists are welcome to improvise their “responses” to the ensemble “calls.”

Students are encouraged to improvise a solo, and may use notes from the concert F pentatonic scale over the entire solo section. The concert F pentatonic scale is included below transposed for all instruments. Feel free to distribute copies of this page to the band or even better, teach them this scale BY EAR!

F Pentatonic Scale

Encourage your audience to join the rhythm section in establishing the stomp-clap pattern in the introduction (feel free to repeat and extend that to get all involved). All woodwinds and brass play the melody in octaves at measure 9, providing an opportunity to unify phrasing and articulations. At 25, the phrases are split into single measure call & response exchanges with brass pitted against the woodwinds that should be dynamically balanced. Bass, piano, guitar, tuba, and baritone sax must play the bass line prominently at bar 41.

At 49 and 133, drums and percussion can play the written “fill” patterns or improvise their own. Only “slashes” are provided in the drums and percussion parts when they “trade 2s” with the ensemble at measure 89; these improvisations must be simple, rhythmic, and tuneful to guide the rest of the ensemble back in.

Beware the key changes at 105, 117, and back to the original concert key of F at 133. At bar 105, the saxophones, horns, trombones, and tuba must sound like a rich chorus, playing as legato and smoothly as possible beneath the quarter note melody. From bars 117 to 133 (the dynamic peak of the arrangement), the winds playing half notes are performing a harmonized chorale of the melody in doubled note values with the established quarter note melody bouncing above it.

Varied dynamics are crucial to the ending of the arrangement. All performers must establish a dramatic ff to pp diminuendo from measure 140 through bar 144, with drums and percussion breaking the silence in their 2-bar solo fills and a resounding ff conclusion by the full ensemble in the final two measures.

Copyright © 2013 NAK Music. This page is authorized for duplication.

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© 2013 La Jolla Music Company, Neil A. Kjos Music Company, Distributor, 4382 Jutland Drive, San Diego, California, 92117. International copyright secured. All rights reserved. Printed in the U.S.A.

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SUGGESTED SOLO 29

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