(8 Brass) (Level 5) POLLYWOG: THE DIALOG OF A FROG Pollywog is a composer-described “quirky” chart influenced by the master composer/arranger, Jim McNeely. The entire chart was composed from the 8 bar melody that first appears at rehearsal letter G and utilizes the exhaustive cellular development often used by McNeely. A few unique things to notice in Pollywog: • The title implies every aspect of the composition. A pollywog is another name for tadpole, which is the first of three stages (post-egg) in a frog’s life cycle. As a tadpole matures, it goes through a series of distinct changes that appear seamless through the triad of stages. Like the frog cycle, this entire arrangement aims to seamlessly move between three different accompaniment patterns and every other aspect of the piece functions in groups of threes as well. There are three soloists. There are three tonal centers (C, F, and G), which also imply a basic blues progression and large form progression. There are only three complete statements of the melody. There are three elements to the development section’s rhythmic structure: 8 bar sections representing the melody, 12 bar sections representing the implied blues mentioned above, and 2 or 4 bar drum solo sections (all intertwined). There are also three harmonic “structures” used during the initial melodic development of the piece (unison/octaves, seconds, and semi-clusters). • Even though the tonality moves throughout the piece, there is a fairly constant pedal point that is heard during softer sections that help tie the piece together. There are also a lot of trombone/guitar smears that not only create tension, but serve as tonal transition blenders. • This arrangement unfolds in reverse order from traditional Big Band charts. The long development occurs at the front of the chart culminating in a full band statement of the true melody at rehearsal letter G. If you are looking for a unique chart for your exciting concert program, look no further! [Grade 5 – Soprano Sax Lead – Lead Trumpet F#6]

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Dave Stamps  is a Graduate Teaching Assistant and Othmer Fellow at the University of Nebraska-Lincoln. At UNL, Stamps directs the UNL Big Band, teaches jazz history and world music, and studies jazz composition for the Doctor of Musical Arts degree.
An active trombonist and composer/arranger, Stamps has performed with/written for the Colorado Jazz Orchestra, Ninth+Lincoln Jazz Orchestra, Chuck Owen & the Jazz Surge, Jim Widner Big Band, and Wil Swindler's Elevenet. He has performed all over North America, South America, and Europe, including several trips and residencies in Romania.  His compositions have been performed and recorded by university and professional jazz ensembles worldwide. He is a member of ASCAP, the AFM, JEN, the College Music Society, the Liberace Scholars, and Pi Kappa Lambda.
His research interests include compositional profile mapping, using standard communication and listening skills to teach aural music develop through a case study approach, intellectual property vs. commerce practices, and new music publishing models and implementation.  Most recently, he has presented his compositions and arranging research at the National University of Music in Bucharest, Romania as well as performed at the acclaimed SoNoRo International Chamber Music Festival in 2011.
Previously, Stamps has served as the Associate Director of Jazz Studies at the University of Northern Colorado, as well as the Managing Director of the Center for Jazz Composition and Visiting Assistant Professor at the University of South Florida where he helped develop the Jazz Masterworks Series, the International Jazz Composers' Symposium, and the International Jazz Arranging Competition.
Stamps is an alumnus of the University of South Florida, Northern Illinois University, Southern Illinois University-Edwardsville, and Indiana University.