REED 1 (Solo) EAST ST. LOUIS TOODLE-OO - slhsband.com · &b I to Soprano Sax 8 J 10 &b‰ J...

& b c Ó Œ œ œF ‰ Jœ œ œb œ œ œD mG .œ Jœ# œ œ œ œ

E oœ- œ œ œb œ œ œD m œ Œ ‰ Jœ œ œE o

& bœ œ ‰ Jœb œ œ Jœ ‰D m

œ œ# œ œ œ œ œE oJœ œ- Jœn œ œ œ œ#D m Bb

Ó ‰ Jœ œ œA G m C m B o

& bœ œ ‰ Jœb œ œ œD mH œ- œ# œ œ œ œ œE o

‰ œ Jœ œ œ œ œbD m

Ó Jœ œb ^ JœE o

~ ~ ~~

& b œ œ œ œ- œ œ#D m œ œ œ œ# œ jœ .œ#3

E o A 7 !D m G m D m !F#o

46061

Jazz at Lincoln Center Library - Essentially Ellington

EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley

Arranged by Duke EllingtonTranscribed by Christopher Crenshaw

Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed

This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,

424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).

International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.

REED 1 (Solo)Clarinet

& b c ˙ ˙q = 164

pTenor Sax

˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ >F

œ# œ œ œ

& b ˙ ˙A

p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ >F

œ# œ œ œ

& b ˙ ˙B

p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙F

˙b œ Œp

& b 6C œ œ ‰ Jœ œ œb ‰ JœFœb œ ‰ Jœ œ œ# Œ ˙ ˙

D

p ˙ ˙ ˙ ˙ ˙# ˙

& b ˙ ˙ ˙ ˙ œ ˙ œ>F œ œ œ œ 8E to Clarinet 10F

& b ’ ’ ’ ’D m

G Clarinet

’ ’ ’ ’E o

’ ’ ’ ’D m

’ ’ ’ ’E o

& b ’ ’ ’ ’D m

’ ’ ’ ’E o

’ ’ ’ ’D m Bb

’ ’ ’ ’A G m C m B o

& b ’ ’ ’ ’D m

H

’ ’ ’ ’E o

’ ’ ’ ’D m

’ ’ ’ ’E o

& b ’ ’ ’ ’D m

’ ’ ’ ’E o A 7

’ ’ ’ ’D m G m D m

’ ’ ’ ’F#o

46061








REED 1Tenor SaxClarinetSoprano Sax

& b 8I to Soprano Sax 10J

& b ‰ jœ œ. œ œ œ œ œ. œ3K

F

Soprano Sax(reed 2&3 lead)

œ œ œ œ. œ œ œ œ œ. œ3

3

œ œ œ œ. œ œ œ œ œ. œ3 3

œ œ œ œ Ó3

& b ‰ œ jœ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ# œ jœb œ jœ œ œ œb œ

& b !L to Tenor Sax

Ó Œ ‰ Jœ#Tenor Sax

Fœ œ# œ œ œn œb œ œbF .˙ ‰ Jœ

F 7 œ œ œb œ# œ œn ŒBb B o

& b ‰ jœ œb œn œn œ ‰ JœF D 7 œ œ œ œ# œ œ œG 7 C 7 œb œn œb œ ‰ Jœn œ# œnF D 7

Jœ œ Jœ# .œ JœG 7 C 7

Œ œ œ œ

& b ˙ ˙M

p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ritard.

.U Œ

East St. Louis Toodle-oo2

46061

Reed 1

& c ˙ ˙q = 164

pBaritone Sax

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >Fœ œ œ œ#

& ˙ ˙A

p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >Fœ œ œ œ#

& ˙ ˙B

p˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

F˙ œ Œ

p& 6C œ# œn ‰ Jœ œ œ ‰ JœF

œ œb ‰ Jœ œ œ Œ

& ˙ ˙D

p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ>F

œ œ# ^ œ œ

& 8E 9F

Œ œ œ œF

& ˙ ˙G

p˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ ˙ œ# œ œ œ

& ˙ ˙H ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ > œ>F

œ œ œ œ

46061








REED 2Baritone SaxSoprano Sax

& b8I to Soprano Sax 10J

& b ‰ Jœ œ. œ œ œ œ œ. œ3

K

FSoprano Sax œ œ œ œ. œ œ œ œ œ. œ

3 3


lead

œ œ œ œ Ó3

& b ‰ œ Jœ œ œ œn œ(reed 3 lead) œ œ œb œ œ œ œ œ œ œ# œ œ Jœ œb ^ Jœ œn œb œ œ

& b n2L to Baritone Sax

‰ Jœ# œ œ œ œ œF

Baritone Sax œn œ# œ œ> œ œ œn ^ 5 Œ œ œ œ

& ˙ ˙M

p˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ritard. .U Œ


46061

Reed 2

& b c ˙ ˙q = 164

pTenor Sax

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >Fœ œ œ œ#

& b ˙ ˙A

p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >F œ œ œ œ#

& b ˙ ˙B

p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙F

˙ œ Œp

& b 6C

œn œb ‰ Jœ œ œ ‰ jœF

œ œb ‰ jœ œ œ Œ

& b ˙ ˙D

p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ>F œ œ# ^ œ œ

& b 8E 9F

Œ œ œ œF& b ˙ ˙G

p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ ˙ œ# œ œ œ

& b ˙ ˙H

˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ > œ>F œ œ œ œ

46061








REED 2 (Alternate Part)Tenor SaxSoprano Sax


& b ‰ Jœ œ. œ œ œ œ œ. œ3

K

FSoprano Sax œ œ œ œ. œ œ œ œ œ. œ

3 3


lead

œ œ œ œ Ó3

& b ‰ œ Jœ œ œ œn œ(reed 3 lead) œ œ œb œ œ œ œ œ œ œ# œ œ Jœ œb ^ Jœ œn œb œ œ

& b 2L to Tenor Sax

‰ jœ# œ œ œ œ œFTenor Sax

œn œ# œ œ> œ œ œn ^ 5 Œ œ œ œ

& b ˙ ˙M

p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ritard.

.˙U Œ


46061

Reed 2

& b c ˙ ˙q = 164

pBass Sax ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >

Fœ œ œ œ

& b ˙ ˙A

p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >

Fœ œ œ œ

& b ˙ ˙B

p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙

F˙ œb Œ

p& b 6C œb œ ‰ Jœ œ œ# ‰ JœF

œ# œn ‰ Jœ œ œ Œ

& b ˙ ˙D

p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ ˙# œ>

Fœ œb ^ œ œ

& b 8E 9F

Œ œ œ œ#F

& b ˙ ˙G

p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ ˙ œ œ œ œ#

& b ˙ ˙H

˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ > œ>F

œ œ# ^ œ œ

46061








REED 3Bass SaxSoprano Sax


& b ‰ jœ œ. œ œ œ œ œ. œ3K Soprano Sax

Flead œ œ œ œ. œ œ œ œ œ. œ

3 3


(reed 2 lead)

œ œ œ œ Ó3

& b ‰ œ jœ œ œ œ# œlead œ œ œ œ œ œ œ œ œ œ œn œ Jœ œ Jœ œb œ œ œ

& b Œ œ ˙C 7L

Fœ œ œ œ œ œ œ œ œ œ. œ.3 3

3 jœ.œ Jœ .œ Jœ

F œb œ# œ œ> œ œ œ œ œ œb3

3F 7

œ œ œ .œ JœnBb B o

& b .œ Jœ œ# œ œF D 7 ˙ œ œ œ œG 7 C7 œ œb œ œ œ# œ Œ

F D 7 œn - Œ ÓG 7 to Bass Sax

Œ œn œ œ#Bass Sax

& b ˙ ˙M

p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙ritard. .U Œ


46061

Reed 3

& c ˙ ˙q = 164

pBari Sax

˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >F œ œ œ œ

& ˙ ˙A

p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >F œ œ œ œ

& ˙ ˙B

p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙F

˙ œb Œp

& 6C œb œ ‰ Jœ œ œ# ‰ JœFœ# œn ‰ Jœ œ œ Œ

& ˙ ˙D

p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ ˙# œ>F œ œb ^ œ œ

& 8E 9F

Œ œ œ œ#F

& ˙ ˙G

p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ ˙ œ œ œ œ#

& ˙ ˙H

˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ > œ>F

œ œ# ^ œ œ

46061








REED 3 (Alternate Part)Baritone SaxSoprano Sax

& b8I to Soprano Sax 10J

& b ‰ jœ œ. œ œ œ œ œ. œ3K Soprano Sax

Flead œ œ œ œ. œ œ œ œ œ. œ

3 3


(reed 2 lead)

œ œ œ œ Ó3

& b ‰ œ jœ œ œ œ# œlead œ œ œ œ œ œ œ œ œ œ œn œ Jœ œ Jœ œb œ œ œ

& b Œ œ ˙C 7L

Fœ œ œ œ œ œ œ œ œ œ. œ.3 3

3 jœ.œ Jœ .œ Jœ

F œb œ# œ œ> œ œ œ œ œ œb3

3F 7

œ œ œ .œ JœnBb B o

& b n.œ Jœ œ# œ œF D 7 ˙ œ œ œ œG 7 C7 œ œb œ œ œ# œ Œ

F D 7 œn - Œ ÓG 7 to Bari Sax

Œ œn œ œ#Bari Sax

& ˙ ˙M

p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙

ritard.

.˙U Œ


46061

Reed 3

& b c 8q = 164 8A 8B 8C 7D

& b Œ œ œ œst. mute 8E 10F 8G (clarinet solo) 6H

& b œ > œ>st. mute

F œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ.I œ œ œ> œ ‰ Jœ# œ. œn . œ. œ. œ- œ

& b œ œ œ Ó ‰ œ Jœ œ- œ œ- œ œ Œ œ œ# œ œ œ œ œ œ œ œ ˙b > Œ ‰ Jœ

& b œ. œ. œ. œ. œ. œ. œ. œ.J œ œ œ> œ Œ ‰ jœ œ œ# œ œ œn œ .˙ œ- œ œ Jœ œ Jœn~ ~

& b œ œn œb œ ‰ Jœ# œ œ# œ œ ‰ Jœ œn œn œ œ œn œb œ ‰ Jœ# œ œ# œ œ ‰ Jœ œn œn œ- œ œ œ œ

& b 7K to open

Ó Œ ‰ Jœopen œ œ œ œ œ œ œ œ

L

Fœ œ œ> œ Œ

& b ‰ jœ œ œ# œ œ œn œ .˙ œ- œ- œ- Jœ œ Jœn œ œn œb œ ‰ Jœ# œ œ# Jœ œ- Jœb œn œn œ

& b œ œ œ œ Œ œ œ# Jœ œ- Jœb œn œ œ- œ Œ Ó 7M

!U

46061








TRUMPET 1

& b c 7q = 164Ó jœ œ- jœplunger w/pixiegrowl

F

Solo

jœb .œn œ œ œA

Ó ‰ jœ œ œb ^ œ œb ^ œ œ- œ œ3

& b Ó Œ œ œ3

œ œ œ œ œ œ œ3

œ œ œ œ œ œ œ ‰ œ œ3 3 œ œ œ jœ ‰ Ó3

& b Œ œ .œ Jœgrowl œ œ# œ œ œ œ

B

Ó Œ œ œ3

œ œ œ Jœ œ jœ3

œ Œ Œ œ œ3

& b œ œ œ œ œ œ œ3

œ œ œ œ œ œ œ œ œ œ œ œ- Ó Œ œ œ# œ œ œn ^

& b œb ^ œ œ- ŒC

Œ œ œ# œ œ œn ^ œb ^ œ œ- Œ Œ œ œ# œ œ œn ^

& b œ œ œ œ œ œ Œ œ œ# œ œ œ œn ‰ jœ œb œ ‰ jœ œ œn ‰ jœ œn œb ‰ jœ œ œ œ# œgrowl

& b jœ# .œ œ œ œD

Ó ‰ jœ œ œbgrowl ‰ œb jœ œ œ œ œ Œ ‰ œ. œ. œ. œ. œ. œ. œ.3

& b œ œ œ œ œ œ^ œ

3

œ œ œ œ œ œ œ œst. 8ths

œ œ œ œ Œ !

46061








TRUMPET 2

& b 8E to st. mute 10F

& b 8G 6H

œ ˙# > œ>st. mute

F œ œ œ œ

& b œ. œ. œ. œ. œ. œ. œ. œ.I

œ œ œ> œ ‰ Jœ œ. œ. œ. œn . œ- œb ^ œ œb œn Ó

& b ‰ œ jœ œ- œ œ- œ œ Œ œb œn œn œ œ œ œ œ œ œ > Œ ‰ jœ~ ~ ~ ~ ~ ~ ~

& b œ. œ. œ. œ. œ. œ. œ. œ.J

œ œ œ> œ Œ ‰ jœ œ œ# œ œ œ# œ œ œ# - œ- Œ

& b œb ^ œn ^ jœ .œ> œn œb œ œ# Œ œn œ œn œ ‰ Jœ œb œ œb ^ œn - œ œ# Œ œ œ

& b œn œ Œ Jœb .œb œ œn ^ œ œ 7K to open

Ó Œ ‰ jœopen

& b œ œ œ œ œ œ œ œL

Fœ œ œ> œ Œ 7to plunger w/pixie

Ó jœ œ- jœplunger w/pixiegrowl

Solo

& b jœ .œ œ œ œM

Ó ‰ jœ œ œb ‰ jœb ‰ œ œ œ œ3 Ó Œ œ œ

3

& b œ œ œ œ œ œ œ3

œ œ œ œ œ œ œ œ œ œ œ ˙ Œritard. !U


46061

Trumpet 2

? bbb c 8q = 164 8A 8B

? bbb ˙ ‰ Jœ œ œC

P˙b ‰ Jœ œ œ ˙ ‰ Jœ œ œ ˙b Ó

? bbb˙ ˙ ˙n Ó œb œ ‰ Jœ œ œb ‰ Jœ

Fœb œ ‰ Jœ œ œn Œ 8D

? bbb œ œ œ œ œ œ œ œBb7E Solo œ œ œ œ œ- ‰ Jœ œ œ œ œ œ- œ-Eb œ œ œ œ œ Œ~~~

? bbb Œ œ œ œ- œ-Bb7 œ- œ œ> Jœ .œBb7(#5)

‰ jœ œ œ œ œ œ œnEb œ œ œ œ# œ œ‰ J

œE o~ ~~

? bbbœn œ .˙Bb7

F œŒ ‰ J

œb œ œ .˙Œ

EbJœ œ Jœ Jœ .œEb7~~ ~~ ~~~ ~~ ~ ~ ~

? bbb ‰ Jœ œ œ œ- œ-Ab A o œ œ œ œ œ- œ-Eb/Bb C 7

Œ œ œ œ- œ-F 7 Bb7 .œ Jœn œ ŒEb C 7

? bbbœ œ œ# œ

Jœ- œ JœF 7 Bb7

œ Œ ÓEb 8G to st. mute

46061








TROMBONE

? bbb 6H œ > œ>st. mute

Fœ œn ^ œ œ

? bbbœ. œ. œ. œ. œ. œ. œ. œ.I œ œ œ> œ

‰ Jœœ. œ. œ. œ. œ- œ œ œ œ Ó

? bbb ‰ œ Jœ œ- œ œ- œ œ Œ œ œ œ# œ œ œ œ œ œ œ > Œ ‰ Jœ~ ~ ~ ~ ~ ~ ~

? bbbœ. œ. œ. œ. œ. œ. œ. œ.J œ œ œ> œ

Œ ‰ Jœ œ œn œ œn œ œb .˙ Œ

? bbbœ œb ^ Jœ œ Jœ œb œ œb œ Œ œ œ œ œ Œ œn œ Œ œb - œb œ Œ œ œn

? bbbœ œ Œ Jœ .œ œ œb ^ œ œ 7K to open

Ó Œ ‰ Jœopen

? bbbœ œ œ œ œ œ œ œL

Fœ œ œ> œ

Œ ‰ Jœ œ œn œ œn œ œb .˙ Œ

? bbb˙ Jœ œ Jœ œb œ œb œ Œ œ œ œ œ Œ œn œ Œ œb œb œ Ó

? bbbœ œ Œ œn œ Œ ! 7M

!U


46061

Trombone

? bbb c ˙ ˙C m

q = 164

p ˙ ˙D o

˙ ˙C m

˙ ˙D o

˙ ˙C m

˙ ˙D o

œ Œ >C m Ab

Fœ œ œ œG F m C m B o

? bbb ˙ ˙C m

A

p ˙ ˙D o

˙ ˙C m

˙ ˙D o

˙ ˙C m

˙ ˙D o

œ Œ >C m Ab

F œ œ œ œG F m C m B o

? bbb ˙ ˙C m

B

p ˙ ˙D o

˙ ˙C m

˙ ˙D o

˙ ˙C m

˙ ˙D o

˙ ˙nC m B o7

F˙b œ ŒBbm7 Eb7

p? bbb œ Œ œ ŒAbC

P œ Œ œ ŒEb7

œ Œ œ ŒAbœ Œ œ ŒAbm

œ Œ œb ŒEb Db

? bbb œ Œ œ ŒC 7 œb œ Œ œ œn ŒF œn œb Œ œ œ Œ ˙ ˙

C mD

p ˙ ˙D o

? bbb ˙ ˙C m

˙ ˙D o

˙ ˙C m

˙ ˙D o

œ^

> œ>C m B o C m

F œ œn^

œ^

œ^E o

? bbb œ Œ œ ŒBb7E

œ Œ œ Œ œ Œ œ ŒEbœ Œ œ Œ œ Œ œ ŒBb7

œ Œ œ œBb7(#5)

œ Œ ÓEb Ó Œ œnE o

? bbb œ Œ œ ŒBb7F

œ Œ œ Œ ˙ ˙Eb

.˙ ŒEb7

˙ ˙nAb A o

46061








SOUSAPHONE

? bbb ˙ ˙Eb/Bb C 7

˙ ˙F 7 Bb7

œ œ œb œ œ œEb C 7

˙ ˙F 7 Bb7

œ œ œ œEb D oD o C m

F? bbb ˙ ˙

C mG

p ˙ ˙D o

˙ ˙C m

˙ ˙D o

˙ ˙C m

˙ ˙D o

œ Œ ˙C m Ab

œ œ œ œG F m C m D o

? bbb ˙ ˙C m

H

˙ ˙D o

˙ ˙C m

˙ ˙D o

˙ ˙C m

˙ ˙D o G 7

œ^

> œ>C m B o C m

F œ œn^

œ^

œ^E o

? bbb œ Œ œ ŒBb7I

œ Œ œ Œ œ Œ œ ŒEbœ Œ œ Œ œ Œ œ ŒBb7

œ Œ œ œBb7(#5)

œ Œ ÓEb.˙ ŒAb7 E o

? bbb œ Œ œ ŒBb7J

œ Œ œ Œ œ Œ œ ŒEb ˙ ˙Eb7

˙ œ œnAb A o

œ Œ œ ŒEb C 7

? bbb œ Œ œ ŒF 7 Bb7

œ œ œb œ œ ŒEb C 7Db7

œ Œ œ ŒF 7 Bb7

œ œn^

œ^

œ^Eb E o

œ Œ œ ŒBb7K

P œ Œ œ Œ

? bbb œ Œ œ ŒEbœ Œ œ Œ œ Œ œ ŒBb7

œ Œ œ œBb7(#5)

œ Œ ÓEb Ó Œ œn? bbb œ Œ œ ŒBb7L

F œ Œ œ Œ œ Œ œ ŒEb œ Œ œ œEb7

œ Œ œ œnAb A o

œ Œ œ œEb C 7

? bbb œ Œ œ ŒF 7 Bb7

œ œ œb œ ˙Eb C 7Db7

˙ ˙F 7 Bb7

œ œ œ œEb D o C m D o

˙ ˙C m

M

p ˙ ˙D o

? bbb ˙ ˙C m

˙ ˙D o

˙ ˙C m

˙ ˙D o

˙ ˙C m F mritard.

.˙U ŒC m


46061

Sousaphone

& bbb c ’ ’¿ > ¿ >C m

q = 164

p

play deadened chord on 1&3, strong chord on 2&4

’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o

& bbb ’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m Ab

’ ’ ’ ’G F m C m B o

& bbb ’ ’¿ > ¿ >C mA

’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o

& bbb ’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m Ab

’ ’ ’ ’G F m C m B o

& bbb ’ ’¿ > ¿ >C mB

’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o

& bbb ’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m B o

’ ’¿ > ¿ >Bbm7 Eb7

& bbb ’ ’¿ > ¿ >AbC

’ ’¿ > ¿ >Eb7

’ ’¿ > ¿ >Ab’ ’¿ > ¿ >Abm

& bbb ’ ’¿ > ¿ >Eb Bb m6

’ ’¿ > ¿ >C 7 Û Û. ‰ JÛ Û Û. ‰ JÛB7 Bb7 A 7 Û Û. ‰ JÛ Û Û. ŒAb7 G 7

46061








BANJO

& bbb ’ ’¿ > ¿ >C mD

’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o

& bbb ’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D oÛ. |> Û>C m G 7 C m

FÛ Û Û ÛE o

& bbb ’ ’ ’ ’Bb7

E all four beats, some syncopation

’ ’ ’ ’ ’ ’ ’ ’Eb

’ ’ ’ ’ ’ ’ ’ ’Bb7

& bbb ’ ’ ’ ’Bb7(#5) Û Œ ÓEb Ó Œ ÛE

o’ ’ ’ ’Bb7

F

’ ’ ’ ’

& bbb ’ ’ ’ ’Eb

’ ’ ’ ’Eb7

’ ’ ’ ’Ab A o

’ ’œ@ œ œEb/Bb C 7(top note of chord)

& bbb ’ ’ ’ ’F 7 Bb7

’ ’œ@ œ œEb C 7

’ ’ ’ ’F 7 Bb7

’ ’ ’ ’Eb D oD o C m

& bbb ’ ’ ’ ’C m

G

pstrong '4', a bit more active

’ ’ ’ ’D o

’ ’ ’ ’C m

’ ’ ’ ’D o

& bbb ’ ’ ’ ’C m

’ ’ ’ ’D o

’ ’ ’ ’C m Ab

’ ’ ’ ’G F m C m B o

& bbb ’ ’ ’ ’C m

H

’ ’ ’ ’D o

’ ’ ’ ’C m

’ ’ ’ ’D o

& bbb ’ ’ ’ ’C m

’ ’ ’ ’D o G 7 Û. |> Û>C m G 7 C m

FÛ Û Û ÛE o


46061

Banjo

& bbb ’ ’ ’ ’Bb7

I

’ ’ ’ ’ ’ ’ ’ ’Eb

’ ’ ’ ’ ’ ’ ’ ’Bb7

& bbb ’ ’ ’ ’Bb7(#5) Û Œ ÓEb @ œ œn œAb7 A o(top note of chord)

’ ’ ’ ’Bb7

J

’ ’ ’ ’

& bbb ’ ’ ’ ’Eb Û@ Û@ Û Û Û ÛEb7

’ ’ ’ ’Ab A o


Db7

& bbb ’ ’ ’ ’F 7 Bb7


Db7

’ ’ ’ ’F 7 Bb7

’ Û Û ÛEb E o

& bbb ’ ’ ’ ’Bb7

K

P ’ ’ ’ ’ ’ ’ ’ ’Eb

’ ’ ’ ’ ’ ’ ’ ’Bb7

’ ’ ’ ’Bb7(#5)

& bbb Û Œ ÓEb Ó ‰ JÛ ÛAb7

’ ’ ’ ’Bb7

L

Fvery active as at "J"

’ ’ ’ ’

& bbb ’ ’ ’ ’Eb Û@ Û@ Û Û Û ÛEb7

’ ’ ’ ’Ab A o


Db7

& bbb ’ ’ ’ ’F 7 Bb7


Db7

’ ’ ’ ’F 7 Bb7

’ ’ ’ ’Eb D o C m D o

& bbb ’ ’¿ > ¿ >C mM

p ’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o

& bbb ’ ’¿ > ¿ >C m

’ ’¿ > ¿ >D o|@ |@C m F mritard.

Û Œ ÓUC m


46061

Banjo

? bbb c ˙ ˙C m

q = 164

p˙ ˙D o ˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D o

œ Œ >C m Ab

Fœn œ œ œG F m C m B o

? bbb ˙ ˙C mA

p˙ ˙D o

˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D oœ Œ >C m Ab

Fœn œ œ œG F m C m B o

? bbb ˙ ˙C mB ˙ ˙D o˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D o

˙ ˙C m B o7

F˙ œ Œ

Bbm7 Eb7

p? bbb Œ œœœ Œ œœœAbC

PŒ œœœb Œ œœœEb7 Œ œœœ Œ œœœAb

Œ œœœb ‰ Jœœœ œœœAbm

? bbb Œ œœœb Œ œœœEb DbŒ œœœn ‰ Jœœœ œœœC 7 œœ#n œœnb ‰ Jœœ œœ œœ# ‰ Jœœ

B 7 Bb7 Bb7 A 7

Fœœ# œœnb ‰ Jœœ œœ œœn ŒA 7 Ab Ab7 G 7

? bbb !C mD

!D o!C m !D o

!C m !D o œœœ ˙n > œœœ>C m B o C m

Fœœœ œœœbn œœœœb ^ œœœœ œœœœ

E o

? bbb Œ œœœn Œ œœœBb7E

Œ œœœ Œ œœœ Œ œœœ Œ œœœEb

Œ œœœ Œ œœœ

? bbb Œ œœœ Œ œœœBb7

Œ œœœ ‰ Jœœœ# ŒBb7(#5) œœœ Œ Ó

EbÓ Œ œœœb E o

46061








PIANO

? bbb Œ œœœn Œ œœœBb7F

Œ œœœ Œ œœœ Œ œœœ Œ œœœEbŒ œœœb

œœœœ œ

Eb7

Œ œœœ Œ œœœn#Ab A o

? bbb Œ œœœ Œ œœœnEb/Bb C 7

Œ œœœbn Œ œœœbF 7 Bb7

Œ œœœ Œ œœœnEb C 7

Œ œœbn Œ œœbF 7 Bb7

!Eb D o C m D o

? bbb !C mG

!D o!C m !D o

!C m !D o!C m Ab

!G F m C m B o

&?

bbb

bbb

!!

C m

H

!!

D o!!

C m

!!

D o!!

C m

!!

D o G 7

œœ^ ˙> œœ>œœœ ˙n œœœC m B o C m

F

œœ Œ Óœœœ œœœbn œœœœb ^ œœœœ œœœœ

E o

? bbb œœœœn

œœœœ

Bb7I

œœœœ

œœœœ

œœœœ

œœœœ

Eb

œœœœ œ

œœœ Œ

? bbb œœœœ

œœœœ

Bb7

œœœœ

œœœœ# Œ

Bb7(#5) œœœœ Œ ÓEb ....

˙˙b ŒAb7 E o

&?

bbb

bbb

!Œ œœœ Œ œœœBb7

J

!Œ œœœ Œ œœœ

‰ jœœ œœ œœ## œœ œœ œœnn œœn‰ Jœ œ œn œ œn œ œbEb

.˙ Œœ œ# œ Œ

.˙ ŒEb7

!Ó

œœœb œœœAb A o


46061

Piano

? bbbœœbn œœb œœn œœbn Jœœ

œœn JœœEb C 7Db7 ˙bn ˙nb

F 7 Bb7 œœb œœb œœn œœbn Jœœœœn Jœœ

Eb C 7Db7 ˙bn ˙nbF 7 Bb7

œ œœœb ^ œœœ œœœEb E o

? bbb œœœœn

œœœœBb7K

P œœœœ

œœœœ

œœœœ

œœœœ

Ebœ

œœœ œœœœ Œ

? bbb œœœœ

œœœœBb7

œœœœ

œœœœ# Œ

Bb7(#5) œœœœ Œ ÓEb

Œ ˙b œœAb7

? bbb Œ œœœ Œ œœœBb7L

FŒ œœœ Œ œœœ ! Œ œœœb ‰ Jœœœ Œ

Eb7

Ó œœœ# œœœAb A o

? bbbœœb œœb œœnn œœbn Jœœ

œœn JœœEb C 7Db7 ˙bn ˙nbF 7 Bb7 œœb œœb œœn œœbn Jœœ

œœn JœœEb C 7Db7 ˙bn ˙nbF 7 Bb7 œ œ œ œ

Eb

? bbb ˙ ˙C mM

p˙ ˙D o

˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D o!

C m F m

ritard.

!UC m


46061

Piano

? bbb c ˙ ˙C mq = 164

parco ˙ ˙D o

˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o

œ Œ >C m Ab


? bbb ˙ ˙C mA

p˙ ˙D o

˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o

œ Œ >C m Ab


? bbb ˙ ˙C mB

p˙ ˙D o

˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o˙ ˙nC m B o7

F˙b œ Œ

Bbm7 Eb7

p? bbb œ Œ œ ŒAbC

Pœ Œ œ ŒEb7 œ Œ œ ŒAb œ Œ œ ŒAbm œ Œ œb ŒEb Db

? bbb œ Œ œ ŒC 7 œb œ Œ œ œn ŒF

œn œb Œ œ œ Œ ˙ ˙C mD

p ˙ ˙D o

? bbb ˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D oœ > œ>C m B o C m

Fœ œn ^ œ œ

E opizz.

? bbb œ Œ œ ŒBb7E œ Œ œ Œ œ Œ œ ŒEb œ Œ œ Œ œ Œ œ ŒBb7 œ Œ œ œBb7(#5) œ Œ ÓEbÓ Œ œn E o

? bbb œ Œ œ ŒBb7F œ Œ œ Œ ˙ ˙Eb

.˙ ŒEb7 ˙ ˙nAb A o

46061








BASS(Alternate Part)

? bbb ˙ ˙Eb/Bb C 7 ˙ ˙F 7 Bb7 œ œ œb œ œ œEb C 7 ˙ ˙

F 7 Bb7arcoœ œ œ œ

Eb D oD o C m

F? bbb ˙ ˙C mG

p ˙ ˙D o˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙

D oœ Œ ˙C m Ab œ œ œ œ

G F m C m D o

? bbb ˙ ˙C mH

˙ ˙D o˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o G 7

œ > œ>C m B o C m

Fœ œn ^ œ œ

E opizz.

? bbb œ Œ œ ŒBb7I œ Œ œ Œ œ Œ œ ŒEb œ Œ œ Œ œ Œ œ ŒBb7 œ Œ œ œBb7(#5) œ Œ ÓEb .˙ ŒAb7 E o

? bbb œ Œ œ ŒBb7J œ Œ œ Œ œ Œ œ Œ

Eb ˙ ˙Eb7 ˙ œ œnAb A o œ Œ œ Œ

Eb C 7

? bbb œ Œ œ ŒF 7 Bb7 œ œ œb œ œ ŒEb C 7Db7 œ Œ œ ŒF 7 Bb7 œ œn ^ œ œEb E o œ Œ œ ŒBb7K

Pœ Œ œ Œ

? bbb œ Œ œ ŒEb œ Œ œ Œ œ Œ œ ŒBb7 œ Œ œ œBb7(#5) œ Œ ÓEbÓ Œ œn

? bbb œ Œ œ ŒBb7L

Fœ Œ œ Œ œ Œ œ ŒEb œ Œ œ œEb7 œ Œ œ œnAb A o

? bbb œ Œ œ œEb C 7 œ Œ œ ŒF 7 Bb7 œ œ œb œ ˙

Eb C 7Db7 ˙ ˙F 7 Bb7 œ œ œ œEb D o C m D o

arco

? bbb ˙ ˙C mM

p˙ ˙D o

˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o˙ ˙C m F mritard.

.˙U ŒC m


46061

Bass (Alternate Part)

ã c Y>C mq = 164

p !D o!C m !D o

!C m !D o!C m Ab

!G F m C m B o

ã !C mA (tpt solo)

!D o!C m !D o

!C m !D o!C m Ab !G F m C m B o

ã !C mB

!D o!C m !D o

!C m !D o!C m B o 7 !Bbm7 Eb7

ã !AbC y> Œ ÓEb7

!Ab y> Œ ÓAbm

!Eb Db

ã !C 7 Œ y Œ ychokes

Œ y Œ y !C mD

!D o

ã !C m !D o!C m !D o y Y y

C m B o C m

FŒ y y y

E ochokes

ã !Bb7E (tbn solo)

! !Eb Ó ‰ y jychokes y Œ ÓBb7

Œ ‰jy ‰

jy ŒBb7(#5)

chokes !Eb ! E o

ã !Bb7F

! !Eb !Eb7 !Ab A o

ã !Eb/Bb C 7 !F 7 Bb7 !Eb C 7 !F 7 Bb7 chokes‰jy ‰

jy ‰jy Œ

EbD oD o C m

46061








DRUMS

ã !C mG (clarinet solo)

!D o!C m !D o

!C m !D o!C m Ab

!G F m C m D o

ã !C mH

!D o!C m !D o

!C m !D o G 7 Œ Y> y>C mB o C m

Fy y y y

E ochokes

ã !Bb7I (brass soli)

Ó ‰jy Œchokes !Eb Ó ‰

jy ‰jy !Bb7 !Bb7(#5) !Eb ‰

jy ‰jy ‰

jy ŒAb7 E o

ã !Bb7J

! !Eb !Eb7 !Ab A o!Eb C 7

ã !F 7 Bb7 !Eb C 7Db7 !F 7 Bb7 Œ y y yEb E o

chokes !Bb7K (sax soli)

!

ã !Eb Ó ‰ y jy !Bb7 !Bb7(#5) !Eb Œ y Œ y

ã !Bb7L (sax solos)

Ó ‰jy Œ !Eb

!Eb7 !Ab A o!Eb C 7

ã !F 7 Bb7 Ó ‰jy ŒEb C 7Db7 !F 7 Bb7 !Eb D o C m D o

!C mM (tpt solo)

!D o

ã !C m !D o!C m !D o

!C m F mritard.

ÓU y ŒC m

crash


46061

Drums

JAZZ AT LIN

CO

LN C

ENTER’S ESSEN

TIALLY ELLIN

GTO

N LIBRA

RY

East St. Louis Toodle-ooD

uke Ellington and Bubber Miley

Arra

nged

by D

uke Ellington

As p

erformed

by D

uke Ellington a

nd his Kentucky C

lub O

rchestraTra

nscribed

and

Edited

by C

hristopher C

renshaw

for Jazz a

t Lincoln Center

Full Score This tra

nscription w

as m

ad

e especia

lly for Jazz a

t Lincoln Center’s 20

16–17Tw

enty-Second A

nnual Essentially Ellington H

igh School Ja

zz Band

Progra

m.

Jazz a

t Lincoln Center a

nd A

lfred Pub

lishing g

ratefully a

cknowled

ge the coop

eration

and

supp

ort provid

ed in the p

ublica

tion of this year's Essentially Ellington m

usic series:

Founding

lead

ership sup

port for Essentially Ellington is p

rovided

by The Ja

ck and

Susan Rud

in Educa

tional a

nd Schola

rship Fund

.

Ma

jor supp

ort is provid

ed b

y Jessica a

nd N

ata

n Bibliow

icz, Alfred

and

Ga

il Engelb

erg, C

asey Lipscom

b,

Dr. J. D

ougla

s White a

nd the King

-White Fa

mily Found

ation, Aug

ustine Founda

tion, Ella Fitzg

erald

Cha

ritab

le

Founda

tion, Cha

rles Evans H

ughes M

emoria

l Founda

tion, and

the Ha

rold a

nd M

imi Steinb

erg C

harita

ble Trust.

Wynton M

arsa

lis, Ma

nag

ing a

nd A

rtistic Director, Ja

zz at Lincoln C

enter

NO

TES ON

PLAYING

ELLING

TON

At least 95%

of mod

ern-da

y larg

e ensemb

le jazz p

laying

comes out

of three trad

itions: Count Ba

sie’s ba

nd, D

uke Ellington’s b

and

, and

the orchestra

tions of sma

ll groups. Those young

pla

yers interested in ja

zz w

ill be d

raw

n to sma

ll groups for the op

portunity to im

provise a

nd for

pra

ctical rea

sons (it is much ea

sier to orga

nize 4 or 5 peop

le than it is 15).

Schools have ta

ken over the task (form

erly perform

ed b

y da

nce ba

nds)

of training

musicia

ns to be ensem

ble p

layers. D

ue to the Basie Ba

nd’s

pop

ularity a

nd its sim

plicity of style a

nd em

pha

sis on blues a

nd sw

ing,

the better ed

ucators ha

ve alm

ost exclusively ad

opted

this trad

ition for tea

ching ja

zz ensemb

le pla

ying. A

s wond

erful as C

ount Basie’s style is,

it doesn’t a

dd

ress ma

ny of the imp

ortant styles d

eveloped

under the

grea

t musica

l umb

rella w

e call ja

zz. Duke Elling

ton’s comp

rehensive and

eclectic a

pp

roach to m

usic offers an a

lternative.

The stylistic richness of Ellington’s m

usic presents a

grea

t challeng

e to ed

ucators a

nd p

erformers a

like. In Basie’s m

usic, the conventions a

re very nearly consistent. In Elling

ton’s music there a

re ma

ny more

exceptions to the rules. This ca

lls for grea

ter knowled

ge of the la

ngua

ge

of jazz. C

lark Terry, w

ho left Count Ba

sie’s ba

nd to join D

uke Ellington,

said

, “Count Ba

sie wa

s college, b

ut Duke Elling

ton wa

s gra

dua

te school.” Know

ledg

e of Ellington’s m

usic prep

ares you to p

lay a

ny big

ba

nd m

usic.

The following

is a list of p

erforma

nce conventions for the grea

t ma

jority of Elling

ton’s music. A

ny devia

tions or ad

ditions w

ill be sp

elled out in the

individ

ual p

erforma

nce notes which follow

.

1. Listen ca

refully ma

ny times to the Elling

ton recording

of these p

ieces. There are m

any sub

tleties that w

ill elude even the m

ost sop

histicated

listener at first. A

lthough it w

as never Elling

ton’s w

ish to have his record

ings im

itated

, knowled

ge of these d

efinitive versions w

ill lead

musicia

ns to ma

ke more ed

ucated

choices when

creating

new p

erforma

nces. Ellington’s m

usic, though w

ritten for sp

ecific individ

uals, is d

esigned

to inspire a

ll musicia

ns to express

themselves. In a

dd

ition, you will hea

r slight note d

ifferences in the record

ing a

nd the tra

nscriptions. This is intentiona

l, as there a

re m

istakes a

nd a

lterations from

the origina

l intent of the music in the

recording

. You should ha

ve your pla

yers pla

y wha

t’s in the score.

2. Genera

l use of swing

phra

sing. The trip

let feel preva

ils except for

ba

llad

s or where nota

tions such as even eig

hths or Latin a

pp

ear.

In these cases, eig

hth notes are g

iven equa

l value.

3. There is a cha

in of comm

and

in ensemb

le pla

ying. The lea

d p

layers

in each section d

etermine the p

hrasing

and

volume for their ow

n section, a

nd their section-m

ates m

ust conform to the lea

d. W

hen the sa

xes and

/ or tromb

ones pla

y with the trum

pets, the lea

d

trump

et is the boss. The lea

d a

lto and

tromb

one must listen to the

first trump

et and

follow him

. In turn, the other saxes a

nd trom

bones

must follow

their lead

pla

yers. When the cla

rinet lead

s the bra

ss section, the b

rass should

not overblow

him. Tha

t mea

ns that the

first trump

et is actua

lly pla

ying “second

.” If this is done effectively,

there will b

e very little ba

lancing

work left for the cond

uctor.

4. In Ellington’s m

usic, each p

layer should

express the ind

ividua

lity of his ow

n line. He m

ust find a

musica

l ba

lance of sup

porting

and

follow

ing the section lea

der a

nd b

ringing

out the chara

cter of the und

erpa

rt. Each p

layer should

be encoura

ged

to express his or

her persona

lity through the m

usic. In this music, the und

erpa

rts a

re pla

yed a

t the sam

e volume a

nd w

ith the sam

e conviction as

the lead

.

5. Blues inflection should p

ermea

te all p

arts a

t all tim

es, not just when

these opp

ortunities occur in the lead

.

6. Vib

rato is used

quite a

bit to w

arm

up the sound

. Saxes (w

ho most

frequently rep

resent the sensual sid

e of things) usua

lly emp

loy vib

rato on ha

rmonized

pa

ssag

es and

no vibra

to on unisons. The vib

rato ca

n be either hea

vy or light d

epend

ing on the context.

Occa

sionally sa

xes use a lig

ht vibra

to on unisons. Trump

ets (w

ho very often are used

for heat a

nd p

ower) use a

little vibra

to on ha

rmonized

pa

ssag

es and

no vibra

to on unisons. Tromb

ones (w

ho are usua

lly noble) d

o not use slide vib

rato. A

little lip vib

rato is

good

on harm

onized p

assa

ges a

t times. Try to m

atch the sp

eed of

vibra

to. In genera

l unisons are p

layed

with no vib

rato.

7. Crescend

o as you a

scend a

nd d

iminuend

o as you d

escend.

The upp

er notes of phra

ses receive a na

tural a

ccent and

the low

er notes are g

hosted. A

lto and

tenor saxop

hones need to use

sub-tone in the low

er pa

rt of their rang

e in order to b

lend p

roperly

with the rest of the section. This m

usic wa

s origina

lly written w

ith no d

ynam

ics. It pretty m

uch follows the na

tural tend

encies of the instrum

ents; pla

y loud in the loud

pa

rt of the instrument a

nd soft in

the soft pa

rt of the instrument. For insta

nce, a hig

h C for a

trump

et w

ill be loud

and

a low

C w

ill be soft.

8. Qua

rter notes are g

enerally p

layed

short unless otherwise

notated

. Long m

arks a

bove or b

elow a

pitch ind

icate full va

lue: not just long

, but full va

lue. Eighth notes a

re pla

yed full va

lue excep

t when follow

ed b

y a rest or otherw

ise notated

. All notes

longer tha

n a q

uarter note a

re pla

yed full va

lue, which m

eans if it

is followed

by a

rest, release the note w

here the rest ap

pea

rs. For exa

mp

le, a ha

lf note occurring on b

eat one of a

mea

sure would

be

released

on bea

t three.

9. Unless they a

re pa

rt of a leg

ato b

ackg

round fig

ure, long notes

should b

e pla

yed som

ewha

t fp (forte-pia

no); accent then d

iminish

the volume. This is im

porta

nt so that the m

oving p

arts ca

n be

heard

over the sustained

notes. Don’t just hold

out the long notes,

but g

ive them life a

nd p

ersonality: tha

t is, vibra

to, inflection, crescend

o, or dim

inuendo. There is a

grea

t dea

l of inflection in this m

usic, and

much of this is hig

hly interpretive. Stra

ight or

curved lines im

ply non-p

itched g

lisses, and

wa

vy lines mea

n scala

r (chrom

atic or d

iatonic) g

lisses. In genera

l, all rhythm

ic figures need

to b

e accented

. Accents g

ive the music life a

nd sw

ing. This is very

imp

ortant.

10. Elling

ton’s music is a

bout ind

ividua

lity: one person p

er pa

rt—d

o not d

ouble up

beca

use you have extra

pla

yers or need m

ore strength.

More tha

n one on a p

art m

akes it sound

more like a

concert ba

nd

and

less like a ja

zz ba

nd.

11. This is a

coustic music. Keep

am

plifica

tion to an a

bsolute minim

um;

in the best ha

lls, alm

ost no am

plifica

tion should b

e necessary.

Everyone needs to d

evelop a

big

sound. It is the cond

uctor’s job to

ba

lance the b

and

. When a

guita

r is used, it should

be a

hollow-

bod

y, unam

plified

rhythm g

uitar. Sim

ple three-note voicing

s should

be used

throughout. A

n acoustic string

ba

ss is a m

ust. In med

iocre or p

oorly desig

ned ha

lls, the ba

ss and

pia

no ma

y need a

bit of

a b

oost. I recomm

end m

iking them

and

putting

them throug

h the house sound

system. This should

provid

e a m

uch better tone

than a

n am

plifier. Keep

in mind

that the rhythm

section’s prim

ary

function is to accom

pa

ny. The ba

ss should not b

e as loud

as a

trum

pet. Tha

t is unnatura

l and

lead

s to over-am

plifica

tion, ba

d

tone, and

limited

dyna

mics. Sta

y aw

ay from

monitors. They p

rovide

a fa

lse sense of ba

lance.

12. W

e have includ

ed chord

chang

es on all rhythm

section pa

rts so tha

t students ca

n better und

erstand

the overall form

of each

comp

osition. It is incumb

ent upon the d

irector to ma

ke clear w

hat

is a com

posed

pa

rt versus a p

art to b

e imp

rovised. The record

ings

should m

ake this clea

r but in insta

nces where it is not; use your

best jud

gm

ent and

pla

y something

that sound

s good

, is swing

ing,

and

is stylistically a

pp

ropria

te to the piece. Som

etimes, a

student

ma

y not have the technica

l skill to perform

a d

ifficult tra

nscription,

especia

lly in the case of one of D

uke’s solos, in that ca

se, it is best to

have the stud

ent work som

ething out tha

t is ap

prop

riate. W

ritten p

assa

ges should

be stud

ied a

nd ea

rned w

hen possib

le, as they

are a

n imp

ortant p

ort of our jazz herita

ge a

nd help

the pla

yer und

erstand

the function of his pa

rticular solo or a

ccomp

anim

ent. A

ll soloists should lea

rn the chord cha

nges. Solos should

be looked

a

t as a

n opp

ortunity to further develop

the interesting them

atic

ma

terial tha

t Ellington ha

s provid

ed.

13. The nota

tion of plung

ers for the bra

ss mea

ns a rub

ber toilet

plung

er boug

ht in a ha

rdw

are store. Kirkhill is a

very good

bra

nd

(especia

lly if you can find

one of their old ha

rd rub

ber ones, like the

one I loaned

Wynton a

nd he lost). Trum

pets use 5” d

iam

eter and

trom

bones use 6” d

iam

eter. Where Plung

er/Mute is nota

ted, insert

a p

ixie mute in the b

ell and

use the plung

er over the mute. Pixies

are a

vaila

ble from

Hum

es & Berg in C

hicag

o. Tricky Sam

Na

nton a

nd his successors in the Elling

ton plung

er tromb

one chair d

id not

use pixies. Ra

ther, each of them

emp

loyed a

Nonp

areil (tha

t’s the b

rand

nam

e) trump

et straig

ht mute. N

onpa

reil has g

one out of b

usiness, but the Tom

Crow

n Nonp

areil trum

pet stra

ight m

ute is very close to the sa

me thing

. These mute/p

lunger com

bina

tions crea

te a w

onderful sound

(very close to the huma

n voice), but

they also ca

n create som

e intonation p

roblem

s which m

ust be

corrected b

y the lip or b

y using a

lternate slid

e positions. It w

ould

be ea

sier to move the tuning

slide, b

ut pa

rt of the sound is in the

strugg

le to correct the pitch. If this p

roves too much, stick w

ith the p

ixie—it’s p

retty close.

14. The d

rumm

er is the de fa

cto lead

er of the ba

nd. H

e estab

lishes the b

eat a

nd controls the volum

e of the ensemb

le. For big

ba

nd

pla

ying, the d

rumm

er needs to use a

larg

er ba

ss drum

than he

would

for sma

ll group

drum

ming

. A 22” or 24” is p

referred. The b

ass

drum

is pla

yed softly (nea

rly inaud

ible) on ea

ch bea

t. This is called

fea

thering the b

ass d

rum. It p

rovides a

very imp

ortant b

ottom to

the ba

nd. The b

ass d

rum sound

is not a b

oom a

nd not a

thud—

it’s in betw

een. The larg

er size drum

is necessary for the kicks; a

sm

aller d

rum just w

on’t be hea

rd. The key to this style is to just keep

tim

e. A rim

knock on two a

nd four (chop

ping

wood

) is used to lock

in the swing

. When it com

es to pla

ying fills, the few

er, the better.

15. The horn p

layers should

stand

for their solos and

soIis. Brass

pla

yers should com

e dow

n front for mod

erate to long

solos, surround

ing rests p

ermitting

. The sam

e ap

plies to the p

ep

section (two trum

pets a

nd one trom

bone in p

lunger/m

utes).

16. H

orns should p

ay close a

ttention to atta

cks and

releases.

Everyone should hit tog

ether and

release tog

ether.

17. A

bove all, everyone’s focus should remain at all tim

es on the swing. A

s the great bassist C

huck lsraels says, “The three most im

portant things in jazz are rhythm

, rhythm, and rhythm

, in that order.” Or as Bubber

Miley (Ellington’s first star trum

peter) said, “It don’t mean a thing if it

ain’t got that swing.”

GLO

SSARYThe follow

ing a

re terms w

hich describ

e conventions of jazz

perform

ance, from

trad

itional N

ew O

rleans to the p

resent ava

nt ga

rde.

Break • within the context of a

n ongoing

time feel, the rhythm

section stops for one, tw

o, or four ba

rs. Very often a soloist w

ill imp

rovise during

a

brea

k.

Call and response • rep

etitive pa

ttern of contrasting

exchang

es (d

erived from

the church proced

ure of the minister m

aking

a sta

tement

and

the congreg

ation a

nswering

with “a

men”). C

all-a

nd-resp

onse p

atterns usua

lly pit one g

roup of instrum

ents ag

ainst a

nother. Som

etimes w

e call this “tra

ding

fours,” “trad

ing tw

os,” etc., especia

lly w

hen it involves imp

rovisation. The num

bers d

enote the am

ount of m

easures ea

ch soloist or group

pla

ys. Another term

frequently used

is “sw

ap

ping

fours.”

Coda • a

lso known a

s the “outro.” “Tag

s” or “tag

ending

s” are outg

rowths

of vaud

eville bow

s that a

re frequently used

as cod

as. They m

ost often use d

eceptive ca

dences tha

t finally resolve to the tonic or they g

o from

the sub

-dom

inant a

nd cycle b

ack to the tonic.

Com

p • imp

rovise accom

pa

niment (for p

iano or g

uitar).

Groove • the com

posite rhythm

. This genera

lly refers to the comb

ined

repetitive rhythm

ic pa

tterns of the drum

s, ba

ss, pia

no, and

guita

r, b

ut ma

y also includ

e repetitive p

atterns in the horns. Som

e grooves

are sta

nda

rd (i.e., sw

ing, b

ossa nova

, sam

ba

), while others a

re m

anufa

ctured (orig

inal com

bina

tions of rhythms).

Head • m

elody chorus.

Interlude • a d

ifferent form (of rela

tively short length) sa

ndw

iched

betw

een two chorus form

s. Interludes tha

t set up a

key chang

e are

simp

ly called

mod

ulations.

Intro • short for introduction.

Ride pattern • the most com

mon rep

etitive figure p

layed

by the

drum

mer’s rig

ht hand

on the ride cym

ba

l or hi-hat.

Riff • a rep

eated

melod

ic figure. Very often, riffs rep

eat verb

atim

or with

slight a

lterations w

hile the harm

onies chang

e undernea

th them.

Shout chorus • also know

n as the “out chorus,” the “sock chorus,” or

sometim

es shortened to just “the shout.” It is the fina

l ensemb

le pa

ssag

e of m

ost big

ba

nd cha

rts and

where the clim

ax m

ost often hap

pens.

Soli • a ha

rmonized

pa

ssag

e for two or m

ore instruments p

laying

the sa

me rhythm

. It is customa

ry for horn pla

yers to stand

up or even

move in front of the b

and

when p

laying

these pa

ssag

es. This is done so

that the a

udience ca

n hear them

better a

nd to p

rovide the a

udience

with som

e visual interest. A

soli sound p

articula

r to Ellington’s m

usic com

bines tw

o trump

ets and

tromb

one in plung

ers/mutes in tria

dic

harm

ony. This is called

the “pep

section.”

Stop time • a

regula

r pa

ttern of short brea

ks (usually filled

in by

a soloist).

Swing • the p

erfect confluence of rhythmic tension a

nd rela

xation in

music crea

ting a

feeling eup

horia a

nd cha

racterized

by a

ccented

wea

k bea

ts (a d

emocra

tization of the b

eat) a

nd eig

hth notes that a

re p

layed

as the first a

nd third

eighth notes of a

n eighth-note trip

let. Duke

Ellington’s d

efinition of swing

: when the m

usic feels like it is getting

faster,

but it isn’t.

Vamp • a

repea

ted tw

o- or four-ba

r chord p

rogression. Very often, there

ma

y be a

riff or riffs pla

yed on the va

mp.

Voicing • the specific sp

acing

, inversion, and

choice of notes that m

ake

up a

chord. For insta

nce, two voicing

s for G7 could

be:

Note tha

t the first voicing includ

es a 9th a

nd the second

voicing includ

es a

9th and

a 13th. The a

dd

ition of 9ths, 11ths, 13ths, and

altera

tions are up

to the d

iscretion of the pia

nist and

soloist.

THE FO

UR ELEM

ENTS O

F MU

SICThe follow

ing a

re pla

ced in their ord

er of imp

ortance in ja

zz. We should

never lose p

erspective on this ord

er of priority.

Rhythm • m

eter, temp

o, groove, a

nd form

, including

both m

elodic

rhythm a

nd ha

rmonic rhythm

(the speed

and

regula

rity of the chord

chang

es).

Melody • a

tune or series of pitches.

Harm

ony • chords a

nd voicing

s.

Orchestration • instrum

entation a

nd tone colors.

—D

avid Berger

EAST ST. LOU

IS TOO

DLE-O

O • IN

STRUM

ENTATIO

NReed

1 – Tenor Sax/C

larinet/Sop

rano Sa

x

Reed 2 – Ba

ri Sax/Sop

rano Sa

x

Reed 3 – Ba

ss Sax/Sop

rano Sa

x

Reed 2 (A

lternate) – Tenor Sa

x/Sopra

no Sax

Reed 3 (A

lternate) – Ba

ri Sax/Sop

rano Sa

x

Trump

et 1

Trump

et 2

Tromb

one

Sousap

hone

Bass (A

lternate)

Banjo

Piano

Drum

s

ORIG

INAL REC

ORD

ING

INFO

RMATIO

NC

omposer • D

uke Ellington a

nd Bub

ber M

iley

Arranger • Duke Elling

ton

Recorded • Novem

ber 29, 1926 in N

ew York

Master # • E4110

[First take]

Original Issue • Voca

lion 1064 [78]

Currently available on C

D • D

ecca/G

RP GRD

3-640 (Early Ellington:

The Com

plete Brunswick and Vocalion Recordings of D

uke Ellington, 1926–1931) [3 C

Ds]

Currently available as digital dow

nload • Am

azon/iTunes: Early

Ellington: The Com

plete Brunswick and Vocalion Recordings of D

uke Ellington, 1926-1931

Personnel • Duke Elling

ton (lead

er, pia

no); Bubb

er Miley, Louis M

etcalf

(trump

et); Joe Na

nton (tromb

one); unknown (cla

rinet, tenor sax); Ed

ga

r Sa

mpson (a

lto sax); O

tto Ha

rdw

ick (ba

ss sax); Fred

Guy (b

anjo); M

ack

Shaw

(tuba

); Sonny Greer (d

rums)

Soloists • Bubb

er Miley (trum

pet); Joe N

anton (trom

bone); unknow

n (cla

rinet); Bubb

er Miley (trum

pet)

REHEARSAL N

OTES

• There a

re a ha

ndful of la

ndm

ark yea

rs in Duke Elling

ton’s long

career: his first C

arneg

ie Ha

ll concert in 1943, the New

port Ja

zz Festiva

l explosion of 1956, returning

to Victor Record

s for a series

of ma

ny of his grea

test classics in 1940

, but first a

nd forem

ost wa

s the op

ening a

t the Cotton C

lub in 1927. It w

as this eng

ag

ement tha

t led

to his first Victor contra

ct and

also to a

series of coast-to-coa

st ra

dio b

road

casts tha

t sprea

d his new

and

innovative m

usic far a

nd

wid

e to a hug

e aud

ience.

• O

ver the course of his long ca

reer, Ellington ha

d only tw

o ma

jor colla

bora

tors. Billy Strayhorn’s 25 yea

rs in that role ha

ve been

well d

ocumented

; less noted is the eq

ually influentia

l input tha

t trum

peter Ja

mes “Bub

ber” M

iley (1903–32) m

ad

e during

his five yea

rs with Elling

ton. Up

until then, the ba

nd ha

d b

een pla

ying w

hat

wa

s known a

s “sweet” m

usic—d

ancea

ble m

usic without m

uch d

epth or b

lues content. Ellington reca

lled tha

t, “Our b

and

chang

ed

its chara

cter when Bub

ber ca

me in. H

e used to g

rowl a

ll night long

, p

laying

gutb

ucket on his horn. That w

as w

hen we d

ecided

to forget

all a

bout the sw

eet music.” It w

ent beyond

just the feeling of M

iley’s p

laying

; Ellington w

as a

ble to m

ine out of Miley com

positiona

l id

eas tha

t led to m

any of his ea

rly classics. M

any ca

lled him

the b

and

’s “idea

” ma

n.

• East St. Louis Toodle-oo is just such a

piece. Elling

ton frequently

cam

e up w

ith dra

ma

tic stories to inspire his m

usicians to interp

ret new

music—

for this he credited

the narra

tive to Miley him

self: “This is a

n old m

an, tired

from w

orking in the field

since sunup, coming

up

the road

in the sunset on his wa

y home to d

inner. Tired b

ut strong,

and

humm

ing in tim

e to his broken g

ate—

or vice versa.” In a

ny ca

se, the music itself is inherently d

ram

atic.

• To p

repa

re the ba

nd for p

laying

this very early Elling

ton, it will

help to g

ive them a

pla

ylist of their 1926–1928 recording

s. Listen to Black and Tan Fantasy, The M

ooche, Blues I Love To Sing and

other cla

ssics. You’ll note that ea

ch one has a

specific m

ood, a

nd your

assig

nment is to ha

ve your ba

nd a

ttain tha

t mood

when they p

lay

the music. This w

ill go a

long w

ay in help

ing them

ap

proa

ch this cla

ssic idiom

.

• The introd

uction is one big

crescendo a

nd d

ecrescendo, a

nd

ma

king tha

t come off p

erfectly is key to estab

lishing the feeling

of the entire p

iece. Doing

it prop

erly is ba

sed on one sim

ple p

rinciple:

Each m

easure (a

ctually ea

ch bea

t) should b

e louder or softer tha

n the one tha

t preced

es it. This sounds ea

sy, but ta

kes a lot of w

ork to d

o well. M

ost ba

nds tend

to get loud

all a

t one point tow

ard

s the end

of the pa

ssag

e. The best ensem

bles d

o it bea

t by b

eat, a

nd

the effect is thrilling. Ta

ke as m

uch time to m

ake this ha

pp

en as

needed

. Estab

lish the dyna

mics a

t the beg

inning a

nd end

of the p

hrase so everyone know

s where they’re g

oing.

• The trum

pet solo tha

t starts a

t A is p

layed

in Miley’s style. H

e wa

s influenced

by Joe “King

” Oliver, w

hose plung

er style alw

ays ha

d

a ta

lking sound

, with m

ore wa

-wa

effects than the la

ter Ellington

trump

eters used. Try a

nd incorp

orate a

s much of this into p

laying

the solos throug

hout as p

ossible.

• It’s d

ifficult to m

ake horns energ

ize long ha

lf-note phra

ses at this

temp

o—b

ut each should

be p

layed

with a

n internal rhythm

and

vib

rato tha

t relates to the tem

po.

• Even thoug

h the drum

s are used

spa

ringly on the orig

inal, you ca

n exp

eriment w

ith having

them p

lay unob

trusively.

• M

ake the m

ost of the sudd

en mf a

t the end of C

for dra

ma

tic effect.

• The rhythm

ically unison notes a

t the end of D

are a

lso vital

elements—

the horns and

rhythm section m

ust hit all of them

p

recisely.

• The trom

bone solo a

t E will sound

best if p

layed

as close to the

origina

l as p

ossible. Pra

ctice the two b

ar b

reak a

t the end of E so

that it’s p

erfectly in time a

nd lea

ds into F.

• M

ake the m

ost of the decrescend

o into G to return to the m

ood of

the introduction. It ca

n never be stressed

too strongly how

much

dyna

mic shifts a

dd

to the success of a p

erforma

nce. It’s an elem

ent tha

t sepa

rates a

grea

t ba

nd from

a g

ood one.

• Sa

me com

ments a

bout the cla

rinet solo at G

for the tromb

one solo in term

s of the origina

l feeling, a

nd the ensem

ble notes tha

t lead

to I.

• Bra

ss soli at I is a

real p

eriod p

iece, and

the phra

sing is virtua

lly like ra

gtim

e, with a

lot of clipp

ed notes. M

ake a

distinction b

etween the

stacca

to and

lega

to phra

ses, and

the two m

easures b

efore J can

be p

layed

louder a

nd w

ith grea

ter intensity that the first six—

sam

e g

oes for the mea

sure before K

.

• The sa

x soli at K

is simila

r to the trump

ets at I, w

ith the sam

e com

ment a

bout stressing

the two-b

ar b

reak b

efore L.

• L is a

conversation b

etween the sections a

nd should

sound

that w

ay. This m

ay b

e a g

ood sp

ot to have the b

and

sing their

pa

rts ba

ck and

forth. This is the highlig

ht of the piece, m

aking

the d

ecrescendo b

ack into the intro m

ateria

l at M

all the m

ore im

porta

nt to pull off.

—Loren Schoenberg

To listen to origina

l recording

s, view intera

ctive videos of W

ynton M

arsa

lis lead

ing the Ja

zz at Lincoln C

enter Orchestra

in rehearsa

ls, and

ob

tain rehea

rsal g

uides for the Essentially Ellington 20

16–17 repertoire

plea

se visit jazz.org

/EE.

&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb ccccccccccc

Reeds 123

Trumpets 12

Trombone

Sousaphone

Banjo

Drum

s

Piano

˙˙

˙˙

˙˙!!!

˙˙

’’

¿>

¿>

!

˙˙

Y > Cm

q = 164

p p ppp p

Tenor Sax

Bari Sax

Bass Saxp play deadened chord on 1&

3, strong chord on 2&4

˙˙

˙˙

˙#˙!!!

˙˙

’’

¿>

¿>

!

˙˙!

D o

˙˙

˙˙

˙˙!!!

˙˙

’’

¿>

¿>

!

˙˙!

Cm

˙#˙

˙˙

˙˙!!!

˙˙

’’

¿>

¿>

!˙n

˙!

D o

˙˙

˙˙

˙˙!!!

˙˙

’’

¿>

¿>

!˙

˙!

Cm

˙˙

˙˙

˙˙#!!!

˙˙

’’

¿>

¿>

!

˙˙!

D o

œŒ

>

œŒ

>œ

Œ>!!!

œŒ

>

’’

¿>

¿>

!

œŒ

>!

Cm

A b FFFFF

œ#œ

œœ

œœ

œœ#

œœ

œœ

!

Ójœ

œ-jœ

!

œœ

œœ

’’

’’

!œn

œœ

œ

!

GF

mC

mB o

plunger w/pixie

growl

F Solo

46061S


EA

ST ST. LO

UIS TO

OD

LE

-OO

Duke E

llington and Bubber M

ileyArranged by D

uke EllingtonTranscribed by C

hristopher Crenshaw

CO

ND

UC

TOR

Copyright ©

1927 Sony/ATV M

usic Publishing LLC and EM

I Mills M

usic Inc. in the U.S.A

.C

opyright Renew

ed This arrangem

ent Copyright ©

2016 Sony/ATV M

usic Publishing LLC and Em

i Mills M

usic Inc. in the U.S.A

.A

ll Rights on behalf of Sony/ATV

Music Publishing LLC

Adm

inistered by Sony/ATV M

usic Publishing LLC,

424 Church Street, Suite 1200, N

ashville, TN 37219

Rights for the w

orld outside the U.S.A

. administered by EM

I Mills M

usic Inc. (Publishing) and Alfred M

usic (Print).International C

opyright Secured. All R

ights Reserved.

Reprinted by Perm

ission of Hal Leonard C

orporation.

&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb

Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

˙˙

˙˙

˙˙!

jœb. œn

œœœ

!

˙˙

’’

¿>

¿>

!

˙˙!

Cm

A

pppp p(tpt solo)

˙˙

˙˙

˙#˙!

Ó‰

jœ œ œb ^

!

˙˙

’’

¿>

¿>

!

˙˙!

D o

˙˙

˙˙

˙˙!

œœb ^œœ-œœ

3

!

˙˙

’’

¿>

¿>

!

˙˙!

Cm

˙#˙

˙˙

˙˙!

ÓŒ œœ3

!

˙˙

’’

¿>

¿>

!˙n

˙!

D o

˙˙

˙˙

˙˙!

œœœœœ œœ3

!

˙˙

’’

¿>

¿>

!˙

˙!

Cm

˙˙

˙˙

˙˙#!

œ œœœœœ œ ‰œœ3

3

!

˙˙

’’

¿>

¿>

!

˙˙!

D o

œŒ

>

œŒ

>œ

Œ>

!

œœœ jœ ‰Ó3

!

œŒ

>

’’

¿>

¿>

!

œŒ

>

!

Cm

A b FFFFF

œ#œ

œœ

œœ

œœ#

œœ

œœ

!

Œœ

.œJ œ

!

œœ

œœ

’’

’’

!œn

œœ

œ

!

GF

mC

mB o

growl

East St. Louis Toodle-oo246061S


Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

˙˙

˙˙

˙˙!

œœ# œœ

œ œ

!

˙˙

’’

¿>

¿>

!

˙˙!

Cm

B

pppp

˙˙

˙˙

˙#˙!

ÓŒ œ œ3

!

˙˙

’’

¿>

¿>

!

˙˙!

D o

˙˙

˙˙

˙˙!

œœœJ œœjœ

3

!

˙˙

’’

¿>

¿>

!

˙˙!

Cm

˙#˙

˙˙

˙˙!

œŒ

Œ œœ3

!

˙˙

’’

¿>

¿>

!˙n

˙!

D o

˙˙

˙˙

˙˙!

œœœœœ œœ3

!

˙˙

’’

¿>

¿>

!˙

˙!

Cm

˙˙

˙˙

˙˙#!

œ œœœœœ œœœ

!

˙˙

’’

¿>

¿>

!

˙˙!

D o

˙˙

˙˙

˙˙!

œœœ-Ó!

˙˙b

’’

¿>

¿>

!

˙˙!

Cm

B o FFFFF

˙bœ

Œ

˙œ

Œ˙

œbŒ

!

Œœœ# œ œœn ^

!

˙œ

Œ

’’

¿>

¿>

!

˙œ

Œ

!

B bm7

E b7 ppppp


46061S


Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!!!

œb ^œœ -Œ

˙‰J œœœ

œ ŒœŒ

’’

¿ >¿

>

!

Œ œœœŒœœœ

!

A b

C

PPP

!!!!

Œ œœ# œ œœn ^

˙b‰J œœœ

œ Œœ

Œ

’’

¿ >¿

>

!

Œ œœœ bŒ

œœœ

y >Œ

Ó

E b7

!!!!

œb ^œœ -Œ

˙‰J œœœ

œ ŒœŒ

’’

¿ >¿

>

!

Œ œœœŒœœœ

!

A b

!!!!

Œœœ# œ œœn ^

˙bÓ

œŒ

œŒ

’’

¿ >¿

>

!

Œœœœ b

‰J œœœ œœœ

y >Œ

Ó

A bm

!!!!

œœ œœ œœ Œ˙

˙

œŒ

œbŒ

’’

¿>

¿>

!

Œœœœ b

Œœœœ

!

E bB bm

6

!!!!

œœ# œœ œœn‰ jœ˙n

Ó

œŒ

œŒ

’’

¿>

¿>

!

Œœœœn

‰J œœœ œœœ

!

C7

œœ‰J œœœb‰J œ

œ#œn‰J œœœ‰J œ

œbœ‰J œœœ#‰J œ

!

œbœ‰jœ œœn‰

jœœbœ‰ J œœœb‰ J œ

œbœ Œœœn Œ

ÛÛ .‰J ÛÛÛ .‰J Û

!œœ #n

œœ nb‰J œœ œœ œœ #

‰J œœ

Œy

Œy

B7

B b7A

7

chokes

FFFFFF

œbœ‰J œœœ#Œ

œœb‰J œœœŒ

œ#œn‰J œœœŒ

!

œnœb‰jœ œœœ# œ

œbœ‰ J œœœnŒ

œnœb Œœœ Œ

ÛÛ .‰J ÛÛÛ .Œ

!œœ #

œœ nb‰J œœ œœ œœ n

Œ

Œy

Œy

A b7G

7 growl



Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

˙˙

˙˙

˙˙!

jœ#. œ

œœœ

!

˙˙

’’

¿>

¿>

!!!

Cm

D

pppp

˙˙

˙˙

˙#˙!

Ó‰

jœ œ œb

!

˙˙

’’

¿>

¿>

!!!

D o

growl

˙˙

˙˙

˙˙!

‰œbjœœ

œœ!

˙˙

’’

¿>

¿>

!!!

Cm

˙#˙

˙˙

˙˙!

œŒ

‰ œ .œ .œ .œ .œ .œ .œ .3

!

˙˙

’’

¿>

¿>

!!!

D o

˙˙

˙˙

˙˙!

œœœœ œœ œ3

!

˙˙

’’

¿>

¿>

!!!

Cm

˙˙

˙˙

˙˙#!

œœœœœ œœœ

!

˙˙

’’

¿>

¿>

!!!

D o st. 8ths

œ˙

œ>œ

˙œ >

œ˙#

œ >

!

œœœœ

Œ

!

œ ^>

œ>Û .

| >Û >

!œœœ

˙n >œœœ >

yY

y

Cm

G7

Cm

FFFFFF F

œœ

œœ

œœ# ^

œœ

œœb ^

œœ

Œœ

œœ

!!

œœn ^

œ ^œ ^

ÛÛ

ÛÛ

!œœœ œœœ bn

œœœœ b ^œœœœ

œœœœ

Œy

yy

E ochokes

st. mute


46061S


Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!!!!

œœœ œœœ œœ

œŒ

œŒ

’’

’’

!

Œœœœ n

Œœœœ

!

B b7B b7

Eto C

larinet

all four beats, some syncopation

(tbn solo)

to st. mute

Solo

!!!!!

œœ œ œ œ -‰ J œ

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

!

!!!!!œœœœ œ -

œ -

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

!

E bE b

!!!!!œœ œœœ

Œ

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

Ó‰

yjy

chokes

!!!!!

Œœœ œ -

œ -

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

yŒ

Ó

B b7B b7

!!!!!

œ -œ œ >J œ

. œ

œŒ

œœ

’’

’’

!

Œœœœ

‰J œœœ #Œ

Œ‰

jy‰jyŒ

B b7 ( #5 )

B b7 ( #5 )

chokes

!!!!!

‰jœ œ œ œ œ œœn

œŒ

Ó

ÛŒ

Ó!œœœ

ŒÓ!

E bE b

!!!!!œ œ œœ# œ œb‰ J œ

ÓŒ

œnÓ

ŒÛ

!

ÓŒ

œœœ b

!

E oE o

~~~~

~~



Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!!!!œn

œ. ˙

œŒ

œŒ

’’

’’

!

Œœœœ n

Œœœœ

!

B b7B b7

F

!!!!!œ

Œ‰

J œbœ

œ

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

!

!!!!!.˙

Œ

˙˙

’’

’’

!

Œœœœ

Œœœœ

!

E bE b

!!!!!

J œœ

J œJ œ

.œ

.˙Œ

’’

’’

!

Œœœœ b

œœœœ

œ

!

E b7E b7

!!!!!

‰J œ

œœ

œ -œ -

˙˙n

’’

’’

!

Œœœœ

Œœœœ nb

!

A bA o

A bA o

!!!!!œ

œœ

œœ -

œ -

˙˙

’’

œ@œ

œ

!

Œœœœn

Œœœœ n

!

E b/B bC

7

E b/B bC

7

(top note of the chord)

~~~~~

~~~~~~

~~~~~~~


46061S


Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!!!!

Œœ

œœ -

œ -

˙˙

’’

’’

!

Œœœœ bn

Œœœœb

!

F7

B b7

F7

B b7

!!!!!.œ

J œnœ

Œ

œœ

œbœ

œœ

’’

œ@œ

œ

!

Œœœœ

Œœœœn

!

E bC

7

E bC

7

!!!!!œ

œœ#

œJ œ -

œJ œ

˙˙

’’

’’

!

Œœœ bn

Œœœb

!

F7

B b7

F7

B b7

chokes

ÓŒ

œœ

Œœ

œœ

Œœ

œœ#

!!

œŒ

Ó

œœ

œœ

’’

’’

!!

‰jy

‰jy

‰jy

Œ

E bE bD o

D oC

m Clarinet

FFF

FSolo

‰J œ

œœb

œœ

œ

˙˙

˙˙!!!

˙˙

’’

’’

!!!

Dm

Cm

G

to st. mute

ppppstrong '4', a bit m

ore active

(clarinet solo)

. œJ œ#

œœ

œœ

˙˙

˙#˙!!!

˙˙

’’

’’

!!!

E oD o



Clar.

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

œ -œ

œœb

œœ

œ

˙˙

˙˙!!!

˙˙

’’

’’

!!!

Dm

Cm

œŒ

‰J œ

œœ

˙#˙

˙˙!!!

˙˙

’’

’’

!!!

E oD o

œœ

‰J œb

œœ

J œ‰

˙˙

˙˙!!!

˙˙

’’

’’

!!!

Dm

Cm

œœ#

œœ

œœ

œ

˙˙

˙˙#!!!

˙˙

’’

’’

!!!

E oD o

J œœ -

J œnœ

œœ

œ#

œŒ

˙

œŒ

˙!!!

œŒ

˙

’’

’’

!!!

Dm

B b

Cm

A b

Ó‰

J œœ

œ

œ#œ

œœ

œœ

œœ#

!!!

œœ

œœ

’’

’’

!!!

AG

mC

mB o

GF

mC

mB o


46061S


Clar.

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

œœ‰ J œbœœ œ

˙˙

˙˙!!!

˙˙

’’

’’

!!!

Dm

Cm

Hœ -

œ# œ œœ œ œ

˙˙

˙#˙!!!

˙˙

’’

’’

!!!

E oD o

‰ œJ œ œœ œœb

˙˙

˙˙!!!

˙˙

’’

’’

!!!

Dm

Cm

ÓJ œ œb ^

J œ

˙#˙

˙˙!!!

˙˙

’’’’

!!!

E oD o

œœœœ -

œœ#

˙˙

˙˙!!!

˙˙

’’

’’

!!!

Dm

Cm

œ œœœ#œjœ

.œ#3

˙˙

˙˙#

!!!

˙˙

’’

’’

!!!

E oA

7

D oG

7

!

œ>

œ >

œ>

œ >

œ>

œ>

œ˙#>

œ>œ

>œ >

œ ^>

œ>Û .

| >Û >

œœ ^˙>

œœ>œœœ

˙nœœœ

ŒY >

y >

Dm

C #oD

m

Cm

G7

Cm

st. mute

st. mute

st. mute

FFFFFF

F

F F

!

œœ

œœ

œœ# ^

œœ

œœ

œœ

œœ

œœ

œœn ^

œœ

œœn ^

œ ^œ ^

ÛÛ

ÛÛ

œœŒ

Óœœœ œœœ bn

œœœœ b ^œœœœ

œœœœ

yy

yy

F # oE o

chokes

~~~



Clar.

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!!

œ .œ .

œ .œ .

œ .œ .

œ .œ .

œ.œ.

œ.œ.

œ .œ .

œ .œ .

œ .œ .

œ .œ .

œ .œ .

œ .œ .

œŒ

œŒ

’’

’’

!

œœœœ n

œœœœ

!

B b7

I

to Soprano Sax

to Soprano Sax

to Soprano Sax

(brass soli)

!!!

œœ

œ >œ

‰J œ#

œœ

œ >œ

‰J œ

œœ

œ >œ

‰J œ

œŒ

œŒ

’’

’’

!

œœœœ

œœœœ

Ó‰

jyŒ

chokes

!!!œ .

œn .œ .

œ .œ -

œ

œ .œ .

œ .œn .

œ -œb ^

œ .œ .

œ .œ .

œ -œ

œŒ

œŒ

’’

’’

!

œœœœ

œœœœ

!

E b

!!!

œœ

œÓ

œœb

œnÓ

œœ

œÓ

œŒ

œŒ

’’

’’

!

œœœœ

œœœœ

Œ

Ó‰

jy‰

jy

!!!

‰œ

J œœ -

œ

‰œ

jœœ -

œ

‰œ

J œœ -

œ

œŒ

œŒ

’’

’’

!

œœœœ

œœœœ

!

B b7

!!!

œ -œ

œŒ

œœ#

œ-œ

œŒ

œbœn

œ -œ

œŒ

œœ

œŒ

œœ

’’

’’

!

œœœœ

œœœœ #

Œ

! B b7 ( #5 )


46061S


Clar.

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!!

œ œœ œœ œœ œ

œn œœ œœ œœ œœ# œœ œœ œœ œ

œŒ

Ó

ÛŒ

Ó!œœœœ

ŒÓ!

E b

!!!

˙b>Œ

‰J œ

>Œ

‰jœ

>Œ

‰ J œ

. ˙Œ

@œ

œnœ

!.... ˙˙ b

Œ

‰jy‰

jy‰jyŒ

A b7A o

(top note of the chord)

!!!

œ .œ . œ .œ . œ .œ .œ .œ .

œ. œ. œ. œ. œ . œ .œ .œ .œ .œ .œ .œ .œ .œ .œ .œ .

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

!

B b7

J

!!!

œœ

œ >œ

Œ

œœ

œ >œ

Œœ

œœ >

œŒ

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

!

!!!

‰jœ

œœ#

œœ

œnœ

‰jœ

œœb

œnœ

œ#œ

‰J œ

œœn

œœn

œœb

œŒ

œŒ

’’

’’

‰jœœ

œœœœ ##

œœœœ

œœ nnœœn

‰J œ

œœn

œœn

œœb

!

E b

!!!

. ˙œ -

œœ#-

œ-Œ

. ˙Œ

˙˙

Û@Û@

ÛÛÛÛ

.˙Œ

œœ#

œŒ

. ˙Œ

!

E b7

~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~

~ ~



b

Clar.

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!!

œœ

J œœ

J œn

œb ^œn ^

jœ. œ>

œœb ^

J œœ

J œ

˙œ

œn

’’

’’

!

Óœœœ b

œœœ

!

A bA o

!!!

œœn

œbœ

‰J œ#

œœ#

œnœb

œœ#

Œœn

œœb

œœb

œŒ

œœ

œŒ

œŒ

’’

œ@œ

œ

!œœ bn

œœbœœ n

œœ bnJ œœ

œœ nJ œœ

!

E bC

7D b7

!!!

œœ

‰J œ

œnœn

œ

œnœ

‰J œ

œbœ

œb ^

œœ

Œœn

œŒ

œŒ

œŒ

’’

’’

!˙bn

˙nb!

F7

B b7

!!!

œœn

œbœ

‰J œ#

œœ#

œn-œ

œ#Œ

œœ

œb -œb

œŒ

œœn

œœ

œbœ

œŒ

’’

œ@œ

œ

!œœ b

œœbœœ n

œœ bnJ œœ

œœ nJ œœ

!

E bC

7D b7

!!!

œœ

‰J œ

œnœn

œ -

œnœ

ŒJ œb

. œbœ

œŒ

J œ. œ

œŒ

œŒ

’’

’’

!˙bn

˙nb!

F7

B b7

!!!

œœ

œœ

œœn ^

œœ

œœb ^

œœ

œœn ^

œ ^œ ^

’Û

ÛÛ

!

œœœœ b ^

œœœœœœ

Œy

yy

E bE o

chokes


46061S

&&&&&??&&?ã bbbbbb bbb bbb bbb bbb bb

Sopr.

Sopr.

Sopr.

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

‰ jœ œ. œœ œœœ. œ3

‰J œ œ .œœ œœœ . œ3

‰ jœ œ. œœ œœœ . œ3

!!!

œŒ

œŒ

’’

’’

!

œœœœ n

œœœœ

!

B b7

K

Soprano Sax

PP FFF Soprano Sax

Soprano Sax

lead

P(sax soli)

to open

to open

to open

œ œœœ . œœ œœœ .œ3

3


3


3

!!!

œŒ

œŒ

’’

’’

!

œœœœ

œœœœ

!

œ œœœ .œœ œœœ. œ3

3

œ œœœ .œœ œœœ .œ3

3

œ œœœ .œœ œœœ .œ3

3

!!!

œŒ

œŒ

’’

’’

!

œœœœ

œœœœ

!

E b lead

(reed 2 lead)

œ œœœ Ó3

œ œœœÓ3

œ œœœ Ó3

!!!

œŒœ

Œ

’’’

’

!

œœœœœ œœœŒ

Ó‰

yjy

‰œjœœ œœ# œ

‰ œJ œœ œœn œ

‰ œjœœ œœ# œ

!!!

œŒ

œŒ

’’

’’

!

œœœœ

œœœœ

!

B b7 lead

(reed 3 lead)

œœœœ œœœ œ

œœœbœ œœœœ

œœœœ œœœ œ

!!!

œŒ

œœ

’’

’’

!

œœœœ

œ œœœ #Œ

!

B b7 ( #5 )

œ œœ# œ jœb œjœ

œœ# œ œJ œ œb ^J œ

œ œœn œJ œ œJ œ

!!!

œŒ

Ó

ÛŒ

Ó!œœœœ

ŒÓ!

E b

œœ œbœ

œnœb œœ

œbœ œœ

ÓŒ

‰J œ

ÓŒ

‰ jœ

ÓŒ

‰ J œ

ÓŒ

œnÓ

‰J ÛÛ

!

Œ ˙bœœ

ŒyŒ

y

A b7

open

open

open


&&&&&??&&?ã bbbbbb bbb bbb bbb bbb bb

n

Sopr.

Sopr.

Sopr.

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

!!

Œœ

˙

œœ œœ œ œœœ

œœ œœ œ œœœœœ œœ œ œœœ

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

!

C7

B b7

Lto Tenor Sax

to Baritone Sax

F

FFFF

F

Fvery active as at "J"

(sax solos)

ÓŒ

‰J œ#

!œ œ œœœœœœœœ. œ.

33

3

œœ œ >œ

Œ

œœ œ >œ

Œœ

œ œ >œŒ

œŒ

œŒ

’’

’’

!

Œœœœ

Œœœœ

Ó‰

jyŒ

Tenor Sax

Fœœ# œœ œnœbœœb

‰J œ# œ œœœœ

jœ. œJ œ

.œJ œ

‰jœ œœ# œ œœn œ

!

‰J œ œœn œœn œ œb

œŒ

œŒ

’’

’’

!!!

FFE b to plunger w/pixie

F Baritone Sax

. ˙‰

J œ

œnœ# œ œ >œœ

œn ^

œbœ# œ œ >œœœœœœb3

3

. ˙œ -

!. ˙

Œ

œŒ

œœ

Û@Û@

ÛÛ

ÛÛ

!

Œœœœ b

‰J œœœ

Œ

!

F7

F7

E b7

œœœbœ# œœnŒ

!

œœœ

.œJ œn

œ -œ -

J œ œJ œn

!˙

J œ œJ œ

œŒ

œœn

’’

’’

!

Óœœœ #

œœœ

!

B bB o

B bB o

A bA o

‰jœ

œbœn

œnœ‰

J œ

!.œ

J œœ#œ

œ

œœn

œbœ

‰J œ#œ

œ#

!œb

œœb

œŒ

œœ

œŒ

œœ

’’

œ@œ

œ

!œœ b

œœbœœ nn

œœ bnJ œœ œœ n

J œœ

!

FD

7

FD

7

E bC

7D b7


46061S


Tenor

Bari

Sopr.

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

œœ

œœ#

œœ

œ

!˙

œœ

œœ

J œœ -

J œbœn

œnœ

!œ

œŒ

œnœ

Œ

œŒ

œŒ

’’

’’

!˙bn

˙nb!

G7

C7

G7

C7

F7

B b7

œbœn

œbœ

‰J œn

œ#œn

!œ

œbœ

œœ#

œŒ

œœ

œœ

Œœ

œ#

!œb

œbœ

Ó

œœ

œbœ

˙

’’

œ@œ

œ

!œœ b

œœbœœ n

œœ bnJ œœ

œœ nJ œœ

Ó‰

jyŒ

FD

7

FD

7

E bC

7D b7

J œœ

J œ#. œ

J œ

!œn -

ŒÓ

J œœ -

J œbœn

œœ -

!œ

œŒ

œnœ

Œ

˙˙

’’

’’

!˙bn

˙nb!

G7

C7

G7

F7

B b7

to Bass Sax

Œœ

œœ

Œœ

œœ

Œœn

œœ#

œŒ

Ó

Ójœ

œ-jœ

!

œœ

œœ

’’

’’

!œ

œœ

œ

!

E bD o

Cm

D o

plunger w/pixie

growl

Bass Sax

Solo

˙˙

˙˙

˙˙!

jœ. œ

œœ

œ

!

˙˙

’’

¿>

¿>

!

˙˙!

Cm

Mppppp p(tpt solo)

˙˙

˙˙

˙#˙!

Ó‰

jœœ

œb

!

˙˙

’’

¿>

¿>

!

˙˙!

D o



Tenor

Bari

Bass

Tpts. 12

Tbn.

Sous.

Bjo.

Drs.

Pno.

˙˙

˙˙

˙˙!

‰jœb

‰œœ

œœ

3

!

˙˙

’’

¿>

¿>

!

˙˙!

Cm

˙#˙

˙˙

˙˙!

ÓŒ

œœ

3

!

˙˙

’’

¿>

¿>

!˙n

˙!

D o

˙˙

˙˙

˙˙!

œœ

œœ

œœ

œ3

!

˙˙

’’

¿>

¿>

!˙

˙!

Cm

˙˙

˙˙

˙˙#!

œœ

œœ

œœ

œœœ

!

˙˙

’’

¿>

¿>

!

˙˙!

D o

˙˙

˙˙

˙˙!

œœ

˙Œ

!

˙˙

|@|@!!!

Cm

Fm

ritard.

. ˙ UŒ

. UŒ

. UŒ

! U! U! U

.˙ UŒ

ÛŒ

Ó U!! U

Ó Uy

Œ

Cm

crash


46061S

Printed in USA

38081522838X(d80815*MMSNSs(x

*S EAST ST. LOU

IS TOO

DLE-O

O/JLC

46061S

38081522852X(d80815*MMSPMo(Y

*S IF YOU

CO

ULD

SEE ME N

OW

/JLC

46062S

38081522876X(d80815*MMSRQk(U

*S SO EASY/JLC

46063S

38081522890X(d80815*MMSTKq(v

*S STAY ON

IT/JLC

46064S

38081522913X(d80815*MMTLNm(W

*S SUG

AR H

ILL PENTH

OU

SE/JLC

46065S

46061S

ESSENTIALLY ELLIN

GTO

NThe Essentially Ellington H

igh School Ja

zz Band

Progra

m (EE) is one of the m

ost unique curriculum

resources for high

school jazz b

and

s in the United

States a

nd a

broa

d. EE extend

s the lega

cy of Duke Elling

ton and

other semina

l big

ba

nd

comp

osers and

arra

ngers b

y wid

ely dissem

inating

music, in its orig

inal a

rrang

ements, to hig

h school musicia

ns for study

and

perform

ance. U

tilizing this m

usic challeng

es students to increa

se their musica

l proficiency a

nd know

ledg

e of the jazz

lang

uag

e. EE consists of the following

initiatives a

nd services:

Supplying the Music

Each year Jazz at Lincoln Center (JA

LC) transcribes, publishes, and

distributes original transcriptions and arrangem

ents, along with additional

educational materials including recordings and teaching guides, to high

school bands in the U.S., Canada, and A

merican schools abroad.

Talking about the Music

Throughout the school year, band directors and students correspond with

professional clinicians who answ

er questions regarding the EE music. EE

strives to foster mentoring relationships through em

ail correspondence, various conference presentations, and the festival w

eekend.

Professional Feedback Bands are invited to subm

it a recording of their performance of the charts

either for entry in the competition or for com

ments only. Every subm

ission receives a thorough w

ritten assessment. Bands are also invited to attend EE

Regional Festivals for an opportunity to perform and receive a w

orkshop.

Finalists and In-School Workshops

Fifteen bands are selected from com

petition entries to attend the annual C

ompetition & Festival in N

ew York C

ity. To prepare, each finalist band

receives an in-school workshop led by a professional m

usician. Local EE m

embers are also invited to attend these w

orkshops.

Com

petition & Festival The EE year culm

inates in a three-day festival at Jazz at Lincoln Center’s

Frederick P. Rose Hall. Students, teachers, and m

usicians participate in w

orkshops, rehearsals, and performances. The festival concludes w

ith an evening concert that features the three top

-placing bands, joining the Jazz at Lincoln C

enter Orchestra w

ith Wynton M

arsalis in concert previewing

next year’s EE repertoire.

Jazz at Lincoln Center Band D

irector Academy

This professional development session for band directors is designed to

enhance their ability to teach and conduct the music of D

uke Ellington and

other big band composers. Led by prom

inent jazz educators each summ

er, this com

panion program to EE integrates perform

ance, history, pedagogy, and discussion into an intensive educational experience for band directors at all levels.

As of M

ay 20

16, EE has d

istributed

scores to more tha

n 4,800

schools in the U.S. and

ab

road

.

Since 1995, over 648,00

0 stud

ents have b

een exposed

to Duke Elling

ton’s music throug

h

the Essentially Ellington Progra

m.

JAZZ AT LINC

OLN

CEN

TER is dedicated to inspiring and growing

audiences for jazz. W

ith the world-renow

ned Jazz at Lincoln Center

Orchestra and a com

prehensive array of guest artists, Jazz at Lincoln C

enter advances a unique vision for the continued development of

the art of jazz by producing a year-round schedule of performance,

education and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, yearly hall of fam

e inductions, weekly national radio

and television programs, recordings, publications, an annual high

school jazz band competition and festival, a band director academ

y, jazz appreciation curricula for students, m

usic publishing, children’s concerts, lectures, adult education courses, student and educator w

orkshops and interactive websites. U

nder the leadership of M

anaging and Artistic D

irector Wynton M

arsalis, Chairm

an Robert J. A

ppel and Executive Director G

reg Scholl, Jazz at Lincoln Center

produces thousands of events each season in its home in N

ew

York City, Frederick P. Rose H

all, and around the world. For m

ore inform

ation, visit jazz.org.

Jazz at Lincoln Center Education

3 Colum

bus Circle, 12th Floor, N

ew York, N

Y 10019

Phone: 212-258-9810

Fax: 212-258-9900

E-mail: EE@

jazz.org

jazz.org/EE

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