REED 1 Alto Sax Jazz at Lincoln Center Library ... at Lincoln Center Library - Essentially Ellington...

& ### 44 6Medium Fast Swing q = 182

‰ œ̆ Jœ# Jœ œn ˘ Jœ#f

Jœn œn ˘ Jœ# œ. Œ 8A 7

& ### Ó ‰ j¿ ¿ œunis.

f.˙ jœ# œ̆

B

Ó ‰ j¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn >

& ### ˙ ‰ œ œ œ .œ jœ .œ jœ . .˙ ‰ œ œ œ œ# œn œ# œ œ .˙ jœ# œ̆

& ### Ó ‰ j¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn > ˙ ‰ Jœ œ œ .œ jœ œ ‰ jœ

& ### œ œ œ œ jœ# œ jœ Ó ‰ œ Jœ œ œ œC soli

f! ‰ œ Jœ œ œ œ

& ### ! ‰ œ Jœ œ œ œ w œ̂ Œ Ó Œ œ œ Ó

& ### ‰ œ Jœ œ œ œ ! ‰ œ Jœ œ œ œ ! ‰ œ Jœ œ œ œ

& ### w œ̂ Œ Ó Œ œ œ Ó ‰ .œ Jœn . œ# . Jœ̂D

Ó ‰ œn ^ Jœ̂

& ### ‰ .œ Jœn . œ# . Jœ̂ Ó ‰ œn ^ Jœ̂ ‰ .œ Jœn . œ# . Jœ̂ ‰ œ. Jœ. ‰ œ# . Jœ# . ‰ œ# . jœ. Ó

46058

Duke EllingtonTranscribed by Mark Lopeman

Jazz at Lincoln Center Library - Essentially Ellington

BOJANGLESREED 1Alto Sax

Copyright © 1940 Sony/ATV Music Publishing LLC in the U.S.A.Copyright Renewed

This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC in the U.S.A.All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219

Rights for the world outside the U.S.A. controlled by EMI Robbins Catalog, Inc. (Publishing) and Alfred Music (Print).International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.

& ### Œ œn ^ ‰ œn . Jœ. ‰ .œ Jœn . œ# . Jœ̂ Ó ‰ œn ^ Jœ̂ ‰ .œ Jœn . œ# . Jœ̂ Ó ‰ œn ^ Jœ̂

& ### ‰ .œ Jœn . œ# . Jœ̂ ‰ œ. Jœ. ‰ œ# . Jœ# . Œ ‰ Jœ̂ Œ ‰ Jœ# œ̆ œõ œ̂ Ó 8E

& ### 8 Jœ œ Jœ ‰ Jœ œ œF clarinet lead

Jœ œ# Jœ Jœ ‰ Œ Œ ‰ Jœ œ# œ œ œ

& ### Jœ œn Jœn Jœ ‰ Œ ‰ Jœ œ# œn ‰ œ# ‰ ‰ Jœ# œ œ ‰ œ# ‰ Œ œ œ# œ œn

& ### œ œ œ œ Jœn œ Jœ ‰ .œ>⁄ œ œn Œ ‰ Jœ œn œ œ œ œ# œ œ œ# œn œ Jœ œn jœn

& ### ‰ œb jœn Œ ‰ jœb jœ œ# ‰ Ó œ# œ œ œn œ Œ Jœ# œ jœn œ œ Jœ œ Jœ Ó

& ### ‰ .œ Jœn . œ# . Jœ̂G

fÓ ‰ œn ^ Jœ̂ ‰ .œ Jœn . œ# . Jœ̂ Ó ‰ œn ^ Jœ̂ ‰ .œ Jœn . œ# . Jœ̂

& ### ‰ œ. Jœ. ‰ œ# . Jœ# . ‰ œ# . jœ. Ó Œ œn ^ ‰ œn . Jœ. ‰ .œ Jœn . œ# . Jœ̂ Ó ‰ œn ^ Jœ̂

& ### ‰ .œ Jœn . œ# . Jœ̂ Ó ‰ œn ^ Jœ̂ ‰ .œ Jœn . œ# . Jœ̂ ‰ œ. Jœ. ‰ œ# . Jœ# . Œ ‰ Jœ̂ Œ ‰ Jœ#

& ### œ̆ œõ œ̂ Ó 6H

‰ œ̆ Jœ# Jœ œn ˘ Jœ#f

Jœn œn ˘ Jœ# œ. Œ

Bojangles2Reed 1

46058


‰ œ̆ Jœ Jœ œ̆ Jœf Jœ œ̆ Jœn œ. Œ

& ### 8A 7

& ### Ó ‰ j¿ ¿ œunis.

f.˙ jœ# œ̆

B

Ó ‰ j¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn >

& ### ˙ ‰ œ œ œ .œ jœ .œ jœ . .˙ ‰ œ œ œ œ# œn œ# œ œ

& ### .˙ jœ# œ̆ Ó ‰ j¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn >

& ### ˙ ‰ Jœ œ œ .œ jœ œ ‰ jœ œ œ œ œ jœ# œ jœ Ó

& ### ‰ œ Jœ œ œ œ#C soli

f! ‰ œ Jœ œ œ œn !

& ### ‰ œ Jœ œ œ œ w œ̂ Œ Ó Œ œ œ Ó

& ### ‰ œ Jœ œ œ œ# ! ‰ œ Jœ œ œ œn !

46058



BOJANGLES

REED 2Alto Sax




& ### ‰ œ Jœ œ œ œ w œ̂ Œ Ó Œ œ œ Ó

& ### ‰ .œ Jœ. œ# . Jœ̂D

Ó ‰ œ# ^ Jœ̂ ‰ .œ Jœ. œ# . Jœn ^ Ó ‰ œ# ^ Jœ̂

& ### ‰ .œ Jœ. œ# . Jœn ^ ‰ œ# . Jœ. ‰ œn . Jœ. ‰ œ# . jœ. Ó Œ œ# ^ ‰ œ# . Jœ.

& ### ‰ .œ Jœ. œ# . Jœn ^ Ó ‰ œ# ^ Jœ̂ ‰ .œ Jœ. œ# . Jœn ^ Ó ‰ œ# ^ Jœ̂

& ### ‰ .œ Jœ. œ# . Jœn ^ ‰ œ# . Jœ. ‰ œn . Jœ. Œ ‰ Jœn ^ Œ ‰ Jœ# œ̆ œnõ œ̂ Ó

& ### 8E 8 8F 8

& ### ‰ .œ Jœ. œ# . Jœ̂G

fÓ ‰ œ# ^ Jœ̂ ‰ .œ Jœ. œ# . Jœn ^ Ó ‰ œ# ^ Jœ̂ ‰ .œ Jœ. œ# . Jœn ^

& ### ‰ œ# . Jœ. ‰ œn . Jœ. ‰ œ# . jœ. Ó Œ œ# ^ ‰ œ# . Jœ. ‰ .œ Jœ. œ# . Jœn ^ Ó ‰ œ# ^ Jœ̂

& ### ‰ .œ Jœ. œ# . Jœn ^ Ó ‰ œ# ^ Jœ̂ ‰ .œ Jœ. œ# . Jœn ^ ‰ œ# . Jœ. ‰ œn . Jœ. Œ ‰ Jœn Œ ‰ Jœ#

& ### œ̆ œnõ œ̂ Ó 6H

‰ œ̆ Jœ Jœ œ̆ Jœf Jœ œ̆ Jœn œ. Œ

Bojangles2Reed 2

46058

& ## 44 ‰ jœ# œ œ œ œ ‰ jœDE Solo

œ œ œ# œ œ œ œ œF#7

Jœ œ Jœ œ œ œG 6

œ# œ œn œ Jœ .œBb7

& ## œ> è Œ ‰ œ œ œ œ>D œ œ œ œ œ œ œB7

Œ œ œ œ œ œ œE7

Jœn œb Jœn œ œ œA 7

& ## œ œ œ .œ ‰D

‰ œ œ# œ œ œ œ œ œ ¿3F#7 œ œ œ œ .œn ‰

G 6

Œ ‰ Jœ Jœ œ JœBb7

& ## œ œ œ œ œ œ œ œ œ œ œ œD

.œn jœ# œ œ œ#B7

œ œ œ œ œ œ œ œE7 A 7 .œ ‰ ¿ œ Œ

D

alt. D

by Duke EllingtonTranscribed by Mark Lopeman


BOJANGLES

REED 3 (Solo)Tenor Sax



Rights for the world outside the U.S.A. controlled by EMI Robbins Catalog, Inc. (Publishing) and Alfred Music (Print).International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation. 46058

& ## 44 6Medium Fast Swing q = 182

‰ œ# ˘ Jœ# Jœ œ# ˘ JœfJœn œ# ˘ Jœn œ. Œ 8A 7

& ## Ó ‰ J¿ ¿ œunis.

f.˙ jœ# œ̆B

Ó ‰ J¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn >

& ## ˙ ‰ Jœ œ œ .œ Jœ .œ Jœ . .˙ ‰ œ œ œ œ# œn œ# œ œ .˙ jœ# œ̆

& ## Ó ‰ J¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn > ˙ ‰ Jœ œ œ .œ Jœ œ ‰ Jœ

& ## œ œ œ œ jœ# œ Jœ Ó ‰ œ Jœ œ œ œC soli

f! ‰ œ Jœ œ œ œ !

& ## ‰ œ# Jœ œ œ œ# w œn ^ Œ Ó Œ œ œ Ó ‰ œ Jœ œ œ œ !

& ## ‰ œ Jœ œ œ œ ! ‰ œ# Jœ œ œ œ# w œn ^ Œ Ó Œ œ œ Ó

& ## ‰ .œ Jœ. œ# . Jœ̂D

Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ ‰ œ. Jœ# . ‰ œn . Jœ.

& ## ‰ œ. jœ# . Ó Œ œ̂ ‰ œ. Jœn . ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂

46058



BOJANGLESREED 3Tenor Sax




& ## Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ ‰ œ. Jœ# . ‰ œn . Jœ. Œ ‰ Jœ̂ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

& ## ’ ’ ’ ’DE Solo

’ ’ ’ ’F#7

’ ’ ’ ’G 6

’ ’ ’ ’Bb7

& ## ’ ’ ’ ’D

’ ’ ’ ’B7

’ ’ ’ ’E7

’ ’ ’ ’A 7

& ## ’ ’ ’ ’D

’ ’ ’ ’F#7

’ ’ ’ ’G 6

’ ’ ’ ’Bb7

& ## ’ ’ ’ ’D

’ ’ ’ ’B7

’ ’ ’ ’E7 A 7

’ ’ ’ ’D

& ## 8F 8

& ## ‰ .œ Jœ. œ# . Jœ̂G

fÓ ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂

& ## ‰ œ. Jœ# . ‰ œn . Jœ. ‰ œ. jœ# . Ó Œ œ̂ ‰ œ. Jœn . ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂

& ## ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ ‰ œ. Jœ# . ‰ œn . Jœ. Œ ‰ Jœ Œ ‰ Jœ

& ## œ̆ œ#õ œ̂ Ó 6H

‰ œ# ˘ Jœ# Jœ œ# ˘ Jœf

Jœn œ# ˘ Jœn œ. Œ

Bojangles2Reed 3

46058

& ## 44 !G

ad-lib solo over ens. œ œ œ# .˙3

˙ œ œ œ ¿ w ë

& ## ! ˙ œ œ# œ œ œ œ œ œ̂ œ(smear)

œ œn œ# œ œ œ œ œ œ̂ ˙ œn œ# œ œ œ œ œ .œ> Jœ œ œ œ# œ

& ## œ Œ ‰ Jœ̂ Œœ̆ œ̆ .œ Jœ œ œ œ# œ œ. œ. œ- œ œ œn œ Œ

& ## Ó ‰ Jœ œ œ œä œ œ Jœ# .œ> œ œ œ- œn . œ- œ# œ œ œ œ# œ. Œ



BOJANGLESREED 4 (Solo)Clarinet



Rights for the world outside the U.S.A. controlled by EMI Robbins Catalog, Inc. (Publishing) and Alfred Music (Print).International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation. 46058

& ## 44 6Medium Fast Swing q = 182Clarinet

‰ œ̆ Jœ Jœ œ̆ Jœf

Jœ œ̆ Jœ œ. Œ

& ## 8A to Tenor Sax 8 8B 8

& ## ‰ œ Jœ œ œ œC soli

f

Tenor Sax

! ‰ œ Jœ œ œ œn ! ‰ œ Jœ œ œ œ w

& ## œ# ^ Œ Ó Œ œ œ Ó ‰ œ Jœ œ œ œ ! ‰ œ Jœ œ œ œn

& ## ! ‰ œ Jœ œ œ œ w œ# ^ Œ Ó Œ œn œ Ó

& ## ‰ .œ Jœ. œ. Jœ̂D

Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ ‰ œ. Jœ. ‰ œ. Jœ.

& ## ‰ œ. jœ. Ó Œ œ̂ ‰ œ. Jœ. ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂

& ## Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ ‰ œ. Jœ. ‰ œ. Jœ. Œ ‰ Jœ̂ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

& ## 8E to Clarinet 8

46058



BOJANGLESREED 4ClarinetTenor Sax




& ## Jœ œ Jœ ‰ Jœ œ œF Clarinet

Jœ# œ Jœ Jœ ‰ Œ Œ ‰ Jœ œ œ œ œ Jœb œ Jœb Jœ ‰ Œ

& ## ‰ Jœn œ œ ‰ œn ‰ ‰ Jœ# œ œn ‰ œ ‰ Œ œ œ œ œ# œ œ œ œ# Jœn œn Jœ

& ## ‰.œ>⁄ œ œ Œ ‰ Jœ œ œ# œ œ œ# œ œ œ œn œ Jœ œ jœb ‰ œn jœ Œ ‰ jœ

& ## jœ œ ‰ Ó œ œ œ œ œ Œ Jœ œ Jœœ# œ Jœ œ Jœ Ó

& ## ’ ’ ’ ’G 6 G# oG ad-lib solo over ensemble

’ ’ ’ ’D D 7 D 7+ ’ ’ ’ ’G 6 G# o’ ’ ’ ’D D 7 D 7+

& ## ’ ’ ’ ’G G# o’ ’ ’ ’D B7 ’ ’ ’ ’E7 ’ ’ ’ ’A 7 D +7

& ## ’ ’ ’ ’G 6 G# o’ ’ ’ ’D D 7 D 7+ ’ ’ ’ ’G 6 G# o

’ ’ ’ ’D D 7 D 7+

& ## ’ ’ ’ ’G G# o’ ’ ’ ’D B7 ’ ’ ’ ’E7 A 7 ’ ’ ’ ’D

& ## !H œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ ‰

13

solo ad-lib

! œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ ‰13

& ## Ó Œ jœ# œ jœ œ jœ# œ jœ œ jœ œ jœ œ jœ Jœ .œ> ‰ œ̆ Jœ Jœ œ̆ Jœf

as is Jœ œ̆ Jœ œ. Œ

Bojangles2Reed 4

46058


‰ œfljœ Jœ œfl

jœf Jœ œfl

jœ œ. Œ

& ### 8A 7

& ### Ó ‰ J¿ ¿ œunis.

f.˙ jœ# œ̆B

Ó ‰ J¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn >

& ### ˙‰ œ œ œ .œ Jœ .œ Jœ . .˙ ‰ œ œ œ œ# œn œ# œ œ

& ### .˙ jœ# œ̆ Ó ‰ J¿ ¿ œ .˙ ‰ Jœb > œ œ œb œ> œ œ œ œn >

& ### ˙‰ Jœ œ œ .œ Jœ œ ‰ Jœ œ œ œ œ Jœ# œ Jœ Ó

& ### ‰ œ Jœ œ œ œC soli

f! ‰ œ Jœ œ œ œb ! ‰ œ Jœ œ œn œ w

& ### œ̂ Œ Ó Œ œ# œ Ó ‰ œ Jœ œ œ œ ! ‰ œ Jœ œ œ œb

& ### ! ‰ œ Jœ œ œn œ w œ̂ Œ Ó Œ œ œ Ó

46058



BOJANGLESREED 5Baritone Sax




& ### ‰ .œ Jœ. œ. Jœ̂D

Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ### ‰ .œ Jœ. œ. Jœ̂ ‰œ. Jœ. ‰ œ. Jœ. ‰ œ.

Jœ. Ó Œ œ̂ ‰ œ. Jœ.

& ### ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ### ‰ .œ Jœ. œ. Jœ̂ ‰œ. Jœ. ‰ œ. Jœ. Œ ‰ Jœ̂ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

& ### 8E 8 8F 8

& ### ‰ .œ Jœ. œ. Jœ̂G

fÓ ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ### ‰ .œ Jœ. œ. Jœ̂ ‰œ. Jœ. ‰ œ. Jœ. ‰ œ.


& ### ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ### ‰ .œ Jœ. œ. Jœ̂ ‰œ. Jœ. ‰ œ. Jœ. Œ ‰ Jœ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

& ### 6H

‰ œfljœ Jœ œfl

jœf Jœ œfl

jœ œ. Œ

Bojangles2Reed 5

46058


‰ œ̆ Jœ jœ œ̆ jœf

jœ œ# fljœn œ. Œ 8A 8

& ## 8B 8 8C 8

& ## ‰ .œ Jœ. œ. Jœ̂D

Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ## ‰ .œ Jœ. œ. Jœ̂ ‰ œ. Jœ. ‰ œ. Jœ. ‰ œ. jœ. Ó Œ œ̂ ‰ œ. Jœ.

& ## ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ## ‰ .œ Jœ. œ. Jœ̂ ‰ œ. Jœ. ‰ œ. Jœ. Œ ‰ Jœ̂ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

& ## wE

π w# w wb w wn w# w

& ## w w w w w w ˙ .œ jœ œ Œ Ó

& ## 8F 8

46058



BOJANGLESTRUMPET 1




& ## ‰ .œ Jœ. œ. Jœ̂G

fÓ ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ## ‰ .œ Jœ. œ. Jœ̂ ‰ œ. Jœ. ‰ œ. Jœ. ‰ œ. jœ. Ó Œ œ̂ ‰ œ. Jœ.

& ## ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

& ## ‰ .œ Jœ. œ. Jœ̂ ‰ œ. Jœ. ‰ œ. Jœ. Œ ‰ Jœ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

& ## 6H

‰ œ̆ Jœ jœ œ̆ jœf

jœ œ# fljœn œ. Œ

Bojangles2Trumpet 1

46058


‰ œ̆ Jœ# Jœ œn ˘ Jœf Jœ œ̆ Jœ œ. Œ

& ## 8A 8 8B

& ## 8 8C 8

& ## ‰ .œ Jœb . œn . Jœ̂D

Ó ‰ œn ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œn ^ Jœ̂

& ## ‰ .œ Jœb . œn . Jœ̂ ‰ œ. Jœ. ‰ œ# . jœ# . ‰ œn . jœ. Ó Œ œn ^ ‰ œn . Jœ.

& ## ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œn ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œn ^ Jœ̂

& ## ‰ .œ Jœb . œn . Jœ̂ ‰ œ. Jœ. ‰ œ# . jœ# . Œ ‰ Jœ̂ Œ ‰ jœ# œ̆ œõ œ̂ Ó

& ## 8E to straight mute 8

46058



BOJANGLESTRUMPET 2




& ## Jœ œ Jœ ‰ Jœn œ œFclarinet leadstraight mute

Jœn œ# Jœ Jœ ‰ Œ Œ ‰ Jœn œ œ œ œ Jœn œb Jœ Jœ ‰ Œ

& ## ‰ Jœ# œn œn ‰ œ ‰ ‰ Jœn œ# œ ‰ œ ‰ Œ œ œ œn œ# œ œb œn œ Jœ œ Jœ

& ## ‰ .œn >⁄ œ œ# Œ ‰ Jœ œ œn œ# œ œ œ œn œ œb œn Jœ œ jœn ‰ œ jœb Œ ‰ jœ

& ## jœ# œn ‰ Ó œ œ œ œ œ# Œ Jœ œ# jœ œn œ Jœ# œ Jœ Ómute out

& ## ‰ .œ Jœb . œn . Jœ̂G

fopen Ó ‰ œn ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œn ^ Jœ̂

& ## ‰ .œ Jœb . œn . Jœ̂ ‰ œ. Jœ. ‰ œ# . jœ# . ‰ œn . jœ. Ó Œ œn ^ ‰ œn . Jœ.

& ## ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œn ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œn ^ Jœ̂

& ## ‰ .œ Jœb . œn . Jœ̂ ‰ œ. Jœ. ‰ œ# . jœ# . Œ ‰ Jœ Œ ‰ jœ# œ̆ œõ œ̂ Ó

& ## 6H

‰ œ̆ Jœ# Jœ œn ˘ Jœf Jœ œ̆ Jœ œ. Œ

Bojangles2Trumpet 2

46058


‰ œn ˘ Jœ Jœ œ# ˘ Jœnf Jœ œ̆ Jœb œ. Œ 8A 8

& ## 8B 8 8C 8

& ## ‰ .œ jœ. œ# . jœ̂D

Ó ‰ œ# ^Jœ̂ ‰ .œ jœ. œ# . jœn ^ Ó ‰ œ# ^

Jœ̂

& ## ‰ .œ jœ. œ# . jœn ^ ‰ œ# . Jœ. ‰ œn . jœ. ‰ œ# . jœ. Ó Œ œ# ^ ‰ œ# . Jœ.

& ## ‰ .œ jœ. œ# . jœn ^ Ó ‰ œ# ^Jœ̂ ‰ .œ jœ. œ# . jœn ^ Ó ‰ œ# ^

Jœ̂

& ## ‰ .œ jœ. œ# . jœn ^ ‰ œ# . Jœ. ‰ œn . jœ. Œ ‰ Jœb ^ Œ ‰ jœ# œfl œnõ œ^ Ó

& ## wE

π w w w w w# wn w

& ## w w w w w w# ˙n .œ jœ œ Œ Ó

& ## 8F 8

46058



BOJANGLESTRUMPET 3




& ## ‰ .œ jœ. œ# . jœ̂G

fÓ ‰ œ# ^

Jœ̂ ‰ .œ jœ. œ# . jœn ^ Ó ‰ œ# ^Jœ̂

& ## ‰ .œ jœ. œ# . jœn ^ ‰ œ# . Jœ. ‰ œn . jœ. ‰ œ# . jœ. Ó Œ œ# ^ ‰ œ# . Jœ.

& ## ‰ .œ jœ. œ# . jœn ^ Ó ‰ œ# ^Jœ̂ ‰ .œ jœ. œ# . jœn ^ Ó ‰ œ# ^

Jœ̂

& ## ‰ .œ jœ. œ# . jœn ^ ‰ œ# . Jœ. ‰ œn . jœ. Œ ‰ Jœb Œ ‰ jœ# œfl œnõ œ^ Ó

& ## 6H

‰ œn ˘ Jœ Jœ œ# ˘ Jœnf Jœ œ̆ Jœb œ. Œ

Bojangles2Trumpet 3

46058

? 44 6Medium Fast Swing q = 182

‰ œ̆ Jœ# Jœ œ# ˘ Jœf

Jœn œ̆ Jœ œn . Œ 8A 8

? ‰ Jœ œ. œ œ. œ œ œB

F.œ Jœ Ó ‰ Jœ œ œ œ œ œ œb Jœ ‰ ‰ Jœ Jœ ‰ Œ

? ‰ Jœ œ œ Jœ ‰ Œ ‰ œ ‰ œb œ œb œ3

Jœn œn Jœ ‰ œ Jœ !

? ‰ Jœ œ. œ œ. œ œ œ .œ Jœ Ó ‰ Jœ œ œ œ œ œ œb Jœ ‰ ‰ Jœ Jœ ‰ Œ

? ‰ Jœ œ œ Jœ ‰ Œ ‰ œ ‰ œb œ œb œ3

Jœ# œn Jœ Jœn œ Jœ œ Œ Ó 8C

? 8 ‰ .œ Jœ. œ# . Jœ̂D

Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂

? ‰ .œ Jœ. œ# . Jœ̂ ‰œ.

Jœ# .‰

œn . Jœ. ‰ œ.Jœ# . Ó Œ œ̂ ‰ œ. Jœn .

? ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂

? ‰ .œ Jœ. œ# . Jœ̂ ‰œ.

Jœ# .‰

œn . Jœ. Œ ‰ Jœ̂ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

46058



BOJANGLESTROMBONE 1




? wE

πw w wb w w w w

? w w# w wb w wn ˙ .œ Jœ œ Œ Ó

? 8F 8

? ‰ .œ Jœ. œ# . Jœ̂G

fÓ ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂

? ‰œ.

Jœ# .‰

œn . Jœ. ‰ œ.Jœ# . Ó Œ œ̂ ‰ œ. Jœn . ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂

? ‰ .œ Jœ. œ# . Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ# . Jœ̂ ‰œ.

Jœ# .‰

œn . Jœ. Œ ‰ Jœ Œ ‰ Jœ

? œ̆ œ#õ œ̂ Ó 6H

‰ œ̆ Jœ# Jœ œ# ˘ Jœf

Jœn œ̆ Jœ œn . Œ

Bojangles2Trombone 1

46058


‰ œ̆ Jœ Jœ œ̆ JœfJœ œ̆ Jœ œ. Œ 8A 8

? ‰ Jœ œb . œ œ. œ œ œB

F.œ Jœ Ó ‰ Jœ œ œ œ œ œ œb Jœ ‰ ‰ Jœb Jœ ‰ Œ

? ‰ Jœ œ œ Jœ ‰ Œ ‰ œ ‰ œ œb œ œ3

Jœ œ# Jœn ‰ œ Jœ !

? ‰ Jœ œb . œ œ. œ œ œ .œ Jœ Ó ‰ Jœ œ œ œ œ œ œb Jœ ‰ ‰ Jœb Jœ ‰ Œ

? ‰ Jœ œ œ Jœ ‰ Œ ‰ œ ‰ œ œb œ œ3

jœ œ# Jœ Jœn œ Jœ œ Œ Ó 8C

? 8 ‰ .œ Jœb . œn . Jœ̂D

Ó ‰ œb ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œb ^ Jœ̂

? ‰ .œ Jœb . œn . Jœ̂ ‰ œ. Jœ. ‰ œ# . Jœ# . ‰ œn . jœ. Ó Œ œn ^ ‰ œb . Jœ.

? ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œb ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œb ^ Jœ̂

? ‰ .œ Jœb . œn . Jœ̂ ‰ œ. Jœ. ‰ œ# . Jœ# . Œ ‰ Jœ̂ Œ ‰ Jœ# œ̆ œõ œ̂ Ó

46058



BOJANGLESTROMBONE 2




? 8E 8 8F 8

? ‰ .œ Jœb . œn . Jœ̂G

fÓ ‰ œb ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œb ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂

? ‰ œ. Jœ. ‰ œ# . Jœ# . ‰ œn . jœ. Ó Œ œn ^ ‰ œb . Jœ. ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œb ^ Jœ̂

? ‰ .œ Jœb . œn . Jœ̂ Ó ‰ œb ^ Jœ̂ ‰ .œ Jœb . œn . Jœ̂ ‰ œ. Jœ. ‰ œ# . Jœ# . Œ ‰ Jœ Œ ‰ Jœ#

? œ̆ œõ œ̂ Ó 6H

‰ œ̆ Jœ Jœ œ̆ Jœf Jœ œ̆ Jœ œ. Œ


46058


‰ œ# ˘ Jœ# Jœ œ̆ JœfJœn œn ˘ Jœb œ. Œ 8A 8

? ‰ Jœ œ. œ œ. œ œ œB

F .œ jœ# Ó ‰ jœ œ œ œ œ œ œ jœ ‰ ‰ Jœb Jœ ‰ Œ

? ‰ Jœ œ œ Jœ ‰ Œ ‰ œ# ‰ œ œb œ œ3

jœn œ Jœ ‰ œ# Jœ !

? ‰ Jœ œ. œ œ. œ œ œ .œ jœ# Ó ‰ jœ œ œ œ œ œ œ jœ ‰ ‰ Jœb Jœ ‰ Œ

? ‰ Jœ œ œ Jœ ‰ Œ ‰ œ# ‰ œ œb œ œ3

jœ œn Jœ# Jœ œn Jœ œ Œ Ó 8C

? 8 ‰ .œ Jœ. œ. Jœ̂D

Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

? ‰ .œ Jœ. œ. Jœ̂ ‰œ. Jœ. ‰ œ. Jœ. ‰ œ.


? ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

? ‰ .œ Jœ. œ. Jœ̂ ‰œ. Jœ. ‰ œ. Jœ. Œ ‰ Jœ̂ Œ ‰ Jœ œ̆ œ#õ œ̂ Ó

46058



BOJANGLESTROMBONE 3




? wE

πw w w# w w wb wb

? w w w w# w w ˙b .œ Jœ œ Œ Ó

? Jœ œ Jœ ‰ Jœ# œn œF clarinet lead

Jœ# œ Jœ Jœ ‰ Œ Œ ‰ Jœ œ# œ œ œ Jœ œ Jœb Jœ ‰ Œ

? ‰ Jœ œ# œn ‰ œn ‰ ‰ Jœ œ# œ# Jœ œn‰ Œ œ# œ œ œ œ œ œn œ Jœ œ Jœ

? ‰.œb >⁄ œ œ

Œ ‰ Jœb œ œ# œ œ# œ œ œ œ œn œn Jœ œ jœ ‰ œb jœb Œ ‰ jœn

? jœb œn ‰ Ó œ œb œ œ œ Œ Jœ œ Jœ# œ# œn Jœ œ# Jœ Ó

? ‰ .œ Jœ. œ. Jœ̂G

fÓ ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂

? ‰œ. Jœ. ‰ œ. Jœ. ‰ œ.

Jœ. Ó Œ œ̂ ‰ œ. Jœ. ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂

? ‰ .œ Jœ. œ. Jœ̂ Ó ‰ œ̂ Jœ̂ ‰ .œ Jœ. œ. Jœ̂ ‰œ. Jœ. ‰ œ. Jœ. Œ ‰ Jœ Œ ‰ Jœ

? œ̆ œ#õ œ̂ Ó 6H

‰ œ# ˘ Jœ# Jœ œ̆ JœfJœn œn ˘ Jœb œ. Œ


46058

& 44 ’ ’Ó C 6

πMedium Fast Swing q = 182

’ ’ ’ ’ ’ ’ ’ ’F 6

’ ’ ’ ’ ’ ’ ’ ’C 6

’ ’ ’ ’

& 2 ’ ’ ’ ’CA

P ’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

& ’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7

’ ’ ’ ’C

’ ’ ’ ’E7

& ’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 G 7

’ ’ ’ ’C

& ’ ’ ’ ’CB

F ’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7

’ ’ ’ ’G 7

’ ’ ’ ’C

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

& ’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 G 7

’ ’ ’ ’C

’ ’ ’ ’CC

’ ’ ’ ’E7

& ’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7

& ’ ’ ’ ’C

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7 G 7

’ ’ ’ ’C

’ ’ ’ ’F 6 F# oD

’ ’ ’ ’C C7 C 7+

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

46058



BOJANGLESGUITAR




& ’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7 C +7

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

& ’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7 G 7

’ ’ ’ ’C

& ’ ’ ’ ’CE

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7

’ ’ ’ ’G 7

’ ’ ’ ’C

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

& ’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 G 7

’ ’ ’ ’C

’ ’ ’ ’CF

’ ’ ’ ’E7

& ’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7

& ’ ’ ’ ’C

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7 G 7

’ ’ ’ ’C G 7 C C7

’ ’ ’ ’F 6 F# oG

’ ’ ’ ’C C7 C 7+

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

& ’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7 C +7

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

& ’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7 G 7

’ ’ ’ ’C

& ’ ’ ’ ’C 6H

p ’ ’ ’ ’ ’ ’ ’ ’F 6

’ ’ ’ ’ ’ ’ ’ ’C 6

’ ’ ’ ’ 2

Bojangles2 Guitar

46058

&?

44

44

œ> œ œ Jœ ‰ ÓŒ ‰ J

œœœ> ˙̇̇

SoloMedium Fast Swing q = 182

Ó ‰ Jœ œ œ˙̇̇

Jœœœ ‰ Œ


œœœ> ˙̇̇

Ó ‰ Jœ œ œ˙̇̇

Jœœœ ‰ Œ

&?


œœœ> ˙̇̇

!...˙̇̇

Œ‰ œ̆ Jœ Jœ œ̆ Jœ

‰ œfl ‰ Jœ œfl ‰(w/ensemble)

Jœ œ̆ Jœ œ. Œ

Jœ œfl ‰ œ. Œ

&œ. ˙ œ œ>

œ œ œœœ.˙̇̇ œœœ œœœ#b

>

CA Solo

!E7 œ. ˙ œ œ>Rœ#

œœœ.˙̇̇n œœœ œœœbb

>

F 6

!Ab7

&rœ œ. ˙ œ œœb

>Rœ#

œœœ. Rœ˙̇̇ œœœ œœ

>

C

Œ ‰jœœ

>Œ ‰

jœœ#>

Jœœ#JœœnA 7 !D 7 ‰ ..œœ

> jœ> œ- jœ...œœœb Jœœœœ ....œœœœ

G 7

&œœœ œœœ

jœœœ œœœ- jœœœ#

>œ œ .œ Jœb

>

C

!E7 œœœ. œœœ

jœœœ rœ œœœ- jœœœb

>Rœ# œ. Rœ ˙ œ œb

>

F 6

!Ab7

&œœ. œœ jœœ œœ- jœœ

Rœœ##

œœ. Rœœ

œœ Jœœ œœ- J

œœC ..œœ jœœœœ# ....œœœœ

jœœœ#n>

..œœ ‰ ‰ œ- JœA 7

!D 7 G 7 ‰ œœœœ- jœœœœ

.Óœœœ- Jœ.

C (end solo)

46058



BOJANGLESPIANO




& ’ ’ ’ ’CB

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7

’ ’ ’ ’G 7

’ ’ ’ ’C

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

& ’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 G 7 Ó ‰ jœœ

˘ ŒJœœœœfl

C

’ ’ ’ ’CC

Ó ‰ jœœœœb# flŒE7

& ’ ’ ’ ’F 6 Œ jœœœœbbb ‰ ‰ œœœœ

˘ ‰œbfl

Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 Ó ‰ jœœ

˘ ŒJœœœœfl

G 7

& ’ ’ ’ ’C Ó ‰ jœœœœ# fl

ŒE7

’ ’ ’ ’F 6 Ó ‰ œœœœbbb fl

‰Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7 G 7 Ó ‰ œœœb fl

‰C

’ ’ ’ ’F 6 F# oD

’ ’ ’ ’C C7 C 7+

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

& ’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7 C +7

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

& ’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7 C 7+

’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7 G 7 Ó ‰ jœœ

˘ ŒJœœœœfl

C

& ’ ’ ’ ’C

E

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7 Ó ‰ jœœœœœfl

ŒG 7

’ ’ ’ ’C

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

Bojangles2Piano

46058

& ’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 G 7 Ó ‰ jœœœœœfl

ŒC

’ ’ ’ ’CF

’ ’ ’ ’E7

& ’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7

& ’ ’ ’ ’C

’ ’ ’ ’E7

’ ’ ’ ’F 6 Ó ‰ jœœœœbbb fl

ŒAb7

’ ’ ’ ’C

’ ’ ’ ’A 7

& ’ ’ ’ ’D 7 G 7 Ó ‰ jœœœb fl

ŒC G 7 C C7

’ ’ ’ ’F 6 F# oG

’ ’ ’ ’C C7

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7

& ’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7 C +7

’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7

& ’ ’ ’ ’F 6 F# o

’ ’ ’ ’C C7

’ ’ ’ ’F F# o

’ ’ ’ ’C A 7

’ ’ ’ ’D 7 G 7 Ó ‰ Jœ œ œC

Solo

&?


œœœ> ˙̇̇

H

Ó ‰ Jœ œ œ˙̇̇

Jœœœ ‰ Œ


œœœ> ˙̇̇

Ó ‰ Jœ œ œ˙̇̇

Jœœœ ‰ Œ

&?

"

#


œœœ> ˙̇̇

!...˙̇̇

Œ‰ œœ̆ J

œœ Jœœ œœ

˘Jœœ

‰ œfl ‰ Jœ œfl ‰(w/ensemble)

Jœœ œœ̆ J

œœ œœ. Œ

Jœ œfl ‰ œ. œU

Bojangles3Piano

46058

? 44 Ó ‰ Jœ œ œC 6(solo fills ad-lib)Medium Fast Swing q = 182

œ œ œ œ# œ œ œ œ Ó ‰ Jœ œ œbF 6 œn œ œb œ œ œ œ œ

? Ó ‰ jœ œ œC 6 œ œ œ œ œ œ œ œ ‰ œ̆ ‰ Jœ œ̆ ‰(no solo)

Jœ œ̆ ‰ œ. Œ

? œ œ œ œCA œ œ œ œE7 œ œ œ œF 6 œ# œ œ œbAb7 œ œn œ œC œ œ œ œ#A 7

? œ œ œ œ#D 7 œ œ œ œG 7 œ œ œ œC œ œ œ œE7 œ œ œ œF 6 œ# œ œ œbAb7

? œ œn œ œC œ œ œ œ#A 7 œ œ œ œD 7 G 7

œ œ œ œC

œ œ œ œCB

œ œ œ œE7

? œ œ œ œF 6 œ# œ œ œbAb7 œ œn œ œC œ œ œ œ#A 7 œ œ œ œ#D 7 œ œ œ œG 7

? œ œ œ œC œ œ œ œE7 œ œ œ œF 6 œ# œ œ œbAb7 œ œ œ œC œ œ œ# œA 7

? œ œ œ œD 7 G 7 œ œ œ œC œ œ œ œCC

œ œ œ# œE7 œ œn œ œF 6 œ# œ œ œbAb7

? œ œn œ œC œ œ œ œ#A 7 œ œ œ œ#D 7 œ œ œ œG 7 œ œ œ œC œ œ œ# œE7

46058



BOJANGLESBASS




? œ œn œ œF 6 œ# œ œ œbAb7 œ œn œ œC œ œ œ œ#A 7 œ œ œ œD 7 G 7

œ œ œ œC

? œ œ œ# œF 6 F# oD œ œ œ œC C7 C 7+ œ œ œ# œF 6 F# o œ œn œ œC C7 C 7+ œ œ œ# œF F# o œ œ# œ œC A 7

? œ œ œ# œD 7 œ# œ œn œ

G 7 C +7 œ œ œ# œF 6 F# o œ œ œ œC C7 C 7+ œ œ œ# œF 6 F# o œ œn œ œC C7 C 7+

? œ œ œ# œF F# o œ œ œ œC A 7

œ œ œ œD 7 G 7 œ œb œ œC

œ œ œ œCE

œ œ œ œE7

? œ œ œ œF 6 œ# œ œ œbAb7 œ œn œ œC œ œ œ œ#A 7 œ œn œ œD 7 œ œ œ œG 7

? œ œ œ œC œ œ œ# œE7 œ œ œ œF 6 œ# œ œ œbAb7 œ œn œ œC œ œ œ œ#A 7

? œ œ œ œD 7 G 7 œ œ œ œC œ œ œ œCF

œ œ œ œE7 œ œ œ œF 6 œ# œ œ œbAb7

? œ œn œ œC œ œ œ œ#A 7 œ œ œ œ#D 7 œ œ# œ œG 7 œ œ œ œC œ œ œ œE7

? œ œ œ œF 6 œ# œb œ œbAb7

œ œ œ œC œ œ œ œ#A 7 œ œ œ œD 7 G 7 œ œ œ œC G 7 C C7

Bojangles2Bass

46058

? œ œ œ# œF 6 F# o

G œ œ œ œC C7 C 7+ œ œ œ# œF 6 F# o œ œ œ œC C7 C 7+

œ œ œ# œF F# o œ œ œ œC A 7

? œ œ œ œD 7 œ œ œ œG 7 C +7 œ œ œ# œF 6 F# oœ œn œ œC C7 C 7+ œ œ œ# œF 6 F# o

œ œn œ œC C7 C 7+

? œ œ œ# œF F# o œ œn œ œC A 7

œ œ œ œD 7 G 7

œ œ œ œC

œ œ œ œC 6H œ œ# œ œ

? œ œ œ œnF 6 œ œ œ œ# œ œ œ œC 6

œ œ œ œ# ‰ œ̆ Jœ Jœ œ̆ Jœ Jœ œ̆ Jœ œ. Œ

Bojangles3Bass

46058

ã 44 5Medium Fast Swing q = 182Ó ‰ ..xœ

>f

cym. ‰ œ̆ jœ jœ œ̆ jœœ Jœ Jœ œ Jœjœ œ̆ jœ œ

. ŒJœ œ Jœ œ

ã œ œ œ œœ œ œ œC

A

P

(pno solo)

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7


’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 G 7

’ ’ ’ ’C


B

F

(saxes/tbns)

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7


’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7 G 7

’ ’ ’ ’C


C (saxes)

’ ’ ’ ’E7

’ ’ ’ ’F 6

’ ’ ’ ’Ab7

’ ’ ’ ’C

’ ’ ’ ’A 7

’ ’ ’ ’D 7

’ ’ ’ ’G 7


’’ ’ ’E7

’’ ’ ’F 6

’’ ’ ’Ab7

’’ ’ ’C

’’ ’ ’A 7

’’ ’ ’D 7 G 7

œ œ jœ ..xœ>

œ œ œ œC

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46058

JAZZ AT LIN

CO

LN C

ENTER’S ESSEN

TIALLY ELLIN

GTO

N LIBRA

RY

BojanglesD

uke EllingtonA

s perform

ed b

y Duke Elling

ton and

his Fam

ous Orchestra

Transcrib

ed a

nd Ed

ited b

y Ma

rk Lopem

an for Ja

zz at Lincoln C

enter

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

BOJAN

GLES • IN

STRUM

ENTATIO

NReed

1 – Alto Sa

x

Reed 2 – A

lto Sax

Reed 3 – Tenor Sa

x

Reed 4 – C

larinet/Tenor Sa

x

Reed 5 – Ba

ri Sax

Trump

et 1

Trump

et 2

Trump

et 3

Tromb

one 1

Tromb

one 2

Tromb

one 3

Guita

r – Acoustic

Piano

Bass

Drum

s

ORIG

INAL REC

ORD

ING

INFO

RMATIO

NC

omposer • D

uke Ellington

Arranger • Duke Elling

ton

Recorded • Ma

y 28, 1940 in C

hicag

o

Master # • BS0

53021-1

Original Issue • V

ictor 26644 [78]

Currently available on C

D • Blueb

ird 82876-50

857 (Duke Elling

ton: Never

No Lam

ent–The Webster-Blanton Band, 1940

-1942) [3 CD

s]

Currently available as digital dow

nload • Am

azon/iTunes: D

uke Elling

ton: Never N

o Lament–The W

ebster-Blanton Band) [NO

TE: This tra

ck is 2:51 in length; there is a

lso another, shorter version of this p

iece a

vaila

ble for d

ownloa

d from

the sam

e alb

um, b

ut this is a d

ifferent p

erforma

nce.]

Personnel • Duke Elling

ton (lead

er, pia

no); Wa

llace Jones, C

ootie W

illiam

s, Rex Stewa

rt (trump

et); Law

rence Brown, Joe N

anton, Jua

n Tizol (trom

bone); Ba

rney Biga

rd (cla

rinet, tenor sax); Johnny H

odg

es (a

lto sax); O

tto Ha

rdw

ick (clarinet, a

lto sax); Ben W

ebster (tenor sax);

Ha

rry Ca

rney (ba

ritone sax); Fred

Guy (g

uitar); Jim

my Bla

nton (ba

ss); Sonny G

reer (drum

s)

Soloists • Intro: Duke Elling

ton (pia

no)/Jimm

y Blanton (b

ass); D

uke Elling

ton (pia

no); Ben Webster (tenor sa

x); Barney Big

ard

(clarinet); D

uke Elling

ton (pia

no) with Big

ard

(clarinet)

REHEARSAL N

OTES

• There a

re a ha

ndful of la

ndm

ark yea

rs in Ellington’s long

career:

opening

at the C

otton Club

in 1927, his first Ca

rnegie H

all concert

in 1943, the New

port Ja

zz Festival exp

losion of 1956, and

without

a d

oubt, 1940

. That w

as w

hen Ellington retuned

to Victor Record

s a

fter a long

absence, w

hose engineers ca

ptured

the ba

nd’s sound

m

ore brillia

ntly than ever d

one before. A

fter ma

ny years of sha

ring

a hug

e percenta

ge of his incom

e with his m

ana

ger, Elling

ton took cha

rge of his a

ffairs a

nd b

ecam

e his own b

oss; Billy Strayhorn,

Jimm

y Blanton, a

nd Ben W

ebster’s talents b

lossomed

, giving

the b

and

an even richer sound

.

• Elling

ton’s musica

l portra

its are for the m

ost pa

rt evocative of

an era

, of a culture tha

t surrounded

the ded

icatee, ra

ther than

a p

ersonal p

rogra

mm

atic p

icture on an ind

ividua

l. Bojangles, na

med

after the m

oniker of da

ncer Bill Robinson, hea

rkens ba

ck to the era

when ra

gtim

e evolved into ja

zz. Using

the closing stra

in of W

.C. H

and

y’s 1916 Ole M

iss Rag as insp

iration for the m

elody

and

solo choruses, and

another closing

theme, this tim

e from Jelly

Roll Morton’s King Porter Stom

p for the ensemb

le shout choruses, Elling

ton evokes wha

t sounds like the d

istant p

ast, b

ut wha

t at the

time w

ould ha

ve been w

hat the m

usic of the 1990s is for us—

old b

ut not TH

AT old! O

ther nostalg

ic ma

rkers are the chorus for the N

ew

Orlea

ns trio of trump

et, clarinet a

nd trom

bone, a

nd the little m

otif tha

t closes the first eight b

ars a

nd the end

of the piece, w

hich were

borrow

ed from

Ellington’s m

entor Willie “The Lion” Sm

ith.

• For a

ny and

all m

usic from this era

, alw

ays p

lay the m

usic on top

of the bea

t. Different styles m

ay p

ush you a little a

head

of it (G

oodm

an/H

enderson) or a

bit b

ehind (Elling

ton/Basie), b

ut they a

ll share the sa

me va

ntag

e point of lining

directly up

the center of the b

eat. The rhythm

section must a

lwa

ys be untied

on the sam

e, p

recise qua

rter note at a

ll times; otherw

ise, the whole structure w

ill colla

pse.

• The horn entra

nces at the end

of the intro ap

pea

r at f a

nd ha

ve to sna

p. Ha

ve the horns rehearse it sep

ara

tely until it is perfectly

in time.

• A

is sudd

enly at m

p, with the sm

ooth qua

rter notes of the rhythm

section shining throug

h on the even numb

ered m

easures.

• The sa

x unison soli at B is to b

e phra

sed a

s though it w

as a

Ben W

ebster solo, with his cha

racteristic b

ending

of the notes, vibra

to, a

nd sw

ing feeling

. It mig

ht be useful to ha

ve all the sa

xes learn

his solo at to E to fa

milia

rize themselves w

ith his swing

ap

proa

ch a

t this temp

o. Pay close a

ttention to all of the p

hrasing

ma

rks, esp

ecially the leg

ato p

assa

ges.

• Trom

bones a

t B are to b

e very tightly p

hrased

and

blend

ed. You

mig

ht wa

nt to pra

ctice this with a

metronom

e to ma

ke sure it all

lines up stra

ight to the q

uarter note a

nd d

oesn’t push a

nd p

ull rhythm

ically a

t any tim

e.

• A

s the sax soli continues a

t C, now

in harm

ony, it gives the rhythm

section the cha

nce to repea

t their smooth a

pp

eara

nce in the even m

easured

numb

ers like they did

at A

. The drum

mer m

ay w

ant to

throw in som

e very subtle thing

s here and

there, but if you d

o, don’t

rock the boa

t!

• D

is the first ap

pea

rance of the entire ensem

ble, w

ith the King Porter Stom

p sequences. These a

re to be p

hrased

with the sa

me

clipp

ed sw

ing a

s the ba

nd fig

ure at the end

of the intro—a

lmost

rag

time, b

ut with sw

ing. The first a

nd la

st notes of each p

hrase

define the rhythm

ic feel and

everyone must b

e precisely tog

ether. This is a

nother one to run up a

ga

inst the metronom

e, as there is no

room for la

gg

ing. Even the b

ended

notes and

scoops hap

pen on

top of the b

eat.

• W

hen the Ellington b

and

pla

yed this in p

erson, Ben Webster w

ould

sometim

es pla

y two choruses a

t E. Just a sug

gestion—

a C

hinese cym

ba

l goes w

ell here, á la

Da

ve Tough, Sid

Ca

tlett and

Mel Lew

is. If you d

o open it up, a

dd

the ba

ckground

on the last chorus. The

ba

ckground

is wid

ely voiced, a

nd ca

lls for grea

t precision in b

lend

and

volume.

• Thing

s should com

e dow

n noticeab

ly at F, w

ith a rela

tively clipp

ed

blend

in the rhythm section to m

atch the horns. N

ote the clarinet

lead

—this w

ill take w

ork to get the three other horns b

lended

and

b

low the cla

rinet at a

ll times.

• The d

rums ha

ve the responsib

ility to bring

us up into the shout

chorus at G

, with a

short fill brid

ging

the choruses that la

nd w

ith a

real sw

inging

dow

nbea

t. Ma

ke sure that you d

on’t fill over any of

the ensemb

le figures here—

the ma

gic is find

ing sub

tle things to

pla

y in betw

een them tha

t inspire the b

and

. Horns ca

n swing

this like A

rmstrong

would

pla

y it—sing

ing, sw

inging

, and

joyously.

• D

rop d

own to a

sub. p at H

, giving

the sam

e sudd

en entrance a

t the end

that you d

id a

t the top.

—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 ## ### ####### ####### 4 44 44 44 44 44 44 44 44 44 44 44 44 44 44 44 4

Reed 12345

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Trombone 123

Guitar

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46058S

Duke E

llingtonTranscribed by M

ark Lopeman


BO

JAN

GL

ES

CO

ND

UC

TOR

Copyright ©

1940 Sony/ATV M

usic Publishing LLC in the U

.S.A.

Copyright R

enewed

This arrangement C

opyright © 2016 Sony/ATV

Music Publishing LLC

in the U.S.A

.A

ll Rights A

dministered by Sony/ATV

Music Publishing LLC

, 424 Church Street, Suite 1200, N

ashville, TN 37219

Rights for the w

orld outside the U.S.A

. controlled by EMI R

obbins Catalog, Inc. (Publishing) and A

lfred Music (Print).

International Copyright Secured. A

ll Rights R

eserved.R

eprinted by Permission of H

al Leonard Corporation.

&&&&&&&&???&&??ã ## ### ####### #######

Alto

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Clar.

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Bojangles

246058S

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46058S

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446058S

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Bojangles

5

46058S

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Alto

Alto

Tenor

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Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

‰œ

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Bojangles

646058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Tenor

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

‰œ

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Bojangles

7

46058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Tenor

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

‰.œ

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C+ 7

Bojangles

846058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

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Tenor

Tenor

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

‰.œ

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to Clarinet

cowbell

Bojangles

9

46058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Tenor

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

!!

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Bojangles

1046058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Tenor

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

!!œœ œ

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’’

’’

E7

A7

D7

G7

!!.œ

‰ ¿œŒ

!!

œŒ

Ó!

œŒ

Óœ

ŒÓ!

œŒ

Ó

’’

’’

’’

‰jœœœœœfl Œ

!œ

œœ

œ

’’

’’

DC

alt. D

Bojangles

11

46058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Clar.

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

J œœJ œ‰ J œœœ

!!

J œœJ œ‰ J œœœ

!!

J œœJ œ‰J œnœœ

!!!

J œœJ œ‰ J œ#œnœ

’’

’’

’’

’’

!œ

œœ

œ

œœ

œœ

œœ

œœ

C

F

Clarinet

F (mixed ens.)

clarinet lead

clarinet lead

clarinet lead

straight mute

Dixie-ish

J œœ#

J œJ œ

‰Œ

!!

J œ#œ

J œJ œ

‰Œ

!!

J œnœ#

J œJ œ

‰Œ

!!!

J œ#œ

J œJ œ

‰Œ

’’

’’

’’

’’

!

œœ

œœ

’’

’’

E7

Œ‰ J œœ# œœœ

!!

Œ‰ J œ œœœœ

!!

Œ‰J œn œœœœ

!!!

Œ‰ J œ œ# œœœ

’’

’’

’’

’’

!

œœ

œœ

’’

’’

F6

J œœn

J œnJ œ

‰Œ

!!

J œbœ

J œbJ œ

‰Œ

!!

J œnœb

J œJ œ

‰Œ

!!!

J œœ

J œbJ œ

‰Œ

’’

’’

’’

’’

!

œ#œ

œœb

’’

’’

A b7

‰ J œœ#œn‰ œ#‰

!!

‰ J œnœœ‰ œn‰

!!

‰J œ#œnœn‰ œ‰

!!!

‰ J œœ#œn‰ œn‰

’’

’’

’’

’’

!œ

œnœ

œ

’’

’’

C

‰J œ#

œœ

‰œ#

‰

!!

‰J œ#

œœn

‰œ

‰

!!

‰J œn

œ#œ

‰œ

‰

!!!

‰J œ

œ#œ#

J œœn

‰

’’

’’

’’

’’

!œ

œœ

œ#

’’

’’

A7

Œœ

œ#œ œn

!!

Œœ

œœœ#

!!

Œœ

œœnœ#

!!!

Œœ#

œœœ

’’

’’

’’

’’

!œ

œœ

œ#

’’

’’

D7

œœœœJ œn œJ œ

!!œ œœœ#J œn œn

J œ

!!œ œbœnœJ œ œ

J œ

!!!œ œœnœJ œ œ

J œ

’’

’’

’’

’’

!œ

œ#œ

œ

’’

’’

G7

Bojangles

1246058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Clar.

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

‰.œ >⁄

œœnŒ

!!

‰. œ >⁄

œœŒ

!!

‰.œn >⁄

œœ#Œ

!!!

‰.œb >⁄

œœŒ

’’

’’

’’

’’

!œ

œœ

œ

œœ

œœ

œœ

œœ

C

‰J œ

œnœ

œœ

œ#œ

!!

‰J œ

œœ#

œœ

œ#œ

!!

‰J œ

œœn

œ#œ

œœ

!!!

‰J œb

œœ#

œœ#

œœ

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

E7

œœ#

œnœ

J œœn

jœn

!!œ

œœn

œJ œ

œjœb

!!œn

œœb

œnJ œ

œjœn

!!!œ

œœn

œnJ œ

œjœ

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

F6

‰œb

jœnŒ

‰jœb

!!

‰œn

jœŒ

‰jœ

!!

‰œ

jœbŒ

‰jœ

!!!

‰œb

jœbŒ

‰jœn

’’

’’

’’

‰jœœœœb bbfl

Œ

!œ#

œbœ

œb

’’

’’

A b7

jœœ#

‰Ó!!

jœœ

‰Ó!!

jœ#œn

‰Ó!!!

jœbœn

‰Ó

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

C

œ# œœœnœ Œ

!!

œœ œœœ Œ

!!

œœœœœ# Œ

!!!œ œbœ

œœ Œ

’’

’’

’’

’’

!œ

œœ

œ#

’’

’’

A7

J œ#œ

jœnœ

œ

!!

J œœ

J œœ#

œ

!!

J œœ#

jœœn

œ

!!!

J œœ

J œ#œ#

œn

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

D7

G7

J œœ

J œÓ!!

J œœ

J œÓ!!

J œ#œ

J œÓ!!!

J œœ#

J œÓ

’’

’’

’’

‰jœœœ bfl

Œ

!œ

œœ

œ

œœ

jœ.. xœ >

œœ

œœ

CG

7C

C7

mute out

Bojangles

13

46058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Clar.

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

‰.œ

J œn .œ# .J œ̂

‰.œ

J œ .œ# .J œ̂

‰. œ

J œ .œ# .J œ̂

!

‰. œ

J œ .œ .J œ̂

‰. œ

J œ .œ .J œ̂

‰.œ

J œb .œn .J œ̂

‰.œ

jœ. œ#.jœ̂

‰. œ

J œ .œ# .J œ̂

‰.œ

J œb .œn .J œ̂

‰. œ

J œ .œ .J œ̂

’’

’’

’’

’’

!

œœ

œ#œ

x.x >

xx.x >

xœœ

œœœœ

œœ

F6

F # o

G

ad-lib solo over ens.

f

(ensemble)

f

fffffffff

open

Ó‰ œn ^

J œ̂

Ó‰ œ# ^

J œ̂

Ó‰ œ̂

J œ̂œ œœ#

. ˙3

Ó‰ œ̂

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œn ^

J œ̂

Ó‰œ# ^

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œb ^

J œ̂

Ó‰ œ̂

J œ̂

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

CC

7C

7+

‰.œ

J œn .œ# .J œ̂

‰.œ

J œ .œ# .J œn ^

‰. œ

J œ .œ# .J œ̂

˙œœœ¿

‰. œ

J œ .œ .J œ̂

‰. œ

J œ .œ .J œ̂

‰.œ

J œb .œn .J œ̂

‰.œ

jœ. œ#.jœn ^

‰. œ

J œ .œ# .J œ̂

‰.œ

J œb .œn .J œ̂

‰. œ

J œ .œ .J œ̂

’’

’’

’’

’’

!œ

œœ#

œ

’’

’’

F6

F # o

Ó‰ œn ^

J œ̂

Ó‰ œ# ^

J œ̂

Ó‰ œ̂

J œ̂

w ëÓ‰ œ̂

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œn ^

J œ̂

Ó‰œ# ^

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œb ^

J œ̂

Ó‰ œ̂

J œ̂

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

CC

7C

7+

‰.œ

J œn .œ# .J œ̂

‰.œ

J œ .œ# .J œn ^

‰. œ

J œ .œ# .J œ̂

!

‰. œ

J œ .œ .J œ̂

‰. œ

J œ .œ .J œ̂

‰.œ

J œb .œn .J œ̂

‰.œ

jœ. œ#.jœn ^

‰. œ

J œ .œ# .J œ̂

‰.œ

J œb .œn .J œ̂

‰. œ

J œ .œ .J œ̂

’’

’’

’’

’’

!

œœ

œ#œ

’’

’’

FF # o

‰œ .

J œ .‰

œ# .J œ# .

‰œ# .

J œ .‰

œn .J œ .

‰œ .

J œ# .‰

œn .J œ .

˙œœ# œ œ œ œ œ œ̂

œ

‰œ .

J œ .‰

œ .J œ .

‰œ .

J œ .‰

œ .J œ .

‰œ .

J œ .‰

œ# .jœ#.

‰œ# .

J œ .‰

œn .jœ.

‰œ .

J œ# .‰

œn .J œ .

‰œ .

J œ .‰

œ# .J œ# .

‰œ .

J œ .‰

œ .J œ .

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

CA

7

(smear)

‰œ# .

jœ.Ó

‰œ# .

jœ.Ó

‰œ .

jœ#.Ó

œ œnœ# œ œ œ œ œ œ̂˙

œnœ# œ œ œ œ œ

‰œ .

J œ .Ó

‰œ .

jœ.Ó

‰œn .

jœ.Ó

‰œ#.

jœ.Ó

‰œ .

J œ# .Ó

‰œn .

jœ.Ó

‰œ .

J œ .Ó

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

D7

Œœn ^

‰ œn .J œ .

Œœ# ^

‰ œ# .J œ .

Œœ̂

‰ œ .J œn .

. œ >J œœ œœ# œ

Œœ̂

‰ œ .J œ .

Œœ̂

‰ œ .J œ .

Œœn ^

‰ œn .J œ .

Œœ# ^

‰œ#.J œ .

Œœ̂

‰ œ .J œn .

Œœn ^

‰ œb .J œ .

Œœ̂

‰ œ .J œ .

’’

’’

’’

’’

!œ

œœ

œ

’’

’’

G7

C+ 7

Bojangles

1446058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Clar.

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

‰.œ

J œn .œ# .J œ̂

‰.œ

J œ .œ# .J œn ^

‰. œ

J œ .œ# .J œ̂

œŒ

‰J œ̂

Œ

‰. œ

J œ .œ .J œ̂

‰. œ

J œ .œ .J œ̂

‰.œ

J œb .œn .J œ̂

‰.œ

jœ. œ#.jœn ^

‰. œ

J œ .œ# .J œ̂

‰.œ

J œb .œn .J œ̂

‰. œ

J œ .œ .J œ̂

’’

’’

’’

’’

!

œœ

œ#œ

x.x >

xx.x >

xœœ

œœœœ

œœ

F6

F # o

Ó‰ œn ^

J œ̂

Ó‰ œ# ^

J œ̂

Ó‰ œ̂

J œ̂œ̆

œ̆. œ

J œ

Ó‰ œ̂

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œn ^

J œ̂

Ó‰œ# ^

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œb ^

J œ̂

Ó‰ œ̂

J œ̂

’’

’’

’’

’’

!œ

œnœ

œ

’’

’’

CC

7C

7+

‰.œ

J œn .œ# .J œ̂

‰.œ

J œ .œ# .J œn ^

‰. œ

J œ .œ# .J œ̂

œœ

œ#œ

œ .œ .

‰. œ

J œ .œ .J œ̂

‰. œ

J œ .œ .J œ̂

‰.œ

J œb .œn .J œ̂

‰.œ

jœ. œ#.jœn ^

‰. œ

J œ .œ# .J œ̂

‰.œ

J œb .œn .J œ̂

‰. œ

J œ .œ .J œ̂

’’

’’

’’

’’

!

œœ

œ#œ

’’

’’

F6

F # o

Ó‰ œn ^

J œ̂

Ó‰ œ# ^

J œ̂

Ó‰ œ̂

J œ̂

œ -œ

œ œnœŒ

Ó‰ œ̂

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œn ^

J œ̂

Ó‰œ# ^

J œ̂

Ó‰ œ̂

J œ̂

Ó‰ œb ^

J œ̂

Ó‰ œ̂

J œ̂

’’

’’

’’

’’

!œ

œnœ

œ

’’

’’

CC

7C

7+

‰.œ

J œn .œ# .J œ̂

‰.œ

J œ .œ# .J œn ^

‰. œ

J œ .œ# .J œ̂

Ó‰

J œœ

œ

‰. œ

J œ .œ .J œ̂

‰. œ

J œ .œ .J œ̂

‰.œ

J œb .œn .J œ̂

‰.œ

jœ. œ#.jœn ^

‰. œ

J œ .œ# .J œ̂

‰.œ

J œb .œn .J œ̂

‰. œ

J œ .œ .J œ̂

’’

’’

’’

’’

!œ

œœ#

œ

’’

’’

FF # o

‰ œ .J œ .‰ œ# .

J œ# .

‰ œ# .J œ .‰ œn .

J œ .

‰ œ .J œ# .‰ œn .

J œ .œ ä

œœJ œ#. œ >

‰ œ .J œ .‰ œ .

J œ .

‰ œ .J œ .‰ œ .

J œ .

‰ œ .J œ .‰ œ# .

jœ#.‰ œ# .

J œ .‰ œn .jœ.

‰ œ .J œ# .‰ œn .

J œ .

‰ œ .J œ .‰ œ# .

J œ# .

‰ œ .J œ .‰ œ .

J œ .

’’

’’

’’

’’

!œ

œnœ

œ

’’

’’

CA

7

Œ‰J œ̂

Œ‰

J œ#

Œ‰J œn

Œ‰

J œ#

Œ‰J œ

Œ‰

J œœ œœ -

œn .œ -

œ#œ

Œ‰ J œ

Œ‰

J œ

Œ‰J œ

Œ‰

J œ

Œ‰J œ

Œ‰

jœ#

Œ‰J œb

Œ‰

jœ#Œ

‰ J œŒ

‰J œ

Œ‰J œ

Œ‰

J œ#

Œ‰ J œ

Œ‰

J œ

’’

’’

’’

’’

!

œœ

œœ

’’

’’

D7

G7

œ̆œ õ œ̂

Óœ̆

œn õœ̂Ó

œ̆œ# õœ̂

Ó

œœœ#

œ .Œ

œ̆œ# õœ̂

Ó

œ̆œ# õœ̂

Ó

œ̆œ õœ̂

Ó

œflœn õœ ^

Óœ̆

œ# õœ̂Ó

œ̆œ õœ̂

Óœ̆

œ# õœ̂Ó

’’

’’

’’

‰ J œœœ

!

œœ

œœ

x.x

x jxœ >

‰œœ

œœœœ

œ

C

Solo

Bojangles

15

46058S

&&&&&&&&???&&??ã ## ### ####### #######

Alto

Alto

Tenor

Clar.

Bari

Tpt. 123

Tbn. 123

Gtr.

Bs.

Drs.

Pno.

"

#

!!!!!!!!!!!

’’

’’

œ >œœJ œ‰Ó

Œ‰J œœœ >˙̇̇

œœ

œœ

œœ

œœ

œœ

œœ

C6

H

pp (pno solo)

!!!œ# œœ œœ œœ œœ œœ œœ œœœJ œ‰

13

!!!!!!!

’’

’’

Ó‰

J œœœ

˙̇̇J œœœ

‰Œœ

œ#œ

œ

’’

’’

solo ad-lib

!!!!!!!!!!!

’’

’’

œ >œœJ œ‰Ó


œœ

œœn

’’

’’

F6

!!!œ# œœ œœ œœ œœ œœ œœ œœœJ œ‰

13

!!!!!!!

’’

’’

Ó‰

J œœœ˙̇̇

J œœœ‰Œ

œœ

œœ#

’’

’’

!!!

ÓŒ

jœ# œ jœ œ

!!!!!!!

’’

’’

œ >œœJ œ‰Ó


œœ

œœ

’’

’’

C6

!!!jœ# œ

jœ œjœ œ

jœ œ jœJ œ. œ >

!!!!!!!

’’

’’

!... ˙̇̇

Œœ

œœ

œ#

œœ

jœœ

œœ

œœ

œœ

(w/ens.)

‰ œ̆J œ#J œœn ˘

J œ#

‰ œ̆J œJ œœ̆

J œ

‰ œ# ˘J œ#J œœ# ˘

J œ

‰ œ̆J œJ œ œ̆

J œ

‰œfljœJ œœfl

jœ‰ œ̆

J œjœ œ̆

jœ

‰ œ̆J œ#J œ œn ˘

J œ

‰ œn ˘J œJ œ œ# ˘

J œn

‰ œ̆J œ#J œœ# ˘

J œ

‰ œ̆J œJ œœ̆

J œ

‰œ# ˘J œ#J œœ̆

J œ

!

‰ œœ̆J œœJ œœ œœ̆

J œœ

‰œfl‰J œœfl

‰

‰ œ̆J œJ œ œ̆

J œ

‰x̆

jx jxx̆

jxœ

J œJ œœ

J œ

fffffffffff as isf

J œnœn ˘J œ#œ .

Œ

J œœ̆J œnœ .

Œ

J œnœ# ˘J œnœ .

Œ

J œœ̆J œœ .

Œ

J œœfljœ œ.

Œjœœ#fl

jœnœ.Œ

J œœ̆J œœ .

Œ

J œœ̆J œbœ.

Œ

J œn œ̆J œœn .

Œ

J œ œ̆J œœ .

Œ

J œnœn ˘J œbœ .

Œ

!

J œœ œœ ˘J œœ œœ. Œ

J œœfl‰œ.œ U

J œ œ̆J œœ. Œ

jxx̆

jxx .Œ

J œœ

J œœ

Bojangles

1646058S

Printed in USA

UPC-A

EN

TE

R N

UM

BE

R T

O

EN

CO

DE

(first 11 digits)

BA

R C

OD

E R

ES

UL

T

(select & copy)

CO

MM

EN

TS

Item

38081522760X

(d80815*MMRQKm(W

BOJAN

GLES/JLC

46058

38081522784X

(d80815*MMRSOs(x

CAR

NE

GIE

BLUES/JLC

46059

38081522807X

(d80815*MMSKRo(Y

DAM

ERO

N STO

MP/JLC

46060

38081522821X

(d80815*MMSMLk(U

EAST ST. LOU

IS TOO

DLE-O

O/JLC

46061

38081522845X

(d80815*MMSOPq(v

IF YOU

CO

ULD

SEE ME N

OW

/JLC46062

38081522869X

(d80815*MMSQTm(W

SO EASY/JLC

46063

38081522883X

(d80815*MMSSNs(x

STAY ON

IT/JLC46064

38081522906X

(d80815*MMTKQo(Y

SUG

AR H

ILL PENTH

OU

SE/JLC46065

38081522777X

(d80815*MMRRRk(U

*S BOJAN

GLES/JLC

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BLUES/JLC

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46058S

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

REED 1 Alto Sax Jazz at Lincoln Center Library ... at Lincoln Center Library - Essentially Ellington...

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Transcript of REED 1 Alto Sax Jazz at Lincoln Center Library ... at Lincoln Center Library - Essentially Ellington...