REED 1 Alto Sax Jazz at Lincoln Center Library ... Sax 46059 Copyright © 1946 (Renewed) by G....

& bb 44 ˙ .œ# Jœ>õq = 80

F! ˙ .œ# Jœ>õp

!

& bb .˙ ŒA

P! ‰ .œb > Œ ‰ jœ>F

œ Œ Ó

& bb .˙ Œ ! ‰ .œb > Œ ‰ jœ> œ Œ Ó

& bb .˙ Œ ! ‰ .œb > Œ ‰ jœ> œ Œ Ó

& bb 4B 12C 8D

& bb .˙ ŒE

P! ‰ .œb > Œ ‰ jœ>F

œ Œ Ó

& bb .˙ Œ ! ‰ .œb > Œ ‰ jœ> œ Œ Ó

& bb .˙ Œ !rit. U̇ .œ#U Jœ>õP

Duke EllingtonTranscribed by Christopher Crenshaw

Jazz at Lincoln Center Library - Essentially Ellington

CARNEGIE BLUES

REED 1Alto Sax

46059

Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.

Reprinted by Permission.

& bb 44 ˙ .œ Jœ>õq = 80

F ! ˙ .œ Jœ> õp !

& bb .˙ ŒA

P ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó

& bb .˙ ŒP ! ‰ .œ> Œ ‰ jœ> œ Œ Ó

& bb .˙ ŒP ! ‰ .œ> Œ ‰ jœ> œ Œ Ó

& bb 4B 12C 8D

& bb .˙ ŒE

P ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó

& bb .˙ ŒP ! ‰ .œ> Œ ‰ jœ> œ Œ Ó

& bb .˙ ŒP !rit.

˙U .œUJœ>õP



CARNEGIE BLUES

REED 2Alto Sax

46059



& bbb 44 ˙ .œn Jœ>õq = 80

F ! ˙ .œn Jœ>õp!

& bbb .˙ ŒA

P! ‰ .œ> Œ ‰ jœ>F œ Œ Ó

& bbb .˙ ŒP ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó

& bbb .˙ ŒP ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó

& bbb 4B 12C 8D

& bbb .˙ ŒE

P! ‰ .œ> Œ ‰ jœ>F œ Œ Ó

& bbb .˙ ŒP

! ‰ .œ> Œ ‰ jœ>F œ Œ Ó

& bbb .˙ ŒP !rit. U̇ .œnU Jœ>õP



CARNEGIE BLUES

REED 3Tenor Sax

46059



& bbb 44 ‰.œ œ ï œ œï œb ï œ

3

Eb6F#7C

P flazilySolo

œ- œ œn œ œ œ œ œ .œb > œn œ œn3

3F 7 E7

œ> œ œ ˙Eb6 G 7-9

˙ ÓC m7 Bbm7 Eb7

& bbb ‰.œ œ œ œAb Eb7/G

P fœ# œ œ œn œ œ-Ab A o7 œ œ œ œ ˙ œ œ œ œ

3 3

Eb/Bb Bb7/Ab˙ ÓEb/G F#o7

& bbb ‰.œ œ œ œF m7

F#7

P fœ# œ œ œn œ œ œ œF 7 E7

œ# ñ .œ œ> œ> ï œn œ ˙Eb6 Bb7-9/Gb

breath accent

˙ ÓEb6 Bb7-9



CARNEGIE BLUES

REED 4 (Solo)Tenor Sax

46059



& bbb 44 ˙ .œ Jœ> õq = 80

F ! ˙ .œ Jœ> õp !

& bbb 12A

& bbb 4B

& bbb ’ ’ ’ ’Eb6 F#7CSolo

’ ’ ’ ’F 7 E7

’ ’ ’ ’Eb6 G 7-9

’ ’ ’ ’C m7 Bbm7 Eb7

& bbb ’ ’ ’ ’Ab Eb7/G

’ ’ ’ ’Ab A o7

’ ’ ’ ’Eb/Bb Bb7/Ab

’ ’ ’ ’Eb/G F#o7

& bbb ’ ’ ’ ’F m7 F#7

’ ’ ’ ’F 7 E7

’ ’ ’ ’Eb6 Bb7-9/Gb

’ ’ ’ ’Eb6 Bb7-9

& bbb 8D

& bbb 9E

!rit.

˙U .œUJœ>õP



CARNEGIE BLUES

REED 4Tenor Sax

46059



& bb 44 ˙ .œ# Jœn >õq = 80

F! ˙ .œ# jœn > õp !

& bb .˙ ŒA

P! ‰ .œ>

Œ ‰ jœ>F œ Œ Ó

& bb .˙ ŒP ! ‰ .œ>Œ ‰ jœ>F œ Œ Ó

& bb .˙ ŒP ! ‰ .œ>Œ ‰ jœ>F œ Œ Ó

& bb 4B 12C 8D

& bb .˙ ŒE

P! ‰ .œ>

Œ ‰ jœ>F œ Œ Ó

& bb .˙ ŒP

! ‰ .œ>Œ ‰ jœ>F œ Œ Ó

& bb .˙ ŒP !rit.

˙U .œ#U jœn >õP



CARNEGIE BLUES

REED 5Baritone Sax

46059



& bbb 44 4q = 80

& bbb 2A

‰ œ# œn œ œ œ^ ‰ jœ#3hat

Fœ œn œ œ œ

^ Ó3 2

& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ

^ Ó3 2


^ Ó3 4B to open

& bbb 12C

‰ Jœ œ œ œ œ œ œD open Jœ̂ œ̂ Jœn > œ Œf

& bbb œb œ œ> œ Jœ œ ‰straight 8ths œ œ œ> œ Jœ œ ‰ œ œ œ> œ Jœ œ ‰ œn œ œ> œ Jœ œn ‰

& bbb .œb ^ œ œb - œ- œ. ‰ Jœ# - œn - œ œ œ Œ 2E to hat

& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3hat

Fswing 8ths

œ œn œ œ œ^ Ó3 2


^ Ó3 ! !rit. !



CARNEGIE BLUESTRUMPET 1

46059



& bbb 44 4q = 80

& bbb 2A

‰ œ# œn œ œ œ^ ‰ jœ#3

hat

Fœ œn œ œ œ

^ Ó3 2


^ Ó3 2


^ Ó3 4B to open

& bbb 12C

‰ Jœ œ œ œ œ œn œD open

Jœ# ^ œ̂ Jœ> œ Œf

& bbb œ œ œ> œ Jœ œ ‰straight 8ths œ œ œn > œ Jœ œ ‰ œ œ œb > œ Jœ œn ‰ œ œn œ> œ Jœ œb ‰

& bbb .œ̂ œ œ- œ- œ. ‰ Jœb - œ- œn œ œ Œ 2E to hat


Fswing 8ths



^ Ó3 ! !rit. !



CARNEGIE BLUES

TRUMPET 2

46059



& bbb 44 4q = 80

& bbb 2A


F œ œn œ œ œ^ Ó3 2


^ Ó3 2


^ Ó3 4B to open

& bbb 12C

‰ jœ œn œ œn œ œ œD open

Jœ̂ œn ^ Jœ> œ Œf

& bbb œb œ œ> œ jœ œ ‰straight 8ths œn œ œ> œ jœ œn ‰ œb œn œ> œ jœ œ ‰ œ œb œn > œ jœ œ ‰

& bbb .œ̂ œ œ- œ- œ. ‰ Jœn - œb - œ œ œ Œ 2E to hat


Fswing 8ths



^ Ó3 ! !rit. !




46059



& bbb 44 4q = 80

& bbb 2A


Fœ œn œ œ œ

^ Ó3 2


^ Ó3 2


^ Ó3 4B to open

& bbb 12C

‰ jœ œ# œ œ œn œ œnD open

Jœ̂ œ# ^ Jœ> œ Œf

& bbb œn œ œ> œ jœ œ ‰straight 8ths œ œn œ> œ jœ œ ‰ œ œ œn > œ jœ œ ‰ œ œ œb > œ jœ œ ‰

& bbb .œ^

œ œn - œb - œ. ‰ jœ- œ# - œn œ œ Œ 2E to hat


Fswing 8ths



^ Ó3 ! !rit. !




46059



? bbbbb 44 !Db6 E7C

!Eb7 D 7 Ó ‰ .œDb F 7-9

Pstraight mute œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3

Bbm7 Abm7 Db7

? bbbbbœ Œ ÓGb Db7/F

!Gb G o7

Œ ‰ œ œ œ œn >Œ œ œ œ œ> ‰

Db/Ab Ab7/GbP

? bbbbb œ œ œ œ̂⁄ œ̂⁄ " œ œb œ œ œ œ œ œ œn - œb œ3

Db/F E o7 ˙ ÓEbm7 E7

!Eb7 D 7

? bbbbb Ó œ œ œ̂ œ̂ œn ^ œb ^ œ̂ œ̂Db6 Ab7-9/GbP

œ- œ .œó œ⁄ .œ ŒDb6 Ab7-9



CARNEGIE BLUES

TROMBONE 1 (Solo)

46059



? bbbbb 44 4q = 80 ˙ œ œŒ

A

F

cup mute œ œ œ œ œ Œ Ó !

? bbbbb˙ œ œ

Œœ œ œ œ œ Œ Ó !

? bbbbb˙ œ œ

Œœ œ œ œ œ Œ Ó !to straight mute 4B

? bbbbb ’ ’ ’ ’Db6 E7

Cstraight mute

’ ’ ’ ’Eb7 D 7

’ ’ ’ ’Db F 7-9

’ ’ ’ ’Bbm7 Abm7 Db7

? bbbbb ’ ’ ’ ’Gb Db7/F

’ ’ ’ ’Gb G o7

’ ’ ’ ’Db/Ab Ab7/Gb

’ ’ ’ ’Db/F E o7

? bbbbb ’ ’ ’ ’Ebm7 E7

’ ’ ’ ’Eb7 D 7

’ ’ ’ ’Db6 Ab7-9/Gb

’ ’ ’ ’Db6 Ab7-9 8D to closed plunger

? bbbbb˙ œo œo

ŒE

closed plunger

Fœ+ o œ+ o œ+ o œ+ o œ+ o

Œ Ó !˙ œo œo

Œ

? bbbbbœ+ o œ+ o œ+ o œ+ o œ+ o

Œ Ó !˙ œo œo

Œœ+ o œ+ o œ+ o œ+ orit. +̇ o

Ó



CARNEGIE BLUESTROMBONE 1

46059



? bbbbb 44 4q = 80

? bbbbb˙ œ œ

ŒA

F

cup mute œ œ œ œ œ Œ Ó !

? bbbbb˙ œ œ

Œ œ œ œ œ œ Œ Ó !

? bbbbb˙ œ œ

Œ œ œ œ œ œ Œ Ó !

? bbbbb4B to closed plunger 12C 8D

? bbbbb˙ œo œo

ŒE

closed plunger

Fœ+ o œ+ o œ+ o œ+ o œ+ o Œ Ó !

? bbbbb˙ œo œo

Œ œ+ o œ+ o œ+ o œ+ o œ+ o Œ Ó !

? bbbbb˙ œo œo

Œ œ+ o œ+ o œ+ o œ+ orit. +̇ o Ó



CARNEGIE BLUES

TROMBONE 2

46059



? bbbbb 44 4q = 80

? bbbbb˙ œ œ Œ

A

F

cup mute œ œ œn œb œ Œ Ó !

? bbbbb˙ œ œ Œ œ œ œn œb œ Œ Ó !

? bbbbb˙ œ œ Œ œ œ œn œb œ Œ Ó !

? bbbbb4B to closed plunger 12C 8D

? bbbbb˙ œo œo Œ

closed plungerE

Fœ+ o œ+o œn+ o œb+ o œ+ o Œ Ó !

? bbbbb˙ œo œo Œ œ+ o œ+o œn+ o œb+ o œ+ o Œ Ó !

? bbbbb˙ œo œo Œ œ+ o œ+o œn+ o œb+ orit. +̇ o Ó



CARNEGIE BLUES

TROMBONE 3

46059



& bbbbb 44 ’ ’ ’ ’Db6 D maj9

q = 80

F ’ Œ ÓDb6

’ ’ ’ ’Db6 D maj9

P ’ Œ ÓDb6

& bbbbb ’ ’ ’ ’Db6

A

’ ’ ’ ’Ebm7 Eb7 Ab9sus

’ ’ ’ ’Db7+9

’ ’ ’ ’

& bbbbb ’ ’ ’ ’Gb

’ ’ ’ ’Gb Eb7 Ab9sus

’ ’ ’ ’Db7+9

’ ’ ’ ’

& bbbbb ’ ’ ’ ’Ab7

’ ’ ’ ’Eb7 Ab7susEbm7

’ ’ ’ ’Db7+9

’ ’ ’ ’

& bbbbb ’ ’ ’ ’Gb G o7

B

’ ’ ’ ’Db/Ab B7 Bb7

’ ’ ’ ’Eb7 D 7+9

’ ’ ’ ’Db6 D 9-5

& bbbbb ’ ’ ’ ’Db6 E7

C

’ ’ ’ ’Eb7 D 7

’ ’ ’ ’Db6 F 7-9

’ ’ ’ ’Bbm7 Abm7 Db7

& bbbbb ’ ’ ’ ’Gb Db/F

’ ’ ’ ’Gb G o7

’ ’ ’ ’Db/Ab Ab7/Gb

’ ’ ’ ’Db/F E o7

& bbbbb ’ ’ ’ ’Ebm7 E7

’ ’ ’ ’Eb7 D 7

’ ’ ’ ’Db6 Ab7-9/Gb

’ ’ ’ ’Db6 Ab7-9

’ Œ ÓDb6D

& bbbbb 7

46059



CARNEGIE BLUESGUITAR



& bbbbb ’ ’ ’ ’Db6

E

’ ’ ’ ’Ebm7 Eb7 Ab9sus

’ ’ ’ ’Db7+9

’ ’ ’ ’

& bbbbb ’ ’ ’ ’Gb

’ ’ ’ ’Eb7 Ab9sus

’ ’ ’ ’Db7+9

’ ’ ’ ’

& bbbbb ’ ’ ’ ’Ab7

’ ’ ’ ’Eb7 Ab7susEbm7

rit.

|U ÓDb6

2 Carnegie BluesGuitar

46059

&?

bbbbbbbbbb

44

44!!Db6 D maj9

q = 80Œ œ œ ˙ ˙ œ̂

!Db6

!!Db6 D maj9

Œ œ œ ˙ ˙ œn!Db6

& bbbbb !Db6A

!Ebm7 Eb7 Ab9sus !Db7+9 !

& bbbbb !Gb !Gb Eb7 Ab9sus !Db7+9 !

& bbbbb !Ab7 !Eb7 Ab7susEbm7 !Db7+9 Ó ‰ œ œ œ œFSolo

&?

bbbbbbbbbb

jœ ‰ ‰œn œ œ œn Ù œn œ œ œn œn œ œ œn œ œ

˙ .œn Jœ

Gb G o7B

‰ œ œ œ œ " œ œ œ Œ œb œn˙ ‰ jœ œœb œœ

Db/Ab B7 Bb7

&?

bbbbb

bbbbb

œb œ œ œ œ œ œn ‰ Ójœn ‰ ‰ œ œ œ œb œ œ œœœ

3

œ Œ .œn Jœb

Eb7D 7+9

Ó œœn - Œ

Ó œœ# - Œ

Db6 D 9-5 (end solo)

46059



CARNEGIE BLUESPIANO



&?

bbbbbbbbbb

œœ- Œ .œn ‰œn - ‰ jœn .

.œœn jœb

Db6 E7C

P .œb ‰ .œ ‰..œœbn jœn .

.œœn

b jœb

Eb7 D 7 Ó ˙̇˙̇˙b

˙̇n

Db6 F 7-9 jœ .œ œ œ˙ œb œ˙̇b œœ œœ

Bbm7Abm7 Db7

&?

bbbbbbbbbb

˙ .œb jœ˙ .œ jœœ.œ Jœ Jœ œ Jœ

Gb Db/F Gb ‰ ..œœ> œœ Œ‰ ..œœnn > œœ ‰ œn œb œn3

G o7 Ó ˙̇‰ jœ Œ ˙˙ Ó

Db/Ab Ab7/Gb˙ ˙˙ ˙n

Db/F E o7

&?

bbbbbbbbbb

˙ ˙n.œb jœn .œ jœb

Ebm7 E7

˙b ˙.œn jœn .œ# jœ#

Eb7 D 7

˙ ‰ ...œœœ˙n ‰ jœ .œn

Db6 Ab7-9/Gb ‰ jœœœ ‰ jœœœ ˙˙˙‰ Jœb ‰ jœ Jœn ˙

Db6 Ab7-9

&?

bbbbbbbbbb

œœœ Œ Óœb Œ Ó

Db6D 77

& bbbbb !Db6E

!Ebm7 Eb7 Ab9sus !Db7+9 !

& bbbbb !Gb !Eb7 Ab9sus !Db7+9 !

& bbbbb !Ab7 !Eb7 Ab7susEbm7 rit.

!

2 Carnegie BluesPiano

46059

? bbbbb 44 ˙ .œn JœbDb6 D maj9

q = 80arco

F!Db6 ˙ .œn JœbDb6 D maj9

pÓ Œ ‰ JœDb6 pizz.

P? bbbbb œ Œ œ ŒDb6A

œ Œ œ œEbm7 Eb7 Ab9sus œ Œ œ ŒDb7+9 œ ‰ Jœ œ œ œ œ œ œ

3 3Fad lib

? bbbbb œ Œ œ ŒGb œ œ œ œGb Eb7 Ab9sus œ Œ œ ŒDb7+9 œ ‰ Jœ œ œ œ Jœn œn

3 3Fad lib

? bbbbb œb Œ œ ŒAb7 œ Œ œ œEb7 Ab7susEbm7 œ Œ œ ŒDb7+9 œ ‰ Jœ œ œn œ œb

F? bbbbb œ œ œn œ œGb G o7B œ œn œn œb

Db/Ab B7 Bb7 œ Œ ‰ Jœn œ œbEb7 D 7+9 œ Œ œn - ŒDb6 D 9-5

? bbbbb œb - Œ ‰ œn JœDb6 E7

C

P Jœb œ Jœ .œn JœEb7 D 7 ˙b ˙Db6 F 7-9 ˙ .œ JœBbm7 Abm7 Db7

? bbbbb ˙ ÓGb Db/F

Jœ .œn > ˙Gb G o7 ˙ œb œ œDb/Ab Ab7/Gb œ œ œ œn œ œDb/F E o7

straight 8ths

? bbbbb œb œ œ œ œn œ œn œ3 3

Ebm7 E7

swing 8ths

œb œ œb œ œn œ œn œ3 3

Eb7 D 7 ˙b œ œDb6 Ab7-9/Gb œb œ œ œDb6 Ab7-9

46059



CARNEGIE BLUES

BASS



? bbbbb œ Œ ÓDb6D

Ó ‰ Jœ œ œn œ3

œ Œ Ó 4

? bbbbb Ó Œ ‰ Jœ œ Œ œ ŒDb6E

Pœ Œ œ ŒEbm7 Eb7 Ab9sus œ Œ œ ŒDb7+9

? bbbbb œ ‰ œn œ œ œ œb œ œ œ œb œF

ad lib œ Œ œ ŒGbP

œ Œ œ œEb7 Ab9sus œ Œ œ ŒDb7+9

? bbbbb œ œ œ œ œ " œ œ̂ œ- œ̂F

ad lib œ Œ œ ŒAb7

Pœ Œ œ œ

Eb7 Ab7susEbm7rit.

pick up bow U̇ .œnUJœb

arco

2 Carnegie BluesBass

46059

ã 44 x f œ fŒ œx œ œx

Db6 D maj9

q = 80

F.œ œ fœ .œ œ fœ œx œ œx

Db6

.œ œ fœ .œ œ fœ œx œ œx

Db6 D maj9

p.œ œ fœ .œ œ fœ œx œ œx

Db6

ã .œ œ f .œ œ fœ œx œ œxDb6A

P.œ œ f .œ œ œ œ œœ œx œ œx

Ebm7 Eb7 Ab9sus

œ f .œ œ fœ œx œ œxDb7+9

œ f .œ œ fœ œx œ œx

ã .œ œ f œ fœ œx œ œxGb

.œ œ f .œ œ .œ œ>

œ œx œ œxEb7

Ab9sus

œ œ œ œ œ œ œ œœ œx œ œxDb7+9

.œ œ œ .œ œ œ .œæœ œx œ œx

handle flex

ã œ œ .œ œ œæœ œx œ œxAb7

.œ œ œæ .œ œ œ .œæœ œx œ œxEb7

Ab7susEbm7 handle flex

.œ œ f œ œ>

œ œ œ œ3

œ œx œ œxDb7+9

œ œ .œ œ fœ œx œ œx

ã œ ! œ œ f œ œ œ œ f3 3

œ œx œ œxGb G o7B

Fœ œ œ f œ œ œ fœ œx œ œxDb/Ab B7 Bb7

.œ œ f .œ œ fœ œx œ œxEb7 D 7+9

.œ œ f .œ œ fœ œx œ œxDb6 D 9-5

ã .œ œ f œ fœ œx œ œxDb6 E7C

P.œ œ f .œ œ fœ œx œ œx

Eb7 D 7

.œ œ f .œ œ fœ œx œ œxDb6 F 7-9

œ f .œ œ fœ œx œ œxBbm7 Abm7 Db7

ã .œ œ f œ fœ œx œ œxGb Db/F

.œ œ f œ œœ œx œ œxGb G o7

.œ œ f .œ œ fœ œx œ œxDb/Ab Ab7/Gb

.œ œ f .œ œ œ œœ œx œ œx

Db/FE o7straight 8ths

ã .œ œ œ œ œœ œx œ œx

Ebm7E7swing 8ths

œ œ .œ œ œ .œæœ œx œ œxEb7 D 7 handle flex

.œ œ f .œ œ fœ œx œ œxDb6 Ab7-9/Gb

.œ œ f .œ œ œ œæœ œx œ œxDb6 Ab7-9

46059



CARNEGIE BLUESDRUMS



ã œ Œ ÓœxDb6D 6

ã Ó Œ ‰ . rx xœœ œœx œœ œœx

Db6E

œ œ œ œæ œ .œæœ œ œ œEbm7 Eb7

Ab9sushandle flex

œ œ œ œæ œ .œæœ œ œ œDb7+9 handle flex

ã .œ œ f .œ œ œ œ œ œœ œ œ œ .œ œ œ .œ œ œ œ œœ œ œ œGb

œ œ œ œ œ œ œ œ œ œœ œ œ œEb7 Ab9sus

œ œ œ œ œ œ œœ œ œ œDb7+9

ã œ f .œ œ œœ œ œ œ œ œ .œ œ œœ œ œ œAb7

.œ œ œ œ œœ œ œ œ

Eb7Ab7susEbm7 rit. XæU .x

U‰

2 Carnegie BluesDrums

46059

JAZZ AT LIN

CO

LN C

ENTER’S ESSEN

TIALLY ELLIN

GTO

N LIBRA

RY

Carnegie Blues

Duke Ellington

As p

erformed

by D

uke Ellington a

nd his Fa

mous 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

CARN

EGIE BLU

ES • INSTRU

MEN

TATION

Reed 1 – A

lto Sax

Reed 2 – A

lto Sax

Reed 3 – Tenor Sa

x

Reed 4 –Tenor Sa

x

Reed 5 – Ba

ri Sax

Trump

et 1

Trump

et 2

Trump

et 3

Trump

et 4

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 • Janua

ry 4, 1945 in New

York

Master # • D

5VB12-3

Original Issue • V

ictor 20-1644 [78]

Currently available on C

D • RC

A 0

9026-63394 (D

uke Ellington: The

Com

plete RCA

Mid-Forties Recordings, 1944–1946) [3 C

Ds]

Currently available as digital dow

nload • Am

azon/iTunes: D

uke Elling

ton: The Com

plete RCA

Mid-Forties Recordings, 1944–1946

Personnel • Duke Elling

ton (lead

er, pia

no); Shelton Hem

phill, Rex Stew

art,

Taft Jord

an, C

at A

nderson, Ra

y Na

nce (trump

et); Law

rence Brown, Joe

Na

nton, Cla

ude Jones (trom

bone); Jim

my H

am

ilton (clarinet, tenor sa

x); Johnny H

odg

es (alto sa

x); Otto H

ard

wick (a

lto sax, cla

rinet); Al Sea

rs (tenor sa

x); Ha

rry Ca

rney (ba

ritone sax); Fred

Guy (g

uitar); Junior Ra

glin

(ba

ss); Sonny Greer (d

rums)

Soloists • Duke Elling

ton (pia

no); Al Sea

rs (tenor sax) tra

des w

ith La

wrence Brow

n (tromb

one); Junior Rag

lin (ba

ss-fills)

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, the New

port Ja

zz Festival

explosion of 1956, the V

ictor recording

s that sta

rted in 1940

, and

w

ithout a d

oubt, 1943. O

n Janua

ry 23rd of tha

t year, Elling

ton p

layed

his first of a series of a

nnual C

arneg

ie Ha

ll concerts. A

fter years of interna

tional recog

nition as one of the w

orld’s

grea

test comp

osers, Ellington fina

lly had

the chance to show

case

his comp

ositions and

orchestra a

t wha

t wa

s at the tim

e the m

ost respected

concert hall in his na

tive land

. The highlig

ht of the concert w

as the p

remiere of Elling

ton’s longest extend

ed

comp

osition, Black, Brown and Beige, w

hich he referred to a

s “a

tone pa

rallel to the history of the A

merica

n Neg

ro.”

• C

arnegie Blues by itself is a

curiosity, with a

minim

um of w

riting,

unusual trom

bone chord

s for a b

lues from the 1940

s, and

only a

few m

easures of im

provisa

tion. The ba

nd w

ould d

o well to listen to

the 1943 Ca

rnegie H

all version of Black, Brow

n, and Beige to better

understa

nd it in the context in w

hich Ellington w

rote it.

• There w

ere ma

ny Ellington p

ieces that ha

d little if a

ny im

provisa

tion; Ellington on ra

re occasions even w

rote the solos out for the p

layers a

nd they b

ecam

e pa

rt of the comp

osition.

• The b

igg

est challeng

e of this pa

rticular p

iece is to perfect the

ensemb

le pa

rts in phra

sing, b

lend, volum

e, and

intensity.

• Sta

rt by ha

ving sectiona

ls to determ

ine the vibra

to and

specific

note lengths, the a

ttacks, a

nd the cutoffs.

• This g

oes for the rhythm section a

s well a

s the horns. Piano trills

have to b

e precise.

• Trom

bones a

t A ha

ve a d

ifficult b

end to m

ake, a

nd it m

ust be m

ad

e in p

erfect rhythmic unison; otherw

ise it will just sound

slopp

y. The im

porta

nt thing is tha

t each note is p

recisely atta

cked on the

qua

rter note—it m

ight help

to rehearse this w

ith a m

etronome.

Ha

ve the lead

pla

yer ma

ke the ap

prop

riate m

arks for cutoffs,

bend

s, etc. on their pa

rt and

then the other can cop

y them. The

slightest rushing

or dra

gg

ing of the b

asic b

eat w

ill destroy the

integrity of the m

usic.

• Sa

xes and

trump

ets can rehea

rse this chorus together to ensure

that they interlock p

erfectly. Ma

ke sure saxes cut off tog

ether, and

tha

t trump

ets pla

y the unison so that it sound

s like one person

pla

ying.

• The p

iano interlud

e at B is so d

efinitively Ellingtonia

n that the

pia

nist should lea

rn it verba

tim; it w

ill take som

e time, b

ut work on

the subd

ivisions and

pra

ctice with a

metronom

e until you nail it.

• At C

, the conversation b

etween the tenor a

nd trom

bone w

as

alw

ays p

layed

the sam

e wa

y by the Elling

ton tenor saxop

honists. The trom

bone rep

lies were im

provised

, but a

lwa

ys in the sam

e g

eneral sha

pe a

s wha

t you have here. Rem

emb

er that even if

you open this section up, the b

ig cha

llenge is to keep

wha

tever ha

pp

ens in the mood

of Carnegie Blues, a

nd not to turn it into just

another g

eneric blues.

• The trum

pet interlud

e at D

seems to com

e out of nowhere, b

ut it rela

tes to the ma

in themes of Black, Brow

n, and Beige. Pay a

ttention to the stra

ight eig

hth note ma

rkings sta

rting in the

third m

easure.

• The rest of the p

iece is a rep

eat of p

revious ma

terial, to b

e pla

yed

as b

efore.

• A

s with a

ll of Ellington’s m

usic, the most vita

l thing is to a

chieve the sp

ecific mood

required

and

not to ma

ke it sound like “just a

nother” b

ig b

and

chart.

—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 b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb 4 44 44 44 44 44 44 44 44 44 44 44 44 44 44 44 44 4

Reed 12345

Trumpet 1234

Trombone 123

Guitar

Bass

Drum

s

Piano

˙.œ#

J œ >õ

˙. œ

J œ >õ˙

. œnJ œ >õ

˙.œ

J œ >õ

˙.œ#

J œn >õ

!!!!!!!

’’

’’

!!

˙.œn

J œbx

fœ

fŒ

œxœ

œx

D b6D

maj9

q = 80

arco

FFFFFFFF Alto Sax

Tenor Sax

Baritone Sax

Alto Sax

Tenor Sax

!!!!!!!!!!!!

’Œ

Ó

Œœ

œ˙˙

œ̂

!!

. œœ

fœ. œ

œf

œœx

œœx

D b6

˙. œ#

J œ >õ

˙.œ

J œ >õ˙

.œnJ œ >õ

˙. œ

J œ >õ

˙. œ#

jœn>õ!!!!!!!

’’

’’

!!

˙.œn

J œb

. œœ

fœ. œ

œf

œœx

œœx

D b6D

maj9

ppp P pppp

!!!!!!!!!!!!

’Œ

Ó

Œœ œ˙

˙œn

!

ÓŒ

‰J œ

. œœ

fœ. œ

œf

œœx

œœx

D b6

pizz.

P cup mute

cup mute

cup mute

. ˙Œ

. ˙Œ

. ˙Œ

!

. ˙Œ

!!!!˙

œœ

Œ˙

œœ

Œ˙

œœ

Œ

’’

’’

!!

œŒ

œŒ

. œœ

f. œ

œf

œœx

œœx

D b6 AP PPPPF FF

!!!!!!!!!œ

œœ

œ

œœ

œœ

œœ

œnœb

’’

’’

!!

œŒ

œœ

. œœ

f. œ

œœ

œœ

œœx

œœx

E bm7

E b7A b9sus

‰. œb>

Œ‰

jœ>‰

. œ>Œ

‰jœ>

‰.œ>

Œ‰

jœ>!

‰. œ>

Œ‰

jœ>‰

œ#œnœœœ ^

‰jœ#

3

‰œ#

œnœœœ ^‰

jœ#3

‰œ#

œnœœœ ^‰

jœ#3

‰œ#

œnœœœ ^‰

jœ#3

œŒ

Ó

œŒ

Ó

œŒ

Ó

’’

’’

!!

œŒ

œŒ

œf

. œœ

fœ

œxœ

œx

D b7+9

hatFhatFhatFhatF FFFF

œŒ

Ó

œŒ

Ó

œŒ

Ó!

œŒ

Ó

œœnœœœ ^

Ó3

œœnœœœ ^

Ó3

œœnœœœ ^

Ó3

œœnœœœ ^

Ó3

!!!

’’

’’

!!

œ‰

J œœœ œ

œ œœ3

3

œf

. œœ

fœ

œxœ

œx

F ad lib

46059S

Duke E

llingtonTranscribed by C

hristopher Crenshaw


CA

RN

EG

IE B

LU

ES

CO

ND

UC

TOR

Copyright ©

1946 (Renew

ed) by G. Schirm

er, Inc. (ASC

AP)

International Copyright Secured. A

ll Rights R

eserved.R

eprinted by Permission.

&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb

Alto

Alto

Tenor

Tenor

Bari

Tpts. 1234

Tbns. 123

Gtr.

Bs.

Drs.

Pno.

.˙Œ

.˙Œ

.˙Œ

!

.˙Œ

!!!!˙

œœŒ˙

œœŒ˙

œœŒ

’’

’’

!!œ

Œœ

Œ

. œœf

œf

œœx

œœx

G b PPP

!!!!!!!!!œ

œœ

œ

œœ

œœ

œœ

œnœb

’’

’’

!!œ

œœ

œ. œ

œf. œ

œ. œœ >

œœx

œœx

G bE b7

A b9sus

‰. œb>

Œ‰

jœ>‰

. œ>Œ

‰jœ>

‰.œ>

Œ‰

jœ>!

‰. œ>

Œ‰

jœ>‰

œ#œnœœœ ^

‰jœ#

3

‰œ#

œnœœœ ^‰

jœ#3

‰œ#

œnœœœ ^‰

jœ#3

‰œ#

œnœœœ ^‰

jœ#3

œŒ

Óœ

ŒÓ

œŒ

Ó

’’

’’

!!

œŒ

œŒ

œœ

œœœœœœ

œœx

œœx

D b7+9 FF

œŒ

Ó

œŒ

Ó

œŒ

Ó!

œŒ

Ó

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

!!!

’’

’’

!!

œ‰J œ œœ œJ œnœn

33

. œœ

œ. œ

œœ. œ æœ

œxœ

œx

Fhandle flex

ad lib

. ˙Œ

. ˙Œ

. ˙Œ

!

. ˙Œ

!!!!˙

œœŒ

˙œœ

Œ˙

œœŒ

’’

’’

!!

œbŒ

œŒ

œœ

. œœœ æ

œœx

œœx

A b7 PPP

!!!!!!!!!œ

œœ

œ

œœ

œœ

œœ

œnœb

’’

’’

!!

œŒ

œœ

. œœœ æ

. œœœ. œ æ

œœx

œœx

E b7A b7sus

E bm7

handle flex

‰. œb>

Œ‰

jœ>‰

. œ>Œ

‰jœ>

‰.œ>

Œ‰

jœ>!

‰. œ>

Œ‰

jœ>‰œ#

œnœœœ ^‰

jœ#3

‰œ#œnœœœ ^

‰jœ#

3

‰œ#œnœœœ ^

‰jœ#

3

‰œ#œnœœœ ^

‰jœ#

3

œŒ

Óœ

ŒÓ

œŒ

Ó

’’

’’

!!

œŒ

œŒ

. œœf

œœ >œœœœ3

œœx

œœx

D b7+9 FF

œŒ

Ó

œŒ

Ó

œŒ

Ó!

œŒ

Ó

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

!!!

’’

’’

Ó‰œ œœ œ

!

œ‰J œ œœn

œœb

œœ

. œœf

œœx

œœx

F

F

to straight mute

to closed plunger

to closed plunger

Solo

2C

arnegie Blues

46059S


Alto

Alto

Tenor

Tenor

Bari

Tpts. 1234

Tbns. 123

Gtr.

Bs.

Drs.

Pno.

!!!!!!!!!!!!

’’

’’

jœ ‰‰ œnœœœnÙ œnœœœnœnœœœnœ œ

˙.œn

J œ

œœ

œnœœ

œ" œœfœ

œœœf3

3

œœx

œœx

G bG o7

B

F

to open

to open

to open

to open

!!!!!!!!!!!!

’’

’’

‰ œ œœœ"œœœ Œœbœn

˙‰

jœ œœb œœœ

œnœn

œbœœ

œf

œœœf

œœx

œœx

D b/A bB

7B b7

!!!!!!!!!!!!

’’

’’

œb œ œœ œœœn ‰Ó

jœn‰‰

œœœœb œ œœœœ3

œŒ

. œnJ œb

œŒ

‰J œnœœb

. œœ

f. œ

œfœ

œxœ

œx

E b7D

7+9

!!!!!!!!!!!!

’’’

’

Óœœn-

Œ

Óœœ# -

Œ

œŒœn -

Œ

. œœf. œœf

œœx

œœx

D b6D

9-5(end solo)

!!!

‰.œ

œï œœï œbï œ3

!!!!!!!!

’’

’’

œœ-Œ

. œn‰

œn -‰ jœn

.. œœnjœb

œb -Œ

‰ œnJ œ

. œœfœ

fœ

œxœ

œx

E b6F #7

D b6E

7

D b6E

7

CP P P Pf

lazilySolo

!!!

œ -œ œnœ œœœœ.œb>œn œœn

3

3

!!!!!!!!

’’

’’

. œb‰

.œ‰

.. œœb njœn

.. œœn bjœb

J œb œJ œ

.œnJ œ

. œœ

f. œ

œfœ

œxœ

œx

F7

E7

E b7D

7

E b7D

7

!!!

œ >œ œ˙!!!!!

Ó‰

. œ

!!

’’

’’

Ó˙̇

˙̇˙b˙̇n

˙b˙

. œœf. œœf

œœx

œœx

E b6G

7-9

D bF

7-9

D b6F

7-9

Pstraight m

uteSolo

!!!

˙Ó!!!!!

œ œ œœœœœœ œ œ œœ œœ œ3

!!

’’

’’

jœ.œ

œœ

˙œb

œ˙̇b

œœœœ

˙.œ

J œ

œf

. œœf

œœx

œœx

Cm

7B bm

7E b7

B bm7

A bm7

D b7

B bm7

A bm7

D b7

3C

arnegie Blues

46059S


Alto

Alto

Tenor

Tenor

Bari

Tpts. 1234

Tbns. 123

Gtr.

Bs.

Drs.

Pno.

!!!

‰.œ

œœœ

!!!!!œ

ŒÓ!!

’’

’’

˙.œb

jœ˙

.œjœœ

. œJ œJ œœ

J œ˙

Ó

. œœfœ

fœ

œxœ

œx

A bE b7/G

G bD b7/F

G bD b/F

Pf

!!!œ#œ œ œnœœ -

!!!!!!!!

’’

’’

‰.. œœ>

œœ Œ

‰.. œœ nn>

œœ ‰œn œbœn 3

J œ. œn >

˙

. œœf

œœ

œœx

œœx

A bA o7

G bG o7

G bG o7

!!!œ œœœ

˙œ

œ œœ3

3

!!!!!

Œ‰ œ œ œ œn >Œ

œ œ œ œ >‰

!!

’’

’’

Ó˙̇

‰jœ

Œ˙

˙Ó

˙œ

œœ

. œœ

f. œœf

œœx

œœx

E b/B bB b7/A b

D b/A bA b7/G b

D b/A bA b7/G b

P

!!!

˙Ó

!!!!!œ œ œ œ̂⁄ œ̂⁄" œ œbœ œœœ œœœn -œbœ3

!!

’’

’’

˙˙

˙˙n

œœ

œœn

œœ

. œœf

. œœ

œœ

œœx

œœx

E b/GF #o7

D b/FE o7

D b/FE o7

straight 8ths

straight 8ths

!!!

‰.œ

œœœ

!!!!!˙

Ó!!

’’

’’

˙˙n

. œbjœn

.œjœb

œbœ œœœnœ œnœ3

3

. œœœœ

œœ

œxœ

œx

Fm

7F #7

E bm7

E7

E bm7

E7

swing 8ths

swing 8ths

Pf

!!!œ#œ œ œnœœœœ

!!!!!!!!

’’

’’

˙b˙

. œnjœn

.œ#jœ#

œbœ œœœn

œ œnœ3

3

œœ

. œœœ. œ æ

œœx

œœx

F7

E7

E b7D

7

E b7D

7

handle flex

!!!

œ#ñ .œœ> œ> ï œnœ˙!!!!!

Óœ œ œ̂ œ̂œn ^œb ^œ̂œ̂

!!

’’

’’

˙‰

... œœœ˙n

‰ jœ.œn

˙bœ

œ

. œœf

. œœ

fœ

œxœ

œx

E b6B b7-9/G b

D b6A b7-9/G b

D b6A b7-9/G b

P

breath accent

!!!

˙Ó!!!!!

œ -œ

.œóœ⁄ .œŒ

!!

’’

’’

‰ jœœœ ‰jœœœ ˙˙˙

‰J œb‰jœJ œn˙

œœ

œœ

. œœf

. œœœœ æ

œœx

œœx

E b6B b7-9

D b6A b7-9

D b6A b7-9

4C

arnegie Blues

46059S


Alto

Alto

Tenor

Tenor

Bari

Tpts. 1234

Tbns. 123

Gtr.

Bs.

Drs.

Pno.

!!!!!

‰J œœœ œœ œ œ

‰J œœœ œ œœn œ

‰jœœn œœn œœ œ

‰jœœ# œ œœn œœn

!!!

’Œ

Ó

œœœŒ

Óœb

ŒÓ

œŒ

Ó

œŒ

Óœx D b6D b6

D

open

open

open

open

to closed plunger

!!!!!

J œ̂œ̂

J œn >œ

Œ

J œ# ^œ̂J œ >

œŒ

J œ̂œn ^

J œ >œ

Œ

J œ̂œ# ^

J œ >œ

Œ

!!!!!!

Ó‰

J œœœnœ3

!

ffff

!!!!!œbœ œ >

œJ œœ

‰œœ œ >

œJ œœ

‰œbœ œ >

œjœœ

‰

œnœ œ>œ

jœœ‰

!!!!!!

œŒ

Ó!

straight 8ths

straight 8ths

straight 8ths

straight 8ths

!!!!!œœ œ >

œJ œ

œ‰

œœ œn >œ

J œœ

‰œnœ œ >

œjœ

œn‰

œœn œ>œ

jœœ

‰

!!!!!!!!

!!!!!œœ œ >

œJ œ

œ‰

œœ œb >œ

J œœn

‰œbœn œ >

œjœ

œ‰

œœ œn >œ

jœœ

‰

!!!!!!!!

!!!!!œnœ œ >

œJ œ

œn‰

œœn œ >œ

J œœb

‰œœb œn >

œjœ

œ‰

œœ œb>œ

jœœ

‰

!!!!!!!!

!!!!!

.œb ^œ œb -

œ -œ .‰J œ# -

.œ̂œ œ -œ -œ .‰J œb -

.œ̂œ œ -œ-œ. ‰J œn -

.œ ^œ œn -

œb-œ. ‰jœ-

!!!!!!!!

!!!!!œn -

œ œœŒ

œ -œn œœ

Œ

œb -œ œœ

Œ

œ#-œn œœ

Œ

!!!!!!

ÓŒ

‰J œ

ÓŒ

‰ .rx 5

Carnegie B

lues

46059S


Alto

Alto

Tenor

Tenor

Bari

Tpts. 1234

Tbns. 123

Gtr.

Bs.

Drs.

Pno.

. ˙Œ

. ˙Œ

. ˙Œ

!

. ˙Œ

!!!!˙

œ oœ oŒ˙

œ oœ oŒ˙

œ oœ oŒ

’’

’’

!!

œŒ

œŒ

xŒ

Óœœ

œœxœœ

œœx

D b6

closed plunger

E

FP PPPP

closed plunger

Fclosed plunger

F to hat

to hat

to hat

to hat

!!!!!!!!!œ +oœ +oœ +o

œ +o

œ +oœ +oœ +oœ +o

œ +oœ +oœn +oœb +o

’’

’’

!!

œŒ

œŒ

œœ

œœ æ

œ. œ æœ

œœ

œ

E bm7

E b7A b9sus

handle flex ‰. œb>

Œ‰

jœ>‰

. œ>Œ

‰jœ>

‰.œ>

Œ‰

jœ>!

‰. œ>

Œ‰

jœ>‰œ#

œnœœœ ^‰

jœ#3

‰œ#œnœœœ ^

‰jœ#

3

‰œ#œnœœœ ^

‰jœ#

3

‰œ#œnœœœ ^

‰jœ#

3

œ +oŒ

Ó

œ +oŒ

Ó

œ +oŒ

Ó

’’

’’

!!

œŒ

œŒ

œœ

œœ æ

œ. œ æœ

œœ

œ

D b7+9

hatFhatFhatFhatF

handle flex

FFFF

œŒ

Ó

œŒ

Ó

œŒ

Ó!

œŒ

Ó

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

œœnœœœ ^Ó

3

!!!

’’

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Tpts. 1234

Tbns. 123

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Bs.

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pick up bow

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Printed in USA

UPC-A

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38081522760X

(d80815*MMRQKm(W

BOJAN

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46058

38081522784X

(d80815*MMRSOs(x

CAR

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GIE

BLUES/JLC

46059

38081522807X

(d80815*MMSKRo(Y

DAM

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N STO

MP/JLC

46060

38081522821X

(d80815*MMSMLk(U

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46061

38081522845X

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38081522869X

(d80815*MMSQTm(W

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46063

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(d80815*MMSSNs(x

STAY ON

IT/JLC46064

38081522906X

(d80815*MMTKQo(Y

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38081522777X

(d80815*MMRRRk(U

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46058S

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(d80815*MMRTLq(v

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46059S

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46060S

46059S

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 ... Sax 46059 Copyright © 1946 (Renewed) by G....

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Transcript of REED 1 Alto Sax Jazz at Lincoln Center Library ... Sax 46059 Copyright © 1946 (Renewed) by G....