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& ### 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
& ### 44 6Medium Fast Swing q = 182
‰ 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLES
REED 2Alto 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 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
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLES
REED 3 (Solo)Tenor 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. 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESREED 3Tenor 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.
& ## 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESREED 4 (Solo)Clarinet
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. 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESREED 4ClarinetTenor 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.
& ## 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
& ### 44 6Medium Fast Swing q = 182
‰ 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESREED 5Baritone 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 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.
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
‰ œfljœ Jœ œfl
jœf Jœ œfl
jœ œ. Œ
Bojangles2Reed 5
46058
& ## 44 6Medium Fast Swing q = 182
‰ 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESTRUMPET 1
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 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
& ## 44 6Medium Fast Swing q = 182
‰ 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESTRUMPET 2
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.
& ## 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
& ## 44 6Medium Fast Swing q = 182
‰ 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESTRUMPET 3
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 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESTROMBONE 1
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.
? 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
? 44 6Medium Fast Swing q = 182
‰ 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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESTROMBONE 2
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.
? 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
Bojangles2Trombone 2
46058
? 44 6Medium Fast Swing q = 182
‰ 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.
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
46058
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESTROMBONE 3
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.
? 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
Bojangles2Trombone 3
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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESGUITAR
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.
& ’ ’ ’ ’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
œ> œ œ Jœ ‰ ÓŒ ‰ J
œœœ> ˙̇̇
Ó ‰ Jœ œ œ˙̇̇
Jœœœ ‰ Œ
&?
œ> œ œ Jœ ‰ ÓŒ ‰ J
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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESPIANO
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.
& ’ ’ ’ ’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
&?
œ> œ œ Jœ ‰ ÓŒ ‰ J
œœœ> ˙̇̇
H
Ó ‰ Jœ œ œ˙̇̇
Jœœœ ‰ Œ
œ> œ œ Jœ ‰ ÓŒ ‰ J
œœœ> ˙̇̇
Ó ‰ Jœ œ œ˙̇̇
Jœœœ ‰ Œ
&?
"
#
œ> œ œ Jœ ‰ ÓŒ ‰ J
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
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESBASS
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 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
ã œ œ œ œœ œ œ œC
’ ’ ’ ’E7
’ ’ ’ ’F 6
’ ’ ’ ’Ab7
’ ’ ’ ’C
’ ’ ’ ’A 7
’ ’ ’ ’D 7 G 7
’ ’ ’ ’C
ã œ œ œ œœ œ œ œC
B
F
(saxes/tbns)
’ ’ ’ ’E7
’ ’ ’ ’F 6
’ ’ ’ ’Ab7
’ ’ ’ ’C
’ ’ ’ ’A 7
’ ’ ’ ’D 7
’ ’ ’ ’G 7
ã œ œ œ œœ œ œ œC
’ ’ ’ ’E7
’ ’ ’ ’F 6
’ ’ ’ ’Ab7
’ ’ ’ ’C
’ ’ ’ ’A 7
’ ’ ’ ’D 7 G 7
’ ’ ’ ’C
ã œ œ œ œœ œ œ œC
C (saxes)
’ ’ ’ ’E7
’ ’ ’ ’F 6
’ ’ ’ ’Ab7
’ ’ ’ ’C
’ ’ ’ ’A 7
’ ’ ’ ’D 7
’ ’ ’ ’G 7
ã œ œ œ œœ œ œ œC
’’ ’ ’E7
’’ ’ ’F 6
’’ ’ ’Ab7
’’ ’ ’C
’’ ’ ’A 7
’’ ’ ’D 7 G 7
œ œ jœ ..xœ>
œ œ œ œC
ã x .x x x .x xœœ œœ œœ œœF 6 F# oD(ensemble)more hi-hat
’’’’C C7
’’’’F 6 F# o
’’’’C C7
’’’’F F# o
’’’’C A 7
’’’’D 7
’’’’G 7 C +7
ã x .x x x .x xœœ œœ œœ œœF 6 F# o
’ ’ ’ ’C C7
’ ’ ’ ’F 6 F# o
’ ’ ’ ’C C7
’ ’ ’ ’F F# o
’ ’ ’ ’C A 7
46058
Duke EllingtonTranscribed by Mark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
BOJANGLESDRUMS
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.
ã ’ ’ ’ ’D 7 G 7
œ œ ‰ x> ‰œ œ œœ œœC
cowbell
œ œ œ œœ œ œ œC
E (tenor solo)softer
’ ’ ’ ’E7
’ ’ ’ ’F 6
’ ’ ’ ’Ab7
ã ’ ’ ’ ’C
’ ’ ’ ’A 7
’ ’ ’ ’D 7
’ ’ ’ ’G 7
œ œ œ œœ œ œ œC
’ ’ ’ ’E7
ã ’ ’ ’ ’F 6
’ ’ ’ ’Ab7
’ ’ ’ ’C
’ ’ ’ ’A 7
’ ’ ’ ’D 7 G 7
’ ’ ’ ’C
ã œ œ œ œœ œ œ œC
F
F
(mixed ensemble)Dixie-ish
’ ’ ’ ’E7
’ ’ ’ ’F 6
’ ’ ’ ’Ab7
’ ’ ’ ’C
’ ’ ’ ’A 7
ã ’ ’ ’ ’D 7
’ ’ ’ ’G 7
œ œ œ œœ œ œ œC
’ ’ ’ ’E7
’ ’ ’ ’F 6
’ ’ ’ ’Ab7
ã ’ ’ ’ ’C
’ ’ ’ ’A 7
’ ’ ’ ’D 7 G 7
œ œ jœ ..xœ>
œ œ œ œC x .x
>x x .x
>xœœ œœ œœ œœ
F 6 F# oG(ensemble)
f’ ’ ’ ’C C7
ã ’ ’ ’ ’F 6 F# o
’ ’ ’ ’C C7
’ ’ ’ ’F F# o
’ ’ ’ ’C A 7
’ ’ ’ ’D 7
’ ’ ’ ’G 7 C +7
ã x .x>
x x .x>
xœœ œœ œœ œœF 6 F# o
’ ’ ’ ’C C7
’ ’ ’ ’F 6 F# o
’ ’ ’ ’C C7
’ ’ ’ ’F F# o
’ ’ ’ ’C A 7
ã ’ ’ ’ ’D 7 G 7 x .x x jx œ> ‰œœ œœ œœ œ
C
œ œ œ œœ œ œ œC 6
H
p
(pno solo)
’ ’ ’ ’ ’ ’ ’ ’F 6
’ ’ ’ ’
ã ’ ’ ’ ’C 6
œ œ jœ œ œ œœ œ œ œ ‰ x̆ jx jx x̆ jxœ Jœ Jœ œ Jœf
jx x̆ jx x.
ŒJœ œ Jœ œ
Bojangles2Drums
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
Trumpet 123
Trombone 123
Guitar
Bass
Drum
s
Piano
!!!!!!!!!!!’’
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πSolo M
edium Fast Sw
ing q = 182
Clarinet
Alto Sax
Tenor Sax
Baritone Sax
Alto Sax
!!!!!!!!!!!
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46058S
Duke E
llingtonTranscribed by M
ark Lopeman
Jazz at Lincoln Center Library - Essentially Ellington
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
Alto
Tenor
Clar.
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
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’’
’’
œœ
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C
A
PP (pno solo)
Solo to Tenor Sax
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F6
!!!!!!!!!!!
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’’
!
’’
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’’
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!!!!!!!!!!!
’’
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rœ œ .˙
œœœb >
R œ# œœœ.R œ ˙̇̇
œœœœœ>
’’
’’
œœn
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’’
’’
C
!!!!!!!!!!!
’’
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Œ‰
jœœ >Œ
‰jœœ# >
J œœ #J œœ n
’’
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’’
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A7
!!!!!!!!!!!
’’
’’
!
’’
’’
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D7
!!!!!!!!!!!
’’
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‰.. œœ >
jœ >œ -
jœ... œœœ b
J œœœœ.... œœœœ
’’
’’
œœ
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’’
’’
G7
Bojangles
246058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Clar.
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
!!!!!!!!!!!
’’
’’
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jœœœœœœ -
jœœœ # >œ
œ. œ
J œb>’
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C
!!!!!!!!!!!
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!
’’
’’
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’’
’’
E7
!!!!!!!!!!!
’’
’’
œœœ .œœœ
jœœœrœ œœœ -
jœœœ b >R œ# œ.
R œ ˙œ
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’’
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A b7
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’’
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jœœœœ -
jœœR œœ# # œœ.
R œœ œœJ œœ
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C
!!!!!!!!!!!
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.. œœjœœœœ#
.... œœœœjœœœ #n >
.. œœ‰
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J œ’
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G7
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J ¿¿
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jœœœœ .Ó
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C
unis.f(end solo)
unis.funis.f
unis.f
Bojangles
3
46058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Clar.
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
. ˙jœ# œ̆
. ˙jœ# œ̆
.˙jœ# œ̆
!.˙
jœ# œ̆
!!!
‰ J œœ .œœ .œœœ
‰ J œœb .œœ .œœœ
‰J œœ .œœ. œœœ
’’
’’
’’
’’
!
œœ
œœ
œœ
œœ
œœ
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C
B
FFFFF
(saxes/tbns)
Ó‰
j¿¿œ
Ó‰
j¿¿œ
Ó‰J ¿¿œ
!
Ó‰ J ¿¿œ
!!!.œ
J œÓ
.œJ œÓ
. œjœ# Ó
’’
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’’
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E7
. ˙‰J œb >
. ˙‰J œb >
.˙‰ J œb >
!.˙
‰ J œb >
!!!
‰J œ œœœœœœb
‰J œ œœœœœœb
‰jœ œœœœœœ
’’
’’
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œœ
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’’
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F6
œœ œbœ >œœ œœn >
œœ œbœ >œœ œœn >
œœ œbœ >œœ œœn >
!œœ œbœ >œœ œœn >
!!!
J œ‰‰ J œJ œ‰Œ
J œ‰‰J œbJ œ‰Œjœ ‰‰J œbJ œ‰Œ
’’
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A b7
˙‰ œœœ
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!˙
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!!!
‰ J œœœJ œ‰Œ
‰ J œœœJ œ‰Œ
‰J œœœJ œ‰Œ
’’
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’’
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C
. œjœ
. œjœ
. œjœ
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J œ.œ
J œ
!!!
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3
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3
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3
’’
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!!!
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J œ
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œ œœœ#œnœ# œ œ
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!!!!!!
’’
’’
’’
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!œ
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’’
’’
G7
Bojangles
446058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Clar.
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
. ˙jœ# œ̆
. ˙jœ# œ̆
.˙jœ# œ̆
!.˙
jœ# œ̆
!!!
‰ J œœ .œœ .œœœ
‰ J œœb .œœ .œœœ
‰J œœ .œœ. œœœ
’’
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Ó‰
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Ó‰ J ¿¿œ
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J œÓ
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. ˙‰J œb >
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!!!
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!!!
J œ‰‰ J œJ œ‰Œ
J œ‰‰J œbJ œ‰Œjœ ‰‰J œbJ œ‰Œ
’’
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A b7
˙‰J œœœ
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!˙
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!!!
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‰ J œœœJ œ‰Œ
‰J œœœJ œ‰Œ
’’
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C
. œjœœ
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G7
jœ# œjœ Ó
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J œ# œJ œÓ!!!
œŒ
Ӝ
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Ó
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’’
’’
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’’
’’
C
Bojangles
5
46058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Tenor
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
‰œ
J œœ
œœ
‰œ
J œœ
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‰œ
J œœ
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‰œ
J œœ
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‰œ
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!!!!!!
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’’
!œ
œœ
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œœ
œœ
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C
Csoli
soli
soli
soli
solif f f f f
(saxes)
Tenor Sax
!!!!!!!!!!!
’’
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Œ
!
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’’
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E7
‰œ
J œœ
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œœn
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F6
!!!!!!!!!!!
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!!!!!!
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Œœ
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ŒJ œœœœfl!
œœ
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’’
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G7
Bojangles
646058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Tenor
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
‰œ
J œœ
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!!!!!!
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C
!!!!!!!!!!!
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E7
‰œ
J œœ
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!!!!!!
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’’
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F6
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‰
!
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A b7
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!!!!!!
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!!!!!!
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A7
œ̂Œ
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ŒÓ
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Ó!!!!!!
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D7
G7
Œœ
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’’
’’
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‰
!
œœ
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jœ.. xœ >
œœ
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C
Bojangles
7
46058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Tenor
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
‰.œ
J œn .œ# .
J œ̂
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J œ .œ# .
J œ̂
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J œ .œ# .
J œ̂
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J œ .œ .
J œ̂
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J œ .œ .
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J œ .œ .
J œ̂
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D
(ensemble)
more hi-hat
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Ó‰
œ̂J œ̂
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œ̂J œ̂
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œ̂J œ̂
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7C
7+
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G7
C+ 7
Bojangles
846058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Tenor
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
‰.œ
J œn .œ# .
J œ̂
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J œ .œ# .
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7C
7+
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J œ̂
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jœn ^
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‰. œ
J œ .œ .
J œ̂
’’
’’
’’
’’
!
œœ
œ#œ
’’
’’
F6
F # o
Ó‰
œn ^J œ̂
Ó‰
œ# ^J œ̂
Ó‰
œ̂J œ̂
Ó‰
œ̂J œ̂
Ó‰
œ̂J œ̂
Ó‰
œ̂J œ̂
Ó‰
œn ^J œ̂
Ó‰
œ# ^J œ̂
Ó‰
œ̂J œ̂
Ó‰
œb ^J œ̂
Ó‰
œ̂J 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
‰. 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 .
‰œ .
J œ .‰œ .
J 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
Œ‰
J œ̂Œ
‰J œ#
Œ‰
J œn ^Œ
‰J œ#
Œ‰
J œ̂Œ
‰J œ
Œ‰
J œ̂Œ
‰J œ
Œ‰
J œ̂Œ
‰J œ
Œ‰
J œ̂Œ
‰J œ
Œ‰
J œ̂Œ
‰jœ#
Œ‰
J œb ^Œ
‰jœ#
Œ‰
J œ̂Œ
‰J œ
Œ‰
J œ̂Œ
‰J œ#
Œ‰
J œ̂Œ
‰J œ
’’
’’
’’
’’
!
œœ
œœ
’’
’’
D7
G7
œ̆œ õ
œ̂Ó
œ̆œn õ
œ̂Ó
œ̆œ# õ
œ̂Ó
œ̆œ# õ
œ̂Ó
œ̆œ# õ
œ̂Ó
œ̆œ# õ
œ̂Ó
œ̆œ õ
œ̂Ó
œflœn õ
œ ^Ó
œ̆œ# õ
œ̂Ó
œ̆œ õ
œ̂Ó
œ̆œ# õ
œ̂Ó
’’
’’
’’
‰jœœ ˘
ŒJ œœœœfl!
œœb
œœ
œœ
‰x >
‰œ
œœœ
œœ
C
to Clarinet
cowbell
Bojangles
9
46058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Tenor
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
!!
‰jœ# œœ œ œ‰
jœ
!!
w
!
ww
!
w’’
’’
’’
’’
!
œœ
œœ
œœ
œœ
œœ
œœ
DC
E
π Solo
(tenor solo)softer
πππ to straight mute
!!
œœœ# œ œ œœœ
!!
w#
!
ww
!
w’’
’’
’’
’’
!
œœ
œœ
’’
’’
F #7
E7
!!
J œœJ œœ
œœ
!!
w
!
ww
!
w’’
’’
’’
’’
!
œœ
œœ
’’
’’
G6
F6
!!
œ# œœn œJ œ.œ
!!
wb
!
wwb
!
w#’’
’’
’’
’’
!
œ#œ
œœb
’’
’’
B b7A b7
!!
œ >è Œ‰œ œ œ œ >
!!
w
!
ww
!w’
’’
’
’’
’’
!œ
œnœ
œ
’’
’’
DC
!!œ
œœ œ œœœ
!!
wn!
w#w
!w’
’’
’
’’
’’
!œ
œœ
œ#
’’
’’
B7
A7
!!
Œœ œ œ œ œœ
!!
w#!
wnw
!wb’
’’
’
’’
’’
!œ
œnœ
œ
’’
’’
E7
D7
!!
J œnœb
J œnœ
œœ
!!
w
!
ww
!
wb’’
’’
’’
‰jœœœœœfl
Œ
!œ
œœ
œ
’’
’’
A7
G7
Bojangles
1046058S
&&&&&&&&???&&??ã ## ### ####### #######
Alto
Alto
Tenor
Tenor
Bari
Tpt. 123
Tbn. 123
Gtr.
Bs.
Drs.
Pno.
!!œœ œ
.œ‰
!!
w
!
ww
!
w’’
’’
’’
’’
!œ
œœ
œ
œœ
œœ
œœ
œœ
DC
!!
‰œœ# œ œ œœœœ¿3
!!
w
!
ww#
!
w’’
’’
’’
’’
!œ
œœ#
œ
’’
’’
F #7
E7
!!
œ œœœ. œn
‰
!!
w
!
ww
!
w’’
’’
’’
’’
!
œœ
œœ
’’
’’
G6
F6
!!
Œ‰ J œJ œœ
J œ
!!
w
!
wwb
!
w#’’
’’
’’
’’
!
œ#œ
œœb
’’
’’
B b7A b7
!!œ œœœœ œœ œœœœ œ
!!
w!
ww
!w’
’’
’
’’
’’
!œ
œnœ
œ
’’
’’
DC
!!
. œnjœ#œ
œœ#
!!
w!
w#wn
!w’
’’
’
’’
’’
!œ
œœ
œ#
’’
’’
B7
A7
!!
œ œ œœ œ œœœ
!!
˙. œ
jœ!
˙n.œ
jœ˙
.œJ œ
!˙b
.œJ œ
’’
’’
’’
’’
!
œœ
œœ
’’
’’
E7
A7
D7
G7
!!.œ
‰ ¿œŒ
!!
œŒ
Ó!
œŒ
Ӝ
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
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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