REED 1 Jazz at Lincoln Center Library - Essentially ... · Tadd Dameron and Carl Sigman Arranged by Melba Liston Transcribed by Mark Lopeman REED 1 Alto Sax Jazz at Lincoln Center

& bb 44 !Moving Ballad Tempo q = 65œ œ œ œ œ œ œ œ

f! œ œ œ œ œ œ# œ œ

& bb wnF˙ ‰ Jœ̆ ‰ Jœ>S

w .>̇ Œpoco rit.

Sœ> œ> œ> œ œ œn œ œ œn œ œ# œ

33

& bb wnA Slow Tempo q = 56

F.œ ‰ œ œ œ œ w ˙ Jœ ‰ Œ 2

& bb ˙ ˙ .œ ‰ œ œb wB .œ ‰ œ œ œ œ

& bb w ˙ Jœ ‰ Œ 2 Œ œ œ œ œ œ œf

tpt. lead w~~~

& bb 5C

Œ œn œ œ œ ˙nF

‰ .œ œ œb ‰ Jœ œ œ œ œb

& bb ˙ œ œ œ œ. œD .˙ œ œ œ3

˙ œ , œ œ œ œ œ œ œ w~~~

& bb 2 U̇ Ó .˙bU Œ ˙nU Ó

& bb 42 44˙ ˙ba tempo ˙ œ œ œ œFaster q = 88

ß fœ œ œnrit. wU

ƒ

Tadd Dameron and Carl SigmanArranged by Melba Liston

Transcribed by Mark Lopeman

REED 1Alto Sax

Jazz at Lincoln Center Library - Essentially Ellington

IF YOU COULD SEE ME NOW

Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062

& bb 44 w>Moving Ballad Tempo q = 65

ƒwb -

fwn >

ƒwb - ,f

& bb wn > ˙b ‰ Jœ̆ ‰ jœ>SF w .>̇ Œpoco rit.

Sœ> .˙n >f

& bb wA Slow Tempo q = 56

F.œ ‰ œ œ œ œ w ˙ Jœ ‰ Œ 2

& bb ˙ ˙b .œ ‰ œ œ wB

.œ ‰ œ œ œ œ

& bb w ˙ Jœ ‰ Œ 2 Œ œb œ œ œ œ œf

tpt. lead w

& bb 5C


‰ .œ œ œb ‰ jœ œ œ œ œ

& bb ˙ œ œ œ œ. œD .˙ œ œ œ3

˙ œ ,œ œ œ œ œ w~~

& bb 2 U̇ Ó .U̇ Œ U̇ Ó

& bb 42 44˙ ˙a tempo ˙ ˙bFaster q = 88

ß fœ œrit. wU

ƒ



REED 2Alto Sax




& bbb 44 w>Moving Ballad Tempo q = 65

ƒw-

fw>

ƒw- ,f

& bbb w>F˙ ‰ Jœ̆ ‰ jœ>S

w .>̇ Œpoco rit.

Sœ> .>̇f

& bbb wA Slow Tempo q = 56

F.œ ‰ ˙ w ˙ Jœ ‰ Œ 2

& bbb ˙ ˙ .œn ‰ œ œ wB

.œ ‰ ˙

& bbb w ˙ Jœ ‰ Œ 2 Œ œ œ œ œb œn œf

tpt. lead w

& bbb 5C


‰ .œ ˙n ‰ jœb œ œ œ œ

& bbb .˙ Jœ ‰D wb w w

& bbb 2 U̇ Ó .˙nU Œ U̇ Ó

& bbb 42 44˙ ˙a tempo ˙ ˙Faster q = 88

ß fœ œrit. wU

ƒ



REED 3Tenor Sax





ƒw-f w>ƒ

w-,

f& bbb w> F

˙b ‰ jœfl ‰ jœ>S w .>̇ Œpoco rit.

Sœ> .>̇f

& bbb wA Slow Tempo q = 56

F.œb ‰ ˙ wn ˙b jœ ‰ Œ 2

& bbb ˙ ˙n .œb ‰ œ œ wB

.œb ‰ ˙

& bbb wn ˙b jœ ‰ Œ 2 Œ œb œ œb œ œ œf

tpt. lead

w

& bbb 5C


‰ .œ ˙ ‰ jœ œ œ œ œ

& bbb .˙ jœ ‰D

w wn wb

& bbb 2 U̇ Ó .U̇ Œ U̇ Ó

& bbb 42 44˙ ˙a tempo

˙ ˙Faster q = 88

ß fœ œrit. wU

ƒ



REED 4Tenor Sax




& bb 44 w>Moving Ballad Tempo q = 65

ƒw-f w>ƒ

w-,

f& bb

w> F˙ ‰ jœfl ‰ jœ>S w .>̇

Œpoco rit.

S œ> .>̇f

& bbw

A Slow Tempo q = 56

F.œ ‰ ˙ w ˙ jœ ‰ Œ 2

& bb ˙ ˙ .œ ‰ œ œ wB

.œ ‰ ˙

& bbw ˙ jœ ‰ Œ 2 Œ œb œ œ œb œ œf

tpt. lead

w& bb 5C


‰ .œ ˙ ‰ .œ œ œn& bb

.˙b jœ ‰D

w w w

& bb 2˙

U Ó .U̇ Œ ˙U Ó

& bb 42 44˙ ˙a tempo

˙ ˙Faster q = 88

ß f œ œrit.

wUƒ



REED 5Baritone Sax




& bbb 44 4Moving Ballad Tempo q = 65

Œ œ .œ œ œ œ œ œ œ œ rœn œ .œ œb ˙

& bbb Œ œ. œ œ .œ œ œ œ œ .œ ‰ . Rœ œ œ .œ œ œ œpoco rit. œ œ .˙ 7A Slow Tempo q = 56

& bbb Œ œ œ œ œ œ ¿n .œ œ .œ œ Œ ÓB 5

& bbb Œ œn œ œ œ œ œn .˙ œb œ œb œ ’ ’œ Œ D13-9C (off-mike)

’ Œ ÓBm9

& bbb 6 6D

ÓU Ó Ó .U Œ ÓU Ó

& bbb 42 44!a tempo !Faster q = 88

!rit. ‰ jœ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œUEbmaj7 ~~~



SOLO TRUMPET(Dizzy Gillespie) Jazz at Lincoln Center Library - Essentially Ellington



& bbb 44 œ> œ œ œ œ œ œ œMoving Ballad Tempo q = 65

ƒ! œ> œ œ œ œ œ œ œ 5 œ> œ .˙n >

f& bbb 3A Slow Tempo q = 56

Ó Œ œ œ œ œP

˙ ˙ ˙ .œ ‰ 2

& bbb 3B

Ó Œ œ œ œ œP

˙ ˙ ˙ .œ ‰ 2to cup mute

& bbb ‰ .œ ˙C cup mute

P ‰ .œn ˙ ‰ .œ ˙ ‰ Jœ œ œ ˙n

& bbb ˙ œ œ . .˙ ‰ 2to open 4D

& bbb>̇ ˙nf

open ˙b ˙ ÓU Ó Ó .U Œ ÓU Ó

& bbb 42 44!a tempo œ> œ œ œ ÓFaster q = 88

ƒ ‰ Jœ- œn - œ-rit. wU



TRUMPET 1Jazz at Lincoln Center Library - Essentially Ellington




ƒ! w> 5 œ> .>̇

f3A Slow Tempo q = 56

& bbb Ó Œ œb œ œ œP

˙ œn œ# ˙b .œn ‰ ‰ rœ#jœ œ œ œ œ .œ œb .œ

FSolo œ Œ Ó

& bbb 3B

Ó Œ œb œ œ œP

˙ œn œ# ˙b .œn ‰ 2to cup mute

& bbb ‰ .œ ˙C

cup mute

P‰ .œ ˙ ‰ .œ ˙ ‰ Jœn œ œ ˙

& bbb ˙ œb œ . .˙ ‰ 2to open 4D

& bbb >̇ ˙bf

open

˙ ˙ ÓU Ó Ó .U Œ ÓU Ó

& bbb 42 44!a tempo >̇ Ó

Faster q = 88

ƒœ œ- œ-rit. wU







ƒ! w> 5 œ> .>̇

f

& bbb 4A Slow Tempo q = 56˙ ˙#

P˙n .œ ‰ 2

& bbb 4B

˙ ˙#P

˙n .œ ‰ 2to cup mute

& bbb ‰ .œn ˙C cup mute

P‰ .œ# ˙n ‰ .œn ˙ ‰ Jœ œ œ ˙#

& bbb ˙n œ œ . .˙ ‰ 2to open 4D

& bbb >̇ œn œbf

open

˙ ˙ ÓU Ó Ó .U Œ ÓU Ó

& bbb 42 44!a tempo >̇ ÓFaster q = 88

ƒœ œn - œ-rit. wU







ƒ! w>

5 œ> .>̇f

& bbb 4A Slow Tempo q = 56

˙ ˙nP ˙b .œ ‰ 2

& bbb 4B

˙ ˙nP ˙b .œ ‰ 2to cup mute

& bbb ‰ .œ ˙#C cup mute

P ‰ .œn ˙# ‰ .œn ˙# ‰ Jœn œ œ ˙#

& bbb ˙n œb œn . .˙n ‰ 2to open 4D

& bbb >̇ ˙#f

open

˙n ˙ ÓU Ó Ó .U Œ ÓU Ó

& bbb 42 44!a tempo

>̇ ÓFaster q = 88

ƒ œ œ- œn -rit. wU






? bbbbb 44 w>Moving Ballad Tempo q = 65

ƒ! w> 2 Ó Œ ‰ Jœ>

Sw .>̇ Œ

poco rit.

Sœ> .>̇f

? bbbbb2A Slow Tempo q = 56 œ œ œ œ œ œ

Pœ œ œ œ- Œ ˙ œn œ# ˙b .œ ‰

? bbbbb2 2B œ œ œ œ œ œ

Pœ œ œ Jœ œ ‰

? bbbbb˙ œn œb ˙b .œ ‰ 2to cup mute ‰ .œn ˙bC cup mute

P ‰ .œn ˙

? bbbbb ‰ .œn ˙b ‰ Jœn œ œ ˙ ˙n œb œ . .˙ ‰ 2to open

? bbbbb4D open >̇ ˙n

f˙b ˙

ÓU Ó Ó . Œ

? bbbbb 42 44ÓU Ó !a tempo >̇ Ó

Faster q = 88

ƒœ œrit. wU



TROMBONE 1Jazz at Lincoln Center Library - Essentially Ellington




ƒ! w> 2 Ó Œ ‰ Jœ>S

w .>̇ Œpoco rit.

Sœ> .>̇f

? bbbbbœ œ œ œ œ œA Slow Tempo q = 56

Pœ œ œ œ- Œ œ œ œ œ œ œ œ œ œ œ- Œ

? bbbbb ˙ œn œ ˙b .œ ‰ 2

? bbbbbœ œ œ œ œ œB

Pœ œ œ œ- Œ œ œ œ œ œ œ œ œ œ Jœ œ ‰

? bbbbb ˙ œn œ ˙b .œ ‰ 2to cup mute ‰ .œ ˙C cup mute

P ‰ .œ ˙

? bbbbb ‰ .œ ˙ ‰ Jœ œ œ ˙n ˙ œb œ . .˙n ‰ 2to open

? bbbbb4D open >̇ œn œb

f˙ ˙ ÓU Ó Ó .U Œ

? bbbbb 42 44ÓU Ó !a tempo >̇ Ó

Faster q = 88

ƒœ œrit. wU







ƒ! w> 2 Ó Œ ‰ jœ>S w .>̇ Œpoco rit.

S œ> .>̇f? bbbbb

4A Slow Tempo q = 56

˙ œn œnP ˙b .œb ‰ 2

? bbbbb4B

˙ œn œnP ˙b .œb ‰ ! œ œb œ jœn .œ

? bbbbb ‰ .œn œn œC

p‰ .œn ˙n ‰ .œn œ œ ‰ jœn œ œ ˙n

? bbbbb ˙n œ œ . .˙ ‰ 2

? bbbbb4D >̇

œn œnf ˙b œb œ ÓU Ó Ó .U Œ

? bbbbb 42 44ÓU Ó !a tempo >̇ ÓFaster q = 88

ƒœ œ- œn -rit.

wbU






& bbbbb 44 |Dbmaj7

Moving Ballad Tempo q = 65

Œ œb >œœ>

œœ>Gb9

|Dbmaj7

|Gb9

’ ’ ’ ’Dbmaj7

& bbbbb ’ ’ ’ ‰ JÛ>Gb9 Ebm7

’ ’ ’ ’ ’ ’ ’Û>Ebm7

poco rit.

’ ’Û> Û>Ebm9 Ab13-5

& bbbbb ’ ’ ’ ’Dbmaj7

A Slow Tempo q = 56

’ ’ ’ ’Gb9

’ ’ ’ ’Dbmaj7

’ ’ ’ ’Gb9

’ ’ ’ ’Dbmaj7 Em7 A 7

& bbbbb ’ ’ ’ ’Ebm7 Ab7

’ ’ ’ ’Fm7 Bb7-9

’ ’ ’ ’Eb9 Ebm7 Ab13-9

’ ’ ’ ’Dbmaj7

B

’ ’ ’ ’Gb9


’ ’ ’ ’Gb9

’ ’ ’ ’Dbmaj7 Em7 A 7

’ ’ ’ ’Ebm7 Ab7 ! ’ ’ ’ ’

Dbmaj7

& bbbbb ’ ’ ’ ’Gm9 C13-9

C

’ ’ ’ ’Am9 D9+5

’ ’ ’ ’Gm9 C13-5

’ ’ ’ ’F 6/A D 13

’ ’ ’ ’Gm7 Bbm9 Eb13

& bbbbb ’ ’ ’ ’Abmaj7 ’ ’ ’ ’Bbm7 Bbm7/Eb Eb7 -9

+5 ’ ’ ’ ’Ebm7 D 9

’ ’ ’ ’Dbmaj7

D

’ ’ ’ ’Gb9


’ ’ ’ ’Gb9

’ ’ ’ ’Dbmaj7 Em7 A 7

’ ’ ’ ’Ebm7 Ab7

˙̇̇U ÓFm7

..˙̇nU ŒE9/Bb

& bbbbb 42 44˙̇̇U ÓEbm9

’ ’ ’ ’Gbmaj7/Ab Ab13-9

a tempo

’ ’ ’ ’Dbmaj7 Gb9

Faster q = 88

’ Û ÛAb 7sus Ab9-5rit.

|UDbmaj7



PIANO Jazz at Lincoln Center Library - Essentially Ellington



? bbbbb 44 wDbmaj7arco


wGb9 wDbmaj7 .˙ ŒGb9 pizz. œ Œ œ ŒDbmaj7

? bbbbb œ Œ œ ‰ JœGb9 Ebm7 œ Œ œ Œ œ Œ œ ŒEbm7

poco rit.

œ œ œ œEbm9 Ab13-5 œ œ œ œDbmaj7A Slow Tempo q = 56

? bbbbb œ œb œ œGb9 œ œ œn œDbmaj7 œ œb œ œGb9 œ œ œn œnDbmaj7 Em7 A 7 œb œ œb œEbm7 Ab7

? bbbbb œ œ œn œ œFm7 Bb7-9 œ œ œ œb œnEb9 Ebm7 Ab13-9 œb œ œ œDbmaj7B œ œb œ œGb9 œ œ œn œDbmaj7

? bbbbb œ œb œ œGb9 œ œ œn œnDbmaj7 Em7 A 7 œb œ œb œEbm7 Ab7 œ Œ Œ ‰ œ œn3

œb œ œ œDbmaj7

? bbbbb œn œ œn œ œGm9 C13-9C

œn œn œn œAm9 D9+5 œn œ œn œ œ

Gm9 C13-5

œn .œn œ œn œF 6/A D 13 œn œ œ œGm7 Bbm9 Eb13

? bbbbb œ œn œ œAbmaj7

œ œ œ œBbm7 Bbm7/Eb Eb7 -9+5 œ œ œ œnEbm7 D 9 œb œ œ œ

Dbmaj7D

œ œb œ œGb9

? bbbbb .œ œ œ œ œ œnDbmaj7 œb œb œ œGb9

œ œ œn œnDbmaj7 Em7 A 7

œb œ œb œEbm7 Ab7 U̇ ÓFm7

? bbbbb 42 44.˙U ŒE9/Bb U̇ ÓEbm9 ˙ ˙Gbmaj7/Ab Ab13-9

a tempo

˙ ˙Dbmaj7 Gb9

Faster q = 88œ œ œnAb 7sus Ab9-5rit.

wbUDbmaj7



BASS Jazz at Lincoln Center Library - Essentially Ellington



ã 44 w>æwDbmaj7

ß


x x x x x x x xœœ œœ œœ œœ

Gb9

F

bell of cym.

w>æwDbmaj7

ßx x x x x x x xœœ œœ œœ œœ

Gb9

F

bell of cym.

ã x x x x x xœœ>œœ œœ œœ

Dbmaj7

‘Ó ‰ jœ ‰ jœGb9 (saxes)

‘Ebm7

x x x x..˙̇æ> œ œ̂poco rit.

x> .xæœœ>..˙̇

>æEbm9

Ab13-5

fã œ œ œ œœ œ œ œ

Dbmaj7A

F

Slow Tempo q = 56

‘Gb9

‘Dbmaj7

‘Gb9

‘Dbmaj7 Em7 A 7

‘Ebm7 Ab7

ã ‘Fm7 Bb7-9 ‘Eb9 Ebm7 œ œ œ œœ œ œ œDbmaj7

B

‘Gb9 ‘Dbmaj7

ã ‘Gb9

‘Dbmaj7 Em7 A 7

‘Ebm7 Ab7

œ .Tæœ Ó . œ œ œ œœ œ œ œ

Dbmaj7

ã œ œ œ œœ œ œ œGm9 C13-9C

‘Am9 D9+5

‘Gm9 C13-5

‘F 6/A D 13

‘Gm7 Bbm9 Eb13

‘Abmaj7

ã ‘Bbm7 Eb7 -9

+5 ‘Ebm7 D 9

œ œ œ œœ œ œ œDbmaj7D

‘Gb9

‘Dbmaj7

‘Gb9

ã x> œ œ œœœ œ œ œ

Dbmaj7Em7 A 7

œ œ œ œœ œ œ œEbm7 Ab7 U̇ Ó˙

Fm7

.U̇ Œ.˙E9/Bb U̇ Ó˙

Ebm9

ã 42 44Tæ æ̇˙̇ ˙a tempo >̇æ æ̇>

œ œ œ œFaster q = 88

fxœ xœ xœœ œ œrit.

TwæUw œ œ œ œ jœ̂ƒ

46062



DRUMS Jazz at Lincoln Center Library - Essentially Ellington


Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.

V bbbbb 44 9Moving Ballad Tempo q = 65 ‰ jœ œ œ œ œ œ œ

If you could see me now you'd

A Slow Tempo q = 56

œ œn œb œ ˙know how blue I've been.

‰ jœ œ œ œ œ œ œOne look is all you'd need to

V bbbbb œ œn œb œ .œ jœsee the mood I'm in. Per

œ œ œ œn œn œbhaps then you'd re a lize

œb œ œ .œ jœbI'm still in love with

wyou.

˙ Ó- - -

V bbbbb ‰ jœ œ œ œ œ œ œIf you could see me now you'd

B

œ œn œb œ ˙find me be ing brave,

‰ jœ œ œ œ œ œ œand try ing aw f'lly hard to

œ œn œb œ .œ jœmake my tears be have. But- - - -

V bbbbb œ œ œ œn œn œbthat's quite im pos si ble;

œb œ œ .œ jœbI'm still in love with

wyou.

˙ Œ œYou'll- - -

V bbbbb œ œ œ œ œ œhap pen my way on some

C

œn œ œ œ œ œ3 3

mem 'ra ble day and the

œn œ œ œ œn œmonth will be May for a

.˙ œnwhile. I'll- - -

V bbbbb œn œn œ œ œb œ œ œtry to smile but can I play the

˙ ‰ Jœ œ œpart with out my

˙ ‰ Jœ œ œnheart be hind the

wsmile?- -

V bbbbb ‰ jœ œ œ œ œ œ œThe way I feel for you I

D

œ œn œb œ ˙nev er could dis guise.

‰ jœ œ œ œ œ œ œThe look of love is writ ten

œ œn œb œ .œ jœplain ly in my eyes. I- - - -

V bbbbb œ œ œ œn œn œbthink you'd be mine a gain

œb œ œ .œ jœbif you could see the

U̇ œ œ œ œ œ3

way you've cap tured

jœ .˙bU ‰ Jœme. I'm- -

V bbbbb 42 44œUœ œ œ rœ œU ‰ jœ œ œ

yours e ter nal ly if you could

˙ jœ ˙see me

a tempo wnow.

Faster q = 88 ˙rit. wU- - -



VOCAL Jazz at Lincoln Center Library - Essentially Ellington



JAZZ AT LIN

CO

LN C

ENTER’S ESSEN

TIALLY ELLIN

GTO

N LIBRA

RY

If You Could See M

e Now

Tadd Dam

eron and Carl Sigm

anA

rrang

ed b

y Melb

a Liston

As p

erformed

by D

izzy Gillesp

ie and

his 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

IF YOU

CO

ULD

SEE ME N

OW

• INSTRU

MEN

TATION

Vocal

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

Trump

et Solo

Tromb

one 1

Tromb

one 2

Tromb

one 3

Piano

Bass

Drum

s

ORIG

INAL REC

ORD

ING

INFO

RMATIO

NC

omposer • Ta

dd

Da

meron a

nd C

arl Sig

ma

n

Arranger • Melb

a Liston

Recorded • Ap

ril 7, 1957 in New

York

Master # • 290

835-29

Original Issue • Verve M

GV-8222 (D

izzy Gillesp

ie: Birks Works) [LP]

Currently available on C

D • Verve 314-537-90

0 (D

izzy Gillesp

ie: Birks W

orks)

Currently available as digital dow

nload • Am

azon/iTunes (D

izzy G

illespie: Birks W

orks)

Personnel • Dizzy G

illespie (lea

der, trum

pet); Lee M

orga

n, Ermit Perry,

Ca

rl Wa

rwick, Ta

lib D

aw

ud (trum

pet); M

elba

Liston, Al G

rey, Rod Levitt

(tromb

one); Jimm

y Powell, Ernie H

enry (alto sa

x); Billy Mitchell, Benny

Golson (tenor sa

x); Billy Root (ba

ritone sax); W

ynton Kelly (pia

no); Paul

West (b

ass); C

harli Persip

(drum

s); Austin Crom

er (vocal)

Soloists • Dizzy G

illespie (trum

pet intro); Austin C

romer (voca

l)

REHEARSAL N

OTES

• Ta

dd

Da

meron (1917–65) w

rote some of the m

ost melod

ic tunes of the Beb

op era

, and

wa

s also a

ma

sterful arra

nger for b

and

s of a

ll sizes, from q

uintets to big

ba

nds. M

any of the m

ost mem

orab

le p

ieces that D

izzy Gillesp

ie’s big

ba

nd of the 1940

s recorded

were

by D

am

eron. He w

rote with a

less ang

ular a

nd m

ore trad

itional

melod

ic sense than G

illespie, M

onk, and

Parker. A

s a p

ianist, he w

as

not a soloist b

ut a fine a

ccomp

anist for the m

usicians w

ho pla

yed

his music. It’s g

enerally a

ccepted

that D

am

eron’s sma

ll group

record

ings for the Blue N

ote lab

el in the late 1940

s that fea

ture trum

peter Fa

ts Na

varro a

re am

ong the m

ost imp

ortant a

nd

influential of the era

.

• A

fter ga

ining a

local rep

utation in his na

tive Clevela

nd, O

hio, D

am

eron cam

e to nationa

l attention throug

h his writing

for the Ka

nsas C

ity-ba

sed H

arla

n Leonard

Orchestra

in 1940. W

ithin a few

yea

rs he had

worked

for both Jim

mie Lunceford

and

Count Ba

sie. C

harlie Pa

rker and

Dizzy G

illespie fell in love w

ith Da

meron's w

riting

when they w

ere all in the Billy Eckstine b

ig b

and

in late 1944. They

emb

raced

Da

meron’s com

positions a

s they created

their music

and

his reputa

tion grew

.

• Sa

rah Va

ugha

n, who w

as a

lso in the Eckstine ba

nd, m

ad

e the first record

ing of this b

alla

d in 1946, a

nd it b

ecam

e well-know

n not only for her sing

ing b

ut also for the b

eautiful trum

pet p

laying

of Fredd

ie W

ebster, who w

as a

favorite of b

oth Gillesp

ie and

Miles D

avis.

• This version w

as a

rrang

ed b

y tromb

onist Melb

a Liston for the 1956

Gillesp

ie big

ba

nd a

nd is a

classic b

ackg

round cha

rt for a voca

list/soloist.

• There a

re not that m

any sp

ecific things (other tha

n having

the horns sing

their pa

rts at a

ll times a

nd to a

lwa

ys be und

er the m

elody) to b

e itemized

beyond

the following

:

• Pa

y close attention to a

ll of the phra

se ma

rkings a

nd to

every dyna

mic m

ark—

in a b

asic cha

rt like this, it is the a

ttention to these deta

ils that m

ake a

ll the difference.

• G

reat ca

re should b

e taken to crea

te a w

arm

, singing

sound

on all of the horns tha

t is underg

irded

by a

lot of air sup

port,

no ma

tter how soft they’re p

laying

.

• Lea

d p

layers ca

n determ

ine the specific vib

rato they w

ill use, m

aking

sure it relates to the tem

po. The rest of the horns

have to m

atch it p

recisely. This sounds sim

ple, b

ut can b

e a

big

challeng

e.

• M

ake the end

ing rea

lly big

, without losing

tone qua

lity or intona

tion—it’s rea

lly dra

ma

tic!

• Lea

rn the word

s first and

recite them like p

oetry, like a story. M

ake

sure you understa

nd a

nd feel them

. Practice the m

elody w

ithout w

ords - just sing

the notes. There are a

lot of intervals tha

t won't

get their true m

eaning

unless you nail them

precisely. It m

ay help

to work a

t the pia

no when you d

o this, if you can, p

icking out the

melod

y notes in time. A

lthough p

op tunes of tha

t era rep

eat the A

sections three tim

es, find w

ays to m

ake ea

ch one a little d

ifferent from

the others; the lyrics and

emotions ca

n help, as ca

n intensity, tone a

nd volum

e.

—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.

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eron and Carl Sigm

anArranged by M

elba ListonTranscribed by M

ark Lopeman

CO

ND

UC

TOR


IF YO

U C

OU

LD

SEE

ME

NO

W

Copyright ©

1946 (Renew

ed) by Music Sales C

orporation (ASC

AP) and EM

I Robbins C

atalogue, Inc.International C

opyright Secured. All R

ights Reserved.

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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

Documents

REED 1 Jazz at Lincoln Center Library - Essentially ... · Tadd Dameron and Carl Sigman Arranged by Melba Liston Transcribed by Mark Lopeman REED 1 Alto Sax Jazz at Lincoln Center