reed 1 alto sax jazz at lincoln center library ... sax 46059 copyright © 1946 (renewed) by g....
TRANSCRIPT
& bb 44 ˙ .œ# Jœ>õq = 80
F! ˙ .œ# Jœ>õp
!
& bb .˙ ŒA
P! ‰ .œb > Œ ‰ jœ>F
œ Œ Ó
& bb .˙ Œ ! ‰ .œb > Œ ‰ jœ> œ Œ Ó
& bb .˙ Œ ! ‰ .œb > Œ ‰ jœ> œ Œ Ó
& bb 4B 12C 8D
& bb .˙ ŒE
P! ‰ .œb > Œ ‰ jœ>F
œ Œ Ó
& bb .˙ Œ ! ‰ .œb > Œ ‰ jœ> œ Œ Ó
& bb .˙ Œ !rit. U̇ .œ#U Jœ>õP
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
REED 1Alto Sax
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bb 44 ˙ .œ Jœ>õq = 80
F ! ˙ .œ Jœ> õp !
& bb .˙ ŒA
P ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó
& bb .˙ ŒP ! ‰ .œ> Œ ‰ jœ> œ Œ Ó
& bb .˙ ŒP ! ‰ .œ> Œ ‰ jœ> œ Œ Ó
& bb 4B 12C 8D
& bb .˙ ŒE
P ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó
& bb .˙ ŒP ! ‰ .œ> Œ ‰ jœ> œ Œ Ó
& bb .˙ ŒP !rit.
˙U .œUJœ>õP
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
REED 2Alto Sax
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbb 44 ˙ .œn Jœ>õq = 80
F ! ˙ .œn Jœ>õp!
& bbb .˙ ŒA
P! ‰ .œ> Œ ‰ jœ>F œ Œ Ó
& bbb .˙ ŒP ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó
& bbb .˙ ŒP ! ‰ .œ> Œ ‰ jœ>F œ Œ Ó
& bbb 4B 12C 8D
& bbb .˙ ŒE
P! ‰ .œ> Œ ‰ jœ>F œ Œ Ó
& bbb .˙ ŒP
! ‰ .œ> Œ ‰ jœ>F œ Œ Ó
& bbb .˙ ŒP !rit. U̇ .œnU Jœ>õP
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
REED 3Tenor Sax
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbb 44 ‰.œ œ ï œ œï œb ï œ
3
Eb6F#7C
P flazilySolo
œ- œ œn œ œ œ œ œ .œb > œn œ œn3
3F 7 E7
œ> œ œ ˙Eb6 G 7-9
˙ ÓC m7 Bbm7 Eb7
& bbb ‰.œ œ œ œAb Eb7/G
P fœ# œ œ œn œ œ-Ab A o7 œ œ œ œ ˙ œ œ œ œ
3 3
Eb/Bb Bb7/Ab˙ ÓEb/G F#o7
& bbb ‰.œ œ œ œF m7
F#7
P fœ# œ œ œn œ œ œ œF 7 E7
œ# ñ .œ œ> œ> ï œn œ ˙Eb6 Bb7-9/Gb
breath accent
˙ ÓEb6 Bb7-9
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
REED 4 (Solo)Tenor Sax
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbb 44 ˙ .œ Jœ> õq = 80
F ! ˙ .œ Jœ> õp !
& bbb 12A
& bbb 4B
& bbb ’ ’ ’ ’Eb6 F#7CSolo
’ ’ ’ ’F 7 E7
’ ’ ’ ’Eb6 G 7-9
’ ’ ’ ’C m7 Bbm7 Eb7
& bbb ’ ’ ’ ’Ab Eb7/G
’ ’ ’ ’Ab A o7
’ ’ ’ ’Eb/Bb Bb7/Ab
’ ’ ’ ’Eb/G F#o7
& bbb ’ ’ ’ ’F m7 F#7
’ ’ ’ ’F 7 E7
’ ’ ’ ’Eb6 Bb7-9/Gb
’ ’ ’ ’Eb6 Bb7-9
& bbb 8D
& bbb 9E
!rit.
˙U .œUJœ>õP
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
REED 4Tenor Sax
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bb 44 ˙ .œ# Jœn >õq = 80
F! ˙ .œ# jœn > õp !
& bb .˙ ŒA
P! ‰ .œ>
Œ ‰ jœ>F œ Œ Ó
& bb .˙ ŒP ! ‰ .œ>Œ ‰ jœ>F œ Œ Ó
& bb .˙ ŒP ! ‰ .œ>Œ ‰ jœ>F œ Œ Ó
& bb 4B 12C 8D
& bb .˙ ŒE
P! ‰ .œ>
Œ ‰ jœ>F œ Œ Ó
& bb .˙ ŒP
! ‰ .œ>Œ ‰ jœ>F œ Œ Ó
& bb .˙ ŒP !rit.
˙U .œ#U jœn >õP
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
REED 5Baritone Sax
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbb 44 4q = 80
& bbb 2A
‰ œ# œn œ œ œ^ ‰ jœ#3hat
Fœ œn œ œ œ
^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 4B to open
& bbb 12C
‰ Jœ œ œ œ œ œ œD open Jœ̂ œ̂ Jœn > œ Œf
& bbb œb œ œ> œ Jœ œ ‰straight 8ths œ œ œ> œ Jœ œ ‰ œ œ œ> œ Jœ œ ‰ œn œ œ> œ Jœ œn ‰
& bbb .œb ^ œ œb - œ- œ. ‰ Jœ# - œn - œ œ œ Œ 2E to hat
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3hat
Fswing 8ths
œ œn œ œ œ^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 ! !rit. !
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUESTRUMPET 1
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbb 44 4q = 80
& bbb 2A
‰ œ# œn œ œ œ^ ‰ jœ#3
hat
Fœ œn œ œ œ
^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 4B to open
& bbb 12C
‰ Jœ œ œ œ œ œn œD open
Jœ# ^ œ̂ Jœ> œ Œf
& bbb œ œ œ> œ Jœ œ ‰straight 8ths œ œ œn > œ Jœ œ ‰ œ œ œb > œ Jœ œn ‰ œ œn œ> œ Jœ œb ‰
& bbb .œ̂ œ œ- œ- œ. ‰ Jœb - œ- œn œ œ Œ 2E to hat
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3hat
Fswing 8ths
œ œn œ œ œ^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 ! !rit. !
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
TRUMPET 2
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbb 44 4q = 80
& bbb 2A
‰ œ# œn œ œ œ^ ‰ jœ#3hat
F œ œn œ œ œ^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 4B to open
& bbb 12C
‰ jœ œn œ œn œ œ œD open
Jœ̂ œn ^ Jœ> œ Œf
& bbb œb œ œ> œ jœ œ ‰straight 8ths œn œ œ> œ jœ œn ‰ œb œn œ> œ jœ œ ‰ œ œb œn > œ jœ œ ‰
& bbb .œ̂ œ œ- œ- œ. ‰ Jœn - œb - œ œ œ Œ 2E to hat
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3hat
Fswing 8ths
œ œn œ œ œ^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 ! !rit. !
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUESTRUMPET 3
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbb 44 4q = 80
& bbb 2A
‰ œ# œn œ œ œ^ ‰ jœ#3hat
Fœ œn œ œ œ
^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 4B to open
& bbb 12C
‰ jœ œ# œ œ œn œ œnD open
Jœ̂ œ# ^ Jœ> œ Œf
& bbb œn œ œ> œ jœ œ ‰straight 8ths œ œn œ> œ jœ œ ‰ œ œ œn > œ jœ œ ‰ œ œ œb > œ jœ œ ‰
& bbb .œ^
œ œn - œb - œ. ‰ jœ- œ# - œn œ œ Œ 2E to hat
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3hat
Fswing 8ths
œ œn œ œ œ^ Ó3 2
& bbb ‰ œ# œn œ œ œ^ ‰ jœ#3 œ œn œ œ œ
^ Ó3 ! !rit. !
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUESTRUMPET 4
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
? bbbbb 44 !Db6 E7C
!Eb7 D 7 Ó ‰ .œDb F 7-9
Pstraight mute œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3
Bbm7 Abm7 Db7
? bbbbbœ Œ ÓGb Db7/F
!Gb G o7
Œ ‰ œ œ œ œn >Œ œ œ œ œ> ‰
Db/Ab Ab7/GbP
? bbbbb œ œ œ œ̂⁄ œ̂⁄ " œ œb œ œ œ œ œ œ œn - œb œ3
Db/F E o7 ˙ ÓEbm7 E7
!Eb7 D 7
? bbbbb Ó œ œ œ̂ œ̂ œn ^ œb ^ œ̂ œ̂Db6 Ab7-9/GbP
œ- œ .œó œ⁄ .œ ŒDb6 Ab7-9
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
TROMBONE 1 (Solo)
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
? bbbbb 44 4q = 80 ˙ œ œŒ
A
F
cup mute œ œ œ œ œ Œ Ó !
? bbbbb˙ œ œ
Œœ œ œ œ œ Œ Ó !
? bbbbb˙ œ œ
Œœ œ œ œ œ Œ Ó !to straight mute 4B
? bbbbb ’ ’ ’ ’Db6 E7
Cstraight mute
’ ’ ’ ’Eb7 D 7
’ ’ ’ ’Db F 7-9
’ ’ ’ ’Bbm7 Abm7 Db7
? bbbbb ’ ’ ’ ’Gb Db7/F
’ ’ ’ ’Gb G o7
’ ’ ’ ’Db/Ab Ab7/Gb
’ ’ ’ ’Db/F E o7
? bbbbb ’ ’ ’ ’Ebm7 E7
’ ’ ’ ’Eb7 D 7
’ ’ ’ ’Db6 Ab7-9/Gb
’ ’ ’ ’Db6 Ab7-9 8D to closed plunger
? bbbbb˙ œo œo
ŒE
closed plunger
Fœ+ o œ+ o œ+ o œ+ o œ+ o
Œ Ó !˙ œo œo
Œ
? bbbbbœ+ o œ+ o œ+ o œ+ o œ+ o
Œ Ó !˙ œo œo
Œœ+ o œ+ o œ+ o œ+ orit. +̇ o
Ó
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUESTROMBONE 1
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
? bbbbb 44 4q = 80
? bbbbb˙ œ œ
ŒA
F
cup mute œ œ œ œ œ Œ Ó !
? bbbbb˙ œ œ
Œ œ œ œ œ œ Œ Ó !
? bbbbb˙ œ œ
Œ œ œ œ œ œ Œ Ó !
? bbbbb4B to closed plunger 12C 8D
? bbbbb˙ œo œo
ŒE
closed plunger
Fœ+ o œ+ o œ+ o œ+ o œ+ o Œ Ó !
? bbbbb˙ œo œo
Œ œ+ o œ+ o œ+ o œ+ o œ+ o Œ Ó !
? bbbbb˙ œo œo
Œ œ+ o œ+ o œ+ o œ+ orit. +̇ o Ó
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
TROMBONE 2
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
? bbbbb 44 4q = 80
? bbbbb˙ œ œ Œ
A
F
cup mute œ œ œn œb œ Œ Ó !
? bbbbb˙ œ œ Œ œ œ œn œb œ Œ Ó !
? bbbbb˙ œ œ Œ œ œ œn œb œ Œ Ó !
? bbbbb4B to closed plunger 12C 8D
? bbbbb˙ œo œo Œ
closed plungerE
Fœ+ o œ+o œn+ o œb+ o œ+ o Œ Ó !
? bbbbb˙ œo œo Œ œ+ o œ+o œn+ o œb+ o œ+ o Œ Ó !
? bbbbb˙ œo œo Œ œ+ o œ+o œn+ o œb+ orit. +̇ o Ó
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
TROMBONE 3
46059
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbbbb 44 ’ ’ ’ ’Db6 D maj9
q = 80
F ’ Œ ÓDb6
’ ’ ’ ’Db6 D maj9
P ’ Œ ÓDb6
& bbbbb ’ ’ ’ ’Db6
A
’ ’ ’ ’Ebm7 Eb7 Ab9sus
’ ’ ’ ’Db7+9
’ ’ ’ ’
& bbbbb ’ ’ ’ ’Gb
’ ’ ’ ’Gb Eb7 Ab9sus
’ ’ ’ ’Db7+9
’ ’ ’ ’
& bbbbb ’ ’ ’ ’Ab7
’ ’ ’ ’Eb7 Ab7susEbm7
’ ’ ’ ’Db7+9
’ ’ ’ ’
& bbbbb ’ ’ ’ ’Gb G o7
B
’ ’ ’ ’Db/Ab B7 Bb7
’ ’ ’ ’Eb7 D 7+9
’ ’ ’ ’Db6 D 9-5
& bbbbb ’ ’ ’ ’Db6 E7
C
’ ’ ’ ’Eb7 D 7
’ ’ ’ ’Db6 F 7-9
’ ’ ’ ’Bbm7 Abm7 Db7
& bbbbb ’ ’ ’ ’Gb Db/F
’ ’ ’ ’Gb G o7
’ ’ ’ ’Db/Ab Ab7/Gb
’ ’ ’ ’Db/F E o7
& bbbbb ’ ’ ’ ’Ebm7 E7
’ ’ ’ ’Eb7 D 7
’ ’ ’ ’Db6 Ab7-9/Gb
’ ’ ’ ’Db6 Ab7-9
’ Œ ÓDb6D
& bbbbb 7
46059
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUESGUITAR
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
& bbbbb ’ ’ ’ ’Db6
E
’ ’ ’ ’Ebm7 Eb7 Ab9sus
’ ’ ’ ’Db7+9
’ ’ ’ ’
& bbbbb ’ ’ ’ ’Gb
’ ’ ’ ’Eb7 Ab9sus
’ ’ ’ ’Db7+9
’ ’ ’ ’
& bbbbb ’ ’ ’ ’Ab7
’ ’ ’ ’Eb7 Ab7susEbm7
rit.
|U ÓDb6
2 Carnegie BluesGuitar
46059
&?
bbbbbbbbbb
44
44!!Db6 D maj9
q = 80Œ œ œ ˙ ˙ œ̂
!Db6
!!Db6 D maj9
Œ œ œ ˙ ˙ œn!Db6
& bbbbb !Db6A
!Ebm7 Eb7 Ab9sus !Db7+9 !
& bbbbb !Gb !Gb Eb7 Ab9sus !Db7+9 !
& bbbbb !Ab7 !Eb7 Ab7susEbm7 !Db7+9 Ó ‰ œ œ œ œFSolo
&?
bbbbbbbbbb
jœ ‰ ‰œn œ œ œn Ù œn œ œ œn œn œ œ œn œ œ
˙ .œn Jœ
Gb G o7B
‰ œ œ œ œ " œ œ œ Œ œb œn˙ ‰ jœ œœb œœ
Db/Ab B7 Bb7
&?
bbbbb
bbbbb
œb œ œ œ œ œ œn ‰ Ójœn ‰ ‰ œ œ œ œb œ œ œœœ
3
œ Œ .œn Jœb
Eb7D 7+9
Ó œœn - Œ
Ó œœ# - Œ
Db6 D 9-5 (end solo)
46059
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUESPIANO
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
&?
bbbbbbbbbb
œœ- Œ .œn ‰œn - ‰ jœn .
.œœn jœb
Db6 E7C
P .œb ‰ .œ ‰..œœbn jœn .
.œœn
b jœb
Eb7 D 7 Ó ˙̇˙̇˙b
˙̇n
Db6 F 7-9 jœ .œ œ œ˙ œb œ˙̇b œœ œœ
Bbm7Abm7 Db7
&?
bbbbbbbbbb
˙ .œb jœ˙ .œ jœœ.œ Jœ Jœ œ Jœ
Gb Db/F Gb ‰ ..œœ> œœ Œ‰ ..œœnn > œœ ‰ œn œb œn3
G o7 Ó ˙̇‰ jœ Œ ˙˙ Ó
Db/Ab Ab7/Gb˙ ˙˙ ˙n
Db/F E o7
&?
bbbbbbbbbb
˙ ˙n.œb jœn .œ jœb
Ebm7 E7
˙b ˙.œn jœn .œ# jœ#
Eb7 D 7
˙ ‰ ...œœœ˙n ‰ jœ .œn
Db6 Ab7-9/Gb ‰ jœœœ ‰ jœœœ ˙˙˙‰ Jœb ‰ jœ Jœn ˙
Db6 Ab7-9
&?
bbbbbbbbbb
œœœ Œ Óœb Œ Ó
Db6D 77
& bbbbb !Db6E
!Ebm7 Eb7 Ab9sus !Db7+9 !
& bbbbb !Gb !Eb7 Ab9sus !Db7+9 !
& bbbbb !Ab7 !Eb7 Ab7susEbm7 rit.
!
2 Carnegie BluesPiano
46059
? bbbbb 44 ˙ .œn JœbDb6 D maj9
q = 80arco
F!Db6 ˙ .œn JœbDb6 D maj9
pÓ Œ ‰ JœDb6 pizz.
P? bbbbb œ Œ œ ŒDb6A
œ Œ œ œEbm7 Eb7 Ab9sus œ Œ œ ŒDb7+9 œ ‰ Jœ œ œ œ œ œ œ
3 3Fad lib
? bbbbb œ Œ œ ŒGb œ œ œ œGb Eb7 Ab9sus œ Œ œ ŒDb7+9 œ ‰ Jœ œ œ œ Jœn œn
3 3Fad lib
? bbbbb œb Œ œ ŒAb7 œ Œ œ œEb7 Ab7susEbm7 œ Œ œ ŒDb7+9 œ ‰ Jœ œ œn œ œb
F? bbbbb œ œ œn œ œGb G o7B œ œn œn œb
Db/Ab B7 Bb7 œ Œ ‰ Jœn œ œbEb7 D 7+9 œ Œ œn - ŒDb6 D 9-5
? bbbbb œb - Œ ‰ œn JœDb6 E7
C
P Jœb œ Jœ .œn JœEb7 D 7 ˙b ˙Db6 F 7-9 ˙ .œ JœBbm7 Abm7 Db7
? bbbbb ˙ ÓGb Db/F
Jœ .œn > ˙Gb G o7 ˙ œb œ œDb/Ab Ab7/Gb œ œ œ œn œ œDb/F E o7
straight 8ths
? bbbbb œb œ œ œ œn œ œn œ3 3
Ebm7 E7
swing 8ths
œb œ œb œ œn œ œn œ3 3
Eb7 D 7 ˙b œ œDb6 Ab7-9/Gb œb œ œ œDb6 Ab7-9
46059
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUES
BASS
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
? bbbbb œ Œ ÓDb6D
Ó ‰ Jœ œ œn œ3
œ Œ Ó 4
? bbbbb Ó Œ ‰ Jœ œ Œ œ ŒDb6E
Pœ Œ œ ŒEbm7 Eb7 Ab9sus œ Œ œ ŒDb7+9
? bbbbb œ ‰ œn œ œ œ œb œ œ œ œb œF
ad lib œ Œ œ ŒGbP
œ Œ œ œEb7 Ab9sus œ Œ œ ŒDb7+9
? bbbbb œ œ œ œ œ " œ œ̂ œ- œ̂F
ad lib œ Œ œ ŒAb7
Pœ Œ œ œ
Eb7 Ab7susEbm7rit.
pick up bow U̇ .œnUJœb
arco
2 Carnegie BluesBass
46059
ã 44 x f œ fŒ œx œ œx
Db6 D maj9
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46059
Duke EllingtonTranscribed by Christopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CARNEGIE BLUESDRUMS
Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP)International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
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2 Carnegie BluesDrums
46059
JAZZ AT LIN
CO
LN C
ENTER’S ESSEN
TIALLY ELLIN
GTO
N LIBRA
RY
Carnegie Blues
Duke Ellington
As p
erformed
by D
uke Ellington a
nd his Fa
mous O
rchestraTra
nscribed
and
Edited
by C
hristopher C
renshaw
for Jazz a
t Lincoln Center
Full Score This tra
nscription w
as m
ad
e especia
lly for Jazz a
t Lincoln Center’s 20
16–17Tw
enty-Second A
nnual Essentially Ellington H
igh School Ja
zz Band
Progra
m.
Jazz a
t Lincoln Center a
nd A
lfred Pub
lishing g
ratefully a
cknowled
ge the coop
eration
and
supp
ort provid
ed in the p
ublica
tion of this year's Essentially Ellington m
usic series:
Founding
lead
ership sup
port for Essentially Ellington is p
rovided
by The Ja
ck and
Susan Rud
in Educa
tional a
nd Schola
rship Fund
.
Ma
jor supp
ort is provid
ed b
y Jessica a
nd N
ata
n Bibliow
icz, Alfred
and
Ga
il Engelb
erg, C
asey Lipscom
b,
Dr. J. D
ougla
s White a
nd the King
-White Fa
mily Found
ation, Aug
ustine Founda
tion, Ella Fitzg
erald
Cha
ritab
le
Founda
tion, Cha
rles Evans H
ughes M
emoria
l Founda
tion, and
the Ha
rold a
nd M
imi Steinb
erg C
harita
ble Trust.
Wynton M
arsa
lis, Ma
nag
ing a
nd A
rtistic Director, Ja
zz at Lincoln C
enter
NO
TES ON
PLAYING
ELLING
TON
At least 95%
of mod
ern-da
y larg
e ensemb
le jazz p
laying
comes out
of three trad
itions: Count Ba
sie’s ba
nd, D
uke Ellington’s b
and
, and
the orchestra
tions of sma
ll groups. Those young
pla
yers interested in ja
zz w
ill be d
raw
n to sma
ll groups for the op
portunity to im
provise a
nd for
pra
ctical rea
sons (it is much ea
sier to orga
nize 4 or 5 peop
le than it is 15).
Schools have ta
ken over the task (form
erly perform
ed b
y da
nce ba
nds)
of training
musicia
ns to be ensem
ble p
layers. D
ue to the Basie Ba
nd’s
pop
ularity a
nd its sim
plicity of style a
nd em
pha
sis on blues a
nd sw
ing,
the better ed
ucators ha
ve alm
ost exclusively ad
opted
this trad
ition for tea
ching ja
zz ensemb
le pla
ying. A
s wond
erful as C
ount Basie’s style is,
it doesn’t a
dd
ress ma
ny of the imp
ortant styles d
eveloped
under the
grea
t musica
l umb
rella w
e call ja
zz. Duke Elling
ton’s comp
rehensive and
eclectic a
pp
roach to m
usic offers an a
lternative.
The stylistic richness of Ellington’s m
usic presents a
grea
t challeng
e to ed
ucators a
nd p
erformers a
like. In Basie’s m
usic, the conventions a
re very nearly consistent. In Elling
ton’s music there a
re ma
ny more
exceptions to the rules. This ca
lls for grea
ter knowled
ge of the la
ngua
ge
of jazz. C
lark Terry, w
ho left Count Ba
sie’s ba
nd to join D
uke Ellington,
said
, “Count Ba
sie wa
s college, b
ut Duke Elling
ton wa
s gra
dua
te school.” Know
ledg
e of Ellington’s m
usic prep
ares you to p
lay a
ny big
ba
nd m
usic.
The following
is a list of p
erforma
nce conventions for the grea
t ma
jority of Elling
ton’s music. A
ny devia
tions or ad
ditions w
ill be sp
elled out in the
individ
ual p
erforma
nce notes which follow
.
1. Listen ca
refully ma
ny times to the Elling
ton recording
of these p
ieces. There are m
any sub
tleties that w
ill elude even the m
ost sop
histicated
listener at first. A
lthough it w
as never Elling
ton’s w
ish to have his record
ings im
itated
, knowled
ge of these d
efinitive versions w
ill lead
musicia
ns to ma
ke more ed
ucated
choices when
creating
new p
erforma
nces. Ellington’s m
usic, though w
ritten for sp
ecific individ
uals, is d
esigned
to inspire a
ll musicia
ns to express
themselves. In a
dd
ition, you will hea
r slight note d
ifferences in the record
ing a
nd the tra
nscriptions. This is intentiona
l, as there a
re m
istakes a
nd a
lterations from
the origina
l intent of the music in the
recording
. You should ha
ve your pla
yers pla
y wha
t’s in the score.
2. Genera
l use of swing
phra
sing. The trip
let feel preva
ils except for
ba
llad
s or where nota
tions such as even eig
hths or Latin a
pp
ear.
In these cases, eig
hth notes are g
iven equa
l value.
3. There is a cha
in of comm
and
in ensemb
le pla
ying. The lea
d p
layers
in each section d
etermine the p
hrasing
and
volume for their ow
n section, a
nd their section-m
ates m
ust conform to the lea
d. W
hen the sa
xes and
/ or tromb
ones pla
y with the trum
pets, the lea
d
trump
et is the boss. The lea
d a
lto and
tromb
one must listen to the
first trump
et and
follow him
. In turn, the other saxes a
nd trom
bones
must follow
their lead
pla
yers. When the cla
rinet lead
s the bra
ss section, the b
rass should
not overblow
him. Tha
t mea
ns that the
first trump
et is actua
lly pla
ying “second
.” If this is done effectively,
there will b
e very little ba
lancing
work left for the cond
uctor.
4. In Ellington’s m
usic, each p
layer should
express the ind
ividua
lity of his ow
n line. He m
ust find a
musica
l ba
lance of sup
porting
and
follow
ing the section lea
der a
nd b
ringing
out the chara
cter of the und
erpa
rt. Each p
layer should
be encoura
ged
to express his or
her persona
lity through the m
usic. In this music, the und
erpa
rts a
re pla
yed a
t the sam
e volume a
nd w
ith the sam
e conviction as
the lead
.
5. Blues inflection should p
ermea
te all p
arts a
t all tim
es, not just when
these opp
ortunities occur in the lead
.
6. Vib
rato is used
quite a
bit to w
arm
up the sound
. Saxes (w
ho most
frequently rep
resent the sensual sid
e of things) usua
lly emp
loy vib
rato on ha
rmonized
pa
ssag
es and
no vibra
to on unisons. The vib
rato ca
n be either hea
vy or light d
epend
ing on the context.
Occa
sionally sa
xes use a lig
ht vibra
to on unisons. Trump
ets (w
ho very often are used
for heat a
nd p
ower) use a
little vibra
to on ha
rmonized
pa
ssag
es and
no vibra
to on unisons. Tromb
ones (w
ho are usua
lly noble) d
o not use slide vib
rato. A
little lip vib
rato is
good
on harm
onized p
assa
ges a
t times. Try to m
atch the sp
eed of
vibra
to. In genera
l unisons are p
layed
with no vib
rato.
7. Crescend
o as you a
scend a
nd d
iminuend
o as you d
escend.
The upp
er notes of phra
ses receive a na
tural a
ccent and
the low
er notes are g
hosted. A
lto and
tenor saxop
hones need to use
sub-tone in the low
er pa
rt of their rang
e in order to b
lend p
roperly
with the rest of the section. This m
usic wa
s origina
lly written w
ith no d
ynam
ics. It pretty m
uch follows the na
tural tend
encies of the instrum
ents; pla
y loud in the loud
pa
rt of the instrument a
nd soft in
the soft pa
rt of the instrument. For insta
nce, a hig
h C for a
trump
et w
ill be loud
and
a low
C w
ill be soft.
8. Qua
rter notes are g
enerally p
layed
short unless otherwise
notated
. Long m
arks a
bove or b
elow a
pitch ind
icate full va
lue: not just long
, but full va
lue. Eighth notes a
re pla
yed full va
lue excep
t when follow
ed b
y a rest or otherw
ise notated
. All notes
longer tha
n a q
uarter note a
re pla
yed full va
lue, which m
eans if it
is followed
by a
rest, release the note w
here the rest ap
pea
rs. For exa
mp
le, a ha
lf note occurring on b
eat one of a
mea
sure would
be
released
on bea
t three.
9. Unless they a
re pa
rt of a leg
ato b
ackg
round fig
ure, long notes
should b
e pla
yed som
ewha
t fp (forte-pia
no); accent then d
iminish
the volume. This is im
porta
nt so that the m
oving p
arts ca
n be
heard
over the sustained
notes. Don’t just hold
out the long notes,
but g
ive them life a
nd p
ersonality: tha
t is, vibra
to, inflection, crescend
o, or dim
inuendo. There is a
grea
t dea
l of inflection in this m
usic, and
much of this is hig
hly interpretive. Stra
ight or
curved lines im
ply non-p
itched g
lisses, and
wa
vy lines mea
n scala
r (chrom
atic or d
iatonic) g
lisses. In genera
l, all rhythm
ic figures need
to b
e accented
. Accents g
ive the music life a
nd sw
ing. This is very
imp
ortant.
10. Elling
ton’s music is a
bout ind
ividua
lity: one person p
er pa
rt—d
o not d
ouble up
beca
use you have extra
pla
yers or need m
ore strength.
More tha
n one on a p
art m
akes it sound
more like a
concert ba
nd
and
less like a ja
zz ba
nd.
11. This is a
coustic music. Keep
am
plifica
tion to an a
bsolute minim
um;
in the best ha
lls, alm
ost no am
plifica
tion should b
e necessary.
Everyone needs to d
evelop a
big
sound. It is the cond
uctor’s job to
ba
lance the b
and
. When a
guita
r is used, it should
be a
hollow-
bod
y, unam
plified
rhythm g
uitar. Sim
ple three-note voicing
s should
be used
throughout. A
n acoustic string
ba
ss is a m
ust. In med
iocre or p
oorly desig
ned ha
lls, the ba
ss and
pia
no ma
y need a
bit of
a b
oost. I recomm
end m
iking them
and
putting
them throug
h the house sound
system. This should
provid
e a m
uch better tone
than a
n am
plifier. Keep
in mind
that the rhythm
section’s prim
ary
function is to accom
pa
ny. The ba
ss should not b
e as loud
as a
trum
pet. Tha
t is unnatura
l and
lead
s to over-am
plifica
tion, ba
d
tone, and
limited
dyna
mics. Sta
y aw
ay from
monitors. They p
rovide
a fa
lse sense of ba
lance.
12. W
e have includ
ed chord
chang
es on all rhythm
section pa
rts so tha
t students ca
n better und
erstand
the overall form
of each
comp
osition. It is incumb
ent upon the d
irector to ma
ke clear w
hat
is a com
posed
pa
rt versus a p
art to b
e imp
rovised. The record
ings
should m
ake this clea
r but in insta
nces where it is not; use your
best jud
gm
ent and
pla
y something
that sound
s good
, is swing
ing,
and
is stylistically a
pp
ropria
te to the piece. Som
etimes, a
student
ma
y not have the technica
l skill to perform
a d
ifficult tra
nscription,
especia
lly in the case of one of D
uke’s solos, in that ca
se, it is best to
have the stud
ent work som
ething out tha
t is ap
prop
riate. W
ritten p
assa
ges should
be stud
ied a
nd ea
rned w
hen possib
le, as they
are a
n imp
ortant p
ort of our jazz herita
ge a
nd help
the pla
yer und
erstand
the function of his pa
rticular solo or a
ccomp
anim
ent. A
ll soloists should lea
rn the chord cha
nges. Solos should
be looked
a
t as a
n opp
ortunity to further develop
the interesting them
atic
ma
terial tha
t Ellington ha
s provid
ed.
13. The nota
tion of plung
ers for the bra
ss mea
ns a rub
ber toilet
plung
er boug
ht in a ha
rdw
are store. Kirkhill is a
very good
bra
nd
(especia
lly if you can find
one of their old ha
rd rub
ber ones, like the
one I loaned
Wynton a
nd he lost). Trum
pets use 5” d
iam
eter and
trom
bones use 6” d
iam
eter. Where Plung
er/Mute is nota
ted, insert
a p
ixie mute in the b
ell and
use the plung
er over the mute. Pixies
are a
vaila
ble from
Hum
es & Berg in C
hicag
o. Tricky Sam
Na
nton a
nd his successors in the Elling
ton plung
er tromb
one chair d
id not
use pixies. Ra
ther, each of them
emp
loyed a
Nonp
areil (tha
t’s the b
rand
nam
e) trump
et straig
ht mute. N
onpa
reil has g
one out of b
usiness, but the Tom
Crow
n Nonp
areil trum
pet stra
ight m
ute is very close to the sa
me thing
. These mute/p
lunger com
bina
tions crea
te a w
onderful sound
(very close to the huma
n voice), but
they also ca
n create som
e intonation p
roblem
s which m
ust be
corrected b
y the lip or b
y using a
lternate slid
e positions. It w
ould
be ea
sier to move the tuning
slide, b
ut pa
rt of the sound is in the
strugg
le to correct the pitch. If this p
roves too much, stick w
ith the p
ixie—it’s p
retty close.
14. The d
rumm
er is the de fa
cto lead
er of the ba
nd. H
e estab
lishes the b
eat a
nd controls the volum
e of the ensemb
le. For big
ba
nd
pla
ying, the d
rumm
er needs to use a
larg
er ba
ss drum
than he
would
for sma
ll group
drum
ming
. A 22” or 24” is p
referred. The b
ass
drum
is pla
yed softly (nea
rly inaud
ible) on ea
ch bea
t. This is called
fea
thering the b
ass d
rum. It p
rovides a
very imp
ortant b
ottom to
the ba
nd. The b
ass d
rum sound
is not a b
oom a
nd not a
thud—
it’s in betw
een. The larg
er size drum
is necessary for the kicks; a
sm
aller d
rum just w
on’t be hea
rd. The key to this style is to just keep
tim
e. A rim
knock on two a
nd four (chop
ping
wood
) is used to lock
in the swing
. When it com
es to pla
ying fills, the few
er, the better.
15. The horn p
layers should
stand
for their solos and
soIis. Brass
pla
yers should com
e dow
n front for mod
erate to long
solos, surround
ing rests p
ermitting
. The sam
e ap
plies to the p
ep
section (two trum
pets a
nd one trom
bone in p
lunger/m
utes).
16. H
orns should p
ay close a
ttention to atta
cks and
releases.
Everyone should hit tog
ether and
release tog
ether.
17. A
bove all, everyone’s focus should remain at all tim
es on the swing. A
s the great bassist C
huck lsraels says, “The three most im
portant things in jazz are rhythm
, rhythm, and rhythm
, in that order.” Or as Bubber
Miley (Ellington’s first star trum
peter) said, “It don’t mean a thing if it
ain’t got that swing.”
GLO
SSARYThe follow
ing a
re terms w
hich describ
e conventions of jazz
perform
ance, from
trad
itional N
ew O
rleans to the p
resent ava
nt ga
rde.
Break • within the context of a
n ongoing
time feel, the rhythm
section stops for one, tw
o, or four ba
rs. Very often a soloist w
ill imp
rovise during
a
brea
k.
Call and response • rep
etitive pa
ttern of contrasting
exchang
es (d
erived from
the church proced
ure of the minister m
aking
a sta
tement
and
the congreg
ation a
nswering
with “a
men”). C
all-a
nd-resp
onse p
atterns usua
lly pit one g
roup of instrum
ents ag
ainst a
nother. Som
etimes w
e call this “tra
ding
fours,” “trad
ing tw
os,” etc., especia
lly w
hen it involves imp
rovisation. The num
bers d
enote the am
ount of m
easures ea
ch soloist or group
pla
ys. Another term
frequently used
is “sw
ap
ping
fours.”
Coda • a
lso known a
s the “outro.” “Tag
s” or “tag
ending
s” are outg
rowths
of vaud
eville bow
s that a
re frequently used
as cod
as. They m
ost often use d
eceptive ca
dences tha
t finally resolve to the tonic or they g
o from
the sub
-dom
inant a
nd cycle b
ack to the tonic.
Com
p • imp
rovise accom
pa
niment (for p
iano or g
uitar).
Groove • the com
posite rhythm
. This genera
lly refers to the comb
ined
repetitive rhythm
ic pa
tterns of the drum
s, ba
ss, pia
no, and
guita
r, b
ut ma
y also includ
e repetitive p
atterns in the horns. Som
e grooves
are sta
nda
rd (i.e., sw
ing, b
ossa nova
, sam
ba
), while others a
re m
anufa
ctured (orig
inal com
bina
tions of rhythms).
Head • m
elody chorus.
Interlude • a d
ifferent form (of rela
tively short length) sa
ndw
iched
betw
een two chorus form
s. Interludes tha
t set up a
key chang
e are
simp
ly called
mod
ulations.
Intro • short for introduction.
Ride pattern • the most com
mon rep
etitive figure p
layed
by the
drum
mer’s rig
ht hand
on the ride cym
ba
l or hi-hat.
Riff • a rep
eated
melod
ic figure. Very often, riffs rep
eat verb
atim
or with
slight a
lterations w
hile the harm
onies chang
e undernea
th them.
Shout chorus • also know
n as the “out chorus,” the “sock chorus,” or
sometim
es shortened to just “the shout.” It is the fina
l ensemb
le pa
ssag
e of m
ost big
ba
nd cha
rts and
where the clim
ax m
ost often hap
pens.
Soli • a ha
rmonized
pa
ssag
e for two or m
ore instruments p
laying
the sa
me rhythm
. It is customa
ry for horn pla
yers to stand
up or even
move in front of the b
and
when p
laying
these pa
ssag
es. This is done so
that the a
udience ca
n hear them
better a
nd to p
rovide the a
udience
with som
e visual interest. A
soli sound p
articula
r to Ellington’s m
usic com
bines tw
o trump
ets and
tromb
one in plung
ers/mutes in tria
dic
harm
ony. This is called
the “pep
section.”
Stop time • a
regula
r pa
ttern of short brea
ks (usually filled
in by
a soloist).
Swing • the p
erfect confluence of rhythmic tension a
nd rela
xation in
music crea
ting a
feeling eup
horia a
nd cha
racterized
by a
ccented
wea
k bea
ts (a d
emocra
tization of the b
eat) a
nd eig
hth notes that a
re p
layed
as the first a
nd third
eighth notes of a
n eighth-note trip
let. Duke
Ellington’s d
efinition of swing
: when the m
usic feels like it is getting
faster,
but it isn’t.
Vamp • a
repea
ted tw
o- or four-ba
r chord p
rogression. Very often, there
ma
y be a
riff or riffs pla
yed on the va
mp.
Voicing • the specific sp
acing
, inversion, and
choice of notes that m
ake
up a
chord. For insta
nce, two voicing
s for G7 could
be:
Note tha
t the first voicing includ
es a 9th a
nd the second
voicing includ
es a
9th and
a 13th. The a
dd
ition of 9ths, 11ths, 13ths, and
altera
tions are up
to the d
iscretion of the pia
nist and
soloist.
THE FO
UR ELEM
ENTS O
F MU
SICThe follow
ing a
re pla
ced in their ord
er of imp
ortance in ja
zz. We should
never lose p
erspective on this ord
er of priority.
Rhythm • m
eter, temp
o, groove, a
nd form
, including
both m
elodic
rhythm a
nd ha
rmonic rhythm
(the speed
and
regula
rity of the chord
chang
es).
Melody • a
tune or series of pitches.
Harm
ony • chords a
nd voicing
s.
Orchestration • instrum
entation a
nd tone colors.
—D
avid Berger
CARN
EGIE BLU
ES • INSTRU
MEN
TATION
Reed 1 – A
lto Sax
Reed 2 – A
lto Sax
Reed 3 – Tenor Sa
x
Reed 4 –Tenor Sa
x
Reed 5 – Ba
ri Sax
Trump
et 1
Trump
et 2
Trump
et 3
Trump
et 4
Tromb
one 1
Tromb
one 2
Tromb
one 3
Guita
r – Acoustic
Piano
Bass
Drum
s
ORIG
INAL REC
ORD
ING
INFO
RMATIO
NC
omposer • D
uke Ellington
Arranger • Duke Elling
ton
Recorded • Janua
ry 4, 1945 in New
York
Master # • D
5VB12-3
Original Issue • V
ictor 20-1644 [78]
Currently available on C
D • RC
A 0
9026-63394 (D
uke Ellington: The
Com
plete RCA
Mid-Forties Recordings, 1944–1946) [3 C
Ds]
Currently available as digital dow
nload • Am
azon/iTunes: D
uke Elling
ton: The Com
plete RCA
Mid-Forties Recordings, 1944–1946
Personnel • Duke Elling
ton (lead
er, pia
no); Shelton Hem
phill, Rex Stew
art,
Taft Jord
an, C
at A
nderson, Ra
y Na
nce (trump
et); Law
rence Brown, Joe
Na
nton, Cla
ude Jones (trom
bone); Jim
my H
am
ilton (clarinet, tenor sa
x); Johnny H
odg
es (alto sa
x); Otto H
ard
wick (a
lto sax, cla
rinet); Al Sea
rs (tenor sa
x); Ha
rry Ca
rney (ba
ritone sax); Fred
Guy (g
uitar); Junior Ra
glin
(ba
ss); Sonny Greer (d
rums)
Soloists • Duke Elling
ton (pia
no); Al Sea
rs (tenor sax) tra
des w
ith La
wrence Brow
n (tromb
one); Junior Rag
lin (ba
ss-fills)
REHEARSAL N
OTES
• There a
re a ha
ndful of la
ndm
ark yea
rs in Ellington’s long
career:
opening
at the C
otton Club
in 1927, the New
port Ja
zz Festival
explosion of 1956, the V
ictor recording
s that sta
rted in 1940
, and
w
ithout a d
oubt, 1943. O
n Janua
ry 23rd of tha
t year, Elling
ton p
layed
his first of a series of a
nnual C
arneg
ie Ha
ll concerts. A
fter years of interna
tional recog
nition as one of the w
orld’s
grea
test comp
osers, Ellington fina
lly had
the chance to show
case
his comp
ositions and
orchestra a
t wha
t wa
s at the tim
e the m
ost respected
concert hall in his na
tive land
. The highlig
ht of the concert w
as the p
remiere of Elling
ton’s longest extend
ed
comp
osition, Black, Brown and Beige, w
hich he referred to a
s “a
tone pa
rallel to the history of the A
merica
n Neg
ro.”
• C
arnegie Blues by itself is a
curiosity, with a
minim
um of w
riting,
unusual trom
bone chord
s for a b
lues from the 1940
s, and
only a
few m
easures of im
provisa
tion. The ba
nd w
ould d
o well to listen to
the 1943 Ca
rnegie H
all version of Black, Brow
n, and Beige to better
understa
nd it in the context in w
hich Ellington w
rote it.
• There w
ere ma
ny Ellington p
ieces that ha
d little if a
ny im
provisa
tion; Ellington on ra
re occasions even w
rote the solos out for the p
layers a
nd they b
ecam
e pa
rt of the comp
osition.
• The b
igg
est challeng
e of this pa
rticular p
iece is to perfect the
ensemb
le pa
rts in phra
sing, b
lend, volum
e, and
intensity.
• Sta
rt by ha
ving sectiona
ls to determ
ine the vibra
to and
specific
note lengths, the a
ttacks, a
nd the cutoffs.
• This g
oes for the rhythm section a
s well a
s the horns. Piano trills
have to b
e precise.
• Trom
bones a
t A ha
ve a d
ifficult b
end to m
ake, a
nd it m
ust be m
ad
e in p
erfect rhythmic unison; otherw
ise it will just sound
slopp
y. The im
porta
nt thing is tha
t each note is p
recisely atta
cked on the
qua
rter note—it m
ight help
to rehearse this w
ith a m
etronome.
Ha
ve the lead
pla
yer ma
ke the ap
prop
riate m
arks for cutoffs,
bend
s, etc. on their pa
rt and
then the other can cop
y them. The
slightest rushing
or dra
gg
ing of the b
asic b
eat w
ill destroy the
integrity of the m
usic.
• Sa
xes and
trump
ets can rehea
rse this chorus together to ensure
that they interlock p
erfectly. Ma
ke sure saxes cut off tog
ether, and
tha
t trump
ets pla
y the unison so that it sound
s like one person
pla
ying.
• The p
iano interlud
e at B is so d
efinitively Ellingtonia
n that the
pia
nist should lea
rn it verba
tim; it w
ill take som
e time, b
ut work on
the subd
ivisions and
pra
ctice with a
metronom
e until you nail it.
• At C
, the conversation b
etween the tenor a
nd trom
bone w
as
alw
ays p
layed
the sam
e wa
y by the Elling
ton tenor saxop
honists. The trom
bone rep
lies were im
provised
, but a
lwa
ys in the sam
e g
eneral sha
pe a
s wha
t you have here. Rem
emb
er that even if
you open this section up, the b
ig cha
llenge is to keep
wha
tever ha
pp
ens in the mood
of Carnegie Blues, a
nd not to turn it into just
another g
eneric blues.
• The trum
pet interlud
e at D
seems to com
e out of nowhere, b
ut it rela
tes to the ma
in themes of Black, Brow
n, and Beige. Pay a
ttention to the stra
ight eig
hth note ma
rkings sta
rting in the
third m
easure.
• The rest of the p
iece is a rep
eat of p
revious ma
terial, to b
e pla
yed
as b
efore.
• A
s with a
ll of Ellington’s m
usic, the most vita
l thing is to a
chieve the sp
ecific mood
required
and
not to ma
ke it sound like “just a
nother” b
ig b
and
chart.
—Loren Schoenberg
To listen to origina
l recording
s, view intera
ctive videos of W
ynton M
arsa
lis lead
ing the Ja
zz at Lincoln C
enter Orchestra
in rehearsa
ls, and
ob
tain rehea
rsal g
uides for the Essentially Ellington 20
16–17 repertoire
plea
se visit jazz.org
/EE.
&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb 4 44 44 44 44 44 44 44 44 44 44 44 44 44 44 44 44 4
Reed 12345
Trumpet 1234
Trombone 123
Guitar
Bass
Drum
s
Piano
˙.œ#
J œ >õ
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J œ >õ˙
. œnJ œ >õ
˙.œ
J œ >õ
˙.œ#
J œn >õ
!!!!!!!
’’
’’
!!
˙.œn
J œbx
fœ
fŒ
œxœ
œx
D b6D
maj9
q = 80
arco
FFFFFFFF Alto Sax
Tenor Sax
Baritone Sax
Alto Sax
Tenor Sax
!!!!!!!!!!!!
’Œ
Ó
Œœ
œ˙˙
œ̂
!!
. œœ
fœ. œ
œf
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œœx
D b6
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J œ >õ˙
.œnJ œ >õ
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J œ >õ
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jœn>õ!!!!!!!
’’
’’
!!
˙.œn
J œb
. œœ
fœ. œ
œf
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D b6D
maj9
ppp P pppp
!!!!!!!!!!!!
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Ó
Œœ œ˙
˙œn
!
ӌ
‰J œ
. œœ
fœ. œ
œf
œœx
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pizz.
P cup mute
cup mute
cup mute
. ˙Œ
. ˙Œ
. ˙Œ
!
. ˙Œ
!!!!˙
œœ
Œ˙
œœ
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!!
œŒ
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. œœ
f. œ
œf
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D b6 AP PPPPF FF
!!!!!!!!!œ
œœ
œ
œœ
œœ
œœ
œnœb
’’
’’
!!
œŒ
œœ
. œœ
f. œ
œœ
œœ
œœx
œœx
E bm7
E b7A b9sus
‰. œb>
Œ‰
jœ>‰
. œ>Œ
‰jœ>
‰.œ>
Œ‰
jœ>!
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Œ‰
jœ>‰
œ#œnœœœ ^
‰jœ#
3
‰œ#
œnœœœ ^‰
jœ#3
‰œ#
œnœœœ ^‰
jœ#3
‰œ#
œnœœœ ^‰
jœ#3
œŒ
Ó
œŒ
Ó
œŒ
Ó
’’
’’
!!
œŒ
œŒ
œf
. œœ
fœ
œxœ
œx
D b7+9
hatFhatFhatFhatF FFFF
œŒ
Ó
œŒ
Ó
œŒ
Ó!
œŒ
Ó
œœnœœœ ^
Ó3
œœnœœœ ^
Ó3
œœnœœœ ^
Ó3
œœnœœœ ^
Ó3
!!!
’’
’’
!!
œ‰
J œœœ œ
œ œœ3
3
œf
. œœ
fœ
œxœ
œx
F ad lib
46059S
Duke E
llingtonTranscribed by C
hristopher Crenshaw
Jazz at Lincoln Center Library - Essentially Ellington
CA
RN
EG
IE B
LU
ES
CO
ND
UC
TOR
Copyright ©
1946 (Renew
ed) by G. Schirm
er, Inc. (ASC
AP)
International Copyright Secured. A
ll Rights R
eserved.R
eprinted by Permission.
&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tbns. 123
Gtr.
Bs.
Drs.
Pno.
.˙Œ
.˙Œ
.˙Œ
!
.˙Œ
!!!!˙
œœŒ˙
œœŒ˙
œœŒ
’’
’’
!!œ
Œœ
Œ
. œœf
œf
œœx
œœx
G b PPP
!!!!!!!!!œ
œœ
œ
œœ
œœ
œœ
œnœb
’’
’’
!!œ
œœ
œ. œ
œf. œ
œ. œœ >
œœx
œœx
G bE b7
A b9sus
‰. œb>
Œ‰
jœ>‰
. œ>Œ
‰jœ>
‰.œ>
Œ‰
jœ>!
‰. œ>
Œ‰
jœ>‰
œ#œnœœœ ^
‰jœ#
3
‰œ#
œnœœœ ^‰
jœ#3
‰œ#
œnœœœ ^‰
jœ#3
‰œ#
œnœœœ ^‰
jœ#3
œŒ
Ӝ
ŒÓ
œŒ
Ó
’’
’’
!!
œŒ
œŒ
œœ
œœœœœœ
œœx
œœx
D b7+9 FF
œŒ
Ó
œŒ
Ó
œŒ
Ó!
œŒ
Ó
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
!!!
’’
’’
!!
œ‰J œ œœ œJ œnœn
33
. œœ
œ. œ
œœ. œ æœ
œxœ
œx
Fhandle flex
ad lib
. ˙Œ
. ˙Œ
. ˙Œ
!
. ˙Œ
!!!!˙
œœŒ
˙œœ
Œ˙
œœŒ
’’
’’
!!
œbŒ
œŒ
œœ
. œœœ æ
œœx
œœx
A b7 PPP
!!!!!!!!!œ
œœ
œ
œœ
œœ
œœ
œnœb
’’
’’
!!
œŒ
œœ
. œœœ æ
. œœœ. œ æ
œœx
œœx
E b7A b7sus
E bm7
handle flex
‰. œb>
Œ‰
jœ>‰
. œ>Œ
‰jœ>
‰.œ>
Œ‰
jœ>!
‰. œ>
Œ‰
jœ>‰œ#
œnœœœ ^‰
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‰œ#œnœœœ ^
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3
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3
‰œ#œnœœœ ^
‰jœ#
3
œŒ
Ӝ
ŒÓ
œŒ
Ó
’’
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!!
œŒ
œŒ
. œœf
œœ >œœœœ3
œœx
œœx
D b7+9 FF
œŒ
Ó
œŒ
Ó
œŒ
Ó!
œŒ
Ó
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
!!!
’’
’’
Ó‰œ œœ œ
!
œ‰J œ œœn
œœb
œœ
. œœf
œœx
œœx
F
F
to straight mute
to closed plunger
to closed plunger
Solo
2C
arnegie Blues
46059S
&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tbns. 123
Gtr.
Bs.
Drs.
Pno.
!!!!!!!!!!!!
’’
’’
jœ ‰‰ œnœœœnÙ œnœœœnœnœœœnœ œ
˙.œn
J œ
œœ
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œ" œœfœ
œœœf3
3
œœx
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G bG o7
B
F
to open
to open
to open
to open
!!!!!!!!!!!!
’’
’’
‰ œ œœœ"œœœ Œœbœn
˙‰
jœ œœb œœœ
œnœn
œbœœ
œf
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D b/A bB
7B b7
!!!!!!!!!!!!
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’’
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7+9
!!!!!!!!!!!!
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Œ
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Œ
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Œ
. œœf. œœf
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D b6D
9-5(end solo)
!!!
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!!!!!!!!
’’
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E b6F #7
D b6E
7
D b6E
7
CP P P Pf
lazilySolo
!!!
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3
3
!!!!!!!!
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f. œ
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F7
E7
E b7D
7
E b7D
7
!!!
œ >œ œ˙!!!!!
Ó‰
. œ
!!
’’
’’
Ó˙̇
˙̇˙b˙̇n
˙b˙
. œœf. œœf
œœx
œœx
E b6G
7-9
D bF
7-9
D b6F
7-9
Pstraight m
uteSolo
!!!
˙Ó!!!!!
œ œ œœœœœœ œ œ œœ œœ œ3
!!
’’
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jœ.œ
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˙œb
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Cm
7B bm
7E b7
B bm7
A bm7
D b7
B bm7
A bm7
D b7
3C
arnegie Blues
46059S
&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tbns. 123
Gtr.
Bs.
Drs.
Pno.
!!!
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A bE b7/G
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Pf
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!!!!!!!!
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A bA o7
G bG o7
G bG o7
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3
!!!!!
Œ‰ œ œ œ œn >Œ
œ œ œ œ >‰
!!
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E b/B bB b7/A b
D b/A bA b7/G b
D b/A bA b7/G b
P
!!!
˙Ó
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!!
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˙˙
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œœ
. œœf
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œœx
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E b/GF #o7
D b/FE o7
D b/FE o7
straight 8ths
straight 8ths
!!!
‰.œ
œœœ
!!!!!˙
Ó!!
’’
’’
˙˙n
. œbjœn
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œbœ œœœnœ œnœ3
3
. œœœœ
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œxœ
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Fm
7F #7
E bm7
E7
E bm7
E7
swing 8ths
swing 8ths
Pf
!!!œ#œ œ œnœœœœ
!!!!!!!!
’’
’’
˙b˙
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œbœ œœœn
œ œnœ3
3
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F7
E7
E b7D
7
E b7D
7
handle flex
!!!
œ#ñ .œœ> œ> ï œnœ˙!!!!!
Óœ œ œ̂ œ̂œn ^œb ^œ̂œ̂
!!
’’
’’
˙‰
... œœœ˙n
‰ jœ.œn
˙bœ
œ
. œœf
. œœ
fœ
œxœ
œx
E b6B b7-9/G b
D b6A b7-9/G b
D b6A b7-9/G b
P
breath accent
!!!
˙Ó!!!!!
œ -œ
.œóœ⁄ .œŒ
!!
’’
’’
‰ jœœœ ‰jœœœ ˙˙˙
‰J œb‰jœJ œn˙
œœ
œœ
. œœf
. œœœœ æ
œœx
œœx
E b6B b7-9
D b6A b7-9
D b6A b7-9
4C
arnegie Blues
46059S
&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tbns. 123
Gtr.
Bs.
Drs.
Pno.
!!!!!
‰J œœœ œœ œ œ
‰J œœœ œ œœn œ
‰jœœn œœn œœ œ
‰jœœ# œ œœn œœn
!!!
’Œ
Ó
œœœŒ
Óœb
ŒÓ
œŒ
Ó
œŒ
Óœx D b6D b6
D
open
open
open
open
to closed plunger
!!!!!
J œ̂œ̂
J œn >œ
Œ
J œ# ^œ̂J œ >
œŒ
J œ̂œn ^
J œ >œ
Œ
J œ̂œ# ^
J œ >œ
Œ
!!!!!!
Ó‰
J œœœnœ3
!
ffff
!!!!!œbœ œ >
œJ œœ
‰œœ œ >
œJ œœ
‰œbœ œ >
œjœœ
‰
œnœ œ>œ
jœœ‰
!!!!!!
œŒ
Ó!
straight 8ths
straight 8ths
straight 8ths
straight 8ths
!!!!!œœ œ >
œJ œ
œ‰
œœ œn >œ
J œœ
‰œnœ œ >
œjœ
œn‰
œœn œ>œ
jœœ
‰
!!!!!!!!
!!!!!œœ œ >
œJ œ
œ‰
œœ œb >œ
J œœn
‰œbœn œ >
œjœ
œ‰
œœ œn >œ
jœœ
‰
!!!!!!!!
!!!!!œnœ œ >
œJ œ
œn‰
œœn œ >œ
J œœb
‰œœb œn >
œjœ
œ‰
œœ œb>œ
jœœ
‰
!!!!!!!!
!!!!!
.œb ^œ œb -
œ -œ .‰J œ# -
.œ̂œ œ -œ -œ .‰J œb -
.œ̂œ œ -œ-œ. ‰J œn -
.œ ^œ œn -
œb-œ. ‰jœ-
!!!!!!!!
!!!!!œn -
œ œœŒ
œ -œn œœ
Œ
œb -œ œœ
Œ
œ#-œn œœ
Œ
!!!!!!
ӌ
‰J œ
ӌ
‰ .rx 5
Carnegie B
lues
46059S
&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tbns. 123
Gtr.
Bs.
Drs.
Pno.
. ˙Œ
. ˙Œ
. ˙Œ
!
. ˙Œ
!!!!˙
œ oœ oŒ˙
œ oœ oŒ˙
œ oœ oŒ
’’
’’
!!
œŒ
œŒ
xŒ
Óœœ
œœxœœ
œœx
D b6
closed plunger
E
FP PPPP
closed plunger
Fclosed plunger
F to hat
to hat
to hat
to hat
!!!!!!!!!œ +oœ +oœ +o
œ +o
œ +oœ +oœ +oœ +o
œ +oœ +oœn +oœb +o
’’
’’
!!
œŒ
œŒ
œœ
œœ æ
œ. œ æœ
œœ
œ
E bm7
E b7A b9sus
handle flex ‰. œb>
Œ‰
jœ>‰
. œ>Œ
‰jœ>
‰.œ>
Œ‰
jœ>!
‰. œ>
Œ‰
jœ>‰œ#
œnœœœ ^‰
jœ#3
‰œ#œnœœœ ^
‰jœ#
3
‰œ#œnœœœ ^
‰jœ#
3
‰œ#œnœœœ ^
‰jœ#
3
œ +oŒ
Ó
œ +oŒ
Ó
œ +oŒ
Ó
’’
’’
!!
œŒ
œŒ
œœ
œœ æ
œ. œ æœ
œœ
œ
D b7+9
hatFhatFhatFhatF
handle flex
FFFF
œŒ
Ó
œŒ
Ó
œŒ
Ó!
œŒ
Ó
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
!!!
’’
’’
!!
œ‰ œn œ œ œ œbœœœœbœ
. œœ
f. œ
œœœœœœ
œœ
œ
F ad lib
.˙Œ
.˙Œ
.˙Œ
!
.˙Œ
!!!!˙
œ oœ oŒ˙
œ oœ oŒ˙
œ oœ oŒ
’’
’’
!!œ
Œœ
Œ
. œœœ
. œœœœ
œœ
œœ
œ
G bP PPP
!!!!!!!!!œ +o
œ +oœ +oœ +o
œ +oœ +oœ +o
œ +o
œ +oœ +oœn +o
œb +o
’’
’’
!!œ
Œœ
œ
œœœœœœœœœœ
œœ
œœ
E b7A b9sus ‰
. œb>Œ
‰jœ>
‰. œ>
Œ‰
jœ>‰
.œ>Œ
‰jœ>
!
‰. œ>
Œ‰
jœ>‰œ#
œnœœœ ^‰
jœ#3
‰œ#œnœœœ ^
‰jœ#
3
‰œ#œnœœœ ^
‰jœ#
3
‰œ#œnœœœ ^
‰jœ#
3
œ +oŒ
Ó
œ +oŒ
Ó
œ +oŒ
Ó
’’
’’
!!
œŒ
œŒ
œœ
œœœœœœ
œœ
œ
D b7+9 FF
œŒ
Ó
œŒ
Ó
œŒ
Ó!
œŒ
Ó
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
œœnœœœ ^Ó
3
!!!
’’
’’
!!
œœ œ œ œ" œœ̂
œ -œ̂
œf
. œœœ
œœ
œœ
F ad lib
6C
arnegie Blues
46059S
&&&&&&&&&???&&??ã b bb bb bbb bbb bb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tbns. 123
Gtr.
Bs.
Drs.
Pno.
. ˙Œ
. ˙Œ
. ˙Œ
!
. ˙Œ
!!!!˙
œ oœ o
Œ˙
œ oœ o
Œ˙
œ oœ o
Œ
’’
’’
!!
œŒ
œŒ
œœ
. œœ
œœ
œœ
œ
A b7P PPP
!!!!!!!!!œ +o
œ +oœ +o
œ +o
œ +oœ +o
œ +oœ +o
œ +oœ +o
œn +oœb +o
’’
’’
!!
œŒ
œœ
. œœ
œœ
œœ
œœ
œ
E b7A b7sus
E bm7
rit.
pick up bow
U̇. œ# U
J œ >õ
˙ U.œ U
J œ >õU̇
.œn UJ œ >õ
˙ U. œ U
J œ >õ
˙ U. œ# U
jœn>õ!!!!
+̇oÓ
+̇oÓ
+̇oÓ
| UÓ!!
U̇.œn U
J œbX æ U
. x U‰
D b6arco
PPPPP
7C
arnegie Blues
46059S
Printed in USA
UPC-A
EN
TE
R N
UM
BE
R T
O
EN
CO
DE
(first 11 digits)
BA
R C
OD
E R
ES
UL
T
(select & copy)
CO
MM
EN
TS
Item
38081522760X
(d80815*MMRQKm(W
BOJAN
GLES/JLC
46058
38081522784X
(d80815*MMRSOs(x
CAR
NE
GIE
BLUES/JLC
46059
38081522807X
(d80815*MMSKRo(Y
DAM
ERO
N STO
MP/JLC
46060
38081522821X
(d80815*MMSMLk(U
EAST ST. LOU
IS TOO
DLE-O
O/JLC
46061
38081522845X
(d80815*MMSOPq(v
IF YOU
CO
ULD
SEE ME N
OW
/JLC46062
38081522869X
(d80815*MMSQTm(W
SO EASY/JLC
46063
38081522883X
(d80815*MMSSNs(x
STAY ON
IT/JLC46064
38081522906X
(d80815*MMTKQo(Y
SUG
AR H
ILL PENTH
OU
SE/JLC46065
38081522777X
(d80815*MMRRRk(U
*S BOJAN
GLES/JLC
46058S
38081522791X
(d80815*MMRTLq(v
*S CAR
NE
GIE
BLUES/JLC
46059S
38081522814X
(d80815*MMSLOm(W
*S DAM
ERO
N STO
MP/JLC
46060S
46059S
ESSENTIALLY ELLIN
GTO
NThe Essentially Ellington H
igh School Ja
zz Band
Progra
m (EE) is one of the m
ost unique curriculum
resources for high
school jazz b
and
s in the United
States a
nd a
broa
d. EE extend
s the lega
cy of Duke Elling
ton and
other semina
l big
ba
nd
comp
osers and
arra
ngers b
y wid
ely dissem
inating
music, in its orig
inal a
rrang
ements, to hig
h school musicia
ns for study
and
perform
ance. U
tilizing this m
usic challeng
es students to increa
se their musica
l proficiency a
nd know
ledg
e of the jazz
lang
uag
e. EE consists of the following
initiatives a
nd services:
Supplying the Music
Each year Jazz at Lincoln Center (JA
LC) transcribes, publishes, and
distributes original transcriptions and arrangem
ents, along with additional
educational materials including recordings and teaching guides, to high
school bands in the U.S., Canada, and A
merican schools abroad.
Talking about the Music
Throughout the school year, band directors and students correspond with
professional clinicians who answ
er questions regarding the EE music. EE
strives to foster mentoring relationships through em
ail correspondence, various conference presentations, and the festival w
eekend.
Professional Feedback Bands are invited to subm
it a recording of their performance of the charts
either for entry in the competition or for com
ments only. Every subm
ission receives a thorough w
ritten assessment. Bands are also invited to attend EE
Regional Festivals for an opportunity to perform and receive a w
orkshop.
Finalists and In-School Workshops
Fifteen bands are selected from com
petition entries to attend the annual C
ompetition & Festival in N
ew York C
ity. To prepare, each finalist band
receives an in-school workshop led by a professional m
usician. Local EE m
embers are also invited to attend these w
orkshops.
Com
petition & Festival The EE year culm
inates in a three-day festival at Jazz at Lincoln Center’s
Frederick P. Rose Hall. Students, teachers, and m
usicians participate in w
orkshops, rehearsals, and performances. The festival concludes w
ith an evening concert that features the three top
-placing bands, joining the Jazz at Lincoln C
enter Orchestra w
ith Wynton M
arsalis in concert previewing
next year’s EE repertoire.
Jazz at Lincoln Center Band D
irector Academy
This professional development session for band directors is designed to
enhance their ability to teach and conduct the music of D
uke Ellington and
other big band composers. Led by prom
inent jazz educators each summ
er, this com
panion program to EE integrates perform
ance, history, pedagogy, and discussion into an intensive educational experience for band directors at all levels.
As of M
ay 20
16, EE has d
istributed
scores to more tha
n 4,800
schools in the U.S. and
ab
road
.
Since 1995, over 648,00
0 stud
ents have b
een exposed
to Duke Elling
ton’s music throug
h
the Essentially Ellington Progra
m.
JAZZ AT LINC
OLN
CEN
TER is dedicated to inspiring and growing
audiences for jazz. W
ith the world-renow
ned Jazz at Lincoln Center
Orchestra and a com
prehensive array of guest artists, Jazz at Lincoln C
enter advances a unique vision for the continued development of
the art of jazz by producing a year-round schedule of performance,
education and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, yearly hall of fam
e inductions, weekly national radio
and television programs, recordings, publications, an annual high
school jazz band competition and festival, a band director academ
y, jazz appreciation curricula for students, m
usic publishing, children’s concerts, lectures, adult education courses, student and educator w
orkshops and interactive websites. U
nder the leadership of M
anaging and Artistic D
irector Wynton M
arsalis, Chairm
an Robert J. A
ppel and Executive Director G
reg Scholl, Jazz at Lincoln Center
produces thousands of events each season in its home in N
ew
York City, Frederick P. Rose H
all, and around the world. For m
ore inform
ation, visit jazz.org.
Jazz at Lincoln Center Education
3 Colum
bus Circle, 12th Floor, N
ew York, N
Y 10019
Phone: 212-258-9810
Fax: 212-258-9900
E-mail: EE@
jazz.org
jazz.org/EE