JAZZZ AT JAZ AT LINCO LINCOLN LN CEN CENTER TER’’S ESSENTIALLY ELLINGTON LIBRARY Wynton M�rs�lis, Artistic Director, J�zz �t Lincoln Center
Chinoiserie By Duke Ellington As perormed by the Duke Ellington Orchestr� Tr�nscribed �nd Edited by D�vid Berger or J�zz �t Lincoln Center
Full Score This tr�nscription w�s m�de especi�lly or J�zz �t Lincoln Center’s 2013–14 Nineteenth Annu�l Essentially Ellington High Ellington High School J�zz B�nd Progr�m. J�zz �t Lincoln Center �nd Alred Publishing gr�teully �cknowledge the cooper�tion �nd support provided in the public�tion o this ye�r's EssentiallyEllington music Ellington music series: Founding le�dership support or EssentiallyEllington is Ellington is provided by The J�ck �nd Sus�n Rudin Educ�tion�l �nd Schol�rship Fund. M�jor support is provided by Alred �nd G�il Engelberg, Ell� Fitzger�ld Found�tion, Ch�rles Ev�ns Hughes Memori�l Found�tion, H�rold �nd Mimi Steinberg Ch�rit�ble Trust, �nd the Vossh�ll F�mily.
NOTES ON PLAYING ELLINGTON
At le�st 95% o modern-d�y l�rge ensemble j�zz pl�ying comes out o three tr�ditions: Count B�sie’s b�nd, Duke Ellington’s b�nd, �nd the orchestr�tions o sm�ll groups. Those young pl�yers interested in j�zz will be dr�wn to sm�ll groups or the opportunity to improvise �nd or pr�ctic�l re�sons (it is much e�sier to org�nize 4 or 5 people th�n it is 15). Schools h�ve t�ken over the t�sk (ormerly perormed by d�nce b�nds) o tr�ining musici�ns to be ensemble pl�yers. Due to the B�sie B�nd’s popul�rity �nd its simplicity o style �nd emph�sis on blues �nd swing, the better educ�tors h�ve �lmost exclusively �dopted this tr�dition or te�ching j�zz ensemble pl�ying. As wonderul �s Count B�sie’s style is, it doesn’t �ddress m�ny o the import�nt styles developed under the gre�t music�l umbrell� we c�ll j�zz. Duke Ellington’s comprehensive �nd eclectic �ppro�ch to music offers �n �ltern�tive. The stylistic richness o Ellington’s music presents � gre�t ch�llenge to educ�tors �nd perormers �like. In B�sie’s music, the conventions �re very ne�rly consistent. In Ellington’s music there �re m�ny more exceptions to the rules. This c�lls or gre�ter knowledge o the l�ngu�ge o j�zz. Cl�rk Terry, who lef Count B�sie’s b�nd to join Duke Ellington, s�id, “Count B�sie w�s college, but Duke Ellington w�s gr�du�te school.” Knowledge o Ellington’s music prep�res you to pl�y �ny big b�nd music. The ollowing is � list o perorm�nce conventions or the gre�t m�jority o Ellington’s music. Any devi�tions or �dditions will be spelled out in the individu�l perorm�nce notes which ollow. 1. Listen c�reully m�ny times to the Ellington recording o these pieces. There �re m�ny subtleties th�t will elude even the most sophistic�ted listener �t first. Although it w�s never Ellington’s wish to h�ve his recordings imit�ted, knowledge o these definitive versions will le�d musici�ns to m�ke more educ�ted choices when cre�ting new perorm�nces. Ellington’s music, though written or specific individu�ls, is designed to inspire �ll musici�ns to express themselves. themselves. In �ddition, you will he�r slight note differences in the recording �nd the tr�nscriptions. This is intention�l, �s there �re mist�kes �nd �lter�tions rom the origin�l intent o the music in the recording. You You should h�ve your pl�yers pl�y wh�t’s in the score. 2. Gener�l use o swing phr�sing. The triplet eel prev�ils except or b�ll�ds or where not�tions such �s even eighths or L�tin �ppe�r. In these c�ses, eighth notes �re given equ�l v�lue. 3. There is � ch�in o comm�nd in ensemble pl�ying. The le�d pl�yers in e�ch section determine the phr�sing �nd volume or their own section, �nd their section-m�tes must conorm to the le�d. When the s�xes �nd / or trombones pl�y with the trumpets, the le�d trumpet is the boss. The le�d �lto �nd trombone must listen to the first trumpet �nd ollow him. In turn, the other s�xes �nd trombones must ollow their le�d pl�yers. When the cl�rinet le�ds the br�ss section, the br�ss should not overblow him. Th�t me�ns th�t the first trumpet is �ctu�lly pl�ying “second.” “second.” I this is done eectively, there will be very little b�l�ncing work lef or the conductor. 4. In Ellington’s music, e�ch pl�yer should express the individu�lity o his own line. He must find � music�l b�l�nce o supporting �nd ollowing the section le�der �nd bringing out the ch�r�cter o the underp�rt. E�ch
pl�yer should be encour�ged to express his or her person�lity through the music. In this music, the underp�rts �re pl�yed �t the s�me volume �nd with the s�me conviction �s the le�d. 5. Blues inflection should perme�te �ll p�rts �t �ll times, not just when these opportunities occur in the le�d. 6. Vibr�to is used quite � bit to w�rm up the sound. S�xes (who most requently represent the sensu�l side o things) usu�lly employ vibr�to on h�rmonized p�ss�ges p�ss�ges �nd no vibr�to on unisons. The vibr�to c�n be either he�vy or light depending on the context. Occ�sion�lly s�xes use � light vibr�to on unisons. Trumpets (who very ofen �re used or he�t �nd power) use � little vibr�to on h�rmonized p�ss�ges p�ss�ges �nd no vibr�to on unisons. Trombones (who �re usu�lly noble) do not use slide vibr�to. A little lip vibr�to is good on h�rmonized p�ss�ges �t times. Try to m�tch the speed o vibr�to. In gener�l unisons �re pl�yed with no vibr�to. 7. Crescendo �s you �scend �nd diminuendo �s you descend. The upper notes o phr�ses receive � n�tur�l �ccent �nd the lower notes ore ghosted. Alto �nd tenor s�xophones need to use sub-tone in the lower p�rt o their r�nge in order to blend properly with the rest o the section. This music w�s origin�lly written with no dyn�mics. It pretty much ollows the n�tur�l tendencies o the instruments; pl�y loud in the loud p�rt o the instrument �nd sof in the sof p�rt o the instrument. For inst�nce, � high C or � trumpet will be loud �nd � low C will be sof. 8. Qu�rter notes �re gener�lly pl�yed short unless otherwise not�ted. Long m�rks �bove or below � pitch indic�te ull v�lue: not just long, but ull v�lue. Eighth notes �re pl�yed ull v�lue except when ollowed by � rest or otherwise not�ted. All notes longer th�n � qu�rter note �re pl�yed ull v�lue, which me�ns i it is ollowed by � rest, rele�se the note where the rest �ppe�rs. For ex�mple, � h�l note occurring on be�t one o � me�sure would be rele�sed on be�t three. 9. Unless they �re p�rt o � leg�to b�ckground figure, long notes should be pl�yed somewh�t p (orte-pi�no); �ccent then diminish the volume. This is import�nt so th�t the moving p�rts c�n be he�rd over the sust�ined notes. Don’t just hold out the long notes, but give them lie �nd person�lity: th�t is, vibr�to, inflection, crescendo, or diminuendo. There is � gre�t de�l o inflection in this music, �nd much o this is highly interpretive. Str�ight or curved lines imply non-pitched glisses, �nd w�vy lines me�n sc�l�r (chrom�tic or di�tonic) glisses. In gener�l, �ll rhythmic figures need to be �ccented. Accents give the music lie �nd swing. This is very import�nt. 10. Ellington’s music is �bout individu�lity: one person per p�rt — do not double up bec�use you h�ve extr� pl�yers or need more strength. More th�n one on � p�rt m�kes it sound more like � concert b�nd �nd less like � j�zz b�nd. 11. This is �coustic music. Keep �mplific�tion to �n �bsolute minimum; in the best h�lls, �lmost no �mplific�tion should be necess�ry. Everyone needs to develop � big sound. It is the conductor’s job to b�l�nce the b�nd. When � guit�r is used, it should be � hollow-body, un�mplified rhythm guit�r. Simple three-note voicings should be used throughout. An �coustic string b�ss is � must. In mediocre or poorly designed h�lls, the b�ss �nd pi�no m�y need � bit o � boost. I recommend miking them �nd putting them through the
house sound system. This should provide � much better tone th�n �n �mplifier. Keep in mind th�t the rhythm section’s prim�ry unction is to �ccomp�ny. The b�ss should not be �s loud �s � trumpet. Th�t is unn�tur�l �nd le�ds to over-�mplific�tion, b�d tone, �nd limited dyn�mics. St�y �w�y rom monitors. They provide � �lse sense o b�l�nce. 12. Solos �nd rhythm section p�rts without chord ch�nges should be pl�yed �s is or with � little embellishment. Solos Solos �nd rhythm section p�rts with chord ch�nges should be improvised. However, written p�ss�ges should be le�rned bec�use they �re �n import�nt port o our j�zz herit�ge �nd help the pl�yer underst�nd the unction o his p�rticul�r solo or �ccomp�niment. Soloists should le�rn the chord ch�nges. Solos should not be �ppro�ched �s opportunities to show off technique, r�nge, or volume, but should be looked �t �s � gre�t opportunity to urther develop the interesting them�tic m�teri�l th�t Ellington h�s provided. 13. The not�tion o plungers or the br�ss me�ns � rubber toilet plunger bought in � h�rdw�re store. Kirkhill is � very good br�nd (especi�lly i you c�n find one o their old h�rd rubber ones, like the one I lo�ned Wynton �nd he lost). Trumpets use 5” di�meter �nd trombones use 6” di�meter. Where Plunger/Mute Plunger /Mute is not�ted, insert � pixie mute in the bell �nd use the plunger over the mute. Pixies �re �v�il�ble rom Humes & Berg in Chic�go. Tricky S�m N�nton �nd his successors in the Ellington plunger trombone ch�ir did not use pixies. R�ther, e�ch o them employed � Nonp�reil (th�t’s the br�nd n�me) trumpet str�ight mute. Nonp�reil h�s gone out o business, but the Tom Crown Nonp�reil trumpet str�ight mute is very close to the s�me thing. These mute/plunger combin�tions cre�te � wonderul sound (very close to the hum�n voice), but they �lso c�n cre�te some inton�tion problems which must be corrected by the lip or by using �ltern�te slide positions. It would be e�sier to move the tuning slide, but p�rt o the sound is in the struggle to correct the pitch. I this proves too much, stick with the pixie — it’s pretty close. 14. The drummer is the de �cto le�der o the b�nd. He est�blishes the be�t �nd controls the volume o the ensemble. For big b�nd pl�ying, the drummer needs to use � l�rger b�ss drum th�n he would or sm�ll group drumming. A 22” or 24” is preerred. The b�ss drum is pl�yed sofly (ne�rly in�udible) on e�ch be�t. This is c�lled e�thering the b�ss drum. It provides � very import�nt bottom to the b�nd. The b�ss drum sound is not � boom �nd not � thud — it’s in between. The l�rger size drum is necess�ry or the kicks; � sm�ller drum just won’t be he�rd. The key to this style is to just keep time. A rim knock on two �nd our (chopping wood) is used to lock in the swing. When it comes to pl�ying fills, the ewer, the better. 15. The horn pl�yers should st�nd or their solos �nd soIis. Br�ss pl�yers should come down ront or moder�te to long solos, surrounding rests permitting. The s�me �pplies to the pep section (two trumpets �nd one trombone in plunger/mutes). 16. Horns should p�y close �ttention to �tt�cks �nd rele�ses. Everyone should hit together �nd rele�se together. 17. Above �ll, everyone’s ocus should rem�in �t �ll times on the swing. As the gre�t b�ssist Chuck lsr�els s�ys, “The three most import�nt things in j�zz �re rhythm, rhythm, rhythm, �nd rhythm, in th�t order.” Or �s Bubber Bubber Miley Miley
NOTES ON PLAYING ELLINGTON
At le�st 95% o modern-d�y l�rge ensemble j�zz pl�ying comes out o three tr�ditions: Count B�sie’s b�nd, Duke Ellington’s b�nd, �nd the orchestr�tions o sm�ll groups. Those young pl�yers interested in j�zz will be dr�wn to sm�ll groups or the opportunity to improvise �nd or pr�ctic�l re�sons (it is much e�sier to org�nize 4 or 5 people th�n it is 15). Schools h�ve t�ken over the t�sk (ormerly perormed by d�nce b�nds) o tr�ining musici�ns to be ensemble pl�yers. Due to the B�sie B�nd’s popul�rity �nd its simplicity o style �nd emph�sis on blues �nd swing, the better educ�tors h�ve �lmost exclusively �dopted this tr�dition or te�ching j�zz ensemble pl�ying. As wonderul �s Count B�sie’s style is, it doesn’t �ddress m�ny o the import�nt styles developed under the gre�t music�l umbrell� we c�ll j�zz. Duke Ellington’s comprehensive �nd eclectic �ppro�ch to music offers �n �ltern�tive. The stylistic richness o Ellington’s music presents � gre�t ch�llenge to educ�tors �nd perormers �like. In B�sie’s music, the conventions �re very ne�rly consistent. In Ellington’s music there �re m�ny more exceptions to the rules. This c�lls or gre�ter knowledge o the l�ngu�ge o j�zz. Cl�rk Terry, who lef Count B�sie’s b�nd to join Duke Ellington, s�id, “Count B�sie w�s college, but Duke Ellington w�s gr�du�te school.” Knowledge o Ellington’s music prep�res you to pl�y �ny big b�nd music. The ollowing is � list o perorm�nce conventions or the gre�t m�jority o Ellington’s music. Any devi�tions or �dditions will be spelled out in the individu�l perorm�nce notes which ollow. 1. Listen c�reully m�ny times to the Ellington recording o these pieces. There �re m�ny subtleties th�t will elude even the most sophistic�ted listener �t first. Although it w�s never Ellington’s wish to h�ve his recordings imit�ted, knowledge o these definitive versions will le�d musici�ns to m�ke more educ�ted choices when cre�ting new perorm�nces. Ellington’s music, though written or specific individu�ls, is designed to inspire �ll musici�ns to express themselves. themselves. In �ddition, you will he�r slight note differences in the recording �nd the tr�nscriptions. This is intention�l, �s there �re mist�kes �nd �lter�tions rom the origin�l intent o the music in the recording. You You should h�ve your pl�yers pl�y wh�t’s in the score. 2. Gener�l use o swing phr�sing. The triplet eel prev�ils except or b�ll�ds or where not�tions such �s even eighths or L�tin �ppe�r. In these c�ses, eighth notes �re given equ�l v�lue. 3. There is � ch�in o comm�nd in ensemble pl�ying. The le�d pl�yers in e�ch section determine the phr�sing �nd volume or their own section, �nd their section-m�tes must conorm to the le�d. When the s�xes �nd / or trombones pl�y with the trumpets, the le�d trumpet is the boss. The le�d �lto �nd trombone must listen to the first trumpet �nd ollow him. In turn, the other s�xes �nd trombones must ollow their le�d pl�yers. When the cl�rinet le�ds the br�ss section, the br�ss should not overblow him. Th�t me�ns th�t the first trumpet is �ctu�lly pl�ying “second.” “second.” I this is done eectively, there will be very little b�l�ncing work lef or the conductor. 4. In Ellington’s music, e�ch pl�yer should express the individu�lity o his own line. He must find � music�l b�l�nce o supporting �nd ollowing the section le�der �nd bringing out the ch�r�cter o the underp�rt. E�ch
pl�yer should be encour�ged to express his or her person�lity through the music. In this music, the underp�rts �re pl�yed �t the s�me volume �nd with the s�me conviction �s the le�d. 5. Blues inflection should perme�te �ll p�rts �t �ll times, not just when these opportunities occur in the le�d. 6. Vibr�to is used quite � bit to w�rm up the sound. S�xes (who most requently represent the sensu�l side o things) usu�lly employ vibr�to on h�rmonized p�ss�ges p�ss�ges �nd no vibr�to on unisons. The vibr�to c�n be either he�vy or light depending on the context. Occ�sion�lly s�xes use � light vibr�to on unisons. Trumpets (who very ofen �re used or he�t �nd power) use � little vibr�to on h�rmonized p�ss�ges p�ss�ges �nd no vibr�to on unisons. Trombones (who �re usu�lly noble) do not use slide vibr�to. A little lip vibr�to is good on h�rmonized p�ss�ges �t times. Try to m�tch the speed o vibr�to. In gener�l unisons �re pl�yed with no vibr�to. 7. Crescendo �s you �scend �nd diminuendo �s you descend. The upper notes o phr�ses receive � n�tur�l �ccent �nd the lower notes ore ghosted. Alto �nd tenor s�xophones need to use sub-tone in the lower p�rt o their r�nge in order to blend properly with the rest o the section. This music w�s origin�lly written with no dyn�mics. It pretty much ollows the n�tur�l tendencies o the instruments; pl�y loud in the loud p�rt o the instrument �nd sof in the sof p�rt o the instrument. For inst�nce, � high C or � trumpet will be loud �nd � low C will be sof. 8. Qu�rter notes �re gener�lly pl�yed short unless otherwise not�ted. Long m�rks �bove or below � pitch indic�te ull v�lue: not just long, but ull v�lue. Eighth notes �re pl�yed ull v�lue except when ollowed by � rest or otherwise not�ted. All notes longer th�n � qu�rter note �re pl�yed ull v�lue, which me�ns i it is ollowed by � rest, rele�se the note where the rest �ppe�rs. For ex�mple, � h�l note occurring on be�t one o � me�sure would be rele�sed on be�t three. 9. Unless they �re p�rt o � leg�to b�ckground figure, long notes should be pl�yed somewh�t p (orte-pi�no); �ccent then diminish the volume. This is import�nt so th�t the moving p�rts c�n be he�rd over the sust�ined notes. Don’t just hold out the long notes, but give them lie �nd person�lity: th�t is, vibr�to, inflection, crescendo, or diminuendo. There is � gre�t de�l o inflection in this music, �nd much o this is highly interpretive. Str�ight or curved lines imply non-pitched glisses, �nd w�vy lines me�n sc�l�r (chrom�tic or di�tonic) glisses. In gener�l, �ll rhythmic figures need to be �ccented. Accents give the music lie �nd swing. This is very import�nt. 10. Ellington’s music is �bout individu�lity: one person per p�rt — do not double up bec�use you h�ve extr� pl�yers or need more strength. More th�n one on � p�rt m�kes it sound more like � concert b�nd �nd less like � j�zz b�nd. 11. This is �coustic music. Keep �mplific�tion to �n �bsolute minimum; in the best h�lls, �lmost no �mplific�tion should be necess�ry. Everyone needs to develop � big sound. It is the conductor’s job to b�l�nce the b�nd. When � guit�r is used, it should be � hollow-body, un�mplified rhythm guit�r. Simple three-note voicings should be used throughout. An �coustic string b�ss is � must. In mediocre or poorly designed h�lls, the b�ss �nd pi�no m�y need � bit o � boost. I recommend miking them �nd putting them through the
house sound system. This should provide � much better tone th�n �n �mplifier. Keep in mind th�t the rhythm section’s prim�ry unction is to �ccomp�ny. The b�ss should not be �s loud �s � trumpet. Th�t is unn�tur�l �nd le�ds to over-�mplific�tion, b�d tone, �nd limited dyn�mics. St�y �w�y rom monitors. They provide � �lse sense o b�l�nce. 12. Solos �nd rhythm section p�rts without chord ch�nges should be pl�yed �s is or with � little embellishment. Solos Solos �nd rhythm section p�rts with chord ch�nges should be improvised. However, written p�ss�ges should be le�rned bec�use they �re �n import�nt port o our j�zz herit�ge �nd help the pl�yer underst�nd the unction o his p�rticul�r solo or �ccomp�niment. Soloists should le�rn the chord ch�nges. Solos should not be �ppro�ched �s opportunities to show off technique, r�nge, or volume, but should be looked �t �s � gre�t opportunity to urther develop the interesting them�tic m�teri�l th�t Ellington h�s provided. 13. The not�tion o plungers or the br�ss me�ns � rubber toilet plunger bought in � h�rdw�re store. Kirkhill is � very good br�nd (especi�lly i you c�n find one o their old h�rd rubber ones, like the one I lo�ned Wynton �nd he lost). Trumpets use 5” di�meter �nd trombones use 6” di�meter. Where Plunger/Mute Plunger /Mute is not�ted, insert � pixie mute in the bell �nd use the plunger over the mute. Pixies �re �v�il�ble rom Humes & Berg in Chic�go. Tricky S�m N�nton �nd his successors in the Ellington plunger trombone ch�ir did not use pixies. R�ther, e�ch o them employed � Nonp�reil (th�t’s the br�nd n�me) trumpet str�ight mute. Nonp�reil h�s gone out o business, but the Tom Crown Nonp�reil trumpet str�ight mute is very close to the s�me thing. These mute/plunger combin�tions cre�te � wonderul sound (very close to the hum�n voice), but they �lso c�n cre�te some inton�tion problems which must be corrected by the lip or by using �ltern�te slide positions. It would be e�sier to move the tuning slide, but p�rt o the sound is in the struggle to correct the pitch. I this proves too much, stick with the pixie — it’s pretty close. 14. The drummer is the de �cto le�der o the b�nd. He est�blishes the be�t �nd controls the volume o the ensemble. For big b�nd pl�ying, the drummer needs to use � l�rger b�ss drum th�n he would or sm�ll group drumming. A 22” or 24” is preerred. The b�ss drum is pl�yed sofly (ne�rly in�udible) on e�ch be�t. This is c�lled e�thering the b�ss drum. It provides � very import�nt bottom to the b�nd. The b�ss drum sound is not � boom �nd not � thud — it’s in between. The l�rger size drum is necess�ry or the kicks; � sm�ller drum just won’t be he�rd. The key to this style is to just keep time. A rim knock on two �nd our (chopping wood) is used to lock in the swing. When it comes to pl�ying fills, the ewer, the better. 15. The horn pl�yers should st�nd or their solos �nd soIis. Br�ss pl�yers should come down ront or moder�te to long solos, surrounding rests permitting. The s�me �pplies to the pep section (two trumpets �nd one trombone in plunger/mutes). 16. Horns should p�y close �ttention to �tt�cks �nd rele�ses. Everyone should hit together �nd rele�se together. 17. Above �ll, everyone’s ocus should rem�in �t �ll times on the swing. As the gre�t b�ssist Chuck lsr�els s�ys, “The three most import�nt things in j�zz �re rhythm, rhythm, rhythm, �nd rhythm, in th�t order.” Or �s Bubber Bubber Miley Miley
(Ellington’s first st�r trumpeter) s�id, “It don’t me�n � thing i it �in’t got th�t (Ellington’s swing.”
Stop time � regul�r p�ttern o short bre�ks (usu�lly filled in by � soloist). •
The ollowing �re terms which describe conventions o j�zz perorm�nce, rom tr�dition�l New Orle�ns to the present �v�nt g�rde.
Swing the perect confluence o rhythmic tension �nd rel�x�tion in music cre�ting � eeling euphori� �nd ch�r�cterized by �ccented we�k be�ts (� democr�tiz�tion o the be�t) �nd eighth notes th�t �re pl�yed �s the first �nd third eighth notes o �n eighth-note triplet. Duke Ellington’s definition o swing: when the music eels like it is getting �ster, but it isn’t.
Bre�k within the context o �n ongoing time eel, the rhythm section stops or one, two, or our b�rs. Very ofen � soloist will improvise during � bre�k.
V�mp � repe�ted two- or our-b�r chord progression. Very ofen, there m�y be � riff or riffs pl�yed on the v�mp.
C�ll �nd response repetitive p�ttern o contr�sting exch�nges (derived rom the church procedure o the minister m�king � st�tement �nd the congreg�tion �nswering with “�men”). C�ll-�nd-response p�tterns usu�lly pit one group o instruments �g�inst �nother. Sometimes we c�ll this “tr�ding ours,” “tr�ding twos,” etc., especi�lly when it involves improvis�tion. The numbers denote the �mount o me�sures e�ch soloist or group pl�ys. Another term requently used is “sw�pping ours.”
Voicing the specific sp�cing, inversion, �nd choice o notes th�t m�ke up � chord. For inst�nce, two voicings or G7 could be:
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GLOSSARY
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Cod� �lso known �s the “outro.” “T�gs” or “t�g endings” �re outgrowths o v�udeville bows th�t �re requently used �s cod�s. They most ofen use deceptive c�dences th�t fin�lly resolve to the tonic or they go rom the subdomin�nt �nd cycle b�ck to the tonic.
Note th�t the first voicing includes � 9th �nd the second voicing includes � 9th �nd � 13th. The �ddition o 9ths, 11ths, 13ths, �nd �lter�tions �re up to the discretion o the pi�nist �nd soloist.
Comp improvise �ccomp�niment (or pi�no or guit�r).
THE FOUR ELEMENTS OF MUSIC
Groove the composite rhythm. This gener�lly reers to the combined repetitive rhythmic p�tterns o the drums, b�ss, pi�no, �nd guit�r, but m�y �lso include repetitive p�tterns in the horns. Some grooves �re st�nd�rd (i.e., swing, boss� nov�, s�mb�), while others �re m�nu�ctured (origin�l combin�tions o rhythms).
The ollowing �re pl�ced in their order o import�nce in j�zz. We should never lose perspective on this order o priority.
•
•
•
He�d melody chorus.
Rhythm meter, tempo, groove, �nd orm, including both melodic rhythm �nd h�rmonic rhythm (the speed �nd regul�rity o the chord ch�nges). •
Melody � tune or series o pitches. •
•
between Interlude � different orm (o rel�tively short length) s�ndwiched between two chorus orms. Interludes th�t set up � key ch�nge �re simply c�lled modul�tions.
H�rmony chords �nd voicings. •
•
Intro short or introduction. •
Ride p�ttern the most common repetitive figure pl�yed by the drummer’s right h�nd on the ride cymb�l or hi-h�t. •
Riff � repe�ted melodic figure. Very ofen, riffs repe�t verb�tim or with slight �lter�tions while the h�rmonies ch�nge underne�th them. •
Shout chorus �lso known �s the “out chorus,” the “sock chorus,” or sometimes shortened to just “the shout.” It is the fin�l ensemble p�ss�ge o most big b�nd ch�rts �nd where the clim�x most ofen h�ppens. •
Soli � h�rmonized p�ss�ge or two or more instruments pl�ying the s�me rhythm. It is custom�ry or horn pl�yers to st�nd up or even move in ront o the b�nd when pl�ying these p�ss�ges. This is done so th�t the �udience c�n he�r them better �nd to provide the �udience with some visu�l interest. A soli sound p�rticul�r to Ellington’s music combines two trumpets �n trombone in plungers/mutes in tri�dic h�rmony. This is c�lled the “pep section.” •
Orchestr�tion instrument�tion �nd tone colors. •
— David Berger
CHINOISERIE
•
INSTRUMENTATION
•
Reed 1 Alto S�x Reed 2 Alto S�x Reed 3 Tenor S�x Reed 4 Tenor S�x Reed 5 B�ritone S�x Trumpet 1 Trumpet 2 Trumpet 3 Trumpet 4 Trombone 1 Trombone 2 Trombone 3 Pi�no B�ss Drums •
•
•
•
The oper�tive word is �ggressive. Required listening is the John Coltr�ne qu�rtet with Elvin Jones, McCoy Tyner �nd Jimmy G�rrison. This group revolutionized the unctions o the rhythm section. With this sound in mind see how Ellington �nd his rhythm section �ccomplish � simil�r sound but without le�ving their own world. Ellington’s pi�no pl�ying is mostinstructive.
•
•
•
ORIGINAL RECORDING INFORMATION Composer Duke Ellington Arr�nger Duke Ellington Recorded Febru�ry 17, 1971 in New York City Origin�l Issue F�nt�sy (�����) (The Afro-Eurasian Eclipse) [��] •
•
•
The rhythm section on Ellington’s recording is improvising rom st�rt to finish. I recommend the s�me �ppro�ch. It’s � good ide� to le�rn the tr�nscribed tenor solo �nd rhythm section p�rts, but ultim�tely your pl�yers should cre�te their own p�rts. It is essenti�l to the orm th�t the b�ssist w�lks on the B �nd C sections o the tune. On the he�d he should not w�lk on the A section. However, he should w�lk on the A sections on the tenor solo but not on the v�mp �t U �nd V, nor on the rec�p �t W. I would suggest th�t the drummer return to pl�ying the shuffle �t letter W, so th�t this rec�p eels like the exposition. The dyn�mic or this entire piece is loud �nd intense. The unisons in the s�xes need to be pl�yed � bit sofer in order to get � good sound �nd blend, but other th�n th�t, this piece is �bout b�shing rom st�rt to finish. Don’t orget th�t qu�rters �re short �nd we need plenty o �ccent — especi�lly in the br�ss. This will �dd excitement �nd intensity.
•
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Currently Av�il�ble on CD ��� �����-���-� (The Afro-Eurasian Eclipse) •
Downlo�dAv�il�ble The Aro-Eur�si�n Eclipse itunes.com •
•
Personnel Duke Ellington (pi�no); Cootie Willi�ms, Money Johnson, Mercer Ellington, Eddie Preston (trumpet); Booty Wood, M�lcolm T�ylor (trombone); Chuck Connors (b�ss trombone); Russell Procope (�lto s�x/cl�rinet); Norris Turney (�lto s�x/cl�rinet/flute), P�ul Gons�lves, H�rold Ashby (tenor s�x); H�rry C�rney (b�ritone s�x); Joe Benj�min (b�ss); Ruus Jones (drums) •
Soloists Duke Ellington (pi�no); H�rold Ashby (tenor s�x) •
REHEARSAL NOTES •
•
Chinoiserie (not to be conused with Str�yhorn’s �rr�ngement o Chinese Dance rom the Nutcr�cker, which is �lso titled Chinoiserie) is Ellington’s �nswer to John Coltr�ne �nd mod�l j�zz. Coming �t the end o the M�estro’s c�reer, it is �wesome (in the true sense o the word) to think th�t this piece is the cre�tion o the s�me m�n who stunned the world with Black And Tan Fantasy �nd The Mooche ne�rly 50 ye�rs beore. Chinoiserie st�rts with wh�t is essenti�lly � 4-b�r Cm v�mp th�t the pi�nist solos over. I h�ve written out wh�t Ellington pl�ys (36 me�sures, which is 9 times through the v�mp), but the length o this section c�n be open — �s long �s it is � multiple o 4 b�rs. The he�d st�rts �t letter D (AABC) — the A sections �re 10 b�rs e�ch, B is 8, C is 12). The ensemble pl�ys the first 2 A sections o the 2nd chorus �nd the tenor solo finishes out the chorus (B �nd C). The tenor continues or �nother 2 choruses �nd � long Cm v�mp. The ensemble returns or the short rec�pitul�tion (just one A section).
— David Berger Courtesy o Tutti Dyn�mics, Inc., videos o Wynton M�rs�lis le�ding the J�zz �t Lincoln Center Orchestr� in rehe�rs�ls o the EssentiallyEllington 2013–14 repertoire c�n be downlo�ded FREE �t jalc.org/EssentiallyEllington
Jazz at Lincoln Center Library - Essentially Ellington
CONDUCTOR A
Fast Shuffle
CHINOISERIE = 186
(from Afro-Eurasian Eclipse)
Alto Sax
Reeds 1
Alto Sax
2
Tenor Sax
3
Tenor Sax
4
Baritone Sax
5
Trumpets 1
2
3
4
Trombones 1
2
3
Piano
Cm
Cm
Bass crown ride
Drums
42417S
© Music Sales Corporation (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by permission.
Duke Ellington Transcribed by David Berger
2
Chinoiserie
Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
loco 3
3
Pno.
Bass
Drs.
42417S
Chinoiserie B Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
Bass
Drs.
42417S
3
4
Chinoiserie
Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3 loco
3
Pno.
Bass
Drs.
42417S
3
3 3
Chinoiserie C Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Bass
Drs.
42417S
5
6
Chinoiserie
Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
loco 3
3
Pno.
Bass
Drs.
42417S
3 3
7
Chinoiserie D Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
G 7sus4
Bass
3
Drs.
42417S
3
3
8
Chinoiserie E Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
G 7sus4
Bass
3
Drs.
42417S
3
9
Chinoiserie Swing
F Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
B
Bass
Drs.
42417S
m7
walk
E
7
A
B
m7
E
7
A
10
Chinoiserie G sim.
Alto
⁄
Alto
⁄
⁄
sim.
⁄
sim.
⁄
Tenor
⁄
sim.
⁄
Tenor
⁄
sim.
⁄
Bari
⁄
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
C m7
F 7 sus4
F 7
Am7-5
D7+9
Fm 7 - 5
B 7-9sus4
Bass
42417S
Dm 7 - 5
G7-9
Cm
D m 7 - 5/C
C7-9 ⁄
3
Drs.
B 9
cr
R
3
3
⁄
G 7/C ⁄
11
Chinoiserie H Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
G 7 sus4
Cm
Bass cr
Drs.
42417S
R
3
cr
R
3
cr 3
R
13
Chinoiserie J
Swing
Alto
Alto Solo C m7 ⁄
Tenor
F 7
B
ë
⁄
C m7 ⁄
⁄
⁄
F 7
B
E
A
⁄ 3
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
B
Bass
Drs.
42417S
m7
E
7
A
B
m7
7
14
Chinoiserie K
Alto
Alto D m7
Tenor
G 7
3
Bm 7 - 5
E 7
Gm7-5
C 7
Am 7 - 5
D 7
Fm7-5
B
Em7-5
A 7
Dm7-5
G 7
⁄
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
C m7
Bass
Drs.
42417S
F 7
7
Chinoiserie L Alto
Alto
Dm
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
Bass
Drs.
42417S
15
16
Chinoiserie M
Alto
Alto
⁄
Tenor
⁄
⁄
⁄ 5
3
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
Bass 3 3
Drs.
42417S
3
17
Chinoiserie N Alto
Alto F 7
B
C m7
C m7
F 7
B
3
Tenor 3
3
3 3
3
3
3
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
B
Bass
Drs.
42417S
m7
E 7-9
A
B
m7
E 7-9
A
18
Chinoiserie O
Alto
Alto
D m7
G 7
Bm 7 - 5
E 7
Gm7-5
C 7
F 7
Am 7 - 5
D7+9
Fm7-5
B
Em7-5
A 7
Dm7-5
G 7
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
C m7
Bass cr
Drs.
42417S
R
7
19
Chinoiserie P Alto
Alto Dm
Tenor 3
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
Bass
3
Drs.
42417S
20
Chinoiserie Q
Alto
Alto Dm
Tenor
⁄ 3
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
Bass cr R
Drs.
42417S
3
3
21
Chinoiserie R Alto
Alto
Dm
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
Bass
Drs.
42417S
⁄
I ⁄
Tenor
⁄
⁄
22
Chinoiserie S
Alto
Alto
F 7
C m7
I
B ⁄
ë
I
C m7
F 7
B
⁄
⁄
⁄
Tenor 3 3
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
B
m7
E
7
A
B
m7
E
7
A
Bass cr
cr 3
Drs.
42417S
3
3
R
R 3
23
Chinoiserie T
U long fall
Alto cresc.
long fall
Alto cresc.
G9
D m7
Bm 7 - 5
Gm7-5
E9
C 7
A7-9
Em7-5
Dm
ë
⁄
Tenor 3
3
3
3
3
3
3
3
3
3
long fall
Tenor cresc.
long fall
Bari cresc.
long fall
Tpt. 1 cresc.
long fall
2 cresc.
long fall
3 cresc.
long fall
4 cresc.
long fall
Tbn. 1 cresc.
long fall
2 cresc.
long fall
3 cresc.
Pno.
C m7
F9
Am 7 - 5
D9
Fm7-5
B
7
Dm7-5
G7-9
Cm
Bass cr
Drs.
42417S
R
cr
R
cr R
ë
24
Chinoiserie V
Vamp
W
On Cue
Alto
Alto
Dm
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
Cm
Cm
Bass
3
Drs.
42417S
25
Chinoiserie
Alto
Alto
Tenor
Tenor
Bari
Tpt. 1
2
3
4
Tbn. 1
2
3
Pno.
G 7
Bass
Drs.
42417S
Cm
