Chele a Bridge Scores p

 jazzz at  jaz at linc lincoln oln cen center’ ter’s essentially ellington library Wynton M�rs�lis, Managing and Artistic Director, J�zz �t Lincoln Center

Chelse� Bridge By Billy Str�yhorn As perormed by the Duke Ellington Orchestr� Tr�nscribed by D�vid Berger or J�zz �t Lincoln Center Edited by Christopher Crensh�w or J�zz �t Lincoln Center

Full Score This tr�nscription w�s m�de especi�lly or J�zz �t Lincoln Center’s 2014–15 Twentieth Annu�l Essentially Ellington High Ellington High School J�zz B�nd Progr�m. J�zz �t Lincoln Center �nd Alred Publishing gr�teully �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  Essentially Ellington 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 Alred �nd G�il Engelberg, Ell� Fitzger�ld Ch�rit�ble Found�tion, Ch�rles Ev�ns Hughes Memori�l Found�tion, Augustine 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 perormed 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 wonderul �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 perormers �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 perorm�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 perorm�nce notes which ollow. 1. Listen c�reully 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 perorm�nces. Ellington’s music, though written or specific individu�ls, is designed to inspire �ll musici�ns to express 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 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 conorm 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.’ I this is done eectively, 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 �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 �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 lie �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 lie �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 �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 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 � wonderul 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 preerred. 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, �nd rhythm, in th�t order.’ Or �s Bubber Miley

(Ellington’s first st�r trumpeter) s�id, ‘It don’t me�n � thing i  it �in’t got th�t 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 perorm�nce, rom tr�dition�l New Orle�ns to the present �v�nt g�rde.

Swing • the perect 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:

GLOSSARY

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 reers 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. 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. 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.’

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. H�rmony • chords �nd voicings. Orchestr�tion • instrument�tion �nd tone colors.

— David Berger 

CHELSEA BRIDGE • INSTRUMENTATION

Reed 1 • Alto S�x Reed 2 • Alto S�x Reed 3 • Tenor S�x/Bb Cl�rinet Reed 4 • Tenor S�x Reed 5 • B�ritone S�x Trumpet 1 Trumpet 2 Trumpet 3 Trombone 1 Trombone 2 Trombone 3 Guit�r Pi�no B�ss Drums ORIGINAL RECORDING INFORMATION Composer • Billy Str�yhorn Arr�nger • Billy Str�yhorn Recorded • December 2, 1941 in Los Angeles Origin�l issue • Victor 27740 Currently �v�il�ble on CD • Bluebird 82876-50857 (Never No Lament: The Blanton-Webster Band ) Currently �v�il�ble �s digit�l downlo�d • Am�zon, iTunes, (Best of Duke Ellington) Personnel • W�ll�ce Jones, Rex Stew�rt, R�y N�nce (trumpet); L�wrence Brown, Joe N�nton (trombone); Ju�n Tizol (v�lve trombone); B�rney Big�rd (cl�rinet, tenor s�x); Johnny Hodges (�lto s�x); Otto H�rdwick (�lto s�x, cl�rinet); Ben Webster (tenor s�x); H�rry C�rney (b�ritone s�x); Billy Str�yhorn (pi�no); Fred Guy (guit�r); Junior R�glin (b�ss); Sonny Greer (drums) Soloists • Billy Str�yhorn (pi�no); Ben Webster (tenor s�x); Ju�n Tizol (v�lve trombone) REHEARSAL NOTES

• Chelse� Bridge w�s composed �nd �rr�nged by Billy Str�yhorn in e�rly Febru�ry 1941 but not recorded until September o th�t ye�r. At th�t time ASCAP, which collected roy�lties or its composers’ songs w�s dem�nding � higher r�te or r�dio pl�y. The r�dio networks ret�li�ted by orming their own rights collection org�niz�tion (BMI, which st�nds or Bro�dc�st Music, Inc.) �nd reused to pl�y �ny ASCAP compositions on the �ir. Since Ellington w�s � member o ASCAP, he quickly recorded �s m�ny Str�yhorn compositions �s possible; most not�bly Take The ‘A’ Train. Str�yhorn h�d yet to join ASCAP, so his compositions could be pl�yed on the r�dio. • Although Str�yhorn h�d been in Ellington’s employ or �lmost two ye�rs, he h�d yet to succumb to the le�der’s composition�l style. Chelse� Bridge, �lthough well suited to the Ellington b�nd, is cle�rly �ll Str�yhorn in conception. The impressionistic h�rmonies in the A sections �nd chrom�ticism on the bridge �re extremely modernistic or the time.

• There is �n over�ll gentle, serene n�ture to this piece th�t we �ssoci�te with other Str�yhorn compositions likeHalf The Fun. Written in the convention�l AABA 32-b�r song orm, the A sections �re less rom�ntic (�nd use little to no vibr�to), while the bridge reverts to � more Rom�ntic style with vibr�to �nd wide melodic interv�ls; not unlike the bridge o Ellington’s Sophisticated Lady . • Note th�t �lthough Ellington pl�yed pi�no with his b�nd �t perorm�nces, it w�s not uncommon or him to turn over the keybo�rd to his �lter ego �t recording sessions, especi�lly on Str�yhorn compositions �nd/or �rr�ngements. Such is the c�se with Chelse� Bridge. Str�yhorn’s touch �nd �ppro�ch owes much to Art T�tum �nd Teddy Wilson. It is much lighter th�n Ellington’s �nd not �s percussive. • This �rr�ngement is �s the b�nd recorded it �nd is edited down rom the origin�l ch�rt th�t w�s used or live perorm�nces. Although the edits were m�de to fit the piece on � 78 rpm phonogr�ph recording, the resulting shorter �rr�ngement turns out to be more s�tisying. • The orm is 4-b�r pi�no introduction ollowed by 2 choruses. Th�t doesn’t sound very interesting, but � lot h�ppens in those 2 choruses. • The pi�no intro is, �longside T�ke The ‘A’ Train, one o the gre�test in �ll o  j�zz. It sets the mood �nd ully enc�psul�tes the entire piece in only 4 me�sures. Str�yhorn pl�yed it b�sic�lly the s�me e�ch time, so we c�n �ssume th�t he he�rd it �s p�rt o the composition. • Although the Ellington b�nd o 1941 swings some o the eighth notes on the recording, � more modern �ppro�ch to b�ll�d pl�ying employs even eighths with the except o syncop�tions, which �re swung. I preer the more moderninterpret�tion. • The br�ss �t A need to get � good b�l�nce between the open trombone �nd the cup muted trumpets. Tizol pl�yed v�lve trombone, but slide trombone c�n work here, i the v�lve is not �v�il�ble. In either c�se, the trombone needs to get � d�rker sound to blend with the muted trumpets. The trombonist must �lso be sensitive to the volume o the trumpets �nd not oversh�dow them. The s�xes fit sofly underne�th the br�ss. This p�ss�ge should be pl�yed leg�to by both br�ss �nd s�xes with little to no vibr�to. – David Berger  To view inter�ctive videos o Wynton M�rs�lis le�ding the J�zz �t Lincoln Center Orchestr� in rehe�rs�ls o the EssentiallyEllington 2014-15 repertoire ple�se visit jazz.org/EssentiallyEllington.

CONDUCTOR 

 Jazz at Lincoln Center Library - Essentially Ellington

CHELSEA BRIDGE Medium Ballad

Billy Strayhorn Transcribed by David Berger   Edited by Christopher Crenshaw

Alto Sax Reeds 1

Alto Sax 2

Tenor Sax 3

Tenor Sax 4

Bari Sax 5

cup mute

3

cup mute

3

Trumpets 1

2

3

Trombones 1

2

3 3

Guitar 

Piano

Bass

Drums

44305S

© 1941 (Renewed) by Tempo Music, Inc./Music Sales Corporation/Campbell Connelly & Co., Inc. Chester Music Limited trading as Campbell Connelly Co. International Copyright Secured. All Rights Reserved. Reprinted by permission.

2

Chelsea Bridge

A Alto

Alto

Tenor 

Tenor 

Bari

3

Tpts. 1

3

2

3

Tbns. 1

2

3 3

B m6

A m6

B m6

A m6

B 9

E m9

6 D 9

A 9

Gtr.

3

Pno.

Bs.  brushes

Drs.

44305S

3

D 6

Chelsea Bridge

3

B Alto

Alto

Tenor 

A m7

C 7+5

Solo

Tenor 

Bari

to open

Tpts. 1

to open

2

3

Tbns. 1

2

3

B m6

A m6

B m6

A m6

B 9

E m9

6 D 9

A 9

Gtr.

3

3

3

3

3

5 

5 

Pno.

5 

Bs.

Drs.

44305S

G m7

B7+5

4

Chelsea Bridge

C Alto

Alto

Tenor 

G m6

C 7+5

F maj7

F 6

G m9

C 7+5

F 9

Bmaj9

D9

A6

A m6

E 9 D9

C 9

G m6

3

Tenor 

 ⁄ 

 ⁄  3

3

3

3

3

Bari

Tpts. 1

2

3

Soli

Tbns. 1 3

Soli

2

Soli

3

F m6

B7+5

Emaj7

E6

F m9

B7+5

E9

Amaj9

C9

G6

Gtr.

6 

6 

3

Pno.

3

Bs. 3

(Tenor Sax Solo)

Drs.

44305S

3

G m6

D 9 C9

B9

Fm6

Chelsea Bridge

5

D Alto 3

Alto 3

to Clarinet

Tenor 

Tenor  3

Bari 3

Tpts. 1

2

3

 ⁄ 

Tbns. 1

 ⁄ 

2

 ⁄ 

3

B m6

A m6

B m6

A m6

B 7

B 7+5

E m7

A 9

D 6

Gtr.

Pno.

Bs.

(Piano Fill)

Drs.

44305S

8

Chelsea Bridge

G Alto

Alto

Clar.

Tenor 

Bari

Tpts. 1

2

3

Tbns. 1

2

3 3

3

F m6

B7+5

Emaj7

F m11

3

B7+5

E9

Amaj7

G6

C9

G m6

D 9

Gtr.

3

3

3

Pno.

even 8ths

Bs.

(Trombone Solo)

Drs.

44305S

C9

B9

F m6

Chelsea Bridge

H

9

Swing

Alto

Alto

Clar.

Tenor 

Bari open

Tpts. 1  sub open

2  sub

3  sub

Tbns. 1  sub

2

3  sub B m6

A m6

B m6

A m6

B 9 A7+5 C9+5 Fmaj7

Dmaj7

E m9

A 13-9

6 A 7 D 9

Gtr.  sub

Pno.

arco

Bs.  sub

Drs.  sub

44305S

essentially ellington The Essentially Ellington High School J�zz B�nd Progr�m ( EE ) is one o the most unique curriculum resources or high school j�zz b�nds in the United St�tes, C�n�d�, �nd Americ�n schools �bro�d. EE  extends the leg�cy o Duke Ellington �nd other semin�l big b�nd composers �nd �rr�ngers by widely dissemin�ting music, in its origin�l �rr�ngements, to high school musici�ns or study �nd perorm�nce. Utilizing this music ch�llenges students to incre�se their music�l proficiency �nd knowledge o the j�zz l�ngu�ge. EE  consists o the ollowing initi�tives �nd services: Supplying the Music E�ch ye�r J�zz �t Lincoln Center (JALC) tr�nscribes, publishes, �nd distributes origin�l tr�nscriptions �nd �rr�ngements, �long with �ddition�l educ�tion�l m�teri�ls including recordings �nd te�ching guides, to high school b�nds in the U.S., C�n�d�, �nd Americ�n schools �bro�d.  •

T�lking �bout the Music Throughout the school ye�r, b�nd directors �nd students correspond with proession�l clinici�ns who �nswer questions reg�rding the EE  music. EE  strives to oster mentoring rel�tionships through em�il correspondence, v�rious conerence present�tions, �nd the estiv�l weekend.  •

Profession�lFeedb�ck B�nds �re invited to submit � recording o their perorm�nce o the ch�rts either or entry in the competition or or comments only. Every submission receives � thorough �ssessment. B�nds �re �lso invited to �ttend EE  Region�l Festiv�ls or �n opportunity to perorm �nd receive � workshop.  •

J�zz �t Lincoln Center B�nd Director Ac�demy Fifeen b�nds �re selected rom competition entries to �ttend the �nnu�l Competition & Festiv�l in New York City. To prep�re, e�ch fin�list b�nd receives �n in-school workshop led by � proession�l musici�n. Loc�l EE  members �re �lso invited to �ttend these workshops.

Competition & Festiv�l The EE  ye�r culmin�tes in � three-d�y estiv�l �t J�zz �t Lincoln Center’s Frederick P. Rose H�ll. Students, te�chers, �nd musici�ns p�rticip�te in workshops, rehe�rs�ls, �nd perorm�nces. The estiv�l concludes with �n evening concert th�t e�tures the three top-pl�cing b�nds, joining the J�zz �t Lincoln Center Orchestr� with Wynton M�rs�lis in concert previewing next ye�r’s EE  repertoire.  •

J�zz �t Lincoln Center B�nd Director Ac�demy This proession�l development session or b�nd directors is designed to enh�nce their �bility to te�ch �nd conduct the music o Duke Ellington �nd other big b�nd composers. Led by prominent j�zz educ�tors e�ch summer, this comp�nion progr�m to EE integr�tes perorm�nce, history, ped�gogy, �nd discussion into �n intensive educ�tion�l experience or b�nd directors �t �ll levels.  •

J�zz �t Lincoln Center Educ�tion 3 Columbus Circle, 12th Floor, New York, NY 10019

Phone 212-258-9810 F�x 212-258-9900 E-m�il ee@j�lc.org •

•

•

 jazz.org/ee As o M�y 2014, EE  h�s distributed scores to more th�n 4,200 schools in �ll 50 st�tes, C�n�di�n provinces, �nd Americ�n schools �bro�d.

 •

������

JAZZ AT LINCOLN CENTER  is dedic�ted to inspiring �nd growing �udiences or j�zz. With the world-renowned J�zz �t Lincoln Center Orchestr� �nd � comprehensive �rr�y o guest �rtists, J�zz �t Lincoln Center �dv�nces � unique vision or the continued development o the �rt o j�zz by producing � ye�r-round schedule o perorm�nce, educ�tion �nd bro�dc�st events or �udiences o �ll �ges. These productions include concerts, n�tion�l �nd intern�tion�l tours, residencies, ye�rly h�ll o �me inductions, weekly n�tion�l r�dio �nd television progr�ms, recordings, public�tions, �n �nnu�l high school j�zz b�nd competition �nd estiv�l, � b�nd director �c�demy, j�zz �ppreci�tion curricul� or students, music publishing, children’s concerts, lectures, �dult educ�tion courses, student �nd educ�tor workshops �nd inter�ctive websites. Under the le�dership o M�n�ging �nd Artistic Director Wynton M�rs�lis, Ch�irm�n Robert J. Appel �nd Executive Director Greg Scholl, J�zz �t Lincoln Center produces thous�nds o events e�ch se�son in its home in New York City, Frederick P. Rose H�ll, �nd �round the world. For more inorm�tion, visit j�zz.org.

Since 1995, over 504,000 students h�ve been exposed to Duke Ellington’s music through Essentially Ellington.

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