a love supreme full score

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1 resents azz Lines ublications a love sureme Arranged by ynton marsalis ull score l720 Music by ohn Coltrane Coyright 197 (Reneed) OWCOL MSIC LLC This arrangement Coyright 201 OWCOL MSIC LLC International Coyright Secured All Rights Reserved Rerinted by ermission o Hal Leonard Cororation Logos, Grahics, and Layout Coyright 201 The azz Lines oundation Inc. This Arrangement Has Been ublished ith the Authorization o Wynton Marsalis ublished by the azz Lines oundation Inc., a notorroit azz research organization dedicated to reserving and romoting America s musical heritage. The azz Lines oundation Inc. O Box 12 Saratoga Srings NY 128 SA

2 ynton marsalis series a love sureme (200) Excert rom the liner notes o A Love Sureme: This ne version o A Love Sureme is the irst examle o Wynton Marsalis s intention to bring the music o ohn Coltrane into the reertoire o the Lincoln Center azz Orchestra, hich inarguably erorms the largest reertoire o azz material in the orld, stretching rom the ork o elly Roll Morton to that o Ornette Coleman. That ill give us some challenges, says Marsalis, and it makes that music ne because no one has ut it into a big band context, hich is another lace that it belongs. All great music should be layed in as many contexts as ossible. That is one o the reasons that e have the Lincoln Center azz Orchestra. A Love Sureme is, obviously, one o the most inluential and revered o azz recordings. At that oint in his career, ohn Coltrane as immersed in moving rom the macro o harmonic comlexity to the micro o harmonic simlicity. But his greatest contributions ere made in his additions o ne ays to address the essentials o azz: his band had achieved resh interretations o / sing, o ballad materials, o the blues, and o AroLatin grooves. Most o his innovations ere not in hat as ritten, but in ho his band layed. His greatest imortance and inluence came through the extraordinary imrovising o a saxohonist, a ianist (McCoy Tyner), a bassist (immy Garrison), and a drummer (Elvin ones). Coltrane s music as in his and his ensemble s laying, and he could not have achieved hat he did ithout musicians o any less originality and intensity than those in hat is no called the classic ohn Coltrane Quartet. The oint o hat ohn Coltrane as doing in A Love Sureme as inding out ho much he could do ith a very small amount o material. So the challenge o riting or a big band is to igure out ho all o that music comes together and ho to build uon its undamental ideas, says Marsalis. The irst thing is that he has a cyclical orm, hich begins in the universal church and ends in the church o Negro sirituals. The irst movement relates to inluences rom as ar aay as aan in the lute arts. It builds on the unity o the minor third and the ourth, hich is a kernel o the entatonic scale that runs through all the music around the orld. Coltrane as aare o this, I m sure. The irst movement ends ith the congregation saying A Love Sureme individually rom the lo baritone saxohone to the iccolo. The clarinet threads this together ith the entatonic scale o each statement, hich is in dierent tonal center. So the clarinet adusts to each change. The second and third movements seak or themselves, and each eatures exlosive imrovisations rom either Wess Anderson or Marsalis, as ell as virtuosic heat and authority rom the brass and reed sections, all riding on the stoked u groove o Carlos Henriquez and the incomarable Herlin Riley. By the last movement, We are back in the church. Marsalis chose to build his arrangement on Coltrane s solo, hich became, as ith all the best azz imrovisation, a comosition the moment it as released on record. A stunning conclusion is reached as this grand statement is not imroved by any means, but enlarged to meet the ambitions and standards o our greatest azz big band. Nothing can every relace the original, but as this recording roves, even things e think e kno all about can be extended into areas beyond our imagination. In essence, that is surely art o the meaning and one o the great satisactions o azz. Stanley Crouch

3 Orchestrating ohn Coltrane s seminal A Love Sureme or big band is quite the task, but Wynton Marsalis roves himsel to be more than u or the challenge ith this version, originally recorded by the Lincoln Center azz Orchestra in 200. This arrangement has been reared rom the original score and arts ith Marsalis s suervision. The Music: Acknoledgement (art 1): Things begin in an almost meditative state, ith Marsalis emloying a chorale o ahahing trombones as an ethereal underinning o Coltrane s oening statement, orchestrated here or iccolo, clarinet, and bass clarinet. The iconic bass line and quasilatin groove kicks in at measure 10, ith the ull ensemble entering 8 measures later ith an Ellingtonstyle anare, comlete ith lunger muted trumets and trombones. Marsalis careully adheres to Coltrane s original imrovisations throughout the suite, beginning ith a dissonant harmonization o Coltrane s recorded solo beginning in the saxohones at measure 2. The melody shits throughout the band, ith everyone getting in on the un at various oints beore a callandresonse trombone duet at measure 8. The background ri in the saxohones is to be layed ad lib. throughout the trombone duet. The saxohones resume Coltrane s solo at measure 5 ith some dissonant background blasts rom the brass and soranino saxohone serving as accomaniment, hich eventually leads into a tenor saxohone solo at measure 1. The cued backgrounds, as indicated by Marsalis, are to emulate the reedy, nasally sound o a aanese sho. A iano solo at measure 7 leads into the next segment o Coltrane s solo, hich is once again assed around throughout the band. Marsalis stacks the arrangement in a ay that the trombones occuy the loer reaches o Coltrane s solo, the trumets the middle, and the saxohones the high end. This all culminates in a trumet solo ith imrovised saxohone backgrounds at measure 88. Ater one more ensemble blast, the bass ri is assed around throughout the band, shiting keys in the same attern Coltrane did on the original recording. Each musician should ind a ay to make their ortion o this section stand out; individual exression is not only highly encouraged, but donright necessary. ust like in the original, the movement comes to an end ith the band chanting A Love Sureme as the volume level gradually taers o and leaves the bass exosed or a solo to begin the second movement. Resolution (art 2): This movement begins ith a transcrition o immy Garrison s bass solo rom the original recording beore the trombones enter ith the melody at measure 11. The melody shits to the saxohones at measure 19, then to the trumets at measure 28, ith each section gaining both volume and overall intensity. Coltrane s solo interlude is again orchestrated or the ensemble, ith each section getting bits and ieces beore everything comes back together again at measure 59. This time, the melody statement loers in intensity beore a sendo into an oen alto sax solo at measure 8. The background igures at 91 are on cue, olloed by an oen iano solo. Things take a turn or the interesting at measure 108, here Marsalis oers u a ull orchestration o Coltrane s lengthy solo. As in the irst movement, the hrases are assed around throughout the ensemble. Marsalis s riting during this section is extremely creative, making ull use o the ull scoe o sound and range that a big band has to oer. Attention to dynamics and hrasing are an absolute must. The melody inally returns in the saxohones at measure 2. The trombones take over at measure 252, leading the movement to its ultimate conclusion.

4 ursuance (art ): This movement begins ith an oen drum solo, alloing the drummer to channel their inner Elvin ones beore setting u the brisk temo or the urgent melody statement at measure 17. Ater the melody, there is a trumet solo at measure 1 and a sorano sax solo at measure 5. Both o these solos are accomanied by background sections that are layed on cue. Marsalis once again orchestrates Coltrane s solo rom the original recording, beginning ith the trombones and baritone sax at measure 101. nlike Resolution, there is not a lot o extra harmonization during this orchestration. The eectiveness o this ortion relies uon each section being able to ass o the dierent ortions o Coltrane s solo among each other ithout losing any o the overall lo and cohesion. The goal should be or each section to sound like one single instrument throughout. The melody returns at measure 197, serving as an exciting conclusion or this tour de orce o an arrangement. The inal to bars are to be somehat imrovised, as each instrument has the reedom to shit beteen varying dynamic levels to create a ulselike sensation as things gradually die don and come to a close. salm (art ): Originally erormed by Coltrane as a musical interretation o a rayer he had ritten, Marsalis creates an aroriately monastic atmoshere in his arrangement o this inal movement. The entire movement is rubato, and the ords to Coltrane s rayer have been included in each art to allo or each musician to have a oint o reerence in order to kee everyone together. The melody is assed around throughout the ensemble over the course o the arrangement, beginning in the baritone sax at measure 11. The arrangement oers u several laces here Mingusesque collective imrovisation is alloed (one examle being in the th trumet art in measure 17). Much like the revious movement, the most imortant thing to kee in mind throughout is to listen to the rest o the ensemble. Although the melody is assed around beteen every instrument in the band over the 19 measures o the arrangement, there must be a balance beteen each individual s ersonal interretation and the hole band s overall aroach. Each musician should not be araid to stand out, but they should also be careul not to overstretch their boundaries or intrude uon each other s interretations. There are several emotional climaxes over the course o the arrangement, but the climax should occur at measure 12. The volume should taer o quite dramatically ater this, but not the intensity, as the suite comes to its conclusion ith an ominous chord in the trombones and lo reeds underinning some loose ree imrovisation in the trumets and tenor sax. Acknoledgments: We ould like to thank Wynton Marsalis, onathan Kelly, Todd Stoll, and Ed Arrendell or their enthusiasm and suort o this roect. Dylan Canterbury

5

6 l720 Score Woodind 1: Alto Sax./ Sorano Sax./Soranino Sax. Woodind 2: iccolo/ Alto Sax/Sorano Sax./lute Woodind : Clarinet/ Tenor Sax./Bass Clarinet/ Sorano Sax. Woodind : Tenor Sax./ Sorano Sax. Woodind 5: Bass Clarinet/ Baritone Sax./Sorano Sax. Trumet 1 Trumet 2 Trumet Trumet Trombone 1 Trombone 2 Trombone iano & & Rubato q = ~ 0 iccolo &. R. Clarinet &. r. Tenor Sax Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & Bass Clarinet & Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Straight Mute & To Harmon Mute Cu Mute & > > To Harmon Mute & Straight Mute To Harmon Mute Cu Mute & > To Harmon Mute > Harmon a a Mute /stem a a sim. Oen Alto Sax. icc & clr. cue r. Harmon Mute /stem a a a a Harmon Mute /stem a a a a sim. sim. ACKNOWLEDGEMENT A Love Sureme, art 1 lay Cry n azz Lines ublications By ohn Coltrane Arranged by Wynton Marsalis Oen Oen Bass Drum Set arco Mallets 1 2 Coyright 197 (Reneed) OWCOL MSIC LLC This arrangement Coyright (c) 201 OWCOL MSIC LLC International Coyright Secured All Rights Reserved Rerinted by ermission o Hal Leonard Cororation Logos, Grahics, and Layout Coyright 201 The azz Lines oundation Inc. This Arrangement Has Been ublished ith the Authorization o Wynton Marsalis ublished by the azz Lines oundation Inc., a Notorroit azz Research Organization Dedicated to reserving and romoting America's Musical Heritage.

7 azz Lines ublications Acknoledgement Score age 2 l720 W 1 (A. Sx.) &. b W 2 (icc.) W (Cl.) & &..... W (T. Sx.) &. W 5 (Bs. Cl.) & reely, out o time > > > > π Tt. 1 & Harmon Mute Oen Tt. 2 & Harmon Mute Oen Tt. & Harmon Mute. Oen Tt. & Harmon Mute Oen Tbn. 1 Tbn. 2 Tbn.. Bs. D. S. Sticks π izz. u

8 l720 W 2 (l.) 10 & Groove q = 110 To Alto Sax Acknoledgement Score age azz Lines ublications b W (Cl.) & To Tenor Sax W 5 (Bs. Cl.) & To Baritone Sax b Tt. 1 & Have lunger Ready no. & (bass groove) >11 Bs.. (2) () () (8) D. S. Ride cym. Cross stick x x x x x sim. ()

9 azz Lines ublications W 1 (A. Sx.) W 2 (A. Sx.) W (T. Sx.) W (T. Sx.) W 5 (B. Sx.) Tt. 1 Tt. 2 Tt. Tt. Tbn. 1 Tbn. 2 Tbn. 18 & & & & >. >. & >. & >. >. Alto Sax Tenor Sax Baritone Sax > b > > > > > > > > > > > > > > b> > > b > > > > > n > To Closed lunger To Closed lunger > n + > Acknoledgement Score age b b> b b> b + > > b b > b +. b b > b > > n +. Oen Oen b. b. b. n b b b b b. b. b >..... > l720 Bs.. (2) () () (8) D. S. () (8)

10 l720 Acknoledgement Score age 5 azz Lines ublications W 1 (A. Sx.) W 2 (A. Sx.) W (T. Sx.) 2 Lay back &.. Lay back.... Lay back n. b.. n b n b n b b b n n n.. W (T. Sx.) W 5 (B. Sx.) Tt. 1 Tt. 2 Tt. Tt. Tbn. 1 Tbn. 2 Tbn. Bs. & & & & & Lay back.. Lay back... n.. (2) b b b () b n () > b> > > b > > b> (8).. (9) lead D. S. x. x x x x. x x x () (8) (9)

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