Jazz Lines Publications Presents. new york, new york. recorded by frank sinatra. Arranged by don costa

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1 Jazz Lines ublications resents new york new york recorded by rank sinatra Arranged by don costa reared by Rob ubo Jerey Sultano and dylan canterbury ull score rom the original manuscrit jl-9510 Words by red Ebb Music by John Kander Coyright 1977 (Renewed) UNITE ARTISTS CORORATION All Rights Controlled and Administered by EMI UNART CATALOG INC. (ublishing) and ALRE MUSIC (rint) This Arrangement 2016 EMI UNART CATALOG INC. All Rights Reserved Used by ermission o ALRE MUSIC rank Sinatra Is Under License rom rank Sinatra Enterrises LLC. ublished by the Jazz Lines oundation Inc. a not-or-roit jazz research organization dedicated to reserving and romoting America s musical heritage. The Jazz Lines oundation Inc. O Box 1236 Saratoga Srings NY USA

2 rank sinatra series new york new york (1979) rank Sinatra Biograhy: rancis Albert Sinatra was one o the greatest igures in the history o American entertainment and o culture. Born ecember in Hoboken New Jersey he develoed an early interest in music becoming roicient as a singer and arranging or bands by his teens. He soon droed out o high school to ursue a career in music. ollowing the exosure resulting rom a successul aearance on the then-oular Major Bowes Amateur Hour radio show he came to the attention o Harry James who hired him to ront his big band. While he gained exerience and released his irst records with James they did not sell well and he soon grew rustrated with the James band and let to join Tommy orsey with whom he had his irst huge successes. Seeing his oularity begin to skyrocket Sinatra soon elt the need to become a solo artist and let orsey taking arranger Axel Stordahl with him; this would be the irst o several very close relationshis Sinatra would enjoy with arrangers over the years. uring the World War II era he became a sensation earning the nickname The Voice and gaining a ollowing o young women that would resage the later crazes or Elvis and the Beatles. By 1946 he was toing the charts selling millions o records and also receiving serious acclaim or the quality and deth o his work. Tastes change however and by the late 1940s he was suering a signiicant decline in oularity. Exacerbated by the death o his ublicist George Evans and the breaku o his marriage as the 1950s began it was hard or many to believe how ar Sinatra had sunk but it would have been truly imossible to envision the uture heights he would reach. By late 1951 his erormances were oten oorly attended and Columbia the label on which he became a suerstar droed him. Sinatra was also a successul actor and he believed a art in the ilm rom Here to Eternity would begin a career revival; it did and remarkably so. The 1953 ilm was hugely oular and Sinatra won an Oscar or best suorting actor. He had also signed with Caitol Records and began what was to be the most signiicant collaboration o his career with arranger Nelson Riddle. Ater the legendary irst session which included I ve Got the World on a String Sinatra was shocked at how well Riddle seemed to understand his abilities ideas and asirations. Riddle knew how to treat dynamics beautiully and how to crat an arrangement in order to allow the singer to clearly be the star while at the same time giving him rich creative backing. They recorded a series o albums including In the Wee Small Hours Songs or Swingin Lovers and A Swingin Aair that both deined the genre and turned Sinatra into a massive suerstar. As the 1960s dawned desiring more creative ower and indeendence Sinatra ormed Rerise Records which became another huge success or him signing many other successul artists as well as being his recording home. He began working with other arrangers hiring on Costa who had a great mind or commercial success in various genres. He also worked with the Count Basie Orchestra and Quincy Jones during this eriod their greatest success and notoriety coming rom the Rat ack era aearances at the Sands Hotel in Las Vegas. uring the rest o the sixties Sinatra memorably recorded with uke Ellington and Antonio Carlos Jobim and he continued to be an eminent resence around the world recording and touring or the next thirty years while receiving endless honors and accolades. While he became one o the most amous musicians in history and certainly had a well-ublicized and colorul ersonal lie much is not widely known about this brilliant and comlex man. He never had ormal music training but was blessed with an incredible ear and innate musical understanding which oten surrised musicians he worked with. His voice was incredibly owerul his diction recise and erhas no oular singer has had a more unique git or interreting lyrics. Classical musicians marveled at his skills and even his conducting ability surrised those who worked with him. His combination o rare musical gits and erectionism as well as his insistence on working with the best writers and arrangers used to create an unmatched catalog o deinitive versions o many o America s greatest standards. Sinatra had a temer which he showed oten to the world and he could be roane bullying and gru. But he also most deinitely had a very serious dierent side as well. He was known or treating collaborators and musicians well and was generous to a ault. erhas less-known is his tremendous charitable streak. Sinatra contributed generously gave many beneit concerts and oten very quietly donated money to many causes. He was also olitically active or his entire lie at irst with the emocrats and ater the amous rit with JK the G.O.. One o the most admirable arts o his character was his lielong battle against racism. Growing u in a time and lace where Italian-Americans were oten heavily discriminated against he quickly develoed a visceral hatred or racism. He erormed with Arican-American musicians during his entire career he worshied Billie Holiday and said that Ella itzgerald was the only singer he eared and in a time when Las Vegas was much like the Jim Crow South he ought or the rights o his close riends Sammy avis Jr. and Count Basie and others. rank Sinatra assed away with his wie at his side in Los Angeles on May at the age o 82. The outouring o grie resect and tributes was tremendous or a igure whose only rivals among 20th century western musicians were Bing Crosby Elvis resley and the Beatles. The 100th anniversary o his birth in 2015 saw countless concert tributes as well as documentaries and major new books. This is a man whose music will be listened to as long as the world continues to turn. The voice o Sinatra in his rime is eerless-owerul and comorting historic and vibrant; he had the rare ability to make a newly-written song instantly his own and to breathe new lie into decades-old standards while creating their deinitive exressions. Jazz Lines ublications is very roud to ublish dozens o his best and most imortant original arrangements written by Nelson Riddle Billy May Neal Heti Quincy Jones Billy Byers and on Costa.

3 on Costa Biograhy: ominick. on Costa was born on June in Boston Massachusetts and had an intense interest in music rom early childhood. Starting as a session guitarist in New York City around 1950 his musical curiosity led him to begin comosing arrangements with dierent instrumental lineus. His determination led him to work with Steve Lawrence and Eydie Gormé during their rise and he soon became head A&R man as well as rimary arranger and roducer or Sam Clark s ABC-aramount. He had some o his greatest successes during this time eriod most notably having a major role in discovering aul Anka and being involved with his huge hits iana and Lonely Boy. Throughout the 1950s he continued to not only arrange and roduce but to record as a guitarist as well erorming on hit singles and movie soundtracks. He had moved to United Artists as A&R chie when rank Sinatra hired him to arrange one o the early records on Sinatra s Rerise label. ounded to give him the total reedom he wanted in the studio Sinatra wanted to create a ballads record with lush string arrangements and elt that Costa would be ideal. The result Sinatra and Strings does hold u more than ity years later and as AllMusic s Stehen Thomas Erlewine says remains a deinitive ballads album comlete with imassioned readings and endlessly rich detailed arrangements. Costa continued to work with Sinatra and many others ranging rom Sammy avis Jr. to onny and Marie Osmond. It s been said that Costa had a great ear or what worked commerically and this is what Sinatra was increasingly looking or during the latter art o his career. The relationshi eventually resulted in two o Sinatra s most enduring classics My Way (with lyrics by aul Anka) and the iconic New York New York. The two continued their relationshi or years and Costa is oten reerred to as the last o Sinatra s great arrangers. Costa continued to be very active and had another hit record with his nine-year-old daughter Nikka in 1981 (Out Here) On My Own. Having suered rom a revious heart attack Costa suered another and assed away in January o 1983 in New York City at age 57. He roduced a huge body o work including involvement in various caacities with many hits in dierent genres and let behind a rather unique and dee legacy as a musician recording artist talent scout arranger conductor and record roducer. The Music: Originally eatured in Martin Scorsese s 1977 ilm o the same name New York New York has erhas become the song most associated with rank Sinatra in the ublic eye. This version has been heard anywhere and everywhere ranging rom television commercials to being the unoicial theme song o the New York Yankees baseball team. This arrangement was irst recorded by Sinatra in 1979 and it remained in his book until his death. To the Conductor: The arrangement (written by Sinatra s last great arranging collaborator on Costa) begins with a now-iconic ensemble ri erormed with a level o bombast aroriate or the city that never slees. There is an emhasis on the second note o this hrase (and where it occurs later in the arrangement); it should be heavier in weight but not shorter in duration. The volume dies down or Sinatra s entrance at bar 9 where he is initially only accomanied by the rhythm section beore the band begins to slowly build in around him starting with the saxohones at bar 16. The introductory ri is reeated once again as a send-o into a key change. The heavy backbeat in the drums is erhas intended to call to mind a Broadway-style chorus line as the chart (as well as Sinatra s vocals) continue to build in intensity. A climactic but brie ritard at measure 61 leads into the showstoer ortion o the arrangement a bawdy hal-time melody reca that begins at bar 64. At measure 63 Sinatra held out the lyric These and the band was cued back in at measure 64. The drummer lays a big role here: there is a snare roll that begins on beat 3. The drummer needs to watch/listen to the singer and begin the roll with the lyric little - this will hel cue the band back in. Note that the temo in measure 64 is meant to be slower but not hal time. The temo eventually icks u one last time or the grand inale beginning at bar 76 with the introductory ri coming back once more to bring the song to a rousing conclusion. The singer can hel re-establish temo I at measure 75. This arrangement was written or a studio orchestra (big band with a string section) consisting o two violin arts a viola art and a cello art. While these arts have been included and are recommeded or an authentic reading o this arrangement they are not essential (they may be comletely omitted and the arrangement will lay ine). However i you would like to lay this chart as-written but do not have access to a string section an otional synthesizer art has been included. There is also an otional ercussion art or glockensiel and timani.we hoe you enjoy laying this chart as much as we enjoyed rearing it or you! Acknowledgments: Thanks to an agreement with rank Sinatra Enterrises LLC many o the classic arrangements written or Sinatra are available rom Jazz Lines ublications. As music ans who were greatly inluenced by these magniicent arrangements it is a great honor and thrill to work on these using the original manuscrits. Rob ubo oug ubo and ylan Canterbury - March 2015

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5 jl-9510 Vocal Woodwind 1: Alto Saxohone Woodwind 2: Alto Saxohone Woodwind 3: Tenor Saxohone Woodwind 4: Tenor Saxohone Woodwind 5: Baritone Saxohone Trumet 1 Trumet 2 Trumet 3 Trumet 4 Trombone 1 Trombone 2 Trombone 3 Bass Trombone Violin I Violin II Viola Cello Guitar iano Acoustic Bass ercussion: Glockensiel/Timani rum Set medium swing = 110 [1] Hi-Hat y y y o y sz sz sz sz sz sz sz (in 2) div. Ride Cym. Glockensiel y œ y y y œ y y œ y œ y New York New York sz sz sz sz sz sz sz sim. in 2 sz sz sz sz sz sz sz sz sz sz sz sz sz sz (4) y y y y y y œ œ sim Coyright 1977 (Renewed) UNITE ARTISTS CORORATION All Rights Controlled and Administered by EMI UNART CATALOG INC. (ublishing) and ALRE MUSIC (rint) This Arrangement 2016 EMI UNART CATALOG INC. All Rights Reserved Used by ermission o ALRE MUSIC rank Sinatra Is Under License rom rank Sinatra Enterrises LLC Logos Grahics and Layout Coyright 2016 The Jazz Lines oundation Inc. ublished by the Jazz Lines oundation Inc. a Not-or-roit Jazz Research Organization edicated to reserving and romoting America's Musical Heritage. Jazz lines ublications Recorded by rank Sinatra Words by red Ebb Score Music by John Kander Arranged By on Costa reared by Rob ubo ylan Canterbury and Jerey Sultano Start sread-in' the Û œ

6 Jazz lines ublications Vox. Ww. 1 (A. Sx.) Ww. 2 (A. Sx.) Ww. 3 (T. Sx.) Ww. 4 (T. Sx.) [9] news I'm leav-ing to - day. I wan - na be a art o it New York New York. These vag - a-bond New York New York Score - age 2 ~ ~ ~ jl-9510 Vln. I Vln. II Vla. Vc. unis. div. Gtr. A7 A7 A13 A7 (# 5) no. Bs.. S y y y y y y œ œ 10 sim. 11 A7 A7 A7 A7 12 (4) A13 A7 (# 5) A13 A7 (# 5) 16 (8) œ œ

7 jl-9510 Vox. Ww. 1 (A. Sx.) Ww. 2 (A. Sx.) Ww. 3 (T. Sx.) [17] shoes are long-ing to stray right through the ve - ry heart o it New York New York. I wan - na New York New York Score - age 3 ~ ~ ~ ~~~~~ Jazz lines ublications Ww. 4 (T. Sx.) ~ Ww. 5 (B. Sx.) ~ ~~~~~ Tt. 2 Tt. 3 Tt. 4 Tbn. 1 Tbn. 2 Tbn. 3 Bs. Tbn. Vln. I Vln. II Vla. Vc. unis. div. Gtr. 6/ 9 A7 A7 < 7 6 < A>7 9 A>7 9 no. 6/ 9 A7 A7 < 7 6 < A>7 9 A>7 9 Bs. 6/ 9 A7 A7 < 7 6 < 7 (in 4) 6 13 A>7 9 A>7 9. S. y œ (4) (in 4) (6) Backbeat y y œ y y y œ y œ y œ y (8)