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1 By Duke Ellington Arranged y Rik Hirsh INSTRMENTATION C lute (Otional) 1st E Alto Saxohone 2nd E Alto Saxohone 1st B Tenor Saxohone 2nd B Tenor Saxohone E Baritone Saxohone (Otional) 1st B Trumet (Harmon or Cu mute) 2nd B Trumet (Harmon or Cu mute) rd B Trumet (Harmon or Cu mute) 4th B Trumet (Otional) (Harmon or Cu mute) 1st Tromone 2nd Tromone rd Tromone (Otional) 4th Tromone (Otional) Guitar Chords Guitar (Otional) iano Otional/Alternate arts B Clarinet Virahone Auxiliary erussion (Caasa or Maraa or Shaker or Shekere) Tua (Doules ) Horn in (Doules 1st Tromone) 1st Baritone Horn T.C./B Tenor Saxohone (Doules 1st Tromone) 2nd Baritone Horn T.C./B Tenor Saxohone (Doules 2nd Tromone)

2 NOTES TO THE CONDCTOR Duke Ellington omosed as art o his extended ork Blak, Bron, and Beige. Sine that time, it has eome one o Ellington s most enduring iees, reorded y musiians ranging rom Mahalia Jakson to the World Saxohone Quartet, and rom Clark Terry to Johnny Mathis. The song s oularity seems to stem rom its gosel-tinged melody and the religious imliations o the lyris. The main deining harateristi o this ne arrangement is the ontemorary rhythmi setting, ith an ostinato-like rhythm setion groove (omosite o iano, ass, and drum igures), and drums layed ith mallets rather than stiks. Otherise, I have reserved the integrity o Ellington s original melody and harmony. One exetion is the vi-iv- III-I adene used at the end o the A setions, hih is my on touh. Here are some rehearsal notes and suggestions to hel you get the most out o your and: Take time to ork out the individual rhythm setion arts, and then ut them together. Identiy ho lays ith hom, and hen. The drummer should e using sot mallets throughout the iee (marima mallets overed ith yarn not xylohone mallets ith exosed ruer heads). The slurs in the trumets irst hrase are not atual slurs they re hrase marks. So, enourage your trumet layers to use legato tonguing through this and similar hrases. This alies to the tromones and saxohones, too, hen similar notation ours in their arts. Note that the eighth notes are to e layed evenly not in a sing style. ous on holding the temo steady. Youthul tendeny is to ush the temo. Enourage your ind layers to lay gently and ith a eautiul tone. Trumet layers may use lugelhorns throughout, in hih ase, they should not lay into stand hen indiated. When trumets use harmon mutes at m. 41, the stems should e out. I no harmons are availale, sustitute straight or u mutes at your disretion. The overall eeling o the erormane should e slo, arm, and a it sultry. I your tenor and tromone soloists ant to try imrovising their solos (hih I d strongly enourage!), the B major entatoni sale is an exellent melodi resoure that ill get them through these solos. Note the saxohones yramid igure in m. 2. Have un! Rik Hirsh Rik Hirsh Rik Hirsh (BA Mass-Amherst; MM Northern Illinois niversity) is an aard-inning omoser and arranger ho egan his areer as a ersonal musi oyist or Bo Mintzer and Toshiko Akiyoshi. He has ritten musi or jazz ions Yuse Latee and Eddie Henderson, the Caitol Quartet, and the storied enn State Blue Band, to name a e. He is in-demand as a guest ondutor or All-State and Distrit Jazz Bands, and ormerly served on the musi aulty o enn State niversity. In 2017 Rik Hirsh s BIG OL BAND released their deut alum, oono Git-Don, elerating the virant under-the-radar jazz senes eyond the ig ities.

3 CONDCTOR 46155S C lute (Otional) 1st EÑ Alto Saxohone 2nd EÑ Alto Saxohone 1st BÑ Tenor Saxohone 2nd BÑ Tenor Saxohone EÑ Baritone Saxohone (Otional) 1st BÑ Trumet (Harmon or Cu mute) 2nd BÑ Trumet (Harmon or Cu mute) rd BÑ Trumet (Harmon or Cu mute) 4th BÑ Trumet (Otional) (Harmon or Cu mute) 1st Tromone 2nd Tromone rd Tromone (Otional) 4th Tromone (Otional) Guitar (Otional) iano lay Into Stand Straight eighths å = 80 Ot. 8va lay Into Stand lay Into Stand lay Into Stand.. se Sot Mallets Toms 1.. N. N. sim. COME SNDAY..... n n n n n. n. k k k k k n B! /D E! 7 /E Z n N k n- N By Duke Ellington Arranged y Rik Hirsh - - n k k k k. A A (Reneed) G. SCHIRMER, INC. (ASCA) This Arrangement 2017 G. SCHIRMER, INC. (ASCA) International Coyright Seured All Rights Reserved inluding uli erormane sed y ermission Et. n N 8

4 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. ~9} N. 7.. sim.. Et.. E! 7 N. 7 N N. N.. N..... n n n n n n n n. n k N N k k k k n B! /D E! 7 /E Z A A n N k n- N - A - A - A - A k A. k N k k D! 7 A A..... B! 7 N. Oen Oen Oen Oen

5 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. {17} (Loo) Û Û N N v n D7 E! 7 Û - D7 E! 7 k - 17 D7 D7 N Et. GÈ GÈ N N n n Ot. 8va (/Tts.) A n A Solo ( Solo) k k n (/Saxes) n k k. Û- Û G! 7 A k n - G! 7 n õ Û õ n

6 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. {25} (Loo) N lay 2 B! 7 n N N 2 27 n n N n n Oen - Oen - 28 Oen k Oen k Oen Oen Oen Oen N N k N k k k - A - - n- n k CÊ B! /D E! /E Z k A n- n N k k A k k - N n k N n n - n- k k k - n k k - n - Û N. N N. 2 n- - - n- Et. k k n

7 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. {} ; 7 N.. Time Solo Ad li. or As-is 7 E! ; E! 7 Et... ; 7 N N. N. A7 G; n n n. n DÈ n n n n A A.. - ï 7 A.. To Harmon mute To Harmon mute To Harmon mute To Harmon mute AÈ 7 (/Tns.) () E! 7 C 7 N. -. N N End Solo

8 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. {41}. Harmon mute Harmon mute 7 - lay ; Harmon mute Harmon mute 7 Solo Ad li. or As-is N. Time.. E! 7 - E! ; E! 7.. N. 7 ; 7 N n N. N.. N - G; n. n n n. n N k N N N k k n k k n A - - A A ï 7 A. -. Oen Oen Oen Oen N k k - - k. D! 7 Û Û Û D! B! 7. B! 7 B! 7 N. End Solo

9 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. {49} (Oen) (Oen) (Oen) Û Û N N v n D7 E! 7 Û D7 E! 7 Û 49 (/) (/) Strike Cym. /mallet handle su. GÈ n n n n N 7 Û. 7 Time (Tt. Solo) Solo k k n (/Saxes). G! 7 A k n - Û- Û G! 7 õ Û õ n

10 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. {57} N n sim. N N n n N n n Oen Oen Oen Oen Oen Oen Oen Oen N N k k N k k - A - CÊ - n- n k B! /D E! /E Z k A n- n N k k - A

11 lute Tt. 1 Tt. 2 Tt. Tt. 4 Tn. no. k k - - N n k Û.. N n Û Û N. N N.. k k - - n k n. Û Û. N N.. n Û. n. Û D! 7 E! n.. B! 7 D! 7 E! 7 B! 7 æ u

12 46155S S $9.00 (a8081*momns(x