JAZZ AT LINCOLN CENTER'S ESSENTIALLY ELLINGTON LIBRARY. Wynton Marsalis, Managing and Artistic Director, Jazz at Lincoln Center ROYAL GARDEN BLUES

Transcription

1 AZZ AT LINCOLN CENTER'S ESSENTIALLY ELLINGTON LIBRARY Wyntn Marsalis, Managing and Artistic Directr, azz at Lincln Center ROYAL GARDEN BLUES BY CLARENCE WILLIAMS AND SPENCER WILLIAMS ARRANGED BY BILLY STRAYHORN As perrmed y the Duke Ellingtn Orchestra Transcried and Edited y David Berger r azz at Lincln Center ULL SCORE This transcriptin was made especially r azz at Lincln Center s 01 1 Eighteenth Annual Essentially Ellingtn High Schl azz Band Prgram. azz at Lincln Center and Alred Pulishing grateully acknwledge the cperatin and supprt prvided in the pulicatin this year's Essentially Ellingtn music series: unding leadership supprt r Essentially Ellingtn is prvided y The ack and Susan Rudin Educatinal and Schlarship und. Mar supprt is prvided y The Cn Edisn Cmmunity Partnership und, The Irene Diamnd und, Alred and Gail Engelerg, The Ella itzgerald undatin, The Charles Evans Hughes Memrial undatin, The Merics undatin, The Harld and Mimi Steinerg Charitale Trust, and The Surdna undatin.

2 NOTES ON PLAYING ELLINGTON At least 95% mdern-day large ensemle azz playing cmes ut three traditins: Cunt Basie s and, Duke Ellingtn s and, and the rchestratins small grups. Thse yung players interested in azz will e drawn t small grups r the pprtunity t imprvise and r practical reasns (it is much easier t rganize 4 r 5 peple than it is 15). Schls have taken ver the task (rmerly perrmed y dance ands) training musicians t e ensemle players. Due t the Basie Band s ppularity and its simplicity style and emphasis n lues and swing, the etter educatrs have almst exclusively adpted this traditin r teaching azz ensemle playing. As wnderul as Cunt Basie s style is, it desn t address many the imprtant styles develped under the great musical umrella we call azz. Duke Ellingtn s cmprehensive and eclectic apprach t music ers an alternative. The stylistic richness Ellingtn s music presents a great challenge t educatrs and perrmers alike. In Basie s music, the cnventins are very nearly cnsistent. In Ellingtn s music there are many mre exceptins t the rules. This calls r greater knwledge the language azz. Clark Terry, wh let Cunt Basie s and t in Duke Ellingtn, said, Cunt Basie was cllege, ut Duke Ellingtn was graduate schl. Knwledge Ellingtn s music prepares yu t play any ig and music. The llwing is a list perrmance cnventins r the great marity Ellingtn s music. Any deviatins r additins will e spelled ut in the individual perrmance ntes which llw. 1. Listen careully many times t the Ellingtn recrding these pieces. There are many sutleties that will elude even the mst sphisticated listener at irst. Althugh it was never Ellingtn s wish t have his recrdings imitated, knwledge these deinitive versins will lead musicians t make mre educated chices when creating new perrmances. Ellingtn s music, thugh written r speciic individuals, is designed t inspire all musicians t express themselves. In additin, yu will hear slight nte dierences in the recrding and the transcriptins. This is intentinal, as there are mistakes and alteratins rm the riginal intent the music in the recrding. Yu shuld have yur players play what s in the scre.. General use swing phrasing. The triplet eel prevails except r allads r where ntatins such as even eighths r Latin appear. In these cases, eighth ntes are given equal value.. There is a chain cmmand in ensemle playing. The lead players in each sectin determine the phrasing and vlume r their wn sectin, and their sectin-mates must cnrm t the lead. When the saxes and / r trmnes play with the trumpets, the lead trumpet is the ss. The lead alt and trmne must listen t the irst trumpet and llw him. In turn, the ther saxes and trmnes must llw their lead players. When the clarinet leads the rass sectin, the rass shuld nt verlw him. That means that the irst trumpet is actually playing secnd. I this is dne eectively, there will e very little alancing wrk let r the cnductr. 4. In Ellingtn s music, each player shuld express the individuality his wn line. He must ind a musical alance supprting and llwing the sectin leader and ringing ut the character the underpart. Each player shuld e encuraged t express his r her persnality thrugh the music. In this music, the underparts are played at the same vlume and with the same cnvictin as the lead. 5. Blues inlectin shuld permeate all parts at all times, nt ust when these pprtunities ccur in the lead. 6. Virat is used quite a it t warm up the sund. Saxes (wh mst requently represent the sensual side things) usually emply virat n harmnized passages and n virat n unisns. The virat can e either heavy r light depending n the cntext. Occasinally saxes use a light virat n unisns. Trumpets (wh very ten are used r heat and pwer) use a little virat n harmnized passages and n virat n unisns. Trmnes (wh are usually nle) d nt use slide virat. A little lip virat is gd n harmnized passages at times. Try t match the speed virat. In general unisns are played with n virat. 7. Crescend as yu ascend and diminuend as yu descend. The upper ntes phrases receive a natural accent and the lwer ntes are ghsted. Alt and tenr saxphnes need t use su-tne in the lwer part their range in rder t lend prperly with the rest the sectin. This music was riginally written with n dynamics. It pretty much llws the natural tendencies the instruments; play lud in the lud part the instrument and st in the st part the instrument. r instance, a high C r a trumpet will e lud and a lw C will e st. 8. Quarter ntes are generally played shrt unless therwise ntated. Lng marks ave r elw a pitch indicate ull value: nt ust lng, ut ull value. Eighth ntes are played ull value except when llwed y a rest r therwise ntated. All ntes lnger than a quarter nte are played ull value, which means i it is llwed y a rest, release the nte where the rest appears. r example, a hal nte ccurring n eat ne a measure wuld e released n eat three. 9. Unless they are part a legat ackgrund igure, lng ntes shuld e played smewhat p (rte-pian); accent then diminish the vlume. This is imprtant s that the mving parts can e heard ver the sustained ntes. Dn t ust hld ut the lng ntes, ut give them lie and persnality: that is, virat, inlectin, crescend, r diminuend. There is a great deal inlectin in this music, and much this is highly interpretive. Straight r curved lines imply nn-pitched glisses, and wavy lines mean scalar (chrmatic r diatnic) glisses. In general, all rhythmic igures need t e accented. Accents give the music lie and swing. This is very imprtant. 10. Ellingtn s music is aut individuality: ne persn per part d nt dule up ecause yu have extra players r need mre strength. Mre than ne n a part makes it sund mre like a cncert and and less like a azz and. 11. This is acustic music. Keep ampliicatin t an aslute minimum; in the est halls, almst n ampliicatin shuld e necessary. Everyne needs t develp a ig sund. It is the cnductr s t alance the and. When a guitar is used, it shuld e a hllw-dy, unampliied rhythm guitar. Simple three-nte vicings shuld e used thrughut. An acustic string ass is a must. In medicre r prly designed halls, the ass and pian may need a it a st. I recmmend miking them and putting them thrugh the huse sund system. This shuld prvide a much etter tne than an ampliier. Keep in mind that the rhythm sectin s primary unctin is t accmpany. The ass shuld nt e as lud as a trumpet. That is unnatural and leads t ver-ampliicatin, ad tne, and limited dynamics. Stay away rm mnitrs. They prvide a alse sense alance. 1. Sls and rhythm sectin parts withut chrd changes shuld e played as is r with a little emellishment. Sls and rhythm sectin parts with chrd changes shuld e imprvised. Hwever, written passages shuld e learned ecause they are an imprtant prt ur azz heritage and help the player understand the unctin his particular sl r accmpaniment. Slists shuld learn the chrd changes. Sls shuld nt e apprached as pprtunities t shw technique, range, r vlume, ut shuld e lked at as a great pprtunity t urther develp the interesting thematic material that Ellingtn has prvided. 1. The ntatin plungers r the rass means a ruer tilet plunger ught in a hardware stre. Kirkhill is a very gd rand (especially i yu can ind ne their ld hard ruer nes, like the ne I laned Wyntn and he lst). Trumpets use 5 diameter and trmnes use 6 diameter. Where Plunger/Mute is ntated, insert a pixie mute in the ell and use the plunger ver the mute. Pixies are availale rm Humes Berg in Chicag. Tricky Sam Nantn and his successrs in the Ellingtn plunger trmne

3 chair did nt use pixies. Rather, each them emplyed a Nnpareil (that s the rand name) trumpet straight mute. Nnpareil has gne ut usiness, ut the Tm Crwn Nnpareil trumpet straight mute is very clse t the same thing. These mute/ plunger cminatins create a wnderul sund (very clse t the human vice), ut they als can create sme intnatin prlems which must e crrected y the lip r y using alternate slide psitins. It wuld e easier t mve the tuning slide, ut part the sund is in the struggle t crrect the pitch. I this prves t much, stick with the pixie it s pretty clse. 14. The drummer is the de act leader the and. He estalishes the eat and cntrls the vlume the ensemle. r ig and playing, the drummer needs t use a larger ass drum than he wuld r small grup drumming. A r 4 is preerred. The ass drum is played stly (nearly inaudile) n each eat. This is called eathering the ass drum. It prvides a very imprtant ttm t the and. The ass drum sund is nt a m and nt a thud it s in etween. The larger size drum is necessary r the kicks; a smaller drum ust wn t e heard. The key t this style is t ust keep time. A rim knck n tw and ur (chpping wd) is used t lck in the swing. When it cmes t playing ills, the ewer, the etter. 15. The hrn players shuld stand r their sls and siis. Brass players shuld cme dwn rnt r mderate t lng sls, surrunding rests permitting. The same applies t the pep sectin (tw trumpets and ne trmne in plunger/mutes). 16. Hrns shuld pay clse attentin t attacks and releases. Everyne shuld hit tgether and release tgether. 17. Ave all, everyne s cus shuld remain at all times n the swing. As the great assist Chuck lsraels says, The three mst imprtant things in azz are rhythm, rhythm, and rhythm, in that rder. Or as Buer Miley (Ellingtn s irst star trumpeter) said, It dn t mean a thing i it ain t gt that swing. GLOSSARY The llwing are terms which descrie cnventins azz perrmance, rm traditinal New Orleans t the present avant garde. Break within the cntext an nging time eel, the rhythm sectin stps r ne, tw, r ur ars. Very ten a slist will imprvise during a reak. Call and respnse repetitive pattern cntrasting exchanges (derived rm the church prcedure the minister making a statement and the cngregatin answering with amen ). Calland-respnse patterns usually pit ne grup instruments against anther. Smetimes we call this trading urs, trading tws, etc., especially when it invlves imprvisatin. The numers dente the amunt measures each slist r grup plays. Anther term requently used is swapping urs. Cda als knwn as the utr. Tags r tag endings are utgrwths vaudeville ws that are requently used as cdas. They mst ten use deceptive cadences that inally reslve t the tnic r they g rm the su-dminant and cycle ack t the tnic. Cmp imprvise accmpaniment (r pian r guitar). Grve the cmpsite rhythm. This generally reers t the cmined repetitive rhythmic patterns the drums, ass, pian, and guitar, ut may als include repetitive patterns in the hrns. Sme grves are standard (i.e., swing, ssa nva, sama), while thers are manuactured (riginal cminatins rhythms). Head meldy chrus. Interlude a dierent rm ( relatively shrt length) sandwiched etween tw chrus rms. Interludes that set up a key change are simply called mdulatins. Intr shrt r intrductin. Ride pattern the mst cmmn repetitive igure played y the drummer s right hand n the ride cymal r hi-hat. Ri a repeated meldic igure. Very ten, ris repeat veratim r with slight alteratins while the harmnies change underneath them. Shut chrus als knwn as the ut chrus, the sck chrus, r smetimes shrtened t ust the shut. It is the inal ensemle passage mst ig and charts and where the climax mst ten happens. Sli a harmnized passage r tw r mre instruments playing the same rhythm. It is custmary r hrn players t stand up r even mve in rnt the and when playing these passages. This is dne s that the audience can hear them etter and t prvide the audience with sme visual interest. A sli sund particular t Ellingtn s music cmines tw trumpets an trmne in plungers/mutes in triadic harmny. This is called the pep sectin. Stp time a regular pattern shrt reaks (usually illed in y a slist). Swing the perect cnluence rhythmic tensin and relaxatin in music creating a eeling euphria and characterized y accented weak eats (a demcratizatin the eat) and eighth ntes that are played as the irst and third eighth ntes an eighth-nte triplet. Duke Ellingtn s deinitin swing: when the music eels like it is getting aster, ut it isn t. Vamp a repeated tw- r ur-ar chrd prgressin. Very ten, there may e a ri r ris played n the vamp. Vicing the speciic spacing, inversin, and chice ntes that make up a chrd. r instance, tw vicings r G7 culd e: Nte that the irst vicing includes a 9th and the secnd vicing includes a 9th and a 1th. The additin 9ths, 11ths, 1ths, and alteratins are up t the discretin the pianist and slist. The ur Elements Music The llwing are placed in their rder imprtance in azz. We shuld never lse perspective n this rder pririty. Rhythm meter, temp, grve, and rm, including th meldic rhythm and harmnic rhythm (the speed and regularity the chrd changes). Meldy a tune r series pitches. Harmny chrds and vicings. Orchestratin instrumentatin and tne clrs. David Berger

4 ROYAL GARDEN BLUES INSTRUMENTATION Reed 1 - Alt Sax Reed - Alt Sax Reed - Clarinet Reed 4 - Tenr Sax Reed 5 - Baritne Sax Trumpet 1 Trumpet Trumpet Trumpet 4 Trumpet 5 Trmne 1 Trmne Trmne Guitar Pian Bass Drums ORIGINAL RECORDING INORMATION Cmpser: Clarence Williams and Spencer Williams Arranger: Billy Strayhrn Recrded: Septemer, 1946 in Ls Angeles, Calirnia Master Numer: D6VB11-1 Original Issue: RCA Victr 0-4 Currently availale n CD: Battle the Bands / RCA 610 Currently availale as digital dwnlad: Battle the Bands itunes.cm Persnnel: Sheltn Hemphill, Tat rdan, Cat Andersn, rancis Williams, Harld Baker (trumpet); Lawrence Brwn, Claude nes, Wilur De Paris (trmne); immy Hamiltn (clarinet, tenr sax); hnny Hdges, Russell Prcpe (alt sax); Al Sears (tenr sax); Harry Carney (aritne sax); Duke Ellingtn (pian); red Guy (guitar); Oscar Pettird (ass); Snny Greer (drums) Slists: Harld Baker (trumpet); Lawrence Brwn (trmne); Duke Ellingtn (pian); immy Hamiltn (clarinet) REHEARSAL NOTES In the late 1940s Duke Ellingtn recrded new arrangements several classic azz cmpsitins including W.C. Handy's Big (Beale Street Blues, Memphis Blues, and St. Luis Blues) and Billy Strayhrn's arrangement Clarence Williams and Spencer Williams's Ryal Garden Blues. Althugh imprtant elements the riginal cmpsitins remain (meldy, asic harmnies and rm), the cnceptin is strictly mdern. The rm Ryal Garden Blues is very straightrward in the New Orleans traditin: 4 ar intr, chruses meldy ( Blues), 1 chrus lues (4 ar dg ight reak llwed y 8 ars trumpet sl), 4 ar mdulatin t the sudminant, 5 chruses B lues (1 trumpet sli, trmne sl and trumpet sl). There are distinct appraches in this arrangement: rm the eginning t is cl and t the end is ht. Virat is at a minimum: the saxes n the last chrus (heavy) and all the hrns n the inal chrd (ust a tad). Ellingtn s sly pian intr is an ingenius encapsulatin the whle arrangement. Althugh Snny Greer accmpanies him with st quarter ntes, it might e mre eective r the drummer t tacet until letter A. The sax lend at A may take sme care due t the unusual spacing in the vicings. The clarinet and ari are duled ctaves apart. The clarinet will prevail (he is ver an ctave higher than the next vice underneath him), s there is n need r much vlume. All the saxes shuld e relaxed. The saxes then g t 4-way clse vicings with the ari duling the clarinet at the ctave. Since the clarinet is viced clse and is in a airly weak register, I wuld think that Strayhrn was ater ari lead (with the clarinet duling t strengthen the ari). The riginal recrding has the clarinet as the lead vice, ut ari lead is certainly an ptin. The rass answers at A, B and C are lud interruptins the placid saxes. The saxes shuld ignre them and keep their cmpsure. The 4 sl vices in the irst ars C need t state the time and match each ther's intensity and vlume. Make sure that the rass desn't rush their -eats in C and 4. All the quarters are shrt (ut nt t shrt) and accented with crescendi as they ascend. Ntice hw the ri at E is played; the 8ths in the irst ar are legat and staccat in the nd ar. The same phrasing shuld e emplyed every time this recurs. This ri is used t uild the rest the arrangement. E is ster than D. is the stest spt the arrangement with the tightly clsed plunger muted trmne sl. Then each chrus gets prgressively luder. Each chrus is rchestrated in a way that can't ail. The trumpets use hats (deries) rm G t the end. Plungers are a pr sustitute. Nt nly d the hats sund great, ut they lk aulus waving t the audience. I the high E6s in the irst trumpet are t high, ust make them C6s and n the inal chrd give the nd trumpet his E6 in the sta (E5). The key t playing this chart is getting a nice relaxed grve and then let the ri uild naturally. Keep it simple and swinging. - David Berger T view interactive vides Wyntn Marsalis leading the azz at Lincln Center Orchestra in rehearsals the Essentially Ellingtn 01-1 repertire please visit:

5 c c c c c c c c c c c c c c c c c c Reeds Trumpets Trmnes 1 Guitar Bass Drums Pian w w w Alt Sax Alt Sax Tenr Sax Baritne Sax Clarinet Medium swing q = 14 Senza Ped. p Brushes n n r... r... n w w n n n. A P n n n n. n n 9 S Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Pulished y Shapir, Bernstein C., Inc. CONDUCTOR

6 Ryal Garden Blues Alt Alt Cl. Tenr Bari. Tpts Tns. 1 Gtr B n n..... n n..... n n C7 n n.... n. G75 C7 n.... n C7-5 n Pn. Bass. n... n Drs. h. > S

7 Ryal Garden Blues Alt Alt Cl. Tenr Bari. B n n n n n n n n n n Tpts Tns. 1 Gtr..... n.... m7 5 7 B Pn.. Bass Drs... n.. h.. S

8 4 Ryal Garden Blues Alt Alt Cl. Tenr Bari. Tpts Tns. 1 n n n n n - - Sl - - C n Sl w Sl Sl w n n n n n n n Tutti n n n n n Gtr. C7 Bm7 5Cm7 5 C6 G75 C9 C75 Pn. Bass Drs. h.. Sticks Cr. h S

9 Ryal Garden Blues 5 Alt Alt Cl. Tenr Bari. Tpts. 1 P P P P Sl C7. Grwl I G. I Am7 n - - D7 G n Tns. 1 w w w Gtr. B 7 C7 Pn. Bass Drs. ½ HH n.. Rim knck S

10 6 Ryal Garden Blues Alt Alt Cl. Tenr Bari. D n n n n n n n.. n.... n n.. E n n n n n Tpts Sl - ½ valve n n n n n P P P P n. ½ valve n n. ½ valve Tns. 1 Gtr. B Pn. Bass Drs. Swing.. P Clsed HH RS. RS RS S

11 Ryal Garden Blues 7 Alt Alt Cl. Tenr Bari. Tpts Tns. 1 n n. ½ valve n. ½ valve. ½ valve.... I I Sl - Tight Plunger w/pixie B 7. Gtr. E 7 B G7 C7 7 B C7 7 B 7 Pn. Bass Drs. n RS RS. P n n. P RS S

12 8 Ryal Garden Blues Alt Alt Cl. Tenr Bari. Tpts Tns. 1 B.. -. E B n n Gtr. B E 7 B Pn. Bass.. r.. r.. r n.. r Drs. Clsed HH p S

13 Ryal Garden Blues 9 Alt Alt Cl. Tenr Bari. G. n.. n. Tenr Sax..... n n.. n n Tpts Tns. 1 Cm7-7. B n. Hat Hat Hat Hat B 7 I n Gtr. B /C 7 B B Pn. Bass Drs... r.. n r S

14 10 Ryal Garden Blues Alt Alt. n.. n n.. n n.. n..... Tenr Tenr Bari.. n.... n n... Tpts Tns. 1 E - 7. B - 7 n. G7 Cm7 75 n Sl Gtr. E 7 B G7 C7 75 B Pn. Bass Drs. n n Cr. S

15 Ryal Garden Blues 11 Alt Alt Tenr Tenr Bari. Tpts Tns. 1 Gtr. H C7 ~~~~~ n n n n n.... Open B... ȯ > > > ȯ > E 7 > > > ȯ C > B A7 ȯ G Pn. Bass.. n.. Drs. Ride S

16 1 Ryal Garden Blues Alt Alt Tenr Tenr Bari. Tpts Tns. 1 Gtr. Dm7 ~~~. Cm ȯ B ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ G7 C w. - ọ - ọ - ọ ọ 75 I C7 B 7 n n n n n n n Pn. Bass..... Drs. S

17 Ryal Garden Blues 1 Alt Alt Tenr Tenr Bari. Tpts Tns. 1 Gtr. 7 E 7 n n C7 n B A7 G7 n D7 C7 G7 7 B..... Open Open Open.... Open.... B 1. U w wu wu U w U w wu wu wu U w wu wu wu wu U U Pn. Bass Drs.. n n.... Cr. h. U U U h w S

18 s

19 s

20 ESSENTIALLY ELLINGTON The Essentially Ellingtn High Schl azz Band Prgram (EE) is ne the mst unique curriculum resurces r high schl azz ands in the United States, Canada, and American schls arad. EE extends the legacy Duke Ellingtn and ther seminal ig and cmpsers and arrangers y widely disseminating music, in its riginal arrangements, t high schl musicians r study and perrmance. Utilizing this music challenges students t increase their musical priciency and knwledge the azz language. EE cnsists the llwing initiatives and services: Supplying the Music: Each year azz at Lincln Center (ALC) transcries, pulishes, and distriutes riginal transcriptins and arrangements, alng with additinal educatinal materials including recrdings and teaching guides, t high schl ands in the U.S., Canada, and American schls arad. Talking aut the Music: Thrughut the schl year, and directrs and students crrespnd with pressinal clinicians wh answer questins regarding the EE music. EE strives t ster mentring relatinships thrugh crrespndence, varius cnerence presentatins, and the estival weekend. Pressinal eedack: Bands are invited t sumit a recrding their perrmance the charts either r entry in the cmpetitin r r cmments nly. Every sumissin receives a thrugh written assessment. Bands are als invited t attend EE Reginal estivals r an pprtunity t perrm and receive a wrkshp. Cmpetitin estival: The EE year culminates in a three-day estival at azz at Lincln Center s rederick P. Rse Hall. Students, teachers, and musicians participate in wrkshps, rehearsals, and perrmances. The estival cncludes with an evening cncert that eatures the three tp-placing ands, ining the azz at Lincln Center Orchestra with Wyntn Marsalis in cncert previewing next year s EE repertire. Band Directr Academy: This pressinal develpment sessin r and directrs is designed t enhance their aility t teach azz. Led y prminent azz educatrs each summer, this cmpanin prgram t EE integrates perrmance, histry, pedaggy, and discussin int an intensive educatinal experience r and directrs at all levels. AZZ AT LINCOLN CENTER is dedicated t inspiring and grwing audiences r azz. With the wrld-renwned azz at Lincln Center Orchestra and a cmprehensive array guest artists, azz at Lincln Center advances a unique visin r the cntinued develpment the art azz y prducing a year-rund schedule perrmance, educatin and radcast events r audiences all ages. These prductins include cncerts, natinal and internatinal turs, residencies, weekly natinal radi and televisin prgrams, recrdings, pulicatins, an annual high schl azz and cmpetitin and estival, a and directr academy, azz appreciatin curricula r students, music pulishing, children s cncerts, lectures, adult educatin curses, student and educatr wrkshps and interactive wesites. Under the leadership Managing and Artistic Directr Wyntn Marsalis, Chairman Rert. Appel and Executive Directr Greg Schll, azz at Lincln Center prduces thusands events each seasn in its hme in New Yrk City, rederick P. Rse Hall, and arund the wrld. r mre inrmatin visit alc.rg. azz at Lincln Center Educatin Clumus Circle, 1th lr, New Yrk, NY Phne: ax: ee@alc.rg alc.rg/essentiallyellingtn Printed in USA inalists and In-Schl Wrkshps: iteen ands are selected rm cmpetitin entries t attend the annual Cmpetitin estival in New Yrk City. T prepare, each inalist and receives an in-schl wrkshp led y a pressinal musician. Lcal EE memers are als invited t attend these wrkshps. As May 01, EE has distriuted scres t mre than 4,000 schls in all 50 states, Canadian prvinces and American schls arad. Since 1995, ver 04,000 students have een expsed t Duke Ellingtn s music thrugh Essentially Ellingtn. S U(a8081*OPOKOr(w

21 BASS Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A 9 B C7 G75 C7 C7-5 B m7 5 7 B C7 Bm7 5Cm7 5 C6 G75 C9 C75 C

22 Bass Ryal Garden Blues B 7 C7 D Swing E B E 7 B G7 C7 7 B C7 7 B 7 B E 7 B B /C 7 B

23 Bass G B Ryal Garden Blues E 7 B G7 C7 75 B H B E 7 B G7 Cm7 7 B 75 I B 7 E 7 B G7 C7 7 B B 1

24 DRUMS Medium swing q = 14 Brushes azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger (4) A B C Sticks Cr. ½ HH Rim knck D E Clsed HH RS RS RS Pulished y Shapir, Bernstein C., Inc.

25 Drums Ryal Garden Blues RS RS Clsed HH RS G (6) (11) Cr. H Ride (6) (1) I (6) (10) Cr.

26 GUITAR Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A 9 B (4) C7 G75 C7 C7-5 B m7 57 B (4) C7 Bm7 5Cm7 5 C6 G75 C9 C75 C B 7 C7 D Pulished y Shapir, Bernstein C., Inc.

27 Guitar E B (4) E 7 Ryal Garden Blues B G7 C7 7 B C7 7 B 7 B (4) E 7 B B /C 7 B G B E 7 B G7 C7 75 B H B (4) E 7 B G7 Cm7 7 B 75 I B 7 (4) E 7 B G7 C7 7 B B 1

28 PIANO Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES r Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger r Senza Ped. A 9 B C7 G75 C7 C7-5 B m7 5 7 B Pulished y Shapir, Bernstein C., Inc.

29 Pian Ryal Garden Blues C7 Bm7 5Cm7 5 C6 G75 C9 C75 C B 7 C7 D E B E 7 B G7 C7 7 B C7 7 B 7 B r r E 7 r

30 Pian Ryal Garden Blues B r r B /C 7 B r G B E 7 B G7 H C7 75 B B E 7 B G7 Cm7 7 B 75 I B 7 E 7 B G7 C7 7 B B 1

31 REED 1 Alt Sax Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C Pulished y Shapir, Bernstein C., Inc.

32 Reed 1 Ryal Garden Blues D E G H I

33 REED Alt Sax Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C Pulished y Shapir, Bernstein C., Inc.

34 Reed Ryal Garden Blues D E G H I

35 REED Clarinet Tenr Sax Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A Clarinet B Sl C D Pulished y Shapir, Bernstein C., Inc.

36 Reed E t Tenr Sax Ryal Garden Blues G Tenr Sax H I

37 REED 4 Tenr Sax Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C Pulished y Shapir, Bernstein C., Inc.

38 Reed 4 Ryal Garden Blues D E G H I

39 REED 5 Baritne Sax Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C Sl Pulished y Shapir, Bernstein C., Inc.

40 Reed 5 Ryal Garden Blues D E G H I

41 TROMBONE 1 Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C Sl Tutti D E Sl - Tight Plunger w/pixie B 7 B E 9 B Pulished y Shapir, Bernstein C., Inc.

42 Trmne 1 Cm7 7 B Ryal Garden Blues G B 7 E 7 B 7 G7 Cm7 75 H Open I

43 TROMBONE Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C D E Pulished y Shapir, Bernstein C., Inc.

44 Trmne Ryal Garden Blues G H I

45 TROMBONE Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C D E Pulished y Shapir, Bernstein C., Inc.

46 Trmne Ryal Garden Blues G H I

47 TRUMPET 1 Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C D E Pulished y Shapir, Bernstein C., Inc.

48 Trumpet 1 Ryal Garden Blues G Sl H C7 6 7 C A7 6 Dm7 G7 C I C7 7 C7 A7 D7 G7

49 TRUMPET Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C D E Pulished y Shapir, Bernstein C., Inc.

50 Trumpet Ryal Garden Blues G Hat H I Open

51 TRUMPET Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C D E Pulished y Shapir, Bernstein C., Inc.

52 Trumpet Ryal Garden Blues G Hat H I Open

53 TRUMPET 4 Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES A Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger B C Sl Sl C7 Grwl G Am7 D7 G D E Pulished y Shapir, Bernstein C., Inc.

54 Trumpet 4 Ryal Garden Blues G Hat H I Open

55 TRUMPET 5 Medium swing q = 14 azz at Lincln Center Lirary - Essentially Ellingtn ROYAL GARDEN BLUES Written y Clarence Williams and Spencer Williams Arranged y Billy Strayhrn Transcried y David Berger A B C D Sl - ½ valve E ½ valve ½ valve ½ valve ½ valve ½ valve Pulished y Shapir, Bernstein C., Inc.

56 Trumpet 5 G Hat Ryal Garden Blues H I Open