reed 1 (solo) east st. louis toodle-oo - slhsband.com · &b i to soprano sax 8 j 10 &b‰ j...
TRANSCRIPT
& b c Ó Œ œ œF ‰ Jœ œ œb œ œ œD mG .œ Jœ# œ œ œ œ
E oœ- œ œ œb œ œ œD m œ Œ ‰ Jœ œ œE o
& bœ œ ‰ Jœb œ œ Jœ ‰D m
œ œ# œ œ œ œ œE oJœ œ- Jœn œ œ œ œ#D m Bb
Ó ‰ Jœ œ œA G m C m B o
& bœ œ ‰ Jœb œ œ œD mH œ- œ# œ œ œ œ œE o
‰ œ Jœ œ œ œ œbD m
Ó Jœ œb ^ JœE o
~ ~ ~~
& b œ œ œ œ- œ œ#D m œ œ œ œ# œ jœ .œ#3
E o A 7 !D m G m D m !F#o
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
REED 1 (Solo)Clarinet
& b c ˙ ˙q = 164
pTenor Sax
˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ >F
œ# œ œ œ
& b ˙ ˙A
p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ >F
œ# œ œ œ
& b ˙ ˙B
p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙F
˙b œ Œp
& b 6C œ œ ‰ Jœ œ œb ‰ JœFœb œ ‰ Jœ œ œ# Œ ˙ ˙
D
p ˙ ˙ ˙ ˙ ˙# ˙
& b ˙ ˙ ˙ ˙ œ ˙ œ>F œ œ œ œ 8E to Clarinet 10F
& b ’ ’ ’ ’D m
G Clarinet
’ ’ ’ ’E o
’ ’ ’ ’D m
’ ’ ’ ’E o
& b ’ ’ ’ ’D m
’ ’ ’ ’E o
’ ’ ’ ’D m Bb
’ ’ ’ ’A G m C m B o
& b ’ ’ ’ ’D m
H
’ ’ ’ ’E o
’ ’ ’ ’D m
’ ’ ’ ’E o
& b ’ ’ ’ ’D m
’ ’ ’ ’E o A 7
’ ’ ’ ’D m G m D m
’ ’ ’ ’F#o
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
REED 1Tenor SaxClarinetSoprano Sax
& b 8I to Soprano Sax 10J
& b ‰ jœ œ. œ œ œ œ œ. œ3K
F
Soprano Sax(reed 2&3 lead)
œ œ œ œ. œ œ œ œ œ. œ3
3
œ œ œ œ. œ œ œ œ œ. œ3 3
œ œ œ œ Ó3
& b ‰ œ jœ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ# œ jœb œ jœ œ œ œb œ
& b !L to Tenor Sax
Ó Œ ‰ Jœ#Tenor Sax
Fœ œ# œ œ œn œb œ œbF .˙ ‰ Jœ
F 7 œ œ œb œ# œ œn ŒBb B o
& b ‰ jœ œb œn œn œ ‰ JœF D 7 œ œ œ œ# œ œ œG 7 C 7 œb œn œb œ ‰ Jœn œ# œnF D 7
Jœ œ Jœ# .œ JœG 7 C 7
Œ œ œ œ
& b ˙ ˙M
p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ritard.
.U Œ
East St. Louis Toodle-oo2
46061
Reed 1
& c ˙ ˙q = 164
pBaritone Sax
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >Fœ œ œ œ#
& ˙ ˙A
p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >Fœ œ œ œ#
& ˙ ˙B
p˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
F˙ œ Œ
p& 6C œ# œn ‰ Jœ œ œ ‰ JœF
œ œb ‰ Jœ œ œ Œ
& ˙ ˙D
p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ>F
œ œ# ^ œ œ
& 8E 9F
Œ œ œ œF
& ˙ ˙G
p˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ ˙ œ# œ œ œ
& ˙ ˙H ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ > œ>F
œ œ œ œ
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
REED 2Baritone SaxSoprano Sax
& b8I to Soprano Sax 10J
& b ‰ Jœ œ. œ œ œ œ œ. œ3
K
FSoprano Sax œ œ œ œ. œ œ œ œ œ. œ
3 3
œ œ œ œ. œ œ œ œ œ. œ3 3
lead
œ œ œ œ Ó3
& b ‰ œ Jœ œ œ œn œ(reed 3 lead) œ œ œb œ œ œ œ œ œ œ# œ œ Jœ œb ^ Jœ œn œb œ œ
& b n2L to Baritone Sax
‰ Jœ# œ œ œ œ œF
Baritone Sax œn œ# œ œ> œ œ œn ^ 5 Œ œ œ œ
& ˙ ˙M
p˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ritard. .U Œ
East St. Louis Toodle-oo2
46061
Reed 2
& b c ˙ ˙q = 164
pTenor Sax
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >Fœ œ œ œ#
& b ˙ ˙A
p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ >F œ œ œ œ#
& b ˙ ˙B
p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙F
˙ œ Œp
& b 6C
œn œb ‰ Jœ œ œ ‰ jœF
œ œb ‰ jœ œ œ Œ
& b ˙ ˙D
p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ>F œ œ# ^ œ œ
& b 8E 9F
Œ œ œ œF& b ˙ ˙G
p ˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ Œ ˙ œ# œ œ œ
& b ˙ ˙H
˙ ˙ ˙ ˙ ˙# ˙ ˙ ˙ ˙ ˙ œ > œ>F œ œ œ œ
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
REED 2 (Alternate Part)Tenor SaxSoprano Sax
& b 8I to Soprano Sax 10J
& b ‰ Jœ œ. œ œ œ œ œ. œ3
K
FSoprano Sax œ œ œ œ. œ œ œ œ œ. œ
3 3
œ œ œ œ. œ œ œ œ œ. œ3 3
lead
œ œ œ œ Ó3
& b ‰ œ Jœ œ œ œn œ(reed 3 lead) œ œ œb œ œ œ œ œ œ œ# œ œ Jœ œb ^ Jœ œn œb œ œ
& b 2L to Tenor Sax
‰ jœ# œ œ œ œ œFTenor Sax
œn œ# œ œ> œ œ œn ^ 5 Œ œ œ œ
& b ˙ ˙M
p ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ritard.
.˙U Œ
East St. Louis Toodle-oo2
46061
Reed 2
& b c ˙ ˙q = 164
pBass Sax ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >
Fœ œ œ œ
& b ˙ ˙A
p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >
Fœ œ œ œ
& b ˙ ˙B
p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙
F˙ œb Œ
p& b 6C œb œ ‰ Jœ œ œ# ‰ JœF
œ# œn ‰ Jœ œ œ Œ
& b ˙ ˙D
p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ ˙# œ>
Fœ œb ^ œ œ
& b 8E 9F
Œ œ œ œ#F
& b ˙ ˙G
p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ ˙ œ œ œ œ#
& b ˙ ˙H
˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ > œ>F
œ œ# ^ œ œ
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
REED 3Bass SaxSoprano Sax
& b 8I to Soprano Sax 10J
& b ‰ jœ œ. œ œ œ œ œ. œ3K Soprano Sax
Flead œ œ œ œ. œ œ œ œ œ. œ
3 3
œ œ œ œ. œ œ œ œ œ. œ3 3
(reed 2 lead)
œ œ œ œ Ó3
& b ‰ œ jœ œ œ œ# œlead œ œ œ œ œ œ œ œ œ œ œn œ Jœ œ Jœ œb œ œ œ
& b Œ œ ˙C 7L
Fœ œ œ œ œ œ œ œ œ œ. œ.3 3
3 jœ.œ Jœ .œ Jœ
F œb œ# œ œ> œ œ œ œ œ œb3
3F 7
œ œ œ .œ JœnBb B o
& b .œ Jœ œ# œ œF D 7 ˙ œ œ œ œG 7 C7 œ œb œ œ œ# œ Œ
F D 7 œn - Œ ÓG 7 to Bass Sax
Œ œn œ œ#Bass Sax
& b ˙ ˙M
p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙ritard. .U Œ
East St. Louis Toodle-oo2
46061
Reed 3
& c ˙ ˙q = 164
pBari Sax
˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >F œ œ œ œ
& ˙ ˙A
p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ >F œ œ œ œ
& ˙ ˙B
p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙F
˙ œb Œp
& 6C œb œ ‰ Jœ œ œ# ‰ JœFœ# œn ‰ Jœ œ œ Œ
& ˙ ˙D
p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ ˙# œ>F œ œb ^ œ œ
& 8E 9F
Œ œ œ œ#F
& ˙ ˙G
p ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ Œ ˙ œ œ œ œ#
& ˙ ˙H
˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# œ > œ>F
œ œ# ^ œ œ
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
REED 3 (Alternate Part)Baritone SaxSoprano Sax
& b8I to Soprano Sax 10J
& b ‰ jœ œ. œ œ œ œ œ. œ3K Soprano Sax
Flead œ œ œ œ. œ œ œ œ œ. œ
3 3
œ œ œ œ. œ œ œ œ œ. œ3 3
(reed 2 lead)
œ œ œ œ Ó3
& b ‰ œ jœ œ œ œ# œlead œ œ œ œ œ œ œ œ œ œ œn œ Jœ œ Jœ œb œ œ œ
& b Œ œ ˙C 7L
Fœ œ œ œ œ œ œ œ œ œ. œ.3 3
3 jœ.œ Jœ .œ Jœ
F œb œ# œ œ> œ œ œ œ œ œb3
3F 7
œ œ œ .œ JœnBb B o
& b n.œ Jœ œ# œ œF D 7 ˙ œ œ œ œG 7 C7 œ œb œ œ œ# œ Œ
F D 7 œn - Œ ÓG 7 to Bari Sax
Œ œn œ œ#Bari Sax
& ˙ ˙M
p˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙# ˙ ˙
ritard.
.˙U Œ
East St. Louis Toodle-oo2
46061
Reed 3
& b c 8q = 164 8A 8B 8C 7D
& b Œ œ œ œst. mute 8E 10F 8G (clarinet solo) 6H
& b œ > œ>st. mute
F œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ.I œ œ œ> œ ‰ Jœ# œ. œn . œ. œ. œ- œ
& b œ œ œ Ó ‰ œ Jœ œ- œ œ- œ œ Œ œ œ# œ œ œ œ œ œ œ œ ˙b > Œ ‰ Jœ
& b œ. œ. œ. œ. œ. œ. œ. œ.J œ œ œ> œ Œ ‰ jœ œ œ# œ œ œn œ .˙ œ- œ œ Jœ œ Jœn~ ~
& b œ œn œb œ ‰ Jœ# œ œ# œ œ ‰ Jœ œn œn œ œ œn œb œ ‰ Jœ# œ œ# œ œ ‰ Jœ œn œn œ- œ œ œ œ
& b 7K to open
Ó Œ ‰ Jœopen œ œ œ œ œ œ œ œ
L
Fœ œ œ> œ Œ
& b ‰ jœ œ œ# œ œ œn œ .˙ œ- œ- œ- Jœ œ Jœn œ œn œb œ ‰ Jœ# œ œ# Jœ œ- Jœb œn œn œ
& b œ œ œ œ Œ œ œ# Jœ œ- Jœb œn œ œ- œ Œ Ó 7M
!U
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
TRUMPET 1
& b c 7q = 164Ó jœ œ- jœplunger w/pixiegrowl
F
Solo
jœb .œn œ œ œA
Ó ‰ jœ œ œb ^ œ œb ^ œ œ- œ œ3
& b Ó Œ œ œ3
œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ ‰ œ œ3 3 œ œ œ jœ ‰ Ó3
& b Œ œ .œ Jœgrowl œ œ# œ œ œ œ
B
Ó Œ œ œ3
œ œ œ Jœ œ jœ3
œ Œ Œ œ œ3
& b œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ œ œ œ œ œ- Ó Œ œ œ# œ œ œn ^
& b œb ^ œ œ- ŒC
Œ œ œ# œ œ œn ^ œb ^ œ œ- Œ Œ œ œ# œ œ œn ^
& b œ œ œ œ œ œ Œ œ œ# œ œ œ œn ‰ jœ œb œ ‰ jœ œ œn ‰ jœ œn œb ‰ jœ œ œ œ# œgrowl
& b jœ# .œ œ œ œD
Ó ‰ jœ œ œbgrowl ‰ œb jœ œ œ œ œ Œ ‰ œ. œ. œ. œ. œ. œ. œ.3
& b œ œ œ œ œ œ^ œ
3
œ œ œ œ œ œ œ œst. 8ths
œ œ œ œ Œ !
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
TRUMPET 2
& b 8E to st. mute 10F
& b 8G 6H
œ ˙# > œ>st. mute
F œ œ œ œ
& b œ. œ. œ. œ. œ. œ. œ. œ.I
œ œ œ> œ ‰ Jœ œ. œ. œ. œn . œ- œb ^ œ œb œn Ó
& b ‰ œ jœ œ- œ œ- œ œ Œ œb œn œn œ œ œ œ œ œ œ > Œ ‰ jœ~ ~ ~ ~ ~ ~ ~
& b œ. œ. œ. œ. œ. œ. œ. œ.J
œ œ œ> œ Œ ‰ jœ œ œ# œ œ œ# œ œ œ# - œ- Œ
& b œb ^ œn ^ jœ .œ> œn œb œ œ# Œ œn œ œn œ ‰ Jœ œb œ œb ^ œn - œ œ# Œ œ œ
& b œn œ Œ Jœb .œb œ œn ^ œ œ 7K to open
Ó Œ ‰ jœopen
& b œ œ œ œ œ œ œ œL
Fœ œ œ> œ Œ 7to plunger w/pixie
Ó jœ œ- jœplunger w/pixiegrowl
Solo
& b jœ .œ œ œ œM
Ó ‰ jœ œ œb ‰ jœb ‰ œ œ œ œ3 Ó Œ œ œ
3
& b œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ œ œ œ œ ˙ Œritard. !U
East St. Louis Toodle-oo2
46061
Trumpet 2
? bbb c 8q = 164 8A 8B
? bbb ˙ ‰ Jœ œ œC
P˙b ‰ Jœ œ œ ˙ ‰ Jœ œ œ ˙b Ó
? bbb˙ ˙ ˙n Ó œb œ ‰ Jœ œ œb ‰ Jœ
Fœb œ ‰ Jœ œ œn Œ 8D
? bbb œ œ œ œ œ œ œ œBb7E Solo œ œ œ œ œ- ‰ Jœ œ œ œ œ œ- œ-Eb œ œ œ œ œ Œ~~~
? bbb Œ œ œ œ- œ-Bb7 œ- œ œ> Jœ .œBb7(#5)
‰ jœ œ œ œ œ œ œnEb œ œ œ œ# œ œ‰ J
œE o~ ~~
? bbbœn œ .˙Bb7
F œŒ ‰ J
œb œ œ .˙Œ
EbJœ œ Jœ Jœ .œEb7~~ ~~ ~~~ ~~ ~ ~ ~
? bbb ‰ Jœ œ œ œ- œ-Ab A o œ œ œ œ œ- œ-Eb/Bb C 7
Œ œ œ œ- œ-F 7 Bb7 .œ Jœn œ ŒEb C 7
? bbbœ œ œ# œ
Jœ- œ JœF 7 Bb7
œ Œ ÓEb 8G to st. mute
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
TROMBONE
? bbb 6H œ > œ>st. mute
Fœ œn ^ œ œ
? bbbœ. œ. œ. œ. œ. œ. œ. œ.I œ œ œ> œ
‰ Jœœ. œ. œ. œ. œ- œ œ œ œ Ó
? bbb ‰ œ Jœ œ- œ œ- œ œ Œ œ œ œ# œ œ œ œ œ œ œ > Œ ‰ Jœ~ ~ ~ ~ ~ ~ ~
? bbbœ. œ. œ. œ. œ. œ. œ. œ.J œ œ œ> œ
Œ ‰ Jœ œ œn œ œn œ œb .˙ Œ
? bbbœ œb ^ Jœ œ Jœ œb œ œb œ Œ œ œ œ œ Œ œn œ Œ œb - œb œ Œ œ œn
? bbbœ œ Œ Jœ .œ œ œb ^ œ œ 7K to open
Ó Œ ‰ Jœopen
? bbbœ œ œ œ œ œ œ œL
Fœ œ œ> œ
Œ ‰ Jœ œ œn œ œn œ œb .˙ Œ
? bbb˙ Jœ œ Jœ œb œ œb œ Œ œ œ œ œ Œ œn œ Œ œb œb œ Ó
? bbbœ œ Œ œn œ Œ ! 7M
!U
East St. Louis Toodle-oo2
46061
Trombone
? bbb c ˙ ˙C m
q = 164
p ˙ ˙D o
˙ ˙C m
˙ ˙D o
˙ ˙C m
˙ ˙D o
œ Œ >C m Ab
Fœ œ œ œG F m C m B o
? bbb ˙ ˙C m
A
p ˙ ˙D o
˙ ˙C m
˙ ˙D o
˙ ˙C m
˙ ˙D o
œ Œ >C m Ab
F œ œ œ œG F m C m B o
? bbb ˙ ˙C m
B
p ˙ ˙D o
˙ ˙C m
˙ ˙D o
˙ ˙C m
˙ ˙D o
˙ ˙nC m B o7
F˙b œ ŒBbm7 Eb7
p? bbb œ Œ œ ŒAbC
P œ Œ œ ŒEb7
œ Œ œ ŒAbœ Œ œ ŒAbm
œ Œ œb ŒEb Db
? bbb œ Œ œ ŒC 7 œb œ Œ œ œn ŒF œn œb Œ œ œ Œ ˙ ˙
C mD
p ˙ ˙D o
? bbb ˙ ˙C m
˙ ˙D o
˙ ˙C m
˙ ˙D o
œ^
> œ>C m B o C m
F œ œn^
œ^
œ^E o
? bbb œ Œ œ ŒBb7E
œ Œ œ Œ œ Œ œ ŒEbœ Œ œ Œ œ Œ œ ŒBb7
œ Œ œ œBb7(#5)
œ Œ ÓEb Ó Œ œnE o
? bbb œ Œ œ ŒBb7F
œ Œ œ Œ ˙ ˙Eb
.˙ ŒEb7
˙ ˙nAb A o
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
SOUSAPHONE
? bbb ˙ ˙Eb/Bb C 7
˙ ˙F 7 Bb7
œ œ œb œ œ œEb C 7
˙ ˙F 7 Bb7
œ œ œ œEb D oD o C m
F? bbb ˙ ˙
C mG
p ˙ ˙D o
˙ ˙C m
˙ ˙D o
˙ ˙C m
˙ ˙D o
œ Œ ˙C m Ab
œ œ œ œG F m C m D o
? bbb ˙ ˙C m
H
˙ ˙D o
˙ ˙C m
˙ ˙D o
˙ ˙C m
˙ ˙D o G 7
œ^
> œ>C m B o C m
F œ œn^
œ^
œ^E o
? bbb œ Œ œ ŒBb7I
œ Œ œ Œ œ Œ œ ŒEbœ Œ œ Œ œ Œ œ ŒBb7
œ Œ œ œBb7(#5)
œ Œ ÓEb.˙ ŒAb7 E o
? bbb œ Œ œ ŒBb7J
œ Œ œ Œ œ Œ œ ŒEb ˙ ˙Eb7
˙ œ œnAb A o
œ Œ œ ŒEb C 7
? bbb œ Œ œ ŒF 7 Bb7
œ œ œb œ œ ŒEb C 7Db7
œ Œ œ ŒF 7 Bb7
œ œn^
œ^
œ^Eb E o
œ Œ œ ŒBb7K
P œ Œ œ Œ
? bbb œ Œ œ ŒEbœ Œ œ Œ œ Œ œ ŒBb7
œ Œ œ œBb7(#5)
œ Œ ÓEb Ó Œ œn? bbb œ Œ œ ŒBb7L
F œ Œ œ Œ œ Œ œ ŒEb œ Œ œ œEb7
œ Œ œ œnAb A o
œ Œ œ œEb C 7
? bbb œ Œ œ ŒF 7 Bb7
œ œ œb œ ˙Eb C 7Db7
˙ ˙F 7 Bb7
œ œ œ œEb D o C m D o
˙ ˙C m
M
p ˙ ˙D o
? bbb ˙ ˙C m
˙ ˙D o
˙ ˙C m
˙ ˙D o
˙ ˙C m F mritard.
.˙U ŒC m
East St. Louis Toodle-oo2
46061
Sousaphone
& bbb c ’ ’¿ > ¿ >C m
q = 164
p
play deadened chord on 1&3, strong chord on 2&4
’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o
& bbb ’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m Ab
’ ’ ’ ’G F m C m B o
& bbb ’ ’¿ > ¿ >C mA
’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o
& bbb ’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m Ab
’ ’ ’ ’G F m C m B o
& bbb ’ ’¿ > ¿ >C mB
’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o
& bbb ’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m B o
’ ’¿ > ¿ >Bbm7 Eb7
& bbb ’ ’¿ > ¿ >AbC
’ ’¿ > ¿ >Eb7
’ ’¿ > ¿ >Ab’ ’¿ > ¿ >Abm
& bbb ’ ’¿ > ¿ >Eb Bb m6
’ ’¿ > ¿ >C 7 Û Û. ‰ JÛ Û Û. ‰ JÛB7 Bb7 A 7 Û Û. ‰ JÛ Û Û. ŒAb7 G 7
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
BANJO
& bbb ’ ’¿ > ¿ >C mD
’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o
& bbb ’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D oÛ. |> Û>C m G 7 C m
FÛ Û Û ÛE o
& bbb ’ ’ ’ ’Bb7
E all four beats, some syncopation
’ ’ ’ ’ ’ ’ ’ ’Eb
’ ’ ’ ’ ’ ’ ’ ’Bb7
& bbb ’ ’ ’ ’Bb7(#5) Û Œ ÓEb Ó Œ ÛE
o’ ’ ’ ’Bb7
F
’ ’ ’ ’
& bbb ’ ’ ’ ’Eb
’ ’ ’ ’Eb7
’ ’ ’ ’Ab A o
’ ’œ@ œ œEb/Bb C 7(top note of chord)
& bbb ’ ’ ’ ’F 7 Bb7
’ ’œ@ œ œEb C 7
’ ’ ’ ’F 7 Bb7
’ ’ ’ ’Eb D oD o C m
& bbb ’ ’ ’ ’C m
G
pstrong '4', a bit more active
’ ’ ’ ’D o
’ ’ ’ ’C m
’ ’ ’ ’D o
& bbb ’ ’ ’ ’C m
’ ’ ’ ’D o
’ ’ ’ ’C m Ab
’ ’ ’ ’G F m C m B o
& bbb ’ ’ ’ ’C m
H
’ ’ ’ ’D o
’ ’ ’ ’C m
’ ’ ’ ’D o
& bbb ’ ’ ’ ’C m
’ ’ ’ ’D o G 7 Û. |> Û>C m G 7 C m
FÛ Û Û ÛE o
East St. Louis Toodle-oo2
46061
Banjo
& bbb ’ ’ ’ ’Bb7
I
’ ’ ’ ’ ’ ’ ’ ’Eb
’ ’ ’ ’ ’ ’ ’ ’Bb7
& bbb ’ ’ ’ ’Bb7(#5) Û Œ ÓEb @ œ œn œAb7 A o(top note of chord)
’ ’ ’ ’Bb7
J
’ ’ ’ ’
& bbb ’ ’ ’ ’Eb Û@ Û@ Û Û Û ÛEb7
’ ’ ’ ’Ab A o
’ ’œ@ œ œEb C 7
Db7
& bbb ’ ’ ’ ’F 7 Bb7
’ ’œ@ œ œEb C 7
Db7
’ ’ ’ ’F 7 Bb7
’ Û Û ÛEb E o
& bbb ’ ’ ’ ’Bb7
K
P ’ ’ ’ ’ ’ ’ ’ ’Eb
’ ’ ’ ’ ’ ’ ’ ’Bb7
’ ’ ’ ’Bb7(#5)
& bbb Û Œ ÓEb Ó ‰ JÛ ÛAb7
’ ’ ’ ’Bb7
L
Fvery active as at "J"
’ ’ ’ ’
& bbb ’ ’ ’ ’Eb Û@ Û@ Û Û Û ÛEb7
’ ’ ’ ’Ab A o
’ ’œ@ œ œEb C 7
Db7
& bbb ’ ’ ’ ’F 7 Bb7
’ ’œ@ œ œEb C 7
Db7
’ ’ ’ ’F 7 Bb7
’ ’ ’ ’Eb D o C m D o
& bbb ’ ’¿ > ¿ >C mM
p ’ ’¿ > ¿ >D o’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o
& bbb ’ ’¿ > ¿ >C m
’ ’¿ > ¿ >D o|@ |@C m F mritard.
Û Œ ÓUC m
East St. Louis Toodle-oo3
46061
Banjo
? bbb c ˙ ˙C m
q = 164
p˙ ˙D o ˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D o
œ Œ >C m Ab
Fœn œ œ œG F m C m B o
? bbb ˙ ˙C mA
p˙ ˙D o
˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D oœ Œ >C m Ab
Fœn œ œ œG F m C m B o
? bbb ˙ ˙C mB ˙ ˙D o˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D o
˙ ˙C m B o7
F˙ œ Œ
Bbm7 Eb7
p? bbb Œ œœœ Œ œœœAbC
PŒ œœœb Œ œœœEb7 Œ œœœ Œ œœœAb
Œ œœœb ‰ Jœœœ œœœAbm
? bbb Œ œœœb Œ œœœEb DbŒ œœœn ‰ Jœœœ œœœC 7 œœ#n œœnb ‰ Jœœ œœ œœ# ‰ Jœœ
B 7 Bb7 Bb7 A 7
Fœœ# œœnb ‰ Jœœ œœ œœn ŒA 7 Ab Ab7 G 7
? bbb !C mD
!D o!C m !D o
!C m !D o œœœ ˙n > œœœ>C m B o C m
Fœœœ œœœbn œœœœb ^ œœœœ œœœœ
E o
? bbb Œ œœœn Œ œœœBb7E
Œ œœœ Œ œœœ Œ œœœ Œ œœœEb
Œ œœœ Œ œœœ
? bbb Œ œœœ Œ œœœBb7
Œ œœœ ‰ Jœœœ# ŒBb7(#5) œœœ Œ Ó
EbÓ Œ œœœb E o
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
PIANO
? bbb Œ œœœn Œ œœœBb7F
Œ œœœ Œ œœœ Œ œœœ Œ œœœEbŒ œœœb
œœœœ œ
Eb7
Œ œœœ Œ œœœn#Ab A o
? bbb Œ œœœ Œ œœœnEb/Bb C 7
Œ œœœbn Œ œœœbF 7 Bb7
Œ œœœ Œ œœœnEb C 7
Œ œœbn Œ œœbF 7 Bb7
!Eb D o C m D o
? bbb !C mG
!D o!C m !D o
!C m !D o!C m Ab
!G F m C m B o
&?
bbb
bbb
!!
C m
H
!!
D o!!
C m
!!
D o!!
C m
!!
D o G 7
œœ^ ˙> œœ>œœœ ˙n œœœC m B o C m
F
œœ Œ Óœœœ œœœbn œœœœb ^ œœœœ œœœœ
E o
? bbb œœœœn
œœœœ
Bb7I
œœœœ
œœœœ
œœœœ
œœœœ
Eb
œœœœ œ
œœœ Œ
? bbb œœœœ
œœœœ
Bb7
œœœœ
œœœœ# Œ
Bb7(#5) œœœœ Œ ÓEb ....
˙˙b ŒAb7 E o
&?
bbb
bbb
!Œ œœœ Œ œœœBb7
J
!Œ œœœ Œ œœœ
‰ jœœ œœ œœ## œœ œœ œœnn œœn‰ Jœ œ œn œ œn œ œbEb
.˙ Œœ œ# œ Œ
.˙ ŒEb7
!Ó
œœœb œœœAb A o
East St. Louis Toodle-oo2
46061
Piano
? bbbœœbn œœb œœn œœbn Jœœ
œœn JœœEb C 7Db7 ˙bn ˙nb
F 7 Bb7 œœb œœb œœn œœbn Jœœœœn Jœœ
Eb C 7Db7 ˙bn ˙nbF 7 Bb7
œ œœœb ^ œœœ œœœEb E o
? bbb œœœœn
œœœœBb7K
P œœœœ
œœœœ
œœœœ
œœœœ
Ebœ
œœœ œœœœ Œ
? bbb œœœœ
œœœœBb7
œœœœ
œœœœ# Œ
Bb7(#5) œœœœ Œ ÓEb
Œ ˙b œœAb7
? bbb Œ œœœ Œ œœœBb7L
FŒ œœœ Œ œœœ ! Œ œœœb ‰ Jœœœ Œ
Eb7
Ó œœœ# œœœAb A o
? bbbœœb œœb œœnn œœbn Jœœ
œœn JœœEb C 7Db7 ˙bn ˙nbF 7 Bb7 œœb œœb œœn œœbn Jœœ
œœn JœœEb C 7Db7 ˙bn ˙nbF 7 Bb7 œ œ œ œ
Eb
? bbb ˙ ˙C mM
p˙ ˙D o
˙ ˙C m ˙n ˙D o ˙ ˙C m ˙ ˙D o!
C m F m
ritard.
!UC m
East St. Louis Toodle-oo3
46061
Piano
? bbb c ˙ ˙C mq = 164
parco ˙ ˙D o
˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o
œ Œ >C m Ab
Fœ œ œ œG F m C m B o
? bbb ˙ ˙C mA
p˙ ˙D o
˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o
œ Œ >C m Ab
Fœ œ œ œG F m C m B o
? bbb ˙ ˙C mB
p˙ ˙D o
˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o˙ ˙nC m B o7
F˙b œ Œ
Bbm7 Eb7
p? bbb œ Œ œ ŒAbC
Pœ Œ œ ŒEb7 œ Œ œ ŒAb œ Œ œ ŒAbm œ Œ œb ŒEb Db
? bbb œ Œ œ ŒC 7 œb œ Œ œ œn ŒF
œn œb Œ œ œ Œ ˙ ˙C mD
p ˙ ˙D o
? bbb ˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D oœ > œ>C m B o C m
Fœ œn ^ œ œ
E opizz.
? bbb œ Œ œ ŒBb7E œ Œ œ Œ œ Œ œ ŒEb œ Œ œ Œ œ Œ œ ŒBb7 œ Œ œ œBb7(#5) œ Œ ÓEbÓ Œ œn E o
? bbb œ Œ œ ŒBb7F œ Œ œ Œ ˙ ˙Eb
.˙ ŒEb7 ˙ ˙nAb A o
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
BASS(Alternate Part)
? bbb ˙ ˙Eb/Bb C 7 ˙ ˙F 7 Bb7 œ œ œb œ œ œEb C 7 ˙ ˙
F 7 Bb7arcoœ œ œ œ
Eb D oD o C m
F? bbb ˙ ˙C mG
p ˙ ˙D o˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙
D oœ Œ ˙C m Ab œ œ œ œ
G F m C m D o
? bbb ˙ ˙C mH
˙ ˙D o˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o G 7
œ > œ>C m B o C m
Fœ œn ^ œ œ
E opizz.
? bbb œ Œ œ ŒBb7I œ Œ œ Œ œ Œ œ ŒEb œ Œ œ Œ œ Œ œ ŒBb7 œ Œ œ œBb7(#5) œ Œ ÓEb .˙ ŒAb7 E o
? bbb œ Œ œ ŒBb7J œ Œ œ Œ œ Œ œ Œ
Eb ˙ ˙Eb7 ˙ œ œnAb A o œ Œ œ Œ
Eb C 7
? bbb œ Œ œ ŒF 7 Bb7 œ œ œb œ œ ŒEb C 7Db7 œ Œ œ ŒF 7 Bb7 œ œn ^ œ œEb E o œ Œ œ ŒBb7K
Pœ Œ œ Œ
? bbb œ Œ œ ŒEb œ Œ œ Œ œ Œ œ ŒBb7 œ Œ œ œBb7(#5) œ Œ ÓEbÓ Œ œn
? bbb œ Œ œ ŒBb7L
Fœ Œ œ Œ œ Œ œ ŒEb œ Œ œ œEb7 œ Œ œ œnAb A o
? bbb œ Œ œ œEb C 7 œ Œ œ ŒF 7 Bb7 œ œ œb œ ˙
Eb C 7Db7 ˙ ˙F 7 Bb7 œ œ œ œEb D o C m D o
arco
? bbb ˙ ˙C mM
p˙ ˙D o
˙ ˙C m ˙ ˙D o ˙ ˙C m ˙ ˙D o˙ ˙C m F mritard.
.˙U ŒC m
East St. Louis Toodle-oo2
46061
Bass (Alternate Part)
ã c Y>C mq = 164
p !D o!C m !D o
!C m !D o!C m Ab
!G F m C m B o
ã !C mA (tpt solo)
!D o!C m !D o
!C m !D o!C m Ab !G F m C m B o
ã !C mB
!D o!C m !D o
!C m !D o!C m B o 7 !Bbm7 Eb7
ã !AbC y> Œ ÓEb7
!Ab y> Œ ÓAbm
!Eb Db
ã !C 7 Œ y Œ ychokes
Œ y Œ y !C mD
!D o
ã !C m !D o!C m !D o y Y y
C m B o C m
FŒ y y y
E ochokes
ã !Bb7E (tbn solo)
! !Eb Ó ‰ y jychokes y Œ ÓBb7
Œ ‰jy ‰
jy ŒBb7(#5)
chokes !Eb ! E o
ã !Bb7F
! !Eb !Eb7 !Ab A o
ã !Eb/Bb C 7 !F 7 Bb7 !Eb C 7 !F 7 Bb7 chokes‰jy ‰
jy ‰jy Œ
EbD oD o C m
46061
Jazz at Lincoln Center Library - Essentially Ellington
EAST ST. LOUIS TOODLE-OODuke Ellington and Bubber Miley
Arranged by Duke EllingtonTranscribed by Christopher Crenshaw
Copyright © 1927 Sony/ATV Music Publishing LLC and EMI Mills Music Inc. in the U.S.A.Copyright Renewed
This arrangement Copyright © 2016 Sony/ATV Music Publishing LLC and Emi Mills Music Inc. in the U.S.A.All Rights on behalf of Sony/ATV Music Publishing LLC Administered by Sony/ATV Music Publishing LLC,
424 Church Street, Suite 1200, Nashville, TN 37219Rights for the world outside the U.S.A. administered by EMI Mills Music Inc. (Publishing) and Alfred Music (Print).
International Copyright Secured. All Rights Reserved.Reprinted by Permission of Hal Leonard Corporation.
DRUMS
ã !C mG (clarinet solo)
!D o!C m !D o
!C m !D o!C m Ab
!G F m C m D o
ã !C mH
!D o!C m !D o
!C m !D o G 7 Œ Y> y>C mB o C m
Fy y y y
E ochokes
ã !Bb7I (brass soli)
Ó ‰jy Œchokes !Eb Ó ‰
jy ‰jy !Bb7 !Bb7(#5) !Eb ‰
jy ‰jy ‰
jy ŒAb7 E o
ã !Bb7J
! !Eb !Eb7 !Ab A o!Eb C 7
ã !F 7 Bb7 !Eb C 7Db7 !F 7 Bb7 Œ y y yEb E o
chokes !Bb7K (sax soli)
!
ã !Eb Ó ‰ y jy !Bb7 !Bb7(#5) !Eb Œ y Œ y
ã !Bb7L (sax solos)
Ó ‰jy Œ !Eb
!Eb7 !Ab A o!Eb C 7
ã !F 7 Bb7 Ó ‰jy ŒEb C 7Db7 !F 7 Bb7 !Eb D o C m D o
!C mM (tpt solo)
!D o
ã !C m !D o!C m !D o
!C m F mritard.
ÓU y ŒC m
crash
East St. Louis Toodle-oo2
46061
Drums
JAZZ AT LIN
CO
LN C
ENTER’S ESSEN
TIALLY ELLIN
GTO
N LIBRA
RY
East St. Louis Toodle-ooD
uke Ellington and Bubber Miley
Arra
nged
by D
uke Ellington
As p
erformed
by D
uke Ellington a
nd his Kentucky C
lub O
rchestraTra
nscribed
and
Edited
by C
hristopher C
renshaw
for Jazz a
t Lincoln Center
Full Score This tra
nscription w
as m
ad
e especia
lly for Jazz a
t Lincoln Center’s 20
16–17Tw
enty-Second A
nnual Essentially Ellington H
igh School Ja
zz Band
Progra
m.
Jazz a
t Lincoln Center a
nd A
lfred Pub
lishing g
ratefully a
cknowled
ge the coop
eration
and
supp
ort provid
ed in the p
ublica
tion of this year's Essentially Ellington m
usic series:
Founding
lead
ership sup
port for Essentially Ellington is p
rovided
by The Ja
ck and
Susan Rud
in Educa
tional a
nd Schola
rship Fund
.
Ma
jor supp
ort is provid
ed b
y Jessica a
nd N
ata
n Bibliow
icz, Alfred
and
Ga
il Engelb
erg, C
asey Lipscom
b,
Dr. J. D
ougla
s White a
nd the King
-White Fa
mily Found
ation, Aug
ustine Founda
tion, Ella Fitzg
erald
Cha
ritab
le
Founda
tion, Cha
rles Evans H
ughes M
emoria
l Founda
tion, and
the Ha
rold a
nd M
imi Steinb
erg C
harita
ble Trust.
Wynton M
arsa
lis, Ma
nag
ing a
nd A
rtistic Director, Ja
zz at Lincoln C
enter
NO
TES ON
PLAYING
ELLING
TON
At least 95%
of mod
ern-da
y larg
e ensemb
le jazz p
laying
comes out
of three trad
itions: Count Ba
sie’s ba
nd, D
uke Ellington’s b
and
, and
the orchestra
tions of sma
ll groups. Those young
pla
yers interested in ja
zz w
ill be d
raw
n to sma
ll groups for the op
portunity to im
provise a
nd for
pra
ctical rea
sons (it is much ea
sier to orga
nize 4 or 5 peop
le than it is 15).
Schools have ta
ken over the task (form
erly perform
ed b
y da
nce ba
nds)
of training
musicia
ns to be ensem
ble p
layers. D
ue to the Basie Ba
nd’s
pop
ularity a
nd its sim
plicity of style a
nd em
pha
sis on blues a
nd sw
ing,
the better ed
ucators ha
ve alm
ost exclusively ad
opted
this trad
ition for tea
ching ja
zz ensemb
le pla
ying. A
s wond
erful as C
ount Basie’s style is,
it doesn’t a
dd
ress ma
ny of the imp
ortant styles d
eveloped
under the
grea
t musica
l umb
rella w
e call ja
zz. Duke Elling
ton’s comp
rehensive and
eclectic a
pp
roach to m
usic offers an a
lternative.
The stylistic richness of Ellington’s m
usic presents a
grea
t challeng
e to ed
ucators a
nd p
erformers a
like. In Basie’s m
usic, the conventions a
re very nearly consistent. In Elling
ton’s music there a
re ma
ny more
exceptions to the rules. This ca
lls for grea
ter knowled
ge of the la
ngua
ge
of jazz. C
lark Terry, w
ho left Count Ba
sie’s ba
nd to join D
uke Ellington,
said
, “Count Ba
sie wa
s college, b
ut Duke Elling
ton wa
s gra
dua
te school.” Know
ledg
e of Ellington’s m
usic prep
ares you to p
lay a
ny big
ba
nd m
usic.
The following
is a list of p
erforma
nce conventions for the grea
t ma
jority of Elling
ton’s music. A
ny devia
tions or ad
ditions w
ill be sp
elled out in the
individ
ual p
erforma
nce notes which follow
.
1. Listen ca
refully ma
ny times to the Elling
ton recording
of these p
ieces. There are m
any sub
tleties that w
ill elude even the m
ost sop
histicated
listener at first. A
lthough it w
as never Elling
ton’s w
ish to have his record
ings im
itated
, knowled
ge of these d
efinitive versions w
ill lead
musicia
ns to ma
ke more ed
ucated
choices when
creating
new p
erforma
nces. Ellington’s m
usic, though w
ritten for sp
ecific individ
uals, is d
esigned
to inspire a
ll musicia
ns to express
themselves. In a
dd
ition, you will hea
r slight note d
ifferences in the record
ing a
nd the tra
nscriptions. This is intentiona
l, as there a
re m
istakes a
nd a
lterations from
the origina
l intent of the music in the
recording
. You should ha
ve your pla
yers pla
y wha
t’s in the score.
2. Genera
l use of swing
phra
sing. The trip
let feel preva
ils except for
ba
llad
s or where nota
tions such as even eig
hths or Latin a
pp
ear.
In these cases, eig
hth notes are g
iven equa
l value.
3. There is a cha
in of comm
and
in ensemb
le pla
ying. The lea
d p
layers
in each section d
etermine the p
hrasing
and
volume for their ow
n section, a
nd their section-m
ates m
ust conform to the lea
d. W
hen the sa
xes and
/ or tromb
ones pla
y with the trum
pets, the lea
d
trump
et is the boss. The lea
d a
lto and
tromb
one must listen to the
first trump
et and
follow him
. In turn, the other saxes a
nd trom
bones
must follow
their lead
pla
yers. When the cla
rinet lead
s the bra
ss section, the b
rass should
not overblow
him. Tha
t mea
ns that the
first trump
et is actua
lly pla
ying “second
.” If this is done effectively,
there will b
e very little ba
lancing
work left for the cond
uctor.
4. In Ellington’s m
usic, each p
layer should
express the ind
ividua
lity of his ow
n line. He m
ust find a
musica
l ba
lance of sup
porting
and
follow
ing the section lea
der a
nd b
ringing
out the chara
cter of the und
erpa
rt. Each p
layer should
be encoura
ged
to express his or
her persona
lity through the m
usic. In this music, the und
erpa
rts a
re pla
yed a
t the sam
e volume a
nd w
ith the sam
e conviction as
the lead
.
5. Blues inflection should p
ermea
te all p
arts a
t all tim
es, not just when
these opp
ortunities occur in the lead
.
6. Vib
rato is used
quite a
bit to w
arm
up the sound
. Saxes (w
ho most
frequently rep
resent the sensual sid
e of things) usua
lly emp
loy vib
rato on ha
rmonized
pa
ssag
es and
no vibra
to on unisons. The vib
rato ca
n be either hea
vy or light d
epend
ing on the context.
Occa
sionally sa
xes use a lig
ht vibra
to on unisons. Trump
ets (w
ho very often are used
for heat a
nd p
ower) use a
little vibra
to on ha
rmonized
pa
ssag
es and
no vibra
to on unisons. Tromb
ones (w
ho are usua
lly noble) d
o not use slide vib
rato. A
little lip vib
rato is
good
on harm
onized p
assa
ges a
t times. Try to m
atch the sp
eed of
vibra
to. In genera
l unisons are p
layed
with no vib
rato.
7. Crescend
o as you a
scend a
nd d
iminuend
o as you d
escend.
The upp
er notes of phra
ses receive a na
tural a
ccent and
the low
er notes are g
hosted. A
lto and
tenor saxop
hones need to use
sub-tone in the low
er pa
rt of their rang
e in order to b
lend p
roperly
with the rest of the section. This m
usic wa
s origina
lly written w
ith no d
ynam
ics. It pretty m
uch follows the na
tural tend
encies of the instrum
ents; pla
y loud in the loud
pa
rt of the instrument a
nd soft in
the soft pa
rt of the instrument. For insta
nce, a hig
h C for a
trump
et w
ill be loud
and
a low
C w
ill be soft.
8. Qua
rter notes are g
enerally p
layed
short unless otherwise
notated
. Long m
arks a
bove or b
elow a
pitch ind
icate full va
lue: not just long
, but full va
lue. Eighth notes a
re pla
yed full va
lue excep
t when follow
ed b
y a rest or otherw
ise notated
. All notes
longer tha
n a q
uarter note a
re pla
yed full va
lue, which m
eans if it
is followed
by a
rest, release the note w
here the rest ap
pea
rs. For exa
mp
le, a ha
lf note occurring on b
eat one of a
mea
sure would
be
released
on bea
t three.
9. Unless they a
re pa
rt of a leg
ato b
ackg
round fig
ure, long notes
should b
e pla
yed som
ewha
t fp (forte-pia
no); accent then d
iminish
the volume. This is im
porta
nt so that the m
oving p
arts ca
n be
heard
over the sustained
notes. Don’t just hold
out the long notes,
but g
ive them life a
nd p
ersonality: tha
t is, vibra
to, inflection, crescend
o, or dim
inuendo. There is a
grea
t dea
l of inflection in this m
usic, and
much of this is hig
hly interpretive. Stra
ight or
curved lines im
ply non-p
itched g
lisses, and
wa
vy lines mea
n scala
r (chrom
atic or d
iatonic) g
lisses. In genera
l, all rhythm
ic figures need
to b
e accented
. Accents g
ive the music life a
nd sw
ing. This is very
imp
ortant.
10. Elling
ton’s music is a
bout ind
ividua
lity: one person p
er pa
rt—d
o not d
ouble up
beca
use you have extra
pla
yers or need m
ore strength.
More tha
n one on a p
art m
akes it sound
more like a
concert ba
nd
and
less like a ja
zz ba
nd.
11. This is a
coustic music. Keep
am
plifica
tion to an a
bsolute minim
um;
in the best ha
lls, alm
ost no am
plifica
tion should b
e necessary.
Everyone needs to d
evelop a
big
sound. It is the cond
uctor’s job to
ba
lance the b
and
. When a
guita
r is used, it should
be a
hollow-
bod
y, unam
plified
rhythm g
uitar. Sim
ple three-note voicing
s should
be used
throughout. A
n acoustic string
ba
ss is a m
ust. In med
iocre or p
oorly desig
ned ha
lls, the ba
ss and
pia
no ma
y need a
bit of
a b
oost. I recomm
end m
iking them
and
putting
them throug
h the house sound
system. This should
provid
e a m
uch better tone
than a
n am
plifier. Keep
in mind
that the rhythm
section’s prim
ary
function is to accom
pa
ny. The ba
ss should not b
e as loud
as a
trum
pet. Tha
t is unnatura
l and
lead
s to over-am
plifica
tion, ba
d
tone, and
limited
dyna
mics. Sta
y aw
ay from
monitors. They p
rovide
a fa
lse sense of ba
lance.
12. W
e have includ
ed chord
chang
es on all rhythm
section pa
rts so tha
t students ca
n better und
erstand
the overall form
of each
comp
osition. It is incumb
ent upon the d
irector to ma
ke clear w
hat
is a com
posed
pa
rt versus a p
art to b
e imp
rovised. The record
ings
should m
ake this clea
r but in insta
nces where it is not; use your
best jud
gm
ent and
pla
y something
that sound
s good
, is swing
ing,
and
is stylistically a
pp
ropria
te to the piece. Som
etimes, a
student
ma
y not have the technica
l skill to perform
a d
ifficult tra
nscription,
especia
lly in the case of one of D
uke’s solos, in that ca
se, it is best to
have the stud
ent work som
ething out tha
t is ap
prop
riate. W
ritten p
assa
ges should
be stud
ied a
nd ea
rned w
hen possib
le, as they
are a
n imp
ortant p
ort of our jazz herita
ge a
nd help
the pla
yer und
erstand
the function of his pa
rticular solo or a
ccomp
anim
ent. A
ll soloists should lea
rn the chord cha
nges. Solos should
be looked
a
t as a
n opp
ortunity to further develop
the interesting them
atic
ma
terial tha
t Ellington ha
s provid
ed.
13. The nota
tion of plung
ers for the bra
ss mea
ns a rub
ber toilet
plung
er boug
ht in a ha
rdw
are store. Kirkhill is a
very good
bra
nd
(especia
lly if you can find
one of their old ha
rd rub
ber ones, like the
one I loaned
Wynton a
nd he lost). Trum
pets use 5” d
iam
eter and
trom
bones use 6” d
iam
eter. Where Plung
er/Mute is nota
ted, insert
a p
ixie mute in the b
ell and
use the plung
er over the mute. Pixies
are a
vaila
ble from
Hum
es & Berg in C
hicag
o. Tricky Sam
Na
nton a
nd his successors in the Elling
ton plung
er tromb
one chair d
id not
use pixies. Ra
ther, each of them
emp
loyed a
Nonp
areil (tha
t’s the b
rand
nam
e) trump
et straig
ht mute. N
onpa
reil has g
one out of b
usiness, but the Tom
Crow
n Nonp
areil trum
pet stra
ight m
ute is very close to the sa
me thing
. These mute/p
lunger com
bina
tions crea
te a w
onderful sound
(very close to the huma
n voice), but
they also ca
n create som
e intonation p
roblem
s which m
ust be
corrected b
y the lip or b
y using a
lternate slid
e positions. It w
ould
be ea
sier to move the tuning
slide, b
ut pa
rt of the sound is in the
strugg
le to correct the pitch. If this p
roves too much, stick w
ith the p
ixie—it’s p
retty close.
14. The d
rumm
er is the de fa
cto lead
er of the ba
nd. H
e estab
lishes the b
eat a
nd controls the volum
e of the ensemb
le. For big
ba
nd
pla
ying, the d
rumm
er needs to use a
larg
er ba
ss drum
than he
would
for sma
ll group
drum
ming
. A 22” or 24” is p
referred. The b
ass
drum
is pla
yed softly (nea
rly inaud
ible) on ea
ch bea
t. This is called
fea
thering the b
ass d
rum. It p
rovides a
very imp
ortant b
ottom to
the ba
nd. The b
ass d
rum sound
is not a b
oom a
nd not a
thud—
it’s in betw
een. The larg
er size drum
is necessary for the kicks; a
sm
aller d
rum just w
on’t be hea
rd. The key to this style is to just keep
tim
e. A rim
knock on two a
nd four (chop
ping
wood
) is used to lock
in the swing
. When it com
es to pla
ying fills, the few
er, the better.
15. The horn p
layers should
stand
for their solos and
soIis. Brass
pla
yers should com
e dow
n front for mod
erate to long
solos, surround
ing rests p
ermitting
. The sam
e ap
plies to the p
ep
section (two trum
pets a
nd one trom
bone in p
lunger/m
utes).
16. H
orns should p
ay close a
ttention to atta
cks and
releases.
Everyone should hit tog
ether and
release tog
ether.
17. A
bove all, everyone’s focus should remain at all tim
es on the swing. A
s the great bassist C
huck lsraels says, “The three most im
portant things in jazz are rhythm
, rhythm, and rhythm
, in that order.” Or as Bubber
Miley (Ellington’s first star trum
peter) said, “It don’t mean a thing if it
ain’t got that swing.”
GLO
SSARYThe follow
ing a
re terms w
hich describ
e conventions of jazz
perform
ance, from
trad
itional N
ew O
rleans to the p
resent ava
nt ga
rde.
Break • within the context of a
n ongoing
time feel, the rhythm
section stops for one, tw
o, or four ba
rs. Very often a soloist w
ill imp
rovise during
a
brea
k.
Call and response • rep
etitive pa
ttern of contrasting
exchang
es (d
erived from
the church proced
ure of the minister m
aking
a sta
tement
and
the congreg
ation a
nswering
with “a
men”). C
all-a
nd-resp
onse p
atterns usua
lly pit one g
roup of instrum
ents ag
ainst a
nother. Som
etimes w
e call this “tra
ding
fours,” “trad
ing tw
os,” etc., especia
lly w
hen it involves imp
rovisation. The num
bers d
enote the am
ount of m
easures ea
ch soloist or group
pla
ys. Another term
frequently used
is “sw
ap
ping
fours.”
Coda • a
lso known a
s the “outro.” “Tag
s” or “tag
ending
s” are outg
rowths
of vaud
eville bow
s that a
re frequently used
as cod
as. They m
ost often use d
eceptive ca
dences tha
t finally resolve to the tonic or they g
o from
the sub
-dom
inant a
nd cycle b
ack to the tonic.
Com
p • imp
rovise accom
pa
niment (for p
iano or g
uitar).
Groove • the com
posite rhythm
. This genera
lly refers to the comb
ined
repetitive rhythm
ic pa
tterns of the drum
s, ba
ss, pia
no, and
guita
r, b
ut ma
y also includ
e repetitive p
atterns in the horns. Som
e grooves
are sta
nda
rd (i.e., sw
ing, b
ossa nova
, sam
ba
), while others a
re m
anufa
ctured (orig
inal com
bina
tions of rhythms).
Head • m
elody chorus.
Interlude • a d
ifferent form (of rela
tively short length) sa
ndw
iched
betw
een two chorus form
s. Interludes tha
t set up a
key chang
e are
simp
ly called
mod
ulations.
Intro • short for introduction.
Ride pattern • the most com
mon rep
etitive figure p
layed
by the
drum
mer’s rig
ht hand
on the ride cym
ba
l or hi-hat.
Riff • a rep
eated
melod
ic figure. Very often, riffs rep
eat verb
atim
or with
slight a
lterations w
hile the harm
onies chang
e undernea
th them.
Shout chorus • also know
n as the “out chorus,” the “sock chorus,” or
sometim
es shortened to just “the shout.” It is the fina
l ensemb
le pa
ssag
e of m
ost big
ba
nd cha
rts and
where the clim
ax m
ost often hap
pens.
Soli • a ha
rmonized
pa
ssag
e for two or m
ore instruments p
laying
the sa
me rhythm
. It is customa
ry for horn pla
yers to stand
up or even
move in front of the b
and
when p
laying
these pa
ssag
es. This is done so
that the a
udience ca
n hear them
better a
nd to p
rovide the a
udience
with som
e visual interest. A
soli sound p
articula
r to Ellington’s m
usic com
bines tw
o trump
ets and
tromb
one in plung
ers/mutes in tria
dic
harm
ony. This is called
the “pep
section.”
Stop time • a
regula
r pa
ttern of short brea
ks (usually filled
in by
a soloist).
Swing • the p
erfect confluence of rhythmic tension a
nd rela
xation in
music crea
ting a
feeling eup
horia a
nd cha
racterized
by a
ccented
wea
k bea
ts (a d
emocra
tization of the b
eat) a
nd eig
hth notes that a
re p
layed
as the first a
nd third
eighth notes of a
n eighth-note trip
let. Duke
Ellington’s d
efinition of swing
: when the m
usic feels like it is getting
faster,
but it isn’t.
Vamp • a
repea
ted tw
o- or four-ba
r chord p
rogression. Very often, there
ma
y be a
riff or riffs pla
yed on the va
mp.
Voicing • the specific sp
acing
, inversion, and
choice of notes that m
ake
up a
chord. For insta
nce, two voicing
s for G7 could
be:
Note tha
t the first voicing includ
es a 9th a
nd the second
voicing includ
es a
9th and
a 13th. The a
dd
ition of 9ths, 11ths, 13ths, and
altera
tions are up
to the d
iscretion of the pia
nist and
soloist.
THE FO
UR ELEM
ENTS O
F MU
SICThe follow
ing a
re pla
ced in their ord
er of imp
ortance in ja
zz. We should
never lose p
erspective on this ord
er of priority.
Rhythm • m
eter, temp
o, groove, a
nd form
, including
both m
elodic
rhythm a
nd ha
rmonic rhythm
(the speed
and
regula
rity of the chord
chang
es).
Melody • a
tune or series of pitches.
Harm
ony • chords a
nd voicing
s.
Orchestration • instrum
entation a
nd tone colors.
—D
avid Berger
EAST ST. LOU
IS TOO
DLE-O
O • IN
STRUM
ENTATIO
NReed
1 – Tenor Sax/C
larinet/Sop
rano Sa
x
Reed 2 – Ba
ri Sax/Sop
rano Sa
x
Reed 3 – Ba
ss Sax/Sop
rano Sa
x
Reed 2 (A
lternate) – Tenor Sa
x/Sopra
no Sax
Reed 3 (A
lternate) – Ba
ri Sax/Sop
rano Sa
x
Trump
et 1
Trump
et 2
Tromb
one
Sousap
hone
Bass (A
lternate)
Banjo
Piano
Drum
s
ORIG
INAL REC
ORD
ING
INFO
RMATIO
NC
omposer • D
uke Ellington a
nd Bub
ber M
iley
Arranger • Duke Elling
ton
Recorded • Novem
ber 29, 1926 in N
ew York
Master # • E4110
[First take]
Original Issue • Voca
lion 1064 [78]
Currently available on C
D • D
ecca/G
RP GRD
3-640 (Early Ellington:
The Com
plete Brunswick and Vocalion Recordings of D
uke Ellington, 1926–1931) [3 C
Ds]
Currently available as digital dow
nload • Am
azon/iTunes: Early
Ellington: The Com
plete Brunswick and Vocalion Recordings of D
uke Ellington, 1926-1931
Personnel • Duke Elling
ton (lead
er, pia
no); Bubb
er Miley, Louis M
etcalf
(trump
et); Joe Na
nton (tromb
one); unknown (cla
rinet, tenor sax); Ed
ga
r Sa
mpson (a
lto sax); O
tto Ha
rdw
ick (ba
ss sax); Fred
Guy (b
anjo); M
ack
Shaw
(tuba
); Sonny Greer (d
rums)
Soloists • Bubb
er Miley (trum
pet); Joe N
anton (trom
bone); unknow
n (cla
rinet); Bubb
er Miley (trum
pet)
REHEARSAL N
OTES
• There a
re a ha
ndful of la
ndm
ark yea
rs in Duke Elling
ton’s long
career: his first C
arneg
ie Ha
ll concert in 1943, the New
port Ja
zz Festiva
l explosion of 1956, returning
to Victor Record
s for a series
of ma
ny of his grea
test classics in 1940
, but first a
nd forem
ost wa
s the op
ening a
t the Cotton C
lub in 1927. It w
as this eng
ag
ement tha
t led
to his first Victor contra
ct and
also to a
series of coast-to-coa
st ra
dio b
road
casts tha
t sprea
d his new
and
innovative m
usic far a
nd
wid
e to a hug
e aud
ience.
• O
ver the course of his long ca
reer, Ellington ha
d only tw
o ma
jor colla
bora
tors. Billy Strayhorn’s 25 yea
rs in that role ha
ve been
well d
ocumented
; less noted is the eq
ually influentia
l input tha
t trum
peter Ja
mes “Bub
ber” M
iley (1903–32) m
ad
e during
his five yea
rs with Elling
ton. Up
until then, the ba
nd ha
d b
een pla
ying w
hat
wa
s known a
s “sweet” m
usic—d
ancea
ble m
usic without m
uch d
epth or b
lues content. Ellington reca
lled tha
t, “Our b
and
chang
ed
its chara
cter when Bub
ber ca
me in. H
e used to g
rowl a
ll night long
, p
laying
gutb
ucket on his horn. That w
as w
hen we d
ecided
to forget
all a
bout the sw
eet music.” It w
ent beyond
just the feeling of M
iley’s p
laying
; Ellington w
as a
ble to m
ine out of Miley com
positiona
l id
eas tha
t led to m
any of his ea
rly classics. M
any ca
lled him
the b
and
’s “idea
” ma
n.
• East St. Louis Toodle-oo is just such a
piece. Elling
ton frequently
cam
e up w
ith dra
ma
tic stories to inspire his m
usicians to interp
ret new
music—
for this he credited
the narra
tive to Miley him
self: “This is a
n old m
an, tired
from w
orking in the field
since sunup, coming
up
the road
in the sunset on his wa
y home to d
inner. Tired b
ut strong,
and
humm
ing in tim
e to his broken g
ate—
or vice versa.” In a
ny ca
se, the music itself is inherently d
ram
atic.
• To p
repa
re the ba
nd for p
laying
this very early Elling
ton, it will
help to g
ive them a
pla
ylist of their 1926–1928 recording
s. Listen to Black and Tan Fantasy, The M
ooche, Blues I Love To Sing and
other cla
ssics. You’ll note that ea
ch one has a
specific m
ood, a
nd your
assig
nment is to ha
ve your ba
nd a
ttain tha
t mood
when they p
lay
the music. This w
ill go a
long w
ay in help
ing them
ap
proa
ch this cla
ssic idiom
.
• The introd
uction is one big
crescendo a
nd d
ecrescendo, a
nd
ma
king tha
t come off p
erfectly is key to estab
lishing the feeling
of the entire p
iece. Doing
it prop
erly is ba
sed on one sim
ple p
rinciple:
Each m
easure (a
ctually ea
ch bea
t) should b
e louder or softer tha
n the one tha
t preced
es it. This sounds ea
sy, but ta
kes a lot of w
ork to d
o well. M
ost ba
nds tend
to get loud
all a
t one point tow
ard
s the end
of the pa
ssag
e. The best ensem
bles d
o it bea
t by b
eat, a
nd
the effect is thrilling. Ta
ke as m
uch time to m
ake this ha
pp
en as
needed
. Estab
lish the dyna
mics a
t the beg
inning a
nd end
of the p
hrase so everyone know
s where they’re g
oing.
• The trum
pet solo tha
t starts a
t A is p
layed
in Miley’s style. H
e wa
s influenced
by Joe “King
” Oliver, w
hose plung
er style alw
ays ha
d
a ta
lking sound
, with m
ore wa
-wa
effects than the la
ter Ellington
trump
eters used. Try a
nd incorp
orate a
s much of this into p
laying
the solos throug
hout as p
ossible.
• It’s d
ifficult to m
ake horns energ
ize long ha
lf-note phra
ses at this
temp
o—b
ut each should
be p
layed
with a
n internal rhythm
and
vib
rato tha
t relates to the tem
po.
• Even thoug
h the drum
s are used
spa
ringly on the orig
inal, you ca
n exp
eriment w
ith having
them p
lay unob
trusively.
• M
ake the m
ost of the sudd
en mf a
t the end of C
for dra
ma
tic effect.
• The rhythm
ically unison notes a
t the end of D
are a
lso vital
elements—
the horns and
rhythm section m
ust hit all of them
p
recisely.
• The trom
bone solo a
t E will sound
best if p
layed
as close to the
origina
l as p
ossible. Pra
ctice the two b
ar b
reak a
t the end of E so
that it’s p
erfectly in time a
nd lea
ds into F.
• M
ake the m
ost of the decrescend
o into G to return to the m
ood of
the introduction. It ca
n never be stressed
too strongly how
much
dyna
mic shifts a
dd
to the success of a p
erforma
nce. It’s an elem
ent tha
t sepa
rates a
grea
t ba
nd from
a g
ood one.
• Sa
me com
ments a
bout the cla
rinet solo at G
for the tromb
one solo in term
s of the origina
l feeling, a
nd the ensem
ble notes tha
t lead
to I.
• Bra
ss soli at I is a
real p
eriod p
iece, and
the phra
sing is virtua
lly like ra
gtim
e, with a
lot of clipp
ed notes. M
ake a
distinction b
etween the
stacca
to and
lega
to phra
ses, and
the two m
easures b
efore J can
be p
layed
louder a
nd w
ith grea
ter intensity that the first six—
sam
e g
oes for the mea
sure before K
.
• The sa
x soli at K
is simila
r to the trump
ets at I, w
ith the sam
e com
ment a
bout stressing
the two-b
ar b
reak b
efore L.
• L is a
conversation b
etween the sections a
nd should
sound
that w
ay. This m
ay b
e a g
ood sp
ot to have the b
and
sing their
pa
rts ba
ck and
forth. This is the highlig
ht of the piece, m
aking
the d
ecrescendo b
ack into the intro m
ateria
l at M
all the m
ore im
porta
nt to pull off.
—Loren Schoenberg
To listen to origina
l recording
s, view intera
ctive videos of W
ynton M
arsa
lis lead
ing the Ja
zz at Lincoln C
enter Orchestra
in rehearsa
ls, and
ob
tain rehea
rsal g
uides for the Essentially Ellington 20
16–17 repertoire
plea
se visit jazz.org
/EE.
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb ccccccccccc
Reeds 123
Trumpets 12
Trombone
Sousaphone
Banjo
Drum
s
Piano
˙˙
˙˙
˙˙!!!
˙˙
’’
¿>
¿>
!
˙˙
Y > Cm
q = 164
p p ppp p
Tenor Sax
Bari Sax
Bass Saxp play deadened chord on 1&
3, strong chord on 2&4
˙˙
˙˙
˙#˙!!!
˙˙
’’
¿>
¿>
!
˙˙!
D o
˙˙
˙˙
˙˙!!!
˙˙
’’
¿>
¿>
!
˙˙!
Cm
˙#˙
˙˙
˙˙!!!
˙˙
’’
¿>
¿>
!˙n
˙!
D o
˙˙
˙˙
˙˙!!!
˙˙
’’
¿>
¿>
!˙
˙!
Cm
˙˙
˙˙
˙˙#!!!
˙˙
’’
¿>
¿>
!
˙˙!
D o
œŒ
>
œŒ
>œ
Œ>!!!
œŒ
>
’’
¿>
¿>
!
œŒ
>!
Cm
A b FFFFF
œ#œ
œœ
œœ
œœ#
œœ
œœ
!
Ójœ
œ-jœ
!
œœ
œœ
’’
’’
!œn
œœ
œ
!
GF
mC
mB o
plunger w/pixie
growl
F Solo
46061S
Jazz at Lincoln Center Library - Essentially Ellington
EA
ST ST. LO
UIS TO
OD
LE
-OO
Duke E
llington and Bubber M
ileyArranged by D
uke EllingtonTranscribed by C
hristopher Crenshaw
CO
ND
UC
TOR
Copyright ©
1927 Sony/ATV M
usic Publishing LLC and EM
I Mills M
usic Inc. in the U.S.A
.C
opyright Renew
ed This arrangem
ent Copyright ©
2016 Sony/ATV M
usic Publishing LLC and Em
i Mills M
usic Inc. in the U.S.A
.A
ll Rights on behalf of Sony/ATV
Music Publishing LLC
Adm
inistered by Sony/ATV M
usic Publishing LLC,
424 Church Street, Suite 1200, N
ashville, TN 37219
Rights for the w
orld outside the U.S.A
. administered by EM
I Mills M
usic Inc. (Publishing) and Alfred M
usic (Print).International C
opyright Secured. All R
ights Reserved.
Reprinted by Perm
ission of Hal Leonard C
orporation.
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
˙˙
˙˙
˙˙!
jœb. œn
œœœ
!
˙˙
’’
¿>
¿>
!
˙˙!
Cm
A
pppp p(tpt solo)
˙˙
˙˙
˙#˙!
Ó‰
jœ œ œb ^
!
˙˙
’’
¿>
¿>
!
˙˙!
D o
˙˙
˙˙
˙˙!
œœb ^œœ-œœ
3
!
˙˙
’’
¿>
¿>
!
˙˙!
Cm
˙#˙
˙˙
˙˙!
ÓŒ œœ3
!
˙˙
’’
¿>
¿>
!˙n
˙!
D o
˙˙
˙˙
˙˙!
œœœœœ œœ3
!
˙˙
’’
¿>
¿>
!˙
˙!
Cm
˙˙
˙˙
˙˙#!
œ œœœœœ œ ‰œœ3
3
!
˙˙
’’
¿>
¿>
!
˙˙!
D o
œŒ
>
œŒ
>œ
Œ>
!
œœœ jœ ‰Ó3
!
œŒ
>
’’
¿>
¿>
!
œŒ
>
!
Cm
A b FFFFF
œ#œ
œœ
œœ
œœ#
œœ
œœ
!
Œœ
.œJ œ
!
œœ
œœ
’’
’’
!œn
œœ
œ
!
GF
mC
mB o
growl
East St. Louis Toodle-oo246061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
˙˙
˙˙
˙˙!
œœ# œœ
œ œ
!
˙˙
’’
¿>
¿>
!
˙˙!
Cm
B
pppp
˙˙
˙˙
˙#˙!
ÓŒ œ œ3
!
˙˙
’’
¿>
¿>
!
˙˙!
D o
˙˙
˙˙
˙˙!
œœœJ œœjœ
3
!
˙˙
’’
¿>
¿>
!
˙˙!
Cm
˙#˙
˙˙
˙˙!
œŒ
Œ œœ3
!
˙˙
’’
¿>
¿>
!˙n
˙!
D o
˙˙
˙˙
˙˙!
œœœœœ œœ3
!
˙˙
’’
¿>
¿>
!˙
˙!
Cm
˙˙
˙˙
˙˙#!
œ œœœœœ œœœ
!
˙˙
’’
¿>
¿>
!
˙˙!
D o
˙˙
˙˙
˙˙!
œœœ-Ó!
˙˙b
’’
¿>
¿>
!
˙˙!
Cm
B o FFFFF
˙bœ
Œ
˙œ
Œ˙
œbŒ
!
Œœœ# œ œœn ^
!
˙œ
Œ
’’
¿>
¿>
!
˙œ
Œ
!
B bm7
E b7 ppppp
East St. Louis Toodle-oo3
46061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!!!
œb ^œœ -Œ
˙‰J œœœ
œ ŒœŒ
’’
¿ >¿
>
!
Œ œœœŒœœœ
!
A b
C
PPP
!!!!
Œ œœ# œ œœn ^
˙b‰J œœœ
œ Œœ
Œ
’’
¿ >¿
>
!
Œ œœœ bŒ
œœœ
y >Œ
Ó
E b7
!!!!
œb ^œœ -Œ
˙‰J œœœ
œ ŒœŒ
’’
¿ >¿
>
!
Œ œœœŒœœœ
!
A b
!!!!
Œœœ# œ œœn ^
˙bÓ
œŒ
œŒ
’’
¿ >¿
>
!
Œœœœ b
‰J œœœ œœœ
y >Œ
Ó
A bm
!!!!
œœ œœ œœ Œ˙
˙
œŒ
œbŒ
’’
¿>
¿>
!
Œœœœ b
Œœœœ
!
E bB bm
6
!!!!
œœ# œœ œœn‰ jœ˙n
Ó
œŒ
œŒ
’’
¿>
¿>
!
Œœœœn
‰J œœœ œœœ
!
C7
œœ‰J œœœb‰J œ
œ#œn‰J œœœ‰J œ
œbœ‰J œœœ#‰J œ
!
œbœ‰jœ œœn‰
jœœbœ‰ J œœœb‰ J œ
œbœ Œœœn Œ
ÛÛ .‰J ÛÛÛ .‰J Û
!œœ #n
œœ nb‰J œœ œœ œœ #
‰J œœ
Œy
Œy
B7
B b7A
7
chokes
FFFFFF
œbœ‰J œœœ#Œ
œœb‰J œœœŒ
œ#œn‰J œœœŒ
!
œnœb‰jœ œœœ# œ
œbœ‰ J œœœnŒ
œnœb Œœœ Œ
ÛÛ .‰J ÛÛÛ .Œ
!œœ #
œœ nb‰J œœ œœ œœ n
Œ
Œy
Œy
A b7G
7 growl
East St. Louis Toodle-oo446061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
˙˙
˙˙
˙˙!
jœ#. œ
œœœ
!
˙˙
’’
¿>
¿>
!!!
Cm
D
pppp
˙˙
˙˙
˙#˙!
Ó‰
jœ œ œb
!
˙˙
’’
¿>
¿>
!!!
D o
growl
˙˙
˙˙
˙˙!
‰œbjœœ
œœ!
˙˙
’’
¿>
¿>
!!!
Cm
˙#˙
˙˙
˙˙!
œŒ
‰ œ .œ .œ .œ .œ .œ .œ .3
!
˙˙
’’
¿>
¿>
!!!
D o
˙˙
˙˙
˙˙!
œœœœ œœ œ3
!
˙˙
’’
¿>
¿>
!!!
Cm
˙˙
˙˙
˙˙#!
œœœœœ œœœ
!
˙˙
’’
¿>
¿>
!!!
D o st. 8ths
œ˙
œ>œ
˙œ >
œ˙#
œ >
!
œœœœ
Œ
!
œ ^>
œ>Û .
| >Û >
!œœœ
˙n >œœœ >
yY
y
Cm
G7
Cm
FFFFFF F
œœ
œœ
œœ# ^
œœ
œœb ^
œœ
Œœ
œœ
!!
œœn ^
œ ^œ ^
ÛÛ
ÛÛ
!œœœ œœœ bn
œœœœ b ^œœœœ
œœœœ
Œy
yy
E ochokes
st. mute
East St. Louis Toodle-oo5
46061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!!!!
œœœ œœœ œœ
œŒ
œŒ
’’
’’
!
Œœœœ n
Œœœœ
!
B b7B b7
Eto C
larinet
all four beats, some syncopation
(tbn solo)
to st. mute
Solo
!!!!!
œœ œ œ œ -‰ J œ
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
!
!!!!!œœœœ œ -
œ -
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
!
E bE b
!!!!!œœ œœœ
Œ
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
Ó‰
yjy
chokes
!!!!!
Œœœ œ -
œ -
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
yŒ
Ó
B b7B b7
!!!!!
œ -œ œ >J œ
. œ
œŒ
œœ
’’
’’
!
Œœœœ
‰J œœœ #Œ
Œ‰
jy‰jyŒ
B b7 ( #5 )
B b7 ( #5 )
chokes
!!!!!
‰jœ œ œ œ œ œœn
œŒ
Ó
ی
Ó!œœœ
ŒÓ!
E bE b
!!!!!œ œ œœ# œ œb‰ J œ
ӌ
œnÓ
ŒÛ
!
ӌ
œœœ b
!
E oE o
~~~~
~~
East St. Louis Toodle-oo646061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!!!!œn
œ. ˙
œŒ
œŒ
’’
’’
!
Œœœœ n
Œœœœ
!
B b7B b7
F
!!!!!œ
Œ‰
J œbœ
œ
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
!
!!!!!.˙
Œ
˙˙
’’
’’
!
Œœœœ
Œœœœ
!
E bE b
!!!!!
J œœ
J œJ œ
.œ
.˙Œ
’’
’’
!
Œœœœ b
œœœœ
œ
!
E b7E b7
!!!!!
‰J œ
œœ
œ -œ -
˙˙n
’’
’’
!
Œœœœ
Œœœœ nb
!
A bA o
A bA o
!!!!!œ
œœ
œœ -
œ -
˙˙
’’
œ@œ
œ
!
Œœœœn
Œœœœ n
!
E b/B bC
7
E b/B bC
7
(top note of the chord)
~~~~~
~~~~~~
~~~~~~~
East St. Louis Toodle-oo7
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Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!!!!
Œœ
œœ -
œ -
˙˙
’’
’’
!
Œœœœ bn
Œœœœb
!
F7
B b7
F7
B b7
!!!!!.œ
J œnœ
Œ
œœ
œbœ
œœ
’’
œ@œ
œ
!
Œœœœ
Œœœœn
!
E bC
7
E bC
7
!!!!!œ
œœ#
œJ œ -
œJ œ
˙˙
’’
’’
!
Œœœ bn
Œœœb
!
F7
B b7
F7
B b7
chokes
ӌ
œœ
Œœ
œœ
Œœ
œœ#
!!
œŒ
Ó
œœ
œœ
’’
’’
!!
‰jy
‰jy
‰jy
Œ
E bE bD o
D oC
m Clarinet
FFF
FSolo
‰J œ
œœb
œœ
œ
˙˙
˙˙!!!
˙˙
’’
’’
!!!
Dm
Cm
G
to st. mute
ppppstrong '4', a bit m
ore active
(clarinet solo)
. œJ œ#
œœ
œœ
˙˙
˙#˙!!!
˙˙
’’
’’
!!!
E oD o
East St. Louis Toodle-oo846061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Clar.
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
œ -œ
œœb
œœ
œ
˙˙
˙˙!!!
˙˙
’’
’’
!!!
Dm
Cm
œŒ
‰J œ
œœ
˙#˙
˙˙!!!
˙˙
’’
’’
!!!
E oD o
œœ
‰J œb
œœ
J œ‰
˙˙
˙˙!!!
˙˙
’’
’’
!!!
Dm
Cm
œœ#
œœ
œœ
œ
˙˙
˙˙#!!!
˙˙
’’
’’
!!!
E oD o
J œœ -
J œnœ
œœ
œ#
œŒ
˙
œŒ
˙!!!
œŒ
˙
’’
’’
!!!
Dm
B b
Cm
A b
Ó‰
J œœ
œ
œ#œ
œœ
œœ
œœ#
!!!
œœ
œœ
’’
’’
!!!
AG
mC
mB o
GF
mC
mB o
East St. Louis Toodle-oo9
46061S
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Clar.
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
œœ‰ J œbœœ œ
˙˙
˙˙!!!
˙˙
’’
’’
!!!
Dm
Cm
Hœ -
œ# œ œœ œ œ
˙˙
˙#˙!!!
˙˙
’’
’’
!!!
E oD o
‰ œJ œ œœ œœb
˙˙
˙˙!!!
˙˙
’’
’’
!!!
Dm
Cm
ÓJ œ œb ^
J œ
˙#˙
˙˙!!!
˙˙
’’’’
!!!
E oD o
œœœœ -
œœ#
˙˙
˙˙!!!
˙˙
’’
’’
!!!
Dm
Cm
œ œœœ#œjœ
.œ#3
˙˙
˙˙#
!!!
˙˙
’’
’’
!!!
E oA
7
D oG
7
!
œ>
œ >
œ>
œ >
œ>
œ>
œ˙#>
œ>œ
>œ >
œ ^>
œ>Û .
| >Û >
œœ ^˙>
œœ>œœœ
˙nœœœ
ŒY >
y >
Dm
C #oD
m
Cm
G7
Cm
st. mute
st. mute
st. mute
FFFFFF
F
F F
!
œœ
œœ
œœ# ^
œœ
œœ
œœ
œœ
œœ
œœn ^
œœ
œœn ^
œ ^œ ^
ÛÛ
ÛÛ
œœŒ
Óœœœ œœœ bn
œœœœ b ^œœœœ
œœœœ
yy
yy
F # oE o
chokes
~~~
East St. Louis Toodle-oo1046061S
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Clar.
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!!
œ .œ .
œ .œ .
œ .œ .
œ .œ .
œ.œ.
œ.œ.
œ .œ .
œ .œ .
œ .œ .
œ .œ .
œ .œ .
œ .œ .
œŒ
œŒ
’’
’’
!
œœœœ n
œœœœ
!
B b7
I
to Soprano Sax
to Soprano Sax
to Soprano Sax
(brass soli)
!!!
œœ
œ >œ
‰J œ#
œœ
œ >œ
‰J œ
œœ
œ >œ
‰J œ
œŒ
œŒ
’’
’’
!
œœœœ
œœœœ
Ó‰
jyŒ
chokes
!!!œ .
œn .œ .
œ .œ -
œ
œ .œ .
œ .œn .
œ -œb ^
œ .œ .
œ .œ .
œ -œ
œŒ
œŒ
’’
’’
!
œœœœ
œœœœ
!
E b
!!!
œœ
œÓ
œœb
œnÓ
œœ
œÓ
œŒ
œŒ
’’
’’
!
œœœœ
œœœœ
Œ
Ó‰
jy‰
jy
!!!
‰œ
J œœ -
œ
‰œ
jœœ -
œ
‰œ
J œœ -
œ
œŒ
œŒ
’’
’’
!
œœœœ
œœœœ
!
B b7
!!!
œ -œ
œŒ
œœ#
œ-œ
œŒ
œbœn
œ -œ
œŒ
œœ
œŒ
œœ
’’
’’
!
œœœœ
œœœœ #
Œ
! B b7 ( #5 )
East St. Louis Toodle-oo11
46061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Clar.
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!!
œ œœ œœ œœ œ
œn œœ œœ œœ œœ# œœ œœ œœ œ
œŒ
Ó
ی
Ó!œœœœ
ŒÓ!
E b
!!!
˙b>Œ
‰J œ
>Œ
‰jœ
>Œ
‰ J œ
. ˙Œ
@œ
œnœ
!.... ˙˙ b
Œ
‰jy‰
jy‰jyŒ
A b7A o
(top note of the chord)
!!!
œ .œ . œ .œ . œ .œ .œ .œ .
œ. œ. œ. œ. œ . œ .œ .œ .œ .œ .œ .œ .œ .œ .œ .œ .
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
!
B b7
J
!!!
œœ
œ >œ
Œ
œœ
œ >œ
Œœ
œœ >
œŒ
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
!
!!!
‰jœ
œœ#
œœ
œnœ
‰jœ
œœb
œnœ
œ#œ
‰J œ
œœn
œœn
œœb
œŒ
œŒ
’’
’’
‰jœœ
œœœœ ##
œœœœ
œœ nnœœn
‰J œ
œœn
œœn
œœb
!
E b
!!!
. ˙œ -
œœ#-
œ-Œ
. ˙Œ
˙˙
Û@Û@
ÛÛÛÛ
.˙Œ
œœ#
œŒ
. ˙Œ
!
E b7
~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~
~ ~
East St. Louis Toodle-oo1246061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
b
Clar.
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!!
œœ
J œœ
J œn
œb ^œn ^
jœ. œ>
œœb ^
J œœ
J œ
˙œ
œn
’’
’’
!
Óœœœ b
œœœ
!
A bA o
!!!
œœn
œbœ
‰J œ#
œœ#
œnœb
œœ#
Œœn
œœb
œœb
œŒ
œœ
œŒ
œŒ
’’
œ@œ
œ
!œœ bn
œœbœœ n
œœ bnJ œœ
œœ nJ œœ
!
E bC
7D b7
!!!
œœ
‰J œ
œnœn
œ
œnœ
‰J œ
œbœ
œb ^
œœ
Œœn
œŒ
œŒ
œŒ
’’
’’
!˙bn
˙nb!
F7
B b7
!!!
œœn
œbœ
‰J œ#
œœ#
œn-œ
œ#Œ
œœ
œb -œb
œŒ
œœn
œœ
œbœ
œŒ
’’
œ@œ
œ
!œœ b
œœbœœ n
œœ bnJ œœ
œœ nJ œœ
!
E bC
7D b7
!!!
œœ
‰J œ
œnœn
œ -
œnœ
ŒJ œb
. œbœ
œŒ
J œ. œ
œŒ
œŒ
’’
’’
!˙bn
˙nb!
F7
B b7
!!!
œœ
œœ
œœn ^
œœ
œœb ^
œœ
œœn ^
œ ^œ ^
’Û
ÛÛ
!
œœœœ b ^
œœœœœœ
Œy
yy
E bE o
chokes
East St. Louis Toodle-oo13
46061S
&&&&&??&&?ã bbbbbb bbb bbb bbb bbb bb
Sopr.
Sopr.
Sopr.
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
‰ jœ œ. œœ œœœ. œ3
‰J œ œ .œœ œœœ . œ3
‰ jœ œ. œœ œœœ . œ3
!!!
œŒ
œŒ
’’
’’
!
œœœœ n
œœœœ
!
B b7
K
Soprano Sax
PP FFF Soprano Sax
Soprano Sax
lead
P(sax soli)
to open
to open
to open
œ œœœ . œœ œœœ .œ3
3
œ œœœ . œœ œœœ .œ3
3
œ œœœ . œœ œœœ .œ3
3
!!!
œŒ
œŒ
’’
’’
!
œœœœ
œœœœ
!
œ œœœ .œœ œœœ. œ3
3
œ œœœ .œœ œœœ .œ3
3
œ œœœ .œœ œœœ .œ3
3
!!!
œŒ
œŒ
’’
’’
!
œœœœ
œœœœ
!
E b lead
(reed 2 lead)
œ œœœ Ó3
œ œœœÓ3
œ œœœ Ó3
!!!
œŒœ
Œ
’’’
’
!
œœœœœ œœœŒ
Ó‰
yjy
‰œjœœ œœ# œ
‰ œJ œœ œœn œ
‰ œjœœ œœ# œ
!!!
œŒ
œŒ
’’
’’
!
œœœœ
œœœœ
!
B b7 lead
(reed 3 lead)
œœœœ œœœ œ
œœœbœ œœœœ
œœœœ œœœ œ
!!!
œŒ
œœ
’’
’’
!
œœœœ
œ œœœ #Œ
!
B b7 ( #5 )
œ œœ# œ jœb œjœ
œœ# œ œJ œ œb ^J œ
œ œœn œJ œ œJ œ
!!!
œŒ
Ó
ی
Ó!œœœœ
ŒÓ!
E b
œœ œbœ
œnœb œœ
œbœ œœ
ӌ
‰J œ
ӌ
‰ jœ
ӌ
‰ J œ
ӌ
œnÓ
‰J ÛÛ
!
Œ ˙bœœ
ŒyŒ
y
A b7
open
open
open
East St. Louis Toodle-oo1446061S
&&&&&??&&?ã bbbbbb bbb bbb bbb bbb bb
n
Sopr.
Sopr.
Sopr.
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
!!
Œœ
˙
œœ œœ œ œœœ
œœ œœ œ œœœœœ œœ œ œœœ
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
!
C7
B b7
Lto Tenor Sax
to Baritone Sax
F
FFFF
F
Fvery active as at "J"
(sax solos)
ӌ
‰J œ#
!œ œ œœœœœœœœ. œ.
33
3
œœ œ >œ
Œ
œœ œ >œ
Œœ
œ œ >œŒ
œŒ
œŒ
’’
’’
!
Œœœœ
Œœœœ
Ó‰
jyŒ
Tenor Sax
Fœœ# œœ œnœbœœb
‰J œ# œ œœœœ
jœ. œJ œ
.œJ œ
‰jœ œœ# œ œœn œ
!
‰J œ œœn œœn œ œb
œŒ
œŒ
’’
’’
!!!
FFE b to plunger w/pixie
F Baritone Sax
. ˙‰
J œ
œnœ# œ œ >œœ
œn ^
œbœ# œ œ >œœœœœœb3
3
. ˙œ -
!. ˙
Œ
œŒ
œœ
Û@Û@
ÛÛ
ÛÛ
!
Œœœœ b
‰J œœœ
Œ
!
F7
F7
E b7
œœœbœ# œœnŒ
!
œœœ
.œJ œn
œ -œ -
J œ œJ œn
!˙
J œ œJ œ
œŒ
œœn
’’
’’
!
Óœœœ #
œœœ
!
B bB o
B bB o
A bA o
‰jœ
œbœn
œnœ‰
J œ
!.œ
J œœ#œ
œ
œœn
œbœ
‰J œ#œ
œ#
!œb
œœb
œŒ
œœ
œŒ
œœ
’’
œ@œ
œ
!œœ b
œœbœœ nn
œœ bnJ œœ œœ n
J œœ
!
FD
7
FD
7
E bC
7D b7
East St. Louis Toodle-oo15
46061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Sopr.
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
œœ
œœ#
œœ
œ
!˙
œœ
œœ
J œœ -
J œbœn
œnœ
!œ
œŒ
œnœ
Œ
œŒ
œŒ
’’
’’
!˙bn
˙nb!
G7
C7
G7
C7
F7
B b7
œbœn
œbœ
‰J œn
œ#œn
!œ
œbœ
œœ#
œŒ
œœ
œœ
Œœ
œ#
!œb
œbœ
Ó
œœ
œbœ
˙
’’
œ@œ
œ
!œœ b
œœbœœ n
œœ bnJ œœ
œœ nJ œœ
Ó‰
jyŒ
FD
7
FD
7
E bC
7D b7
J œœ
J œ#. œ
J œ
!œn -
ŒÓ
J œœ -
J œbœn
œœ -
!œ
œŒ
œnœ
Œ
˙˙
’’
’’
!˙bn
˙nb!
G7
C7
G7
F7
B b7
to Bass Sax
Œœ
œœ
Œœ
œœ
Œœn
œœ#
œŒ
Ó
Ójœ
œ-jœ
!
œœ
œœ
’’
’’
!œ
œœ
œ
!
E bD o
Cm
D o
plunger w/pixie
growl
Bass Sax
Solo
˙˙
˙˙
˙˙!
jœ. œ
œœ
œ
!
˙˙
’’
¿>
¿>
!
˙˙!
Cm
Mppppp p(tpt solo)
˙˙
˙˙
˙#˙!
Ó‰
jœœ
œb
!
˙˙
’’
¿>
¿>
!
˙˙!
D o
East St. Louis Toodle-oo1646061S
&&&&&??&&?ã bbbbb bbb bbb bbb bbb bb
Tenor
Bari
Bass
Tpts. 12
Tbn.
Sous.
Bjo.
Drs.
Pno.
˙˙
˙˙
˙˙!
‰jœb
‰œœ
œœ
3
!
˙˙
’’
¿>
¿>
!
˙˙!
Cm
˙#˙
˙˙
˙˙!
ӌ
œœ
3
!
˙˙
’’
¿>
¿>
!˙n
˙!
D o
˙˙
˙˙
˙˙!
œœ
œœ
œœ
œ3
!
˙˙
’’
¿>
¿>
!˙
˙!
Cm
˙˙
˙˙
˙˙#!
œœ
œœ
œœ
œœœ
!
˙˙
’’
¿>
¿>
!
˙˙!
D o
˙˙
˙˙
˙˙!
œœ
˙Œ
!
˙˙
|@|@!!!
Cm
Fm
ritard.
. ˙ UŒ
. UŒ
. UŒ
! U! U! U
.˙ UŒ
ی
Ó U!! U
Ó Uy
Œ
Cm
crash
East St. Louis Toodle-oo17
46061S
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46061S
ESSENTIALLY ELLIN
GTO
NThe Essentially Ellington H
igh School Ja
zz Band
Progra
m (EE) is one of the m
ost unique curriculum
resources for high
school jazz b
and
s in the United
States a
nd a
broa
d. EE extend
s the lega
cy of Duke Elling
ton and
other semina
l big
ba
nd
comp
osers and
arra
ngers b
y wid
ely dissem
inating
music, in its orig
inal a
rrang
ements, to hig
h school musicia
ns for study
and
perform
ance. U
tilizing this m
usic challeng
es students to increa
se their musica
l proficiency a
nd know
ledg
e of the jazz
lang
uag
e. EE consists of the following
initiatives a
nd services:
Supplying the Music
Each year Jazz at Lincoln Center (JA
LC) transcribes, publishes, and
distributes original transcriptions and arrangem
ents, along with additional
educational materials including recordings and teaching guides, to high
school bands in the U.S., Canada, and A
merican schools abroad.
Talking about the Music
Throughout the school year, band directors and students correspond with
professional clinicians who answ
er questions regarding the EE music. EE
strives to foster mentoring relationships through em
ail correspondence, various conference presentations, and the festival w
eekend.
Professional Feedback Bands are invited to subm
it a recording of their performance of the charts
either for entry in the competition or for com
ments only. Every subm
ission receives a thorough w
ritten assessment. Bands are also invited to attend EE
Regional Festivals for an opportunity to perform and receive a w
orkshop.
Finalists and In-School Workshops
Fifteen bands are selected from com
petition entries to attend the annual C
ompetition & Festival in N
ew York C
ity. To prepare, each finalist band
receives an in-school workshop led by a professional m
usician. Local EE m
embers are also invited to attend these w
orkshops.
Com
petition & Festival The EE year culm
inates in a three-day festival at Jazz at Lincoln Center’s
Frederick P. Rose Hall. Students, teachers, and m
usicians participate in w
orkshops, rehearsals, and performances. The festival concludes w
ith an evening concert that features the three top
-placing bands, joining the Jazz at Lincoln C
enter Orchestra w
ith Wynton M
arsalis in concert previewing
next year’s EE repertoire.
Jazz at Lincoln Center Band D
irector Academy
This professional development session for band directors is designed to
enhance their ability to teach and conduct the music of D
uke Ellington and
other big band composers. Led by prom
inent jazz educators each summ
er, this com
panion program to EE integrates perform
ance, history, pedagogy, and discussion into an intensive educational experience for band directors at all levels.
As of M
ay 20
16, EE has d
istributed
scores to more tha
n 4,800
schools in the U.S. and
ab
road
.
Since 1995, over 648,00
0 stud
ents have b
een exposed
to Duke Elling
ton’s music throug
h
the Essentially Ellington Progra
m.
JAZZ AT LINC
OLN
CEN
TER is dedicated to inspiring and growing
audiences for jazz. W
ith the world-renow
ned Jazz at Lincoln Center
Orchestra and a com
prehensive array of guest artists, Jazz at Lincoln C
enter advances a unique vision for the continued development of
the art of jazz by producing a year-round schedule of performance,
education and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, yearly hall of fam
e inductions, weekly national radio
and television programs, recordings, publications, an annual high
school jazz band competition and festival, a band director academ
y, jazz appreciation curricula for students, m
usic publishing, children’s concerts, lectures, adult education courses, student and educator w
orkshops and interactive websites. U
nder the leadership of M
anaging and Artistic D
irector Wynton M
arsalis, Chairm
an Robert J. A
ppel and Executive Director G
reg Scholl, Jazz at Lincoln Center
produces thousands of events each season in its home in N
ew
York City, Frederick P. Rose H
all, and around the world. For m
ore inform
ation, visit jazz.org.
Jazz at Lincoln Center Education
3 Colum
bus Circle, 12th Floor, N
ew York, N
Y 10019
Phone: 212-258-9810
Fax: 212-258-9900
E-mail: EE@
jazz.org
jazz.org/EE