THE ERROLL GIRRERVOLUME 2

RRANGED BY SY JOHNSON

THEERROLL ~IRNERSO~GBOOKVOLUME 2

Arranged and Adapted by

Sy Johnsonafter A~rangements by

ERROLL GARNER

Producer - Martha Glaser’Cover Design - Designers 2Music Commentan/- Sy JohnsonAddiflonal Texf - Martha GlaserResearch - Lewis RelnesLlbrarian - Dlck AblesBaldwin Plano and Organ Co.

Associate Music Editor: Mark PhillipsArt Direction: LaVon WelchProduction Manager: Daniel RosenbaumAdministration: Deborah Poletto

Published by Cherry Lane Music Company, Inc,Copyright © 1987 Cher~y Lane Music Company, Inc.International Copyright Secured AII Rlghts Reserved

ISBN: 0-89524-330-X

ABOUT THE ARRANGERSy Johnson - composer, arranger, and pianist. HIscompositlons have been recorded by CharlesMingus, Sarah Vaughan, Joe Willlams, Lee Konlí~,T. Miyama and the New Herd, Te~ry Gibbs, andHerble Mann, among others. He has recordedwith Mlngus, Qulncy Jones, Frank Slnatra, WesMontgomery, Lee Konltz, Rod Levitt, and HerbleMann. Movle credits Include "THE WIZ," "THECOLOR PURPLE," and "THE C0170N CLUB," forwhlch he was assoclate musical director, ar-ranger and orchestrator. Broadway credits in-clude the Tony-nomlnated "Blues in the Nlght,"as music dlrector, arranger, and orchestrator, and"Sugar Babies." He was an orchestrator on theGrammy-winnlng ’lOOfh Blrthday Celebration forEuble Blake, and the acclalmed "Let’s Dance"Benny Goodman Special, both on P.B.S. HIs or-chestratlons have been performed bythe BostonPops Orchestra, and the Rochester Philharmonic,with Johnson conducting the latter for guest sol-olst Joe Willlams. He is married and lives inNew York Ciíy,

AC:KNOWLEDGEMENTSWe wish to take thls opportunlly to acknowledgeand thankseveral top-fiight pianlsts who revlewedand played the manuscrlpts at varlous stages,glving us valuable reactlons and input, IncludlngBenAronov, Alan Rosenthal, and Calvin Lampley,Special thanks to Frank Owens for hls conslder-able time and efforts, and to Harry Flelds, for con-tribuflng hls reactions and suggestlons both as aplayer and an instructor.

Martha GlaserProducer

8

"My audience is very Important to me. It’s the 4th member of my group, and Ifplays rlght along with me..,You can feel It react, and you respond to thaf. If pushesyou more, and encourages you and gives you more freedom to create.,,I justplay what I feel, Suddenly I hlt a groove ihat moves me, and then I take off. Idon’t worry about how i1"11 come out," --I=rroll ~ìarner

TABLEOF CONENTSFOREWORDBIOGRAPHY

INTRODUCTION TO GARNER BALLADSTHIS TIME IT’S REALNO MORE SHADOWSDREAMSTREET

INTRODUCTION TO GARNER SWlNGSYOU TURN ME AROUNDWAY BACK BLUESJUST BLUESTRIOSEVEN-ELEVEN JUMPUP IN ERROLL’S ROOMTHAT’S MY KICK

INTRODUCTION TO GARNER’S LATIN MODESEL PAPA GRANDEMAMBO 207MAMBO ERROLLGEMINI

INTRODUCTION TO AFTERNOON OF AN ELFAFTERNOON OF AN ELFCODA

DISCOGRAPHY

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5

FOREWORDErroll Garner the composer is Inexfricably lnterwoven with Erroll Garner the

pianist, Garner composed af the piano Ion tape, or in earlier days, on disc], andhls music then was transcribed to paper by others.

in the course of a performance before a n audier!ce, in a recording studio, orduring a broadcast, he frequentlywould Improvlse entire performances, Includingnew, on-the-spot compositions of his own, and unless they were recorded at thetlme, they oflen were Iost forever.

For THE ERROLL GARNER SONGBOOKVoiüme ’i, many months were spent seek-ing the rlght person to transfer the Garner recorded compositions to accessiblewriífen plano arrangements. Sy Johnson was selected byGarner for thaf project.Garner put hls personal stamp of approval on the finlshed manuscripts whichwere played for him In early December, ’197ó, by Harry Flelds, a top West Coastpianist and Instrucfor, and Garne~s close frlend for 30 years,

In preparatlon for thls second SONGBOOK, Sy Johnson again was designatedto annotate the Garner works. Sy and I, both together and slngly, spent manydays listenlng to Garner recordlngs, of his unlssued and Issued works, embodyinghts compositlons.

That was a labor of Joy and many surprises--or--the "easy" pari of this work,albeit Garner’s seemlngly accessible performances requlre much concentratlonto really absorb the many layers of ideas. He thought in complete songs, in form,yet hls performances, all Improvised, were Ioose and very unfettered.

Making cholces from the wealth of materlal he composed, to pa[e it downto fifleen selections for thls second SONGBOOK, was the "hard" pari. The compos~Itions selected were chosen for their dtstinctive statements, melodic llnes, varlelyof modes, and ultimately, for thelr adaptabllily for accesslble piano arrangements.Hopefully, the annotations wlll bring to players the spark and challenge and es-sence of these Garner compositions--or--the joy of making a piano slng, themany colors and passíons bis works contalned, They range over a period of threedecades of hls work,

6

Like THE ERROLL GARNER SONGBOOK Volume "1, thls collectlon lends itself tocategorles - ballads, blues, swing selections, Latin-tinged works. An attempt wasmade to select works whlch are or have been available on commercial record-Ings [see dlscography] so that players might heat the original Garner conceptions.

Garner’s work as a composer has yet to be fully explored.Yes, MI$1Y is a world-re-nowned standard and contlnues to wln awards. For the past live years, it hasbeen acclalmed byASCAP os one of the most performed standards of the pastdecade. But Garnerwas far from a one song writer. Melodiesjust flowed from hlm,

An orlglnal, it Is acknowledged thaf for several decades, Garner’s unique s~lehas rubbed off on other pianists. As Jimmy Rowles put it, "He laid if on a]l of us."HIs performances reached people on many levels - cerebral, visceral, emotional,spiritual, Likewlse, his compositions are of multl-level varleç¢, and contaln elementsfor many kinds of players,

Garner was an artlst whose work contlnues to be contempora~/and unlversal.He transcended the passing fads and fancles of hls time, and leff an IndelibleImprint on the shape and sound of world music. In an era of technological music,machine productions, overdubblng and "unhummable" tunes, Garner remalneda most natural artist - no arfìfices, pure creation.

The ntght before hls sudden and untlmely death in ’1977,Garner, speaking withme Iong dlstance by phone, said, "1 have so much music In my head; you’veonly heard the tip of the iceberg." Fortunately, some of that music mode its wayto tape, and the challenging and joyous oppoduniíy of revealing and publishingit, Is our privilege In this Cherry Lane E~ROLL GARNER SONGBOOK Volume 2.

Martha Glaser

BIOGR4PHYDurlng hls lifetime, Erroll Garnerwas halled throughoutthe world as one ofthe

outstanding contemporary pianists to emerge from the Jazz genre. From hls earlybeglnnlngs In Pìttsburgh, Pennyslvanla [born June ’15, t923], he went on to wlninternational acclaim through his unique, innovative music.

Erroll Garner was a chlld prodigy, At the age of three, he simply reached upto the piano and began to play. He was exposed to traditional music training;however, these attempts were folled by hls remarkable ear and Incredible auralmemory. Garner memorized every~hlng at one hearing, maklng the need to readunnecessary. Muslcally self-taught, he created a new, orlglnal s~le and becamea dominant influence on contemporary plano,

At seven, Garner began appearìng regularly over station KDKA in Ptíffsburghwìth a group called the Candy Kids, By the time he ,was eleven, he began around of jobs in and around Pittsburgh in taverns, nightclubs, and restaurants,usually pefforming solo.

in the early ’1940’s, Garner moved to New York winning aitention In varlousnlght spots. On Ma rch 27,’1950, to critical raves and a standing ovation, he madehis solo conceff debut in Cleveland’s Music Hall. Slnce that time his programs ofImprovlsations became hlghllghts of the International concert circuit. InGarner appeared successfully as guest sololst with the Cleveland Orchestra andsubsequently with orchestras throughout the United States Includlng, amongothers, the Clnclnnati Symphony Orchestra, the National Symphony Orchestra,and the Loulsvllle, Detrolt and Indianapolis Symphony Orchestras. His career asa conceff performer, a headliner In night clubs, hotels, theater tents, on televisionand radio, flourished continually In the Unlted States for some fout decades.

10

Garner’s audlences were world-wlde. Since the late 40’s he had toured abroad,Increaslng hls toreign schedules through the 50% ó0’s and 70’s. In 1971 he touredSouth Amerlca. In ’1972 he toured the Far East, including appearances in Hawail,Ja pan,Australia, and New Zealand. He toured Europe in April and May of ~ 974,and appeared in some gala concerts on the French RMera. Garnerwas in con-stant demand for forelgn engagements to the end of hls lire,

Garner was the reciplent of many international music awards and honors, in-cluding the Grand Prix du DIsque from the French Academy ofArts. French criticscalled hlm "The Man with Forty Fingers." European writers referred to Garner as"Chapllnesque" and "The Pìcasso of the Plano" In tribute to his wn/musical excur-slons and unlquely personal s~/le, Atape of Garner’s work is buried in a tlme cap-sule at the Theater of the Comedie Francais In Paris. In 197’~, the Republlc ofMail issued a postage stamp honoring Garnen He headlined the 1966 Interna-tional Television Festival In Montreux, Switzerland, for whlch he was commlssionedto compose the GOLDEN ROSE theme music, named for thelr hlghest lVAward.

Garner was the only artist from the United States to appear on the ORTF-EUROVI-SION Gala for handicapped chlldren in 1965. He also was the first and only affistffom the jazz Idiom to tour under the aegls of classical impresario Sol Hurok, whodirected the planlst’s concert schedules trom "1956 to ’1962, presentlng Garnerin hls SRO Carnegie Hall debut in ’1959. Amerlcan awards and honors throughthe years were many, I~cluding a trlbute from the United States House of Repre-sentatíves on the occasion of Garner’s blrthday in 1976.

Garner’s extenslve catalog of albums were among the best sellers for almostfout decades. HIs CONCERT BY THE SEA is deemed a landmark album. In recog-nitlon of the Iongevi~y of hls recordings in print, Garner was one of the few artistsfrom the Jazz genre Included In Schwann’s 25th Anntversa~y Edltion.

"The flrst time I heard Erroll play, he amazed me--because--as Duke used tosay--’He was hot only a ploneer but an Innovafor with an Identifiablesound’,.When you heard hlm play, you knew it was Erroll Garner. As Duke sald:’That was the mark of a great player’..," --Louis Bellson

"lf Jazz at Its core is the improvisational freedom that distìngulshes it from ’pop’music, then Garner’s performances are a classic Illustratìon,..He moves as hls elflnnature directs af the moment..He virtually caressed the keys, fashioning a bell-likesound of beautiful fraglliíy." --Ernie Santosuosso, The BOSTON GLOBE

INTRODUCTION TO:

~RhIERBALI~DS

The whole world knows "MIs~y," butthat fortunate melody isjust one of the manyballads that Erroll Garner composed, and all of them refiect the deeply romanticapproach to the plano that so delighted hls audlences. Some of hls earliest re-corded hlts h~d been standard ballads like "Laura," and when he began to regardcomposing seriously, some of hls first effoffs were ballads. He brings to these songsa Iove ofthe rich sonoritles atthe plano, and a glft for maklng natural melodlesand fresh harmonles. You’ll notlce that they are all about the same tempo. Garnermoved them right along, and infused them all with hls resonant jazz tlme andgood splrits. They playveB/nicely at a slower, easler tempo, provided the rhy[hmIs flrm.

THIS TIME IT’S REAL was never released or titled during Garner’s lifetlme, and itIs a sumptuous beauty!! The tenths in the lefl hand will surely require some cheaflngby many planlsts, buf the tempo is slow enough to accomodate rolllng many ofthem. Leave outthe top or boítom note ifyou must, but playthls song. It will makeyour piano "stng" in true Garner fashlon. Llke many of these ~nes, unless youlntend to Improvise, take the 2nd endlng.

DREAMSTREET contains some Iovely Garner devices for"dresslng-up" a melody[see A-2 anti A-7]. The Intro and endlng are typical Garner figures, and shouldbe punched out In contrast to the more lyrlcal quality of the song they frame.Some unobtrusìve pedaling will smooth out the lefl hand skips, whlch have moreIn common with Chopln than Fats Waller. This is one of the classic Garner balladsand plays very easily.

NO MORE SHADOWS Is one of my favorite Garner ballads and has a goodlyric, for those of you who slng. l’ve simplified the very lush rolling arrangementthat Garner recorded ["Shadows’~ to make It more accessible. The ending Isagain, ~/plcal Garner.

"Erroll Garner took evident pleasure in hls work, obvlous dellght in the surprlslngplaces to whlch hls Imaglnatlon took hlm, and well he mlght have. The dellghtwas infecfious,.,Somebody sald once thaf joy is at the heart of all art, no matterhow serlous. Certainly, It was at the heart of Erroll Garner’s, It was hls glft to theworld, and for it we shall remember hlm with special gratitude."

--Willlam Glackln, SACRAMENTO BEE

"1 treasure my memorles of Erroll Garner.,,his endearlng elfin grln, bis humorouswit and hls Incredlble ability to affaln the sound of an en|ire symphony when hewas playlng. He was always composing. He would weave Intricate harmonlesinto a simple song until It became an exqulsite concerto of memorablebeauíy.,," --Slam Stewart

14

C~R~ERBALI~IDSTHIS TIME IT’S REALNO MORE SHADOWSDREAMSTREET

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THIS TIME IT’S R~LErroll Garner

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Copyright © 1986 Octave Music Publishing CorporationThis Arrangement Copyright @ 1987 Octave Music Publishing Corporation

AII Rights Reserved

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NO/I¢IORE SHADOWSLyric by Edward Heyman

Music by Erroll Garner

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no more of hope-less dreams a~ r~ght.

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Copyright © 1961 Octave Music Publishing CorporationThis Arrangement Copyright © 1987 Octave Music Publishing Corporation

18 AII Rights Reserved

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19

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21

"More than ever, Garner seems on each track to be celebrating the joy of playing.HIs exuberance.,.breathes new life into everythlng he touches,.Nobody will re-place hlm or erase the distinctive mark he has made on American music,"

--Leonard Feather

22

DRB4MSTREETErroll Garner

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INTRODUCTION TO:

~R~ERSWINGS

If any group of composltions demonstrafe fhe quolitles that made Erroll Garnerthe extraordinary jazz superstar thaf he was, it would hc~Te to be these swingpleces. When hls left hand would start the unmistakable fout to the bar rhythm,as hls rlght hand unfolded those dazzling melodíc variations, the energy releasedcould lighf a clly,

Some of his most dellghfful mannerlsms are to be found in this secfion of thebook. The mosf fundamental of these, the famous Gamer "lag/’ cannot be no-tated in any formol way because it Is baslcally an Interpretive device. [HIs lefthand would pump out guitar-Ilke four-to-the-bar chords squarely on the beat,whlle hls right hand would phrase around the beat. Hence the "lag/" a fundamen-tal part of the Garner s~le. Nobody else has ever been able to dupllcate theawesome Impact of Garner In full cry, However, it cpn be approximated wifhsome practice and careful a~ention to Garner’s records,

In playlng the music, you’ll notice that the left hand volclngs hover around thesame register and hand positions. Thls is the home of the most sonorous accom-panying register on the piano, and It accounts for some of the full rìch soundGamer was able to pull from the Instrument. His voice leadlngs are unusuallysmooth and fall well under the hand. $ome analysis of the left hand volcingsand their relafionshlp to the chord symbols can be very fruifful, We suggest prac-ticlng the lefl hand separately untll the rhythmlc flow has been esfabllshed. Payparticular affention to the rhythmlc accents that punctuafe the steady fout-tour.When the left hand can swing easily af the proper tempo, the ríght hand shouldfell into place.

You’ll notice that the elghth note notation in the right hand is largely unsynco-pafed. This is for reasons of claril,/and slmplicl~ and because the usual methodof Indicating jazz syncopatlon Is Inaccurafe {I.e..~ ~-~ ,~~], Erroll Garner, like rhosfjazz artists, maintains a strong "12/8 pulse throughout even/thlng he plays, fromthe slowesf ballad to the fastest Lafin.A more accurafe notation would be ~!3.ìl ,!3,~or changlhg the tlme slg nature to 12/8, but this would present enormous readlngdifficulties, even for professionals, a nd llke the "lag," the swing feel is left unnotated,

Another Garner device thaf bears explanation is the tremolo, notated ~Thls Is hls Interpretation of the blg band brass shake, and he uses it constantly tosusfaln a chord for a measure or more. This tremolo is rhyfhmlc at its source andusuallymeasuredID ~ ~ 8 ~8th or flóth note triplets [ ~~’ ~~. ~ ~ ]. Using the tremoloproperly wlll add a rlch sonorily and thrusf to these pleces.

FIngering Is supplied where itseems necessary, buf no Nvo hands are alike, soit can be adapted to your own needs,

26

You’ll notlce that Garner arranges his music In the same way an arranger mlghtfor a Jazz ensemble, He beglns with a slmple melodic expositlon [supported bythat magnlficent left hand] and adds brass-like fills on the second eight bars,changes registers or chordal textures for the bridge, and restates the melody forthe lasf elght bars In a slightly altered fashion. The result Is a perfectty balancedAABA song form.

UP IN ERROLL’S ROOM Is a medium tempo swing piece.You’ll notice a differentharmonlc densih/and texture In each of the eight-bar sectlons In the plece,cllmaxed by the polychords in the third measure of [] [E mlnor/E roa}or, G major/F# major, finally resoMng to a G triad.] This kind of development is more charac-teristic of a great blg band arranger than a jazz pianist, but then again, Errollwas anyfhlng but an ordinary pianist. This plece is great fun to play, with an Infec-tious rhyfhm and melody.

THAT’S MY KICK was arranged by Garner in a Iocked-hand block-chord s~le[see "Up in Erroll’s Room’~, but for thls solo piano versíon, I found it a períectvehiclefor the famous Garner lag slyle, so you might say I Garnerized thls plano arrange-ment. The bridge, at leffer [], Is closer to the spirit of the orlginal recording. "Kick"ls one of the most often played Garner Jump tunes and when you play ir, yousee why.

TRIO is the earllest compositlon In thls volume, with a classic recordlng featurlngthe~afJazz basslst, Red Callender In the late ’1940’s.A"Jackthe Beat" [EIIIngton,Blanton] interchange between bass and plano takes place, Iong before thatwas commonplace. The tempo Is ve~/brlght, although it plays very nlcely at amore comfor~able tempo. Note the differentyoiclng at [] and ~]. I used this asa reading audltlon pie6e for planists on a Broadway musical I’m orchestrating,and I can offer a reading tip, based on that experience, for anyone reading thlsplece, The melody af [], [B], and [] Is a slmple chromatlc structure, and thechords move In parallel with It. Therefore, whatever the first volclng Is, moves upa minor third and down chromatically, You don’t have to struggle readlng allthe accidentals along the way. And each phrase repeats three times, with onlya minor rhyfhmic change the last t/me. Readlng Is largely recognition.

SEVEN-ELEVEN JUMP Is the closesf to the classic Garner swing tunes featuredIn the firsf book, It moves right along, practically playing itself. The lefl hand at[] and [] can be played as straight quarter note rhythm parts [see F~]]. Notlcethe syncopation In the Introduction, whlch is Iyplcal Garner, and the polychordsin the thlrd measure before the end, Those are used evenff/here these days, butwere exceptional when thls pIece was recorded, I flnd the bridge [] especiallyfun to play, lendlng itself to the Garner lag as well as it does,

JUST BLUESwas improvised on an available studio harpsichord during the Parislm-pressions sesslons. The sparer voicings lend themselves to the timbre of thatInstrument very nlcely, but work as well on a plano. [] is an ímprovised bridgebased on what musiclans call the "Honeysuckle" changes, [lhe í-wo omnipresentbridges in jazz are based on the "I Got Rhyfhm" changes and the "HoneysuckleRose" changes, and are referred to as "Rhyihm" and "Honeysuckle,’3 Thls plece,of course, Is not remotely a blues In structure, or even emotlonally, belng a cheeffuland oufgolng little tune,

27

YOU TURN ME AROUND Is a medium slow blues with a bridge ["Rhyfhm" changes],In arranging It for piano, I have lncorporated a bass llne Into the octave-basedslyle of the original. This was recently read by many flne pianlsts as an auditionpiece, and Invariably they stumbled at reachlng the bridge, There are some trickyaccidenfals [watch the Fb’s) but It mostly has to do wlth the slmple facf of a bridgein the mlddle of a blues. The ear Isn’t ready for il, anticipating Instead fhe steadyand fundamental sancfuary of those three simple chords, and that twelve barstructure. Erroll always used a bridge In the blues, at least In those recordings Iknow, and almost always, a "Rhylhm" bridge, probably preferring the break instrucfure as a relief to the ear. Because of the break In blues traditlon, Garner issometimes referred to as not being able to play the blues, I defy anyone to playthis and "The Way Back Blues" and still say that, They are drenched in blues traditionand passion, Watch the intro, The left hand part should be practiced separatelyuntil it is comfortable before adding the brass-punchy rlght. The chords in thelast lwo measures are another poly-chordal solution to freshenlng the cycle-of-fiflhs syndrome, agaln much in advance of confemporary practice. The first end-Ing is also worfh some practlce.

THE WAY BACK BLUES is a slow blues, and slow blues have always been regardedas the true test of a jazz musician land one that many a contemporary "gianí~’would rail]. Thls arrangement mixes together the bass vlolin ostinato figure, withErroll’s own lefl hand figures, to create a self-sustalnlng blues plece for pianothat captures the polyphonlc spirit of the recording. ThIs Iooks harder than It Is,because much of the righf hand consists of simple double-time flgures. Agaln,thls blues has a bridge, and again it is a "Rhythm" bridge, I have provided fingeringfor the left hand in the middle of the bridge I~1, because It isn’t hard once youmaster the fingering. Watch the 8va rlght hand for almost all of F~l, and takenote that the ending is an approximate rhythm notation of a ve[y bluesy rltard.This piece is well woffh investigating because if you can master the nofes andplay them in meter, the blues feel will somehow surface, even if you’ve neverplayed the blues before.

28

~R~ERSWi~GSYou TURN ME AROUNDWAY BACK BLUESJUST BLUESTRIOSEVEN-ELEVEN JUMPUP IN ERROLL’S ROOMTHAT’S MY KICK

30344043464952

YOU TURNA4E AROUNDErroll Garner

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Z E í írrrí

~---3"--~ F7 ~--3--~ Bb7I J~,J t~,. ~».. m

Ab9 G7+9

I I ~" "Abl3Spa

A13-9 Bbl3

33

WAY BACK BLUESErroll Garner

Slow Blues feel ~J = 70 (,~ = ~J ~)

B[~6

-],t. r~ ~

Bb64 6 ~ 6 4

E~7 a 4 a 4 a

B[~6

Copyright @ 1956, 1984 Octave Music Publishing Corporation, Thls Arrangemenl Oopyright © 1987 Qctavo Music PubHshin9 Corporation34 AII Rights Reserved

F7

35

F7+9 E 1,7+9 F7+9 Eb9 Bb7

G Gmaj7 G7 C7

I a ~ T â i

F9 8va .............................................

36

Bb Bb/FT+5 B[,9 Eb7 Bb8va-

Bb7 EI~7 B[, Eb7Spa ...........................................................................................

33

Bb G7 C9 Fl3

Bb/D Eb Eo Bb/F DT-9/F} G7 G7/B&,a ...........................................................................................

C78va ...............7 loco

F7 C/F F7

accel.- ...............

37

JUST BLUESErroll Garner

L,H. 3 3 3

F9+5 B[~6

3

Copyright © 1958, 1986 Octave Music Publishing Corporation40 This Arrangement Copyright © 1987 Octave Music Publishing Corporation

AII Rights Reserved

B~6 E[~13 D13 D7-9[] Gin7 F~m7 Fin7 B[~7+5

3

C7 Cm7-5

3

07-9 C9

Cru7 FTsus4 F13-9 B~’6

41

C9 F13 Cru9 Fl3 F9+5

Ebl3 D13 D7 Gin7 F~m7 Fm7 Bb9+53 _

.3

E[~6 AM3 GI3 G7-9

L.J’ ~’ ’~ L....r

C7 Cm7-5

A

,3

B[~ G7-9 C9

Cm7 F7 F13-9 B[~6 F9+5 F13 F13-9 Bl~6

42

TRIOErroll Garner

FastJazztempo.~=108(*J’~:~ ~)

Db9/F Bbó/F Dbg/F Bb6/F D~9/F BbO]FA A A

D bg/F Bb6/F Dbg/F Bb6!F Db9/F Bb6/F FTsus4A

F7sus4 B b6/F F7sus4

I ¢ I ¢

Copyright @ 1962 Octave Music PublisNng CorporationThis Arrangement Copyright © 1987 Octave Music Publlshing Oorporation 43AII Rights Reserved

Bb9 Db9 Db9[] A A A A

A A

C9 B9 Bb9

C9 B9 Bb9 Db9 C9 B9 Bb9

Bb9A

!

Db9

A A& A

C9 B9A 2> A A

Bb9A

Db9A A

C9 B9A > A A

A139 Bb9

A

C9

A A

44

~Ebml 1 Ab9 Ebmll

Ab9 D bm 11 Gb9

Cm7-5 F9sus4 F9 Bbl3A

Dbl3

C13 B13 Bbl3 Dbl3 C13 BI3 Bbl3 Dbl3

C13 B13 Bbl3 8va~A

A

45

SEVEN-ELEVEN JUMPErroll Garner

J =u8 (.[-~ = ~-~~)

iN.(2. A

A

[] Ab

|

Ab/C Fm7 B!~m7 Ebl3

Bbm7 Eb9

F F~F F

Copyright © 1954, 1982 Octave Mus~c PuNishing Corporation46 This Arrangement Copyright © 1987 Octave Music Publishing Corporation

AII RIghts Reserved

mp

Fm7

Eb9 G

E~m7

F F F F

D~6(maj9)

Fm7 Bbm7 A°77a~ 2:>

Bbm7 Eb7+5

47

[] A~ Fm7 Bbm7 Eb9 Fm7A

Bbm7 EM3-9

Fm7

[2"Bbm7 Eb9 A Bm7 E9

Bbm7 Eb9 Ab E Cb/D F/C

48

UP IN ERROLL’S ROOMErroll Garner

G7 El3 A7-9 D9sus4 G°]D G C c~° D+

G G7 C Db°7 G G7

C Db°7 G E7 A7 D7

G+9

D7-9E13 A7 G [~ A7-9 A~9+ll G7 C D5°7

Copyright © 1968 Octavo Music Publishing CorporationThis Arrangement Copyright © 1987 Octavo Music Publishing Corporation 49

AII Rights Reserved

G7 A7-9 A~9+I 1 G7 C D~°7 G7 Fmaj7/F7 E7 A7

D7 C/G G F/G F~/G G G9sus4 C

D~°7 G DI3 G G/Gb G/F G7

C7 D~°7 E~9 D9 D7+5

loco

G7 Ab9+5 G C D ~°7 G7 Em/EA

G

50

G7 FmajT/F7 E7 I1"A7_9 D7sus4 G7 C7 C~°7

G/D D9+5 112’A7-9 D7 G2>-

Am7 D7sus4 E!,9 D9 G

G[,7 F7 E7

Repeat ad lib

E7

ppma~

Am7 D7sus4 EI,9 D9 G78va ............

51

THAT’S/HY KICKErroll Garner

,~= 164 (,~’-~Ab Ab+/GBbm/A C~+/BbBbm/Eb G Ab Bbm Ab/C Db

3

Ab/Eb CT/E F7

mp

..r r r r I I I

Cm7 ~z F7-9

~ r r r

A~

Copyright © 1966 Octavo Music Publishing Corporation52 This Arrangement Copyright @ 1987 Octavo Music Publishing Corporation

AII Rights Reserved

B!~9 E~7

F7-9 B b~n7 E 57-9

Ab9 Ebm9 Ab13-9 Db6 Ob9

Ab/C Bm9 E9

Bbm7 Cm9 F7 Bm7 E9

53

B~m7 E~9 Bb9 Eb7

Cm7 F7-9 Bbm7

E b7 ~ >~ , __ Cm7-5 F7-9

B[,m7 a Eb9 E b7-:>L A>.b..._._. ~

A

11~’

A

÷ 3

54

INTRODUCTION TO:

C~R~ERI~TINNIODES

Erroll Garner had a Iongstanding affinih/for Latin music. He recorded with Can-dldo in "1954 [MAMBO MOVE$ GARNER], and from ’1965 on, had Jose Mangualon congas as part of his regular rhythm section. HIs Idea of a great night outwas to sit in one of the Latln blg bands at the Paladlum in New York. As usual,with Garner In hls Latin excurslons, he transformed the traditional Latln materlalsInto a unlque Garner hybrld, comblnlng the tradltlonal 8/8 Latin rhythms wíth bisown unquenchable ’12/8 Jazz feel.

These pleces offer the greatest challenge to the pianist because of the synco-patlon.You’ll notlce thatthe leff hand patterns are repeated over and over. Theyareusuallyvariationsontheclassicclavepattern4/4 .I ~ .! ~ ,~ I ~ .J ,Jandtheyevolved from hisfour to the bar left hand patterns. The thing to do Isto practlce hands separately until each hand ~ confidently, and then putthem together at a slow tempo.

MAMBO 207 has an even 8th note feeL unusual In a Garner mambo, whlchusually Is a rolllcklng mix of jazz ’12/8 and even 8th Latin. It has a pronouncedIocked-hands blg band ensemble feel to it that Is quite easy to play. In performinga mambo IIke thls, Erroll would frequently break Into a swing Improvisation in themlddle of it, returnlng to the Mambo feel for the last chorus,

The tempo of EL PAPA GRANDE is fast with a ’12/8 Latin pulse to ir. It plays wellat a slower tempo with more of a straight 8th note feeling. The syncopatìons inthe lefl hand bear separate practice.

MAMBO ERROLL has a pronounced 12/8 feel to it. The left hand on the recordcontlnues the shuffle feel of the Introduction, but would be too hard to play.~is as blg a sound as you can get from a plano--slmple and sonorous, lE1 and[] are so slmple they’re hard, and need separate hand practice. The gracenote above the fundamental [Gb over F] is unusual and rlg~t.

I have included GEMINI with the Latln tunes, because It Is structurally of oneplece with the rest of these Mambos. The modified "clave" pattern in the lefthand, the melody and the harmonlc structure are all squarely withln the Gar-nerlzed Latln parameters. The dlfference Is thatwhlle Garner would insert straightJazz choruses In hls mambos almost Invariably, on "Gemlnl" he starls it off In afast jazz tempo, and keeps It there, brllllantly.

55

~R~ERMTINA~ODESEL PAPA GRANDEMAMB0 207MAMBO ERROLLGEMINI

57ó06266

EL PAPA GINNDEErroll Garner

/ìMambo tempo d= 132

Gm

AA

Dm7 Gm A~nT-5 D7+9

Gin

A

D7+9 Gm Gm6 Gm(maj7) Gm

A A A

07+9

Copyright @ 1961 Octave Music Publishing CorporationThis Arrangement Copyright @ 1987 Octave Music Publlshing Corporation

AII Rights Reserved 57

Gm AmT-5 D7+9 Gm 8va- -

D9 Gm

D98va ..........................................

D9 Gm Cm78va ..........................................................................................

D7

58

A

A A A

D7+9 D7A

AGm

A

A A A

~~F

F lE7

A[

A A A A A A

~’ IJ IJ "7’ ’,

D7

D7A Gm~

A

112.D7 ,x

Gm GmlF Gm/Eb

I

Gm/D

mp

Gm Am7-5 D7+9 Gm

A

59

MAMBO 207Erroil Garner

144 (even 8th feel)

Em Em7-5 F~7+5 B7 Em

A A

Em7

B7-9A A

Era7

F~7 F7 B7-9 B7;59 B7-9 Em Em(majT) Era7

Copyright © 1956, 1984 Octave Music PuNishing CorporationThis Arrangement Copyright © 1987 Octave Music Publishing Corporation

Anl Em7 Era6 Em A~n Era7 Era6 EmA A

A A A A

Em Em(maj7) Era7 Em6

B7+I1 Em Era7 Em6 B7-9

A

Em7

rit.

F~ F Em

A

61

MAMBO ERROLLErroli Garner

G~ Ab Gb

Gb Ab G~

Ab Gb G A~ Gb G Ab Gb G

~~~,~ .......................................~,--~ ...........................................

Ab G8 G Ab Gb G Ab Gb G

~ ~8va ........................... >~

Copyright © 1966 Octave Music Publ~shing Corporation62 This Arrangement Copyright © 1987 Octave Music Publishing Corporation

AII Riahts Reser~ed

Ab Gb G Ab81~a .............................

Ab Gb G

3

3Ab Gb G

Ab Gb G Ab Gb G Ab GbSpa ..............................................................................

G

3

Ab G~ G A~ A~7+9 [~D~7 ,--~-3"---~ ~

Ab7 A b7+9 Db7 D7

63

Eb7 A~ G~ G8va .................... ~ ..............................

Ab Gb G Ab Gb G Ab Gb

3

G

Ab Gb G Ab Gb G Ab Gb G

Ab Ab81~a ........................................................................................

64

A~8va ........................................................................................

í ’ ~ L,,. .I. / k- ~~-

PPP

D.S. al CodaA ’~7+9]E ~, ~

Coda

�loco

A

A

65

GEMINIErroll Garner

Fas, Jazzfeet J=178(s[~=~ ~)

A~sus2

A

Copyright © 1972 Octavo Music Publishing Corporation

66 This Arrangement Copyright © "~987 Octavo Music Publishing CorporationAII Ri~ht~ Reserved

AI,7+5

!) i

Ab13

A

A

A

A~7+5

[] D~9A A

U/b,b o,

A A

A~13 >~

67

Db9 :> :> :> >

D7+9

A

A A A

A A

A

68

D7+9 E~7+9

A~l3

A

Ab7A

mS

Ab7+9A A A

Ab7 A

A A

SSS

69

INTRODUCTION TO:

AFTERNOONOFAN ELF

AFTERNOON OF AN ELF should properly be conslderéd the centerplece of thlsbook. If was recorded as a plano solo and lends Itself fo the basic premise of aplano folio wifhouf much adaptatlon, Buf beyond that, its cheerful theme, simpleas a chlldren’s song, lends itself to a varleíy of seffings, and Garner explores severalas he develops the plece,

The Introductlon has a fanfare qualily to It untll bar 8;when It slips into tempowith the flrst accompanying motlf, a modal figure over an Eb pedal, The melodyis Introduced at [~, Please notlce thaf it is played an octave hlgher than notated,as Indicated by the "8va" symbol, If wlll vary between 8va and "loco," [playedwhere It is wriffen] throughout the plece, and It wouldn’t hurf to hlghlighf eachchange with a marker of some color or another.[he effect of this accompanímentmotif Is of suspended harmony, not unlike Debussy, At the bridge, the left handdrops Into a varlafion of stride that sets the plece more firmly In jazz tradltion.At~[], we return to modality until íwo bars before the second chorus, [~, whenGarner shlffs Into a varlely of strlde plano characterized by a chord on the strongbeat, [as opposed to pure strìde, whlch feafures a single note or octave on thestrong beat],

Thls second chorus has a wonderful rolling qualiíy to It, Notice how each "8va"melodlc phrase is answered by a "loco" set of harmonlc subsfitutions, Remember.that Cb9 is the same as Bg, and thaf Fb is also an E ~, The bridge, ~~], has yet anothersyncopated verslon of strlde thaf will bear some separafe practice. Don’t forgetthat thls p, lece is In a strong t2/8 pulse and that the leff hand should swing!!

The last 8, ~l, retu rns to the mod al s~le u ntil the tag, [],whlch Is In an en-semble blg band slyle. "Elf" winds down with a reprise of an Introductory motif.

I strongly feel that "Affernoon of an Elf" is a strong addition to the plano llterature,and I Iook forward to its separate publication In complete form at some later date,

7O

AFTERNOON OF AN ELFErroll Garner

RubatoAbmaj7 G7 C7 F9

A tempo ,~= 130N.C. Eb DblEb

Cm/E~ B ~m/E~ Cm/E~ D~/Eb Cm/Eb B~m/E~ D[,/E~

Eb Db/Eb Cm/Eb Bbm/Eb Ab/Eb Eb7 AbA A A

A

mpCopyright @ 1955, 1983 Octave Music Publlshing Corporation

Thls Arrangement Copyright © 1987 Octave Music Publtshing CorporationAll Rights Reserved 71

S\ving feel ( ,J~ -_ ~r~a~ )

Ab A~maj7 D~/A~ CmT/A~, B~mT/A~ N.C. Cm/E~ E~7 Bbm7/Eb E~7

8va .....................

mp

, ~ ~ .~ (sire.)

A~ A~maj9 B~mT/A~ E~7 N.C. D~/E~ E~7 D~,/E~ E~7 B~m/E~

8va ...... a

A~ A~maj9 B ~mT/A~ B ~m/A~ A~ A~maj9 B~mll E~7 B~,ml 1

~~~~:ís~o .....................................~-~~ï~ ...............~- ....L ......................

Ab Abmaj9

÷ .’~Bbm7 Eb7 Ab Eb9sus4

loco

*Use middle pedal.

Bbm Bbm(maj7) Bbm7 Eb9 Db7 Cru7

81~a ................................. ~ .......................................................

Fin7 B bm7 Eb9 E b7/Db

Bbm Bbm7 Eb7

Ab Eb7sus4 Ab Abmaj9 Bbm78vaa .........................................................................................

~,~ (sim.)

Ab Cb9 Fb7 Eb13 Ab Fin7 Bbm7 Eb9SPa ...............................................

~Us~ middle pedal. 7~

Bbm7 E~7 Cm7 F7 Bbm7 Eb9

Cm7 Cb7 Fbmaj7 Eb7 Cm7 F7

~- I B Ft ~. q,’~

8va J

Ab Bbm7 Eb9 Cm7 F98va ......

Bbm7 Eb98va

Cm7 Fm7

"~ loco

Bbm7 Eb9 C7+9 Fm7

74

B W

A

B~13 E~7 Ab Eb7sus4

I L-~ ~.d

A

A

C7 Bbm B ~m(majT) BI~m7Bb9 E~7

P

’ ~ 3 3

~ =T~._r-]j_r--j

A/Ab AbA

75

CODAIn the decade slnce Erroll Garner’s death In ’1977, posthumous awards and

tributes have continued In hls honor. Concerts have been held salutlng hlm inLosAngeles, NewYork, London, Washington, and Chicago, and a three-day fes-tival showcaslng hls composltions was presented by Slam Stewarf In Blnghamton,NewYork, In f1978. The Unlversal Jazz Coalition In NewYork celebrated Gamer’sblrthday in f1985 wlth a program produced by planlst/arranger Frank Owens, hlgh-lightlng Garner’s works, with a dance tribute by Maurice Hines.

That Garner’s music is findlng another dimenslon In dance theater is grafifying;he had opted to compose for the ballet, theater and films, and was planningto set aside more time from hls performlng schedule for thls purpose. Slnce 198 t,the Dayton Ballet Company, and subsequently, the Princeton Ballef, have beenperforming a work tltled FAST COMPANY, set to the music of Gamer by StuariSebastlan, dlrector/choreographer of the Dayfon company. Other composltlonsby Garner are belng made available for the dance.

In the recording fleld, an active program of relssues öf some of Garner’s classicrecordlngs has been In progress abroad, Domestlcally, the Book-of-the-MonthClub has In release a deluxe three-album set titled ERROLL GARNER: MASTER OFTHE KEYBOARD. Also In the Unlted States, Polygram Records released Garner’s firstcompact disc last year--ERROLL GARNER PLAYS GERSHWIN AND KERN, and thlsyear, the CD verslon of hls solo album AFTERNOON OF AN ELF, Most slgnlficantly,preparations are under way for the world-wlde release of a series of hltherto un-Issued Garner recordings.

Poems and lyrics have heen wríffen celebratlng Garner; songs have been de-dicated to hlm; film clips of hlm In peflormance have been shown at festivalsthroughoufthe world.Ascholarshlp fund has been establlshed In Garner’s name;an oral hlstory project Is ongolng, as is the research for the Garner Archives, withan eye to an authorized blography and documentary film.

This ERROLL GARNER SONGBOOK Volume II Is another part of the contlnuingand essential exposltion of Garner’s legacy of recordings and composltions, andItke his SONGBOOK Volume I, It Is dedicated to Erroll Garner--hls music andmemon/.

76

DISCOGRAPHY

COMPOSITIONS/PAGE

GARNER BALLADS

THI$ T1ME IT’S REAL ’16NO MORE SHADOWS ’18

DREAMSTREET 28

GARNER swINGsYOUTURN MEAROUND 30WAY BACK BLUES 34JUSTBLUES 40

TRIO 43SEVEN-ELEVEN JUMP 46

UP IN ERROLL’S ROOM 49THAT’S MY KICK 52

GARNER’S LATIN MODESEL PAPAGRANDE 57

MAMBO 207 60MAMBO ERROLL 62

GEMINI 66

AFTERNOON OFAN ELF 7’1

ALBUM

~LOSEUP IN SWING [ORIGINALLYTITLED SHADOWS]OCTAVE/ABCPARAMOUNT 365;FRENCHRCA NL8943’1DREAMSTREET, OCTAVE/ABC PARArvlOUNT 392;FRENCH RCA NL 89432

FEELING IS BELIEVlNG OCTAVE/MERCURY SR6’1308THE MOST HAPPY PIANO, CBS RECORDS CL939CBS RECORDS, RELEASED AS A 7" 45 RPM SINGLE4-4"123’1

ERROLL GARNER CONTRASTS, MERCURY/EMARCY,MG3600UP IN ERROLL’S ROOM, OCTAVE/MGM SE 4520THAT*S MY I~ICK, OCTAVE/MGM RECORDS E4463;FRENCH RCA NL 89433

CLOSEUP IN SWING, OCTAVE/ABC PARAMOUNT 365;" FRENCH RCA NL 89431THE MOST HAPPY PIANO, CBS CL939CAM PUS CONCERT, OCTAVE/MGM SE436’1;FRENCH RCA NL 89434GE MINI, OCTAVE/LONDON RECORDS XPSó’17;FRENCHRCA NL89975/ENGLAND BDL4007AFTERNOON OF AN ELF~ MERCURY MG 20090;POLYGRAM 826-457-’1/4

77

THERROLL C~R~ERSO~GBOOKVolume ]

Arranged and Adapted by

Sy Johnsonafter Arrangements by

ERROLL GARNER#02509912

The first definitive collection of songs by thelegendaryjazz pianist and composerincludes such favorites as "Misty,"

"Dreamy," and "Solitaire."

Lavishly illustrated with photos, pluscomprehensive performance no.tes,

biography and discography.

Available at yo~~r Iocal ~~~~~sic store.

~~herr¥ Lane Mus, ic Compan¥

U.S. $14.95

ISBN 0-89524-330-X

~ Cherry Lane Music Company02509096 ¯Quality In Print~d Music ¯

[~~ P.O. Box 430, Port Chester, NY 10573Printed in the U.S.