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1 Vanguard azz Orchestra Series THAD ONES K E N D O R M U S I C P R E S E N T S OR TO THE DIRECTOR Thanks or your interest in this great music These rehearsal notes are meant as an adunct to the most important ork, un really, o listening to the recordings or style: up tempo sing better still, attending a live perormance We ve tried in this small space to give duration 8:50 the student (that includes all o us) a e hints and aareness o opportunities to improve the perormance by Thad ones INSTRUMENTATION ull Score Alto Sax I Alto Sax II Tenor Sax I Tenor Sax II Baritone Sax Trumpet I pieces at the same tempo, as it s un to experiment Trumpet II Trumpet III Trumpet IV Trombone I Trombone II Trombone III Trombone IV Piano /Guitar (2 copies) Bass Drums EXTRA SCORES PARTS AVAILABLE soloist it s supposed to be un Thad rote his irst azz arrangement at age 1 hen he as a trumpet player in his uncle's band in his native Pontiac, Michigan, along ith brothers Hank (piano) and Elvin (drums) In the 190's he served in the army, led a band o his on, and played ith other bands beore oining the Count Basie band in 195 Nine years later he let Basie and began arranging or singers, small groups, and the big Harry ames Band irst ould be our primary obective, and that is to sing This music is an outgroth o music that as meant or dancing and hen it s right, it makes you eel like moving All the harmonic and rhythmic sophistication o Thad ones and the other great riters, rom letcher Henderson to im McNeely, occur in the rameork o great time To this end, e need to be comortable playing our parts so that e can concentrate on connecting ith the other parts o the ensemble The suggested tempo markings represent the tempo that the composition as played at the time o Thad s departure rom the band in 1979 and generally are the upper end o the scale The arrangement can deinitely be played sloer, and should be i that makes it easier to sing The VO doesn t alays play these Since there s virtually no introduction, ohn Riley makes it a point to clearly delineate the tempo on the opening to measures so the saxophones get o to a secure start presents some unique challenges or the brass section, namely eight dierent parts ith little doubling playing eighth notes at tempo It s a real ear training exercise ith lots o chromatic movement and even repeated notes, so that it s imperative or the players to practice their parts individually and in sectionals When doing this, try to maintain the habit o singing Make it eel good even hen practicing along Dierent soloists can be substituted or added, and background ris can be developed but keep them simple, as you ant to support not supplant the One more note beore turning it over to David Demsey or some particulars Most all questions o balance, blend and dynamics can be ansered by simply knoing as much as possible about the music you are playing What s the orm o the tune Are you playing the melody, a counter melody, a background Who are you playing ith What s the chord and your position in it You ll ind even more questions and ansers, and i you stay ith it, you ll kno hy e re still, ater decades o playing this music, engaged and dedicated to it And remember, In 1965 Thad and drummer Mel Leis ormed their aardinning azz orchestra or the next 1 years this amazing band became an American azz institution The Vanguard azz Orchestra They played Monday nights at the Village Vanguard in NYC on an almost continuous basis, on countless polls in "Don Beat," and recorded a series o albums that remain popular today, including "Consummation," "Central Park Kendor Music, Inc North," "Live At The Village Vanguard" and "Suite or Pops" M U S I C P U B L I S H E R 21 Grove Street PO Box 278 In 1979 Thad moved to and settled in Copenhagen, here he conducted the Delevan, Ne York USA Danish Radio KendorMusiccom Big Band and later ormed his on Eclipse big band eaturing an kendormusiccom illustrious mix o players rom America and Europe

2 HISTORICAL AND REHEARSAL NOTES exaggeration is all the more important because the brass are muted The saxes ill gain a great deal rom listening to the original recordings o the OR This historic arrangement as one o the original seven that ormed the repertoire melody at Letters A and C The igures should not drag, ith no breaths during the o the original Thad onesmel Leis Orchestra (no the Vanguard azz Orchestra) rests in the irst three measures The higher pitches are emphasized, and the loer To this day, in the Vanguard azz Orchestra band olders, is #5 in the pitches are ghosted or deemphasized The marcato igure in measure 7 is played book This ne edition is taken directly rom the original ink parts that ere on the straight eighths, in almost a doubletime eel; everything else sings stands at the band s debut perormance in ebruary 1966, no housed in the Thad At measures 1112, the trombones play the irst to syncopated notes short ones Archive at William Paterson University, here Thad served as ounding In the melody bridge at Letter B, saxes should play the glissandi quickly and land Director o azz Studies together; measure 15 is a bluesy igure that should be slurred, ith beat to slightly scooped These original seven charts ere commissioned by Count Basie or an entire album olloing the melody chorus is three ull choruses o a trading competition o Thad ones music but Thad s voicings and ideas ere modern enough to beteen the saxes and brass They trade eightbar phrases at Letters D, E, and, Basie s ears that he never made the record, instead suggesting that Thad start his then gain intensity as the piano/guitar lay out or letters G, H, I and, urther intensiying as the trading interval shortens to ours at Letters K, L and M, and inally the on band The rest is history! Nevertheless, still maintains that singing Basie mindset, and should be rehearsed that ay Its basic oundations are a sections are all talking at once at N Thad s mastery o substitute chord changes relaxed but poerul rhythm section ith a driving ride cymbal beat and crisp hihat, and intense section riting is shocased all through this section Let the recordings underpinning saxes and brass that are tight, and alays on the back o the beat The listed belo be a guide to master the articulation, dynamics and style o these historic saxes and brass play their upbeats as late as possible, locking in ith the tight ride passages not a small task, but ell orth it In general, accent the higher notes in cymbal skip beat A great description o the Basie time concept comes rom the legendary Basie alumnus rank Wess, ho once said, That accent is not on the upbeat brass accents in measure 1 o Letter L At Letter M, exaggerate the loud irst note the lines, and ghost or deemphasize the loer notes Take special note to play the o our, it s ust beore one! and the tobar decrescendo that ollos in measures and In the shout chorus that begins at Letter P, the irst eight measures are a crescendo; exaggerate the unexpectedly quiet start in measure 189 (a nod to the Basie style) The title comes rom the act that Thad s 1966 big band arrangement or Basie as actually his second version o the tune In 196, Thad had already ritten and build to beat 2 o the irst and second endings, measures 19 and 197 a ivehorn version or the Louie Bellson album Thunderbird (released in 1966) that The drummer (originally Mel Leis) is eatured in the arrangement s ending The eatured not Thad, but Harry Seets Edison on trumpet, trombonist Carl ontana tobar solo in measures that introduces the return o the melody at Letter R and lutist/saxophonist Sam Most should be a decrescendo; the short solos that ollo in measures , and should be alays in time and in the style o the horn lines The inal trombone cluster voicing should be conducted; listen to the various record is Thad s melody based on the chord changes o I Got Rhythm, in the key o Ab The arrangement all occurs over repetitions o that 2measure AABA ings belo to get the timing ust right or the th trombone entrance orm until its ending This arrangement is closely related to another Thad ones Ab rhythm changes tune, Tip Toe, the irst Bellson version o Little Pixie is played at a much sloer tempo almost identical to that o Tip Toe In act, an earlier, unrecorded Signiicant recordings o : Thad arrangement o Tip Toe or Harry ames actually uses Little Pixie s amous opening brass cluster chord! Thad ones/mel Leis Orchestra, All My Yesterdays (2 CDs and 89page booklet; recorded 2/7/66 and /21/66; released during the 50th anniversary eek at Village As ith many Basie arrangements, a number o key stylistic elements are not printed Vanguard azz club) Resonance HCD202 on the original chart The rehearsal comments belo are taken rom recorded perormances o the original recording by the Thad onesmel Leis Orchestra, and rom Thad ones/mel Leis Orchestra, Thad onesmel Leis Live At The Village later recordings and perormances by the Vanguard azz Orchestra This arrangement can be perormed at the deepest level hen band members are hearing these Vanguard (recorded /28/67) Solid State SS18016 great recordings in their minds as they play KendorMusiccom The opening brass voicing must have an exaggerated ortepiano attack, both rom Trombone IV on the donbeat and the rest o the brass section a halbeat later This David Demsey Coordinator o azz Studies Curator, Thad ones Archive William Paterson University

3 SCORE Αλτο Σαξ Ι Αλτο Σαξ ΙΙ Τενορ Σαξ Ι Τενορ Σαξ ΙΙ Βαριτονε Σαξ Τρυµπετ Ι Τρυµπετ ΙΙ Τρυµπετ ΙΙΙ Τρυµπετ Ις Τροµβονε Ι Τροµβονε ΙΙ Τροµβονε ΙΙΙ Τροµβονε Ις Πιανο/Γυιταρ b b Υπ Τεµπο Σωινγ [χ υπ] # [χ υπ] n [χ υπ] # [χ υπ] # n [χ υπ] [χ υπ] # [χ υπ] n [χ υπ] Α (οπτ φιλλσ βετωεεν βανδ λιχκσ) n n n n n # n b 1 b OR b b b b b # b b b n b b b # # n # # n n # b # # n n b b n b b # n b n n # n b # n b é b b é b é b é # é Βασσ n Composed and Arranged by Thad ones 2 b # # # # # # # # # # n n # n # n n n n n b b n ρυµσ Βρυσηεσ KendorMusiccom COPYRIGHT 1989 BY EMI ULL KEEL MUSIC THIS ARRANGEMENT COPYRIGHT 2016 BY EMI ULL KEEL MUSIC ALL RIGHTS ADMINISTERED BY SONY/ATV MUSIC PUBLISHING LLC 2 CHURCH ST, SUITE 1200, NASHVILLE, TN 7219 INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED USED BY PERMISSION O HAL LEONARD CORPORATION

4 Ι Β Σξ SCORE p2 Β ~ ~ ~ ~ b ~ ~ ~ ~ # n ~ # ~ ~ # n # # b n # n n n n # # ~ ~ ~ ~ # # n n n ~ ~ # n # # # n b # n b b OR n # b n b # b b # b n # Χ n n n n n n b b n n b b n b b b b b b n b b b n n n ~ ~ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι b n b n b n b n b n b b n n b n b n b b n n b b b b n n b b b n b b n n b ~ n ~ ~ b n n n b # n b n n b n b b Τβν ΙΙ Τβν ΙΙΙ Τβν Ις b n n b b b n n b b b n b b n b n b n n n b b n n n Πνο/Γτρ b b Φ # Ñ Φ Û Û 7 Û Β b 9 Ε b +7 Α b +7 Û Û Û Ε b Α Û Û b 7 Û b Γ+7 Χ Φ 7 Βσ b b n n n n n n n b n b n n n n ρσ KendorMusiccom

5 Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ SCORE p b b Α b Χ+7 Û Φ 9 Û # # # # # # # n # n # n n b n # n # n n n n # # # n b n b n n # # # n n n b n n b n b n # n b n n n n b n b n n n n n b n n n n b b b b n n b n n n n Β b Β Ε Û Û Û Α 9 Û n n n n n n # # n b n n n b OR n # n n n # # b b n # b b n b n # n # n b b n b n b # n # n n # n b n n b # n b n b n b n b n b n n b n b b b b n b b # n # # n b b b n n n b n n b n b n n n n n n b b n b b n b b n b b n b b b b Α b Γ b Φ+7 Β b Β Ε+7 Α+7 +7 b Φ Γ b Χ Γ b 7 Φ 7 Β b Ε b 7 X Ε b9 Α Û Û Û Û Û Û Û Û Û Û Û Û b µ Α b Β b Ñ Βµ Χ Γ b Φ Β b Ε b 9 Α Û Û 7 b Γ b 9 Χ Φ 7 Β b Ε b 7 Α b ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Βσ n n n b n n n n n n b b b n n b n n n b b b ρσ Ú KendorMusiccom

6 Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ SCORE p Ε Χï Γ b b # n # # b b n b # n ~ # b a n # b n # # # το [ο π εν] [ο π εν] το [ο π εν] [ο π εν] το [ο π εν] [ο π εν] το [ο π εν] [ο π εν] Χ+7 n # b # # # # n # n b # # OR n n b n # # b n # # # n # n n b n n # n # # # # # n # n # n # n n b n n # # n n # n # n # # n n # b n n n # n # Φ 7 Χ Φ 7 το [ο π εν] το [ο π εν] Φ Β b 7 το [ο π εν] το [ο π εν] Ε b 7 Φ 7 Β b 7 Ε b 7 Φ # b # n n n b # a [ο π εν] [ο π εν] [ο π εν] [ο π εν] Α b Φ 7 Βσ n n n n b n # # n n b n b # b b n b n Β b Ε b Α b Φ 7 2 «2 «2 «2 «2 «Β b Ε b n n n ρσ Στιχκσ KendorMusiccom

7 SCORE p5 # n n b b n n n n # b b b n Γ OR Η b b b n b b b b b n b n n Ι Β Σξ n b # n b b n b n # b n b # Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ b b Α b βιτε n # # # # # n P βιτε n # n n b n b n P βιτε n P # # # # n n # βιτε n P # n b # n n b βιτε n n # n n n b n b n b P βιτε n n n n b n b n n n n b P βιτε n n # b n n b P βιτε n n P n n n b b n n b µ Α ΧÑ Φ 7 Βσ b n n n n n n b n n ρσ {χ η ι ν ε σ ε χ ψµ} (βρασσ) P {ρ εγ υλ α ρ χ ψµ} KendorMusiccom

8 SCORE p6 # b # b b n b # n # b n b n b n é é é Ι # n n OR é n b n # n é n b n # é Ι Β Σξ b b # b n b n b b b b é é n b n b n n n é n # b # é Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις # # n n # n # n # # n # # n n n # n n n b # n # # # n n n n # n b n # n # # n n # n # n n n n n n b b n n # n n # n n n n n n # n n n n b n # n n n b b # n n n # n b n n # n n n n b # n # n n # # # n n n b b n n b b n n n b b b n b b Πνο/Γτρ b b Βσ b n b n n n n n n b n b b ρσ KendorMusiccom

9 Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις SCORE p7 ϑ λονγ φαλλ \ \ \ \ λονγ φαλλ \ λονγ φαλλ \ \ λονγ φαλλ λονγ φαλλ λονγ φαλλ λονγ φαλλ λονγ φαλλ \ n # # b n # n b # # # # b n b n # n n b n n # # n n # n n b b b # n b # n b OR n b # n b b b b b b b n b # n n n n b b b # n n b n b n b n b b n b b # n n b b b b n b b # # b n b b b n b b b b b n n b b n b n b b n n Κ n n n n n # n b n b n b n n b b n n # # b b n b n b b b n b n b n Πνο/Γτρ b b Βσ n n b b n n b b b n ρσ KendorMusiccom

10 SCORE p8 b # b # # # n b b b # n n n b b n n # b n # n # n b b # n n b n b b b Λ OR b # ~ ~ ~ n b n n n b # n # # # n n Ι Β Σξ n b b # b b b n # n # n # n n b n b n # b b n n b n b b b n b # ~ ~ b ~ ~ n # b n n b # n Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ b n n b n b n b b Τπτ Ις Τβν Ι b n n n # n b n # n n # n b n # b Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ b b b b b b b n n n b b n n n b b n b n n n # n b b n n # b Α b 7 b 7 µ Α b Φ 7 Β b Ε b 7 Α b 7 Γ b Γ Û Û Βσ b b n b n b b n b b n b ρσ KendorMusiccom

11 Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ SCORE p9 Μ Γ Χ 7 b b n n n n b n n n # b b b b b n n n n b b b OR # n n b b n n b b n b b b # n # b n n b n b b n n # b b n b n b n b b b # # n # # n # n b b b b b b b b n # b b b n n b b n b n b b b b b n # n n n b n b n n b b b b n n n n b b b # n n n b b b b n b b Γ b 7 Φ # Β 7 Χ Φ 7 Φ Β b 7 Β b Β Ε 7 Ε Ε 7 Α 7 Β b Ε b 7 Ν ~ Α b Φ+7 Β b Β 7 Β b 7 Ε b 7 Α b Φ+7 Β b 9 Ε b +7 n # b b Βσ n b b b # n n # # n n # # b b b # # b # b n n n # # # n # n b n n n n n n n n b b n b n n ρσ KendorMusiccom

12 SCORE p10 b # b n n b b b b b n b n b b Ο OR Ι Β Σξ b b b b b n # b # b b Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις b b b # n n n b n n b b b n b b b 1στ ξ ονλψ b b b ον χυε: βαχκγρουνδσ φορ σολοσ ë b # n b 1στ ξ ονλψ ον χυε: βαχκγρουνδσ φορ σολοσ # n b b n b b ë # b 1στ ξ ονλψ b b b ον χυε: βαχκγρουνδσ φορ σολοσ b b b ë # b b b n b 1στ ξ ονλψ ον χυε: βαχκγρουνδσ φορ σολοσ b b b ë # b n b b n b 1στ ξ ονλψ {ο ν χυε} b n ë b b 1στ ξ ονλψ n b b {ο ν χυε} b n b n ë 1στ ξ ονλψ n b {ο ν χυε} b b n b ë 1στ ξ ονλψ {ο ν χυε} b n n n b b n b b b ë b b b b b b b b n b n b n b n b b b b b b b b b b b b b Πνο/Γτρ b b Α b Β b Ñ Ε b 9 Α b Β b Ñ Ε 9 Α b Α b 7 b µ Α b / Ε b Φ 7 Β b Ñ Ε b 7 Α b Φ 9 Β b 9 Ε b 9 Α b Φ 9 Β b 9 Ε b 9 Βσ b n n b b n b Α b Β b Ñ Ε b 9 Α b Β b Ñ Ε 9 Α b Α b 7 b µ Α b / Ε b Φ 7 Β b Ñ Ε b 7 Α b Φ 9 Β b 9 Ε b 9 Α b Φ 9 Β b 9 Ε b 9 ρσ KendorMusiccom

13 SCORE p11 Αλτο Ι OR Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ Βσ Α b Α b 7 b b Α b Α b 7 b b n n b n b b b b n b b b b b n b b n b b n b n b b b b n n b b b b b n n b b b b b n n b b b 9 Γ b 9 Β b Ñ Ε b 9 Α b ΓÖ Χ; Φ; ΦÖ Β b ; Β b Ñ Ε b ; Α b Αµ Β b Ñ Βµ ΧÑ Φ 7 Β b 9 Ε b 9 Α b 9 9 b 9 Γ b 9 b 9 Γ b 9 Β b Ñ Ε b 9 Α b ΓÖ Χ; Φ; ΦÖ Β b ; Β b Ñ Ε b ; Α b Αµ Β b Ñ Βµ ΧÑ Φ 7 Β b 9 Ε b 9 Α b 9 9 b 9 Γ b 9 b b n b n b b b b b n n n # n ΦÑ Β b ; Β b Ñ Ε b ; ΦÑ Β b ; Β b Ñ Ε b ; b b b b b b b n το µορε σολοσ το µορε σολοσ το µορε σολοσ το µορε σολοσ το µορε σολοσ το µορε σολοσ το µορε σολοσ το µορε σολοσ ρσ KendorMusiccom

14 b b b b b b b b b b b b b b b Αλτο Ι Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Βσ ρσ Πνο/Γτρ 157 (δρυµ σολο) Σολο SCORE p12 60 OR KendorMusiccom

15 Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ SCORE p1 Π {ο ν χυε} βυιλδ b 1 b 2 n b OR b b n # # b # # n n b n n b b n b n n b n b b b n # n b n b b n b b b b b b b b b n b b b n {ο ν χυε} b βυιλδ # n b # n n b # # n n n b b n b b n b n b b n b # n b n b n b n b n n b # n b n b n b b b n b n b n n b b n b n n b n b n b n b {ο ν χυε} βυιλδ n n b b n b n b n b n b b n b n b n b n b n n n b b b 9 Α b9 b 9 Û Û Û Û ~ # n # n # # b n n n n n n b # n n n n b b n # n n n b n b n # n n b n b # n n n n b b n n n b n n n b Βσ ρσ n b n b n n n b n n KendorMusiccom

16 Ι Β Σξ Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις SCORE p1 Θ # # n n n # n # # n n b b # n # n n n # # n n n n n # b # b n n n n n b n, b n n n b, n n n b, n b b n n n n b b n b # n n OR n # # b n # n n n b b n n b n b n n b b # b n n # n b n # n # n b n # b b n b n # n, n b ~ ~ ~ ~ ~ b # # # b b # # b b Πνο/Γτρ b b Βσ # n n n b n ρσ Σολο Φιλλ KendorMusiccom

17 SCORE p15 Ρ n n n b b b b b b # n b n b b b b n OR b b n b # n b n # # # # # # # # n n U U U U U U Φινε Ι Β Σξ n n b # # n # n # # n b n n n b b n b b # # # # # # # U U U U Τπτ Ι Τπτ ΙΙ Τπτ ΙΙΙ Τπτ Ις Τβν Ι Τβν ΙΙ Τβν ΙΙΙ Τβν Ις Πνο/Γτρ b b (οπτ φιλλσ βετωεεν βανδ λιχκσ) n b n b n n n n b n n n b b n n b b n n b # n # n # # n Β b Û b Ε b 7 Û Û b # b b b n b n b # n A U U U U U U U U U U ç U U ç U U ç U nu ç U U U U Βσ ρσ n b b (6) n Σολο Φιλλ Σολο Φιλλ b n n b Σολο {ο ν χυε} U U n U U KendorMusiccom