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Isfahan from “The Far East Suite”

Isfahan from “The Far East Suite”

at Lincoln Center Library ISFAHAN FROM “THE ”

by

Transcribed by David B­erger for Jazz at Lincoln Center

F u ll S c o r e

This transcription was made especially for Essentially Ellington 2005: The Tenth Annual Jazz at Lincoln Center High School Jazz Band Competition & Festival

Major support for the 2005 Essentially Ellington High School Jazz Band Competition & Festival is provided by The Jack and Susan Rudin Educational and Scholarship Fund, Surdna Foundation, The Heckscher Foundation for Children, and the National Endowment for the Arts.

Additional support is provided by the Danny Kaye and Sylvia Fine Kaye Foundation, Citigroup Foundation, the Charitable Foundation, The Charles Evans Hughes Memorial Foundation, Gail and Alfred Engelberg, The New York Times Company Foundation, Elroy and Terry Krumholz Foundation, and other generous funders.

Preview Only Legal Use Requires Purchase Notes on playing Ellington listen to the first trumpet and follow her. In turn, the other saxes music, and much of this is highly interpretive. Straight or curved and trombones must follow their lead players. When the clarinet lines imply non-pitched glisses, and wavy lines mean scalar At least 95% of modern-day large ensemble jazz playing comes leads the brass section, the brass should not overblow him. That (chromatic or diatonic) glisses. In general, all rhythmic figures out of three traditions: Count Basie’s band, ’s band, means that the first trumpet is actually playing “second.” If this need to be accented. Accents give the music life and swing. This and the orchestrations of small groups. Those young players inter- is done effectively, there will be very little balancing work left is very important. ested in jazz will be drawn to small groups for the opportunity to for the conductor. improvise and for practical reasons (it is much easier to organize 10. Ellington’s music is about individuality: one person per four or five people than it is 15). Schools have taken over the task 4. In Ellington’s music, each player should express the individuality part—do not double up because you have extra players or need (formerly performed by dance bands) of training musicians to of his own line. He must find a musical balance of supporting more strength. More than one on a part makes it sound more be ensemble players. Due to the Basie Band’s popularity and its and following the section leader and bringing out the character like a concert band and less like a jazz band. simplicity of style and emphasis on and swing, the better of the underpart. Each player should be encouraged to express 11. This is acoustic music. Keep amplification to an absolute mini- educators have almost exclusively adopted this tradition for teach- his or her personality through the music. In this music, the mum; in the best halls, almost no amplification should be neces- ing jazz ensemble playing. As wonderful as Count Basie’s style is, it underparts are played at the same volume and with the same sary. Everyone needs to develop a big sound. It is the conductor’s doesn’t address many of the important styles developed under the conviction as the lead. job to balance the band. When a guitar is used, it should be a great musical umbrella we call jazz. Duke Ellington’s comprehen- 5. Blues inflection should permeate all parts at all times, not just hollow-body, unamplified rhythm guitar. Simple three-note sive and eclectic approach to music offers an alternative. when these opportunities occur in the lead. voicings should be used throughout. An acoustic string bass The stylistic richness of Ellington’s music presents a great is a must. In mediocre or poorly designed halls, the bass and 6. Vibrato is used quite a bit to warm up the sound. Saxes (who challenge to educators and performers alike. In Basie’s music, the piano may need a bit of a boost. I recommend miking them most frequently represent the sensual side of things) usually conventions are very nearly consistent. In Ellington’s, there are and putting them through the house sound system. This should employ a heavy vibrato on harmonized passages and a slight many more exceptions to the rules. This calls for greater knowl- provide a much better tone than an amplifier. Keep in mind that vibrato on unisons. Trumpets (who very often are used for heat edge of the language of jazz. , who left Count Basie’s the rhythm section’s primary function is to accompany. The bass and power) use a little vibrato on harmonized passages and no band to join Duke Ellington, said, “Count Basie was college, but should not be as loud as a trumpet. That is unnatural and leads vibrato on unisons. Trombones (who are usually noble) do not Duke Ellington was graduate school.” Knowledge of Ellington’s to over-amplification, bad tone, and limited dynamics. Stay use slide vibrato. A little lip vibrato is good at times. Try to match music prepares you to play any music. away from monitors. They provide a false sense of balance. the speed of vibrato. Unisons are played with no vibrato. 12. Solos and rhythm section parts without chord changes should The following is a list of performance conventions for the great 7. Crescendo as you ascend and diminuendo as you descend. The be played as is or with a little embellishment. Solos and rhythm majority of Ellington’s music. Any deviations or additions will be upper notes of phrases receive a natural accent and the lower section parts with chord changes should be improvised. spelled out in the individual performance notes that follow. notes are ghosted. Alto and tenor saxophones need to use However, written passages should be learned because they sub-tone in the lower part of their range in order to blend are an important part of our jazz heritage and help the player properly with the rest of the section. This music was originally under- stand the function of his particular solo or accompani- 1. Listen carefully many times to the Ellington recording of these written with no dynamics. It pretty much follows the natural ment. Soloists should learn the chord changes. Solos should not pieces. There are many subtleties that will elude even the most tendencies of the instruments; play loud in the loud part of be approached as opportunities to show off technique, range, sophisticated listener at first. Although it was never Ellington’s the instrument and soft in the soft part of the instrument. For or volume, but should be looked at as a great opportunity to wish to have his recordings imitated, knowledge of these defini- instance, a high C for a trumpet will be loud and a low C will further develop the interesting thematic material that Ellington tive versions will lead musicians to make more educated choices be soft. has provided. when creating new performances. Ellington’s music, though writ- ten for specific individuals, is designed to inspire all musicians to 8. Quarter notes are generally played short unless otherwise 13. The notation of plungers for the brass means a rubber toilet express themselves. In addition, you will hear slight note differ- notated. Long marks above or below a pitch indicate full value: plunger bought in a hardware store. Kirkhill is a very good brand ences in the recording and the transcriptions. This is intentional, not just long, but full value. Eighth notes are played full value (especially if you can find one of their old rubber ones, like the since there are mistakes and alterations from the original intent except when followed by a rest or otherwise notated. All notes one I loaned Wynton and he lost). Trumpets use 5" diam- of the music in the recording. You should have your players play longer than a quarter note are played full value, which means if eter and trombones use 6" diameter. Where Plunger/Mute is what’s in the score. it is followed by a rest, release the note where the rest appears. notated, insert a pixie mute in the bell and use the plunger over For example, a half note occurring on beat 1 of a measure would the mute. Pixies are available from Humes & Berg in Chicago. 2. General use of swing phrasing: The triplet feel prevails except for be released on beat 3. “Tricky Sam” Nanton and his successors in the Ellington plung- ballads or where notations such as even eighths or Latin appear. er trombone chair did not use pixies. Rather, each of them In these cases, eighth notes are given equal value. 9. Unless they are part of a legato background figure, long notes employed a Nonpareil (that’s the brand name) trumpet straight should be played somewhat ; accent and then diminish the mute. Nonpareil has gone out of business, but the Tom Crown 3. There is a chain of command in ensemble playing. The lead fp volume. This is important so that the moving parts can be heard Nonpareil trumpet straight mute is very close to the same thing. players in each section determine the phrasing and volume for over the sustained notes. Don’t just hold out the long notes, but These mutes create a wonderful sound (very close to the human their own section, and their section-mates must conform to the give them life and personality: that is, vibrato, inflection, cre- voice), but they also create some intonation problems that must lead. When the saxes and / or trombones play with the trumpets, Previewscendo, or diminuendo. There is a great deal of inflectionOnly in this be corrected by using alternate slide positions. It would be the lead trumpet is the boss. The lead alto and Legaltrombone must Use Requires Purchase easier to move the tuning slide, but part of the sound is in the Coda: also known as the “outro.” “Tags” or “tag endings” are music feels like it is getting faster, but it isn’t. struggle to correct the pitch. If this proves too much, stick with outgrowths of vaudeville bows that are frequently used as codas. the pixie—it’s pretty close. They most often use deceptive cadences that finally resolve to the Vamp: a repeated two- or four-bar chord progression. Very often, tonic, or they go from the tonic to the sub-dominant and cycle there may be a riff or riffs played on the vamp. 14. The drummer is the de facto leader of the band. He establishes back to the tonic: I V/IV IV #IVo I (second inversion) V/II V/V V I. the beat and controls the volume of the ensemble. For big band Voicing: the specific spacing, inversion, and choice of notes that playing, the drummer needs to use a larger bass drum than he Comp: improvise accompaniment (for piano or guitar). make up a chord. For instance, two voicings for G7 could be: would for small group drumming. A 22" is preferred. The bass drum is played softly (nearly inaudible) on each beat. This is Groove: the composite rhythm. This generally refers to the called feathering the bass drum. It provides a very important combined repetitive rhythmic patterns of the drums, bass, piano, bottom to the band. The bass drum sound is not a boom and and guitar, but may also include repetitive patterns in the horns. not a thud—it’s in between. The larger drum is necessary for the Some grooves are standard (i.e., swing, bossa nova, samba), while kicks; a smaller drum just won’t be heard. The key to this style others are manufactured (original combinations of rhythms). is to just keep time. A rim knock on 2 and 4 (chopping wood) Head: melody chorus. is used to lock in the swing. When it comes to playing fills, the Note that the first voicing includes a 9th and the second voic- fewer, the better. Interlude: a different form (of relatively short length) sandwiched ing includes a 9 and a 13. The addition of 9ths, 11ths, 13ths, and alterations are up to the discretion of the pianist and soloist. 15. The horn players should stand for their solos and solis. Brass between two chorus forms. Interludes that set up a key change are players should come down front for moderate to long solos, simply called “modulations.” surrounding rests permitting. The same applies to the pep Intro: short for “introduction.” section (two trumpets and one trombone in plunger/mutes). THE FOUR ELEMENTS OF MUSIC Ride Pattern: the most common repetitive figure played by the 16. Horns should pay close attention to attacks and releases. drummer’s right hand on the ride cymbal or hi-hat. The following are placed in their order of importance in jazz. Everyone should hit together and end together. We should never lose perspective on this order of priority. 17. Brass must be very precise when playing short notes. Notes RHYTHM: meter, tempo, groove, and form, including both melodic must be stopped with the tongue, à la Louis Armstrong! rhythm and harmonic rhythm (the speed and regularity of the 18. Above all, everyone’s focus should remain at all times on the Riff: a repeated melodic figure. Very often, riffs repeat verbatim chord changes). swing. As the great bassist Chuck Israels says, “The three most or with slight alterations while the harmonies change underneath MELODY: what players play: a tune or series of notes. important things in jazz are rhythm, rhythm, and rhythm, in that them. order.” Or as Bubber Miley (Ellington’s first star trumpeter) said, HARMONY: chords and voicings. “It don’t mean a thing if it ain’t got that swing.” Shout Chorus: also known as the “out chorus,” the “sock chorus,” or sometimes shortened to just “the shout.” It is the final ensemble ORCHESTRATION: instrumentation and tone colors. passage of most big band charts and is where the climax most often happens. —David B­erger glossary Soli: a harmonized passage for two or more instruments playing the same rhythm. It is customary for horn players to stand up or Special thanks to Ryan Keberle for editing the score. The following are terms that describe conventions of jazz perfor- even move in front of the band when playing these passages. This mance, from traditional New Orleans to the present avant garde. is done so that the audience can hear them better and to provide the audience with some visual interest. A soli sound particular Break: within the context of an ongoing time feel, the rhythm section stops for one, two, or four bars. Very often a soloist will to Ellington’s music combines two trumpets and a trombone in improvise during a break. plungers/mutes in triadic harmony. This is called the “pep sec- tion.” Call-and-Response: repetitive pattern of contrasting exchanges (derived from the church procedure of the minister making a Stop Time: a regular pattern of short breaks (usually filled in by a statement and the congregation answering with “amen”). Call- soloist). and-response patterns usually pit one group of instruments Swing: the perfect confluence of rhythmic tension and relaxation against another. Sometimes we call this “trading fours,” “trading in music creating a feeling of euphoria and characterized by twos,” etc., especially when it involves improvisation. The num- accented weak beats (a democratization of the beat) and eighth bers denote the amount of measures each soloist or group plays. notes that are played as the first and third eighth notes of an Another term frequently used is “swapping fours.” Previeweighth-note triplet. Duke Ellington’s definition of swing:Only when the Legal Use Requires Purchase is an intense and passionate man. He doesn’t have to yell to express that intensity. Sometimes great ISFAHAN emotion is best expressed in a whisper. This same approach to the dynamics is true throughout the band, both in the background and during the soft shout at letter E. Don’t mistake the quiet INSTRUMENTATION: dynamics for lack of precision and intensity. • In keeping with the sad tradition of ignoring count-offs, one of the most difficult spots in this chart Reed 1 - Alto Sax Trombone 1 is the first measure at letter A. First, the alto soloist needs to set up the time during his pickup. Reed 2 - Alto Sax Trombone 2 Then, the rhythm section must establish the beat on the first beat of A. Next, the trombones must Reed 3 - Tenor Sax Trombone 3 (opt. bass) come in at the end of beat 1. This is tricky since there is an implied swing feel. A beat later, the Reed 4 - Tenor Sax Bass remaining alto and two tenors play their counterline. Everyone except the baritone and the trum- Reed 5 - Baritone Sax Drums pets is involved in setting up the beat and the feel (at four different times)—therefore, four chances Trumpet 1 to miss. This demands concentration from all of those people during the count-off. Trumpet 2 • Slow pieces like this magnify the little things. While the saxes are slurring their unison (no vibrato, Trumpet 3 or as Ellington would say, “dead tone”) figures at A, the trombones need to put accents on their syncopated notes and on the long notes. Adding a pinch of lip vibrato warms it up nicely. Note fp Original Recording Information: that slide vibrato is considered over the top and inappropriate in the Ellington style. • Letter B has the saxes switch to unison, which requires the use of vibrato for warmth. Composer: Billy Strayhorn When the baritone takes over the melody for the two measures before he or she immediately Arranger: Billy Strayhorn •  D, switches the feel to straight (even) eighth notes. The accent on the of the second bar Recorded: December 20, 1966, in adds so much character. Time: 4:17 Master Number: TPA1-9152-1 • The soft ensemble shout at E is a typical tutti section (four-part close harmony doubled in each Original Issue: The Far East Suite, RCA Victor LPM-3782 (mono)/LSP-3782 (stereo) section). In order to make this kind of writing come alive, everyone needs to play his or her part with conviction like it is the melody (that is true of every written part at any time), and the baritone Currently Available on CD: sax and 2nd trombone, who are doubling the 1st trumpet down the octave, need to bring their Duke Ellington’s The Far East Suite (Remaster) parts out just a pinch. If these dynamics are adhered to, your ensemble will get a nice shimmer. Bluebird (RCA/BMG) 55614-2 Remember, this is subtle. Notice that this is the only section of the entire piece where the bass and drums go into four. This is essential to the effectiveness of the form. Personnel: Duke Ellington, conductor; , , , , trumpets; Lawrence Brown, , trombones; Chuck Connors, bass trombone; Johnny • There are several breaks during the piece. The silence is excruciating. We love the suspense. It is Hodges, , , , , reeds; , bass; a perfect study in balance and the art of complementation. Everyone’s part is so integral that it Rufus Jones, drums. makes each member of the ensemble want to play his or her part with pride.

Soloist: , alto sax. —David Berger —Phil Schaap, Curator, Jazz at Lincoln Center comments from Wynton Marsalis: Rehearsal Notes: • Isfahan, with its soft, sustained tones, is a great arrangement to help students develop their sound. • When Ellington and Strayhorn put together “Impressions of the Far East,” one of Duke’s most Played softly, sweetly, and with soul, it offers a chance to really hear the sound of your band. adventurous and unique suites, they included a little-known ballad written to feature Johnny • It is very difficult for a young rhythm section to play a ballad. The bass and drums should keep in Hodges named Elf. Re-titled Isfahan, after the city in Iran, this piece seems to fit perfectly into the mind the swaying, to-and-fro motion of a nice slow dance. overall concept of the suite. Actually, “Impressions of the Far East” or “The Far East Suite,” as it is sometimes known, is mostly about the Middle East. • Watch the intonation of the ensemble part at letter E. Here the rhythm section changes from a two- to a four-beat groove. Now’s the time for the band to sing out. • The form for Isfahan is ABAC A(ensemble) AC + tag. As is the case in so many of Strayhorn’s scores, Ellington opts not to play the piano, thereby creating a lean landscape. Also, there is no • The internal dynamics are very important throughout the piece. The subtle nuances are not written. guitar. There is already so much harmony and counterpoint in the horns that the addition of piano You must add the dynamic ebb-and-flow. and/or guitar would just gum up the works.

• The focus of this piece is the alto saxophone solo. It is the opposite of the contemporary pop ballads, which is laden with histrionics.Preview This solo is underplayed, sotto voce. However, in the few Only moments when Hodges builds up some tension,Legal we realize that underneath Use all of that nonchalance Requires Purchase Essentially Ellington The Essentially Ellington High School Jazz Band Competition & Festival (EE) is one of the most unique jazz programs for high school bands in the U.S., Canada, and Australia. EE extends the legacy of Duke Ellington by widely disseminating his music, in its original arrangements, to high school musicians for study and performance. Utilizing Ellington’s music challenges students Jazz at Lincoln Center is a not-for-profit arts to increase their musical proficiency and knowledge of the jazz language. EE consists of the organization dedicated to jazz. With the world-renowned following initiatives and services: Lincoln Center Jazz Orchestra, the Afro-Latin Jazz • Supplying the Music: Each year Jazz at Lincoln EE participants are also invited to attend these Orchestra, and a comprehensive array of guest artists, Center (JALC) transcribes, publishes, and workshops. Jazz at Lincoln Center advances a unique vision for the distributes Duke Ellington charts (along with addi- • Competition & Festival: EE culminates in a continued development of the art of jazz by produc- tional educational materials) to high school bands three-day festival at Jazz at Lincoln Center’s new ing a year-round schedule of performance, education, in the U.S. and Canada and American schools Frederick P. Rose Hall. Students, teachers, and and broadcast events for audiences of all ages. These abroad. musicians from across North America partici- productions include concerts, national and international • Talking About Duke: Throughout the school year, pate in workshops, rehearsals, and performances. tours, residencies, weekly national radio and television band directors and students correspond with The festival concludes with an evening concert at programs, recordings, publications, an annual high school professional clinicians who answer questions Lincoln Center’s Avery Fisher Hall that features the regarding Ellington’s music. EE strives to foster three top-placing bands, joining Wynton Marsalis jazz band competition and festival, a band director mentoring relationships through e-mail correspon- and the Lincoln Center Jazz Orchestra in an academy, a jazz appreciation curriculum for children, dence, various conference presentations, and the all-Ellington performance. advanced training through the Juilliard Institute for festival weekend. • Band Director Academy: This professional devel- Jazz Studies, music publishing, children’s concerts, lec- • Sharing Experiences: Students are encouraged opment program for band directors is designed tures, adult education courses, film programs, and stu- to enter an essay contest by writing about an to enhance their ability to teach and conduct the dent and educator workshops. Under the leadership experience they have had with jazz music. The music of Duke Ellington and other big band com- of Artistic Director Wynton Marsalis and President & first-place winner earns the honor of naming a posers. Led by prominent jazz educators each CEO Hughlyn F. Fierce, Jazz at Lincoln Center will pro- seat in Frederick P. Rose Hall—home of Jazz at summer, this five-day program integrates perfor- Lincoln Center. mance, history, pedagogy, and discussion into an duce hundreds of events during its 2004–05 season. intensive educational experience for educators at Jazz at Lincoln Center opened its new home—Frederick • Professional Feedback: Bands are invited to all levels. P. Rose Hall, the first-ever performance, education, submit a recording of their performance of the charts either for entry in the competition or • Essentially Ellington Down Under: A partner- and broadcast facility devoted to jazz—in fall 2004. for comments only. Every submission receives a ship between Jazz at Lincoln Center and the thorough written assessment. Western Australian Academy of Performing Arts at Edith Cowen University, EE Down Under mir- • Finalists and In-School Workshops: Fifteen bands rors the model JALC has produced successfully For more information about Essentially Ellington are selected from competition entries to attend in the U.S. and Canada by bringing the music of please contact: the competition and festival in New York City. To Duke Ellington to secondary schools in Western prepare, each finalist band receives an in-school Australia. JAZZ AT LINCOLN CENTER EDUCATION DEPARTMENT workshop led by a professional musician. Local 33 West 60th Street, New York, NY 10023-7999 (212) 258-9800 (phone), (212) 258-9900 (fax) As of May 2004, EE has distributed 60,000 scores to more than 3,500 schools in all 50 U.S. states, schools in Canadian provinces, American schools abroad, and schools in Western Australia. Since 1996, more than [email protected] (e-mail) 200,000 students have been exposed to Duke Ellington’s music through EE. http://www.jalc.org (web) Alfred Publishing Co.,Preview Inc. is the official print music publisher for Jazz at Lincoln Center. Only Legal Use Requires Purchase Preview Only Legal Use Requires Purchase CONDUCTOR Jazz at Lincoln Center - Essentially Ellington ISFAHAN Slow swing ballad Œ = 61 By Duke Ellington and Billy Strayhorn from “The Far East Suite” Transcribed by David Berger Alto Sax Soloœ A œ œœœ œ œ ~ b œ œ ˙# ~ ˙. œn œ ˙# œœ œn . œn ˙n . œ œ œ# Reeds 1 & b c ‰ J œ œ. ‰Œœ J Ó Œ J œ œb ˙ Œ œ# Œ Œ œ 3 3 3 3 F 3 3 Alto Sax 5 3 b 3 j j 2 & b c Ó Œ‰œ œ ˙ Œ œ œb œ œb œ ˙ ‰ œb œn œ œn œ œb œœœ œ œ# œn œ Œ Œ‰œb œb ˙ ‰ œn œ# œœ ˙ ˙.. ‰ ∑ p œ Tenor Sax 3 bb c Ó Œ‰œ œ ˙ Œ œ œb œ œb œ ˙ ‰ œb œn œ œn œ œb œœœ œ œ# œn œ Œ Œ‰œb œb ˙ ‰ œn œn œœ ˙ ˙.. ‰ ∑ 3 & b œ J J p 5 Tenor Sax 3 bb c Ó Œ‰œ œ ˙ Œ œ œb œ œb œ ˙ ‰ œb œn œ œn œ œb œœœ œ œ# œn œ Œ Œ‰œb œb ˙ ‰ œn œn œœ ˙ ˙.. ‰ ∑ 4 & b œ J J p Barib Sax 5 5 & b c Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b Trumpets 1 & b b c Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b 2 & b b c Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b 3 & b b c Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œn œ. ˙b .. ˙ œ. œ. œ. ˙ œ œ- œn œ œ. ? b b c Ó ‰ J ŒÓ‰ J Œ‰‰ Ó ‰ ‰ ‰ ‰ J Œ ‰Ó Trombones 1 b b b P - œ œ. ? b b c Ó ‰ œ ŒÓ‰ œ Œ‰œ. ‰ ˙n .. ˙ Ó ‰ œn . œ. ‰ ‰ œb . ˙b ‰ œ Œ œ œn ‰Ó 2 b b b J J J P j . ? b b c Ó ‰ jŒÓ‰ Œ‰. ‰ ˙.. ˙ Ó ‰ ‰ ‰ ‰ jŒ œn œ œ ‰Ó 3 b b b œ œ œ œn . œ. ˙b .. œ œ- P ()œ. b b b b b b b b b b D œ B B 7+5 E 7 A D m/A A 7 D Em/A D maj7 ? b b c Ó œŒ œ Œ Œ œ Œ Œ œ Œ œ Œ Œ Œ Œ Œ œŒ ‰ j œŒ œŒ Bass b b b œ œ œ œn œ œb œ œ œ P ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿¿¿ ¿ ¿ ¿ ¿ c ÓBrushes œ œ œ œ Drums ã œ Œ œ Œ ‘ ‘ ‘ ‘ ‘ ‘ ‘

P © 1964 (Renewed) by Tempo Music, Inc., Music Sales Corporation and Famous Music Corporation *Piano Tacet All Rights for Tempo Music, Inc. administered by Music Sales Corporation All Rights outside the U.S.A. for Tempo Music, Inc. and Music Sales Corporation administered by PreviewEMI Mills Music, Inc. (Publishing) and Warner Bros. Publications U.S. Inc. Only(Print) JLCM04002C LegalAll Rights Use Reserved including Public PerformanceRequires Used by Permission of Music Sales Corporation Purchase 2 Isfahan B . . . œn œb . . œ œ. œ œ œ ˙ œ œ œb œ œ œb ˙n œn œ œ œ# œ œb œ œn œ œ# œ. j œœ# œ w œ œ œ b œn œ J J œ J J J œ Alto & b ‰ Œ Œ Œ‰ Œ Œ Œ œ

3 3 3 3 3 3 ˙b wb .. b ˙n ˙. ˙ ˙n . ˙ ˙b ˙ ˙ œ# . Alto & b ˙ Œ Œ ‰ ‰ P w b ˙ ˙ ˙. ˙ ˙ ˙n . ˙b .. ˙ ˙b ˙ . Tenor & b b Œ Œ ‰ n‰œ P b ˙ . ˙ ˙. w ˙.. ˙b Tenor & b b ˙ ˙Œ˙n Œ ‰ ˙ ˙n œb . ‰ P wn bb ˙# nŒ˙. ˙b ˙b . Œ ˙# .. ‰ ˙b ˙n ˙b œ‰. Bari & ˙n ˙b P b Tpt. 1 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b 2 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b 3 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

w ˙n .. ? b ˙n ˙b ˙n œb . Tbn. 1 b bb ∑ ∑ ∑ ∑ ‰ ‰ b P ˙.. ? b b ∑ ∑ ∑ ∑ w ‰ ‰ 2 b b b ˙ ˙b ˙ œn . P ? b b ∑ ∑ ∑ ∑ ‰ ‰ 3 b b b wn ˙ ˙b ˙ P ˙.. œn . b Gm7-5 C7 Fm œnAm7-5 D7 Gm Gm7-5 C7 FE E D ? b b œn Œ Œ œ Œ Œ Œ nŒœ œn Œ œ Œ œn Œ œ Œ Œ Œ œ Œ œn . j œb Œ nŒœ Bass b b b œ œ œ œ œ ¿ ¿ œ¿ œ¿ œ œ Drs. ã œ Œ œ ŒPreview‘ ‘ ‘ Only‘ ‘ ‘ ‘ JLCM04002C Legal Use Requires Purchase Isfahan 3 C ˙# œ. œ œ œ ~~ œn œ bb Œ œ J J ~ ˙. Ó Œ œ œ ‰Œ ˙# œ œ wn œ ŒŒ Alto & ˙ J œb œ. œ# 3 3 3 5 3 j bb Œ‰ Œ ‰ j Œ Œ‰ ‰ ∑ ∑ Alto & œ œn ˙ œ œb œ œb œ ˙ œb œn œ œn œ œb œ œ œ œ œ# œn œ œb œb ˙ œn œ# œ œ ˙ p œ b œ 3 œ œb œ œb œb œn œ œn œ œb œ œ œ œ œ# œn œ œb œb ˙ œn œ Tenor & b b Œ‰œb œ ˙ Œ œ ˙ ‰ J Œ Œ‰ ‰ œn œ ˙ ∑ ∑ p J 5 3 bb Œ‰œn œ ˙ Œ œ œb œ œb œ ˙ ‰ œb œn œ œn œ œb œ œ œ œ œ# œn œ Œ Œ‰œb œb ˙ ‰ œn œn œ œ ˙ ∑ ∑ Tenor & b œ J p J 5 Solo - even eighths- b œb œb œ . Bari & b ∑ ∑ ∑ ∑ ∑ ∑ œ œb œ œ œn . œb œ œ‰ œ J J > F b Tpt. 1 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b 2 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b 3 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œn œ. ˙b .. ˙ œ. œ. œ. œ. wn> ˙.. ? b b ‰ J ŒÓ‰ J Œ‰‰ Ó ‰ ‰ ‰ ‰ ‰ Tbn. 1 b b b wb> ˙.. ? b b ‰ œ ŒÓ‰ œ Œ‰œ. ‰ ˙n .. ˙ Ó ‰ œn . œ. ‰ ‰ œb . œb . ‰ ‰ 2 b b b J J > ? b b ‰ jŒÓ‰ jŒ‰‰ ˙.. ˙ Ó ‰ ‰ ‰ ‰ w ˙.. ‰ 3 b b b œ œ œ. œn . œ. œb . œ.

b b b b b b b ? b b bŒœD Œ B Œ B 7+5‰ œn œE 7 Œ Œ œ Œ œ Œ A Œ Œ A7/A Œ A 7Œ œŒD 7 Œ œŒœ. œ Bass b b b œ œ œ J œ œn œ œb œ œ J ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ¿ œ¿ œ œ œ œ œ œ œ œ œ œ Drs. ã œ œ ‘ ‘ ‘ ‘ ‘ œ œ œœœ œ œ œ œ œ Œ Œ Preview Only‰ J ‰ J J J JLCM04002C Legal Use Requires Purchase 4 Isfahan D ˙ - œ œ œ œ œn œb œ ˙b . j œn ˙ j œ j œ. œ. œ b œ# œ J J œn œ œ J œ œ ˙# œ# œ œ Alto & b ‰‰ J Ó Œ œ ˙ Œ œ J œŒ Ó 3 3 3 w œ bb w ˙.. œn ∑ w ˙ ˙b w Ó Œ œn œ œn Alto & J p P J p 3F 3 w w ˙ ˙b w œn œ œn œ bbb ˙n .. œb ∑ Ó Œ Tenor & w J J p P p 3 3F w ˙ ˙b w œ bb w j ∑ Ó Œ œ# œ œn Tenor & b w œ J p P ˙.. p 3 3 F œ œ# œ b wn w# j w ˙ ˙b w œ Bari & b œ ∑ Ó Œ J P ˙.. p p 3 F 3 bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ œ œ œ# œ Tpt. 1 & J 3 F 3 b 3 j 3 2 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ œ œ œn œ F bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ 3 j 3 3 & b œn œ œ œ F wb wb ˙.. œn œb ˙ œ. œ. œ œ œ œn œ œn œ ? b J J J J Tbn. 1 b bb ∑ ‰ Œ ‰ ‰ ‰ Œ ‰ Ó ŒJ b 3 3 F w w ˙n .. œb œ œ œn œ ? b b ∑ ‰ œn Œ ˙ ‰ œb . œ. ‰ ‰ œ Œ œ ‰ œ Ó Œ 2 b b b J J J J J 3 F 3 j œ œn œ ? b b w w ∑ ‰ œ Œ ˙ ‰ ‰ ‰ j Œ ‰ j Ó Œ œ 3 b b b ˙.. œ J œ. œ. œ œ œ J 3 F 3 b b b b b b G C7 F7 Bj7 E 7 œA 7A7+5 D maj7 Solo œ œn œ œ ? b b œ Œ œ Œ œ Œ œ Œ Œ ∑ œ Œ œ Œ Œ Œ œŒ Œ œ œ œ œn Bass b b b œ œ. œ œ œ 3 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ œ œ œ œ œ œ œ œ ∑ œ œ œ œ œ Œ Drs. ã ‘ œ œ ‘ ‘ œ œ Œ œ Œ Previewœ Œ œ ‰ Jœ Œ Œ Only JLCM04002C Legal Use Requires Purchase Isfahan 5

E r b œ œ œ . r b b B GG7 C7 œ œ œ œ œ œ# œ œn G C7 F7 B 3 . œ œ bb ≈ œ œ œ œ œ. Œ Œ‰œb ~~ Œ Œ œ œb œ. œ. œ. œ œn œ Alto & ’’’’ ’’ ’ ’ œ œ œ- J œb- ’’ ’ ’ œ œn 3 ˙. œ œb ˙ œ. ˙. œ ˙ œ. œ bb œn w Ó Œ œ# œ œb œn œb J ∑ ∑ Alto & J J ˙. . 3 3 œ ˙ œb . œ b œ œ ˙ œ œ w œ œ œn œ #œ˙. J Tenor & b b J Ó Œ J ∑ ∑ 3 3 ˙. œ œn ˙ œn œb ˙œœn ˙ œb . œ bbb . w Ó Œ œn œ œ# œ . J ∑ ∑ Tenor & J J 3 3 œb ˙ ˙. œ œ ˙ œ w œn ˙b . œ. œ b œ# . J œn œ œ# œb J Bari & b Ó Œ J ∑ ∑ 3 3

3 œb ˙ œ. b ˙. œ œ ˙ œ# . œ w j œn ˙# . œ Tpt. 1 & b b J Ó Œ œn œ œn œn J ∑ ∑ 3 bb ˙. œ œb ˙ œ. j Ó Œ 3 j 3 ˙. œ ˙ œ. œ ∑ ∑ 2 & b œn w œ# œ œb œn œb J

b j 3 b b ˙. œ œ Ó Œj 3 œ ˙ œb . œ ∑ ∑ 3 & œ ˙ . œ w œ œ œn œ #œ˙. J œn ˙ œb . ˙. œ œn ˙ œn . œb w œ œn œ ˙. œ œ ? b b J Ó Œ œ J ∑ ∑ Tbn. 1 b b b J . 3 3 œb ˙ œ. œ ˙ œ œ ˙ œn . œ w œ œn œb ˙n . ? b b J Ó Œ œn œn J ∑ ∑ 2 b b b J 3 3 ˙. œ œn ˙ œb . ˙. œ ˙ œ. œ ? b b œn w Ó Œ œ œ œb œn œb J ∑ ∑ 3 b b b J J 3 3 b b b b b b b b D B œn œB 7 E 13 œ œ A E 7/A A 7 D ? b b bŒœ œn œ œ œ œ œ œn œ œ œ œŒ Ó ∑ Bass b b b œœœn œ œ œœ œn œ œ œ œb œ œ œ 3 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ œ œ œ œ œ œ œ œ ŒÓ ∑ Drs. ã œ Œ œ œ œ Previewœ œ œ ‘ ‘ Only‘ ‘ œ JLCM04002C Legal Use Requires Purchase 6 Isfahan F ˙# ˙ œ œ ~ œn œ bb ‰Œœ ~ œ ˙ Ó Œ œ œ ‰Œ ˙# œ œ wn œ ŒŒ Alto & œ. J œb œ. œ# 3 3 3 5 j bb Œ‰3 Œ ‰ j Œ Œ‰ ‰ ∑ ∑ Alto & œ œ ˙ œ œb œ œb œ ˙ œb œn œ œn œ œb œ œ œ œ œ# œn œ œb œb ˙ œn œ# œ œ ˙ p œ b œ 3 œ œb œ œb œb œn œ œn œ œb œ œ œ œ œ# œn œ œb œb ˙ œn œ Tenor & b b Œ‰œ œ ˙ Œ œ ˙ ‰ J Œ Œ‰ ‰ œn œ ˙ ∑ ∑ p J 5 3 bb Œ‰œ œ ˙ Œ œ œb œ œb œ ˙ ‰ œb œn œ œn œ œb œ œ œ œ œ# œn œ Œ Œ‰œb œb ˙ ‰ œn œn œ œ ˙ ∑ ∑ Tenor & b œ J J p 5 Solo - even eighths- b œb œb œ . Bari & b ∑ ∑ ∑ ∑ ∑ ∑ œ œb œ œ œn . œb œ œ‰ œ J J > F b Tpt. 1 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b 2 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b 3 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œn œ. ˙b .. ˙ œ. œ. œ. œ. wn> ˙. ? b b ‰ J ŒÓ ‰ J Œ‰‰ Ó ‰ ‰ ‰ ‰ Œ Tbn. 1 b b b P wb> ˙. ? b b ‰ œ ŒÓ ‰ œ Œ‰œ. ‰ ˙n .. ˙ Ó ‰ œn . œ. ‰ ‰ œb . œb . ‰ Œ 2 b b b J J P > ? b b ‰ jŒÓ ‰ j Œ‰‰ ˙.. ˙ Ó ‰ ‰ ‰ ‰ w ˙. Œ 3 b b b œ œ œ. œn . œ. œb . œ. P ()œ.

Db Bb Bb7+5 Eb7 A Dbm/Ab Ab7 Db7 ? b b bŒœ Œ Œ œn œ Œ Œ œ Œ œ Œ Œ Œ Œ Œ œŒ Œ œŒ Œ Bass b b b œ œ œ. J œ œn œ œb œ œ œ P ¿ ¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ¿ œ¿ œ œ œ œ œ œ œ œ œ œ Drs. ã œ œ ‘ ‘ ‘ ‘ ‘ œ œ œ œ œ œ œ œœœ Œ Œ Œ ‰ J ‰ J P Preview Only JLCM04002C Legal Use Requires Purchase Isfahan 7 G œ œ œ œn ˙ œb œ œb . œb œn ˙ b œ# œ œ J œ œn . œ J œ œ ˙# Alto & b ‰ J Ó Œ œ œ. ‰Œ œ 3 3 b w w ˙.. w ˙ ˙b Alto & b œn ∑ p P J p w ˙ ˙b b w .. Tenor & b b w ˙n œb ∑ p P J p w ˙ ˙b bb w j ∑ Tenor & b w œ p P ˙.. p b wn w# j w ˙ ˙b Bari & b œ ∑ p P ˙.. p b Tpt. 1 & b b ∑ ∑ ∑ ∑ ∑ ∑

b 2 & b b ∑ ∑ ∑ ∑ ∑ ∑

b 3 & b b ∑ ∑ ∑ ∑ ∑ ∑

wb wb ˙.. œn œb ˙ ˙.. ? b b J ∑ ‰ J Œ ‰ Tbn. 1 b b b w w ˙n .. œb ? b b ∑ ‰ œn Œ ˙ ‰ ˙b .. 2 b b b J J j ? b b w w ∑ ‰ œ Œ ˙ ‰ 3 b b b ˙.. œ J ˙..

b b b b b G C7 F7 B 7 E 7 œA 7A7+5 ? b b Œ Œ Œ Œ œ Œ œ. j ∑ œ Œ œ Œ Œ Œ Bass b b b œ œ œ œ œ œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿ ¿¿¿ œ œ œ œ œ œ œ œ œ ∑ œ œ œ œ Drs. ã ‘ œ œ ‘ œ Œ œ PreviewŒ œ Œ œ ‰ œJ OnlyŒ Œ JLCM04002C Legal Use Requires Purchase 8 Isfahan U b ˙.. œ œn œ ˙# ˙ ˙.. œ œn œ b ‰ Ó Œ J œ œ ‰Œ œ ‰ ‰ J œ œ œ œ Alto & . J . 3 3 U bb w ∑ w ˙ ˙b w ˙ œ œ. Alto & J U b w w ˙ ˙b w ˙ œ œ. Tenor & b b ∑ J U b w w ˙ ˙b w ˙ œ œ. Tenor & b b ∑ J U bb w ∑ w ˙ ˙b w ˙ œ œ. Bari & J

U b . Tpt. 1 & b b ∑ ∑ ∑ ∑ ∑ Ó ‰Œ U b . 2 & b b ∑ ∑ ∑ ∑ ∑ Ó ‰Œ U b . 3 & b b ∑ ∑ ∑ ∑ ∑ Ó ‰Œ

œ œ œ œb ˙ ˙.. œ œ œ ˙ œ Uœ. ? b b ‰ J Œ ‰ J ∑ ‰ J Œ ‰ ‰ J Œ ‰ J J Tbn. 1 b b b U ? b b ‰ œ Œ œ ‰ œ ∑ ‰ œn Œ ˙ ‰ ˙b .. ‰ œ Œ œ ‰ œ ˙ œ œ. 2 b b b J J J J J J U ? b b ‰ j Œ ‰ j ∑ ‰ œ Œ ˙ ‰ ‰ j Œ ‰ j j 3 b b b œ œ œ J ˙.. œ œ œ ˙ œ œ.

b b b b b D maj7 E 7 A 7A7+5 D U ? b œ œ œ . Bass b b œ ‰ œ ∑ Œ Œ Œ Œ ‰ œŒ œ‰œ ˙ œ œ b b J œ œ. J œ œ J J J æ j U ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Óæ ¿@ ¿æ. œ œ œ œ œ ∑ œ œ œ œ œ Œ œ œ Drs. ã œ œ ‘ œ œ œ œ Œ œ Preview‰ Jœ Œ Œ Only‰ J ‰ J JLCM04002C Legal Use Requires Purchase Preview Only Legal Use Requires Purchase Preview Only Legal Use Requires Purchase

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