Fly Me to the Moon Recorded by Frank Sinatra with Count Basie

Home , In the Wee Small Hours, Quincy Jones, Sonny Payne

Jazz Lines Publications Presents fly me to the moon recorded by frank sinatra with count basie

Arranged by quincy jones

prepared by rob duboff and jeffrey sultanof full score

jlp-9472

Words and Music by Bart Howard

TRO - Copyright © 1954 (Renewed) Hampshire House Publishing Corp., New York All Rights Reserved Used by Permission Layout, Design, and Logos © 2014 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM All Rights Reserved Including Public Performance for Profit

Frank Sinatra Is Under License from Frank Sinatra Enterprises, LLC. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage.

The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA  frank sinatra/count basie series  fly me to the moon (1964) Background: Among the many arrangements that have been frequently requested by singers and enthusiasts, the music written for Frank Sinatra and the Count Basie Orchestra is high on the list. The arrangements were written during June and July of 1965 for a short tour that Sinatra and the Count (he was also called ‘Splank,’ [short for Splanky] and that is the name listed on these scores) were embarking on. Among the dates they played together were a Newport Jazz Festival appearance on July 4, 1965 and a fundraiser with Sammy Davis, Jr. and Dean Martin at the Kiel Opera House in St. Louis. It was during this tour that the band road-tested the many arrangements that were written. This collaboration culminated at a show in Las Vegas, at the Sands Hotel in January of 1966. This appearance resulted in a double album of Sinatra and Basie, and an album of the Basie band alone that was released many years later. There were many arrangements written for the 1965 summer tour that were not performed and recorded at the famous Sands show. Some of the titles include: It’s Easy to Remember; All the Way; Too Marvelous for Words; Call Me Irresponsible; A Foggy Day; Lover, Come Back to Me (previously published by Jazz Lines Publications); I’ll Never Smile Again; In the Wee Small Hours of the Morning; and others.

The Music: This arrangement was written for the June 9, 1964 Los Angeles studio collaboration between Frank Sinatra and the Count Basie Orchestra released with the title ‘It Might As Well Be Swing.’ The arrangement was used several times the following year during the Sinatra/Basie summer tour and then most famously at the 1966 Sands concert. Sinatra kept this arrangement in his band book and used it numerous times over the years. Often Count Basie (or the piano player) would provide a 2-measure vamp intro to the arrangement that was simply Ami7 for one measure and Bmi7(b5) to E7 for the second measure. We have decided to use the tom-tom intro that Sonny Payne played for the studio recording.

Harry ‘Sweets’ Edison provided harmon mute fills for so many of Frank Sinatra’s recordings, including this one. Generally, there was no part written for him. He would come to the session and and play fills in predetermined spots. Rather than provide a 5th trumpet part that is mostly tacet we decided to build these fill spots into the 4th trumpet part. As a result the 4th trumpet player will have to be holding the harmon mute so that it may be quickly put in and then taken out for the fills.

While it is an honor and a pleasure to prepare and release classic big band music, we are particularly proud of this series, and gratified that the proper legal channels have been cleared so that it can be issued. Sinatra is one of the pinnacles of popular music, and the settings written for him are no less than the best by the best. By making it available we are perpetuating the legacy of Frank Sinatra and the many musicians who worked with him.

Acknowledgements: Thanks to an agreement with Frank Sinatra Enterprises, LLC, The Jazz Lines Foundation Inc. is proud to present legal publications of many of the arrangements written for ‘The Chairman of the Board.’ Brand new, definitive editions from the original parts have already appeared for the Frank Sinatra and Duke Ellington album (arrangements by Billy May) as well as from the tour with Count Basie, and more will be released in the future.

Rob DuBoff and Jeffrey Sultanof - October 2014

 JlP-9472 jazz Lines pubLications

fLy me to the moon Words and Music by Bart Howard Score recorded by Frank Sinatra with Count Basie Arranged by Quincy Jones Prepared for Publication by Rob DuBoff and Jeffrey Sultanof medium swing  = 120 [5]          Vocal                                   Fly me to the moon, and let me play a- mong the stars; let me see what spring is like on Ju-- pi ter and Mars. In Reed 1:   Alto Sax.               {F`lù`tè```} Reed 2:  Flute/Alto Sax.               D>7 G7 C6 C7 Gb7 F6 {F`lù`tè```} Fill Fill Reed 3:  Flute/Tenor Sax.               ’’’ ’ ’’’ ’

Reed 4:   Tenor Sax.                Reed 5:   Baritone Sax.               {Bù`c`kè`t` `Mù`tè`}   (or In Stand) Trumpet 1                {Bù`c`kè`t` `Mù`tè`}   (or In Stand) Trumpet 2                {Bù`c`kè`t` `Mù`tè`}   (or In Stand) Trumpet 3                {In` `S`tà`n`d`}  (Have Harmon Mute Ready) Trumpet 4                {Bù`c`kè`t` `Mù`tè`}   (or In Stand) Trombone 1              {Bù`c`kè`t` `Mù`tè`}   (or In Stand) Trombone 2              {Bù`c`kè`t` `Mù`tè`}   (or In Stand) Trombone 3              {Bù`c`kè`t` `Mù`tè`}   (or In Stand) Trombone 4              A>7 C#7 D>7 G7 F6 Bb7B>7(¨5) C6 C7 Gb7 F6 B>7(¨5) Bb>7(¨5) F6 F7 E7 F7 C6 G#7 A>7 C#7  Guitar       p Solo ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ # b ¨ b ¨ b ¨ # #   A>7 C 7 D>7 G7 F6 B 7B>7( 5) C6 C7 G 7 F6 B>7( 5) B >7( 5) F6 F7 E7 F7 C6 G 7 A>7 C 7   Piano       mp p’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ A>7 C#7 D>7 G7 F6 Bb7B>7(¨5) C6 C7 Gb7 F6 B>7(¨5) Bb>7(¨5) F6 F7 E7 F7 C6 G#7 A>7 C#7                                Bass             {B`rù`s`hè`s``} p Floor Tom-Tom (tom-tom) (2) (3) (4) (8)   sim. Drum Set   œœœ œœœ œ œ œ œ œœœ œœœ œœœ mp  ‘ ‘ p  ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ 2 3 4 5 6 7 8 9 10 11 12 TRO - Copyright © 1954 (Renewed) Hampshire House Publishing Corp., New York Frank Sinatra Is Under License from Frank Sinatra Enterprises LLC Logos, Graphics, and Layout Copyright © 2014 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a Not-for-Profit Jazz Research Organization Dedicated to Preserving and Promoting America's Musical Heritage. jazz Lines pubLications fLy me to the moon JlP-9472 Score - Page 2 [13]            Vox.               oth- er words, hold my hand. In oth- er words, dar- ling kiss me.        Rd. 1 (A. Sx.)             3                       {Tò` `À``l`tò` `Sà`x.`}                    Rd. 2 (Fl.)              3  3 3  mf 3                         {Tò` ``T`è`nòr` `Sà`x.`}                Rd. 3 (Fl.)              3  3 3  mf 3      Rd. 4 (T. Sx.)              3        Rd. 5 (B. Sx.)               p 3     Tpt. 1            mfp mf   Tpt. 2               mfp mf     3    Tpt. 3                   p mfp mf 3       Tpt. 4                    mfp p mf           Tbn. 1              p 3 mfp mf     Tbn. 2           mfp mf  Tbn. 3              mfp mf  Tbn. 4               mfp mf ¨ D>7 G7 C6 F9 E>7 A>7 D>7 /G G7(#5) F>6/C C6 B>7( 5) G#7 Gtr.  ’’ ’ ’ ’’’’ ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’¨ ’’ D>7 G7 C6 F9 E>7 A>7 D>7 /G G7(#5) F>6/C C6 B>7( 5) G#7 Pno.  ’’ ’ ’ ’’’’ ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’¨ ’’ D>7 G7 C6 F9 E>7 A>7 D>7 /G G7(#5) F>6/C C6 B>7( 5) G#7      Bs.      ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’ ’’ To Sticks sim. (4) (8) Dr.  œœœ œœœ  ’’’’ ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’ ’’ 13 14 15 16 17 18 19 20 JlP-9472 fLy me to the moon jazz Lines pubLications Score - Page 3 [21]          Vox.                            Fill my heart with song, and let me sing for-- ev er -more; you are all I long for, all I wor-- ship and a dore. In Subtone           Rd. 1 (A. Sx.)                                                        ~    ~  p ~~~~~~~ ~~ Subtone           Rd. 2 (A. Sx.)                                                        ~    ~  p ~~~~~~~ ~~ Subtone                        Rd. 3 (T. Sx.)                                                 ~~~~~~~~ ~~~ p Subtone                        Rd. 4 (T. Sx.)                                                ~~~~~~~~ ~~~ p Subtone                                                Rd. 5 (B. Sx.)                      ~~~~~~~~  ~~~  p       Tpt. 1                                 p      Tpt. 2                                 p             Tpt. 3                             p Have Harmon Mute Ready    Tpt. 4                                 p                   Tbn. 1                               p                    Tbn. 2                             p            Tbn. 3                                          p    Tbn. 4                                             p  b ¨ b A>7 D>7 G7 G7(#5) C6/9 G 9(b5) F<7 B>7( 5) F9 E7(b9) B 9 A>7 A7(b9) Gtr.  ’’’ ’ ’’ ’’ ’’ ’’ ’’b ’’ ’’’’ ’’’’¨ ’’’’b ’’ ’’ A>7 D>7 G7 G7(#5) C6/9 G 9(b5) F<7 B>7( 5) F9 E7(b9) B 9 A>7 A7(b9) Pno.  ’’’ ’ ’’ ’’ ’’ ’’ ’’b ’’ ’’’’ ’’’’¨ ’’’’b ’’ ’’ A>7 D>7 G7 G7(#5) C6/9 G 9(b5) F<7 B>7( 5) F9 E7(b9) B 9 A>7 A7(b9) Bs.  ’’’ ’ ’’ ’’ ’’ ’’ ’’ ’’ ’’’’ ’’’’ ’’’’ ’’ ’’ {S`tì`c`k`s```} Cross-Stick sim. (4) (8) Dr.  xxf x xxf x œ x œ x ’’ ’’ ’’ ’’ ’’ ’’ ’’’’ ’’’’ ’’’’ ’’ ’’ 21 22 23 24 25 26 27 28