JAZZ AT LINCOLN CENTER’S ESSENTIALLY ELLINGTON LIBRARY

Wynton Marsalis, Managing and Artistic Director, at Lincoln Center Harlem Congo Harry White Arranged by Charlie Dixon As performed by and His Orchestra Transcribed and Edited by Mark Lopeman for Jazz at Lincoln Center Full Score This transcription was made especially for Jazz at Lincoln Center’s 2017–18 Twenty-Third Annual Essentially Ellington High School Jazz Band Program.

Jazz at Lincoln Center and Alfred Publishing gratefully acknowledge the cooperation and support provided in the publication of this year's Essentially Ellington music series:

Founding leadership support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund. Major support is provided by Jessica and Natan Bibliowicz, Alfred and Gail Engelberg, Casey Lipscomb, Dr. J. Douglas White and the King-White Family Foundation, Cheryl and Louis Raspino, Augustine Foundation, Ella Fitzgerald Charitable Foundation, Charles Evans Hughes Memorial Foundation and United Airlines.

Preview Only Legal Use Requires Purchase NOTES ON PLAYING ELLINGTON 4. In Ellington’s music, each player should express the individuality More than one on a part makes it sound more like a concert band of his own line. He must find a musical balance of supporting and and less like a jazz band. At least 95% of modern-day large ensemble jazz playing comes out following the section leader and bringing out the character of the of three traditions: Count Basie’s band, ’s band, and the 11. This is acoustic music. Keep amplification to an absolute minimum; underpart. Each player should be encouraged to express his or in the best halls, almost no amplification should be necessary. orchestrations of small groups. Those young players interested in jazz her personality through the music. In this music, the underparts will be drawn to small groups for the opportunity to improvise and for Everyone needs to develop a big sound. It is the conductor’s job to are played at the same volume and with the same conviction as balance the band. When a guitar is used, it should be a hollow- practical reasons (it is much easier to organize 4 or 5 people than it is 15). the lead. Schools have taken over the task (formerly performed by dance bands) body, unamplified rhythm guitar. Simple three-note voicings should of training musicians to be ensemble players. Due to the Basie Band’s 5. Blues inflection should permeate all parts at all times, not just when be used throughout. An acoustic string bass is a must. In mediocre popularity and its simplicity of style and emphasis on blues and swing, these opportunities occur in the lead. or poorly designed halls, the bass and piano may need a bit of a boost. I recommend miking them and putting them through the better educators have almost exclusively adopted this tradition for 6. Vibrato is used quite a bit to warm up the sound. Saxes (who most the house sound system. This should provide a much better tone teaching jazz ensemble playing. As wonderful as Count Basie’s style is, frequently represent the sensual side of things) usually employ than an amplifier. Keep in mind that the rhythm section’s primary it doesn’t address many of the important styles developed under the vibrato on harmonized passages and no vibrato on unisons. function is to accompany. The bass should not be as loud as a great musical umbrella we call jazz. Duke Ellington’s comprehensive and The vibrato can be either heavy or light depending on the context. trumpet. That is unnatural and leads to over-amplification, bad eclectic approach to music offers an alternative. Occasionally saxes use a light vibrato on unisons. Trumpets tone, and limited dynamics. Stay away from monitors. They provide (who very often are used for heat and power) use a little vibrato The stylistic richness of Ellington’s music presents a great challenge a false sense of balance. to educators and performers alike. In Basie’s music, the conventions on harmonized passages and no vibrato on unisons. Trombones are very nearly consistent. In Ellington’s music there are many more (who are usually noble) do not use slide vibrato. A little lip vibrato is 12. We have included chord changes on all rhythm section parts so exceptions to the rules. This calls for greater knowledge of the language good on harmonized passages at times. Try to match the speed of that students can better understand the overall form of each of jazz. Clark Terry, who left Count Basie’s band to join Duke Ellington, vibrato. In general unisons are played with no vibrato. composition. It is incumbent upon the director to make clear what is a composed part versus a part to be improvised. The recordings said, “Count Basie was college, but Duke Ellington was graduate school.” 7. Crescendo as you ascend and diminuendo as you descend. should make this clear but in instances where it is not; use your Knowledge of Ellington’s music prepares you to play any big band music. The upper notes of phrases receive a natural accent and the best judgment and play something that sounds good, is swinging, lower notes are ghosted. Alto and tenor saxophones need to use The following is a list of performance conventions for the great majority and is stylistically appropriate to the piece. Sometimes, a student sub-tone in the lower part of their range in order to blend properly of Ellington’s music. Any deviations or additions will be spelled out in the may not have the technical skill to perform a difficult transcription, with the rest of the section. This music was originally written with individual performance notes which follow. especially in the case of one of Duke’s solos, in that case, it is best to no dynamics. It pretty much follows the natural tendencies of the have the student work something out that is appropriate. Written 1. Listen carefully many times to the Ellington recording of these instruments; play loud in the loud part of the instrument and soft in passages should be studied and earned when possible, as they pieces. There are many subtleties that will elude even the most the soft part of the instrument. For instance, a high C for a trumpet are an important port of our jazz heritage and help the player sophisticated listener at first. Although it was never Ellington’s will be loud and a low C will be soft. wish to have his recordings imitated, knowledge of these definitive understand the function of his particular solo or accompaniment. versions will lead musicians to make more educated choices when 8. Quarter notes are generally played short unless otherwise All soloists should learn the chord changes. Solos should be looked creating new performances. Ellington’s music, though written for notated. Long marks above or below a pitch indicate full value: at as an opportunity to further develop the interesting thematic specific individuals, is designed to inspire all musicians to express not just long, but full value. Eighth notes are played full value material that Ellington has provided. except when followed by a rest or otherwise notated. All notes themselves. In addition, you will hear slight note differences in the 13. The notation of plungers for the brass means a rubber toilet longer than a quarter note are played full value, which means if it recording and the transcriptions. This is intentional, as there are plunger bought in a hardware store. Kirkhill is a very good brand is followed by a rest, release the note where the rest appears. For mistakes and alterations from the original intent of the music in the (especially if you can find one of their old hard rubber ones, like the example, a half note occurring on beat one of a measure would be recording. You should have your players play what’s in the score. one I loaned Wynton and he lost). Trumpets use 5” diameter and released on beat three. 2. General use of swing phrasing. The triplet feel prevails except for trombones use 6” diameter. Where Plunger/Mute is notated, insert ballads or where notations such as even eighths or Latin appear. 9. Unless they are part of a legato background figure, long notes a pixie mute in the bell and use the plunger over the mute. Pixies In these cases, eighth notes are given equal value. should be played somewhat fp (forte-piano); accent then diminish are available from Humes & Berg in Chicago. Tricky Sam Nanton the volume. This is important so that the moving parts can be and his successors in the Ellington plunger trombone chair did not 3. There is a chain of command in ensemble playing. The lead players heard over the sustained notes. Don’t just hold out the long notes, use pixies. Rather, each of them employed a Nonpareil (that’s the in each section determine the phrasing and volume for their own but give them life and personality: that is, vibrato, inflection, brand name) trumpet straight mute. Nonpareil has gone out of section, and their section-mates must conform to the lead. When crescendo, or diminuendo. There is a great deal of inflection business, but the Tom Crown Nonpareil trumpet straight mute is the saxes and / or trombones play with the trumpets, the lead in this music, and much of this is highly interpretive. Straight or very close to the same thing. These mute/plunger combinations trumpet is the boss. The lead alto and trombone must listen to the curved lines imply non-pitched glisses, and wavy lines mean scalar create a wonderful sound (very close to the human voice), but first trumpet and follow him. In turn, the other saxes and trombones (chromatic or diatonic) glisses. In general, all rhythmic figures need they also can create some intonation problems which must be must follow their lead players. When the clarinet leads the brass to be accented. Accents give the music life and swing. This is very corrected by the lip or by using alternate slide positions. It would section, the brass should not overblow him. That means that the important. be easier to move the tuning slide, but part of the sound is in the first trumpet is actually playing “second.” If this is done effectively, struggle to correct the pitch. If this proves too much, stick with the there will be very little balancing work left for the conductor. 10. Ellington’s music is about individuality: one person per part—do not Previewdouble up because you have extra players or need moreOnly strength. pixie—it’s pretty close. Legal Use Requires Purchase 14. The drummer is the de facto leader of the band. He establishes GLOSSARY Stop time • a regular pattern of short breaks (usually filled in by the beat and controls the volume of the ensemble. For big band a soloist). playing, the drummer needs to use a larger bass drum than he The following are terms which describe conventions of jazz performance, from traditional New Orleans to the present avant garde. Swing • the perfect confluence of rhythmic tension and relaxation in would for small group drumming. A 22” or 24” is preferred. The bass music creating a feeling euphoria and characterized by accented drum is played softly (nearly inaudible) on each beat. This is called Break • within the context of an ongoing time feel, the rhythm section weak beats (a democratization of the beat) and eighth notes that are feathering the bass drum. It provides a very important bottom to stops for one, two, or four bars. Very often a soloist will improvise during played as the first and third eighth notes of an eighth-note triplet. Duke the band. The bass drum sound is not a boom and not a thud— a break. Ellington’s definition of swing: when the music feels like it is getting faster, it’s in between. The larger size drum is necessary for the kicks; a Call and response • repetitive pattern of contrasting exchanges but it isn’t. smaller drum just won’t be heard. The key to this style is to just keep (derived from the church procedure of the minister making a statement time. A rim knock on two and four (chopping wood) is used to lock Vamp • a repeated two- or four-bar chord progression. Very often, there and the congregation answering with “amen”). Call-and-response in the swing. When it comes to playing fills, the fewer, the better. may be a riff or riffs played on the vamp. patterns usually pit one group of instruments against another. 15. The horn players should stand for their solos and soIis. Brass Sometimes we call this “trading fours,” “trading twos,” etc., especially Voicing • the specific spacing, inversion, and choice of notes that make players should come down front for moderate to long solos, when it involves improvisation. The numbers denote the amount of up a chord. For instance, two voicings for G7 could be: surrounding rests permitting. The same applies to the pep measures each soloist or group plays. Another term frequently used is section (two trumpets and one trombone in plunger/mutes). “swapping fours.” 16. Horns should pay close attention to attacks and releases. Coda • also known as the “outro.” “Tags” or “tag endings” are outgrowths Everyone should hit together and release together. of vaudeville bows that are frequently used as codas. They most often 17. Above all, everyone’s focus should remain at all times on the swing. As use deceptive cadences that finally resolve to the tonic or they go from the great bassist Chuck lsraels says, “The three most important things the in jazz are rhythm, rhythm, and rhythm, in that order.” Or as Bubber sub-dominant and cycle back to the tonic. Miley (Ellington’s first star trumpeter) said, “It don’t mean a thing if it Comp • improvise accompaniment (for piano or guitar). Note that the first voicing includes a 9th and the second voicing includes ain’t got that swing.” a 9th and a 13th. The addition of 9ths, 11ths, 13ths, and alterations are up Groove • the composite rhythm. This generally refers to the combined to the discretion of the pianist and soloist. repetitive rhythmic patterns of the drums, bass, piano, and guitar, but may also include repetitive patterns in the horns. Some grooves are standard (i.e., swing, bossa nova, samba), while others are THE FOUR ELEMENTS OF MUSIC manufactured (original combinations of rhythms). The following are placed in their order of importance in jazz. We should Head • melody chorus. never lose perspective on this order of priority. Interlude • a different form (of relatively short length) sandwiched Rhythm • meter, tempo, groove, and form, including both melodic between two chorus forms. Interludes that set up a key change are rhythm and harmonic rhythm (the speed and regularity of the chord simply called modulations. changes). Intro • short for introduction. Melody • a tune or series of pitches. Ride pattern • the most common repetitive figure played by the Harmony • chords and voicings. drummer’s right hand on the ride cymbal or hi-hat. Orchestration • instrumentation and tone colors. —David Berger

Riff • a repeated melodic figure. Very often, riffs repeat verbatim or with slight alterations while the harmonies change underneath them. Shout chorus • also known as the “out chorus,” the “sock chorus,” or sometimes shortened to just “the shout.” It is the final ensemble passage of most big band charts and where the climax most often happens. Soli • a harmonized passage for two or more instruments playing the same rhythm. It is customary for horn players to stand up or even move in front of the band when playing these passages. This is done so that the audience can hear them better and to provide the audience with some visual interest. A soli sound particular to Ellington’s music combines two trumpets and trombone in plungers/mutes in triadic Previewharmony. This is called the “pep section.” Only Legal Use Requires Purchase HARLEM CONGO • INSTRUMENTATION recorded White’s Harlem Congo, it was introduced by Calloway • Listen to the original recording for the specific sound of the plunger several months earlier, in the spring of 1937. This arrangement brass at A. Reed 1 – Alto Sax/Clarinet was written by Charlie Dixon, former banjoist with Fletcher • The brass dotted half note one measure before C is to be attacked Reed 2 – Alto Sax/Clarinet Henderson, who wrote mainly for Webb in the mid-30s; and released very precisely. Glenn Miller also used him. Reed 3 – Tenor Sax/Clarinet • The physical part of the brass plunger figures atC should be set is what used to be called all sorts of funny terms, Reed 4 – Tenor Sax/Clarinet • Harlem Congo by either lead trumpet or trombone and rehearsed until everyone including flag-waver, barn-burner, or rabble-rouser; a tune too fast looks exactly the same as they fan the mutes. Bari Sax (Optional) for the great majority of dancers, one played for people to gather • Again, precise attacks on measures 7 and 8 of for brass, and Trumpet 1 around the bandstand and listen. C throughout the chorus for saxes, aiming for all of the downbeat Trumpet 2 • It’s easier for a band to take this at a very fast tempo and somehow notes. settle for a ragged but exciting performance. That defeats in many Trumpet 3 ways the reason for playing it in the first place. • The sax soli at D should be rehearsed as slowly as necessary to Trombone 1 was the first jazz player to create mightily swinging phrases at a ensure maximum precision. fast tempo that could be adapted by all instruments. In a way, the Trombone 2 • The interlude at E depends on precise attacks and cutoffs—no great majority of big band music pre- to late-1940s is orchestrated lingering notes or anticipations—otherwise the effect will be ruined. Guitar Armstrong phrasing (and much that came after, as well). Make sure the rhythm section is in perfect sync with the horns. Piano • Have the band listen to Armstrong’s Swing That Music to get a • Work on saxes at measure 7 and 8 at F—the downbeat attack at 7 Bass sense of his time and phrasing at a fast tempo. It might help to and the specific rhythm at 8. tap their feet—easily—along in half-notes throughout to feel how Drums relaxed he is at that tempo. Once they have that down, you are • The tenor saxes at G are really the third and fourth trombones— ready to rehearse Harlem Congo. work on balance to ensure trombone lead sound. ORIGINAL RECORDING INFORMATION • The best way to really nail this one down is to rehearse the horn • Encourage horns soloists to remember the way that Armstrong Composer • Harry White and rhythm sections separately. This works for all charts, actually, soloed on Swing That Music—relaxed with a firm half-note feel and not trying to force too many notes. It’s about floating atop the fast Arranger • Charlie Dixon but isn’t practical, given what is available in your schedules. But it will help immeasurably with this one. Since the tempo is a real tempo. This will make for a greater contrast with the more active Recorded • November 1, 1937 in New York challenge, it might help to play a metronome loudly through a backgrounds. Master # • 62740-A speaker to keep everything in line. • Long note sax backgrounds at H must have an internal rhythm, made with the vibrato. Original Issue • DE 1681 • The rhythm section’s goal is to keep the fire going throughout the choruses, and to find small variations in texture and sound so that • As already noted, any ensemble hits that occur on a downbeat are Currently available on CD • Spinnin’ the Webb – The Original Decca there is some variation. You can bring the intensity down for each to be emphasized and played with great precision in attack and Recordings (GRP – GRD-635, 1994) soloist and then build. This will give the piece more shape and release—you’ll see how vital they are to creating the push and pull Currently available as digital download • Chick Webb: Early Years of variety. effect atJ . Ballroom Jazz (Recorded September 10, 1934) • Start with the horns at a slower tempo at which they can • Exaggerate at all of the various dynamic markings to make real Personnel • Mario Bauza, Bobby Stark; Taft Jordan (trumpet); Sandy articulate cleanly and with consistency. Emphasize that they are contrasts; without them, the piece will lose much of its variety. Williams, Claude Jones (trombone); Pete Clarke, Edgar Sampson (alto all drummers—they have to make the rhythms snap and swing • Make as much as you can out of the reed entrances the measure sax, clarinet); Elmer Williams, Wayman Carver (tenor sax, clarinet); themselves without relying on the rhythm section to keep things in before J and on the 8th bar of K (with the crescendo). John Trueheart (guitar); Joe Steele (piano); John Kirby (bass); Chick motion. Webb (drums) • The drums set up the slower tempo the measure before M—make • Remind the band that the best way to get through this chart is sure everyone is confident about the new tempo and makes their Soloists • Taft Jordan (trumpet), Louis Jordan (clarinet), Sandy Williams by feeling the deep half notes of each measure, and to attack entrances in perfect sync. (trombone), Chick Webb (drums) each half note in their parts squarely and fully on the beat with no anticipation. Refrain from tapping of feet in some frantic way to —Loren Schoenberg REHEARSAL NOTES keep up with the quarter notes. • Chick Webb made over 100 recordings with his band and there are • Imbue each count offwith a relaxed feel and a big breath as they To listen to original recordings, view interactive videos of Wynton only a handful of drum solos, making Harlem Congo all the more start to play. Marsalis leading the Jazz at Lincoln Center Orchestra in rehearsals, and important. It was written by an undersung hero of early big band • Emphasize the dotted quarter on the third beat of the opening obtain rehearsal guides for the Essentially Ellington 2017–18 repertoire jazz: trombonist/arranger/composer Harry “Father” White. It was phrase, holding it for its full value, contrasting with the shorter, please visit jazz.org/EE. during his years in the early 1930s with ’s band that clipped notes that follow. White was said to have created the termPreview “jitterbugs” for the fans Only who loved to swing dance, and although it was Webb’sLegal band that Use Requires Purchase CONDUCTOR Jazz at Lincoln Center Library - Essentially Ellington Harry White HARLEM CONGO Arranged by Charlie Dixon Transcribed by Mark Lopeman Fast q = 295 Alto Sax . . Reed 1 4 œ œ œ #œ. bœ nœ œ œ œ œ #œ. bœ nœ œ œ œ œ œ. œ œ œ œ œ #œ nœ œ. & 4 œ J J œ J Ó œ J J œ J Ó œ J J œ J Œ ∑ J J ‰ œ.

fAlto Sax 2 œ œ œ . 4 œ œ bœ. œ œ œ œ œ œ bœ. œ œ œ œ œ œ œ. œ œ œ œ œ œ bœ œ. œ. & 4 œ J J J Ó œ J J J Ó œ J J J Œ ∑ J J ‰ œ.

fTenor Sax 3 œ œ œ . . 4 œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. & b 4 J J J Ó J J J Ó J J J Œ ∑ J J ‰ œ.

fTenor Sax 4 œ œ œ . b 4 œ œ œ œ. nœ œ bœ œ Ó œ œ œ œ. nœ œ bœ œ Ó œ œ œ bœ. œ œ œ bœ Œ œ œ ∑ bœ œ. œ. ‰ & 4 J J J J J J J J J J J nœ. f bœ. . . Trumpets 1 4 œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ J œ œ & b 4 Ó J J J Ó Ó J J J Ó Ó J J J Œ ∑ J Ó f

2 . . . b 4 Ó œ. nœ œ bœ œ Ó Ó œ. nœ œ bœ œ Ó Ó bœ. œ œ bœ bœ Œ œ œ ∑ œ œ œ Ó & 4 J J J J J J J J J J J f

3 b 4 Ó j j œ Ó Ó j j œ Ó Ó œ. j j œ Œ œ ∑ nœ. bœ. œ. Ó & 4 bœ. œ œ œ J bœ. œ œ œ J œ œ œ J œ J J f . . . œ. œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ bœ œ œ Trombones 1 ? 4 J J J J J J J J bbb 4 Ó J Ó Ó J Ó Ó J Œ ∑ Ó f . 2 . œ . œ bœ œ œ bœ œ. . ? b 4 Ó nœ bœ bœ œ J Ó nœ bœ bœ œ J Ó œ. œ bœ œ J Œ ∑ J œ b b 4 J J Ó J J Ó J J J Ó E fG Fm7 B 7 E G Fm7 B 7 E E 7 A A m6 E B7 B 7 E b bo b b bo b b b b b b b b Guitar b 4 & b b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û ∑ Û Û Û Ó J J

b 4 & b b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û ∑ Û Û Û Ó Piano J J

4 j ? bb 4 Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ ∑ bœ j ‰ . b œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ

Bass œ œ bœ œ œ. ? b 4 œ bœ œ œ bœ œ œ Œ œ œ Œ Œ œ œ Œ Ó J œ ‰ b b 4 Œ Œ Œ Œ Œ Œ Œ Œ Œ J

solo break Drums 4 ã 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û ’ ’ ’ ’ Û Û Û ’ ’ f J J

Copyright © 1934 (Renewed) EMI MIlles Music Inc. PreviewExclusive Print Rights Administered by Alfred Music.Only 44863S Legal Use RequiresAll Rights Reserved. Purchase 2 Harlem Congo

A soli - Alto œ w œ ˙. œ ˙ - b˙ - œ ˙. & ˙ œ- ˙ œ- Œ ˙ ˙ œ œ Œ F

Alto - œ w œ ˙. Œ b˙ ˙ bœ ˙ ˙ œ ˙. Œ & ˙ œ- ˙ œ- œ- bœ- F - Tenor bœ w bœ ˙. œ ˙ - b˙ - nœ ˙. & b ˙ œ- ˙ œ- Œ ˙ ˙ œ nœ Œ F

Tenor - b ˙ œ w ˙ œ ˙. Œ ˙ ˙ œ ˙ bœ n˙ bœ bœ ˙. Œ & œ- œ- - - F plunger

Tpts. 1 + o + o + o & b ∑ Œ œ œ œ Œ ∑ Œ œ œ œ Œ ∑ ∑ ∑ Œ œ œ œ Œ F + o + o + o 2 b ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ & œ œ œ œ œ œ œ œ œ Œ F

3 + o + o + o & b ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ Œ bœ œ œ bœ œ œ œ œ œ Fplunger + o + o + o Tbns. 1 ? œ œ œ œ œ œ œ œ œ bbb ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ Œ F + + + 2 ? œ œo œ œ œo œ œ œo œ bbb ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ Œ F Eb Ab m6 Eb Ab m6 Eb7 Ab7 B7 Bb7 Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb Œ Œ Œ œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ bœ Œ œ Œ œ Œ œ Œ b œ œ œ œ œ œ œ œ œ œ

Bs. ? œ œ œ œ œ œ œ œ œ bœ œ œ œ bbb œ Œ Œ Œ Œ œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ Œ Œ Œ

time (bass in 2, drums in 4)

Drs. ã ’ ’ ’ ’ ‘ ‘ ‘ ‘ ‘ ‘ ‘ F Preview Only 44863S Legal Use Requires Purchase Harlem Congo 3

- Alto œ w œ ˙. œ ˙ - b˙ œ- & ˙ œ- ˙ œ- Œ ˙ ˙ œ œ ˙. Œ

Alto - œ w œ ˙. Œ b˙ ˙ bœ ˙ ˙ œ- Œ & ˙ œ- ˙ œ- œ- œ ˙. - Tenor bœ w bœ ˙. œ ˙ - b˙ nœ- & b ˙ œ- ˙ œ- Œ ˙ ˙ œ œ ˙. Œ

Tenor - - b ˙ œ w ˙ œ ˙. Œ ˙ ˙ œ ˙ bœ n˙ bœ œ ˙ Œ & œ- œ- - . + + + o Tpts. 1 o o œ œ œ & b ∑ Œ œ œ œ Œ ∑ Œ œ œ œ Œ ∑ ∑ ∑ Œ Œ

+ o + o + o 2 œ œ & b ∑ Œ œ œ œ Œ ∑ Œ œ œ œ Œ ∑ ∑ ∑ Œ œ Œ + o 3 + o + o b ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ œ œ œ Œ & bœ œ œ bœ œ œ + o + o + o œ œ œ Tbns. 1 ? œ œ œ œ œ œ bbb ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ Œ

+ + œ+ œo œ 2 ? œ œo œ œ œo œ bbb ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ Œ Eb Ab m6 Eb Ab m6 Eb7 Ab7 B7 Bb7 Eb Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ b œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ

Bs. ? œ œ œ œ œ œ œ œ œ nœ bœ œ bbb œ Œ Œ Œ Œ œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ Œ œ Œ Œ

Drs. ã ’ ’ ’ ’ Preview‘ ‘ ‘ ‘ Only‘ ‘ ‘ 44863S Legal Use Requires Purchase 4 Harlem Congo

B - Alto . ˙ - b˙ œ œ w ˙ ˙ œ- #œ. œ œ. œ œ- œ ˙ ˙ œ œ #œ œ & ˙. œ ˙. 3

Alto . - ˙ #œ- nœ w ˙ ˙ œ œ. œ œ. œ œ- œ ˙ ˙ œ œ bœ n˙ œ & - #˙. #œ ˙. 3 - Tenor . œ bœ n˙ - b˙ nœ œ w b ˙ ˙ nœ- #œ. œ œ. œ nœ- œ ˙ ˙ œ œ & ˙. œ ˙. 3

Tenor . . . bœ n˙ - b˙ œ- œ w & b #˙ ˙ œ nœ #œ œ œ œ- œ ˙ ˙ œ œ œ - ˙. œ ˙. 3 + o + o Tpts. 1 + o & b ∑ Ó œ- ¿ œ ∑ Ó œ- ¿ œ ∑ ∑ ∑ Œ œ œ œ Œ ÿ ÿ

2 + o + o + o & b ∑ Ó œ ¿ œ ∑ Ó œ ¿ œ ∑ ∑ ∑ Œ œ œ œ Œ - ÿ - ÿ

3 + o + o b ∑ Ó ∑ Ó ∑ ∑ ∑ Œ Œ & œ ¿ œ œ ¿ œ œ+ œ œ - ÿ - ÿ o -+ o´ -+ ´o œ+ œo œ Tbns. 1 ? nœ ¿ œ nœ ¿ œ bbb ∑ Ó ∑ Ó ∑ ∑ ∑ Œ Œ

+ ´o + o + o 2 ? œ- ¿ œ œ- ¿ œ´ œ œ œ bbb ∑ Ó ∑ Ó ∑ ∑ ∑ Œ Œ C7 -9 G 7 C m6 G 7 C m6 Bb -5 F 7 Bb7 Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? b b b nœ œ Œ œ œ Œ Œ œ Œ nœ œ Œ œ Œ Œ œ Œ Œ œ Œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bs. ? œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ bbb œ Œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ Œ

Drs. ã ’ ’ ’ ’ Preview‘ ‘ ‘ ‘Only‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 5

- Alto œ w œ ˙. œ ˙ - b˙ œ- & ˙ œ- ˙ œ- Œ ˙ ˙ œ œ œ Œ Ó

Alto - œ w œ ˙. Œ b˙ ˙ bœ ˙ ˙ œ- Œ Ó & ˙ œ- ˙ œ- œ- œ œ - Tenor bœ w bœ ˙. œ ˙ - b˙ nœ- & b ˙ œ- ˙ œ- Œ ˙ ˙ œ œ œ Œ Ó

Tenor - - b ˙ œ w ˙ œ ˙. Œ ˙ ˙ œ ˙ bœ n˙ bœ œ œ Œ Ó & œ- œ- - + o + o >o Tpts. 1 ˙. & b ∑ Œ œ œ œ Œ ∑ Œ œ œ œ Œ ∑ ∑ ∑ Œ

+ o + o >o 2 ˙ & b ∑ Œ œ œ œ Œ ∑ Œ œ œ œ Œ ∑ ∑ ∑ Œ .

+ o + o 3 b ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ & bœ œ œ bœ œ œ ˙. >o > + o + o ˙o. Tbns. 1 ? œ œ œ œ œ œ bbb ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ > + o + ˙o. 2 ? œ œ œ œ œo œ bbb ∑ Œ Œ ∑ Œ Œ ∑ ∑ ∑ Œ Eb Ab m6 Eb Ab m6 Eb7 Ab7 B7 Bb7 Eb Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ b œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ

Bs. ? œ œ œ œ œ œ œ œ œ nœ bœ œ œ bbb œ Œ Œ Œ Œ œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ Œ œ Œ brass Œ ˙ Drs. . ã ’ ’ ’ ’ Preview‘ ‘ ‘ ‘Only‘ ‘ ’ ’ ’ ’ 44863S Legal Use Requires Purchase 6 Harlem Congo

C no soli Alto ˙ œ. œ œ bœ œ ˙ œ. œ œ bœ œ . œ. œ. œ. œ. b>œ ˙ œ. œ & J J ‰ ‰ J œ œ bœ J J ‰ ‰ J œ œ bœ œ Œ Œ Ó Ó J

. . Alto œ œ œ œ œ œ œ œ . œ. œ œ. œ > œ. œ & ˙ œ. J J ‰ ‰ J œ bœ œ ˙ œ. J J ‰ ‰ J œ bœ œ œ Œ Œ œ ˙ Ó Ó J

Tenor œ œ œ œ œ œ œ œ > b ˙ œ. J J ‰ ‰ J bœ œ ˙ œ. J J ‰ ‰ J bœ œ Œ œ Œ œ. œ œ. bœ ˙ Ó Ó œ. œ & œ œ œ. . . J

Tenor œ œ > b ˙ œ. bœ œ ‰ ‰ J bœ œ ˙ œ. bœ œ ‰ ‰ J bœ œ Œ œ Œ œ. œ œ. nœ ˙ Ó Ó œ. œ & J J œ œ J J œ œ œ. . . J + + + o + + + o + + + o > > Tpts. 1 œ œo œ œo œ œ œ œo œ œo œ œ œ œo œ œo œ œ b˙ w & b ‰ J Œ Ó ‰ J Œ Ó ‰ J Œ Ó Ó

2 + o + o + o + o + o + o + o + o + o > > b œ œ œ œ œ ‰ bœ Œ Ó œ œ œ œ œ ‰ bœ Œ Ó œ œ œ œ œ ‰ œ Œ Ó Ó ˙ w & J J J + o + o + + o + o + o + o + o 3 o o + j > > b œ ‰ œ Œ Ó œ ‰ œ Œ Ó bœ ‰ Œ Ó Ó b˙ w & œ œ œ œ J œ œ œ œ J œ œ œ œ bœ > > œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo n˙ bw Tbns. 1 ? J J J bbb ‰ Œ Ó ‰ Œ Ó ‰ Œ Ó Ó o o + + > > œ+ œo œ+ œo œ+ œ œ+ œo œ+ œo œ+ œ bœ œo œ œo œ+ œo b˙ w 2 ? J J bbb ‰ Œ Ó ‰ Œ Ó ‰ J Œ Ó Ó Eb Ab m6 Eb Ab m6 Eb7 Ab7 B7 Bb7 Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? b b b œ œ œ œ œ œ œ œ Œ œ Œ œ œ œ œ nœ Œ œ Œ bœ Œ œ Œ œ œ œ œ œ œ œ œ œ Bs. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ bœ œ bbb œ œ œ œ œ œ œ Œ Œ Œ Œ Œ Œ

Drs. ã ’ ’ ’ ’ Preview‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 7

> Alto ˙ œ. œ œ bœ œ ˙ œ. œ œ bœ œ . œ. œ. œ. œ. bœ ˙ ~~~~~~ ˙ œ œ œ œ. & J J ‰ ‰ J œ œ bœ J J ‰ ‰ J œ œ bœ œ Œ Œ J J ‰

. . > Alto œ œ œ œ œ œ œ œ . œ. œ œ. œ ~~~~ ˙ œ œ œ œ. & ˙ œ. J J ‰ ‰ J œ bœ œ ˙ œ. J J ‰ ‰ J œ bœ œ œ Œ Œ œ ˙ ~~ J J ‰ > Tenor œ œ œ œ œ œ œ œ ~~~ b˙ œ œ œ œ. b ˙ œ. J J ‰ ‰ J bœ œ ˙ œ. J J ‰ ‰ J bœ œ Œ œ Œ œ. œ œ. bœ ˙ ~~~ J J ‰ & œ œ œ. . .

Tenor œ œ > b ˙ œ. bœ œ ‰ ‰ J bœ œ ˙ œ. bœ œ ‰ ‰ J bœ œ Œ œ Œ œ. œ œ. nœ ˙ ~~~~~~ ˙ œ œ œ ‰ œ. & J J œ œ J J œ œ œ. . . J J + + + o + + + o + + + > Tpts. 1 œ œo œ œo œ œ œ œo œ œo œ œ œ œo œ œo œ œo b˙ >˙ & b ‰ J Œ Ó ‰ J Œ Ó ‰ J Œ Ó Ó Ó

2 + o + o + o + o + o + o + o + o + o > > b œ œ œ œ œ ‰ bœ Œ Ó œ œ œ œ œ ‰ bœ Œ Ó œ œ œ œ œ ‰ œ Œ Ó Ó ˙ ˙ Ó & J J J + o + o + + o + o + + o + o + o 3 o o j > > b ‰ œ Œ Ó œ ‰ œ Œ Ó bœ ‰ Œ Ó Ó ˙ ˙ Ó & œ œ œ œ œ J œ œ œ œ J œ œ œ œ bœ > > œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo ˙ ˙ Tbns. 1 ? J J J bbb ‰ Œ Ó ‰ Œ Ó ‰ Œ Ó Ó Ó o o + + œ+ œo œ+ œo œ+ œ œ+ œo œ+ œo œ+ œ bœ œo œ œo œ+ œo >˙ >˙ 2 ? J J bbb ‰ Œ Ó ‰ Œ Ó ‰ J Œ Ó Ó Ó Eb Ab m6 Eb Ab m6 Eb7 Ab7 B7 Bb7+5 Eb Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ

Bs. ? œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ bbb œ Œ Œ Œ Œ œ Œ Œ Œ Œ œ Œ Œ Œ Œ œ œ Œ

Drs. ã ’ ’ ’ ’ Preview‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase 8 Harlem Congo

D soli œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ bœ œ œ œ >˙. Alto #œ #œ œ œ œ œ œ. J œ œ œ œ J œ œ œ œ & œ œ œ ‰ J œ J J J J J J ‰ Œ ‰ ‰ J J Œ

œ Alto œ œ œ œ œ œ œ > #œ œ œ œ #œ œ #œ œ. œ œ. #œ œ. J J œ œ œ œ œ œ œ œ œ œ bœ œ œ #œ œ nœ ˙. & œ œ œ œ ‰ J œ œ J J J J J ‰ Œ ‰ ‰ J J J Œ

nœ . . nœ œ œ œ œ œ œ >. Tenor œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ nœ nœ œ b˙ & b œ #œ œ nœ ‰ J œ nœ J J J J J J ‰ Œ ‰ J ‰ J J J Œ

Tenor œ œ œ œ. . œ œ œ œ œ œ œ œ œ œ bœ œ > b œ #œ nœ #œ ‰ œ œ #œ œ. œ œ J J J œ œ œ œ J œ bœ bœ œ œ œ nœ Œ ˙. & nœ œ œ J nœ œ J J J J ‰ Œ ‰ ‰ J J > Tpts. 1 b˙. & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ

2 >˙. & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ

3 > & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ˙. >˙. Tbns. 1 ? bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ

>˙. 2 ? bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ -9 G 7 C m6 G 7 C m6 Bb C7 -5 F 7 B7 Bb7+5 Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? b b b Œ Œ œ Œ œ œ Œ Œ œ Œ nœ œ Œ Œ œ Œ Œ œ Œ Œ nœ Œ bœ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bs. ? œ œ œ œ nœ œ œ œ œ œ nœ bœ bbb œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

Drs. ã ’ ’ ’ Preview’ ‘ ‘ ‘ ‘Only‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 9

no soli > ´ Alto ˙ œ. œ œ bœ œ ˙ œ. œ œ bœ œ . œ. œ. œ. œ. bœ ˙ ~~~~~~~ ˙ œ & J J ‰ ‰ J œ œ bœ J J ‰ ‰ J œ œ bœ œ Œ Œ Œ Ó

. . > Alto œ œ œ œ œ œ œ œ . œ. œ œ. œ ~~~~~ ˙ œ´ & ˙ œ. J J ‰ ‰ J œ bœ œ ˙ œ. J J ‰ ‰ J œ bœ œ œ Œ Œ œ ˙ ~~ Œ Ó > Tenor œ œ œ œ œ œ œ œ ~~~~ b˙ œ´ b ˙ œ. J J ‰ ‰ J bœ œ ˙ œ. J J ‰ ‰ J bœ œ Œ œ Œ œ. œ œ. bœ ˙ ~~ Œ Ó & œ œ œ. . .

Tenor œ œ > ´ b ˙ œ. bœ œ ‰ ‰ J bœ œ ˙ œ. bœ œ ‰ ‰ J bœ œ Œ œ Œ œ. œ œ. nœ ˙ ~~~~~~ ˙ œ Œ Ó & J J œ œ J J œ œ œ. . . + + + o + + + o + + + > Tpts. 1 œ œo œ œo œ œ œ œo œ œo œ œ œ œo œ œo œ œo b˙ œ´ & b ‰ J Œ Ó ‰ J Œ Ó ‰ J Œ Ó Ó Œ Ó solo

2 + o o + o + o + o + o + o + o + o >˙ b œ œ œ+ œ œ ‰ bœ Œ Ó œ œ œ œ œ ‰ bœ Œ Ó œ œ œ œ œ ‰ œ Œ Ó ∑ Ó & J J J f + o + o + o + o + o o + o 3 o + o + j > ´ b œ ‰ œ Œ Ó œ ‰ œ Œ Ó bœ ‰ Œ Ó Ó ˙ œ Œ Ó & œ œ œ œ J œ œ œ œ J œ œ +œ œ bœ > œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo œ+ œo ˙ œ´ Tbns. 1 ? J J J bbb ‰ Œ Ó ‰ Œ Ó ‰ Œ Ó Ó Œ Ó o o + + œ+ œo œ+ œo œ+ œ œ+ œo œ+ œo œ+ œ bœ œo œ œo œ+ œo >˙ œ´ 2 ? J J bbb ‰ Œ Ó ‰ Œ Ó ‰ J Œ Ó Ó Œ Ó Eb Ab m6 Eb Ab m6 Eb7 Ab7 B7 Bb7+5 Eb Gtr. b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ | Û Œ Ó

b & b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ | Û Œ Ó Pno.

? b b b Œ œ Œ œ œ Œ œ Œ œ œ Œ œ Œ œ œ œ Œ nœ Œ b˙ Œ Ó œ œ œ œ œ œ œ œ Bs. ? œ œ œ œ œ œ œ œ œ œ œ œ nœ b˙ bbb œ Œ Œ œ œ Œ Œ œ œ Œ Œ Œ Œ œ Œ Ó

Drs. ã ’ ’ ’ ’ Preview‘ ‘ ‘ Only‘ ‘ ’ ’ | Û Œ Ó 44863S Legal Use Requires Purchase 10 Harlem Congo

E . . Alto b˙ b˙ b˙ ˙ bœ œ. bœ œ œ b & Ó ˙ Ó Ó ˙ Ó Ó Ó Ó J Œ b

Alto ˙ b˙ œ. bœ. nœ. bœ œ b & Ó ˙ b˙ Ó Ó n˙ b˙ Ó Ó Ó Ó J Œ b

. Tenor ˙ ˙ œ œ. œ. œ œ b & b Ó ˙ ˙ Ó Ó ˙ ˙ Ó Ó Ó Ó J Œ b b

Tenor b˙ ˙ bœ. œ. bœ. œ œ b & b Ó ˙ ˙ Ó Ó ˙ ˙ Ó Ó Ó Ó J Œ b b

Tpts. 1 . b b Ó b˙ Ó Ó b˙ Ó Ó b˙ ˙ Ó Ó bœ œ. bœ. œ œ Œ b b & ˙ ˙ J 1/2 valve w> ˙ w> ˙ , w> ˙ w 2 >˙ >˙ >˙ bœ >œ b & b ( ) Œ Œ b b

3 b Ó Ó j bb & ˙ b˙ Ó n˙ b˙ Ó Ó ˙ b˙ Ó Ó œ. bœ. nœ. bœ œ Œ b . . ˙ ˙ ˙ ˙ œ œ œ. œ œ Tbns. 1 ? b ˙ ˙ J b b b Ó Ó Ó Ó Ó Ó Ó Œ b bbb

b˙ ˙ bœ. œ. bœ. œ œ 2 ? b ˙ ˙ ˙ ˙ J b b b Ó Ó Ó Ó Ó Ó Ó Œ b bbb Bb9+5 Eb6 Bb9+5 Eb6 Eb7+5 Ab7 Eb7+5 Ab7 Eb7+5 Ab7 Gtr. b b b & b b Ó | | Ó Ó | | Ó Ó | | Ó Ó Û Û Û. Û | b b b J

b b b & b b Ó | | Ó Ó | | Ó Ó | | Ó Ó Û Û Û. Û | b b b Pno. J

? bb Ó Ó Ó Ó Ó Ó Ó j bb b b ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ. œ ˙ b b

Bs. ˙ ˙ ? b ˙ ˙ ˙ ˙ œ œ œ. œ ˙ b b b Ó Ó Ó Ó Ó Ó Ó J b bbb

Drs. ã Ó | | Ó Ó | | Ó Ó | | Ó Ó Û Û Û. Û | Preview Only J 44863S Legal Use Requires Purchase Harlem Congo 11

F

Alto b œ nœ bœ œ nœ bœ œ nœ bœ œ œ nœ & b œ œ œ œ ˙. Œ œ œ œ œ ˙. Œ œ œ œ œ ˙. Œ w J œ J ‰ J Œ P

Alto bb œ bœ œ . œ bœ œ . œ bœ œ œ œ #œ & œ œ œ œ ˙ Œ œ œ œ œ ˙ Œ œ œ bœ œ ˙. Œ bw J œ J ‰ J Œ P Tenor b œ œ œ œ œ œ œ œ œ & b b œ œ œ œ bœ ˙. Œ œ œ œ œ bœ ˙. Œ œ œ œ œ œ ˙. Œ nw J œ J ‰ J Œ P Tenor bb œ œ bœ œ œ bœ œ œ bœ œ œ œ & b œ œ œ œ ˙. Œ œ œ œ œ ˙. Œ œ œ œ bœ ˙. Œ bw J œ J ‰ J Œ P Tpts. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ A 7 3 E A m6 E A m6 E b B7 B 7 b b b 3 b b . . b 2 . œ ˙ ˙ . b˙. œ. bb ˙. œ œ ˙ œ œ œ œ œ bœ ˙. Ó œ. J ˙ Œ œ ˙ & b J ‰ Œ J

3 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbns. 1 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Db Gb m6 Db Gb m6 Db Gb7 A 7 Ab7 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

still mostly in 2 b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? b b bb Œ œ Œ Œ nœ Œ Œ œ Œ Œ nœ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b œ œ œ œ

Bs. ? b œ œ nœ œ œ nœ b bbb œ Œ Œ Œ Œ œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

time Drs. ã ’ ’ ’ Preview’ ‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase 12 Harlem Congo

Alto b œ nœ bœ œ nœ bœ œ nœ bœ . & b œ œ œ œ ˙. Œ œ œ œ œ ˙. Œ œ œ œ œ ˙. Œ ˙ ˙ œ Œ Ó

to Clarinet Alto b b œ bœ œ œ œ œ ˙. Œ œ bœ œ œ œ œ ˙. Œ œ bœ œ œ œ bœ . Œ Œ Ó & œ œ œ ˙ b˙ n˙ œ.

Tenor b œ œ œ œ œ œ . >˙. & b b œ œ œ œ bœ ˙. Œ œ œ œ œ bœ ˙. Œ œ œ œ œ œ ˙. Œ n˙ b˙ œ f

Tenor b > b b œ œ bœ œ œ œ ˙. Œ œ œ bœ œ œ œ ˙. Œ œ œ bœ œ œ . Œ ˙. & œ œ œ bœ ˙ b˙ ˙ nœ. f Tpts. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ A m6 A 7 E 3 E A m6 3 b 3 E b B7 E b 3 b 3 b b ˙. ˙. b 2 b ˙ œ œ œ œ œ ˙ œ œ ~~~~~~~ ˙. b˙. w & b b ‰ J bœ nœ œ œ bœ ~~~~~~~~ Œ œ œ ˙ w ~~~~~~~

3 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ >˙. Tbns. 1 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ f

2 ? b ˙. b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ f Db Gb m6 Db Gb m6 Db Gb7 A 7 Ab7 Db Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb b œ Œ Œ Œ Œ œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b b œ œ nœ œ œ nœ œ œ Bs. ? b œ œ nœ œ œ nœ b bbb Œ Œ Œ Œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Drs. ã ’ ’ ’ Preview’ ‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 13

G

Alto b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Alto b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tenor . . . œ œ . ˙ . œ ˙. bb ˙ œ œ œ œ œ ˙. ˙ œ ˙ œ Œ & b n˙. Ó J

Tenor bb ˙. Ó œ. j . œ œ . ˙ œ. œ ˙. & b œ œ ˙. nœ œ n˙. ˙ œ ˙ Œ

Tpts. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

solo 2 b œ œ œ & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ 3

3 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ soli . œ œ ˙ . œ ˙ ˙. œ œ œ. œ œ ˙. ˙ œ ˙. nœ . Tbns. 1 ? b ˙. J b bbb Ó Œ

œ. œ œ ˙. n˙ bœ. œ ˙. 2 ? b n˙. nœ œ ˙. nœ. œ œ ˙. ˙ b bbb Ó J Œ F 7 Bb m6 F 7 Bb m6 Ab Bb7 Eb7 Ab7 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb b Œ Œ Œ Œ œ Œ Œ Œ Œ Œ Œ Œ Œ œ Œ Œ b b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bs. ? b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bbb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

trombone soli Drs. ã ’ ’ ’ ’Preview‘ ‘ ‘ ‘ Only‘ ‘ ‘ 44863S Legal Use Requires Purchase 14 Harlem Congo

Alto œ œ bb nœ bœ œ œ œ œ ˙. Œ nœ bœ œ œ œ œ ˙. Œ ‰ œ ‰ ˙ œ. œ ˙ b˙ ˙ ˙. Œ & J P Clarinet solo bœ œ Alto b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b Ó Œ f

Tenor bb œ œ œ œ œ bœ ˙. œ œ œ œ œ bœ ˙. œ. œ ˙ b˙ . & b œ Œ œ Œ ‰ œ ‰ ˙ J ˙ ˙ Œ P Tenor b j & b b œ œ bœ œ œ œ œ ˙. Œ œ œ bœ œ œ œ œ ˙. Œ ‰ œ ‰ ˙ œ. œ ˙ n˙ b˙ ˙. Œ P + o Tpts. 1 b œ. œ. & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó A 7 P Eb Ab m6 Eb Ab m6 Eb b B7 Bb7 Eb Ab m6 œ œ œ œ œ œ. œ 2 b œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ ¿ bœ œ œ œ. . & b b œ. œ œ œ œ œ Œ œ œ. œ œ œ œ œ Œ ‰ ‰ Œ œ œ œ bœ œ œ nœ œ œ œ nœ 3 3 3 œ œ bœ œ

3 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó œ œ +. o. P Tbns. 1 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ + o œ. œ. 2 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó P Db Gb m6 Db Gb m6 Db Gb7 A 7 Ab7 Db Gb m6 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb b œ Œ Œ Œ Œ œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b b œ œ nœ œ œ nœ ’ ’ ’ ’ œ œ Bs. ? b œ œ nœ œ œ nœ b bbb Œ Œ Œ Œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

trumpet Drs. ã ’ ’ ’ Preview’ ‘ ‘ ‘ ‘ Only‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 15

H

Alto b & b w w w w w w w w Eb Ab m6 Eb Ab m6 Eb Ab7 B7 Bb7 bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ. œ. œ œ. bœ. œ œ. bœ œ 3 œ œ œ œ nœ bœ œ bœ œ bœ œ nœ bœ Clar. b J J J œ bœ œ nœ & b b ‰ ‰ ‰

Tenor b & b b w bw w bw w w nw bw

Tenor b & b b w w w w w w nw bw

+ + o + + o + + o + o >o Tpts. 1 b œ. œ. œ. œ. œ. œ. œ. œ œ œ œ b˙. & b b Œ Ó Ó Œ Ó Ó Œ Œ Ó Œ ∑ Œ

+ o + o + o 2 b . . +. . . . + o + o >. & b b ∑ Ó bœ œ nœ Œ Ó Ó bœ œ nœ Œ Œ œ œ Ó Œ œ bœ ∑ Œ ˙ P o 3 b +. +. +. + o > & b b œ Œ Ó Ó œ œ œ Œ Ó Ó œ œ œ Œ Œ œ œ Ó Œ œ nœ ∑ Œ ˙. +. o. +. o. + o

Tbns. 1 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ + + o + + o + + o + o >o œ. œ. œ. œ. œ. œ. œ. œ bœ bœ œ ˙. 2 ? b b bbb Œ Ó Ó Œ Ó Ó Œ Œ Ó Œ ∑ Œ Db Gb m6 Db Gb m6 Db Gb7 A 7 Ab7 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bbbb Œ œ Œ Œ Œ Œ œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b œ œ nœ œ œ nœ

Bs. ? b œ œ nœ œ œ nœ b bbb œ Œ Œ Œ Œ œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

clarinet solo Drs. ã ’ ’ ’ ’Preview‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase 16 Harlem Congo

Alto b & b w w w w w w ˙ ˙ ˙. Œ Eb Ab m6 Eb Ab m6 Eb Ab7 B7 Bb7 Eb œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ. œ œ œ. . Clar. b bœ œ œ œ. œ. œ œ bœ œ œ ˙ ‹ œ bœ. œ & b b ‰ J J ˙. Œ

Tenor b & b b w bw w bw w w n˙ b˙ ˙. Œ

Tenor b & b b w w w w w w n˙ b˙ ˙. Œ

+ + o + + o + + o + o o + o + Tpts. 1 b œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ. & b b Œ Ó Ó Œ Ó Ó Œ Œ Ó Œ Ó Œ Œ

+ + o + + o + + o + 2 b ...... + o + o o. . . . & b b œ Œ Ó Ó bœ œ nœ Œ Ó Ó bœ œ nœ Œ Œ œ œ Ó Œ œ bœ Ó nœ Œ Œ œ œ œ

+ + + + 3 b . . +. + o . .o . & b b œ Œ Ó Ó œ œ œ Œ Ó Ó œ œ œ Œ Œ œ œ Ó Œ œ nœ Ó bœ Œ Œ œ œ œ +. .o +. o. + o o. solo nœ œ œ Tbns. 1 ? b J b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ‰ + + o + + o + + o + o o + o f + œ. œ. œ. œ. œ. œ. œ. œ bœ bœ œ œ. œ. œ. œ. 2 ? b b bbb Œ Ó Ó Œ Ó Ó Œ Œ Ó Œ Ó Œ Œ Db Gb m6 Db Gb m6 Db Gb7 A 7 Ab7 Db Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb b œ Œ Œ Œ Œ œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b b œ œ nœ œ œ nœ ’ ’ ’ ’ œ œ Bs. ? b œ œ nœ œ œ nœ b bbb Œ Œ Œ Œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Drs. ã ’ ’ ’ Preview’ ‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 17

I to Clarinet Alto b . w & b w w w ˙ Œ w ˙ ˙ ˙. Œ b>˙ œ. Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ

to Clarinet Tenor b n˙ b˙ . & b b nw w nw ˙. Œ w w ˙ Œ

to Clarinet Tenor b & b b w nw w n˙. Œ w w ˙ n˙ b˙. Œ

Tpts. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & F 7 B 7 E 7 A 7 B m6 F 7 B m6 A b b b ´ b b b œ j > m T T - nœ œ nœ œ n œ œ œ œ œ œ œ. ˙ nœ œ œ œ Aœ œ Tbns. 1 œ œ. œ œ. œ œ œ œ œ œ ? b J J nœ œ. J J J J J b bbb Œ ‰ ‰ ‰ ‰ ‰ Ó

2 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F 7 Bb m6 F 7 Bb m6 Ab Bb7 Eb7 Ab7 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb b Œ Œ œ Œ œ Œ œ Œ Œ œ Œ œ Œ Œ Œ Œ œ Œ œ Œ Œ b b œ nœ œ œ œ œ œ œ œ œ œ œ œ Bs. ? b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bbb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

trombone solo Drs. ã ’ ’ ’ ’ Preview‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase 18 Harlem Congo

Clarinet >˙. Alto b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ bbb Œ & E A m6 E A m6 E A 7 b b b b b b B7 E f b˙ ˙ - œ- - . b>˙. b b>˙. œ œ œ. ˙ >œ œ ~~~~~ œ bœ ˙. œ- Clar. b J ˙ ~~~ bw œ & b b ‰ Œ J ‰

Clarinet f >˙. Tenor b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ

Clarinet f >. Tenor b ˙ & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ f + + o + + o + + o + o o o Tpts. 1 b œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ. & b b Œ Ó Ó Œ Ó Ó Œ Œ Ó Œ Ó Œ Œ Ó

+ + o + + o + + o 2 b ...... + o o o. . & b b œ Œ Ó Ó bœ œ nœ Œ Ó Ó bœ œ nœ Œ Œ œ œ Ó Œ œ bœ Ó nœ Œ œ Œ Ó

+ + 3 b . . +. + o o. & b b œ Œ Ó Ó œ œ œ Œ Ó Ó œ œ œ Œ Œ œ œ Ó Œ œ nœ Ó bœ Œ œ Œ Ó +. o. +. o. + o o.

Tbns. 1 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ + + o + + o + + o + o o o œ. œ. œ. œ. œ. œ. œ. œ bœ bœ œ œ. œ. 2 ? b b bbb Œ Ó Ó Œ Ó Ó Œ Œ Ó Œ Ó Œ Œ Ó Db Gb m6 Db Gb m6 Db Gb7 A 7 Ab7 Db Ab7+5 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb b œ Œ œ Œ Œ Œ œ Œ œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ b b œ nœ œ nœ œ œ Bs. ? b œ œ nœ œ œ nœ b bbb Œ Œ Œ Œ Œ Œ Œ Œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

clarinet Drs. ã ’ ’ ’ ’Preview‘ ‘ ‘ ‘ Only‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 19

J œ. b>˙. nœ. b>˙. nœ. ˙ bw >˙. Clar. b ˙ & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ . . . >. œ >˙. œ >˙. œ ˙ ˙ w b˙ Clar. b & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ

œ. >. œ. >. œ. >˙. Clar. b ˙ ˙ ˙ b˙ nw & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ

. . . >. Clar. b œ >˙. œ >˙. œ b˙ ˙ bw ˙ & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ o + + + + + + + > Tpts. 1 b œ œo œ œo œo œ œo œ œo œo œ œo œ œo œ œo b˙ œ´ & b b Œ ‰ J Œ Ó Œ ‰ J Œ Ó Œ ‰ ‰ ‰ J Œ ‰ ‰ Œ Ó f o 2 + o + o o + o + o o + o + o + o > ´ bb Œ œ œ œ œ bœ Œ Ó Œ nœ œ œ œ bœ Œ Ó Œ nœ bœ œ œ Œ œ bœ ‰ ˙ œ & b ‰ J ‰ J ‰ ‰ ‰ J ‰ Œ Ó f o 3 b + o + o + o + o + o + o + > ´ & b b Œ œ œ ‰ œ œ œ Œ Ó Œ œ œ ‰ œ œ œ Œ Ó Œ œ ‰ œ ‰ œ ‰ œ Œ œ ‰ nœ ‰ b˙ œ Œ Ó J o J o J o f + + + + + + + >o œ œo œ œo œo œ œo œ œo œo œ œo bœ œo œ bœo n˙ bœ´ Tbns. 1 ? b J J J b bbb Œ ‰ Œ Ó Œ ‰ Œ Ó Œ ‰ ‰ ‰ Œ ‰ ‰ Œ Ó f >o œ+ œo œ+ œo œo œ+ œo œ+ œo œo œ+ œo œ+ œo œ+ œo b˙ œ´ 2 ? b J J J b bbb Œ ‰ Œ Ó Œ ‰ Œ Ó Œ ‰ ‰ ‰ Œ ‰ ‰ Œ Ó f Db Gb m6 Db Gb m6 Db Db7 Gb7 A 7 Ab7 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bbbb Œ œ Œ Œ Œ œ Œ œ Œ Œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ b œ œ nœ œ nœ œ œ œ nœ œ œ œ œ Bs. ? b œ œ nœ œ œ nœ œ œ œ nœ œ œ œ b bbb œ Œ Œ Œ Œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ Œ Œ Œ

clarinets/brass Drs. ã ’ ’ ’ ’ ‘ ‘ ‘ ‘ ‘ ‘ ‘ f Preview Only 44863S Legal Use Requires Purchase 20 Harlem Congo

œ. b>˙. nœ. b>˙. nœ. ˙ b˙ ˙ nœ. Clar. b ˙ & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ Ó . . . . œ >˙. œ >˙. œ ˙ ˙ ˙ ˙ œ Clar. b & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ Ó

œ. >. œ. >. œ. œ. Clar. b ˙ ˙ ˙ b˙ n˙ b˙ & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ Ó

. . . . Clar. b œ >˙. œ >˙. œ b˙ ˙ b˙ ˙ nœ & b b Œ Ó Œ Œ Ó Œ Œ Ó Œ Ó

+ o + o o + o + o + o + + o > Tpts. 1 b œ œ œ œ œ œ œ œ œ œo œ œ œ œo œ œo > œ´ ˙. & b b Œ ‰ J Œ Ó Œ ‰ J Œ Ó Œ ‰ ‰ ‰ J Œ ‰ ‰ ˙

o 2 + o + o o + o + o o + o + o + o > ´ bb Œ œ œ œ œ bœ Œ nœ œ œ œ bœ Œ Ó Œ nœ ‰ bœ œ œ Œ œ bœ ‰ n˙ œ Œ Ó & b ‰ J Œ Ó ‰ J ‰ ‰ J ‰

3 + o + o + o + o + o + o + ´ bbb Œ œ œ ‰ œ œ Œ Ó Œ œ œ ‰ œ œ Œ Ó Œ œ ‰ œ ‰ œ ‰ œ Œ œ ‰ ‰ œ Œ Ó & J œ J œ J nœ b˙ o o o >o + + + + + + + o œ œo œ œo œo œ œo œ œo œo œ œo bœ œo œ bœo >˙ nœ´ Tbns. 1 ? b J J J b bbb Œ ‰ Œ Ó Œ ‰ Œ Ó Œ ‰ ‰ ‰ Œ ‰ ‰ Œ Ó + + + + + + + o œ œo œ œo œo œ œo œ œo œo œ œo œ œo œ œo >˙ œ´ 2 ? b J J J b bbb Œ ‰ Œ Ó Œ ‰ Œ Ó Œ ‰ ‰ ‰ Œ ‰ ‰ Œ Ó Db Gb m6 Db Gb m6 Db Db7 Gb7 A 7 Ab7 Db Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? b b bb Œ œ Œ Œ nœ Œ œ Œ œ Œ Œ nœ Œ Œ Œ Œ œ Œ nœ Œ bœ Œ Œ Œ b œ œ œ œ œ œ œ œ œ Bs. ? b œ œ nœ œ œ nœ œ œ œ nœ bœ b bbb œ Œ Œ Œ Œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ Œ œ Œ œ Œ

Drs. ã ’ ’ ’ Preview’ ‘ ‘ ‘ ‘Only‘ ‘ ‘ 44863S Legal Use Requires Purchase Harlem Congo 21

K œ œ. >˙ > ~~~~~~~ Clar. b w w w œ. œ œ œ n˙ bw~~~~~~~~~~~ & b b ‰ œ nœ w Ó . > > . > bœ œ œ b˙ ˙ w ~~~~~~~~~~~~~~~~~ Clar. b w nw w nœ œ œ œ w ~ & b b ‰ œ Ó

. > > ~~ Clar. b w w w œ. œ œ œ œ b˙ ˙ w~~~~~~~~~~~~~~~~ & b b ‰ œ nœ œ w Ó

Clar. . > > ~~ bb nw w nw œ. œ Ó œ bœ œ n˙ b˙ w~~~~~~~~~~~~~~~~ & b ‰ nœ œ œ w > > > > >˙ >˙ . . . >œ ˙. œ. ˙ b˙ ˙ œ. >˙. Tpts. 1 b ˙ ˙ œ œ œ œ œ. œ. œ. œ œ & b b J J Œ ‰ ƒ > > > > > . > 2 b >˙ >˙ ˙ ˙ œ. œ. œ œ. œ ˙. . . . œ œ. ˙ b˙ n˙ œ ˙. & b b J J Œ œ œ œ œ ‰ ƒ

3 > > > > > b>˙ > . > bbb n˙ ˙ ˙ ˙ nœ. œ. œ œ. œ ˙. Œ œ ‰ œ. ˙ ˙ œ ˙. & J J œ. œ. œ. œ ƒ > > > . b>˙ >˙ . > >˙ >˙ ˙ ˙ œ. œ. œ œ. œ ˙ œ. œ. œ. œ œ œ. ˙ œ ˙. Tbns. 1 ? b J J b bbb Œ ‰ ƒ > > > > . . . > . >˙ > . >. ˙ ˙ n˙ ˙ œ œ œ œ nœ ˙ œ. œ. œ. œ œ œ. ˙ n˙ bœ ˙ 2 ? b J J b bbb Œ ‰ ƒ -9 F 7 Bb m6 F 7 Bb m6 Ab Bb7 -5 Eb7 Ab7 Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno.

? bb b Œ Œ œ Œ œ Œ œ Œ Œ œ Œ œ Œ Œ Œ Œ Œ œ Œ œ Œ Œ Œ b b œ nœ œ œ œ œ œ œ œ œ œ Bs. ? b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ b bbb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

ensemble Drs. ã ’ ’ ’ ’Preview‘ ‘ ‘ Only‘ ‘ ‘ ‘ 44863S Legal Use Requires Purchase 22 Harlem Congo

˙ ˘ ~w ~ w ~~~ w ˙. ˙ ˙ >œ œ Clar. b ˙ ~~~~~~~~ ˙ ~~~~~ & b b Ó Ó Œ Œ ƒ . b˙ ˙ > ˘ ~ w b˙ ~~~~~~~~ w b˙ ~~~~~~~~ w ˙ ˙ œ œ Clar. b & b b Ó Ó Œ Œ ƒ w w w . b˙ ˙ ˙ >œ ˘œ Clar. b ~ ˙ ~~~~~~~~~ ˙ ~~~~~~~~ ˙ & b b Ó Ó Œ Œ ƒ n˙ b˙ > ˘ Clar. b ~ w ˙ ~~~~~~~~ w ˙ ~~~~~~~~ w b˙. n˙ œ œ & b b Ó Ó Œ Œ ƒ + + + + o œ. ˙ œ. . Tpts. 1 b œ œo œ œ œo œ œ œo œ œ œ œ ˙ œ. bœ œ. ˙ ˙ >œ ˘œ & b b Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ f + + 2 b o o œ. ˙ œ. ˙ . > ˘ & b b Œ œ œ œ Œ Œ œ œ œ Œ Œ œ œ œ Œ Œ œ œ œ Œ Œ œ nœ nœ ˙ ˙ œ œ Œ + o + o . . f 3 b . b˙ . & b b Œ œ œ œ Œ Œ Œ Œ œ œ œ Œ Œ Œ Œ œ œ ˙ bœ nœ b˙ ˙ œ œ Œ + o œ+ œo œ + o œ+ œo œ . . #œ. > f fl . . . œ+ œo œ œ+ œo œ œ+ œo œ œ+ œo œ œ ˙ œ ˙ œ. bœ œ. ˙ ˙ >œ ˘œ Tbns. 1 ? b b bbb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ f . . + o + o + o + o œ ˙ bœ ˙ . œ. bœ. n˙ > ˘ 2 ? b œ œ œ nœ œ œ œ œ œ nœ œ œ œ ˙ œ œ b bbb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ f Db Gb m6 Db Gb m6 Db Db7 Gb7 A 7 Ab7 Db Gtr. b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û Œ

b b & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û Œ Pno.

? bb b œ Œ œ Œ Œ Œ œ Œ œ Œ Œ Œ œ Œ Œ Œ œ Œ Œ Œ œ Œ œ œ Œ b b œ nœ œ nœ œ œ nœ bœ œ œ œ œ œ œ Bs. ? b œ œ nœ œ œ nœ œ œ œ nœ bœ b bbb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ

Drs. ã ’ ’ ’ Preview’ ‘ ‘ ‘ Only‘ ‘ ‘ ’ ’ Û Û Œ 44863S Legal Use Requires Purchase Harlem Congo 23

L to Alto Sax Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

to Alto Sax Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

to Tenor Sax Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

to Tenor Sax Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpts. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbns. 1 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Gtr. b b & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b b & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno.

? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bs. ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ solo > > > > > > > > > > > > > > > > > > > > > Drs. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã œ œ œ Previewœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Onlyœ œ œ œ œ œ œ œ œ œ œ œ œ œ 44863S Legal Use Requires Purchase 24 Harlem Congo

Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tpts. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbns. 1 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 ? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Gtr. b b & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

b b & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno.

? b b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bs. ? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b b cowbell woodblock tom > > > > > 3 3 3 3 3 3 > > > > > x x x x > > > > ^ > ^ > > > > > > Drs. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã œ œ œ œ Previewœ œ œ œ œ œ œ œ œ œ œ œ œ œ Onlyœ œ œ œ œ œ œ œ œ œ œ œ œ œ 44863S Legal Use Requires Purchase Harlem Congo 25 Much Slower drums qbrass = 98 ^ ^ ^ Clar. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¿ ¿ ¿ œ. œ nb drums ∑ brass ^ ^ ^ Clar. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¿ ¿ ¿ œ. œ nb drums ∑ brass ^ ^ ^ Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¿ ¿ ¿ œ. œ drums ∑ brass ^ ^ ^ Clar. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¿ ¿ ¿ œ. œ drums ∑ play Tpts. 1 b ¿ ¿ ¿ œ. œ & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ drums f play 2 b ¿ ¿ ¿ & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ œ. œ drums fplay 3 b ¿ ¿ ¿ & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ œ. œ drums playf œ. œ Tbns. 1 ? ¿ ¿ ¿ bbbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ b drums playf ¿ ¿ ¿ bœ 2 ? b . œ b bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ drums playf Db7 Gb6 Gtr. b b ¿ ¿ ¿ & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ Û. Û drums play b b ¿ ¿ ¿ & b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ Û. Û Pno.

? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b b drums ens. ^ ^ ^ ¿ ¿ ¿ œ. œ Bs. ? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b b *play as band cue 3 ensemble > ^ ^ ^ > > > > > ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Drs. œ œ œ œ > œ œ œ > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œj œ œ œ œ œ œ œ ã œ œ œ œ Previewœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œOnlyœ œ œ œ œ œ œ . Û. Û 44863S Legal Use Requires Purchase∑ f ∑ 26 Harlem Congo

M Alto Sax > . . . œ . . Alto b j - bœ œ. . œ œ. œ. j œ. œ œ œ œ. œ . œ. œ œ ≈ œ œ. œ. œ œ œ œ œ >œ. ^ U & b Ó ‰ œ œ œ œ ‰ Ó ‰. #œ nœ #œ œ œ J nœ. nœ œ Œ - J J R J 3 œ Alto Saxf > Alto b j - bœ œ. nœ. œ œ. œ. j >œ. œ. œ. œ. œ. . œ œ. . œ œ œ. >œ. ^ U & b Ó ‰ œ œ œ œ J ‰ Ó ‰. #œ #œ œ œ nœ œ. œ œ nœ. œ œ ≈ œ œ œ œ Œ - J R J J . 3 œ Tenor fSax > > Tenor b j œ. œ. œ. œ œ. œ œ œ œ. . œ œ. . œ œ œ œ œ. > ^ U b b Ó ‰ j j . ‰ Ó ‰. r . œ œ. . j œ. œ œ. œ. ≈ œ. œ Œ & œ œ bœ œ #œ nœ #œ œ J J 3 œ œ- œ - œ œ > Tenorf Sax Tenor > . . . œ . ^ U bb Ó j j j . r œ œ. nœ. bœ œ œ œ. œ. œ œ œ œ. œ. œ œ œ œ œ. & b ‰ œ œ bœ œ. ‰ Ó ‰ #œ nœ. #œ œ. j J œ. œ œ ≈ œ. œ Œ œ œ- œ - œ œ J . 3 > > f > . >œ. œ^ Tpts. 1 b œ. . . œ. œ. œ. . œ œ œ. . œ œ. . œ œ œ U & b b œ œ. ‰ Ó ‰. œ œ œ œ œ œ. ‰ Ó ‰ œ œ. œ œ œ œ. ≈ œ œ œ Œ Œ J R J J J . 3 3 > 2 b j j > . . j j . bœ. œ^ U & b b œ. ‰ Ó ‰. œ œ. œ œ. œ œ. ‰ Ó ‰ œ. œ œ œ œ. œ œ. œ œ ≈ œ. . œ œ. œ œ œ Œ Œ œ œ. R œ. nœ. œ . œ œ 3 3 r > > ^ U bb j Ó ‰. j ‰ œ. j œ. œ. œ Œ Œ & b œ. œ œ. ‰ nœ œ. œ œ. œ œ. ‰ Ó œ. œ. œ œ. œ. j œ. œ œ ≈ œ œ. œ œ. œ œ œ œ solo œ œ. . . . > œ œ œ bœ œ œ œ œ œ œ œ. œ. œ nœ bœ œ œ. œ œ. . œ œ œ œ. œ^ U Tbns. 1 . œ œ. œ œ. . œ œ. œ. œ. œ œ. . ≈ œ . œ œ > ? b b J ‰ Ó ‰. R J ‰ ‰ J J Œ œ b b b J 3 n>œ bœ. œ. . œ œ. œ. U 2 œ. . œ œ. . œ œ >œ. œ^ > ? b b œ œ. ‰ Ó ‰. nœ œ. œ œ. œ œ. ‰ Ó ‰ J œ. œ. œ œ. œ œ ≈ œ œ œ Œ œ b b b J R J J œ. 3 G o7 Dbmaj7 Bb7 Ebm7 Fm7 Bb7 Ebm7 Ab13 Ab7+5Db6 Gtr. U bbbb Û. Û. Û Œ & b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ œ

b b . U & b b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Û Û. Û Œ Pno. œ U ? b b Œ b b b œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ. . œ œ

Bs. œ œ œ œ œ œ œ œ . U ? b œ œ œ nœ œ œ œ œ œ œ œ œ œ . œ œ. œ. œ œ œ. b bbb œ œ œ œ œ œ œ Œ œ

Drs. . U ã ’ ’ ’ ’ Preview‘ ‘ ‘ Only‘ ‘ ‘ Û Û. Û Œ œ 44863S Legal Use Requires Purchase Preview Only Legal Use Requires Purchase Printed in USA

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