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The Art of Incorporating Afro-latin Rhythms in Modern Jazz: In the Style of Maria Schneider
Kristen Janelle [email protected]
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Recommended Citation Janelle, Kristen, "The Art of Incorporating Afro-latin Rhythms in Modern Jazz: In the Style of Maria Schneider" (2021). Composition/Recording Projects. 3. https://repository.belmont.edu/music_comp/3
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THE ART OF INCORPORATING AFRO-LATIN RHYTHMS IN MODERN JAZZ: IN THE STYLE OF MARIA SCHNEIDER
By KRISTEN SOFIA JANELLE
A PRODUCTION PAPER
Submitted in partial fulfillment of the requirements for the degree of Master of Music in Commercial Composition in the School of Music of the College of Music and Performing Arts Belmont University
NASHVILLE, TENNESSEE March 2021
Submitted by Sofia Janelle in partial fulfillment of the requirements for the degree of Master of Music in Commercial Music.
Accepted on behalf of the Graduate Faculty of the School of Music by the Mentoring Committee:
–––––––––––––––––––––––
––––––––––––––––––––––– Jeffrey Kirk, Ed.D. Second Mentor
––––––––––––––––––––––– Peter Lamothe, Ph.D. Third Mentor
––––––––––––––4/27/21 ––––––––––––––––––––––– Date Kathryn Paradise, M.M. Assistant Director, School of Music
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Contents
Examples ...... v
Tables ...... viii
Presentation of Material
Introduction ...... 1
Chapter One: Maria Schneider ...... 7 Background ...... 7 Schneider’s Influences and Compositional Style ...... 10
Chapter Two: Afro-Latin Rhythms Used ...... 14 Choro ...... 15 Samba ...... 18 Landó ...... 21 Maracatu ...... 23 Afoxé ...... 26
Chapter Three: Rhythmical Analysis of Chosen Works by Schneider ...... 29 The Use of Choro in “Choro Dançado” ...... 29 The Use of Landó in “Aires De Lando” ...... 31 The Use of Samba in “Lembrança” ...... 33
Chapter Four: Rhythmical Analysis of Works by Sofia Janelle ...... 36 The Use of Afoxé in “Stepping Stones” ...... 36 The Use of Maracatu in “The King’s Offering” ...... 39 The use of Vassi and Landó in “Buried Treasures” ...... 41 The use of Samba in “Brothers” ...... 44
Chapter Five: The Recording Process of Sofia Janelle ...... 47
Conclusion ...... 54
iii
Appendix: Chapter Four Scores ...... 56 1. “Stepping Stones” ...... 57 2. “The King’s Offering” ...... 81 3. “Buried Treasures” ...... 150 4. “Brothers” ...... 242
Glossary ...... 318
References ...... 321
iv
Examples
2.1 Tresillo ...... 15
2.2 Habanera...... 15
2.3 Lundu Compared to Tresillo ...... 16
2.4 Comparison of Lundu, Miller’s Choro Rhythms for Guitar, and Netto’s Afro-Samba Rhythms for Surdo and Tamborim ...... 17
2.5 Netto’s Samba Pattern for Drum Set ...... 20
2.6 Reversed Lundu (the Rhythmic Basis of Choro and Samba) ...... 20
2.7 Feldman’s Landó ...... 21
2.8 Reversed Lundu Compared to Landó ...... 22
2.9 Netto’s Caixa Pattern for the Maracatu ...... 24
2.10 Netto’s Agogô Pattern for the Maracatu ...... 24
2.11 Netto’s Surdo de Corte Pattern for the Maracatu ...... 24
2.12 Côco Pattern for Drum Set Followed by the Maracatu Pattern for Drum Set ...... 25
2.13 Netto’s Agogô Pattern for Afoxé ...... 27
2.14 Netto’s Atabaque Pattern for Afoxé ...... 27
2.15 Vassi Groove Adapted for Drum Set ...... 28
2.16 Bembe Clave and Vassi Gã Pattern ...... 28
3.1 Lundu Compared to Schneider’s Rhythm in “Choro Dançado” ...... 31
3.2 Traditional Landó Pattern Compared to Schneider’s Time Signatures and Cajon Rhythms for the First Two Measures of the Melodic Motifs Used in the Beginning Section of “Aires de Lando” ...... 32
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3.3 Schneider’s Cajon Pattern in the First Two Measures of the Melodic Motifs Used in the Beginning Section, Metrically Transposed ...... 33
3.4 Fragment of Landó in “Aires de Lando” ...... 34
3.5 Netto’s Samba Rhythm Compared to Schneider’s ...... 35
4.1 Bass Line in “Stepping Stones” mm. 1-2 ...... 37
4.2 Netto’s Caixa Pattern ...... 37
4.3 Bass Line in “Stepping Stones” mm. 3-4 ...... 37
4.4 Netto’s Atabaque Pattern ...... 38
4.5 “Stepping Stones” Drum Set Groove mm. 9-16 ...... 38
4.6 “Stepping Stones” Piano Melody m. 18 ...... 38
4.7 “Stepping Stones” Drum Set Groove at 3’11”-4’6, Compared to the Tresillo ...... 39
4.8 Drum Set and Upright Bass Lines at mm. 9-10 of “The King’s Offering” ...... 40
4.9 Alfaia Pattern for the Maracatu ...... 40
4.10 Right-hand Pattern Tom-tom Pattern with the Hi-hat Foot and Bass Drum in “The King’s Offering” at m. 33 compared to the Maracatu Agogô Pattern ...... 40
4.11 Netto’s Maracatu Agogô Pattern ...... 40
4.12 Vassi Clave Pattern ...... 41
4.13 Harmonic Rhythm on mm. 53-60 of “Buried Treasures” ...... 42
4.14 Drum Set Groove at mm. 17-18 of “Buried Treasures,” Followed by the Vassi Pattern for the Rum ...... 42
4.15 “Buried Treasures” Bass Line on mm. 1-4 at 1”-3”, Followed by the Vassi Pattern for the Rumpi ...... 43
4.16 Trumpet and Trombone at mm. 149-152 in “Brothers” ...... 44
4.17 Samba Pattern for the Tamborim ...... 44
4.18 Piano in mm. 169-170 of “Brothers” ...... 45
vi
4.19 Samba Pattern for the Surdo ...... 45
vii
Tables
1. Drum Set Microphone List ...... 47
viii
Introduction
The term “Afro-Latin” has been used to define genres of music in Latin America which were influenced by African traditions. Afro-Latin rhythms have been used in
American jazz music since the beginning of the genre in the early twentieth century, with musicians such as Jelly Roll Morton and drummer Warren “Baby” Dodds (Raeburn 2012,
34-37). Like their predecessors, modern jazz musicians seek inspiration in Afro-Latin rhythms, and these rhythms provide a framework for their compositions. Musical artists such as Maria Schneider have often used Afro-Latin rhythms in modern jazz. This thesis project has aimed to demonstrate the fusion of these elements with jazz and how
Schneider and I have applied them in our original music.
Between the sixteenth and nineteenth centuries, African culture was introduced to
Latin America as a result of the transatlantic slave trade. Alex Borucki, David Eltis, and
David Wheat stated in their article “Atlantic History and the Slave Trade to Spanish
America” that the first and last slave voyages across the Atlantic Ocean led to the largest free black population in Hispaniola and Cuba until the late eighteenth century (Borucki,
Eltis, and Wheat 2015). They also said that the land controlled by the Spanish was the part of the Americas with the strongest ties to Africa (Borucki, Eltis, and Wheat 2015).
These statements have indicated that African cultural traditions were practiced in Latin
America because of the large African population. After the eighteenth century, Brazil became the nation that had the most African slaves, as well as the second-largest African-
1 2 descended population in the world (Cottrol 2013, 23). In Chapter Two, many of the rhythms observed are Afro-Brazilian.
Afro-Latin rhythms were rare in North America until the emergence of jazz in the early twentieth century in New Orleans. Early white Europeans in America and their
American descendants had much less mixing with Africans and indigenous peoples and therefore these rhythms permeated North American culture less (Borucki, Eltis, and
Wheat 2015). Proportionally, the music and culture of African slaves was more aggressively suppressed and disapproved of in North America. African instruments, especially drums, were also taken away from slaves due to fear of their usefulness in communication that could result in revolt (Epstein 1997, 52). These fears were magnified by events like the Stono Rebellion, a violent and deadly slave revolt, where it was reported that African slaves were calling to each other through the use of drums (Candler
1904, 235). Dena J. Epstein, an expert in American slave music, points out an example of a missionary’s disapproval in her article in Notes “Slave Music in the United States before 1860: A Survey of Sources (Part I)”:
Nothing is more barbarous, and contrary to Christianity, than their… Idolatrous Dances, and Revels; in which they usually spend the Sunday… And here, that I may not be thought too rashly to impute Idolatry to their Dances, my Conjecture is raised upon this ground… for that they use their Dances as a means to procure Rain: Some of them having been known to beg this Liberty upon the Week Days, in order thereunto. (Godwin 1680, 33)
African culture was more restricted in North America, where African rhythm and dance had less of an avenue to influence society.
While the notion of white supremacy thrived in Latin America for centuries with the castas system, the growing mestizo population allowed more room for non-white cultures to implant themselves into Spanish and Portuguese Catholic society. People of
3
African descent came to blend into the mestizo population through racial mixing and the assimilation of European societal norms (Cottrol 2013, 19). The indigenous peoples and enslaved Africans also gained more acceptance in colonial Latin American society after conversion to Catholicism, which began in the sixteenth century by the Spanish and
Portuguese. This was unlike North America, where there was great resistance to catechize slaves and indigenous peoples before the nineteenth century (Epstein 1963, 202).
According to Epstein, sadly this was because people of the English colonies in America did not feel concern for the salvation of the slaves and indigenous peoples and the difficulty of the task itself provided little reward (Epstein 1997, 101-102). Having been forced to convert to Catholicism, Africans in Latin America were able to continue practicing their cultural traditions publicly by blending them with Catholic traditions. An example of this is found in the maracatu, a semi-religious dancing parade, which derived from Angolan conga players who worshipped a sea god called calunga (Netto 2003, 94).
The maracatu fused with Catholic traditions by making the date of the parade coincide with the feast day of “Our Lady of Roses,” which Afro-Brazilians venerated as it centered around a statue of a black Madonna (Netto 2003, 94). It was through this conversion that African rhythms survived and became popular in this oppressive society, and were later brought into jazz.
New Orleans, the portal of Afro-Latin rhythms to North America, was exceptionally diverse circa 1900. This distinguished the city, since most areas of North
America were homogenous and segregated at the time.
Tremé, the Seventh Ward, and especially the lower French Quarter had Hispanic and Latino populations interspersed with Sicilians, Afro-French Creoles, and African Americans, despite the onus of segregation, because the settlement patterns predated the Jim Crow laws of the 1890s. (Raeburn 2012, 34)
4
This diversity was similar to areas of Latin America, yet instead of mestizo, the French term creole came to represent people of mixed ancestry. Native Americans, who had mixed with African slaves in the previous centuries, were also included in this group
(Johnson 1991, 127). Jerah Johnson states in “New Orleans’ Congo Square: An Urban
Setting for Early Afro-American Culture Formation” that “Because most African slaves brought to Louisiana were males, great numbers married Indian [Native American] women, whom the French colonials had early begun enslaving as food growers, cooks, bedfellows, and translators” (Johnson 1991, 127). It was because of this diversity in New
Orleans that African rhythms prospered and became commonplace in the music scene of the Crescent City.
One of the most historically influential locations that perpetuated African culture was the Congo Square. “Thus, Place Congo in New Orleans becomes a repository of
African continuity, a place where the bamboula, bongo, and calinda were danced within a ring, accompanied by drums, rattles, and stringed instruments reminiscent of Africa”
(Raeburn 2012, 33). Jerah Johnson also recounts that when British soldier Benjamin
Henry Latrobe arrived on duty to New Orleans in 1819, he was shocked by the diversity of cultures operating together (Johnson, 1991, 117-119). Latrobe remarked in his journal
“Never, had I seen anything more brutally savage… [the gatherings of blacks] have perpetuated here those of Africa among its inhabitants” (Wilson 1951, 21-25, 49-51). Yet since New Orleans was diverse with a large desegregated black population, suppressing
Latrobe’s racist opinion of “brutally savage” behavior would not have been easily done.
With its close proximity to the influences of Latin America, New Orleans birthed a new genre of music, called jazz, around the turn of the twentieth century. The creole-
5 born New Orleans musician Ferdinand “Jelly Roll” Morton is often credited with pioneering this new genre in America. He told Terry Teachout that New Orleans is “the cradle of jazz” and that he was the creator of it in 1902 (Teachout 1988, 67). This is dubious, yet Morton’s contribution to the genre is undeniable. In a famous interview with
Alan Lomax in 1938 he said:
In fact if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz… I heard a lot of Spanish tunes, and I tried to play them in correct tempo, but I personally didn’t believe they were really perfected in the tempos. Now take “La Paloma,” which I transformed in New Orleans style. You leave the left hand just the same. The difference comes in the right hand—in the syncopation, which gives it an entirely different color that really changes from red to blue (Lomax 1938).
While Morton’s recorded version of “La Paloma” is obscure, the original score written by
Sebastián Yradier in 1861 isn’t, and the tresillo pattern, which will be discussed in
Chapter Two, is constant throughout the piece in the left hand of the piano. Yradier’s inspiration for the piece came from Cuba, where he was influenced by the habanera, which is similar to the tresillo, and this will also be explained in Chapter Two (Kennedy,
Kennedy, and Rutherford-Johnson 2013). This is of critical importance, as it provides evidence that Afro-Latin rhythms were circulating Latin America during the nineteenth century, leading to the emergence of jazz in New Orleans (Raeburn 2012, 35, 37-39).
Morton’s use of these rhythms in his music is noteworthy because it provides specific evidence of how Afro-Latin rhythms first came into jazz. Morton also took a liberty with
Yradier’s “La Paloma” and other “Spanish tunes” by altering the tempo. This was one of the earliest innovations in jazz; something that musicians would continue to experiment with over the next century.
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Fellow musicians like Joe “King” Oliver and Louis Armstrong also came out of
New Orleans and propagated “hot jazz” a term to describe early jazz that was “of an exciting and energetic nature” that became popular over the earlier twentieth century
(Garret 2015). This music inspired dance crazes like the “jitterbug” that swept the nation, making jazz extremely popular and a staple of American culture (Parrish 1999, 50). This phenomenon was similar to how Afro-Latin rhythms accompanied dances in Latin
America, for example the samba, a Brazilian genre of music and dance. As jazz moved from New Orleans to northern cities like New York City, so did Afro-Latin influences
(Washburne 2014, 412-414). Celebrated jazz composer Duke Ellington recalled: “When I came into the world, Southern Negroes were expressing their feelings in rhythmic ‘blues’ in which Spanish syncopations had a part” (Washburne 2014, 414). This is similar to
Jelly Roll Morton’s famous statement about the “Spanish Tinge.” After the 1940s, the genre of “Latin jazz” was created to differentiate jazz that included more Afro-Latin rhythms and it included artists such as Dizzy Gillespie and Chano Pozo (Washburne
2014, 413). In the 1960s the jazz artist Stan Getz won “Best Record” for “The Girl from
Ipanema” which contained the Afro-Brazilian genre, bossa nova (Crow 2013). In the
1970s artists like Chick Corea and Herbie Hancock released albums like Return to
Forever and Secrets, which fused Afro-Latin rhythms with modern jazz in songs like
“Sometime Ago-La Fiesta” and “Cantaloupe Island.” This tradition continued with artists like Pat Metheny and the featured artist of this thesis, Maria Schneider.
Chapter One: Schneider’s Background
Nineteen years after jazz pioneer Jelly Roll Morton died, the American composer
Maria Schneider was born in Windom, Minnesota on November 27, 1960 (Larkin 2009).
She grew up in a rural area and began taking piano lessons with a stride and classical pianist originally from Chicago named Evelyn Butler (Pawlo 2019). Schneider stated in an interview with Bob Pawlo that she spent a large amount of time each lesson learning music theory (Pawlo 2019). Schneider went to University of Minnesota to study classical music theory. She told Pawlo that she did not know what kind of musician she wanted to be at first. She knew her strengths laid in music theory, so she decided to get her degree in classical theory (Pawlo 2019). Things changed for Schneider when a graduate teaching assistant told her that she had a talent for composition while working on madrigal exercises (Pawlo 2019). She started to believe that her unrevealed dream of becoming a composer could become reality. At the same time, she became more influenced by modern jazz thanks to her college dorm-mates, listening to artists like Herbie Hancock
(Jazz Police 2017). She said in another interview, “I listened to those and my head started spinning” (Jazz Police 2017). Her professors eventually encouraged her to work for the university concert band (Jazz Police 2017). It was there that she gained her first experience working with a large group, something she would later come to be known for.
She was also inspired by watching Toshiko Akiyoshi in Minneapolis at Orchestra Hall with her big band (Pawlo 2019). After graduating from the University of Minnesota,
Schneider spent a semester at
7 8 the University of Miami (Jazz Police 2017), a prestigious music school with a close proximity to Cuba, where Afro-Latin rhythms have been marinating for centuries. She went on to study at The Eastman School of Music in Rochester, New York (Pawlo 2019).
She graduated with a master’s degree in jazz writing and contemporary media in 1985
(Jazz Police 2017). Afterwards, she moved to New York City, and it was there that she received a National Endowment for the Arts grant to work with Bob Brookmeyer, a jazz trombonist, arranger and composer (Pawlo 2019). Her time with Brookmeyer was challenging at times, and Schneider was learning that she had to decide what she wanted music to sound like when she would rearrange his pieces instead of “giving away a lot of the choices in my music to what jazz history said it should be,” which she remarked to
Pawlo (Pawlo 2019).
During her time with Brookmeyer, she started doing copyist work. Eventually she was connected to one of her idols, Gil Evans, a jazz pianist, composer and arranger, who needed a copyist (Pawlo 2019). She began working with him and continued to learn to make choices in music based on her own voice. After re-arranging one of his pieces in a way that was unsatisfactory to his liking, she learned “It was yet another pivot point for me to realize that being a great musician or a great composer isn’t about doing it right.
It’s about following your instincts so that your personality and your perspective come to the light of day in a very clear and crisp way” (Pawlo 2019). After Evans’ death,
Schneider was able to conduct his orchestra in 1993 at the Spoleto Music Festival. In the book, Jazzwomen: Conversations with Twenty-one Musicians, Wayne Enstice and Janis
Stockhouse write: “As heir apparent, in 1993 she became the first recipient of the Gil
9
Evans Scholarship established by trumpeter Herb Alpert” (Enstice and Stockhouse 2004,
271). Schneider was climbing up the ranks.
In 1992 Schneider began performing with her group, The Maria Schneider
Orchestra (Tutt 2016). The group played weekly at Visiones club in the West Village of
New York until the club closed in 1998 (Enstice and Stockhouse 2004, 271). In 1994,
Schneider released her debut album Evanescence. The album was Grammy nominated for
“Best Large Jazz Ensemble Recording” and “Best Instrumental Composition” for the song “Evanescence” (Schneider 2017d). Jeff Bradley wrote in the Denver Post: “If, like me, you miss the airy orchestral jazz of Gil Evans, this CD is proof that dreams do come true… this is exciting, rich-textured music from a major new voice” (Schneider 2017d).
During the 90s, The Maria Schneider Orchestra began performing around the world (Tutt 2016). In 1998, Schneider released her second album Coming About which was Grammy nominated for “Best Large Jazz Ensemble Recording” (Schneider 2017b).
Schneider also became an in-demand guest conductor for the European Jazz Radio
Orchestras (Enstice and Stockhouse 2004, 271). Her music was becoming a mainstay in the jazz community. In 2000, she released Allégresse which was Grammy nominated for
Best Large Jazz Ensemble Recording (Schneider 2017a). In 2004, she released Concert in the Garden, debatably her most beloved album by jazz fans (Schneider 2017c). It won a
Grammy for Best Large Jazz Ensemble Recording and it was nominated for “Best
Improvised Solo” and “Best Instrumental Composition” for the songs “Bulería, Soleá y
Rumba” and “Three Romances.” She released Sky Blue in 2007, and won another
Grammy for “Best Instrumental Composition” (Schneider 2017e). The Maria Schneider
Orchestra released its most current album The Thompson Fields in 2015, which again
10 won a Grammy for “Best Large Jazz Ensemble Recording” (Schneider 2017f). During the timespan of these albums, the use of Afro-Latin rhythms in Schneider’s compositions became more prominent, especially in the album Concert in the Garden. Of this, critic and musician Michael Gallant wrote, “Jazz licks and Brazilian beats fade in and out, as do intense walls of dissonance and tranquil patches of wide-open space” (Gallant 2005,
69).
Schneider’s Influences and Compositional Style
For one to truly understand any composer, one must understand their influences.
Schneider told Janis Stockhouse, “…I was starting to listen a lot to composers that wrote in a jazz-orchestra medium. Those people mainly were Duke Ellington, Thad Jones, Gil
Evans, Bob Brookmeyer and George Russell. But the one that really I have to say most affected me right off the bat was Gil Evans…” (Enstice and Stockhouse 2004, 272). As previously stated, Schneider was able to work closely with Gil Evans and Bob
Brookmeyer, but she also wrote for the Thad Jones/Mel Lewis Orchestra (Larkin 2009).
In the book Ethnomusicology, author Alex Stewart notes “Gil Evans, Thad Jones, and
Bob Brookmeyer probably have had the most direct and widespread influence on modern orchestral jazz in New York” (Stewart 2004, 178). Like Evans, Schneider often uses
“adventurous sonorities and unusual instrumental textures,” for example, the use of accordion amongst a jazz orchestra in the Peruvian-influenced “Aires de Lando” on the album Sky Blue (Stewart 2004, 178). Her harmonies are complex and experimental. Of
Evans, Jones, and Brookmeyer, Stewart goes on to say “All these traditions are carried forward in the work of two of New York’s leading contemporary jazz composers, Maria
Schneider and Jim McNeely” (Stewart 2004, 178). Evans and Jones innovatively used
11 electric instruments along with funk and rock grooves, a technique which Schneider also uses as well in her music (Stewart 2004, 179).
Schneider’s background includes a classical upbringing that would increasingly become more entrenched with jazz. This contrasts from a musician like Wynton Marsalis, who grew out of the New Orleans jazz scene and absorbed classical influences at a young age in school. Though their music is distinct from each other’s, Schneider and Marsalis agree with Marsalis’ statement that: “In democracy as in jazz, you have freedom with restraint. It’s not absolute freedom, it’s freedom within a structure” (Russell 2009, 67).
They both tell stories in their music that soloists must adhere to. Schneider told Jon
Bream “My music is more like storytelling. The soloists are following my story line but they're telling that story in their own way and embellishing it in their own way and creating their own sense of drama.” (Bream 2017). Schneider’s music has also been described as emotional. Janis Stockhouse writes, “Emotional intensity never spills into abandon in her work, however, but is contained by classical form” (Enstice and
Stockhouse 2004, 272).
Despite her classical background and though she was not raised in New Orleans
(the portal of Afro-Latin rhythm to North America), Schneider undoubtedly has Afro-
Latin influence in her works. Schneider noted on her website that some of her inspiration has come from Brazil: “Recorded on Concert in the Garden, ‘Choro Dançado’ was written after my first trip to Brazil, where I fell in love with choro music” (Schneider
2017c). She also told New York Times jazz critic Ben Ratliff:
Samba is like alchemy. It turns pain into joy, into magic. My music was very intense and serious and very jazz, even though it was influenced by classical music. But after the trip to Brazil, my priorities changed, I really didn't care if my music impressed anybody anymore, or if it was complex.” (Ratliff 2006).
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Without personally questioning Schneider, it is hard to pinpoint this “pain” she is talking about, but certainly the people of lower social classes in Latin America transformed their own pain to a temporary joy and escape through this music. The timing of the interview is also of importance; it was shortly after the release of Concert in the
Garden, when her music was becoming more heavily influenced by Afro-Latin rhythms, as stated previously. Ratliff goes on to say:
When she got home, she didn't immediately start writing in the style of samba. She began borrowing rhythm, loosely, from the more jazz-influenced choro style of Brazilian music… She has since become obsessed with the accordion as a new voice in her ensemble; to several pieces she has added a cajon, the percussive wooden box of Peruvian music, and she hasn't written with swing rhythm since. (Ratliff 2006)
Like Jelly Roll Morton, Schneider “borrowed rhythm loosely” and put her own unique imprint on jazz music, making it individual. Ratliff also notes that her music hit “a turnaround moment” in her album Allégresse, which was released two years after her first trip to Brazil in 1998 (Ratliff 2006).
Before continuing, there is one other influence that Schneider incorporates into her music that is particularly relevant to her connection with Afro-Latin rhythms: her love of dance. Stockhouse wrote “Evidence of her love for dance and movement can be felt in the propulsion and momentum of each musical phrase in her latest release,
Allégresse…” (Enstice and Stockhouse 2004, 272). Ratliff wrote that Schneider often records a sequence, gets up to play it back, and dances along to it (Ratliff 2006). Afro-
Latin rhythms have always been accompanied by dancing, with the roots of both in
African culture. Author Fassil Demissie wrote in his book African Diaspora in Brazil:
History, Culture and Politics, “In African cosmological systems, the body is a medium for the spirit, it brings into corporeal existence that which is of another plane” (Demissie
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2013, 90). As Schneider became more influenced by Latin-American culture, her love of dance worked itself into the music, and simultaneously “lost some of its academic stuffiness” (Ratliff 2006). Through her connection with dance, she has emotionally connected to her music, becoming an even more profound artist.
Chapter Two: Afro-Latin Rhythms Used in This Project
In the introduction, a famous quote from Jelly Roll Morton to Alan Lomax was referred to about “The Spanish Tinge.” I observed that the left-hand bass pattern that
Morton speaks of in “La Paloma” is playing the tresillo pattern, a Spanish term for a common mother rhythm in African drumming. Morton applied this technique “of leaving the left hand just the same,” and adding more syncopation in his right, in many of his songs (Raeburn 2012, 37). In the chapter “Beyond the ‘Spanish Tinge’: Hispanics and
Latinos in Early New Orleans Jazz” from the book Eurojazzland: Jazz and European
Sources, Dynamics, and Contexts, Bruce Boyd Raeburn noted: “In Morton’s piano rendition of his ‘New Orleans Blues’ (‘New Orleans Joys’), a tresillo bass line works against the blues-inflected treble figures before culminating in a 4/4 ‘out chorus’”
(Raeburn 2012, 37). Richard Miller interpreted the tresillo as “a set of eight 16th notes broken into three unequal groups, 3+3+2, with strong emphasis placed on the first note in each group” (Miller 2011, 7).
Preceding the emergence of jazz in New Orleans, the habanera was very popular; we see evidence of this with the success of Sebastián Yradier’s “La Paloma” in the nineteenth century (Kennedy, Kennedy, Rutherford-Johnson 2013). Yradier’s inspiration came from Cuba for the piece, where he was influenced by the habanera (Kennedy,
Kennedy, and Rutherford-Johnson 2013). The habanera is very similar to the tresillo and proves how Afro-Latin rhythms commonly build upon each other to inspire new rhythmic
14 15 genres. The author has provided European notation for the tresillo and habanera patterns below in Ex. 2.1 and Ex. 2.
Example 2.1. Tresillo
2 œ. œ ‰ œ ã 4 J
Example 2.2. Habanera
2 œ. œ œ œ ã 4
Choro
Choro is a genre of music from Brazil that developed out of European dance forms and African rhythms in the latter half of the nineteenth century (Brill 2011, 240-
241). Gerard Béhague states in Grove Music Online “Generically choro denotes urban instrumental ensemble music, often with one group member as a soloist” (Béhague
2001). In Music of Latin America and the Caribbean, Mark Brill states that “Flor
Amorosa” was the first choro song written in 1868 by Joaquim Antonio da Silva Calado
(Brill 2011, 241).
To fully understand the emergence of choro, we must briefly look to its roots in the Afro-Brazilian lundu. Originating from enslaved Africans, the lundu became the first courtship dance that was accepted by blacks and whites in Brazil (Brill 2011, 330;
Vassberg 1976, 46). It was initially a ring dance accompanied by percussion (Miller
2011, 8). Miller tells us that “There is a strong agreement in the literature that the lundu originated from the influence of the Bantu tribes of West Africa…” and that it was also
16
based on the tresillo (Miller 2011, 8, 14-15). He also informs us that “Isto ê Bom” by
Xisto Bahia was one of the first lundu recordings in Brazil in 1902. Peter Manuel refers
Gerard Béhague’s description of lundu in his book Popular Musics of the Non-Western
World, and gives us Béhague’s rhythmic transcription, which is pictured below in Ex.
2.3, followed by the tresillo (Manuel 1988, 64). One can find Béhague’s lundu rhythm in
the melody of “Isto ê Bom.” Observe that the tresillo is within the lundu; the first, third
and fifth notes in the example would outline it.
Example 2.3. Lundu Compared to Tresillo
Drum Set 2 œ œ œ œ œ ã 4
2 œ. œ ‰ œ ã 4 J
By the time of the late eighteenth century and nineteenth century, the lundu was
quite popular and had acquired the sounds of the guitar, the Portuguese viola and piano
(Miller 2011, 14). A popular lundu musician was the Brazilian priest and guitarist Caldas
Barbosa (Miller 2011, 14). Miller goes on to say “The lundu provided the basic rhythmic
pattern of choro” (Miller 2011, 16).
Miller provides evidence of how the lundu is preserved in his examples of guitar
rhythms for choro songs (Miller 2011, 17). In Miller’s fourth example of choro guitar
accompaniment patterns, one can see the lundu rhythm perfectly displayed between the
plucked bass note and the following chord (pictured in Ex. 2.4). Alternatively, one can
also see how similar Miller’s choro rhythms for guitar are in comparison to the Afro-
samba patterns given in Alberto Netto’s book Brazilian Rhythms for Drum Set and
Percussion (Netto 2003, 60). The combined rhythm of the tamborim and surdo that Netto
17
transcribes is very similar to the rhythm in Miller’s first “standard choro accompaniment
pattern.” However, the exception is that the Afro-samba pattern actually accentuates the
tresillo patterns more by having a note on the “and” of two in the first measure, whereas
Miller’s “standard choro accompaniment pattern” have notes on the “ah” of beat two in
the first measure (Miller 2011, 17; Netto, 2003, 60). Netto’s Afro-samba pattern for
tamborim and surdo is even more similar to Miller’s fifth example, which as
aforementioned accentuates the tresillo. In Ex. 2.4 one can observe comparison of the
lundu, Miller’s choro rhythms for guitar, and Netto’s Afro-samba rhythms for surdo and
tamborim.
Example 2.4. Comparison of Lundu, Miller’s Choro Rhythms for Guitar, and Netto’s Afro-Samba Rhythms for Surdo and Tamborim Lundu:
Drum Set 2 œ œ œ œ œ ã 4
Miller’s standard choro accompaniment pattern for guitar:
2 œ œ & 4 œ œ #œœ œœ œ œ œ œ Miller’s fourth example, a variation, of choro accompaniment for guitar:
2 œ œ & 4 œ œ #œœ œ œ œ œ Netto’s surdo and tamborim pattern for Afro-samba:
Tamborim œ œ œ œ ã 42 ≈ ≈
Surdo 2 j ã 4 œ ‰ œ
18
These connections serve to reinforce the influence that Afro-Latin rhythms have on each other, and shows how choro was a transitional genre between lundu and samba
(Miller 2011, 17). Miller even goes on to say:
Recapitulating, metronomic sixteenth-note pulses in tresillo accentuation formed the bedrock of lundu, guitarists accompanied lundu using several standard variations but each of these preserved the tresillo feel, and these variations subsequently formed the basis for guitar accompaniments of many early Brazilian dances including maxixe, tango brasileiro, choro, and samba. (Miller 2011, 18)
The book Made in Brazil: Studies in Popular Music also points out the connection between choro and samba, calling choro the “instrumental version of samba”
(Tupinambá de Ulhôa, Azevedo, and Trotta 2015, 14). Samba will be explored in more detail in the following section.
I noticed the following when listening to choro: melody lines based on sixteenth- notes, a driving bass line, and melodic minor scales reminiscent of polka. Popular instruments were acoustic guitar, flute, clarinet, the cavaquinho, a four stringed guitar, and various percussive instruments like shaker and tambourine. Artists listened to include
Paulo Moura, Raphael Rabello, Choro das 3, Waldir Azevedo, Chiquinha Gonzaga,
Radamés Gnattali, and Henrique Cazes.
Samba
Mark Brill wrote that the word samba is “derived from semba and before that mesemba, an African candomblé dance first recognized in Rio de Janeiro in the first half of the nineteenth century” (Brill 2011, 231). Alberto Netto tells us that the word semba means “‘to pray,’ or to call spirits of ancestors and African gods using drumming” (Netto
2003, 38). The African mesemba dance came to be influenced by choro and maxixe over the last half of the nineteenth century and transitioned into what would come to be known
19 as samba at the turn of the twentieth century (Brill, 2011, 231). In 1917, the first recording of samba was released called “Pelo Telefone” by Enersto dos Santos “Donga”
(Netto 2003, 38). In the book Made in Brazil: Studies in Popular Music, the authors write
“Pixinguinha and Anacleto de Medeiros were hired by the nascent recording industry to write arrangements for samba songs, and in the process shaped a set of styles and ‘genre rules’ for the genre” (Tupinambá de Ulhôa, Azevedo, and Trotta 2015, 15). This gives more credence to the previously discussed idea that choro and samba are very similar, as
Pixinguinha and Anaclecto de Medeiros were choro musicians at the turn of the twentieth century (Tupinambá de Ulhôa, Azevedo, and Trotta 2015, 14-15).
Following the end of slavery in 1888 in Brazil, former slaves migrated to the favela slums of Rio de Janeiro where “different styles and genres of music percolated,” with samba becoming the most popular dance there (Brill 2011, 232). It became extremely popular during the carnival season, and samba “schools,” otherwise known as escolas de samba, formed to prepare year-round for their performances (Brill 2011, 232-
233). The schools included singers, dancers, brass and woodwind instrumentalists, drummers and percussionists (Brill 2011, 232-233). They still gather in the present day to perform during carnaval (Brill 2011, 232-233). There are many different types of samba including pagode, samba enredo (from the escolas de samba), gafieira, samba traditional, partido alto, samba de breque, samba canção, Afro-samba, sambalanço, samba de carnaval, samba exaltaçao, and samba de quadra / batucada (Netto 2003, 38).
These different types of sambas are contingent on different themes and regions within
Brazil (Netto 2003, 38).
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In his book Brazilian Rhythms for Drumset and Percussion, Alberto Netto has
adapted a samba batucada rhythm pattern from an escola de samba group of
percussionists for drum set (Netto 2003, 40). In his example, we can see that the lundu
pattern is reversed from beat two to beat one within the accents in the first measure. The
author has duplicated this measure in Ex. 2.5 so that the reader can observe this finding
(Netto 2003, 40). Ex. 2.6 shows the lundu, with the first and second measures reversed.
Example 2.5. Netto’s Samba Pattern for Drum Set ^ ^ > ^ ^ ^ ^ > ^ ^ Drum ScoreSet 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 4 œ x œ œ x œ œ x œ œ x
Example 2.6. Reversed Lundu (the Rhythmic Basis of Samba)
Drum Set 2 œ ≈ œ ≈ œ œ ≈ œ ã 4
Netto says that beat two is the most important beat in samba and this bears resemblance
to the habanera; this is noticeable if one observes the examples previously provided in
Ex 2.2 (Netto 2003, 39).
When I listened to samba, I observed a wide variety of tempos and emotions. A
key component was singing, and group vocals were very common along with various
percussion instruments like apito, agogô, repinque, ganza, tamborim, caixa, pandeiro
and surdo. Some of the artists the author observed were Beth Carvalho, Paulinho da
Viola, Clara Nunes, Sérgio Mendes, Ara Ketu, Grupo Revelação and Chico Buarque.
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Landó
The landó is an Afro-Peruvian fertility dance that according to Brill, probably
originates in Angola and is related to the lundu. “The landó is very seductive, mimicking
a sexual act and ending with suggestive hip thrusts” (Brill 2011, 330). To give context to
the past, ethnomusicologist Heidi Feldman describes the findings of Peruvian composer
and arranger Nicomendes Santa Cruz’s quest in Brazil, connecting the landó and lundu:
He proposed a complicated genealogy or origins, designating a couple dance of Angolan lineage called lundú featuring a pelvic bump and sexual pantomime in its descriptions by Portuguese chroniclers as the progenitor of the Peruvian landó, a lost dance formerly performed by Africans and their descendants in Peru. (Feldman 2005, 213)
Santa Cruz even asserted that the lundú was at the root of over fifty couple dances found
throughout Portugal, “uniting all dances practiced by blacks in the Americas that featured
a pelvic bump into one family” (Feldman 2005, 213). Though this is a different spelling
from the lundu, the African-inspired European dance and musical genre mentioned
earlier, it could be assumed that the lundú was the true prototype of the lundu.
Typically, the landó employs slower tempos that can emote “sensuality but also
melancholy” (Brill 2011, 330). A key instrument of the landó is the cajón, a wooden box
that was developed by African slaves who used transportation crates for drumming (Brill,
2011, 330). It is often in triple meter time signatures, like 6/4 or 12/8 (Feldman 2003,
215; Brill, 2011, 330). The author has recreated the cajón pattern that Feldman provided
below in Ex. 2.7 (Feldman 2003, 215):
Example 2.7 Feldman’s Landó j j j j j j j Drum Set 12 œ œ œ œ œ œ œ ã 8 ‰ ‰ ‰ ‰ ‰
22
During my research, I made an interesting discovery, noticing that the first five
hits of the cajón pattern in the landó share a similar relationship to the first five notes of
the reversed lundu. I have provided an example of this “reversed lundu” again below,
using sixteenth notes to call attention to the space between the notes so that one can
observe this finding, followed by the landó pattern in Ex. 2.8. If each note of the reversed
Score lundu was an eighth note, instead of a sixteenth, we would have the exact same pattern as
the landó in the first five notes.
Example 2.8. Reversed Lundu Compared to Landó
Drum Set 2 œ ≈ œ ≈ œ œ ≈ œ ã 4
j j j j j j j Drum Set 12 œ œ œ œ œ œ œ ã 8 ‰ ‰ ‰ ‰ ‰
The landó only achieved national recognition after the 1970s (Brill 2011, 330).
This is unlike a genre like samba, which became a symbol of national identity in Brazil
for a large portion of the twentieth century. This may be a reason why there is not nearly
as much readily available information written in books or journals about it (Brill 2011,
232-233). Feldman mentions that the landó was “forgotten by the twentieth century”
(Feldman 2005, 213). Peruvian singer-songwriter and teacher Susana Baca said “There
was nothing ever written about our music or our history…so I went out in search of oral
history” (Rosenberg 2001, 13-14). I noted that oral history is an important method of
transmission of Afro-Latin genres, since written records of original African rhythms are
extremely rare.
23
Maracatu
The maracatu is a singing and dancing parade that originated from Pernambuco, in northeastern Brazil (Brill 2011, 227; Netto 1003, 94). Netto states that it used to be performed at several religious, civic, and popular festivities, but now it is performed mainly at Carnaval (2003, 94). When it is performed in current times, the maracatu parade includes a procession of royalty characters following a woman holding an adorned doll, called the calunga, which gives power to the king (Netto 2003, 94). The word calunga has two explanations (Netto 2003, 94). It is tied to the word banto, which means
“big chief” and it also is connected to the sea god named “Calunga” of the Angolan conga players (Netto 2003, 94).
Brill states that groups of nações, or nations of African people, developed in
Brazil developed in the seventeenth century (2011, 227). Brill also refers to nações as individual cults that each practiced specific rituals differing in language, deities, and musical characteristics (Brill 2011, 223). The maracatu developed out of the nações, during a process where a leader was chosen in a coronation ritual (Brill 2011, 227).
Eduardo Guedes confirms this: “In the early 1700s … the enslaved Africans would consecrate a leader, The King of Congo, who would speak for the slaves in the presence of their masters… with a procession that involved music, dance and theater… that procession evolved what is known today as maracatu” (Guedes 2020). He also cites
Recife and Olinda in the northeastern state of Pernambuco as the cities that developed the maracatu (Guedes 2020).
Netto states that the original instrumental section of the maracatu consists of only percussion with agogô, tarol, caixa de guerra, surdo de corte, and alfaia. This formation
24
is known as maracatu de baque virado (Netto 2003, 94). The agogô is a percussive bell
instrument, the tarol and caixa de guerra are snare-like drums, and the surdo de corte
and alfaia are low-sounding drums. He states that another type of maracatu group is the
maracatu rural or maracatu de orchestra, and these add brass instruments; yet the more
traditional maracatu ensembles also use flute and acoustic guitar (Netto 2003, 94). Below
are Netto’s maracatu rhythms of the caixa, agogô, and surdo de corte (Netto 2003, 96).
Example 2.9. Netto’s Caixa Pattern for the Maracatu > > > > Drum Set 2 œæ œ œ! œ œ œ œ! œ œ œ œ! œ œ ã 4
Example 2.10. Netto’s Agogô Pattern for the Maracatu
Drum Set 2 œ œ œ œ œ œ œ œ œ ã 4
Example 2.11. Netto’s Surdo de Corte Pattern for the Maracatu
Drum Set 2 œ œ œ œ œ œ œ œ ã 4 . .
To gain more information through oral history, I reached out to Brazilian friends
and learned that the origin of the maracatu is speculated to lie within the côco rhythm
and dance. The côco was brought over in the eighteenth century from the Congo-Angola
and developed in northern Brazil (Gameiro 2014; Freitas 2016). Another source defines
that côco developed in northeastern Brazil, which helps draw a geographical connection
between côco and maracatu (Tupinambá de Ulhôa, Azevedo, and Trotta 2015, 234). Dan
Sharp wrote that “the côco is a style of music and dance principally associated with poor
Afro-Brazilians from the coastal northeast – the state of Pernambuco and surrounding
25
areas” (Sharp 2011, 181). In short, the maracatu and côco sprouted from the African
slaves from the Congo-Angola region in the same region of Brazil. The rhythms share
similarities. In Ex. 2.12, I have recreated an example of côco adapted for the snare drum
combined with a bass drum pattern for the reader to examine and compare to the
maracatu (Gamiero 2020, 66).
Example 2.12. Côco Pattern for Drum Set Followed by the Maracatu Pattern for Drum Set > > > > Drum Set 2 œ œ! œ œ œ œ œ œ œ œ! œ œ œ œ œ œ ã 4 œ. œ œ œ œ œ ‰. R Œ
> 2 œ! œ! œ! œ œ œ! œ œ œ œ! œ œ œ œ! œ œ ã 4 œ œ œ œ
However, there are distinctions in the côco and maracatu; the instrumentation differs
with more prominent use of ganzá and pandeiro and there is a key feature in the dancing
element called the umbigada, a navel bumping move (Freitas 2016; Gamiero 2020).
Béhague and Freitas also mention potential ties to the Native Americans in the
instrumentation and rhythm, whereas the maracatu would have been exclusive to
Africans choosing a leader amongst them in the beginning of its appearance in Latin
America (Freitas 2016; Béhague 2001). Despite this, the nações were influenced by
Native Americans; the root of this is that African deities were compatible with Native
American deities and both hid “under a veneer on Catholicism” (Brill 2011, 223).
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Afoxé
Afoxé is a rhythm and style of music that is performed during carnaval in Brazil
(Netto 2003, 91). Afoxé groups started to appear in the late nineteenth century (Brill
2011, 227). They have “similar roots as the maracatus” (Netto 2003, 91). Netto explains that African slaves brought afoxé to Brazil and developed it mostly in Bahia (Netto 2003,
91). Different styles of afoxé emerge in the different nações; Jeje, Nago, or Keto (Netto
2003, 91). Netto continues, saying “The afoxé is a religious song and rhythm of the candomblé, mainly of Jeje-Nago origin … [they] parade on the streets singing candomblé songs in Yoruba language, bringing the sacred and profane together during the carnaval”
(Netto 2003, 91). Brill wrote: “The term afoxé also refers to a dance rhythm called ijexá which is closely associated with candomblé rituals” (Brill 2011, 227). Ijexá came from the Ijexá nation in Nigeria and is also the name of a candomblé nation (Oliveira 2014, 2).
It is important to note the Afro-Brazilian religion candomblé as the mother of afoxé.
“Candomblé literally refers to a dance in honor of the spirits,” Brill says (2011, 223).
Briefly, candomblé is an Afro-Brazilian religious cult with many nações, or nations
(Tupinambá de Ulhôa, Azevedo, and Trotta 2015, 233; Brill 2011, 223).
Afoxé groups were subdued by the government from 1930 to 1970 due to religious intolerance and the subduing of African culture (Brill 2011, 227). After 1970, they gained popularity due to social movements that sought to strengthen Afro-Brazilian identity
(Brill 2011, 227). Bassist Hussain Jiffry stated that afoxé is performed by blocos afros, groups of mainly black musicians who want to perpetuate the African side of music in
Brazil (Jiffry 2007, 62). The most popular afoxé group is called Filhos de Gandhi (Netto
2003, 91; Jiffry 2007, 62). Jiffry also states that composers like Ivan Lins have
27
incorporated afoxé into their music (Jiffry 2007, 62). Netto tells us that the basic
instrumentation for afoxé is agogô, pandeiro, atabaques, and ganzá (2003, 92). The
author has recreated the rhythms of the afoxé for the agogô and atabaques below in Ex.
2.13 and Ex. 2.14 (Netto, 2003, 92).
Example 2.13. Netto’s Agogô Pattern for Afoxé œ œ œ œ Drum Set 2 œ œ œ œ œ ã 4 ≈ ≈
Example 2.14. Netto’s Atabaque Pattern for Afoxé
2 œ œ œ œ œ œ œ ã 4 œ œ œ œ
Vassi
The last rhythm to be discussed is the vassi. The vassi is considered to be the root
of all rhythms in the Ketu nation (Oliveira 2014, 2). The Ketu nation is one of the three
major nations that form in candomblé (Oliveira 2014, 2). The other two are Jêje and
Angola, and each of these three nations consist of cults that focus on a single orisha, or
spiritual entity of candomblé (Oliveira 2014, 2). The vassi is played for most of the
orishas, but a few of the orishas have different variations of vassi (Oliveira 2014, 2).
Vassi is a “source groove” that serves as a basis for other candomblé rhythms such as
alujá and ikibi.
During this point of the research, I noticed how musical genres were inspired
from the drums themselves. In candomblé, the atabaques are a sacred triad of drums
consisting of the rum, rumpi, and the lé (Oliveira 2014, 2). The atabaques are also
accompanied by the gã, or agogô bells, which provide the time signature and metronomic
28
guide, similarly to a clave in Afro-Cuban music. Over time, these rhythms have been
adapted for the drum set. Below is an example of the vassi rhythm that the author has
depicted from Oliveira’s book, Ritmos Afro-Brasileiros na Bateria (Oliveira 2014, 26).
Example 2.15. Vassi Groove Adapted for Drum Set x x x x x x x x Drum Set 12 œ œ œ œ ã 8 œx œx œ œx x x x
I observed that the agogô pattern for vassi is the same as the Afro-Cuban bembe
clave pattern (Alfleri 2019, 66). In my experience as a jazz musician, I have encountered
many charts that ask for an “Afro-Cuban,” or “6/8 Afro-Latin,” feel. The clave pattern
below is usually what is desired in these situations. Though it is traditionally counted in
12/8, American jazz musicians often take liberties with the time signature, similarly to
how samba in American jazz is sometimes counted in 4/4 instead of its native 2/4. The
12/8 time signature can even be counted in 4/4 for each group of triplets and this makes it
easy for jazz musicians to metrically modulate during songs. However, European
notation and “structural concepts” cannot reflect “African micro-timings” without some
interpretation, and anyone studying music derived from Africa should be aware of this
(Oliveira 2014, 1).
Example 2.16. Bembe Clave and Vassi Gã Pattern j j j j j j j Drum Set 12 œ œ œ œ œ œ œ ã 8 ‰ ‰ ‰ ‰ ‰
Chapter Three: Rhythmical Analysis of Chosen Works by Schneider
In this chapter, three songs will be observed, “Choro Dançado,” “Aires de
Lando,” and “Lembrança.” Analysis will be done to show how Schneider fuses the genres of choro, landó, and samba in her compositions, focusing mainly on the rhythmical aspects. However, to provide more evidence to how Schneider fuses these genres into modern jazz, other analytical observations will be made as well.
The Use of Choro in “Choro Dançado”
The instrumentation for “Choro Dançado” that Schneider uses consists of flute, clarinet, tenor saxophones, a bass clarinet, trumpets, flugelhorns, trombones, guitar, vocals, piano, bass and drums (Schneider 2001). She also includes the pandeiro, a percussion instrument similar to a tambourine, but with less ringing, which was mentioned in Chapter Two. The pandeiro is used in many Brazilian genres like choro and samba (Netto 2003, 14).
Schneider uses complex syncopated melodies throughout “Choro Dançado” that are traded between various instruments. We see evidence of this at 1’12” in the song at mm. 41- 43, where one of the melodic motifs is repeated on the tenor saxophone
(Schneider 2004). Schneider uses the fifth mode of harmonic minor, called Phrygian dominant, and this mode is often used in Spanish music like flamenco and the German polka according to Jarret and Day (Jarret and Day 2008, 61). During the solos, Schneider artistically trades styles between spacious, jazzy sections and driving choro rhythms. At a glance, these are some of the choices Schneider makes to exude choro.
29 30
As one observes the score, a very prominent use of choro can be found in the guitar playing, where the rhythm is reminiscent of Richard Miller’s standard choro accompaniment patterns that were mentioned in Chapter Two. Specifically, the chorded rhythmical pattern of the guitar in “Choro Dançado” is similar to Miller’s first pattern
(Miller 2011, 17). This can also be heard at times in the piano, for example, from the beginning of the song all the way until m. 85 at 2’09”. The only difference is that Miller has notated sixteenth notes, whereas Schneider is using eighth notes in her score. Given the 130-bpm tempo Schneider is using this makes sense; sixteenth notes at this tempo in the rhythm section would make for a very busy feel, something that would not resonate choro based upon my observations mentioned in Chapter Two. This may have been a compositional choice by Schneider to make the arrangement easier for musicians to read.
Like Jelly Roll Morton, who was mentioned in the introduction, she is experimenting with the typical speed of choro.
Schneider uses fragments of choro rhythms in a cadential way, capping off melodic phrases with choro rhythms. An example of this is heard at 1’03” at m. 36. The rhythm played by the tenor saxophones, trumpets, and trombones is the lundu previously mentioned in Chapter Two, but it is given double the amount of note value, since the tempo of the song is faster than a typical choro.
31
Example 3.1. Lundu Compared to Schneider’s Rhythm in “Choro Dançado”
Lundu:
Drum Set 2 œ œ œ œ œ ã 4
Rhythm of saxophones, trumpets and trombones in “Choro Dançado” at m. 36 (1’03”):
4 Û Û Û Û Û ã 4 J J
At the end of the song, Schneider returns to the main melodic motifs in her
arrangement, but uses different harmonic voicings. She then conducts a section at a
slower tempo before ending the tune, with a harmonic cadence (i-V-i) that sounds similar
to something one would hear in a polka. This cadence is true to the genre of choro, since
it was also influenced by German polkas and waltzes, especially in a harmonic sense
(Brill 2011, 206).
The Use of Landó in “Aires De Lando”
In “Aires De Lando,” Schneider’s orchestra consists of flutes, clarinets, tenor
saxophones, trumpets (with bucket mutes at times), flugelhorns, trombones, accordion,
guitar, piano, bass and drum set, claps and cajon (Schneider 2006). This combination
represents a particularly amazing fusion that unites several different cultures. The
accordion is representative of the genre of polka (Brill 2011, 206). The cajon is a key
instrument in the landó genre and Schneider is right to have included this in her
composition (Brill 2011, 330). The use of flute and clarinets is indicative of the earliest
jazz, while the use of the tenor saxophones and a drum set is a more modern jazz sound
32
comparatively (Meeder 2007, 3-5, 35). Before the solos the song emotes a certain
curiosity, and during the solos it conveys melancholy that is characteristic to the genre.
This is especially apparent at the rubato melody at m. 56 at 2’15” (Brill 2011, 330).
The song is rhythmically adventurous, exploring many different styles and meters.
The first melodic motif plays over a measure of 5/4, 4/4, 3/8, 6/4, 4/4 and then 3/4.
Despite these progressive time signatures, Schneider maintains the landó style by using
landó cajon rhythms that are cut short in places, and she mimics the cajon rhythm in the
melody.
This was discovered by breaking down her measures. Instead of counting “one
and two and,” I metrically transposed the measures, to mimic counting a more traditional
landó 6/8 signature, and counted “one two three four.” It was observed that landó
patterns existed on the cajon, but they were cut short. Below is the traditional cajon landó
pattern, counted in two measures. Next are Schneider’s time signatures and cajon
rhythms for the first two measures of each melodic phrase used until m. 17, at 50” in the
song. Ex 3.3 shows the same selection of Schneider’s music, metrically transposed to
model a more traditional landó count. The landó pattern can be seen, although it is
noticeable that it is cut short in the measures of 4/8, and 2/8.
Example 3.2. Traditional Landó Pattern Compared to Schneider’s Time Signatures and Cajon Rhythms for the First Two Measures of the Melodic Motifs Used in the Beginning Section of “Aires de Lando” Drum Set 6 1 ‰ 1 ‰ 1 1 ‰ 1 ‰ 1 ‰ 1 ã 8 J J J J J J J
5 œ œ œ œ ‰ œ œ 4 œ œ œ œ ‰ œ ã 4 J 4
33
Example 3.3. Schneider’s Cajon Pattern in the First Two Measures of the Melodic Motifs Used in the Beginning Section, Metrically Transposed
6 œ œ œ œ 4 ‰ œ œ 6 œ œ œ œ 2 ‰ œ ã 8 J J 8 J 8 J J 8 J
At 38,” on m. 17, Schneider cuts the landó rhythm in the beginning. She does the same thing at 51” and 1’01.” This is audible on the cajon and in the rest of the orchestra, which share the rhythm. Look back at the traditional landó pattern above and imagine that the first eighth note and eighth rest were not there. This is the rhythm of the traditional landó pattern, without the first hit. It is notated below in Ex 3.4.
Example 3.4. Fragment of Landó in “Aires de Lando”
5 œ œ œ ‰ œ ‰ œ ‰ œ ã 4 J J J
Schneider uses these fragments of landó in the rhythm section during the clarinet solo, and she continues to use fragments of landó as she returns to her main melodic ideas. Schneider then expands her ideas with more passages between recurring melodic motifs, and allows the clarinet to continue soloing during these passages. The orchestra is arranged with a fuller instrumentation, providing more harmonic support with larger pads in the brass section.
The Use of Samba in “Lembrança”
Schneider uses clarinets, saxophones, flutes, trumpets, flugelhorns, trombones, accordion, piano, guitar, bass, drums and percussion in her composition “Lembrança.”
The song artistically uses samba rhythms and Schneider plays with the tempo often, slowing it down and speeding it back up. This represents the street vibe of samba and batucada, which have an organic quality that relies on the energy of the marching and
34 dancing in a parade. The music explored soft passages with fermatas and ritards, like in the bass solo around 6’ and more driving sections with busier rhythms. In the beginning of the piece, Schneider weaves the different lines of the clarinet, accordion, drums, and trumpet together, almost as if it was an improvised beginning in which musicians begin to interact with each other. Overall, the use of various Brazilian percussion instruments by Rogerio Boccato implies the feel of samba the most, and Schneider makes a note in the score that the composition is “most effective” with more “added Brazilian percussion” (Schneider 2015b).
In the composition, Boccato uses the ganza, tamborim, pandeiro, congas, agogôs and apito. We first hear the ganza come in at 30” at m. 17. During the piece, the ganza switches back and forth between double time and common time. The use of tamborim in the song is prominent and Boccato at times plays it with a brush and at times with a stick.
We can hear him playing with a brush at 4’03” at m. 139, and with a stick at 1’45” at m.
59, matching with the hits of the band. We also hear the tamborim being played with a stick at the beginning of the trombone solo, around m. 89 between 2’38” and 3’20.” In this section, one can hear the congas, pandeiro and ganza too, trading in a call-and- response type of way with the other instruments. At 10’10” at m. 292 the apito is audible, and again shortly after that at m. 296. The apito helps build energy along with the ganza.
In the following section, we hear the agogôs coming in at 11’ from mm. 308-320. During this section we hear the tamborim again being played with a brush and it continues until
12’ 24.”
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Schneider uses fragments of samba rhythms within the melody. For example, she often uses Netto’s samba rhythm notated below (Netto 2003, 55), but she gives each note double its duration. Ex. 3.5 compares Netto’s notation of said samba rhythm.
Example 3.5. Netto’s Samba Rhythm Compared to Schneider’s
Netto’s notations of a samba rhythm
2 œ œ œ œ œ œ ã 4
How Schneider notates this rhythm in her score:
4 ã 4 œ œ œ œ œ œ J J J J
We can hear this rhythm at 44” in mm. 25-27 in the flute and accordion melody, and again at 1’13” in mm. 41-43, in the soprano sax and accordion melody.
Schneider ends the composition with an improvised fade out that hearkens back to the festive street dance energy of samba. Another thing she does to imply the cheerfulness of samba is use Mixolydian, Lydian, and Ionian modes throughout the harmony of the entire piece, particularly in the beginning and ending sections. She does explore some minor modes in the bass solo and in some of the accordion melodies, but it is unclear what artistic statement Schneider could be making with this.
Chapter Four: Rhythmical Analysis of Original Works by Janelle
In this chapter, four songs of my own will be observed: “Stepping Stones,” “The
King’s Offering,” “Hidden Treasures,” and “Brothers.” An analysis will be done to show how the genres of afoxé, maracatu, vassi, and samba were used in my compositions, focusing mainly on the rhythmical aspects. However, some other observations will be made as well, such as harmonic choices that portray emotional tone and instrumentation.
These will also serve to demonstrate how I have fused modern jazz with Afro-Latin genres.
The Use of Afoxé in “Stepping Stones”
The composition “Stepping Stones” includes trumpet, tenor and baritone saxophone, electric guitar, piano, electric bass, and drum set. Similarly to Schneider, fragments of the afoxé are used on different instruments, which will be observed in detail.
The sonority of the piece largely consists of a D minor modality. Netto describes an indoor ritual that is serious in nature before the afoxé is taken to the streets in a parade, and my choice of a minor modality reflects this (Netto 2003, 91). The section at 44”-
1’09” on mm. 18-26 was written to contain an element of call-and-response, imitating jazz fusion artists like Chick Corea, fusing the style of afoxé with a modern jazz sound.
Alternatively, this call and response represents how the afoxé group interacts with the audience, with people clapping and dancing in response, when it is brought into the streets (Netto 2003, 91).
36 37
The song begins with a bass line that coincides with Netto’s caixa pattern of the afoxé, in the second measure (Netto 2003, 92). Below, in Ex. 4.1, is the bass line in mm.
1-2 of “Stepping Stones,” followed by Netto’s caixa pattern in Ex. 4.2. One can note how the second measure of Netto’s pattern contains accents on the second half of beat one, and the first half of beat of two, which is reflected in the bass line.
Example 4.1. Bass Line in “Stepping Stones” mm. 1-2 œ œ. . œ œ. . ? 4 œ œ œ ˙ œ nœ œ ˙ b 4
Example 4.2. Netto’s Caixa Pattern > > > > > > 2 ã 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Then, the bass’s rhythm becomes akin to the afoxé rhythm of the atabaques. This can be observed in Ex. 4.3 on mm. 3-4, where the rhythmic pattern of the bass resembles the atabaque pattern Netto gives in his book (Netto 2003, 92). Observe Netto’s pattern below in Ex. 4.4. However, the exceptions are that Netto’s second half of beats two and four have moved a sixteenth note earlier in “Stepping Stones,” and a space has been created after these phrases. If one imagines if the half note on beat three in mm. 3-4 of the bass’s rhythm was not there, the comparison between the two examples would be closer.
Example 4.3. Bass Line in “Stepping Stones” mm. 3-4 œ . œ œ . ? 4 œ œ . œ œ œ œ . b 4 œ ˙ œ ˙
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Example 4.4. Netto’s Atabaque Pattern
Drum Set 2 œ œ œ œ œ œ œ œ œ œ œ ã 4
The drum set groove at 21”-43” on mm. 9-16 also reflects the heavy emphasis of
the eighth notes on the second beat in the bass drum. Many of the instruments in the
afoxé contain or accent the second half of beat two, including the xequerê, agogôs, and
atabaques (Netto 2003, 92). Below, Ex. 4.5 gives the transcription of the drum set
groove, which is occasionally varied. Compare it to Ex. 4.4 and observe the similarities.
Example 4.5. “Stepping Stones” Drum Set Groove mm. 9-16 x x x x x x x x Drum Set 4 œ œ e e e ã 4 œ œ œ œ œ
In the next section at 45”-47”, in m. 18, the rhythm of the melody in the piano,
bass and tenor saxophone mimics the atabaque rhythm in the first five notes. After that,
the rhythm of these instruments coincides with the atabaque pattern, with the exception
of the second half of beat four. Observe Ex. 4.6 below and compare to the atabaque
pattern in Ex. 4.4.
Example 4.6. “Stepping Stones” Piano Melody m. 18
b 4 œ œ œ & 4 œ œ œ œ œ œ œ
After the bass, trumpet and saxophone solos, the song returns to the previous
sections that have been discussed, and this emulates the style of a jazz standard.
However, in the solo section, the improvised grooves echo the tresillo, mentioned in
chapter two. One can hear these rhythms from 3’11”- 4’06” in the electric bass and
39
drums. Ex. 4.7 shows a transcription of the drum set groove and followed by the tresillo
for comparison.
Example 4.7. “Stepping Stones” Drum Set Groove at 3’11”-4’6, Compared to the Tresillo x x x x x x x x x Drum Set 4 œ œ œ ã 4 œ ‰ œ œ œ œ
2 œ. œ ‰ œ ã 4 J
The Use of Maracatu in “The King’s Offering”
The orchestration of “The King’s Offering” consists of trumpets, flugelhorns,
flute, viola, piano, guitar, upright bass, drums and percussion. The drum set grooves are
mainly based on maracatu percussion instruments, orchestrated to the different parts of
the drum set, as shown in the following examples. The other instrumentation choices are
a combination of the traditional maracatu ensemble which includes percussion and brass,
and the modern maracatu ensemble which includes percussion, guitar, and flute, with the
addition of piano, viola, and upright bass. The composition traverses complex time
signatures, especially during 1’37”-1’55” on mm. 42-52, joining the style of the
maracatu to a modern jazz fusion approach.
When the drums enter at 19” on m. 9, one can hear the caixa pattern that Netto
provides in his book being performed on the snare drum (Netto 2003, 93). The upright
bass accompanies, with a rhythm that locks into the bass drum pattern. This was done
purposely to emphasize the sound of what would be the alfaia, which has its accents on
the second sixteenth note of beat two, three and four. Ex. 4.8, is a transcription of the
drum set, with the upright bass part at 19”-24” on mm. 9-10. In Netto’s alfaia pattern for
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the maracatu, which is shown in Ex. 4.9, the circle above the note indicates what would
be played on the drum head, and the plus sign indicates what would be played on the rim.
Example 4.8 Drum Set and Upright Bass Lines at mm. 9-10 of “The King’s Offering”
Drum Set 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 œ! œ œ ã 4 œx x œ x œ x œ œx x œ x œ x œ
Upright Bass œ œ. œ œ œ œ œ ? 4 œ œ ≈ œ. œ œ. œ. ≈ œ. œ ≈ œ 4 J J
Example 4.9. Alfaia Pattern for the Maracatu
o + o + o + o Alfaia 2 ã 4 œ œ œ. œ œ. œ œ.
During the section at 1’17”-1’36” on mm. 33-41, the tom-toms played by the right
hand on the drum set mimic the agogôs. In the left hand I continue the caixa pattern,
modifying it by changing the first drum roll to make it possible. Ex. 4.10 is a
transcription of the right-hand pattern on the tom-toms, with the bass drum and hi-hat at
m. 33. Ex. 4.11 is Netto’s maracatu agogô pattern for comparison. To imitate the ganzá,
I played a synthetic shaker.
Example 4.10. Right-hand Pattern Tom-tom Pattern with the Hi-hat Foot and Bass Drum in “The King’s Offering” at m. 33 compared to the Maracatu Agogô Pattern
œ œ œ œ œ Drum Set 4 œ œ œ œ ã 4 œx x œ x œ x œ
Example 4.11. Netto’s Maracatu Agogô Pattern
Drum Set 2 œ œ œ œ œ œ œ œ œ ã 4
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The song ends with a return to the melody from mm. 17-32 and the concluding
section at mm. 146-154. During this the trumpet continues to solo, similarly to
Schneider’s arrangement of “Aires De Lando,” in which the clarinet continues to solo
over previously-established melodies.
The Use of Vassi and Landó in “Buried Treasures”
The instrumentation of “Buried Treasures” consists of soprano, alto and tenor
saxophone, trumpet, trombone, clarinet, piano, acoustic guitar, electric bass, drums, and
percussion. The rhythms in the song are based on vassi, and landó. The song has a
melancholic and serious nature to it, which is a characteristic of vassi and landó as
mentioned in Chapter Two. The use of clarinet mirrors Schneider’s orchestrations, and
provides a new timbre in the solo section.
The song copies Schneider’s technique of using fragments of landó rhythms,
which was observed in the previous chapter. This is the case at 1’-1’05” in mm. 53 and
57, where the first two notes in the harmonic rhythm are the first two notes in the landó.
As was discussed in chapter two, the traditional landó cajón pattern is the same pattern as
the clave, or metronomic guide, that the agogô or gã play for the vassi pattern. After the
first two chords of m. 53, m. 54 places the next chord on beat four, which would align
with the vassi clave on beat ten. In mm. 57-60, this trend continues, but m. 57 cuts out
one beat, with the 5/8 time signature. In Ex. 4.12, one can see the vassi clave, and in Ex.
4.13, the harmonic rhythm on mm. 53-60.
Example 4.12. .Vassi Clave Pattern j j j j j j j Drum Set 12 œ œ œ œ œ œ œ ã 8 ‰ ‰ ‰ ‰ ‰
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Example 4.13. Harmonic Rhythm on mm. 53-60 of “Buried Treasures
6 6 B 9 F maj13 D 7sus A maj7( 11)/E B 9 Gm11(b13) A 7( 9)sus A 13 A m7 b # b b b j bœ œ 6 œ œ œ. œ. œ. #œ. 5 œ b œ. 6 œ. bœ. b˙. ˙. & 8 œœœ œ. œ. œ. ##œ. ’ ’’ 8 œœ œ. 8 œ. œ ˙. ˙. bœ . . bœ œ. œ. œ. ˙. ˙. ? 6 œ œ. œ. œ. œ. 5 œ. 6 œ. œ b˙ ˙˙. 8 J œ ’ ’’ 8 8
The main groove of the song during the melody is taken from Tito Oliveira’s
drum set groove for vassi, followed by my own pattern in the next measure (Oliveira
2014, 27). This groove emphasizes the vassi pattern for the rum in the bass drum and
floor tom of the drum set. We first hear this groove at mm. 17-18 at 19.” Although it is
improvised at times, it still remains the foundational groove of the song. The first three
notes of the bass line follow the vassi pattern of the rumpi. In Ex. 4.14, one can observe
the main drum set groove, followed by the vassi pattern of the rum. Ex. 4.15 contains the
bass line, followed by the vassi pattern of the rumpi.
Example 4.14. Drum set groove at mm.17-18 of “Buried Treasures,” Followed by the Vassi Pattern for the Rum j j j j j j j j j Drum Set x ej x x j x œx e x x j x ã 86 œ œ œ œ z œ j Rum 6 œj œ œj œj œ œ œ ã 8 ‰ ‰
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Example 4.15. “Buried Treasures” Bass Line on mm.1-4 at 1”-3,” Followed by the Vassi pattern for the Rumpi Electric Bass ? 6 œ bœ 8 j j j j œ œ œ. œ œ œ œ œ. ˙.
Rumpi 6 œ ‰ œ œj ‰ ‰ ∑ œ ‰ œ œj ‰ ‰ ∑ ã 8
One can hear the vassi clave in the solo sections as well during 3’21”-5’10.” It is
audible on the hi-hat, cowbell and bell of the ride. To fuse this style with the feel of
modern jazz, I accented the beats two and four on the snare, as if I were playing a jazz
shuffle; this can be heard at 4’18”-4’36.” At the end of the song, at 6’56”-6’-58,” the
drums perform a samba pattern, to refer back to the observation I made in Chapter Two,
about the landó and “reversed” lundu. This was to symbolize the interconnectedness of
Afro-Latin genres.
The Use of Samba in “Brothers”
The instrumentation of “Brothers” includes trumpets, trombones, alto and tenor
saxophones, piano, acoustic guitar, electric bass, drums, and percussion. The first section
of the song is undoubtedly more influenced by jazz fusion, with its full, quartal chords
and time signature of 5/8. After this, at 2’10” on m. 137, a samba pattern is introduced in
the bass guitar and bass drum, and many of melodic rhythms are derived from samba
lines. The intention was to have a secondary contrasting section, where the first melody is
reintroduced over different harmonies and rhythms, analogous to techniques such as
sonata form, which were used by classical composers.
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There is an element of call-and-response, which is a trademark of samba,
especially during 2’18”-3’26” on mm. 149-193. One can observe an example of this at
mm. 149-150, where the trombone responds to the trumpet’s melodic line. This is
pictured in Ex 4.16.
Example 4.16. Trumpet and Trombone at mm. 149-152 in “Brothers”
Trumpet in B b ## 4 . œ & 4 Ó #œ œ œ ˙. ∑ #œ œ œ œ bœ ˙ Trombone ? 4 J J J 4 ∑ Ó ‰
Another example of call-and-response is at 2’55”-3’01” in mm. 169-172, where the
rhythm section provides a melodic question and the horn section answers. The rhythm of
these melodies is derived from the samba pattern for the tamborim that Netto transcribed
in his book (Netto 2003, 42). At mm. 169-170, the piano’s rhythm matches the tamborim
pattern below with one caveat: one needs to give each note of Netto’s phrase twice its
value. This is comparable to what Schneider did in “Choro Dançado,” which was
discussed in the previous chapter. Netto’s samba pattern for tamborim is shown below in
Ex. 4.17. In Ex. 4.18, one can see the piano line in mm. 169-170 of “Brothers.” Please
note that beat four in m. 170 is hit on the drum set, which is the “and” of four in the
tamborim illustration. The tamborim’s samba pattern is complete with this combination.
Example 4.17. Samba Pattern for the Tamborim > > Tamborim œ œ œ œ œ œ œ œ œ 2 ≈ ≈ ã 4
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Example 4.18. Piano in mm. 169-170 of “Brothers” j j 4 œ œ ‰ œ ‰ œ Œ & 4 œ œ œ œ œ œ œ œ
? 4 #œ nœ #œ nœ #œ œ #œ nœ 4 œ œ œ ‰ œ œ ‰ œ œ œ Œ J J
The most prominent use of samba in “Brothers” is portrayed through the drums
and percussion. The percussion instruments included repinque, tamborim, pandeiro,
shekere, triangle, and shaker. This emulates Schneider’s portrayal of samba in
“Lembrança.” One can listen to the bass drum pattern from on mm. 137-281, which
duplicates the samba pattern for surdo, to make this connection. Observe Netto’s surdo
rhythm for samba below in Ex. 4.19 (Netto 2003, 42).
Example 4.19. Samba Pattern for the Surdo. Surdo 2 x x x x ã 4 œ œ œ œ œ œ œ œ
The percussion break at 5’17”-5’35” in mm. 268-282 is another example of how
samba was infused into the composition. The aim was to completely saturate the
listener’s ears with percussion, and make them feel as though they are in a drum circle.
This was to stress the importance of percussion in the genre of samba and to imitate
Schneider’s interpretation. The percussion instruments used in the song are the tamborim,
repinque, cuica, pandeiro, agogôs, drum set and triangle.
Chapter Five: Compositional and Recording Process
The compositions created for this project were written during my time as a student at Belmont University. Both Finale, a notation software, and Logic, a digital audio workstation, were crucial tools to conclude writing and producing my music for this project. First, mockups with a musical instrument digital interface, known as MIDI, were created, and were later replaced by human performers. When the human performers recorded their parts, a different digital audio workstation, called Pro Tools, was used.
With the exception of “Stepping Stones,” which was live tracked in 2019, the compositions utilized a process wherein instrumentalists were tracked separately. This was due to pandemic complications and was not my original intention; however, it had its benefits. Separate tracking from home studios allowed for the instrumentalists to take their time. It also allowed me to coach and work with the musicians more closely.
Unexpectedly, this imitated Schneider’s preliminary process of working individually with instrumentalists, before weeks of rehearsing and eventually live tracking (Schneider
2015a). Her artistic process requires substantial funding which was unachievable for me, so it was difficult to follow her entirely in this regard.
Although this project focused mainly on rhythms, melodies were often the primary impetuses for the compositions. Harmonies and Afro-Latin rhythms were incorporated afterwards, and acted as support for melodic ideas. The only deviation from this was the vassi groove in the beginning of “Buried Treasures,” which was written first.
46 47
It could also be argued that the bass line of “Stepping Stones,” the primary idea from which composition sprouted from, structured the song around the groove. However, the bass line was written to operate as a melodic ostinato. “Brothers” was another composition that had started with a melodic ostinato. Singing and playing piano helped channel my aural imagination as melodies were further developed.
Drums
The drum kit used in “Stepping Stones” was a Pearl Masters Series, with a
Ludwig Black Beauty snare, and the cymbals used were from Zildjian. Kenny Varga was the engineer for the session, which took place at the studio Coop De Ville located in
Nashville, TN. Below, in Table 1, one can see the equipment Varga used to engineer.
Table 1. Drum Set Microphone List.
Table 1. Drum Set Microphone List Kick In Shure Beta 52 CapiVP26 Mic Pre Kick Out Yamaha Sub Kick CapiVP26 Mic Pre Front of Kick Shure SM57 CapiVP26 Mic Pre Snare Top Shure SM57 CapiVP26 Mic Pre Snare Bottom Shure SM57 CapiVP26 Mic Pre Hi Hat AKG451 API512 Mic Pre Tom 1 ATM230 Vintech473 Mic Pre Tom 2 ATM230 Vintech473 Mic Pre Tom 3 ATM230 Vintech473 Mic Pre Overheads A AKG 414 pair A Designs Pacifica Mic Pre Overheads B AEA Stereo Ribbon R88 Capi VP26 Mic Pre Room Mics Cascade Fat Boys Capi VP26 Mic Pre
The drum parts of the rest of the songs were recorded from my home studio in
Spring Hill, TN. A Yamaha Recording Custom Drum Kit was used, along with the same
Black Beauty snare that was in “Stepping Stones.” Since my home studio drum tracking room was not designed for recording, DDrum triggers were used on the snare, bass drum, and toms. A trigger is an electronic transducer that can be attached to a drum, cymbal or
48 other instrument to enable it to be input as MIDI in a DAW. The sounds of the Yamaha drum set were matched to Steven Slate drum samples, and then eventually combined with the sound from the overhead, ride cymbal, and hi-hat microphones. AT2035 condenser microphones were used for the overhead sound and SM57 dynamic microphones were used for the ride and hi-hat. The percussion instruments were tracked using the AT2035 microphone. These microphones ran into a Focusrite Pro40 audio interface.
Minimal edits were made in the drum takes, with approximately two edits per song. Edits usually occurred in places where the drum set had rests. Stylistically, this is appropriate in the genre of jazz. Other instruments were edited in Protools in order to match the drums if timing issues became noticeable. A metronome was not used during the tracking of the drums with the exception of “Stepping Stones.” Instead, the programmed MIDI of the composition acted as the metronome for the drum set. The remaining instrumentalists were asked not to use metronome click tracks while they were recording in an effort to stress the drum set the primary time keeper. This also was done to release any robotic-ness, which does not lend itself to Afro-Latin rhythms, where the clave is most often used for tempo references.
Bass
Bass was recorded after the drums and percussion, with the exception of the live- tracked session for “Stepping Stones.” Charts and recordings of the drums and MIDI were sent to the bassists. The bassists were encouraged to take liberties, to create human uniqueness in the parts.
Electric bass was used in the compositions “Stepping Stones,” “Buried
Treasures,” and “Brothers.” For “Buried Treasures” and “Brothers,” Theo Caranavaros
49 used a 6-string Stambaugh custom, that went direct from the amp head, a Markbass Little
Mark III, to the Focusrite Pro40 mic pre via an XLR input cable. For “Stepping Stones,”
Stuart Caron played an Ibanex SR506, that also went direct, into an API512 microphone pre-amp from a Genzler MG800 amp head. “The King’s Offering” was recorded by
Caron on a Shen SB200 upright bass and used an Ear Trumpet Labs Nadine microphone which ran into the audio interface.
Guitar
Other than the live-tracked session for “Stepping Stones,” guitar was tracked after the bass. Similar to the bass, charts and recordings were presented to Rheal Janelle, the guitarist. At times, specific lines or voicings were given to the guitarist in the charts, but he was encouraged to take liberties and was responsible for voicing many of the chords on his own. Electric and acoustic guitars were used.
For “Stepping Stones,” a Gibson Les Paul electric guitar ran direct from the amp simulator Axe Effects into an API512 microphone pre. The same guitar and amp simulator was used on “Brothers,” but it ran into the Focusrite Pro40 audio interface.
“Buried Treasures” was recorded on a Takamine acoustic guitar and were microphoned with an AT2035 condenser into the audio interface. A Cordoba GK Studio Classical acoustic guitar was used on “The King’s Offering” and was microphoned with an
AT2035 condenser into the audio interface.
Keys
The next instrument recorded was the keys. Keyboardist Ashton Kimbrough, was given charts with chords and melodic lines. He recorded keys on all the songs, except
“Brothers.” For the chords, I notated specific voicings, which were led as smoothly as
50 possible. However, Kimbrough was also encouraged to take liberties. For example, many of the chord voicings in the compositions were written with whole note rhythms, wherein
I asked him to improvise rhythmically. My voicings were moved around in the space in a masterful way by Kimbrough, along with tasteful improvised lines. Keys required very minimal edits and were often done in one take.
Kimbrough chose an electric piano sound on a Nord Stage 3 for “Stepping
Stones” and ran directly into a API512 microphone pre. For the other songs, Kimbrough recorded with a Yamaha P125B keyboard into an Apollo Quad FireWire audio interface.
He used Keyscape Software, a virtual piano plug-in, for an acoustic piano sound.
Chris Norton, former keyboardist of Zappa Plays Zappa and a Cirque De Soleil
Music Director, recorded on his Yamaha GC1 Baby Grand Piano for “Brothers.” He used a pair of C-LOL 67 ADK microphones and ADK S7 capacitor microphone, and a
Universal Audio Apollo 8p interface.
Woodwinds
Flute, clarinet, soprano saxophone, tenor saxophone, alto saxophone, and baritone saxophones were the woodwind instruments used in this project. The musicians were again presented with charts and recordings, and recorded at my home studio, with the exception of the live-tracked session, where I could coach them and experiment. Rheal
Janelle and I recorded the woodwinds in a small bathroom to imitate an isolation booth at our home studio.
For “Stepping Stones,” Max Dvorin played tenor and baritone saxophone and was microphoned with an AT4033 connected into an audio interface. On “Buried Treasures,”
Dvorin played clarinet and alto saxophone, and these instruments were microphoned with
51 a Warm Audio 47 Junior Condenser Microphone which ran into the audio interface. The same microphone and microphone pre were used to record Dvorin’s flute in “The King’s
Offering,” and Dvorin’s alto and tenor saxophone in “Brothers.” Simon Yeh recorded soprano and tenor saxophone on “Buried Treasures” using a AT2035 condenser microphone that ran into the audio interface.
Viola
“The King’s Offering” was the only song to feature the viola, which was performed by Joshua Shepard, a talented classical violist. A chart that indicated harmonic voicings and rhythms was given to him. Since Shepard recorded from his home, I was not able to coach him nor experiment on improvisation with him. I concluded that strings are best utilized when they are able to be conducted and coached. I had intended to use the viola for “Brothers,” but I had changed my mind after the recording of “The King’s
Offering,” having deemed it too ambitious. Instead, the viola part was modified and given to trombone. Shepard recorded his parts with a Warm Audio 47 Junior Condenser
Microphone into his Focusrite Scarlet audio interface.
Brass
The brass instruments used in this project were trumpets and trombones. The musicians were given charts and were asked to improvise or solo during the measures that contained slashes. The brass instruments were recorded remotely from the musician’s homes, other than “Stepping Stones,” so I did not get to work with them as closely.
Despite this, I was very pleased with the performances.
Emmanuel Echem played trumpet on “Stepping Stones” and was amplified with a
PL20 microphone which ran into an API512 mic pre. Matthew White played trumpet on
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“The King’s Offering,” “Buried Treasures,” and “Brothers.” He used a handmade
Barkley Ribbon Microphone that he paired with a Neve preamp emulation. Roy Agee was the trombonist on “Buried Treasures” and “Brothers” and he recorded with a
Cascade Fathead ribbon microphone into his Focusrite Saffire audio interface.
Mixing and Finalization
Kenny Varga was the mix engineer for all of the songs. He mixed from his high- quality home studio in Nashville, TN, on a SPL Mixdream, a summing console. The
DAW he used for mixing was ProTools. First, he panned the instruments into their positions, placing the listener behind the drum kit. He used Vintage Lexicon PSM80 reverbs for the horns, and Capitol Records chamber and plate reverbs for the other instruments. He used API55A EQs with hi-pass filters and SSLG1176 compressors.
Varga’s mixing process is done in private, but I did give him some musical references for inspiration. He aimed for a hi-fi, natural, but polished live performance sound. The mastering was done by Alex McCollough, who complimented Varga’s mixes and amplified each instrument’s sound more clearly.
Conclusion
Sacred African rhythms and dances came to Latin America from enslaved
Africans. Over time, these rhythms and dances blended with indigenous and European traditions under a veil of Catholicism, and they profoundly influenced Latin American culture, as was observed the Introduction and Chapter Two. This eventually led to the term Afro-Latin (Andrews 2016, 5). In the nineteenth century, Afro-Latin rhythms came to the United States and made their mark on jazz (Raeburn 2012, 32-35). Music in the
United States of America was fundamentally impacted by jazz, thus Afro-Latin rhythms have shaped many genres here as well. Afro-Latin rhythms have continued their legacy in jazz with masterful composers like Maria Schneider, who have given credit to these Afro-
Latin genres as a source of inspiration.
This project educated its readers about the history of Afro-Latin rhythms, and provided transcriptions of these rhythmical patterns for assimilation into musical works.
It also taught the reader about the history of jazz in the United States, specifically in New
Orleans, and drew a parallel to culture in Latin America. Jazz composer and educator
Ron Miller stated that every aspiring jazz composer should “study and know world history and world music,” as well as know “the evolution of jazz styles” in his widely acclaimed book, Modal Jazz Composition & Harmony (Miller 1996, 7). Therefore, the information in this thesis was useful for composers in the realm of jazz, and the suggested
53 54 listening at the end of each genre in Chapter Two should be used to develop the sound of
Latin American music in the ear.
Ron Miller also suggested that aspiring jazz composers “study and know the works of influential jazz composers” (Miller 1996, 7). Through my observations of
Schneider’s works, I gained into compositional techniques and noted how rhythms were manipulated in her compositions. Schneider’s use of harmonic modes, textures, and instrumentations to create movement in her music were also observed. Lastly, I learned of her mentors, masters of jazz in their own respect, who worked with many of the legendary jazz artists. The completion of this work was instrumental in expanding my knowledge, ears and creative process with new avenues to explore.
During the time of this thesis, my experience as a composer grew. Part-writing and arranging skills were sharpened through sheer exercise. The task was to create original music that paid tribute to the genres I researched. At times I pondered what isn’t working and why, and learned that abandoning ideas that aren’t working is better than to keep pushing for sake of implementation. While working on this thesis, my attention was shifted to focus on how small details work together to form a larger picture. Schneider’s sentiments to Enstice about the importance of “sweating the details” echo my own feelings (Enstice and Stockhouse 2004, 278). Details are critical when shaping the overall sound of a composition.
Additionally, my recording process was refined. Recording from a home studio allowed me more time to craft and perfect parts, without the pressure that comes in a professional studio. Ideally, my preferred route would be to live track with sections of my group after a few rehearsals. It has occurred to me that it might be best to work with horn
55 sections separately going forward, so that I can coach them instead of focusing more on my own playing during the recording process. I would highly recommend this to any aspiring composer who is first and foremost a player, since separating these skills in simultaneous setting is difficult.
Ultimately, completing this thesis has brought me further in my path of composing jazz music. Learning music history has continued to frame my perspective, giving me more profound things to say as a composer. I can more adequately pay tribute to the legacy of Afro-Latin rhythms in modern jazz with this knowledge. This experience has not only put my technical skills into practice, but it has also given me wisdom with which to create better art with. Lastly, this thesis serves to enrich the work of other musicians, theorists, and historians with my discoveries about Afro-Latin genres.
Appendix: Chapter Four Scores
1. Stepping Stones
2. The King’s Offering
3. Buried Treasures
4. “Brothers”
56 57
Stepping Stones Sofia Janelle
A q = 87 Tenor Sax # 4 & 4 ∑ ∑ ∑
Baritone Sax # & # 4 ∑ ∑ ∑
Trumpet in B # b & 4 ∑ ∑ ∑
Electric Guitar 4 & b 4 ∑ ∑ ∑
4 . . r & b 4 ∑ Ó œ. œ œ Ó ‰ œ œ Piano œ œ œ. œ œ œ œ ? 4 ∑ Ó œ. œ œ Ó ‰. œ œ b 4 R œ œ. œ. ˙ œ œ. œ. ˙ œ . Electric Bass ? 4 œ œ œ œ œ œ œ b 4 œ. ˙
Drum Set ã 4 ∑ ∑ ∑
58
4 T. Sx. # . œ œ œ. œ œ & ∑ Ó ‰ R Ó
B. Sx. # œ œ œ. œ œ & # ∑ Ó ‰. R Ó
4 B Tpt. œ. b # . œ œ œ œ & ∑ Ó ‰ R Ó
4 D m9 D m9 E.Gtr. & b ∑ | |
4 r b Ó ‰. Ó ‰. œ œ Ó œ. & œbœ œ œ œ œ. œ œ Pno. œ œ œ œ œ œ. œ œ ? b ∑ Ó ‰. R Ó œ œ
4 œ . œ œ. œ. ˙ œ œ. œ. ˙ E.B. ? œ œ œ œ œ œ œ œ b œ. ˙
4 light cymbals D. S. ã ∑ ’ ’ ’ ’ ’ ’ ’ ’
59
B 7 T. Sx. # r ˙ & Ó ‰. œ œ Ó ‰. œbœ œ œ. œ œ F B. Sx. ## Ó ‰. œ œ Ó ‰. œ nœ œ w & R 7 F B Tpt. b # . œ œ . ˙ œ. & Ó ‰ R Ó ‰ œbœ œ œ œ F 7 D m9 D m9 D m9 E.Gtr. & b | | ’ ’ ’ ’
7 r b Ó ‰. r Ó ‰. Ó ‰. œ œ & œ œ œbœ œ œ œ Pno. œ œ œ œ œ œ œ ? Ó ‰. œ œ ∑ Ó ‰. b R R 7 œ . œ . œ œ œ. œ. ˙ E.B. ? œ œ œ œ œ œ œ œ œ b œ. ˙ œ. œ. J
afoxé groove 7 fill D. S. x x œ x x x x x œ x œ e œ ã ’ ’ ’ ’ ’ ’ ’ ’ œ œ œ œ
60
10 T. Sx. # ˙ & ˙. Œ œ œ œ F B. Sx. # œ & # ˙. Œ ˙ œ œ
10 F B Tpt. # ˙ b & ˙. Œ œ œ œ F 10 D m9
E.Gtr. & b ’ ’ ’ ’ ’ ’ ’ ’
10 b Ó œ. Ó ‰. r & œ. œ œ œ œ Pno. œ œ œ. œ œ œ œ ? Ó œ. œ œ Ó ‰. œ œ b R 10 œ œ. E.B. œ œ œ. ˙ œ œ. œ ? b œ œ. ˙
10 D. S. x x œ x x x x x œ x x ã œ œ œ œ œ ’ ’ ’ ’
61
12 T. Sx. # œ ˙ œ œ & ˙ Œ œ œ.
B. Sx. # & # ˙ Ó w
12 B Tpt. # ˙ b & ˙ Œ œ œ œ. œ œ
12 D m9 E.Gtr. & b ’ ’ ’ ’ ’ ’ ’ ’
12 r . . œ œ & b Ó ‰ œbœ œ Ó ‰ œ œ Pno. œ œ œ ? œ œ b ∑ Ó ‰. R
12 œ œ. . E.B. œ œ œ œ. œ œ œ œ ˙ ? b œ œ. œ. J
12
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
62
14 T. Sx. # ˙. ˙ œ & Œ œ œ F B. Sx. # & # ˙. Œ ˙ œ œ
14 F B Tpt. # ˙ b & ˙. Œ œ œ œ F 14 D m9
E.Gtr. & b ’ ’ ’ ’ ’ ’ ’ ’
14 b Ó œ. Ó ‰. r & œ. œ œ œ œ Pno. œ œ œ. œ œ œ œ ? Ó œ. œ œ Ó ‰ ≈ œ œ b R 14 œ œ. œ. ˙ œ . E.B. ? œ œ œ œ œ b œ. ˙
14
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
63
16 T. Sx. # w 2 4 & 4 Ó 4
B. Sx. # w & # 42 ∑ 4
16
B Tpt. b # 2 4 & w 4 ∑ 4
16 E.Gtr. 2 4 & b ’ ’ ’ ’ 4 ∑ 4
16
& b ∑ 42 ∑ 4 Pno.
? b ∑ 42 ∑ 4
16 œ . E.B. ? œ œ œ œ 2 4 b œ. ˙ 4 œ 4
16 x x x x x x x x x 3 3 D. S. œ œ 2 œ œ œ œ œ 4 ã œ œ œ œ œ 4 œ œ œ œ œ œ œ 4 3 3
64
20 . . T. Sx. . . bœ œ . # #œ #œ. bœ œ. œ bœ & ‰ œ œ Œ ‰ J ≈ R ‰ ‰ J ≈ ≈ ‰
B. Sx. # #œ ‹œ. & # Ó ‰ J ≈ R ‰ ∑
20 B Tpt. ^. b # #œ #œ & Ó ‰ J ≈ R ‰ ∑
20 . . E.Gtr. . bœ. . bœ œ . b ‰ Œ ‰ #œ ≈#œ ‰ ‰ J ≈ œ. ≈ œ ‰ bœ & œ œ J R 20 . . . j r bœ . œ. bœ œ bœ. & b ‰ œ Œ ‰ #œ ≈#œ ‰ ‰ J ≈ œ ≈ ‰ Pno. œ .
? b ∑ ∑
20 œ œ E.B. #œ #>œ . bœ. œ. ? ‰ Œ ‰ ≈ R ‰ ‰ bœ ≈ ≈ œ ‰ bœ. b J J œ. .
20
D. S. ã ’ ’ ‰ Û ≈ Û ‰ ’ ’ ’ ’ J R
65
22 T. Sx. # nœ . . œ ≈ œ. ‰ j bœ œ. œ. œ œ ‰ œ ≈ bœ ≈ ≈ œ ≈ œ ‰ œ & nœ. œ J . œ. œ
B. Sx. # & # Ó Œ ‰ ‹œ œ ∑
22 B Tpt. # . b Ó Œ ‰ ‰ œ ≈ bœ ≈ ≈ œ œ ‰ œ & œ œ J . œ. œ
22 E.Gtr. bœ . nœ œ . & b œ ≈ œ. ‰ j bœ œ œ. ‰ œ ≈ bœ ≈ ≈ œ ≈ œ ‰ œ bœ. œ . J . œ. œ 22 b bœ œ. ≈ . ‰ j œ nœ œ ‰ œ. ≈ ≈ ≈ œ œ ‰ & œ bœ œ bœ . œ J bœ. œ ≈ œ œ Pno. . . . ? b ∑ ∑
22 œ. . œ E.B. ? . #œ œ bœ . . ≈ œ œ œ b bœ œ ≈ ‰ œ œ ‰ J ≈ ≈ œ ≈ R R ‰ . œ. J œ bœ . œ.
22
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
66
3 24 T. Sx. œ œ # J œ œbœ œ œ. œ œ & ‰ œ œ Œ ‰ ≈ R ‰ œ œ J b˙ œ
B. Sx. ## Ó ‰ œ ≈ œ ‰ Ó j n˙ œ & J R nœ. œ œ 24 b˙ B Tpt. # nœ œ œ b ‰ Œ ‰ #œ ≈ œ ‰ Ó œ. J & œ œ J R
24 3 E.Gtr. j b ‰ Œ ‰ œ ≈ œ ‰ œ œbœ œ bœ œ b˙ & œ œ J R œ œ œ. 24 3 œ b ‰ Œ ‰ J ≈ œ ‰ œ œbœ œ j b˙. & œ R œ œ bœ. œ œ Pno. œ 3 œ bœ ? b Ó ‰ J ≈ ‰ œ œ j R bœ œ œ bœ œ. œ œ ˙. 24 œ œ œ œ œ œbœ œ œ. E.B. ? J R œ œ bœ œ ˙. b ‰ Œ ‰ ≈ ‰ 3 J
24 3 3 x x x x x x. x x x D. S. œ œ œ œ œ œ œ œ ã ’ ’ ‰ Û ≈ Û ‰ œ 3 œ. œ Œ œ œ œ œ J R J
67
D
T. Sx. # j & w Ó Œ. œ
B. Sx. # w j & # Ó Œ. œ
27 B Tpt. # w b Ó Œ. œ & J
27
E.Gtr. & b ’ ’ ’ ’ ’ ’ ’ ’
27 r b Ó ‰. œ œ Ó œ. & œ œ œ. œ œ Pno. œ œ . ? œ œ œ. œ œ b Ó ‰. R Ó
27 œ œ œ œ E.B. œ œ œ. ˙ œ œ œ. ˙ ? b
27 x D. S. x œ x x x x x œ x œ e œ x x œ x x x x x œ x x ã œ œ œ œ œ œ œ œ œ
68
29 T. Sx. # & w ∑ 43
B. Sx. # 3 & # w ∑ 4
29 B Tpt. # b & w ∑ 43
29
E.Gtr. & b ’ ’ ’ ’ ’ ’ ’ ’ 43
29 . r 3 & b Ó ‰ œ œ Ó ‰ ≈ œbœ œ 4 Pno. œ œ œ
? Ó ‰. œ œ ∑ 3 b R 4 29 œ œ œ E.B. ? œ œ œ œ œ œ œ 3 b œ. ˙ œ. œ. J 4
29 x D. S. x x œ x x x x x œ x œ e œ x x œ x x x x x œ x x ã œ œ œ œ œ œ œ œ œ 43
69
E
31 Em9 T. Sx. # & 43 ∑ 4 . ’’’’ ’’’’ ’’’’ ’’’’
B m9 B. Sx. # 3 4 & # 4 ∑ 4 . ’’’’ ’’’’ ’’’’ ’’’’
31 Em9 B Tpt. # b & 43 ∑ 4 . ’’’’ ’’’’ ’’’’ ’’’’
31 D m9 E.Gtr. 3 4 & b 4 ∑ 4 . ’’’’ ’’’’ ’’’’ ’’’’
31 D m9 3 4 & b 4 ∑ 4 . ’’’’ ’’’’ ’’’’ ’’’’ Pno. ? 3 4 b 4 ∑ 4 . ’’’’ ’’’’ ’’’’ ’’’’
31 D m9 E.B. ? b 43 ∑ 4 . ’’’’ ’’’’ ’’’’ ’’’’
31 fill
D. S. ã 43 ’ ’ ’ 4 . ’’’’ ’’’’ ’’’’ ’’’’
70
36 1.B m9 6 2.B m9 G m9 D m9 b A 9 b # T. Sx. # & ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’. ’’’’ ’’ ’’. 6 F m9 D m9 A m9 F m9 E 9 # B. Sx. # & # ’’’’ ’’’’ ’’’’ ’’’’ | | . | Û. Û | . 6 J 36 1.B m9 B m9 G m9 D m9 b A 9 b # B Tpt. # b & ’’’’ ’’’’ ’’’’ ’’’’ | | . | Û. Û | . J 6 36 1.A m9 G 9 A m9 F m9 C m9 b b # E.Gtr. & b ’’’’ ’’’’ ’’’’ ’’’’ | | . | Û. Û | . 6 J 36 1.A m9 G 9 A m9 F m9 C m9 b b # & b ’’’’ ’’’’ ’’’’ ’’’’ | | . | Û. Û | . Pno. J
? b ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’. ’’’’ ’’ ’’. 6 36 1.A m9 G 9 A m9 F m9 C m9 b b # E.B. ? b ’’’’ ’’’’ ’’’’ ’’’’ | | . | Û. Û | . J
36 1.
D. S. ã ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’. ’’’’ ’’ ’’.
71
F
T. Sx. # œ œ œ œ œ œ ‰ œ ≈bœ ≈ ≈ œ ≈ œ ‰ œ & œ œ œ œ J œ œ
B. Sx. # & # ∑ ∑
44 B Tpt. # b & ∑ ∑
44 E.Gtr. b ∑ ‰ œ ≈ ≈ ≈ œ œ ‰ & J bœ œ ≈ œ œ 44 œ œ œ œ & b œ œ œ œ œ œ œ ‰ J ≈bœ ≈ œ ≈ ≈ œ ‰ œ œ Pno. œ
? b ∑ ∑
44 œ œ œ œ E.B. ? œ œ œ œ œ œ bœ ≈ œ œ œ b œ œ ‰ J ≈ ≈ œ ≈ ‰
44 afoxé groove fill D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
72
46 bœ œ T. Sx. # #œ #œ. bœ œ œ bœ & ‰ œ œ Œ ‰ J ≈ R ‰ ‰ J ≈ ≈ ‰
B. Sx. # #œ ‹œ. & # Ó ‰ J ≈ R ‰ ∑
46 B Tpt. . b # #œ #œ & Ó ‰ J ≈ R ‰ ∑
46 E.Gtr. bœ bœ œ b ‰ Œ ‰ #œ ≈#œ ‰ ‰ J ≈ œ ≈ œ ‰ bœ & œ œ J R 46 j r bœ œ bœ œ bœ & b ‰ œ Œ ‰ #œ ≈#œ ‰ ‰ J ≈ œ ≈ ‰ Pno. œ
? b ∑ ∑
46 œ œ E.B. ? #œ #œ bœ bœ œ b ‰ Œ ‰ J ≈ R ‰ ‰ J ≈ œ ≈ œ ‰ bœ
46
D. S. ã ’ ’ ‰ Û ≈ Û ‰ ’ ’ ’ ’ J R
73
48 T. Sx. # nœ œ j œ œ & ≈ œ ‰ nœ œ bœ œ œ œ œ ‰ J ≈ bœ ≈ œ ≈ ≈ œ ‰ œ œ
B. Sx. # œ & # Ó Œ ‰ ‹œ ∑
48
B Tpt. b # œ œ & Ó Œ ‰ œ œ ‰ J ≈ bœ œ ≈ œ ‰ œ œ
48 E.Gtr. b bœ œ ≈ ‰ j œ nœ œ ‰ œ ≈ ≈ ≈ œ œ ‰ & œ bœ œ bœ œ J bœ œ ≈ œ œ 48 b bœ œ ≈ ‰ j œ nœ œ ‰ œ ≈ ≈ ≈ œ œ ‰ & œ bœ œ bœ œ J bœ œ ≈ œ œ Pno.
? b ∑ ∑
48 E.B. œ bœ œ ≈ œ œ ? bœ œ ≈ ‰ œ #œ œ ‰ J ≈ ≈ œ ≈ ‰ œ b œ J œ bœ œ œ
48
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
74
3 50 T. Sx. œ œ b˙ œ # ‰ Œ ‰ J ≈ ‰ œ œbœ œ œ. œ œ & œ œ R œ œ J
B. Sx. # n˙ # Ó ‰ œ ≈ œ ‰ Ó j œ & J R nœ. œ œ 50 b˙ B Tpt. # nœ œ œ b ‰ Œ ‰ #œ ≈ œ ‰ Ó œ. J & œ œ J R
50 3 E.Gtr. j b ‰ Œ ‰ œ ≈ œ ‰ œ œbœ œ bœ œ b˙ & œ œ J R œ œ œ. 50 3 œ œ œ œbœ œ j b˙. & b ‰ œ Œ ‰ J ≈ R ‰ œ œ bœ. œ œ Pno. œ 3 œ bœ ? Ó ‰ J ≈ ‰ j b R bœ œ œ œ œ bœ œ. œ œ ˙. 50 œ œ œ œ œ œbœ œ œ. E.B. ? J R œ œ bœ œ ˙. b ‰ Œ ‰ ≈ ‰ 3 J
3 3 50 x x D. S. œ œ œ œ ã ’ ’ ’ ’ ’ ’ ’ ’ Œ œ œ œ œ œ œ œ
75
G
T. Sx. # w j & Ó Œ. œ w
B. Sx. # w j & # Ó Œ. œ w
53 B Tpt. # w b Ó Œ. œ w & J
53 D m9 D m9
E.Gtr. & b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
53 r b Ó ‰. œ œ Ó œ. Ó ‰. r & œ œ œ. œ œ œ œ Pno. œ œ œ œ œ. œ œ ? Ó ‰. œ œ Ó œ. œ œ Ó ‰. œ œ b R R 53 œ œ œ. ˙ œ œ œ. ˙ œ E.B. ? œ œ œ œ œ œ œ b œ. ˙
53
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
76
H 56 T. Sx. # 2 4 œ œ œ & ∑ 4 Œ Ó 4 œœœ œœ œœ
B. Sx. # 2 4 & # ∑ 4 ∑ 4 ∑
56 B Tpt. # b & ∑ 42 ∑ 4 ∑
56 E.Gtr. 2 4 & b ’ ’ ’ ’ 4 ∑ 4 ∑
56 b Ó ‰. 2 ∑ 4 œ œ œ & œ bœœ 4 4 œœœ œœ œ Pno. œ œ
? b ∑ 42 ∑ 4 ∑
56 œ œ œ œ E.B. ? œœ œ œ 2 4 œœ œœœ œ b œ. œ. J 4 œ 4 œ œ
56 D. S. 2 4 ã ’ ’ ’ ’ 4 ’ ’ 4 ’ ’ ’ ’
77
59 T. Sx. . # ‰ œ ≈ bœ ≈ ≈ œ ≈ œ ‰ œ ‰ Œ ‰ #œ ≈#œ ‰ & J . . œ. œ œ œ J R
B. Sx. # & # ∑ ∑
59
B Tpt. b # #œ #œ & ∑ Ó ‰ J ≈ R ‰
59 E.Gtr. . #œ & b ‰ œ ≈ bœ ≈ ≈ œ ≈ œ ‰ œ ‰ Œ ‰ #œ ≈ ≈ ≈ J . œ. œ œ œ J R 59 b ‰ œ. ≈ ≈ ≈ œ œ ‰ ‰ Œ ‰ j ≈ r ‰ & J bœ. œ ≈ œ œ œ #œ #œ Pno. . œ ? b ∑ ∑
59 . œ œ E.B. œ bœ. . œ ≈ œ œ #œ #œ ? b ‰ J ≈ ≈ œ ≈ ‰ œ ‰ Œ ‰ J ≈ R ≈ ≈
59
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
78
61 . bœ. . T. Sx. # bœ œ. œ bœ. nœ . ‰ J ≈ œ. ≈ ‰ œ ≈ œ. ‰ j bœ œ. œ. œ œ & nœ. œ
B. Sx. # & # ∑ ∑
61 B Tpt. # b & ∑ Ó Œ ‰ œ œ
61 . . E.Gtr. bœ. . . bœ œ . bœ . nœ œ & b ‰ J ≈ œ ≈ œ ‰ bœ œ ≈ œ. ‰ j bœ œ œ. bœ. œ . 61 . . bœ. œ. . bœ . œ bœ bœ œ. . j œ & b ‰ J ≈ œ ≈ ‰ ≈ œ ‰ bœ œ bœ œ. œ nœ Pno. . . ? b ∑ ∑
61 bœ . E.B. . . . œ . œ. . ? ‰ bœ ≈ ≈ œ ‰ bœ œ bœ. ≈ œ ‰ bœ. œ bœ œ #œ œ b J œ. . J
61
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
79
63 T. Sx. # . œ œ ‰ œ ≈ bœ ≈ ≈ œ ≈ œ ‰ œ ‰ Œ ‰ J ≈ R ‰ & J . œ. œ œ œ
B. Sx. # & # ∑ ∑
63 B Tpt. # . b ‰ œ ≈ bœ ≈ ≈ œ œ ‰ œ ‰ Œ ‰ #œ ≈ œ ‰ & J . œ. œ œ œ J R
63 E.Gtr. . & b ‰ œ ≈ bœ ≈ ≈ œ ≈ œ ‰ œ ‰ Œ ‰ œ ≈ œ ‰ J . œ. œ œ œ J R 63 œ. œ œ œ & b ‰ J ≈ bœ. ≈ œ ≈ ≈ œ ‰ œ œ ‰ œ Œ ‰ J ≈ R ‰ Pno. . œ ? œ bœ b ∑ Ó ‰ J ≈ R ‰
63 œ. . œ œ œ œ œ E.B. ? bœ . ≈ œ œ œ J b ‰ J ≈ ≈ œ ≈ ‰ ‰ Œ ‰ ≈ R ‰
63 œ x x D. S. ‰ œ œ œ œ œ œ œ œ ‰ ã ’ ’ ’ ’ 3
80
63 œ œ. . œ œ T. Sx. ? bœ . . ≈ œ œ œ œ J b ‰ J ≈ ≈ œ ≈ ‰ ‰ œ Œ ‰ ≈ R ‰
B. Sx. ? b ∑ ∑
63 B Tpt. . r b & b ‰ œ ≈ bœ ≈ œ œ ‰ œ ‰ Œ ‰ nœ ≈ œ ‰ J . œ. œ œ œ J 63 E.Gtr. . œ & b ‰ œ ≈ bœ ≈ ≈ œ ≈ œ ‰ œ ‰ Œ ‰ ≈ œ ‰ J . . œ. œ œ œ J R 63 œ œ. œ œ & b ‰ J ≈ bœ. ≈ œ ≈ ≈ œ ‰ œ œ ‰ œ Œ ‰ J ≈ R ‰ Pno. . . œ ? œ bœ b ∑ Ó ‰ J ≈ R ‰
63 . œ œ œ œ E.B. œ bœ. . . œ ≈ œ œ ? b ‰ J ≈ ≈ œ ≈ ‰ œ ‰ Œ ‰ J ≈ R ‰ 63 x x D. S. œ œ œ œ œ œ ‰ œ œ œ ‰ ã ’ ’ ’ ’ 3
81
THE KING'S OFFERING
( = 100) Sofia Janelle q
A piano solo intro w/strings
Flutes & 4 ∑ ∑
Trumpet in B b # & # 4 ∑ ∑
E maj7( 11) E13(9)sus b # Viola 4 B 4legato ’ ’ ’ ’ ’ ’ ’ ’ P
Guitar & 4 ∑ ∑
E maj7( 11) E13(9)sus b # Piano & 4 ’ ’ ’ ’ ’ ’ ’ ’
? 4 ’ ’ ’ ’ ’ ’ ’ ’
E13(9)sus E maj7( 11) b # Bass ? 4 ∑ ∑
Drum Set ã 4 ∑ ∑
82
THE KING'S OFFERING
3 Flt & ∑ ∑ ∑
3 B Tpt. # b & # ∑ ∑ ∑
3 E13(9)sus G 9sus F 13sus E13(9)sus Vla. B ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
3 Gtr & ∑ ∑ ∑
E13(9)sus G 9sus F 13sus E13(9)sus Pno & ’ ’ ’ ’ |. Û Û. ’ ’ ’ ’
? ’ ’ ’ ’ |. Û Û. ’ ’ ’ ’
3 Bass ? ∑ ∑ ∑
3 Drms ã ∑ ∑ ∑
83
THE KING'S OFFERING
6 Flt & ∑ ∑ ∑
6 B Tpt. # b & # ∑ ∑ ∑
6 F maj13( 11) A 9 6 F 7sus # b # Vla. œ w B ’ ’ ’ ’ œ ’ ’ ’ w p
6 Gtr & ∑ ∑ ∑
6 F 7sus F maj13( 11) A 9 # # b Pno & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
6 Bass ? ∑ ∑ ∑
6 fill Drms ã ∑ ∑ ’ ’ ’ ’
84
THE KING'S OFFERING
B
Flt & ∑ ∑
9 B Tpt. # b & # ∑ ∑
9 E13(9)sus E maj7( 11) b # Vla. w w B w dolce P
9 E maj7( 11) E13(9)sus b # Gtr & bœ 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
( ) E maj7( 11) E13 9 sus b # Pno w & ##w w w bw ? w b w
9 E maj7( 11) E13(9)sus b # Bass ? ≈ j . œ ≈ j œ œ ≈ œ œ œ œ œ . œ œ œ œ. œ. œ . œ œ
9 maracatu snare groove Drms ã ’ ’ ’ ’ ’ ’ ’ ’
85
THE KING'S OFFERING
11 Flt & ∑ ∑
11 B Tpt. # b & # ∑ ∑
11 E13(9)sus G 9sus F 13sus Vla. œ œ œ œ B w œ œ œ. œ œ œ.
F 13sus 11 E13(9)sus G 9sus Gtr 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 bœ œ
F 13sus E13(9)sus G 9sus Pno #w ˙. œ œ. & # w ˙. œbbœ. w ˙. œ ? w ˙. œ bœ.
11 E13(9)sus G 9sus œ. œ Bass œ . ? ’ ’ ’ ’ ’ ’ œ
11 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
86
THE KING'S OFFERING
13 Flt & ∑ ∑
13 B Tpt. # b & # ∑ ∑
F 7sus 13 E13(9)sus # Vla. ˙. œ. #œ B w #˙. œ. n#œ
13 ( ) E13 9 sus F#7sus Gtr & ‰ Ó Œ ≈ œ. #œ œ ˙
( ) E13 9 sus F#7sus Pno w & ##w #w w #w ? w # w
13 F#7sus œ Bass œ œ #œ. ? œ. œ. œ . œ. #œ. œ J œ #œ œ ≈ J #œ ≈ ≈ ≈
13 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
87
THE KING'S OFFERING
15 Flt & ∑ ∑
15 B Tpt. # b & # ∑ ∑
6 F maj13( 11) A 9 15 # b Vla. w bw B #w bw P 6 F maj13( 11) A 9 15 # b Gtr bw & œ œ œ œ œ. ˙ b w œ œ œ œ œ. ˙ b w
6 ( ) A 9 F maj13 #11 b Pno bw & w b w w w ? w bw
15 6 F maj13( 11) A 9 # b Bass ? bœ. œ œ. ’ ’ ’ ’ bœ. œ bœ œ œ œ
15 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
88
THE KING'S OFFERING
C flute melody . Flt œ œ œ œ . œ œ œ œ œ œ œ œ. & ‰. R œ #œ œ œ
17 B Tpt. # b & # ∑ ∑
17 Vla. w w B w w
17 E13(9)sus F 13sus Gtr & Û. Û Û Û Û Û Û Û Û Û. Û Û Û Û Û. |
E13(9)sus F 13sus Pno w & ##w w w bw ? w b w
17 E13(9)sus F 13sus Bass ? ≈ j . œ ≈ j œ œ ≈ œ œ. œ œ . œ œ œ œ. œ. œ . œ œ
17 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
89
THE KING'S OFFERING
19 Flt ˙. œ. ˙ & œ Ó
19 B Tpt. # b & # ∑ ∑
19 Vla. B ∑ ∑
F 13sus 19 E13(9)sus G 9sus Gtr & Û. Û Û Û Û Û Û Û Û Û. Û Û Û Û Û. Û Û Û.
F 13sus E13(9)sus G 9sus Pno #w ˙. œ œ. & # w ˙. œbbœ. w ˙. œ ? w ˙. œ bœ.
19 E13(9)sus G 9sus Bass ? œ œ. œ ’ ’ ’ ’ ’ ’ œ.
19 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
90
THE KING'S OFFERING
21 Flt œ œ œ œ . œ œ œ œ. œ & ‰. R œ #œ œ œ ≈ J Œ
21 B Tpt. # b & # ∑ ∑
21 Vla. B ∑ ∑
21 E13(9)sus F#7sus Gtr & Û. Û Û Û Û Û Û Û Û Û. Û Û Û Û Û. |
E13(9)sus F#7sus Pno w & ##w w w ##w ? w #w
21 ( ) E13 9 sus F#7sus Bass ? ≈ j . #œ. #œ ≈ œ. œ œ. œ œ. œ œ . œ œ œ œ. J #œ #œ
21 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
91
THE KING'S OFFERING
23 ˙. Flt œ œ œ œ. œ. œ œ & ≈ J Œ
23 B Tpt. # b & # ∑ ∑
23 Vla. B ∑ ∑
6 A 9 23 F maj13(#11) b Gtr & Û Û Û Û Û. | Û. Û Û Û Û Û Û Û Û Û.
6 F maj13( 11) A 9 # b Pno w bw & w b w ? w bw
23 6 F maj13( 11) A 9 # b Bass ? ’ ’ ’ ’ ’ ’ ’ ’
23 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
92
THE KING'S OFFERING
25 . Flt œ œ œ œ . œ œ œ œ œ œ œ œ & ‰ ≈ R œ #œ œ œ ≈
25 B Tpt. # b & # ∑ ∑
25 Vla. B ∑ ∑
25 E13(9)sus F 13sus Gtr & Û. Û Û Û Û Û Û Û Û Û. Û Û Û Û Û | J
E13(9)sus F 13sus Pno w & ##w w w bw ? w b w
25 E13(9)sus F 13sus Bass ? ’ ’ ’ ’ ’ ’ ’ ’
25 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
93
THE KING'S OFFERING
27 œ Flt œ œ. œ œ . œ œ œ œ œ ˙ & œ œ
27 B Tpt. # b & # ∑ ∑
27 Vla. B ∑ ∑
27 E13(9)sus G 9sus F 13sus Gtr œ œ œ œ œ œ œ & Û Û Û Û Û Û Û Û Û Û. ≈ ≈ Û. J J
E13(9)sus G 9sus F 13sus Pno #w ˙. œ œ. & # w ˙. œ bœ. w ˙. œ bœ. ? w ˙. œ b œ.
F 13sus 27 E13(9)sus G 9sus Bass ? œ œ. œ ’ ’ ’ ’ ’ ’ œ.
27 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
94
THE KING'S OFFERING
29 Flt œ œ œ œ œ œ. œ œ œ œ. œ œ & ‰. R #œ œ ≈ J ‰ ≈ R
29 B Tpt. # b & # ∑ ∑
29 Vla. B ∑ ∑
29 E13(9)sus F#7sus Gtr & Û. Û Û Û Û Û Û Û Û Û. Û Û Û Û Û. |
E13(9)sus F#7sus Pno w & ##w #w w #w ? w # w
29 ( ) E13 9 sus F#7sus Bass ? ’ ’ ’ ’ ’ ’ ’ ’
29 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
95
THE KING'S OFFERING
31 œ b˙ Flt œ œ œ. œ. œ œ b˙ & ≈ J
31 B Tpt. # b & # ∑ ∑
31 Vla. B ∑ ∑
6 F maj13( 11) A 9 31 # b Gtr & Û Û Û Û Û. | Û. Û Û Û Û Û Û Û Û Û.
6 F maj13( 11) A 9 # b Pno w bw & w b w ? w bw
31 6 F maj13( 11) A 9 # b Bass ? ’ ’ ’ ’ ’ ’ ’ ’
31 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
96
THE KING'S OFFERING
D
Flt ˙ & Ó ∑
33 B Tpt. # b & # ∑ ∑
33 Vla. B ∑ ∑
33 E13(9)sus E maj7( 11) b # Gtr œ #œ œ œ œ œ. œ œ. œ. œ & Û. Œ œ œ
( ) E maj7( 11) E13 9 sus b # Pno w & ##w bw w w ? w bbw
33 E13(9)sus E maj7( 11) b # Bass ? ’ ’ ’ ’ ’ ’ ’ ’
33 maracatu tom tom groove Drms ã ’ ’ ’ ’ ’ ’ ’ ’
97
THE KING'S OFFERING
35 Flt & ∑ ∑
35 B Tpt. # b & # ∑ ∑
35 Vla. B ∑ ∑
35 E13(9)sus G m11 Gtr œ bœ œ nœ bœ œ. œ & ‰. R ∑
E13(9)sus G m11 Pno w & ##w w w w ? w bww
35 E13(9)sus G m11 Bass ? ’ ’ ’ ’ ’ ’ ’ ’
35 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
98
THE KING'S OFFERING
37 Flt . r . ˙. & ‰ œ bœ œ nœ bœ œ œ œ bœ œ
37 B Tpt. # b & # w nw
37 Vla. B ∑ ∑
E13(9)sus E maj7 37 b Gtr œ bœ œ nœ bœ œ. œ œ. œ. œ & Œ œ œ
E13(9)sus E maj7 b Pno w & ##w bw w w ? w bbw
37 E13(9)sus E maj7 b Bass ? ’ ’ ’ ’ ’ ’ ’ ’
37 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
99
THE KING'S OFFERING
39 Flt #˙. œ ˙. & Œ 42
39 B Tpt. b # . & # w ˙ Œ 42
39 Vla. B ∑ ∑ 42
E13(9)sus F 7( 9) G 9sus D m9 D m11 E maj9/B 39 # b b b Gtr œ bœ nœ bœ œ . œ œ. œ œ œ œ œ œ œ œ 2 & ‰ R ‰ ≈ R œ. 4
G 9sus D m9 D m11 E maj9/B E13(9)sus F 7( 9) # b b b Pno #˙. nœ œ œ 2 & # ˙. œ œ œ œ. œ œ. œ œ bœ 4 ˙ œ œ ˙. #œ bœœ œœ œ. œ œ. œ œ. ? ˙. # œ œ. œ œ. œ bbœ. 42
39 E13(9)sus F 7( 9) G 9sus D m9 D m11 E maj9/B # b b b Bass ? œ œ ≈ œ. œ ≈ 2 œ #œ œ J œ. œ bœ 4
39 Drms ã ’ ’ ’ ’ ’ ’ ’ ’ 42
100
THE KING'S OFFERING
E 41 . ˙. Flt œ œ & 42 ≈ J 43 85
41 B Tpt. # b & # 42 ∑ 43 ∑ 85
41 Vla. B 42 ∑ 43 ∑ 85
6 Dm9(omit3) E 9 41 b Gtr 2 œ œ. œ 3 5 & 4 4 bœœ ˙˙ 8
6 Dm9(omit3) E 9 b bœ œ œ Pno œ œ œ œ œ. & 42 œ œ. 43 85 œ œ œ œ œ œ œ ? 42 œ œ 43 œ bœ 85
6 41 Dm9(omit3) E 9 b Bass . ? 42 bœ bœ. œ 43 œ œ. bœ œ 85
41 Drms ã 42 ’ ’ 43 ’ ’ ’ 85
101
THE KING'S OFFERING
43 ˙ œ œ ˙ ˙ Flt œ bœ bœ œ ˙ & 85 J 42 43
43 B Tpt. # b & # 85 ∑ 42 ∑ ∑ ∑ 43
43 Vla. B 85 ∑ 42 ∑ ∑ ∑ 43
G sus G 9sus D m11 C 13sus 43 Gtr j 5 ˙ œ 2 œ œ. œ ˙ ˙ 3 & 8 ˙ œ 4 œ œ. œœ ˙˙ ˙˙ 4
G sus G 9sus D m11 C 13sus ˙ œ Pno bœ œ bœ bœ œ œ œ bœ ˙ & 85 42 œ ˙ 43 ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ? 85 ‰ 42 ‰. R R ‰. 43
43 G sus G 9sus D m11 C 13sus Bass œ œ. œ. œ ? 85 ’ ’ ’ ’ ’ 42 œ œ œ œ. œ œ œ 43
43 Drms ã 85 ’ ’ ’ ’ ’ 42 ’ ’ ’ ’ ’ ’ 43
102
THE KING'S OFFERING
47 ˙ bœ Flt 3 œ ˙ 5 ˙ œ 4 & 4 8 J 4
47 B Tpt. b ## 3 nœ 5 j 4 & 4 Œ Œ œ ˙ 8 ˙ œ 4
47 Vla. B 43 ∑ ∑ 85 ∑ 4
6 B B /D E 9 G7sus(b9) 47 b b b Gtr j 3 ˙ bœ bœœ ˙ 5 ˙ œ 4 & 4 ˙˙ œ œ ˙˙ 8 ˙ œ 4
6 G7sus(b9) B /D E 9 B b b b bœ œ œ œ bœ Pno ˙ œ œ œ œ. œ. bœ œ & 43 ˙ 85 4 bœ ˙ œ œ œ. bbœ œ œ œ œ œ. bœ œ ? 43 bœ œ bœ 85 ‰ 4
6 B B /D E 9 G7sus(b9) 47 b b b Bass ? 3 œ bœ œ œ œ œ œ b˙ 5 j 4 4 œ 8 ˙ œ 4
47 Drms ã 43 ’ ’ ’ ’ ’ ’ 85 ’ ’ ’’’ 4
103
THE KING'S OFFERING
50 Flt ˙ & 4 w ˙ 42 ˙ 4
50 B Tpt. b ## 4 ˙ 2 ˙ 4 & 4 w ˙ 4 4
50 Vla. B 4 ∑ ∑ 42 ∑ 4
6 G 9sus D m/A B 9 50 b Gtr 4 œ œ. œ ˙ Œ Ó 2 ∑ 4 & 4 œ œ. œ ˙ œœ 4 4
6 G 9sus D m/A B 9 F b # œ œ œ œ. bœ œ ˙ ˙ Pno œ bœ bœ œ œ. b œ œ œ ˙ ˙ & 4 œ œ 42 4 œ œœ œœ œœ œ. b bœ nœ # #˙ # a˙ œ œ œ œ bœ. n œb œ # ˙ # ˙ ? 4 ‰. R R ‰. 42 4
G 9sus D m/A 6 50 B 9 F b # Bass ? 4 2 4 4 œ œ. œ ˙ b˙ #˙ 4 ˙ 4
50 Drms ã 4 ’ ’ ’ ’ ’ ’ ’ ’ 42 ’ ’ 4
104
THE KING'S OFFERING improvise F E13sus E maj13 b E13(9)sus Flt w œ œ . & 4 w ˙ œ
53 F#13sus F maj13 F#13(9)sus B Tpt. b # w ˙. & # 4 Œ w
53 Vla. B 4 ∑ ∑ ∑
53 E13sus E maj13 E13(9)sus b Gtr œ œ bœ œ œ œ. œ & 4 ’ ’ ’ ’ ‰. R ’ ’ ’ ’
E maj13 E13sus b E13(9)sus Pno 4 w & 4 ##w w ##w w bbw w ? 4 w bw w
53 E13sus E maj13 E13(9)sus b Bass ? 4 w bœ. œ ˙. w
53 Hit chords with crash cymbals Drms ã 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
105
THE KING'S OFFERING
56 C 9sus E13sus Flt œ œ œ #œ œ. & ˙ Ó ‰. R #œ œ ≈ J
56 D 9sus F maj7/C F#13sus B Tpt. œ. ˙ œ. œ b # œ œ & # ˙. ≈ J #œ œ
56 Vla. B ∑ ∑
56 E maj7/B E13sus C 9sus b b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
E maj7/B C 9sus b b E13sus bœ œ œ œ œ. Pno œ. œ œ œ. & œ. bœ. ##w œ bœ. w ? œ b œ. w Œ Œ ≈ J w
E maj7/B 56 C 9sus b b E13sus Bass ? œ. œ œ bœ œ. œ œ œ. ’ ’ ’ ’
56 fill maracatu snare groove Drms ã ’ ’ ’ ’ ’ ’ ’ ’
106
THE KING'S OFFERING
6 F 7sus F maj13 A 9 58 # b b˙ ˙ Flt ˙ ˙ ˙ & Ó
6 G maj13 B 9 58 G#7sus b B Tpt. b # ˙ n˙ ˙ & # w ˙
58 Vla. B ∑ ∑ ∑
58 6 F 7sus F maj13 A 9 Gtr # b & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
6 F maj13 A 9 F#7sus b Pno w w bw & #w w b w #w w bw ? # w w &
6 58 F 7sus F maj13 A 9 # b Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
58 Drms ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
107
THE KING'S OFFERING G trumpet and flute solos G m11 A m11 b G m11 w w Flt w w &
B m11 A m11 61 A m11 b B Tpt. # ˙ b & # ’ ’ ’ ’ ’ ’
61 Vla. B ∑ ∑
61 G m11 A m11 G m11 Gtr b & ’ ’ ’ ’ ’ ’ ’ ’
A m11 G m11 b G m11 bœ. . Pno w b œ. œ ˙. & bw bœ ˙.
& w bbœ. œ ˙. w bœ. œ ˙.
61 A m11 G m11 G m11 b Bass ? œ. œ œ œ œ bœ bœ bœ. œ œ œ bœ œ œ œ
61 improvised groove on bell Drms ã ’ ’ ’ ’ ’ ’ ’ ’
108
THE KING'S OFFERING
6 D 9 E maj9 Am11(b9) b 63 œ œ œ bœ nœ Flt & ∑ Ó ‰
6 63 E 9 F maj9 B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
63 Vla. B ∑ ∑
6 E maj9 63 A m11 D 9 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
6 D 9 E maj9 Am11(b9) b bw Pno w ˙ & w ˙ b˙
& w ˙ b˙ w ˙ b ˙ A m11 6 63 E maj9 D 9 b Bass bœ œ ? œ œ . œ œ bœ. œ. œ. œ œ œ œ œ bœ
63 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
109
THE KING'S OFFERING
G m11 A m11 G m11 65 w b Flt & ∑
B m11 A m11 65 A m11 b B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
65 Vla. B ∑ ∑
65 G m11 A m11 G m11 Gtr b & ’ ’ ’ ’ ’ ’ ’ ’
A m11 G m11 G m11 b w bbœ. nœ ˙. Pno w . œ ˙. & w bœ nœ ˙
& bw bœ. bœ ˙. w œ. œ ˙.
A m11 G m11 65 G m11 b Bass ? œ. œ œ œ œ bœ bœ bœ. œ œ œ bœ œ œ œ
65 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
110
THE KING'S OFFERING
D 13sus D 9sus/A Am11(b9) b 67 œ œ œ bœ b˙ n˙ Flt & Ó ‰
Bm11(b9) E 13sus 67 b E9sus/B B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
67 Vla. B ∑ ∑
67 D 13sus A m11 b D 9sus/A Gtr & ’ ’ ’ ’ ’ ’ ’ ’
Am11(b9) D 13sus D 9sus/A b bw ˙ ˙ Pno w b˙ ˙ & w
& w b˙ ˙ w b ˙ n˙
A m11 D 13sus D 9sus/A 67 b Bass ? œ œ . œ. œ. œ œ bœ œ bœ bœ œ nœ nœ. œ œ œ
67 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
111
THE KING'S OFFERING
A m11 G m11 b G m11 69 w w Flt &
69 A m11 B m11 A m11 b B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
69 Vla. B ∑ ∑
69 A m11 G m11 G m11 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
A m11 G m11 G m11 b bœ. . Pno w b œ. œ ˙. & bw bœ ˙.
& w bbœ. œ ˙. w bœ. œ ˙.
G m11 A m11 G m11 69 b Bass ? œ. œ œ œ œ bœ bœ bœ. œ œ œ bœ œ œ œ
69 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
112
THE KING'S OFFERING
6 Am11(b9) D 9 E maj9 71 b Flt & ∑ ∑
6 71 E 9 F maj9 B Tpt. b # œ œ & # ’ ’ ’ ’ ’ ’ ‰ nœ bœ œnœœ
71 Vla. B ∑ ∑
71 A m11 6 D 9 E maj9 Gtr b & ’ ’ ’ ’ ’ ’ ’ ’
6 Am11(b9) D 9 E maj9 b bw Pno w ˙ & w ˙ b˙
& w ˙ b˙ w ˙ b ˙ A m11 71 6 E maj9 D 9 b Bass ? œ œ œ œ. bœ œ. œ œ œ ’ ’ ’ ’
71 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
113
THE KING'S OFFERING
G m11 A m11 G m11 73 b Flt & ’ ’ ’ ’ ’ ’ ’ ’
73 A m11 B m11 A m11 b B Tpt. œ œ b # w œ œ bœ nœ & # ww Ó ‰ œ
73 Vla. B ∑ ∑
73 A m11 G m11 C m13/G b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
A m11 G m11 G m11 b w bbœ. nœ ˙. Pno w . œ ˙. & w bœ nœ ˙
w . œ ˙. & w bbœ. nœ ˙.
73 C m13/G A m11 G m11 b Bass ? ’ ’ ’ ’ bœ. œ œ œ bœ œ œ œ
73 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
114
THE KING'S OFFERING
Am11(b9) D 7sus D 9sus/A 75 b Flt & ’ ’ ’ ’ ’ ’ ’ ’
Bm11(b9) E 7sus E9sus/B 75 b B Tpt. w b˙ b # w b ˙ ˙ & # w b˙ ˙
75 Vla. B ∑ ∑
D 7sus D 9sus/A 75 A m11 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
D 7sus D 9sus/A Am11(b9) b bw ˙ ˙ Pno w b˙ ˙ & w
& w b˙ ˙ w b ˙ n˙
A m11 D 7sus 75 b D 9sus/A Bass ? œ œ œ. œ. œ œ bœ œ ’ ’ ’ ’
75 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
115
THE KING'S OFFERING
G m11 A m11 G m11 77 b Flt & ’ ’ ’ ’ ’ ’ ’ ’
A m11 B m11 77 b A m11 B Tpt. b # w w & # w w
77 Vla. B ∑ ∑
77 G m11 A m11 G m11 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
A m11 G m11 G m11 b bœ. . Pno w b œ. œ ˙. & w bœ ˙.
& w bbœ. œ ˙. bw bœ. œ ˙.
G m11 A m11 C m13/G 77 b Bass ? ’ ’ ’ ’ bœ. œ œ œ bœ œ œ œ
77 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
116
THE KING'S OFFERING
6 D 9 E maj9 79 Am11(b9) b Flt & ’ ’ ’ ’ ’ ’ ’ ’
79 B Tpt. # b & # ∑ ∑
79 Vla. B ∑ ∑
79 6 A m11 D 9 E maj9 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
6 D 9 E maj9 Am11(b9) b bw Pno w ˙ ˙ & w ˙ b˙
& w ˙ b˙ w ˙ b ˙ A m11 6 79 E maj9 D 9 b Bass ? œ œ œ. œ. œ œ œ ’ ’ ’ ’
79 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
117
THE KING'S OFFERING
H drum solo
Flt w & ∑ w
81 B Tpt. b # w w & # w w
81 Vla. B ∑ ∑
81 A m11 G m11 G m11 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
A m11 G m11 b G m11 w bœ. nœ ˙. Pno w b œ. œ ˙. & bw
bœ. & w b œ. bœ ˙. w œ. œ ˙.
81 G m11 A m11 G m11 b Bass ? ’ ’ ’ ’ ’ ’ ’ ’
81 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
118
THE KING'S OFFERING
83 Flt & ∑ ∑ ∑
83 B Tpt. b # w & # ∑ ∑ w
83 Vla. B ∑ ∑ ∑
83 A m11 D 7sus D 9sus/A G m11 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
A m11 D 7sus D 9sus/A G m11 b bw ˙ ˙ w Pno w b˙ ˙ w & w ˙ w
& w b˙ ˙ w w b ˙ n˙ w
D 7sus D 9sus/A 83 A m11 b G m11 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
83 Drms ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
119
THE KING'S OFFERING
86 w Flt w w & w w Ó Ó
86 B Tpt. b # w & # w ∑ ∑
86 Vla. B ∑ ∑ ∑
6 86 G m11 A m11 D 9 E maj9 A b Gtr b & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
6 A G m11 D 9 E maj9 b Am11(b9) b bœ. bw Pno b œ. œ ˙ w ˙ & œ ˙ w ˙ b˙
& bœ. œ ˙ w ˙ b œ. œ ˙. w ˙ b˙ bœ œ ˙. w ˙ b ˙
6 86 A m11 G m11 E maj9 b Am11(b9) D 9 b Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
86 Drms ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
120
THE KING'S OFFERING
89 Flt & ∑ ∑ ∑
89 B Tpt. b # w w w & # w w w
A m11 89 misterioso Vla. bw B ∑ ∑ w
89 A m11 G m11 G m11 b A m11 Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ∑
G m11 A m11 A m11 b G m11 bœ. . bw Pno w b œ. œ ˙. w & bw bœ ˙. w
& w bbœ. œ ˙. w w bœ. œ ˙. w
A m11 G m11 A m11 89 G m11 b Bass ? ’ ’ ’ ’ bœ. œ œ œ bœ œ œ œ ’ ’ ’ ’
89 Drms ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
121
THE KING'S OFFERING
92 Flt & ∑ ∑ ∑
92 B Tpt. b # b˙ ˙ w w & # b ˙ ˙ nw ww
D 7sus D 9sus/A G m11 A m11 G m11 92 b b appassionato ^j Vla. b˙ ˙ w ˙. œ B b ˙ n˙ bw b˙. œ ‰ F ˙. œ f
92 D 7sus D 9sus/A G m11 A m11 G m11 Gtr b b & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
D 7sus D 9sus/A G m11 A m11 G m11 b b ˙ ˙ w bœ. . Pno b˙ ˙ w b œ. œ ˙. & w bœ ˙.
˙ ˙ bw & bb˙ n˙ w bbœ. œ ˙. w bœ. œ ˙.
D 7sus D 9sus/A G m11 A m11 G m11 92 b b Bass ? ’ ’ ’ ’ ’ ’ ’ ’ bœ. œ œ œ bœ œ œ œ
92 Drms ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
122
THE KING'S OFFERING
95 Flt b˙ & ∑ ˙
95 B Tpt. b ## w nœ & w ˙ œ œ
Am11(b9) 6 95 D 9 E maj9 legato b Vla. œ ˙ b˙ B ˙ . œ bœ ˙ b ˙ ˙˙. œœ œ ˙ ˙
95 6 E maj9 A m11 D 9 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
Am11(b9) 6 D 9 E maj9 b bw Pno w ˙ & w ˙ b˙ ˙ ˙ ? b˙ & w ˙ b ˙ w
6 95 A m11 D 9 E maj9 b Bass ? œ œ œ. œ. œ œ œ ’ ’ ’ ’
95 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
123
THE KING'S OFFERING
97 Flt w b˙ & œ œ
97 B Tpt. b ## w & ˙ œ œ
6 6 A 9 D 9 G m7/D 97 b b Vla. b w b ˙ ˙ B bbww b ˙˙ ˙
97 6 6 A 9 D 9 G m7/D b b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
6 6 A 9 D 9 b b G m7/D bw Pno b w bb˙ & bw b˙ #˙ w b˙ ˙ ? bw b˙ n˙
6 6 97 A 9 D 9 G m7/D b b Bass ? . . bœ. œ ˙. bœ œ œ nœ œ œ
97 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
124
THE KING'S OFFERING
99 Flt b˙ ˙ bb˙ n˙ & ˙ ˙ ˙
99 B Tpt. b ## nw b˙ n˙ & w
6 A 9 D maj9 99 b b˙ n˙ Vla. bw b ˙ B w b˙ #n˙
99 6 6 A 9 D 9 D maj9 b b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
6 9 6 A D 9 D maj9 b b bw Pno b w bb˙ & bw b˙ #˙ w b˙ ˙ ? bw b˙ n˙
6 6 A 9 D 9 D maj9 99 b b Bass . . ? bœ œ ˙ bœ. œ œ nœ. œ œ
99 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
125
THE KING'S OFFERING
101 Flt ˙. œ. bœ #w &
101 B Tpt. # w b & # ∑
E13 E13(9)sus 101 w œ Vla. w œ B w œ ’ ’
101 E13 Gtr & ’ ’ ’ ’ ’ ’ ’ ’
E13 Pno & ##w w w w ? w w
101 E13 Bass ? w ˙ ’ ’
101 snare roll Drms ã ’ ’ ’ ’ ’ ’ ’ ’
126
THE KING'S OFFERING
link I Flt w #w w w &
103 B Tpt. # b & # ∑ ∑ ∑ ∑
E13(9)sus F 7sus ( ) G 9sus F 13sus # F maj13 #11 103 legato w w w w Vla. w w B w w P
103 E maj9 G 9sus b E13 C m9 Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E maj9 b E13 G 9sus C m9 Pno w bw #w w bw & w # w w Cwm9 w w w w ? bbw w bww w
103 E maj9 b E13 G 9sus C m9 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
103 maracatu tom tom groove Drms ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
127
THE KING'S OFFERING
107 Flt w #w & w
107 B Tpt. b ## ˙. œ. bœ w & ˙. œ. bœ w
6 A 9 E13(9)sus 107 b Vla. ww #w B w w ∏ E maj9 107 b E13(9)sus F 7( 9) # b Gtr . r & ’ ’ ’ ’ ‰ œ bœ œ nœ bœ œ. œ
E maj9 E13 F 7( 9) b # b Pno w #˙ nœ & bw # ˙. œ bw ˙. œ ? b w ˙. ##œ
107 E maj9 E13 F 7( 9) b # b Bass œ. ? ’ ’ ’ ’ œ œ œ. œ #œ
107 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
128
THE KING'S OFFERING
109 Flt w œ & 42 Œ 43
109 B Tpt. b # w 2 ˙ 3 & # w 4 ˙ 4
109 F 13sus E13(9)sus Vla. B ∑ 42 ∑ 43
G 9sus D m11 E maj9/B 109 D m9 b b Gtr œ œ œ œ œ œ œ œ 2 œ œ. œ 3 & ‰ ≈ R œ. 4 4
G 9sus D m9 E maj9/B D m11 b b Pno œ œ œ bœ 2 œ œ. 3 & œ œ œ. œ œ. œ œ 4 4 œ œ œ bœœ œœ œ. œ œ. œ œ. œ œ ? œ. œ œ. œ bbœ. 42 œ 43
G 9sus E maj9/B 109 D m9 D m11 b b Bass ? œ ≈ œ. œ œ œ 2 bœ œ. œ 3 J J J 4 bœ. œ 4
109 hi-hat Drms ã ’ ’ ’ ’ 42 ’ ’ 43
129
THE KING'S OFFERING
J ˙. ˙ œ Flt & 43 85 J 42
111 B Tpt. # b & # 43 ∑ 85 ∑ 42
111 Vla. B 43 ∑ 85 ∑ 42
6 D 7( 13) E 9 G sus 111 b b Gtr j 3 bœœ ˙ 5 ˙ œ 2 & 4 œ ˙˙ 8 ˙ œ 4
6 D 7( 13) E 9 b b G sus bœ œ œ . ˙ œ bœ Pno 3 œ œ œ œ 5 2 & 4 œ œ 8 4 ˙ œ œ œ ˙ ? 43 œ bœ 85 ‰ 42
6 111 D 7( 13) E 9 b b G sus Bass ˙ œ ? 43 œ œ. bœ œ 85 J 42
111 Drms ã 43 ’ ’ ’ 85 ’ ’ ’ ’ ’ 42
130
THE KING'S OFFERING
113 ˙ ˙ Flt ˙ ˙ & 42
113 B Tpt. # b & # 42 ∑ ∑
113 Vla. B 42 ∑ ∑
G 9sus D m11 113 Gtr 2 œ œ. œ ˙ & 4 œ œ. œœ ˙˙
G 9sus D m11
Pno œ bœ bœ œ œ œ bœ & 42 œ œ œ œ œ œ ? 42 ‰. R R ‰.
113 G 9sus D m11 Bass œ œ. œ. ? 42 œ œ œ
113 Drms ã 42 ’ ’ ’ ’
131
THE KING'S OFFERING
115 Flt ˙ ˙ bœ & 43 bœ
115 B Tpt. b # œ & # ∑ 43 Œ Œ nœ
115 Vla. B ∑ 43 ∑
6 F 9/C B 115 b Gtr 3 œ & ˙˙ 4 ˙˙ bœ
6 F 9/C B b Pno ˙ ˙ & ˙ 43 ˙ bœ ˙ ˙ ? 43 bœ
6 B 115 F 9/C b Bass œ œ bœ œ œ œ œ ? œ. œ œ œ 43 œ
115 Drms ã ’ ’ 43 ’ ’ ’
132
THE KING'S OFFERING
117 Flt œ ˙ & œ ˙ 85 ˙ œ 4 J
117 B Tpt. j b ## nœ ˙ 5 ˙ œ 4 & œ ˙ 8 ˙ œ 4
117 Vla. B ∑ 85 ∑ 4
6 G 7 D m11( 5) E 9 117 # b Gtr j bœœ ˙ 5 ˙ œ 4 & œ ˙˙ 8 ˙ œ 4
D m11( 5) 6 G 7 # E 9 b bœ œ œ œ bœ Pno œ œ œ œ. œ. bœ œ & 85 4 œ œ œ. bbœ œ œ œ œ œ. bœ œ ? œ bœ 85 ‰ 4
6 E 9 G 7 117 D m11(#5) b Bass ˙ œ ? œ b˙ 85 J 4
117 Drms ã ’ ’ ’ 85 ’ ’ ’ ’ ’ 4
133
THE KING'S OFFERING
119 Flt & 4 ˙ b˙ ˙ ˙˙ 42
119 B Tpt. b ## 4 2 & 4 ˙ ˙ ˙ #˙ 4
119 Vla. B 4 ∑ ∑ 42
G 9sus A m11(#5) 119 6 B 9 F# Gtr b 4 œ œ. œ ˙ Œ Ó 2 & 4 œ œ. œ ˙ œœ 4
6 G 9sus A m11( 5) B 9 F # b # œ œ œ œ. bœ œ ˙ Pno œ bœ bœ œ œ. b œ œ œ ˙ & 4 œ œ 42 œ œœ œœ œœ ? 4 œ œ œ œ 2 4 ‰ ≈ R R ‰ ≈ & œ. bœ nœ # #˙ 4 bœ. bn œ b œ # ˙
6 119 ( ) B 9 G 9sus A m11 #5 b F# Bass œ œ. œ ˙ b˙ ? 4 #˙ 42
119 Drms ã 4 ’ ’ ’ ’ ’ ’ ’ ’ 42
134
THE KING'S OFFERING
K 121 Flt & 42 ˙˙ 4 ∑
121 B Tpt. # b & # 42 ˙ 4 ∑
121 Vla. B 42 ∑ 4 ∑
121 E13sus Gtr & 42 ∑ 4 ’ ’ ’ ’
˙ E13sus Pno ˙ & 42 4 ’ ’ ’ ’
2 #˙ 4 & 4 #a ˙ 4 ’ ’ ’ ’
121 E13sus Bass ? 42 ˙ 4 ’ ’ ’ ’
121 light on hi hat Drms ã 42 ’ ’ 4 ’ ’ ’ ’
135
THE KING'S OFFERING
123 Flt & ∑ ∑ ∑ ∑
123 B Tpt. # b & # ∑ ∑ ∑ ∑
123 Vla. B ∑ ∑ ∑ ∑
123 E maj7( 11)/B E13sus G 9sus F 13sus E13sus Gtr b # b & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E maj7( 11)/B E13sus G 9sus F 13sus E13sus b # b Pno & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
123 E maj7( 11)/B E13sus b # b G 9sus F 13sus E13sus Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
123 Drms ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
136
THE KING'S OFFERING
127 Flt & ∑ ∑
127 B Tpt. # b & # ∑ ∑
127 Vla. B ∑ ∑
127 F#7sus F maj13 Gtr & ’ ’ ’ ’ ’ ’ ’ ’
F#7sus F maj13 Pno & ’ ’ ’ ’ ’ ’ ’ ’
& ’ ’ ’ ’ ’ ’ ’ ’
127 F#7sus F maj13 Bass ? ’ ’ ’ ’ ’ ’ ’ ’
127 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
137
THE KING'S OFFERING
129 Flt & ∑ ∑
129 #œ B Tpt. # œ #œ œ ˙ b & # ∑ ‰. R #œ
129 Vla. B ∑ ∑
129 6 A 9 E13sus Gtr b & ’ ’ ’ ’ ’ ’ ’ ’
6 A 9 E13sus b Pno & ’ ’ ’ ’ ’ ’ ’ ’
& ’ ’ ’ ’ ’ ’ ’ ’
6 129 A 9 E13sus b Bass œ ? bœ . œ œ. ’ ’ ’ ’ ‰ R ≈ J
129 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
138
THE KING'S OFFERING
L F 13 E13sus . Flt œ œ œ œ œ œ œ œ. ˙. œ. & œ
G 13 131 F 13sus ˙ œ œ œ œ nœ. # B Tpt. # ˙. œ. #œ b & # œ
131 Vla. B ∑ ∑
131 F 13 E13sus Gtr & Û Û Û Û Û. | Û. Û Û Û Û Û Û Û Û Û.
F 13 E13sus Pno w & w ##w
& bw w b w w
131 E13sus F 13 œ Bass œ œ œ ? œ. œ. œ œ œ. œ. œ œ ≈ J œ ≈ œ œ ≈ J ≈
131 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
139
THE KING'S OFFERING
133 G 9sus F 13sus E13sus Flt ˙ œ œ œ œ . & Ó ‰. R œ bœ œ nœ
G 13sus F 13sus 133 A 9sus # B Tpt. ˙. œ b # ˙. œ œ. b˙˙ & # ‰ Œ
133 Vla. B ∑ ∑
133 G 9sus F 13sus E13sus Gtr & Û Û Û Û Û. Û Û Û. Û. Û Û Û Û Û Û Û Û Û.
F 13sus E13sus G 9sus Pno ˙. œ œ. #w & ˙. œbbœ. # w
& ˙. œ w ˙. œ bœ. w
133 G 9sus F 13sus E13sus Bass œ œ œ œ. œ œ œ ? œ. œ œ œ. œ. œ. œ . œ. œ ≈ J
133 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
140
THE KING'S OFFERING
F 7sus F maj13 135 # Flt œ œ œ œ. œ œ œ œ œ. œ. œ œ & ≈ J Œ ≈ J
G 7sus G maj13 135 # B Tpt. b # #œ œ œ œ bœ. ˙ #œ. œ. œ œ & # œ œ œ. ˙ œ œ œ œ œ. œ.
135 Vla. B ∑ ∑
F maj13 135 F#7sus Gtr & Û Û Û Û Û. | Û Û Û Û Û. |
F#7sus F maj13 Pno w w & #w w
& ##w w
135 F#7sus F maj13 Bass ? #œ. bœ ≈ œ. œ œ. œ œ. ≈ j œ J #œ bœ œ œ . œ. œ œ
135 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
141
THE KING'S OFFERING
6 A 9 E13sus 137 b ˙. Flt œ œ œ œ . & Œ ‰. R œ bœ œ nœ
6 B 9 F 13sus 137 b # B Tpt. b # n˙˙. ˙ & # œ ˙ ˙
137 Vla. B ∑ ∑
6 A 9 137 b E13sus Gtr & Û. Û Û Û Û Û Û Û Û Û. Û. Û Û Û Û Û Û Û Û Û.
6 A 9 b E13sus Pno bw & b w ##w
& w w bw w 6 A 9 E13sus 137 b Bass œ ? œ œ bœ. œ œ. œ. ≈ œ. œ œ bœ. œ bœ œ œ J J 3
137 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
142
THE KING'S OFFERING
F 13 E13sus 139 . Flt œ œ œ œ œ œ œ œ œ œ. œ œ . & ≈ œ œ
G 13 139 F#13sus B Tpt. # b # ˙ w & n˙ ˙ w
139 Vla. B ∑ ∑
139 Gtr & Û Û Û Û. | ≈ Û. Û Û Û Û Û Û Û Û Û.
F 13 E13sus Pno w & w ##w
& bw w b w w F 13 E13sus 139 Bass œ ? œ. œ ≈ œ. œ œ ≈ œ œ œ. ≈ œ. ≈ œ J œ J œ œ œ
139 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
143
THE KING'S OFFERING
141 G 9sus F 13sus E13sus œ Flt œ œ œ œ œ ˙ œ œ œ œ . & ‰. R œ bœ œ nœ
141 A 9sus G 13sus F#13sus B Tpt. # b # œ œ œ œ œ. & œ œ œ œ œ. #w
141 Vla. B ∑ ∑
141 Gtr œ œ œ œ œ œ œ & ≈ Û. Û. Û Û Û Û Û Û Û Û Û. J
G 9sus F 13sus E13sus Pno ˙. œ œ. #w & ˙. œbbœ. # w
& ˙. œ w ˙. œ bœ. w
F 13sus E13sus 141 G 9sus Bass œ. ? œ œ œ œ. œ œ. ‰ œ œ œ œ. œ œ œ. œ 3
141 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
144
THE KING'S OFFERING
F 7sus F maj13 143 # Flt œ œ œ œ. œ œ œ œ œ œ. œ. œ œ & ≈ J ‰ ≈ R ≈ J
143 G maj13 G#7sus B Tpt. b ## & bww w
143 Vla. B ∑ ∑
143 Gtr & Û Û Û Û Û. | Û Û Û Û Û. |
F#7sus F maj13 Pno w w & #w w
? & w ##w w
143 F maj13 F#7sus Bass ? #œ. bœ ≈ œ. œ œ. œ bœ œ. ≈ œ. œ J œ œ J œ. œ œ
143 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
145
THE KING'S OFFERING
M 6 A 9 B maj9( 11) 145 b b # bœ. œ. Flt bœ œ œ œ. œ œ œ ˙ & J ‰ J œ
145 6 C maj9( 11) B 9 # b B Tpt. b ## j œ œ œ œ. ˙ & nœ. œ œ. bœ œ œ. ˙
145 B maj9( 11) legato b # Vla. ˙ ˙ B ∑ ˙ F
6 B maj9( 11) 145 A 9 b b # Gtr & Û Œ Ó Û. Û Û Û Û. Û Û
6 A 9 B maj9( 11) b b # Pno b˙ w & b ˙ Ó w ˙ w ? b˙ Ó w
B maj9( 11) 6 # 145 A 9 b b Bass œ. bœ œ ? J j œ œ bœ. œ bœ œ. œ bœ. œ ˙
145 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
146
THE KING'S OFFERING
6 E9sus B 9 147 . Flt #œ. œ œ . œ #˙. œ œ & œ #œ œ œ œ
6 C 9 147 F#9sus # B Tpt. b # ˙ ˙ #w & # ˙ # w
6 E9sus B 9 147 Vla. w w B #w #w
6 147 B 9 E9sus Gtr & Œ ‰ Û Û. Û Û Û. Û Û Û. Û Û J
6 E9sus B 9
Pno w #w & #w ##w w ? w #w
6 E9sus B 9 147 Bass ? œ œ œ. nœ œ œ œ. #œ œ œ œ. œ œ œ
147 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
147
THE KING'S OFFERING
Em11 E m11 D 7sus b b 149 b˙ ˙ ˙ Flt ˙ &
F m11 F m11 E 7sus 149 # b B Tpt. ˙ b˙ b # ˙ b ˙ ˙. œ. nœ & # ˙. œ.
Em11 E m11 D 7sus 149 b b b˙ n˙ Vla. ˙ ˙ b ˙ B ˙ ˙ b ˙
149 Gtr & Û. Û Û Û. Û Û Û Û. Û. Û Û J
Em11 E m11 D 7sus b b Pno b˙ bw & ˙˙ bb ˙ b w w ? ˙ bb˙ bw
149 Em11 E m11 D 7sus b b Bass . bœ œ œ œ ? œ œ œ œ bœ. œ œ œ bœ. œ.
149 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
148
THE KING'S OFFERING
6 B maj7(#11) B 9 151 b Flt ˙ œ œ œ œ œ. #˙. œ œ. &
6 ( ) C 9 151 C maj7 #11 # B Tpt. # w #w b & # w w
6 B maj7(#11) B 9 151 b #w Vla. w w B
6 151 B maj7( 11) B 9 b # Gtr & ’ ’ ’ ’ ’ ’ ’ ’
B maj7( 11) 6 b # B 9 Pno w w & w ##w b˙ ? b˙ #w
151 B maj7( 11) 6 b # B 9 Bass ? bœ. œ œ œ. œ œ œ. #œ œ œ. œ œ
151 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
149
THE KING'S OFFERING
A m7 B m13 Bmaj#11 b 153 w bœ œ Flt ˙ œ . &
C m13 C maj#11 153 B m7 # B Tpt. # ˙ œ œ #w b & # ˙ œ # w
B m13 A m7 b Bmaj#11 153 ˙ Vla. ˙ b˙ #w B ˙ # w ∏
153 B m13 Bmaj#11 F maj7 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’
B m13 Bmaj#11 A m7 b Pno & ’ ’ ’ ’ ’ ’ ’ ’
? ’ ’ ’ ’ ’ ’ ’ ’
153 A m7 B m13 b Bmaj#11 Bass ? ˙ b˙ w
153 Drms ã ’ ’ ’ ’ ’ ’ ’ ’
150
Buried Treasures Sofia Janelle INTRO (‰=156)
Clarinet in B b # 6 & # 8 ∑ ∑ ∑ ∑
Soprano Sax # & # 86 ∑ ∑ ∑ ∑
Alto Sax # # 6 & # 8 ∑ ∑ ∑ ∑
Tenor Sax # 6 & # 8 ∑ ∑ ∑ ∑
Trumpet in B b # 6 & # 8 ∑ ∑ ∑ ∑
Trombone ? 6 8 ∑ ∑ ∑ ∑
Acoustic Guitar & 86 ∑ ∑ ∑ ∑
Piano & 86 ∑ ∑ ∑ ∑
? 6 8 ∑ ∑ ∑ ∑
Bass ? 6 œ bœ 8 j j j j œ œ œ. œ œ œ œ œ. ˙. call and response with bass line Drum Set 6 ã 8 ’ ’ ’ ’ ’ ’ ’ ’
151
Buried Treasures
5 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ∑ ∑ ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
5 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
5
Ac.Gtr. & ∑ ∑ ∑ ∑
5
Pno & ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
5 Bass ? œ bœ œ b˙ œ œ j j j œ œ œ. œ œ œ œ œ. 5
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
152
Buried Treasures
9 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ∑ ∑ ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
9 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
9
Ac.Gtr. & ∑ ∑ ∑ ∑
9
Pno & ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
9 Bass bœ ? œ œ œ j œ J œ. œ œ œ œ œ œ. ’ ’
9
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
153
Buried Treasures
13 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ∑ ∑ ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
13 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
13
Ac.Gtr. & ∑ ∑ ∑ ∑
13
Pno & ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
13 Bass bœ ? œ œ œ j œ J œ. œ œ œ œ œ œ. ’ ’
13 build D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
154
Buried Treasures A MELODY (FIRST TIME) 17 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # œ & # ˙ œ bœ. œ. ˙. œ. Œ.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
17 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
17 G sus Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
G sus 17
Pno j ∑ Œ. Œ œ ˙. & œ ˙. ’ ’ j ? ∑ Œ. Œ œ ˙. œ ˙. ’ ’ G sus 17 Bass ? œ jbœ j j œ œ J œ. œ œ œ œ œ œ. œ. œ J
17 vassi groove D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
155
Buried Treasures
21 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # œ nœ ˙. œ œ & # ˙ œ bœ. œ J Œ. ‰
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
21 B Tpt. b ## j & nœ ˙. ∑ ˙ œ œ bœ. œ
Tbn. ? ∑ ∑ ∑ ∑
21 A 7(11) C m9 b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
A 7(11) C m9 21 b j j Pno nœ œ bœ & ’ ’ ’ ’ bbœ ’ ’ ’ œ b œœ
? bœ œ. œ bœ ’ ’ ’ ’ bœ œ. ’ ’ œ œ A 7J(11) J C m9 21 b Bass ? ’ ’ ’ ’ ’ ’ ’ ’
21
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
156
Buried Treasures
25 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # œ œ & # b˙. œ. Œ #˙. ˙ ‰ œbœ
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
25 B Tpt. # b # Œ. bœ. Œ j ‰ bœ & œ. œ #˙. ˙ œ
Tbn. ? ∑ ∑ ∑ ∑
25 D m7(b5) C m11 G maj7(#11) Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
D m7( 5) b C m11 G maj7( 11) 25 # Pno bœ. œ & œ. ’ ’ ’ œ bœ ##œ. ’ ’ ’ . bœ ? bœ. œ œ #œ. ’ ’ ’ œ œ. ’ ’ ’ D m7( 5) C m11 G maj7( 11) 25 b # Bass ? . œ ’ ’ œ J œ ’ ’ ’ ’
25
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
157
Buried Treasures
29 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # œ œ. ˙. ˙. & # œ œ nœ. œ ‰
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
29 B Tpt. # j b # œ œ œ nœ œ Œ. & ˙ œ ˙. œ.
Tbn. ? ∑ ∑ ∑ ∑
E maj9( 11) 29 b # Am7(b13) Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
E maj9( 11) Am7(b13) 29 b #
Pno œ. & ’ œ. ’ ’ ˙. ’ ’ bœ. . ? b œ. ˙˙. ’ ’ ’ ˙. ’ ’
29 E maj9( 11) Am7(b13) b # Bass ? ’ ’ ’ ’ ’ ’ ’ ’
29
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
158
Buried Treasures
33 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## œ ˙. nœ œ & ∑ Œ. Œ J bœ. J
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
33 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
G sus A sus/F G sus 33 b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
G sus A sus/F G sus 33 b Pno j . . bœ & ’ ’ ’ ’ œ. ’ œ. bœ œ j ? œ. œ. bbœ œ ’ ’ ’ ’ œ. ’ œ. bœ œ G sus A sus/F G sus 33 b Bass ? j bœ j ’ ’ ’ ’ ’ ’ œ œ œ
33
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
159
Buried Treasures
37 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. #œ ## ˙. œ. œ ˙. œ & Œ J bœ. J
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
37 B Tpt. b # j & # ∑ Œ. Œ j #œ œ ˙ œ bœ. œ
Tbn. ? ∑ ∑ ∑ ∑
A 7(11) 37 b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
A 7(11) 37 b j Pno nœ & ’ ’ ’ ’ ’ ’ ’ ’ bbœ
? bœ ’ ’ ’ ’ ’ ’ ’ ’ bœ A J7(11) 37 b Bass ? j œ bœ ’ ’ ’ ’ ’ ’ œ œ J
37
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
160
Buried Treasures
41 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # ˙. œ œ ˙. œ. œ œ & # Œ Œ Œ
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ m7( 5) 41 E b improvise B Tpt. # b & # ˙. ∑ ’ ’ ’ ’
Tbn. ? ∑ ∑ ∑ ∑
41 C m9 D m7(b5) C m11 Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
m9 m7( 5) 41 C D b C m11
Pno bœ bœ. œ & ’ ’ ’ ’b œœ œ. ’ ’ ’ œ bœ bœ bœ. œ bœ ? ’ ’ ’ ’ œ œ. ’ ’ ’ œ œ m9 D m7( 5) m11 41 C b C Bass ? œ. œ ’ ’ J œ ’ ’ ’ ’
41
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
161
Buried Treasures
45 ~1:46 B Cl. # b & # ∑ ∑ ∑ ∑
. . S. Sx. # n˙. ˙ œ œ œ œ œ œ œ. & # ‰ ≈ R
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
45 B Tpt. # b # ∑ Œ. Œ ≈ r & œ œ œ œ œ. œ. œ.
Tbn. ? ∑ ∑ ∑ ∑
G maj7( 11) D m11 E maj9 45 # b Gm7(b13) Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
( ) E maj9 45 G maj7 #11 D m11 b Gm7(b13) Pno j . bœ. & ##œ. ’ ’ ’ œ œœ ’ œœ. b œ. bœ œ. ? #œ. œb œ œ. œ. œ. ’ ’ ’ J ’ œ. G maj7( 11) D m11 E maj9 Gm7(b13) 45 # b Bass ? jbœ œ. ’ ’ ’ ’ œ ’ ’
45
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
162
Buried Treasures
49 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # ˙. ˙. œ & # ∑ Œ. Œ J
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
49 B Tpt. # b # ∑ Œ. Œ j & ˙. ˙. œ
Tbn. ? ∑ ∑ ∑ ∑
49 Am7(b13)
Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
49 Am7(b13)
Pno & œ. ’ ’ ’ ’ ’ ’ ’
? œœ. œ. ’ ’ ’ ’ ’ ’ ’ m7(b13) 49 A Bass ? ’ ’ ’ ’ ’ ’ ’ ’
49
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
163
Buried Treasures ~1:08 53 B MELODY 1ST TIME B Cl. # b & # ∑ ∑ ∑ ∑ 85 . S. Sx. œ œ œ. œ. #œ. ˙ ˙ # œ œ 5 & # ‰ J 8
A. Sx. # # & # ∑ ∑ ∑ ∑ 85
T. Sx. # 5 & # ∑ ∑ ∑ ∑ 8
53 B Tpt. # b # nœ. ˙. ˙ ‰ j 5 & œ œ œ œ. œ. œ 8
Tbn. ? 5 ∑ ∑ ∑ ∑ 8
53 j Ac.Gtr. #˙. œ œ œ. Œ. œ. # ˙. ∑ 5 & œ œ œ. œ. #˙. 8 bœ œ œ. 6 B 9 F maj13 D 7sus A maj7( 11)/E 53 b # Pno j œ œ œ. #œ. 5 & œœ œ ’ ’ œ. ##œ. ’ ’ ’ 8
? bœ œ œ. œ. 5 J ’ ’ œ. . ’ ’ ’ 8 6 B 9 F maj13 D 7sus A maj7( 11)/E 53 b # Bass ? 5 bœ j ˙. ’ ’ 8 œ œ. œ. œ. 53 D. S. 5 ã ’ ’ ’ ’ ’ ’ ’ ’ 8
164
Buried Treasures
57 B Cl. # b & # 85 ∑ 86 ∑ ∑ ∑ 85 . S. Sx. n˙ ˙ œ # 5 nœ œ œ. 6 œ. œ. œ 5 & # 8 J J 8 8
A. Sx. # ## 5 ∑ 6 ∑ ∑ Œ œ œ œ 5 & 8 8 J J 8
T. Sx. # 5 6 œ œ œ 5 & # 8 ∑ 8 ∑ ∑ Œ J J 8
57 B Tpt. b ## 5 j j 6 n˙. 5 & 8 nœ œ œ. 8 œ. œ. œ œ œ œ 8
Tbn. ? 5 6 5 8 ∑ 8 ∑ ∑ ∑ 8
57 Ac.Gtr. 5 œ bœ. 6 œ. œ ˙ 5 & 8 œ b œ. 8 œ. bœ. bœ . Œ. ˙. 8 bœ . b œ. œ . ˙.
6 B 9 Gm11(b13) A 7( 9)sus A 13 A m7 57 b b b Pno 5 œ bbœ. 6 œ. bœ. b˙. ˙. 5 & 8 œœ œ. 8 œ. œ. ˙. ˙. 8 œ . . œ. . . bœ œ. œ. œ. b˙. ˙˙. ? 85 86 85 6 B 9/F Gm11(b13) A 7( 9)sus A 13 A m7 57 b b b Bass ? 5 6 5 8 œ œ. 8 œ. œ. b˙. ˙. 8
57 D. S. 5 6 5 ã 8 ’ ’ ’ ’ ’ 8 ’ ’ ’ ’ ’ ’ 8
165
Buried Treasures
61 B Cl. # b & # 85 ∑ ∑ 86 ∑ 85 ∑ œ. œ S. Sx. œ # 5 œ œ. 6 #˙. 5 œ nœ & # 8 J J 8 8 Œ J
A. Sx. # ## 5 œ œ. œ œ. 6 #˙. 5 œ Œ nœ & 8 8 8 J œ. œ T. Sx. # 5 œ œ. 6 #˙. 5 œ nœ & # 8 8 8 Œ J
61 B Tpt. # j b # 5 j œ. œ 6 5 Œ j & 8 œ œ œ. 8 #˙. 8 œ nœ
Tbn. ? 5 6 5 8 ∑ ∑ 8 ∑ 8 ∑
61 Ac.Gtr. 5 Œ œ. Œ œ. 6 #˙. 5 ∑ & 8 bœ. bœ. 8 # ˙. 8
C m7/E G m9/D 61 b Emaj9(#11) Pno 5 œ bœ. œ œ. 6 #˙. 5 & 8 œ b œ. œ œ. 8 ## ˙. 8 ’ ’ ’ ’ ’ . œœ œ œ bœ. #˙. ? 85 bœ. œ œ 86 ˙. 85 ’ ’ ’ ’ ’ G m9/D 61 C m7 Emaj9(#11) Bass ? 5 œ. œ 6 5 ‰ 8 œ œ. 8 ˙. 8 œ œ 61 D. S. 5 6 5 ã 8 ’’’’’ ’ ’ ’ ’ ’ 8 ’ ’ 8 ’ ’ ’ ’ ’
166
Buried Treasures
65 B Cl. # b & # ∑ 78 ∑ 86 ∑ 85 ∑ 86
S. Sx. œ ˙ ## #œ nœ . 7 nœ 6 ˙ 5 ˙ œ 6 & J J 8 . 8 . 8 J 8
A. Sx. # ## #œ nœ œ. 7 ˙ œ. 6 b˙. 5 œ œ. 6 & J J 8 8 8 8 œ. b˙. œ. œ T. Sx. # #œ nœ œ. 7 ˙ 6 5 6 & # J J 8 8 8 8
65 B Tpt. b ## j j 7 6 5 6 & #œ nœ œ. 8 ˙ œ. 8 b˙. 8 œ œ. 8
Tbn. ? 7 6 5 6 Œ Œ. 8 ∑ 8 ∑ 8 ∑ 8
65 Ac.Gtr. œ. 7 œ. 6 bb˙. 5 ˙ 6 & Œ œ. 8 Ó œ. 8 b˙. 8 ˙ ‰ 8
6 D 7sus A 7sus D sus/B C 9/F 65 b b Pno j bœ œ. 7 ˙ . 6 . 5 6 & bb œ nœ. 8 ˙ œ. 8 bb˙. 8 ˙ œ 8 . . ? bœ nœ. 7 ˙ . 6 b˙. 5 ˙˙ œœ 6 œ 8 ˙ œ. 8 b ˙ 8 ˙ œ 8 6 J D 7sus A 7sus D sus/B C 9/F 65 b b Bass ? œ. 7 ˙ 6 5 j 6 œ 8 œ. 8 b˙. 8 ˙ œ 8
65 D. S. 7 6 5 6 ã ’ ’ ’’’ 8 ’’’’’’’ 8 ’ ’ 8 ’ ’ ’ ’ ’ 8
167
Buried Treasures INTERLUDE 69 B Cl. # b & # 86 ∑ ∑ ∑ ∑
S. Sx. # 6 œ. & # 8 ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # 86 ∑ ∑ ∑ ∑
T. Sx. # 6 & # 8 ∑ ∑ ∑ ∑
69 B Tpt. b # 6 & # 8 ∑ ∑ ∑ ∑
Tbn. ? 6 8 ∑ ∑ ∑ ∑
69 Ac.Gtr. 6 & 8 ∑ ∑ ∑ ∑
69 Pno 6 & 8 ∑ ∑ ∑ ∑
? 86 ∑ ∑ ∑ ∑
69 Bass ? 6 œ bœ 8 j j j j œ œ œ. œ œ œ œ bœ. ˙. 69 accent bass line with improvised drumming D. S. 6 ã 8 ’ ’ ’ ’ ’ ’ ’ ’
168
Buried Treasures
73 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ’ ’ ’ ’ ∑ ˙.
A. Sx. # # ˙. & # ∑ ∑ ∑
T. Sx. # b˙. & # ∑ ∑ ∑
73 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
73
Ac.Gtr. & ∑ ∑ ∑ ∑
73
Pno & ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
73 Bass bœ nœ bœ ˙ œ bœ ? j j j œ œ œ. œ œ œ œ bœ.
73
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
169
Buried Treasures A MELODY 2ND TIME (SAX SOLI) 77 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## ˙ ˙ œ #œ ˙. & . J J ˙.
A. Sx. # # œ. œ. œ œ. œ. . & # Œ. œ J #˙
T. Sx. ## œ. œ. œ #œ œ. & Œ ‰ J œ. ˙.
77 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
77 Gsus2 Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
Gsus2 77 Pno j ∑ Œ. Œ & œœ ’ ’ ’ ’ j ? ∑ Œ. Œ œ œ ’ ’ ’ ’ 77 Gsus2 Bass ? œ jbœ j j œ œ œ J œ. œ œ œ œ œ œ J ˙ œ
77 vassi groove D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
170
Buried Treasures
81 B Cl. # b & # ∑ ∑ ∑ ∑
bœ S. Sx. # œ. œ ˙. œ. œ œ & # n˙. J ‰
˙ œ A. Sx. ### œ œ œ. nœ ˙. œ. nœ & J ‰
T. Sx. # nœ œ. ˙ œ #œ ˙. œ. & # nœ J Œ.
81 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
81 A 9sus b C m9 Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
A 9sus C m9 81 b Pno j bœ œ. ‰ bœ & ’ ’ ’ ’ bb œ œ. ’ ’ b œœ
bœ œ. œ bœ ? ’ ’ ’ ’ J ’ ’ J œ A 9sus C m9 81 b Bass ? ˙ œ j j œ œ œ œ. bœ ˙. œ. œ 81
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
171
Buried Treasures
85 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # n˙. œ. r # Œ œ œ ˙. ˙ œ ≈ & J œ
A. Sx. # # nœ. œ nœ ˙. œ œ. œ. & # J #˙ œ
T. Sx. # ˙ œ nœ ˙. #œ œ ˙. & # Œ. J
85 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
85 D m7( 5) b C m11 G maj7(#11) Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
C m11 G maj7( 11) 85 D m7(b5) # Pno bœ. j & œ. ’ ’ ’ bœ ##œ. ’ ’ ’
bœ. bœ . ? œ. ’ ’ ’ œ #œ. ’ ’ ’ J œ. D m7( 5) 85 b C m11 G maj7(#11) Bass j ? œ œ œ. œ. Œ #œ œ. œ. œ. J œ œ J
85
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
172
Buried Treasures
89 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # j # œ ‰ nœ. œ. œ. ˙. ˙. & J œ
A. Sx. # # . œ ˙. ˙. & # Œ. œ ˙ œ
T. Sx. # œ. ˙ œ nœ ˙. ˙. & # Œ.
89 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
89 E maj9( 11) Am11(b13) b # Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
E maj9( 11) Am11(b13) 89 b # Pno œ. & ’ œ. ’ ’ ˙. ’ ’ bœ. . ? b œ. ˙˙. ’ ’ ’ ˙. ’ ’ E maj9( 11) Am11(b13) 89 b # Bass ? œ bœ. œ. œ œ œ œ. j œ J œ. œ J J bœ œ
89
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
173
Buried Treasures
93 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. œ œ ## œ ˙ œ œ. & ∑ Œ. Œ J J
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
93 B Tpt. # b # ∑ Œ. Œ j œ j & œ ˙ œ œ. œ
Tbn. ? ∑ ∑ ∑ ∑
93 G A sus G 7 b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
G A sus G 7 93 b Pno j . bœ & ’ ’ ’ ’ œ. ’ ’ bœ œ j ? œ. bbœ œ ’ ’ ’ ’ œ. ’ ’ bœ œ G A sus G 7 93 b Bass ? œ. bœ. œ j œ j bœ j œ. œ œ J œ. œ œ œ
93
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
174
Buried Treasures
97 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # ˙. œ. œ ˙ œ. œ #œ & # Œ J œ J
œ A. Sx. ### nœ œ ˙. ˙. œ. œ J & Œ. J
T. Sx. œ œ. bœ #œ ## #œ ˙. ˙. & Œ. J J
97 B Tpt. b # j & # ˙. œ. Œ j ˙ #œ œ œ œ. œ
Tbn. ? ∑ ∑ ∑ ∑
97 A 7(11) b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
A 7(11) 97 b j Pno nœ & ’ ’ ’ ’ ’ ’ ’ ’ bbœ
? bœ ’ ’ ’ ’ ’ ’ ’ ’ bœ A 7J(11) 97 b Bass ? œ bœ j œ j j œ J œ œ œ. œ. œ J œ œ œ. œ 97
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
175
Buried Treasures ~2:07 101 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # ˙. œ œ ˙. œ œ œ & # Œ. ‰ ‰ Œ
A. Sx. # # ˙. œ. œ. ˙. & # ∑
T. Sx. # ˙. ˙. bœ. ˙. & # Œ ‰
101 B Tpt. # b # Œ Œ Œ & a˙ œ œ œ ˙. œ. œ œ œ. ˙. Tbn. ? ∑ ∑ Œ.
101 P C m9 D m7(b5) C m11 Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
C m9 C m11 101 D m7(b5)
Pno j œ bœ bœ. j & ’ ’ ’ œ b œœ œ. ’ ’ ’ bœ bœ bœ. bœ ? ’ ’ ’ ’ œ œ. ’ ’ ’ œ J m9 C m11 101 C Bass ˙. œ. œ ? œ œ. œ. ‰ J œ œ J œ
101
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
176
Buried Treasures
105 B Cl. # b & # ∑ ∑ ∑ ∑
. . S. Sx. # n˙. ˙ œ œ œ œ œ œ œ. & # ‰. R
A. Sx. # # ˙ œ. œ œ œ œ œ. œ. nœ. & # ∑ nœ œ. œ. T. Sx. # #œ. ˙ œ. œ bœ œ œ. & # Œ.
105 B Tpt. # b # ‰. r & n˙. ˙ œ œ œ œ œ. œ. œ. #œ. ˙. ˙. œ. Tbn. ? Œ. Œ.
105 G maj7( 11) E maj9 Gm7(b13) # G 7sus/C b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
G maj7( 11) G 7sus/C E maj9 Gm7(b13) 105 # b Pno j . . bœ. & ##œ. ’ ’ ’ œ œœ œœ. œœ. b œ. bœ œ. œ. ? #œ. œb œ œ. œ. œ. œ. ’ ’ ’ J œ. G maj7( 11) E maj9 Gm7(b13) 105 # G 7sus b Bass ? #œ œ. œ. . jbœ œ. œ. œ J œ œ œ.
105
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
177
Buried Treasures
109 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # ˙. ˙. œ & # ∑ Œ. Œ J œ A. Sx. # # ˙. ˙. & # ∑ Œ. Œ J nœ T. Sx. # ˙. ˙. J & # ∑ Œ. Œ
109 B Tpt. # b # ∑ ∑ & ˙. ˙.
Tbn. ˙. ˙. ? ∑ ∑
109 Am7(b13) Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
109 Am7(b13)
Pno & œ. ’ ’ ’ ’ ’ ’ ’
? œœ. œ. ’ ’ ’ ’ ’ ’ ’
109 Am7(b13) Bass ? œ œ œ œ. j œ. bœ. œ. œ J J œ œ œ.
109
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
178
B MELODY 2ND TIME Buried Treasures ~2:16 113 B Cl. # b & # ∑ ∑ ∑ ∑ 85
S. Sx. œ œ œ. œ. œ. #˙. ˙ # œ œ 5 & # ‰ J 8
œ œ œ. œ. œ. . A. Sx. # # nœ #˙ ˙ œ œ & # 85
œ nœ œ œ. œ. œ. #˙. ˙ œ T. Sx. # œ 5 & # 8
113 B Tpt. b # œ œ. œ. œ. #˙. œ. 5 & # œ J Œ ‰ 8
Tbn. œ. #˙. œ. œ ? ∑ Œ. J ‰ œ 5 J 8 113 j Ac.Gtr. #˙. œ œ œ. Œ. œ. # ˙. ∑ 5 & œ œ œ. œ. #˙. 8 bœ œ œ. 6 B 9 F maj13 D 7sus A maj7( 11)/E 113 b # Pno j œ œ œ. œ. œ. #œ. ˙. 5 & œœ œ œ. œ. œ. ##œ. ’ ˙. 8 œ œ œ. œ. ? bœ œ œ. œ. œ. œ. 5 J œ. . ’ ’ ’ 8 6 B 9 F maj13 D 7sus A maj7( 11) 113 b # Bass ? 5 bœ j ˙. ∑ 8 œ œ. œ. œ. 113 D. S. 5 ã ’ ’ ’ ’ ’ ’ ’ ’ 8
179
Buried Treasures
117 B Cl. # b & # 85 ∑ 86 ∑ ∑ ∑ 85 . S. Sx. n˙ ˙ # 5 nœ œ œ. 6 œ. œ. œ 5 & # 8 J J 8 ‰ J 8
. œ A. Sx. # # nœ œ . . nœ. ˙ ˙ œ & # 85 œ 86 œ 85
˙ œ nœ T. Sx. # 5 nœ œ œ. 6 œ. œ. ˙. 5 & # 8 8 8
117 B Tpt. œ b # 5 6 5 & # 8 ∑ 8 ∑ ∑ Ó ‰ J 8
Tbn. ? 5 bœ œ œ. 6 œ. œ. ˙. œ. œ ‰ 5 8 J J 8 8 117 Ac.Gtr. 5 œ bœ. 6 œ. œ ˙ 5 & 8 œ b œ. 8 œ. bœ. bœ . Œ. ˙. 8 bœ . b œ. œ . ˙.
6 6 B 9 Gm11(b13) A11(b9) A 9 A m7 117 b b Pno bœ œ 5 œ b œ. 6 œ. bœ. bœ. œ. 5 & 8 œœ œ. 8 œ. œ œ. ’ œ. ’ 8 œ . . œ. . bœ œ. œ. œ. b˙. ˙˙. ? 85 86 85 6 6 B 9 Gm11(b13) A11(b9) A 9 A m7 117 b b Bass ? 5 6 5 8 œ œ. 8 œ. œ. b˙. ˙. 8
117 D. S. 5 6 5 ã 8 ’ ’ ’ ’ ’ 8 ’ ’ ’ ’ ’ ’ 8
180
Buried Treasures
121 B Cl. # b & # 85 ∑ ∑ 86 ∑ 85 ∑ œ. œ S. Sx. œ # 5 œ œ. 6 #˙. 5 œ nœ & # 8 J J 8 8 Œ J nœ œ. œ A. Sx. # # œ œ. #˙. ‹œ œ œ & # 85 86 85 J
œnœ œ. œ T. Sx. # 5 œ. 6 #˙. 5 œ & # 8 8 8 Œ.
121 B Tpt. œ. œ #˙ ˙ b # 5 nœ œ œ. 6 . 5 œ & # 8 8 8 J
œ. œ Tbn. ? 5 œ. 6 ˙. 5 ˙ 8 Œ 8 8 ‰
121 Ac.Gtr. 5 Œ œ. Œ œ. 6 #˙. 5 ∑ & 8 bœ. bœ. 8 # ˙. 8
C m7/E G m9/F Emaj9( 11) 121 b # Pno 5 bœ. œ œ. 6 #œ. 5 & 8 ’’b œ. œ œ. 8 ## œ. ’ 8 ’ ’ ’ ’ ’
bœ. #œ. ? 85 ’’ bœ. œ œ 86 œ. ’ 85 ’ ’ ’ ’ ’ Emaj9( 11) 121 C m7 G m9 # Bass ? 5 œ. œ 6 5 ‰ 8 œ œ. 8 ˙. 8 œ œ 121 D. S. 5 6 5 ã 8 ’’ ’’’ ’’’’’ 8 ’ ’ 8 ’ ’ ’ ’ ’
181
Buried Treasures
125 B Cl. # b & # ∑ 78 ∑ 86 ∑ 85 ∑ 86
S. Sx. œ. ˙ ## nœ nœ 7 nœ. 6 ˙. 5 ˙ œ 6 & J J 8 8 8 J 8 nœ A. Sx. # # nœ œ. ˙ nœ. ˙. œ œ. & # J J 78 86 85 86
T. Sx. # nœ œ. 7 ˙ 6 5 œ. œ 6 & # nœ 8 nœ. 8 ˙. 8 8
125 B Tpt. # b # #œ #œ œ. 7 ˙ nœ. 6 ˙. 5 œ œ. 6 & J J 8 8 8 8 #œ. nœ. ˙ Tbn. ? 7 bœ. 6 b˙. 5 œ œ. 6 8 8 8 8
125 Ac.Gtr. œ. 7 œ. 6 bb˙. 5 ˙ 6 & Œ œ. 8 Ó œ. 8 b˙. 8 ˙ ‰ 8
6 Emaj9( 11) D 7sus B m7(b13)/D 125 # b b C 9 Pno bœ j j œ œ. 7 ˙ 6 . 5 6 & œ. 8 ˙ œ œ 8 bb˙. 8 ˙ œ 8
œ œ. ˙ b˙. ˙˙ œœ ? œ œ. 78 ˙ Œ ‰ 86 b ˙. 85 ˙ œ 86 J Emaj9( 11) D 7sus B m7(b13) 6 125 # b C 9 Bass ? œ. 7 ˙ 6 . 5 j 6 œ 8 œ. 8 b˙ 8 ˙ œ 8 125 D. S. 7 6 5 6 ã ’ ’’ ’’ 8 ’’’’’’’ 8 ’ ’ 8 ’’’’’ 8
182
Buried Treasures DRUM SOLO 129 B Cl. # b & # 86 ∑ ∑ ∑ ∑
S. Sx. # # 6 ˙. ˙ Œ Œ. Œ nœ ˙. & 8 J ˙. œ. A. Sx. ### 6 œ nœ. œ œ & 8 Œ. Œ. Œ J J
T. Sx. # 6 ˙. ˙. œ œ. œ œ & # 8 Œ. Œ J J
129 B Tpt. ˙ b # 6 ˙. œ . & # 8 ∑ Œ. Œ J
Tbn. ? 6 ˙. ˙. 8 ∑ ∑
129 Ac.Gtr. 6 & 8 ’ ’ ’ ’ ’ ’ ’ ’
129 Pno 6 & 8 ∑ ∑ ∑ ∑
? 86 ∑ ∑ ∑ ∑
129 Bass ? 6 œ bœ 8 j j j j œ œ œ. œ œ œ œ œ. ˙. 129 D. S. 6 ã 8 ’ ’ ’ ’ ’ ’ ’ ’
183
Buried Treasures
133 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # #˙. nœ. ˙ œ & # ˙. Œ.
A. Sx. # # nœ. ˙. & # ˙. ˙. Œ.
T. Sx. # œ. ˙. & # ˙. ˙. Œ ‰
133 B Tpt. # b & # ˙. ˙. ∑ Œ Œ œ
Tbn. bœ œ bœ ? ∑ ∑ ∑ J ‰
133 D Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
D 133 Pno b œ. & ∑ ∑ Œ ‰b œœ. ’ ’
œ. ? ∑ ∑ Œ ‰ œ. ’ ’
133 D Bass ? œ bœ œ j j j bœ nœ œ #œ œ. bœ œ ‰ œ œ œ. œ bœ 133
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
184
Buried Treasures
137 B Cl. # b & # ∑ ∑ ∑ ∑ nœ. S. Sx. # ˙. ˙. œ. œ. & # Œ.
A. Sx. # # œ. œ. ˙. œ. nœ. ˙. & #
T. Sx. # ˙. ˙. œ. nœ. ˙. & #
137 B Tpt. # b # ˙. ˙. œ. nœ bœ & J n˙. ˙ œ Tbn. . . bœ. bœ ? ˙. J ˙.
6 137 f G11(13) A 9 b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
11(13) 6 G A 9 137 b Pno nœ. œ. & ’ œ. ’ ’ ’ bœœ. ’ ’
. bœ. œ. b œ. ? ’ œ ’ ’ ’ ’ ’ 6 A 9 137 G11(13) b Bass ? œ bœ œ b˙ œ œ j j j œ œ œ. œ œ œ œ bœ. 137
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
185
Buried Treasures
141 B Cl. # b & # ∑ ∑ ∑ ∑ œ S. Sx. œ. ˙. bœ. œ # œ. œ J & # Œ. Œ J
A. Sx. # # œ. œ. ˙. œ. ˙. & # Œ.
T. Sx. # œ. œ. ˙. œ. ˙. & # Œ ‰
141 B Tpt. # ˙. œ. b # Œ. œ œ Œ j bœ. œ œ & J œ J ˙. œ. Tbn. ? œ œ Œ. J Œ. ∑
A maj9 141 Em11(b13) b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
Em11(b13) A maj9 141 b . Pno œ. bbœ. & ’ œ. ’ ’ ’ bœ. ’ ’
œ. œ. œ. œ. ? ’ œ. ’ ’ ’ ’ ’
Em11(b13)/G A maj9 141 b Bass ? œ bœ œ ˙ œ j j j bœ œ œ œ. œ œ œ œ bœ. 141
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
186
Buried Treasures SOPRANO SOLO 145 B Cl. # b & # ∑ ∑ ∑ ∑ A 7(#11)/E ˙. S. Sx. # & # ’ ’ ’ ’ ’ ’
A. Sx. # # & # ˙. ˙. ∑ ∑
T. Sx. # ˙. ˙. & # ∑ ∑
145 B Tpt. # b & # ˙. ˙. ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
145
Ac.Gtr. & ∑ ∑ ∑ ∑
G 7(#11)/D 145 Pno . & œœ. ’ ’ ’ ∑ ∑ . #œ. ? œ. ’ ’ ’ ∑ ∑
145 G 7(#11)/D Bass ? j j œ œ œ. ˙. œ œ œ. ˙.
145
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
187
Buried Treasures
149 B Cl. # b & # ∑ ∑ ∑ ∑ G7(#5#9)
S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
149 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
149
Ac.Gtr. & ∑ ∑ ∑ ∑
F7(#5#9) 149 Pno b œ nb œœ. & œ. ’ ’ ’ ’ ’ ’ ’ . #œ. ? œ ’ ’ ’ ’ ’ ’ ’ F7(#5#9) 149 Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
149
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
188
Buried Treasures
153 B Cl. # b & # ∑ ∑ ∑ ∑ G#m7(b13)/D# S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
153 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
153
Ac.Gtr. & ∑ ∑ ∑ ∑
F m7(b13)/C 153 # #
Pno œ. & #œ. ’ ’ ’ ’ ’ ’ ’
. ? ##œ. ’ ’ ’ ’ ’ ’ ’ F m7(b13)/C 153 # # Bass j j ? #œ œ œ. ˙. #œ œ œ. ˙.
153
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
189
Buried Treasures
157 B Cl. # b & # ∑ ∑ ∑ ∑ G maj13
S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
157 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
157
Ac.Gtr. & ∑ ∑ ∑ ∑
F maj13 157 Pno œ. & œœ. ’ ’ ’ ’ ’ ’ ’
œ. . ? œ ’ ’ ’ ’ ’ ’ ’ maj13 157 F Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
157
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
190
Buried Treasures ~3:12 161 B Cl. # b & # ∑ ∑ ∑ ∑ A 7(#11)/E S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
161 plunger B Tpt. # b & # ∑ ˙. ∑ ˙.
plunger Tbn. ˙. ˙. ? ∑ ∑
161
Ac.Gtr. & ∑ ∑ ∑ ∑
G 7(#11)/D 161
Pno œ . . . & #œœ. ’ œ ’ ’ ’ œ ’
œ. œ. œ. ? œ. ’ ’ ’ ’ ’ G 7( 11)/D 161 # Bass ? j j œ œ œ. ˙. œ œ œ. ˙.
161
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
191
Buried Treasures
165 B Cl. # b & # ∑ ∑ ∑ ∑ G7(#5#9)
S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
165 B Tpt. # b & # ∑ ˙. ∑ ˙.
Tbn. ˙. ˙. ? ∑ ∑
165
Ac.Gtr. & ∑ ∑ ∑ ∑
F7(#5#9) 165 Pno bœ . & bn œœ. ’ ˙. ’ ’ ˙. #œ . . ˙. ˙. ? œ ’ ’ ’ 7(#5#9) 165 F Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
165
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
192
Buried Treasures
169 B Cl. # b & # ∑ ∑ ∑ ∑ G#m7(b13)/D# S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
169 B Tpt. b ## & ∑ ˙. ∑ ˙.
Tbn. ˙. ˙. ? ∑ ∑
169
Ac.Gtr. & ∑ ∑ ∑ ∑
F m7(b13)/C 169 # #
Pno œ. & #œ. ’ œ. ’ ’ ’ ˙.
. œ. ˙. ? ##œ. ’ ’ ’ ’ F m7(b13)/C 169 # # Bass j j ? #œ œ œ. ˙. #œ œ œ. ˙.
169
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
193
Buried Treasures ~3:20 173 B Cl. # ˙. b & # ∑ ∑ ∑ G maj7(#11) S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑ ˙. T. Sx. # & # ∑ ∑ ∑
173 B Tpt. b ## & ∑ ˙. ∑ ˙.
Tbn. ˙. ˙. ? ∑ ∑
173
Ac.Gtr. & ∑ ∑ ∑ ∑
F maj7(#11) 173 Pno œ œœ. & œ . ’ ˙. œ. ’ œ. ’
. ˙. œ. œ. ? œ ’ ’ ’ F maj7( 11) 173 # Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
173
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
194
Buried Treasures SOPRANO SOLO 2ND HALF 177 B Cl. # œ. ˙. œ. ˙. b & # Œ. Œ.
Bm9(b13) S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑ œ. ˙. œ. ˙. T. Sx. # & # Œ. Œ.
177 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
177
Ac.Gtr. & Œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ
177 Am9(b13) Pno œ. & œ. ’ ’ ’ ’ ’ ’ ’
? #œ. œ. ’ ’ ’ ’ ’ ’ ’ Am9(b13) 177 Bass ? j j œ. ‰œ œ œ œ. œ. ‰œ œ œ œ.
177
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
195
Buried Treasures
181 B Cl. b # œ. ˙. œ. ˙. & # Œ. Œ.
6 G 9/B S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑ œ. T. Sx. # ˙. œ. ˙. & # Œ. Œ.
181 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
181 Ac.Gtr. œ œ œ œ œ œ œ œ & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ
6 181 F 9/A
Pno & œ. ’ ’ ’ ’ ’ ’ ’ œ. . ? œ. ’ ’ ’ ’ ’ ’ ’ œ6. F 9 181 Bass ? ‰ j ‰ j œ. œ œ œ œ. œ. œ œ œ œ.
181
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
196
Buried Treasures
185 B Cl. b # œ. ˙. œ. #œ œ & # Œ. Œ. #œ œ #œ J
6 B m9 B maj13 B maj7/F# S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
œ. ˙. œ. T. Sx. ## . . #œ œ & Œ Œ #œ. J 185 trumpet B Tpt. # b # ∑ ∑ ∑ œ j & œ œ #œ œ
Tbn. ? ∑ ∑ ∑ ∑
185 Ac.Gtr. œ œ œ œ œ œ #œ #œ œ & œ j œ j œ j œ j œ j œ j #œ œ œ œ œ œ œ œ J
6 maj7 185 A m9 A maj13 A /E j Pno œ. œ #œ & œ. ’ ’ ’ ’ ’ ##œ. # œ
. b˙ œ nœ ? #œ ’ ’ ’ ’ ’ ˙ œ œ œ.6 ˙ œ A m9 A maj13 A maj7/E 185
Bass ? ‰ j ‰œ œ j œ. œ œ œ œ. œ. œ. bœ œ 185
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
197
Buried Treasures
189 B Cl. b # ˙. ˙. & # ∑ ∑
Asus2 S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ˙. ˙. ˙. ∑
189 B Tpt. # b # ∑ & a˙. ˙. ˙.
Tbn. ? ∑ ∑ ∑ ∑
189 Ac.Gtr. œ œ œ œ œ œ & ˙ œ œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ
189 Gsus2
Pno & ’ ’ œ . ’ ’ ’ ’ ’ œœ.
? œ. ’ ’ œ. ’ ’ ’ ’ ’ Gsus2 189 Bass ? j j j j j j ˙. œ œ œ œ œ œ œ œ œ œ œ œ 189
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
198
Buried Treasures
193 B Cl. # ˙. ˙. b & # ∑ ∑
B m13 S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑ ˙. ˙. T. Sx. # & # ∑ ∑
193 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
193
Ac.Gtr. & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ
A m13 193 Pno œ. & œ. ’ ’ ’ ’ ’ ’ ’
? #œ. œ. ’ ’ ’ ’ ’ ’ ’ A m13 193 Bass ? j j œ. ‰ œ œ œ œ. œ. ‰ œ œ œ œ.
193
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
199
Buried Treasures
197 B Cl. # ˙. ˙ œ œ b & # ∑ ∑
Em13/B S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑ ˙. ˙. T. Sx. # & # ∑ ∑
197 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
197 Ac.Gtr. œ œ œ œ œ œ œ œ & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ
D m13/A 197
Pno œ. & œ. ’ ’ ’ ’ ’ ’ ’ œ. ? . œ. ’ ’ ’ ’ ’ ’ ’
197 D m13/F Bass ? ‰ j ‰ j œ. œ œ œ œ. œ. œ œ œ œ.
197
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
200
Buried Treasures
201 ~4:01 B Cl. b # ˙. ˙. #œ #œ œ & # ∑ #œ œ J
6 B m9 S. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑ ˙. ˙. T. Sx. ## #œ œ & ∑ #œ. J 201 B Tpt. # b # ∑ ∑ ∑ œ j & œ œ #œ œ trombone Tbn. #œ œ ? ∑ ∑ ∑ #œ. J
201 Ac.Gtr. œ œ œ œ œ œ #œ #œ œ & œ j œ j œ j œ j œ j œ j #œ œ œ œ œ œ œ œ J
6 6 maj13 E 9 201 A m9 A j Pno œ. œ #œ & œ. ’ ’ ’ ’ ’ ##œ. # œ
? #œ. #˙ œ nœ œ. ’ ’ ’ ’ ’ ˙ œ 6 6 201 A m9 A maj13 E 9
Bass ? ‰ j ‰ œ œ j œ. œ œ œ œ. œ. œ. bœ œ 201
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
201
Buried Treasures
205 B Cl. b ## ˙. ˙. ∑ œ nœ & œ nœ œ œ Asus2 œ nœ S. Sx. # œ œ œ œ & # ’ ’ ’ ’ ’ ’
A. Sx. # # & # ∑ ∑ ∑ ∑
œ nœ T. Sx. # œ nœ œ œ & # ˙. ˙. ˙.
205 B Tpt. # b # ∑ & a˙. ˙. ˙.
Tbn. ˙. ˙. ˙. ? ∑
205 Ac.Gtr. œ. œ œ œ œ œ œ œ œ. & J œ j œ j œ j œ j œ j œ. œ œ œ œ œ
205 Gsus2 œ bœ Pno œ bœ œ œ & ’ ’ œ . ’ ’ ’ œœ.
? œ. ’ ’ œ. ’ ’ ’ ’ ’ 205 Gsus2 Bass ? j j j j j j ˙. œ œ œ œ œ œ œ œ œ œ œ œ 205
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
202
Buried Treasures
209 TRUMPET SOLO B Cl. b # #œ œ œ #˙. & # J ‰ J ‰ J ‰ ∑ ∑ #œ œ ‰ œ ‰ ˙. S. Sx. # J J J & # ‰ ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
#œ œ œ ˙. T. Sx. # J J J & # ‰ ‰ ‰ ∑ ∑
209 B11 A 7(#11) B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ? ∑ ˙. ∑ ∑
209
Ac.Gtr. & ∑ ∑ ∑ ∑
A11 G 7(#11) 209 #œ œ ‰ œ ‰ Pno J J J œ. & ‰ œœ. ’ ’ ’ ’ ’
#˙. #œ. ? ˙. œ. ˙. œ ’ ’ ’ ’ ’ ( ) 209 A11 G 7 #11 Bass ? j j j #œ œ ‰ œ œ œ œ. ˙. œ œ œ.
209
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
203
Buried Treasures
213 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## & ∑ n˙. ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #˙. & # ∑ ∑ ∑
213 G7(#5#9) B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ? ∑ ˙. ∑ ∑
213
Ac.Gtr. & ∑ ∑ ∑ ∑
F7(#5#9) 213 Pno b˙ . & ’ ’ bn ˙˙. ’ ’ ’ ’ #˙ . . ? ’ ’ ˙ ’ ’ ’ ’ 7(#5#9) 213 F Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
213
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
204
Buried Treasures
217 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## & n˙. ˙. ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #˙. ˙. & # ∑ ∑
217 G#m7(b13)/D# B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ? ˙. #˙. ∑ ∑
217
Ac.Gtr. & ∑ ∑ ∑ ∑
F m7(b13)/C 217 # #
Pno œ. & ’ ’ #œ. ’ ’ ’ ’ ’
. ? ’ ’ ##œ. ’ ’ ’ ’ ’
217 F#m7(b13)/C# Bass j j ? ˙. #œ œ œ. ˙. #œ œ œ.
217
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
205
Buried Treasures
221 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## & ˙. ˙. ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #˙. ˙. & # ∑ ∑
221 G maj13 B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ? #˙. ˙. ∑ ∑
221
Ac.Gtr. & ∑ ∑ ∑ ∑
F maj13 221 Pno œ œœ. & ’ ’ œ . ’ ’ ’ ’ ’
. ? ’ ’ œ ’ ’ ’ ’ ’
221 F maj13 Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
221
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
206
Buried Treasures
225 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ˙. ∑ ˙. ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. & # ∑ ˙. ∑
225 A 7(#11)/E B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. ? ˙. ∑ ∑
225
Ac.Gtr. & ∑ ∑ ∑ ∑
G 7( 11)/D 225 #
Pno ˙ . . & ’ ’ #˙˙. œ ’ ’ ’
˙. œ. ? ’ ’ ˙. ’ ’ ’
225 G 7(#11)/D Bass ? ˙. j j œ œ œ. ˙. œ œ œ.
225
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
207
Buried Treasures
229 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## & ˙. n˙. ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #˙. & # ˙. ∑ ∑
229 G7(#5#9) B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. #˙. ? ∑ ∑
229
Ac.Gtr. & ∑ ∑ ∑ ∑
F7(#5#9) 229 Pno b˙ . & ’ ’ bn ˙˙. ˙. ’ ’ #˙ . . ˙. ? ’ ’ ˙ ’ ’
229 F7(#5#9) Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
229
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
208
Buried Treasures
233 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## & n˙. ˙. ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #˙. ˙. & # ∑ ∑
233 G#m7(b13)/D# B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ? ˙. #˙. ∑ ∑
233
Ac.Gtr. & ∑ ∑ ∑ ∑
F m7(b13)/C 233 # # Pno ˙. & ˙. #˙. œ. ’ ’ ’
˙. . œ. ? ##˙. ’ ’ ’
233 F#m7(b13)/C# Bass j j ? ˙. #œ œ œ. ˙. #œ œ œ.
233
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
209
Buried Treasures
237 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## & ˙. ˙. ˙. ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #˙. ˙. & # ˙. ∑
237 G maj13 B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
˙. Tbn. ? #˙. ˙. ˙.
237
Ac.Gtr. & ∑ ∑ ∑ ∑
F maj13 237 Pno ˙ ˙˙. & ’ ’ ˙ . œ. ’ ’ ’
. œ. ? ’ ’ ˙ ’ ’ ’ maj13 237 F Bass ? œ œ œ. ˙ œ œ œ œ. ˙. J #œ J
237
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
210
Buried Treasures TRUMPET SOLO 2ND HALF 241 B Cl. # ˙. œ. ˙. œ. b & # Œ. Œ ‰
S. Sx. # # Œ. ˙. Œ. & ˙. œ. œ.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. & # ˙. œ. ∑
6 241 B m9 B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. œ. ˙. ? Œ. ∑
241
Ac.Gtr. & ∑ Œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ 6 A m9 241 Pno ˙. & ’ ’ ˙. ˙. ’ ’
? #˙. ˙. ’ ’ ˙. ’ ’ 6 241 A m9 Bass ? ˙. j œ. ‰œ œ œ œ. œ. ‰œ
241
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
211
Buried Treasures
245 B Cl. b # ˙. œ. ˙. œ. & # Œ ‰ Œ ‰
S. Sx. # & # #˙. œ. Œ. ˙. œ. Œ.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. ˙. & # ∑ ∑
245 B sus B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. ˙. ? ∑ ∑
245 Ac.Gtr. œ œ œ œ œ œ & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ
A sus 245
Pno ˙. & ’ ’ ˙. ’ ’ ’ ’ ˙. ? . ’ ’ ˙. ’ ’ ’ ’
245 A sus/F Bass ? j ‰ j ‰ œ œ œ. œ. œ œ œ œ. œ. œ
245
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
212
Buried Treasures
249 B Cl. b # ˙. ˙. œ. & # ∑ Œ.
S. Sx. # & # ˙. ∑ #˙. ˙.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. ˙. ˙. & # ∑
6 249 B m9 B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. ˙. ˙. ? ∑
249 Ac.Gtr. œ œ & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ 6 A m9 249 Pno œ. & ’ ’ œ. ’ ’ ’ ’ ’
? #œ. ’ ’ œ. ’ ’ ’ ’ ’ 6 249 A m9 Bass ? j ‰ j ‰œ œ œ œ œ. œ. œ œ œ œ. œ.
249
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
213
Buried Treasures
253 B Cl. b # #œ #œ œ ˙. ˙. & # #œ œ J ∑
S. Sx. # # œ j & œ œ #œ œ ˙. ˙. ˙.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. ## #œ œ ˙. . . & #œ. J ˙ ˙ Asus2 253 B maj13 B maj7/F# B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. #œ œ ˙. ˙. ? #œ. J ∑
253 Ac.Gtr. œ #œ #œ œ ˙ œ œ œ œ œ & #œ J œ j œ j œ j œ j œ œ œ œ œ A maj13 A maj7/E Gsus2 253
Pno j œ b#œ ˙. & ##œ. œ ˙. ˙. ’ ’ . . ? b˙ œ nœ ˙. ˙˙. ˙ œ ˙. ’ ’ 253 A maj13 A maj7/E Gsus2 Bass ? j j j j j œ. bœ œ ˙. œ œ œ œ œ œ œ œ 253
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
214
Buried Treasures
257 B Cl. # ˙. œ. b & # ∑ ∑ Œ ‰
S. Sx. # ˙. œ. & # ∑ ∑ Œ.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. & # ∑ ∑ ∑
257 B m13 B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. ? ∑ ∑ ∑
257 Ac.Gtr. œ œ & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ A m13 257 Pno ˙. & ’ ’ ˙. ’ ’ ’ ’
? #˙. ’ ’ ˙. ’ ’ ’ ’
257 A m13 Bass ? j j j ‰ ‰ œ œ œ œ œ. œ œ œ œ. œ. œ 257
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
215
Buried Treasures
261 B Cl. b # ˙. œ. ˙. œ. & # Œ ‰ Œ ‰
S. Sx. # #˙. œ. ˙. œ. & # Œ. Œ.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. ˙. & # ∑ ∑
261 B sus B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. ˙. ? ∑ ∑
261 Ac.Gtr. œ œ œ œ œ œ & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ
A sus 261
Pno ˙. & ’ ’ ˙. ’ ’ ’ ’ ˙. ? . ’ ’ ˙. ’ ’ ’ ’
261 Bass ? j ‰ j ‰ œ œ œ. œ. œ œ œ œ. œ. œ
261
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
216
Buried Treasures
265 B Cl. b # ˙. ˙. œ. & # ∑ Œ.
S. Sx. # ˙. #˙. œ. & # ∑ Œ.
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. ˙. œ. & # ∑ Œ.
6 265 B m9 B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. ˙. ˙. œ. ? ∑ Œ.
265 Ac.Gtr. œ œ & œ j œ j œ j œ j œ j œ j œ j œ j œ œ œ œ œ œ œ œ 6 A m9 265 Pno œ. & ’ ’ œ. ’ ’ ’ ’ ’
? #œ. ’ ’ œ. ’ ’ ’ ’ ’ 6 265 A m9 Bass ? j ‰ j ‰ œ œ œ œ œ. œ. œ œ œ œ. œ.
265
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
217
Buried Treasures
269 B Cl. b # #œ #œ œ ˙. ˙. & # #œ œ J ∑ œ œ nœ œ œ ˙. S. Sx. # œ œ #œ œ ˙. J & # J Œ
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # ˙. # #œ œ ˙. Œ œ nœ œ œ & #œ. J J 269 B maj13 Asus2 B maj7/F# B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’
Tbn. #œ œ ˙. ? #œ. J ˙. ˙.
269 Ac.Gtr. œ #œ #œ œ ˙ œ œ œ œ œ & #œ J œ j œ j œ j œ j œ œ œ œ œ A maj13 A maj7/E Gsus2 269 Pno j j œ b#œ ˙. œ bœ œ œ ˙. & ##œ. œ ˙. œ . . . ? b˙ œ nœ ˙. ˙˙. ˙˙. ˙ œ ˙. ˙. 269 A maj13 A maj7/E Gsus2 Bass ? j j j j j œ. bœ œ ˙. œ œ œ œ œ œ œ œ 269
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
218
Buried Treasures
273 INTERLUDE (AFTER SOLOS) B Cl. b ## j œ ˙. ˙. & œ nœ œ œ ˙. œ ˙. S. Sx. # nœ œ œ œ # œ Œ bœ nœ œ œ ˙. & J
A. Sx. # # & # ∑ ∑ ∑ ∑
œ œ nœ ˙. T. Sx. # œ nœ œ œ nœ œ ˙. & # Œ J nœ
273 B Tpt. # b & # ’ ’ ’ ’ ∑ ∑
˙. ˙. Tbn. ? ∑ ∑
273 Ac.Gtr. œ œ. & œ j œ. ∑ ∑ ∑ œ
273 œ bœ œ. Pno œ bœ œ œ & Œ ‰ ’ ’ ’ ’
. ? ˙˙. ˙. ’ ’ ’ ’ ’ ’ 273 Bass ? œ bœ j j j j j j œ œ œ œ œ œ œ. œ œ œ œ œ. 273
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
219
Buried Treasures
277 B Cl. b ## & ˙. ˙. ˙. #˙.
S. Sx. ˙. # #œ. œ. œ. & # ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑ #œ. œ. œ. ˙. T. Sx. # & # ∑ ∑
277 B Tpt. b # #œ. œ. œ. & # ∑ ∑ ∑
Tbn. ˙. ˙. b˙. ? ∑
277
Ac.Gtr. & ∑ ∑ ∑ ∑
277 Pno œ ˙. Œ bœ nœ œ & ’ ’ ’ ’ J
? ’ ’ ’ ’ ’ ’ ’ ’
277 Bass j bœ j nœ j ? j . ˙. œ œ bœ bœ œ bœ œ bœ.
277
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
220
Buried Treasures
281 B Cl. # b & # j Œ. ‰ œ nœ 85 bœ j 86 ˙. œ. nœ nœ œ . œ. S. Sx. # # ∑ ∑ Œ. ‰ œ nœ 5 bœ j 6 & 8 nœ œ 8
A. Sx. # # & # ∑ ∑ ∑ 85 ∑ 86
T. Sx. ## . œ nœ 5 j 6 & ∑ ∑ Œ ‰ 8 bœ nœ œ 8 281 B Tpt. b # 5 6 & # ∑ ∑ ∑ 8 ∑ 8
Tbn. ? b˙. œ. œ . 5 6 œ ‰ ∑ 8 ∑ 8
281 Ac.Gtr. 5 6 & ∑ ∑ ∑ 8 ∑ 8
281 Pno ˘ b˙. œ. bœ œ ‰ Œ. ‰ œ bœ 5 j 6 & 8 bœ bœ œ 8 œ bœ ? Œ. ‰ 5 bœ bœ œ 6 ’ ’ ’ ’ 8 J 8 281 Bass ? j nœ bœ 5 bœ 6 j bœ œ Œ ‰ bœ 8 bœ œ 8 ˙. œ œ J 281 D. S. 5 6 ã ’ ’ ’ ’ ’ ’ 8 ’ ’ ’’’ 8
221
Buried Treasures
285 B Cl. # b & # 86 ∑ ∑ n˙. #˙.
S. Sx. . #œ. # 6 #œ. ‰ œ & # 8 n˙. ‰ ∑ ∑
A. Sx. # # & # 86 ∑ ∑ ∑ ∑
T. Sx. # 6 #œ #œ & # 8 n˙. #œ ‰ ‰ ∑ ∑
285 B Tpt. œ #œ b # 6 #œ ‰ & # 8 n˙. ‰ ∑ ∑
#˙. Tbn. ? 6 b˙. 8 ∑ ∑
285 Ac.Gtr. 6 & 8 ∑ ∑ ∑ ∑
285 Pno 6 ∑ & 8 #œ. œ. ’ ’ ’ ’ b˙. ? 86 b˙. #œ. œ. ’ ’ ’ ’
285 Bass ? 6 œ bœ 8 b˙. #˙. j j j œ œ œ. œ œ 285 D. S. 6 ã 8 ’ ’ ’ ’ ’ ’ ’ ’
222
Buried Treasures Piano build starts 289 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # # ∑ Œ. j j bœ nœ œ Œ. bœ. & nœ œ #œ J
A. Sx. # # j nœ. & # ∑ ∑ ∑ #œ nœ
T. Sx. œ bœ. ## œ #œ nœ & ∑ J J ∑ Œ.
289 B Tpt. # nœ bœ. b # ∑ ∑ j bœ nœ œ #œ & #œ J J œ #œ œ. œ. Tbn. ? œ bœ œ. #œ. #œ. Œ. J J
289
Ac.Gtr. & ∑ ∑ ∑ ’ ’
289
Pno Œ ‰ ‰ j bœ. & ’ ’ ’ ’ œ #œ bœ
? j j bœ œ #œ bœ bœ. j bœ œ #œ J ’ ’ œ œ œ J 289 Bass ? j œ j bœ. j j bœ œ #œ bœ j bœ. #œ bœ œ œ œ J #œ bœ 289
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
223
Buried Treasures A MELODY 3RD TIME 293 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # œ & # ˙ œ bœ. œ. ˙. œ. Œ.
œ. . A. Sx. # # ˙. œ . & # ∑ Œ. œ
T. Sx. # & # ∑ ∑ Œ. ’ ’ ’
293 B Tpt. b # œ & # ˙ œ bœ. œ. ˙. œ. Œ.
Tbn. ˙. ˙. œ. œ. ? Œ. œ.
293 G sus
Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
G sus 293 j Pno œ & ˙. ’ ’ œ ’ ’ ’ ’ j ? œ ’ ’ ’ ’ œ ’ ’ ’ ’ G sus 293 Bass ? œ jbœ j j œ œ J œ. œ œ œ œ œ œ. œ. œ J
293
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
224
Buried Treasures
297 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## ˙ œ œ œ ˙. œ œ & bœ. œ J Œ ‰ ‰
A. Sx. # # ˙. bœ ˙. & # Œ. Œ J ∑
T. Sx. # # Œ. Œ bœ ˙. ∑ & ’ ’ J 297 B Tpt. b # ˙ œ œ œ. nœ ˙. œ œ & # œ J Œ. ‰
Tbn. ? ˙. œ. #œ ˙. Œ J ∑ A 11 297 b C m9 Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
A 11 C m9 297 b j j Pno œ œ bœ & ’ ’ ’ ’ bbœ ’ ’ ’ œ b œœ
? bœ œ bœ ’ ’ ’ ’ bœ ’ ’ ’ œ œ AJ11 J C m9 297 b Bass ? œ bœ ˙. œ. œ j j œ J J œ œ œ œ. œ 297
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
225
Buried Treasures
301 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # œ œ #˙. ˙ & # b˙ œ œ. Œ ‰ œbœ
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # œ. œ. nœ. œ. #˙. & # Œ. Œ.
301 B Tpt. #˙ b # œ œ . & # b˙. œ. Œ ∑
œ. Tbn. ? #œ. ˙. Œ. œ. #˙.
D m7( 5) 301 b C m9 G maj7(#11) Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
D m7(b5) C m9 G maj7( 11) 301 #
Pno bœ. j & œ. ’ ’ ’ bœ ##˙. ’ ’
bœ. bœ . ? œ. ’ ’ ’ œ #˙. ’ ’ J ˙. D m7( 5) C m9 G maj7( 11) 301 b # Bass ? œ œ. œ. ‰ #œ œ. œ. œ. œ J œ œ J
301
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
226
Buried Treasures
305 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # œ œ. ˙. ˙. & # œ œ nœ. œ ‰ F#m7(b13) A. Sx. # # & # ∑ ∑ ’ ’ ’ ’
T. Sx. # ˙. ˙. & # ∑ ∑
305 B Tpt. œ œ œ. b # œ œ œ ˙. ˙. & # Œ. Œ
˙ œ Tbn. #œ. aœ. œ. . . ? Œ.
E maj9 Am7(b13) 305 b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
E maj9 Am7(b13) 305 b Pno bœ. & ’ œ. ’ ’ œ. ’ ’ ’ bœ. . ? b œ. œœ. ’ ’ ’ œ. ’ ’ ’ E maj9 305 b Am7(b13) Bass ? œ bœ. œ. œ œ œ œ. j œ J œ. œ J J bœ œ
305
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
227
Buried Treasures
309 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## œ ˙ œ nœ œ & ∑ Œ. Œ J bœ. J
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
309 B Tpt. # b & # ∑ ∑ ∑ ∑
˙ bœ œ Tbn. œ œ bœ. ? ∑ Œ. Œ J J
A sus 309 G b G Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
G A sus G 309 b Pno j . bœ & ’ ’ ’ ’ œ. ’ ’ bœ œ j ? œ. bbœ œ ’ ’ ’ ’ œ. ’ ’ bœ œ A sus 309 G b G Bass ? œ. bœ. œ j œ j bœ j œ. œ œ J œ. œ œ œ
309
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
228
Buried Treasures
313 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. ## ˙. œ ˙ œ nœ bœ & Œ. Œ J bœ. J
A. Sx. # # œ. œ. . œ bœ & # ∑ ˙. œ J
T. Sx. # j œ ˙ & # Œ œ œ J œ. Œ. Œ ∑
313 B Tpt. b # j œ ˙. & # Œ œ œ J œ. œ. ∑
˙. Tbn. ? Ó. ˙. ∑
A 7sus 313 b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
A 7sus 313 b j Pno œ & ’ ’ ’ ’ ’ ’ ’ ’ bbœ
? bœ ’ ’ ’ ’ ’ ’ ’ ’ bœ A 7Jsus 313 b Bass ? œ bœ j œ j j œ J œ œ œ. œ. œ J œ œ œ. œ 313
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
229
Buried Treasures
317 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # ˙. œ nœ œ ˙. œ œ œ & # ‰ ‰ ‰ Œ
A. Sx. # # œ. & # nœ. œ. œ œ œ ˙. ∑
T. Sx. # œnœ & # ∑ ∑ b˙ Œ Œ. Œ
317 B Tpt. b˙. b # œ nœ œ œ & # ∑ Œ. ‰ Œ. Œ
Tbn. #˙. ? ∑ #˙. ∑
C m11 317 C m9 D m7(b5) Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
C m9 D m7(b5) C m11 317
Pno bœ bœ. j & ’ ’ ’ ’b œœ œ. ’ ’ ’ bœ bœ bœ. bœ ? ’ ’ ’ ’ œ œ. ’ ’ ’ œ J 317 C m9 D m7(b5) C m11 Bass ˙. œ. œ ? œ œ. œ. ‰ J œ œ J œ
317
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
230
Buried Treasures
321 B Cl. # b & # ∑ ∑ ∑ ∑
. . S. Sx. # #˙. ˙ œ œ œ œ œ œ œ. & # ‰ ≈ R
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #˙. & # ∑ ∑ ∑ 321 . . œ. B Tpt. nœ œ œ œ b # #˙. a˙ œ œ & # ‰ ≈ R
#˙. aœ. Tbn. ? Œ. ∑ ∑
D m11E maj9 Gm7(b13) 321 G maj7(#11) b Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
G maj7(#11) D m11 E maj9 Gm7(b13) 321 b Pno j bœ. & ##œ. ’ ’ ’ œ œœ ’ ’ b œ. bœ ? #œ. œb œ œ. œ. ’ ’ ’ J ’ ’ œ. G maj7( 11) D m11 E maj9 Gm7(b13) 321 # b Bass ? #œ œ. œ. . jbœ œ. œ. œ J œ œ œ.
321
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
231
Buried Treasures
325 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # ˙. ˙. œ & # ∑ Œ. Œ J . œ. nœ œ. A. Sx. # # nœ. œ. & # ∑ Œ. œ. nœ. œ. T. Sx. # œ. œ. œ. œ. & # Œ. 325 ˙. ˙. B Tpt. # œ b & # ∑ Œ. Œ J
œ. œ. ˙. Tbn. ? œ. œ. bœ. œ.
m7(b13) 325 A
Ac.Gtr. & ’ ’ ’ ’ ’ ’ ’ ’
m7(b13) 325 A
Pno & œ. ’ ’ ’ ’ ’ ’ ’
? œœ. œ. ’ ’ ’ ’ ’ ’ ’
325 Am7(b13) Bass ? œ œ œ œ. j œ. bœ. œ. œ J J œ œ œ.
325
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
232
Buried Treasures B MELODY 3RD TIME 329 B Cl. # b & # ∑ ∑ ∑ ∑ 85 . . S. Sx. œ œ œ. œ. nœ ˙ ˙ # œ œ 5 & # ‰ J 8
A. Sx. # nœ. ˙. ˙ ## œ œ œ œ. œ. ‰ œ 5 & J 8 #˙. œ. nœ T. Sx. # œ œ œ. œ. œ. ‰ œ 5 & # J 8
329 nœ. B Tpt. œ œ œ œ. œ. b # œ 5 & # ˙. œ. œ ‰ 8
œ œ œ. œ. œ. #˙. aœ. Tbn. ? J 5 Œ. 8
329 j Ac.Gtr. #˙. œ œ œ. Œ. œ. # ˙. ∑ 5 & œ œ œ. œ. #˙. 8 bœ œ œ. 6 B 9 F maj13 D A maj7( 11)/E 329 b # Pno j œ œ œ. #œ. 5 & œœ œ ’ ’ œ. ##œ. ’ ’ ’ 8
? bœ œ œ. œ. 5 J ’ ’ œ. . ’ ’ ’ 8 6 B 9 D A maj7( 11) 329 b F maj13 # Bass ? 5 bœ j ˙. ∑ 8 œ œ. œ. œ. 329 D. S. 5 ã ’ ’ ’ ’ ’ ’ ’ ’ 8
233
Buried Treasures
333 B Cl. # b & # 85 ∑ 86 ∑ ∑ ∑ 85 . S. Sx. n˙ ˙ œ # 5 nœ œ œ. 6 œ. œ. œ 5 & # 8 J J 8 8
A. Sx. # n˙. ˙. ## 5 nœ œ œ. 6 œ. œ. 5 & 8 J J 8 8
T. Sx. # 5 œ nœ. 6 œ. œ. ˙. ˙. 5 & # 8 8 8
333 nœ. B Tpt. ˙ b # 5 nœ œ œ. 6 Nœ. . œ œ. 5 & # 8 J J 8 ‰ 8
œ bœ. Aœ. œ. ˙ Tbn. ? 5 6 b˙. 5 8 8 Œ 8
333 Ac.Gtr. 5 œ bœ. 6 œ. œ ˙ 5 & 8 œ b œ. 8 œ. bœ. bœ . Œ ‰ ˙. 8 bœ . b œ. œ . ˙.
6 6 B 9 Gm11(b13) A11(b9) A 9 A m7 333 b b Pno bœ 5 œ b œ. 6 bœ. bœ. œ. 5 & 8 œœ œ. 8 ’ œ œ. ’ œ. ’ 8 . œ. . bœ œ. œ. bœ. œœ. ? 85 86 ’ ’ ’ 85 6 6 333 B 9/F Gm11(b13) A11(b9) A 9 A m7 b b Bass ? 5 6 5 8 œ œ. 8 œ. œ. b˙. ˙. 8
333 D. S. 5 6 5 ã 8 ’ ’ ’ ’ ’ 8 ’ ’ ’ ’ ’ ’ 8
234
Buried Treasures
337 B Cl. # b & # 85 ∑ ∑ 86 ∑ 85 ∑ œ. œ. S. Sx. œ # 5 œ œ 6 n˙. 5 œ œ & # 8 J J 8 8 Œ J
œ. œ. œ A. Sx. ### 5 œ œ 6 n˙ 5 œ J & 8 J J œ 8 . 8 Œ
T. Sx. # 5 œ œ. œ. 6 #˙. 5 œ nœ & # 8 nœ 8 8 Œ J 337 œ. œ B Tpt. œ œ b # 5 œ. 6 n˙. 5 œ œ œ & # 8 J J 8 8 J
œ œ. œ œ. #˙. a˙ Tbn. ? 5 6 5 8 8 8 ‰
337 Ac.Gtr. 5 Œ œ. Œ œ. 6 #˙. 5 ∑ & 8 bœ. bœ. 8 # ˙. 8
E 6 Emaj9( 11) 337 b # Pno 5 œ bœ. œ œ. 6 #˙. 5 ˙ ‰ & 8 œ b œ. œ œ. 8 ## ˙. 8 ˙ . œœ œ œ bœ. #˙. ˙ ? 85 bœ. œ œ 86 ˙. 85 ˙ ‰ E 6 Emaj9( 11) 337 b # Bass ? 5 œ. œ 6 5 ‰ 8 œ œ. 8 ˙. 8 œ œ 337 D. S. 5 6 5 ã 8 ’’’’’ ’’’’’ 8 ’ ’ 8 ’ ’ ’ ’ ’
235
Buried Treasures
341 B Cl. # b & # ∑ 78 ∑ 86 ∑ 85 ∑
S. Sx. # #œ nœ œ. 7 ˙ 6 5 œ. œ & # J J 8 nœ. 8 ˙. 8 œ. ˙ A. Sx. # # #œ nœ nœ. ˙. œ œ. & # J J 78 86 85
T. Sx. # nœ œ œ. 7 ˙ 6 5 œ. œ & # J J 8 nœ. 8 ˙. 8
341 B Tpt. œ ˙ b # nœ œ . 7 6 5 œ œ. & # J J 8 nœ. 8 a˙. 8
œ. œ œ œ. Tbn. ? 7 œ J œ œ. bœ 6 b˙. 5 Œ 8 J J J 8 8
341 Ac.Gtr. œ. 7 œ. 6 bb˙. 5 ˙ & Œ œ. 8 Ó œ. 8 b˙. 8 ˙ ‰
6 D 7sus B m11/A C 9 341 b b Pno j j Œ œ. 7 ˙ 6 . 5 & œ. 8 ˙ œ œ 8 bbœ. ’ 8 ˙ œ
œ. ˙ bœ. ˙˙ œœ ? Œ œ. 78 ˙ ’’’ 86 ’ 85 ˙ œ 6 J D 7sus B m11 C 9/F 341 b Bass ? œ. 7 ˙ 6 5 j œ 8 œ. 8 b˙. 8 ˙ œ
341 D. S. 7 6 5 ã ’ ’ ’ ’ ’ 8 ’’’ ’’’’ 8 ’ ’ 8 ’’’’’
236
Buried Treasures
345 B Cl. # b & # ∑ ∑ 78 ∑ 86 ∑
S. Sx. œ. ˙ b˙. ## œ. œ œ nœ œ 7 nœ 6 & J J J J 8 . 8 nœ œ. ˙ n˙. A. Sx. # # œ œ œ œ nœ. & # J J J 78 86
T. Sx. œ ˙ b˙. ## œ. œ œ œ œ . 7 œ. 6 & J J J J 8 8
345 B Tpt. œ. ˙ b˙. b # œ nœ œ 7 6 & # Œ Œ J J J 8 nœ. 8
œ bœ. ˙ Tbn. ? 7 bœ. 6 b˙. Œ Œ. 8 8
345 Ac.Gtr. 7 6 & ∑ ∑ 8 ∑ 8 ∑
A 9sus B m11/A 345 b b b Pno bœ ˙ j Œ b œ. 7 ˙ 6 . & ’ ’ ’ ’ ’ œ. 8 ˙ œ œ 8 bbœ. ’
? œ. 7 ˙ 6 bbœœ. ’ ’ ’ ’ ’ Œ bœ. 8 ˙ ’ ’ ’ 8 ’ A 9sus B m11 345 b b Bass ? Œ Œ j 7 6 œ bœ bœ. 8 ˙ œ. 8 b˙.
345 D. S. 7 6 ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 8 ’’’’’ ’ ’ 8 ’ ’
237
Buried Treasures
349 B Cl. # b & # 85 ∑ ∑ ∑ 78 ∑
S. Sx. œ. œ œ. œ œ. ˙ œ. # 5 œ nœ œ 7 & # 8 J J J J 8 œ œ. œ œ nœ œ. A. Sx. # # œ œ œ. ˙ & # 85 J J J 78
œ. œ œ. œ œ œ œ. ˙ T. Sx. # 5 œ 7 œ. & # 8 J J J J 8
349 B Tpt. œ œ. œ. œ œ. ˙ œ. b # 5 œ nœ œ 7 & # 8 J J J J 8
œ. œ. Tbn. ? 5 œ œ. œ œ. 7 ˙ 8 Œ Œ J 8
349 Ac.Gtr. 5 7 & 8 ∑ ∑ ∑ 8 ∑
6 7sus 349 C 9 D Pno j j 5 Œ œ. 7 ˙ & 8 ˙ œ ’’ ’ ’ ’ œ. 8 ˙ œ œ
˙˙ œœ œ. œ. ? 85 ˙ œ ’’ ’ ’ ’ Œ œ. 78 œ. ’’’’ J 349 D 7sus Bass ? 5 j j œ. 7 ˙ 8 ˙ œ ˙ œ œ 8 œ.
349 D. S. 5 7 ã 8 ’’ ’ ’ ’ ’’ ’ ’ ’ ’ ’’ ’’ 8 ’’’’’’’
238
Buried Treasures
353 OUTRO B Cl. # b & # 86 ∑ 85 ∑ 86 ∑ ∑
S. Sx. # 6 n˙. 5 6 & # 8 8 œ. œ 8 œ. Œ ‰ ∑ n˙. A. Sx. # # œ œ. œ. & # 86 85 86 Œ. ∑
b˙. œ. œ T. Sx. # 6 5 6 œ. & # 8 8 8 Œ. ∑
353 B Tpt. b # 6 n˙. 5 6 & # 8 8 œ. œ 8 œ. Œ. ∑
Tbn. ? 6 b˙. 5 6 8 8 œ œ. 8 œ. Œ. ∑
353 Ac.Gtr. 6 5 6 & 8 ∑ 8 ∑ 8 ∑ ∑
D sus 6 353 b F 9 Pno 6 5 j 6 & 8 b˙. 8 ˙ œ 8 œ. ’ ’ ’ b ˙. ˙ œ œ. . j ? 6 bb˙. 5 ˙ œ 6 œ. 8 8 ˙ œ 8 œ. ’ ’ ’ 6 D sus F 9 353 b Bass ? 6 5 6 œ bœ 8 b˙. 8 ‰ 8 j j j ˙ œ œ œ. œ œ 353 D. S. 6 5 6 ã 8 ’ ’ 8 ’’ ’ ’ ’ 8 ’ ’ ’ ’
239
Buried Treasures
357 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ∑ ∑ ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
357 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
357
Ac.Gtr. & ∑ ∑ ∑ ∑
D /F D sus 357 b Pno Œ. . . & œ. b˙. ˙. ’ ’
b˙. ˙˙. ? ’ ’ ˙ ˙. ’ ’
D /F 357 b D sus Bass ? œ bœ œ j j j œ œ œ. ˙. œ œ œ. œ œ 357
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
240
Buried Treasures
361 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ∑ ∑ ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
361 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
361
Ac.Gtr. & ∑ ∑ ∑ ∑
361
Pno & ’ ‰ Û Û Û Û Û ’ ’ ’ ’ J J
? ’ Ó ’ ’ ’ ’ ’ ’
361 Bass ? b˙ œ œ œ bœ j j j j œ œ œ. œ œ œ. œ œ 361
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
241
Buried Treasures
365 B Cl. # b & # ∑ ∑ ∑ ∑
S. Sx. # & # ∑ ∑ ∑ ∑
A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
365 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
365
Ac.Gtr. & ∑ ∑ ∑ ∑
365
Pno & ’ ’ ’ ’ ’ ’ ’ ’
? ’ ’ ’ ’ ’ ’ ’ ’
365 Bass ? œ bœ œ j j j œ œ œ. ˙. œ œ œ. œ œ 365
D. S. ã ’ ’ ’ ’ ’ ’ ’ ’
242
Brothers
intro (‰=340) Alto Sax # # 5 & # 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tenor Sax # & # 85 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Trumpet in B # 5 b & # 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
trombone ? 5 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Guitar 5 & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ œ œ œ œ œ œ 5 #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ & 8 J J J J J J J J Piano ? 5 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass Guitar ? 5 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Drum Set ã 85 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Percussion 5 ã 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
243
Brothers
9 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
9 B Tpt. # b & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
9
Gtr & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
9 œ œ œ œ œ œ œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ & J J J J J J J J Pno.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
9 intro fill Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ’’’’’ ’’’’’
9 D. S. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
9 Perc. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
244
Brothers
17 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. œ. œ œ. œ. œ . . T. Sx. # #œ œ œ & # ∑ ∑ Œ Œ Œ
17
B Tpt. b # œ. œ œ. œ #œ. œ aœ. œ & # ∑ ∑ œ. œ œ. œ
Tbn ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
17
Gtr & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
17 œ œ œ œ œ œ œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ & J J J J J J J J Pno.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
17 improvise matching piano Bass ? ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’
17 D. S. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
17 Perc. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
245
Brothers
25 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. T. Sx. # #œ. aœ. œ œ œ. œ œ œ. œ & # Œ Œ. ∑ ∑
25 B Tpt. # œ. œ œ. œ b & # œ. œ œ. œ #œ. œ œ. œ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
25
Gtr & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
25 œ œ œ œ œ œ œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ & J J J J J J J J Pno.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
25 Bass ? ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’ ’’’’’
25 D. S. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
25 Perc. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
246
Brothers Rhtyhm Section in 33 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
33 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑
33 Gtr j j & #œ œ œ j #œ œ œ j #œ œ œ #œ œ œ Improvise in B Aeolian 33 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
33 Bass ? œ œ œ. #œ œ. œ. œ œ. 33 x x x x x x D. S. x j œ œ œ œ j œ J œ œ ã œ œ J J œ œ œ œ J œ œ 33 Perc. ã ∑ ∑ ∑ ∑
247
Brothers
37 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
37 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑
37 Gtr j j & œ œ j #œ œ œ j œ œ œ œ #œ œ œ
37 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
37 Bass ? j œ. œ œ œ œ œ œ. œ œ. 37 x x x x x x D. S. j œ œ œ œ j œ œ œ œ ã œ œ J J œ œ œ œ J J œ œ 37 Perc. ã ∑ ∑ ∑ ∑
248
Brothers
41 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
41 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑
41
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
41 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
41 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
41 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
41 Perc. ã ∑ ∑ ∑ ∑
249
Brothers
45 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
45 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑
45
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
45 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
45 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
45 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
45 Perc. ã ∑ ∑ ∑ ∑
250
Brothers
A Melody 49 A. Sx. # # & # ∑ ∑ ∑ ∑ œ T. Sx. # #œ. œ œ. œ œ. œ œ œ œ & # J J J
49 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn œ ? #œ. œ œ. œ œ. œ œ œ œ legato J J J f 49
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
49 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
49 Bass ? œ œ œ. #œ œ. œ. œ œ. 49 x x x D. S. j œ œ œ œ ã œ œ J J œ œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 49 Perc. ã ∑ ∑ ∑ ∑
251
Brothers
53 A. Sx. ### œ #œ œ œ j & ∑ ∑ ‰ J J œ œ œ. œ œ. œ œ œ T. Sx. ## J #œ œ œ œ & ‰ J J 53 B Tpt. #œ b # œ œ #œ j & # ∑ ∑ ‰ J J œ œ
Tbn ? œ. œ œ. œ ∑ ∑
53
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
53 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
53 Bass ? j œ. œ œ œ œ œ œ. œ œ. 53 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
53 Perc. ã ∑ ∑ ∑ ∑
252
Brothers
57 A. Sx. # # & # ∑ ∑ ∑ ∑ œ T. Sx. # #œ. œ aœ. œ œ. œ œ œ œ & # J J J
57 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn œ ? #œ. œ œ. œ œ. œ œ œ œ J J J
57
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
57 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
57 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
57 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
57 Perc. ã ∑ ∑ ∑ ∑
253
Brothers
61 A. Sx. ### œ #œ œ œ j & ∑ ∑ ‰ J J œ œ œ. œ œ. œ T. Sx. ## #œ œ œ œ œ œ & ‰ J J J 61 B Tpt. #œ b # œ œ #œ j & # ∑ ∑ ‰ J J œ œ
Tbn ? œ. œ œ. œ ∑ ∑
61
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
61 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
61 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
61 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
61 Perc. ã ∑ ∑ ∑ ∑
254
Brothers
65 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #œ œ œ #œ. œ œ. œ #œ œ œ & # ‰ J J ‰ J J
65 B Tpt. # b & # ∑ ∑ œ. œ œ. œ
Tbn œ. ? ∑ ∑ aœ. œ œ œ J J
65
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
65 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
65 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
65 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
65 Perc. ã ∑ ∑ ∑ ∑
255
Brothers
69 A. Sx. # # & # ∑ ∑ ∑ ∑ œ. œ T. Sx. # #œ œ œ #œ j & # ∑ ‰ J J œ œ
69 B Tpt. #œ b # œ #œ. œ œ œ #œ j & # œ. ‰ J J œ œ
Tbn œ. œ œ. œ ? ∑ ∑
69
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
69 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
69 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
69 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
69 Perc. ã ∑ ∑ ∑ ∑
256
Brothers
73 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #œ œ œ #œ. œ œ. œ #œ œ œ & # ‰ J J ‰ J J
73 B Tpt. # b # ‰ œ j œ œ. œ œ. œ œ. œ & J #œ
Tbn œ ? #œ. œ œ. œ aœ. œ œ œ œ J J J
73
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
73 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
73 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
73 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
73 Perc. ã ∑ ∑ ∑ ∑
257
Brothers
77 A. Sx. # # & # ∑ ∑ ∑ ∑ œ. œ T. Sx. # #œ œ œ #œ j & # ∑ ‰ J J œ œ
77 œ B Tpt. #œ œ #œ #œ b # œ œ œ #œ j & # Œ. J J J J œ œ
Tbn ? œ #œ. aœ. œ ∑ ∑
77
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
77 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ &
77 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
77 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
77 Perc. ã ∑ ∑ ∑ ∑
258
Brothers
81 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #œ œ œ #œ. œ aœ. œ #œ œ œ & # ‰ J J ‰ J J
81 B Tpt. # #œ œ. œ. œ œ. œ #œ œ œ b & # ‰ J ‰ J J
Tbn ? ∑ #œ. œ œ. œ ∑
81
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
81 œ œ œ œ #œ #œ J œ #œ œ #œ J œ #œ œ & œ œ œ œ J ‰ J Pno. J J J j j & œ #œ œ #œ Œ j Œ j #œ œ œ œ # œ œ # œ œ œ # œ œ œ 81 œ #œ œ œ Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
81 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
81 Perc. ã ∑ ∑ ∑ ∑
259
Brothers
85 A. Sx. # # & # ∑ ∑ ∑ ∑ œ. œ œ. œ T. Sx. # #œ œ œ #œ j & # ‰ J J œ œ
85 B Tpt. œ. œ œ. œ #œ b # œ œ #œ j & # ‰ J J œ œ
Tbn . . ? œ œ œ œ ∑ ∑
85
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
85 œ œ œ œ #œ #œ œ #œ œ #œ œ #œ œ & J œ J œ ‰ J J Pno. J j ? #œ œ & #œ Œ. #œ Œ. #œ j j œ œ œ # œ # œ œ œ œ J 85 œ œ Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
85 fill D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
85 Perc. ã ∑ ∑ ∑ ∑
260
Brothers
89 œ bœ A. Sx. # # œ. œ œ. œ ˙ œ œ & # J J
T. Sx. # #œ œ œ #œ. œ aœ. œ #œ œ œ & # ‰ J J ‰ J J
89 B Tpt. # #œ œ œ #œ. œ œ. œ #œ œ œ b & # ‰ J J ‰ J J
Tbn œ. œ œ. œ œ. œ ? ∑
89
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
89
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
89 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
89 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
89 Perc. ã ∑ ∑ ∑ ∑
261
Brothers
93 A. Sx. # # œ # œ. œ. œ ‰ #œ œ œ œ œ #œ & J J J œ. œ T. Sx. # #œ œ œ #œ j & # ∑ ‰ J J œ œ
93 B Tpt. œ. œ œ. œ #œ b # œ œ #œ j & # ‰ J J œ œ
Tbn #œ. œ œ. œ ? ∑ ∑
93
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
93
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
93 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
93 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
93 Perc. ã ∑ ∑ ∑ ∑
262
Brothers
97 #œ A. Sx. ### œ. œ œ. œ ˙ œ œ œ & J J T. Sx. # #œ œ œ #œ. œ aœ. œ #œ œ œ & # ‰ J J ‰ J J
97
B Tpt. b ## œ j œ. œ œ. œ & ‰ J œ œ ∑
Tbn œ. œ œ. œ œ. œ ? ∑
97
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
97
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
97 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
97 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
97 Perc. ã ∑ ∑ ∑ ∑
263
Brothers
101 A. Sx. # # œ # œ. œ. œ ‰ #œ œ œ œ œ œ & J J J œ. œ T. Sx. # #œ œ œ #œ j & # ∑ ‰ J J œ œ
101 B Tpt. #œ b # #œ œ. œ œ œ #œ j & # Œ. ‰ J J œ œ . . Tbn œ œ œ œ ? ∑ ∑
101
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
101
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
101 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
101 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
101 Perc. ã ∑ ∑ ∑ ∑
264
Brothers
105 A. Sx. # # j j & # œ. œ œ. œ ˙ œ #œ œ œ ‰ j j j œ œ. œ. œ #œ œ œ œ œ #œ œ. œ. T. Sx. # #œ œ œ #œ. aœ. œ aœ #œœ œ & # Œ. J J ‰ JJ Œ ∑ ∑
105
B Tpt. # j ~ b # œ œ. œ œ. œ œ. œ . ~ œ #œ. œ & ‰ J œ œ Œ ~ ∑ ∑
Tbn œ . . ? ‰ J œ œ #œ. œ aœ. œ ‰#œœ œ œ œ œ œ ‰#œ œ œ œ œ j J JJ J J œ
105 Gtr j ∑ ‰ j j j j ‰ j j ˙ œ ∑ ∑ & #œ œ œ #˙ œ ˙ œ #œ œ œ
105
& #˙ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno. #˙ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
105 Bass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 105 X x D. S. ã ˙ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑
105 J Perc. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
265
Brothers
113 A. Sx. # # 4 & # ∑ ∑ ∑ ∑ 4 ∑ ∑
T. Sx. # 4 & # ∑ ∑ ∑ ∑ 4 ∑ ∑
113 B Tpt. #œ #œ #w b ## œ œ #œ œ j œ œ #œ œ œ 4 & ‰ J J œ ‰ J J J 4 ∑
Tbn ? 4 ∑ ∑ ∑ ∑ 4 ∑ ∑
113 Gtr 4 & ∑ ∑ ∑ ∑ 4 ∑ ∑
113 #œ œ œ #œ œ #œ œ œ#œ œ & ‰ j j j ‰ J œ #œ œ œ 4 œ #œ œ œ j #œ œ œ #œ œ J J ##œ œ. œ ˙ Pno. œ #œ ˙ #œ œ œ #œ œ œ j ? ‰#œ œ œ #œ j ‰ J J J 4 ∑ Œ. œ ˙ J J œ œ 4 œ ˙ 113 Bass ? #œ œ j #œ œ 4 #˙ ‰ J œ bœ œ ‰ J œ bœ œ œ 4 Ó Œ. j J œ J J œ ˙ 113 x X x X D. S. j œ œj œjœ j 4 J ã ‰ œ xjœ ‰ xj œ œ œ 4 ˙ Ó Œ.
113 Perc. 4 ã ∑ ∑ ∑ ∑ 4 ∑ ∑
266
Brothers
Interlude 119 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑
119
B Tpt. b # j j j & # ‰ œ #œ œ œ #œ ‰ #œ j j j #˙. œ ˙ œ œ #˙. #œ œ œ œ ˙ #œ œ œ
Tbn ? ∑ ∑ ∑ ∑ ∑ ∑
119
Gtr & ∑ ∑ ∑ ∑ ∑ ∑
119
& w ∑ ∑ ∑ ∑ ∑ Pno. w ? w ∑ ∑ ∑ ∑ ∑ 119 Bass ? Ó ∑ ∑ ∑ ∑ ∑ ˙ 119 D. S. ã ∑ ∑ ∑ ∑ ∑ ∑
119 Perc. ã ∑ ∑ ∑ ∑ ∑ ∑
267
Brothers
125 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑
125
B Tpt. b ## & ˙. œ œ ˙ b˙ Aw ˙. œ œ ˙ b˙ Aw
Tbn ? ∑ ∑ ∑ ∑ ∑ ∑
125
Gtr & ∑ ∑ ∑ ∑ ∑ ∑ embellish chords
D m11 D m11 A 9sus D m11 A 9sus 125 b b b D m11 b
& ˙. œ œ ˙ b˙ Aw ˙. œ œ ˙ b˙ Aw Pno. ˙. œ œ ˙ b ˙ A w ˙. œ œ ˙ b ˙ A w b˙ nœ ˙ b˙ Aw b˙ nœ ˙ b˙ Aw ? b ˙. œn œ ˙ b ˙ b w b ˙. œn œ ˙ b ˙ b w
125 Bass ? b˙. œ nœ ˙ b˙ w b˙. œ nœ ˙ b˙ w 125 D. S. ã ∑ ∑ ∑ ∑ ∑ ∑ 125 cuíca call and response Perc. ã ∑ ∑ ’’’’ ’ ’ ’ ’ ’ ’ ’ ’ ’’’’
268
Brothers
131 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑
131
B Tpt. b ## œ ˙ n˙ w & ˙. œ ˙. œ œ ˙ b˙ A˙ Ó
Tbn ? ∑ ∑ ∑ Ó & ˙. œ œ ˙ b˙ ˙
131
Gtr & ∑ ∑ ∑ ∑ ∑ ∑
D m11 A 9sus D m11 A 9sus 131 b D m11 b b D m11 b
& ˙. œ œ ˙ b˙ Aw ˙. œ œ ˙ b˙ Aw Pno. ˙. œ œ ˙ b ˙ A w ˙. œ œ ˙ b ˙ A w b˙ nœ ˙ b˙ Aw b˙ nœ ˙ b˙ Aw ? b ˙. œn œ ˙ b ˙ b w b ˙. œn œ ˙ b ˙ b w
131 Bass ? b˙. œ nœ ˙ b˙ w b˙. œ nœ ˙ b˙ w 131 Fill D. S. ã ∑ ∑ ∑ ∑ ∑ ’ ’ ’ ’
131 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’’’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
269
Brothers B Melody
137 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
137 B Tpt. # j b # w œ bœ ˙ Aœ bœ œ œ ˙ & J œ J œ bœ. Aœ
Tbn & ∑ ∑ ∑ ∑
137
Gtr & j Œ Œ Ó bœ bœ œ. œ bœ bœ œ bœ œ œ bœ œ œ bœ bœ
137 b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Pno. b˙ ˙ ˙ ? ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 137 Bass ? b˙ ’ ’ ’ ’ b˙ ’ ’ ’ ’ b˙ ’ ’ 137 Samba feel D. S. ã œ x œ œ x œ œ x œ œ x œ ’ ’ ’ ’ ’ ’ ’ ’
137 shaker Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
270
Brothers
141 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # œ bœ b˙. & # ∑ ∑ Ó.
141 3 B Tpt. # ˙ bw b & # œ œbœ œ w ∑
Tbn ∑ ∑ . & ˙. œ bœ b˙
141
Gtr & j Œ Ó j Œ Œ œ. œ. bœ bœ œ bœ bœ œ bœ bœ bœ œ bœ bœ œ 141 ˙ b˙ ˙ ˙ #˙ ˙ ˙ b˙ & ˙ b˙ ˙ ˙ #˙ ˙ ˙ b˙ Pno. ? ˙ b˙ ˙ ˙ #˙ ˙ ˙ b˙ ˙ b˙ ˙ ˙ #˙ ˙ ˙ b˙ 141 Bass ? ’ ’ b˙ ’ ’ ’ ’ b˙ ’ ’ ’ ’ b˙ 141 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
141 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
271
Brothers
145 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # œ œ bœ b˙ & # Œ Ó ˙ b˙ Aw
145 ~~~~~~~~~~~~ B Tpt. # b & # Œ ˙. ∑ ∑ ∑
Tbn & A˙ Ó œ #œ Ó b˙ ˙ b˙ A˙ 145
Gtr & Ó j Œ Ó œ œ œ. bœ bœ œ œ bœ bœ bœ bœ œ bœ bœ œ bœ 145 ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ Pno. ? ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b˙ ˙ ˙ 145 Bass ? ’ ’ ’ ’ b˙ ’ ’ ’ ’ b˙ ’ ’ ’ ’ 145 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 145 cuíca groan Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
272
Brothers
149 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
149
B Tpt. b ## . œ œ & Ó bœ œ œ ˙. ∑ Œ bœ œ œ œ
Tbn j ∑ Ó ‰ j j œ bœ ˙ Aw & bœ œ œ
149
Gtr & Ó Ó ∑ Ó bœ œ œ œ bœ œ œ œ bœ œ œ œ
149
& ∑ ∑ ∑ Ó. Pno. bœ ? bœ bœ Ó ∑ ∑ ‰ bœ bœ Ó bœ bœ 149 bœ Bass ? b˙ ’ ’ ’ ’ b˙ ’ ’ ’ ’ b˙ ’ ’ 149 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
149 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
273
Brothers
153 A. Sx. # # & # ∑ ∑ ∑ ∑ œ. bœ. ˙ T. Sx. # œ œ & # J J Ó ∑ ∑
153
B Tpt. b ## j œ bœ w & œ Œ Ó ∑ ˙ œ J
Tbn & A˙ Ó ∑ ∑ ∑
153
Gtr & Ó ∑ Ó Ó bœ œ œ œ bœ œ œ œ bœ œ œ œ
153 ∑ ∑ Œ ∑ & bœ Pno. bœ bœ œ ? ∑ ∑ Œ ∑ bœ 153 bœ bœ œ Bass ? ’ ’ b˙ ’ ’ ’ ’ b˙ ’ ’ ’ ’ b˙ 153 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
153 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
274
Brothers
157 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # œ œ. bœ œ œ. & # Ó. ˙ J J b˙ w
157 B Tpt. bœ œ . b ## ˙. œ. J J œ & œ ˙ b˙ Aw
Tbn ∑ ∑ Ó & b˙ w
157
Gtr b˙ bw & ∑ Ó Ó b˙ Aw bœ œ œ œ
157 ∑ œ œ Œ Ó b˙ ˙ ˙ & œ Pno. œ b˙ ˙ ˙ ? ∑ Ó œ œ Ó. b˙ ˙ œ 157 œ b˙ ˙ Bass ? ’ ’ ’ ’ b˙ ’ ’ ’ ’ b˙ ’ ’ ’ ’ 157 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
157 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
275
Brothers
161 nœ œ œ ‰ A. Sx. # # J ‰ & # ∑ ∑ ∑ ∑ Œ. bœ œ ‰ œ T. Sx. # w w J & # ∑ ∑ Œ. ‰
161 B Tpt. # b & # w ˙. Œ b˙. œ nœ w bw
Tbn & w w ˙. œ œ ˙ b˙ w 161 Gtr . j & œ œ Ó Œ œ œ Œ bœ œ Œ j œbœ ‰ œ ‰ ‰ bœ Ó œ œ œ œ bœ œ nœ œ bœ œ bœ œ
D m11 D m11 A 9sus 161 b b j & œ œ œ ‰œ‰ œ ‰œ œ œ Œ ˙. œ œ ˙ b˙ ’ ’ ’ ’ Pno. œ œ œ œ ˙. œ œ ˙ b ˙ bœ œ œ œ œ œbœ œ b˙ nœ ˙ b˙ ? œ œ œ ‰œ‰ œ ‰œ œ œ Œ b ˙. œn œ ˙ b ˙ J ’ ’ ’ ’ 161 Bass ? w ∑ b˙ ’’ ’ ’ b˙ ’ ’ ’ ’ 161 D. S. ã ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’
161 Agogôs, triangle, repinque, tamborim samba patterns Perc. ã ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’
276
Brothers
166 nœ œ œ ‰ A. Sx. # # J & # ∑ ∑ Œ. ‰ ∑ ∑ bœ œ ‰ œ T. Sx. # J & # ∑ ∑ Œ. ‰ ∑ ∑
166 B Tpt. # b & # b˙. œ nœ w bw w ˙. Œ
Tbn & ∑ ∑ ˙. œ œ ˙ b˙ w 166 Gtr . j & bœ œ Œ j œbœ ‰ œ ‰ ‰ bœ Ó œ œ Ó Œ œ œ Œ bœ œ nœ œ bœ œ bœ œ œ œ œ œ
D m11 D m11 A 9sus 166 b b j & ˙. œ œ ˙ b˙ ’ ’ ’ ’ œ œ œ ‰œ‰ œ ‰œ œ œ Œ Pno. ˙. œ œ ˙ b ˙ œ œ œ œ b˙ nœ ˙ b˙ bœ œ œ œ œ œbœ œ ? b ˙. œn œ ˙ b ˙ œ œ œ ‰œ‰ œ ‰œ œ œ Œ ’ ’ ’ ’ J 166 Bass ? b˙ ’’ ’ ’ b˙ ’ ’ ’ ’ w ∑ 166 D. S. ã ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’ ’
166 Perc. ã ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’ ’
277
Brothers
171 A. Sx. # # œ ‰ œ bœ nœ & # ∑ ∑ ∑ ∑ ‰ ‰ J œ œ T. Sx. # j œbœ nœ bœ œ œbœ nœ & # ∑ ‰bœ œ bœ Œ Œ. J Œ Ó Œ. J
171 œ. œ. œ. œ. œ. œ. B Tpt. # œ ‰ ‰ b # œbœ ‰bœ ‰ œ ‰bœ bœ œ Œ ‰ ‰ J Œ ∑ ‰ ‰ J Œ & J
Tbn & ∑ ‰ j Œ ∑ ∑ ∑ bœ œ bœ 171 Gtr j & ∑ ∑ bœ bœ œ. œ bœbœ Œ Œ œ bœ œ œ bœ œ œ
171 œ j j & œbœ ‰bœ ‰ œ ‰bœ bœ œ Œ Ó. ‰ bœ bœ œ Ó. ∑ Pno. œ œbœ bœ œ bœ bœ œ ? ‰ ‰ ‰ J Œ Ó bœ ‰ ∑ ∑ bœ œ J 171 Bass ? bœ œ bœ ∑ ‰ J Œ b˙ ’ ’ ’ ’ b˙ ’ ’ ’ ’ 171 x D. S. F f ã Ó Ó. ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
171 Perc. ã ∑ ∑ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
278
Brothers
176 A. Sx. # # bœ ˙ b˙ w & # œ‰bœ ˙ ∑ ∑ bœ T. Sx. # œ‰bœ ˙ & # ˙ b˙ w ∑ ∑
176 B Tpt. # w w b & # ∑ ∑ ∑
Tbn & Œ. j bœ ˙ ˙ b˙ w w w 176
Gtr Ó bœ œ. jbœ Œ bœ Ó œ Ó Œ œ Œ & bœ bœ œ bœ œ bœ œ œ œ œ œ œ
176 . j . . j & Ó ‰#œ #œ œ ‰ ‰ Œ ‰ Œ Ó œ œ œ ‰œ‰ œ ‰œ œ œ Œ Pno. œ œ œ œ bœ œ œ œ œ œbœ œ ? Ó bœ ‰ ∑ ∑ œ œ œ ‰œ‰ œ ‰œ œ œ Œ bœœ J J 176 Bass ? b˙ ’ ’ ’ ’ b˙ ’ ’ ’’ w ∑ 176 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’
176 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’
279
Brothers
181 A. Sx. # œ ## . œ bœ nœ bœ & ∑ ∑ ∑ Œ J œ‰bœ ˙ bœ œ nœ bœ bœ œ nœ bœ T. Sx. # œ œ œ œ‰bœ ˙ & # Œ. J Œ Ó Œ. J ˙ b˙
181
B Tpt. b ## œ. œ. œ. œ. œ. œ. . j œ & ‰ ‰ ‰ J Œ ∑ ‰ ‰ ‰ J Œ Œ œ bœ nœ bœœ‰ œ ˙
Tbn ‰œ. ‰ œ. ‰ œ. Œ ∑ ‰œ. ‰ œ. ‰ œ. Œ ∑ ∑ & J J
181 Gtr j j & bœ bœ œ. œ bœ bœ Œ Œ œ bœ œ œ bœ œ œ Ó bœ bœ œ. bœ bœ œ Œ
181 bw ˙ ˙ w bw ˙ b˙ & bw ˙ ˙ w bw ˙ b˙ Pno. b˙ bw ˙ ? ˙ w bw ˙ b˙ bw ˙ ˙ w bw b˙ b˙ 181 Bass ? b˙ ’ ’ ’ ’ b˙ ’’ ’ ’ b˙ ’ ’ ’ ’ b˙ 181 D. S. ã ’’ ’ ’ ’ ’ ’’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
181 Perc. ã ’’ ’ ’ ’ ’ ’’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
280
Brothers
186 bœ nœ A. Sx. ### bœ œ œ œ & ˙ ˙ w ∑ ∑ 3 3 3
T. Sx. # # Ó ∑ ∑ ∑ œbœ œnœ & ˙ bœ œ 3
186 B Tpt. # w œœ ˙. bw b & # A˙ ˙ ∑
Tbn ∑ ∑ & w œœ ˙. bw
186
Gtr bœ Ó œ Ó Œ œ Œ œ œ Ó Ó. & bœ œ bœ œ œ œ œ œ œ œ œ œ
186 3 w œ œ ‰ ‰ œ ‰ j œ Œ œ œœ ‰ œ‰ œ œbœ œnœ & w œ œ œ œ œ bœ œ œ œ bœ œ 3 Pno. œ œ œ œ bœ œ œ bœ nœ ? w bœ œ œ œ œ œ bœ œ œ bœnœ #œ œ bœ œ œ œ œ œ œ ‰œ ‰ œ ‰ œ œ œ Œ œ b œ œ ‰ œ ‰ œ 3 3 w J 186 Bass ? ’ ’ ’’ w ∑ ∑ œ Ó.
186 D. S. ã ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ∑
186 Perc. ã ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
281
Brothers
191 b˙ Trumpet solo A. Sx. # # œ ‰bœ & # ‰ ∑ ∑ ∑ ∑ ∑ œ œ T. Sx. # b˙ œ bœ nœ œ ‰bœ ˙ w & # ‰ œ ‰bœ Œ. J ∑ ∑
191 A m11 b B Tpt. b ## j œ & ∑ Œ. œ bœ nœ œ œ ‰bœ ˙ Aw ’’ ’’ ’’ ’’
Tbn & ∑ ∑ ∑ ∑ ∑ ∑
191 G m11 b Gtr & ∑ ∑ ∑ ∑ ’’ ’’ ’’ ’’
191 b˙ & ‰ œ ‰bœ ∑ ∑ ∑ ∑ ∑ Pno. b˙ œ ? ‰ ‰bœ ∑ ∑ ∑ ∑ ∑
191 G m11 b Bass ? ∑ ∑ ∑ ∑ ’’ ’’ ’’ ’’
191 samba feel on hi hat samba feel on ride D. S. ã œ x œ œ x œ ’’ ’ ’ ’ ’ ’’ ’’ ’’ œ x œ œ x œ œ x œ œ x œ 191 Shekere Perc. ã ’’ ’ ’ ’’ ’ ’ ’ ’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
282
Brothers
197 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
197 E 7(b9)(#11) b B Tpt. # b & # ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
Tbn & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
197 D 7(b9)(#11) b Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
197
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
D 7(b9)(#11) 197 b Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
197 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
197 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
283
Brothers
205 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
205 C maj7 B Tpt. # b & # ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
Tbn & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
205 B maj7 b Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
205
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
205 B maj7 b Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
205 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
205 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
284
Brothers
213 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑
213 E 7( 13) C maj7( 11)/E C/C E /E b b # # b B Tpt. # b & # ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
Tbn & ∑ ∑ ∑ ∑ ∑ ∑
213 D 7( 13) B maj7( 11)/D B /B D /D b b b # b b Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
213
& ∑ ∑ ∑ ∑ ∑ ∑ Pno.
? ∑ ∑ ∑ ∑ ∑ ∑
213 D 7( 13) B maj7( 11)/D B /B D /D b b b # b b Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
213 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
213 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
285
Brothers
219 A. Sx. # # œ œ #œ œ w & # Œ ‰ œ w bw
T. Sx. # œ #œ ‰ #w & # Œ œ #œ œ w w
219 A m11 b B Tpt. # b & # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Tbn & ∑ ∑ ∑ ∑
219 G m11 b Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
219 G m11 b & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
219 G m11 b Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
219 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
219 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
286
Brothers
223 A. Sx. # # w nw & # ∑ ∑ ∑ ∑
T. Sx. # w w & # ∑ ∑ ∑ ∑
223 E 7(b9)(#11) b B Tpt. # b & # ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
Tbn & ∑ ∑ ∑ ∑ ∑ ∑
223 D 7(b9)(#11) b Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
223 D 7(b9)(#11) b & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ Pno. ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
223 D 7(b9)(#11) b Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
223 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
223 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
287
Brothers
229 A. Sx. # # w nw w w & # ∑ ∑ ∑ ∑ w w T. Sx. # w w & # ∑ ∑ ∑ ∑
229 C maj7 B Tpt. # b & # ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
Tbn & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
229 B maj7 b Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
229 B maj7 b & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ Pno. ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ B maj7 229 b Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
229 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
229 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
288
Brothers
Trombone solo 237 w w œ#œ œ A. Sx. # # œ œœ ˙ w & # ∑ ∑ ∑ Œ w w T. Sx. # œ # ∑ ∑ ∑ Œ #œ œœ œ & œ ˙ bw 237 E 7( 13) C maj7( 11)/E C/C E /E b b # # b B Tpt. # b & # ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ∑ ∑
G/E b Tbn ? & ∑ ∑ ∑ ∑ ∑ ∑ ’’ ’’ ’’ ’’
237 D 7( 13) B maj7( 11)/D B /B D /D G/E b b b # b b b Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
237 D 7( 13) B maj7( 11)/D B /B D /D G/E b b b # b b b & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ Pno. ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
237 D 7( 13) B maj7( 11)/D B /B D /D G/E b b b # b b b Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
237 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ 237 Agogôs, repinque, tamborim Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
289
Brothers
245 A. Sx. # # #w w & # ŒÓ. ∑ ∑ ∑ w w
T. Sx. # & # ŒÓ. ∑ ∑ ∑ ∑ ∑ ∑ ∑
245 B Tpt. # b & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
E/G Em7 G/F F maj7(#11) Tbn ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
245 E/G Em7 G/F F maj7(#11) Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
245 E/G Em7 G/F F maj7(#11) & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ Pno. ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
245 E/G Em7 G/F F maj7(#11) Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
245 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
245 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
290
Brothers
253 A. Sx. # # #w w & # ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
253 B Tpt. # b & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
6 D m9 Eminmaj7 Tbn ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
253 6 D m9 Eminmaj7 Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
253 6 D m9 Eminmaj7 & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ Pno. ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
253 6 D m9 Eminmaj7 Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
253 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
253 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
291
Brothers
~5:08 261 A. Sx. # # w w w #w & # ∑ ∑ w #w #w T. Sx. # #w & # ∑ ∑
261 B Tpt. #w b # w #w #w & # ∑ ∑ F sus E9sus E m11 F sus # b Tbn ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
261 F sus E m11 F#sus E9sus b Gtr & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
F sus F sus E9sus E m11 261 # b & ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ Pno. ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ F E9sus E m11 261 sus F#sus b Bass ? ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
261 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
261 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
292
Brothers
percussion solo 267 w w ˙. A. Sx. # # & # Œ ∑ ∑ ∑ œ œ #œ œ T. Sx. # #œ ‰ #œ #œ œ & # ‰ ‰ J Œ ∑ ∑ ∑ ∑
267 B Tpt. # w w ˙. b & # Œ ∑ ∑ ∑ . Tbn w w ˙ ? Œ ∑ ∑ ∑
267 D m11 D m11 A 9sus D m11 D m11 b b b Gtr & ’’ ’ ’ ’ ’’’ |. Û Û | | | |. Û Û
D m11 A 9sus D m11 267 b D m11 b b D m11 œ j & œ #œ ‰ ‰œ ‰ #œ œ Œ b˙ Aw œ #œ #œ #œ ˙. œ œ ˙ b ˙ A w ˙. œ œ Pno. œ #œ œ #œ #œ œ ˙. œ ˙. œ b˙ nœ ˙ b˙ Aw b˙ nœ ? ∑ Œ b ˙. œn œ ˙ b ˙ b w b ˙. œn œ
267 Bass ? ∑ ∑ b˙. œ nœ ˙ b˙ w b˙. œ nœ 267 x D. S. F f ã Ó Ó. ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
267 agogôs, repinque, tamborim, triangle, cuíca Perc. ã ∑ ∑ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
293
Brothers
273 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
273 B Tpt. # b & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
273 A 9sus D m11 D m11 A 9sus D m11 D m11 A 9sus b b b b b Gtr & | | | |. Û Û | | | |. Û Û | | |
273 A 9sus D m11 D m11 A 9sus D m11 D m11 A 9sus b b b b b & ˙ b˙ Aw ˙. œ œ ˙ b˙ Aw ˙. œ œ ˙ b˙ Aw Pno. ˙ b ˙ A w ˙. œ œ ˙ b ˙ A w ˙. œ œ ˙ b ˙ A w ˙ b˙ Aw b˙ nœ ˙ b˙ Aw b˙ nœ ˙ b˙ Aw ? ˙ b ˙ b w b ˙. œn œ ˙ b ˙ b w b ˙. œn œ ˙ b ˙ b w
273 Bass ? ˙ b˙ w b˙. œnœ ˙ b˙ w b˙. œnœ ˙ b˙ w 273 D. S. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
273 Perc. ã ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’ ’’
294
Brothers
281 link A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # j & # ∑ ∑ ∑ ‰ #œ œ #œ Œ
281
B Tpt. b # œ #œ j & # w ˙. Œ œ ‰ #œ ‰ œ ‰ #œ #œ œ Œ
Tbn ? ∑ ∑ ∑ ∑
281 D sus F#sus Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
D sus F sus 281 # j œ j & 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 Pno. œ #œ œ #œ #œ œ bœ œ œ œ œ œ bœ œ ? œ œ œ ‰ œ ‰ œ ‰ œ œ œ Œ ∑ ∑ J 281 D sus F#sus Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
281 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
281 Perc. ã ’ ’ ’ ’ ’ ’ ’ ’ ∑ ∑
295
Brothers
285 A. Sx. # # œ œ œ œ œ œ œ #œ œ #˙ ˙ 5 & # ‰ œ œ Œ #œ ‰ œ 8 J #˙ ˙ ˙ ˙ T. Sx. # 5 & # ∑ ∑ 8
285 œ œ ˙ B Tpt. # œ œ #œ #˙ b # œ ‰ œ œ œ œ œ Œ #œ ‰ œ 5 & J 8 ˙ #˙ Tbn ? ˙ ˙ 5 ∑ ∑ 8
285 G sus A sus B sus F#m7(b13) F#m7 Gtr 5 & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 8
G sus A sus B sus F m7(b13) F m7 285 # # œ j œ #œ œ #œ œ œ œ ‰ œ œ œ œ œ Œ œ œ #œ ‰ œ œ œ œ œ #œ 5 & œ œ œ œ #œ œ œ œ œ #œ # œ 8 Pno. œ œ œ œ #œ 3 œ œ œ #œ œ ? ∑ ∑ ∑ œ œ #œ #œ 5 œ3 8 F m7(b13) 285 G sus A sus B sus # F#m7 Bass ? 5 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 8
285 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 85
285 Perc. 5 ã ∑ ∑ ∑ ∑ 8
296
Brothers
A Melody (2ndtime) 289 #˙ œ A. Sx. # # 5 & # 8 J ∑ ∑ ∑ √ #œ. œ œ. œ T. Sx. # 5 & # 8 ∑ ∑
289 B Tpt. #œ. œ œ. œ #œ. œ œ. œ b # 5 & # 8
Tbn #œ. œ œ. œ œ. œ œ. œ ? 85
289 Improvise in B Aeolian Gtr 5 j j & 8 #œ œ œ j #œ œ œ j #œ œ œ #œ œ œ
289 œ œ œ œ 5 #œ œ #œ œ #œ œ #œ œ & 8 J œ J œ Pno.
? 85 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
289 Bass ? 5 œ j j œ j j 8 œ œ bœ œ œ œ œ œ œ œ 289 x x x D. S. 5 j œ œ œ œ ã 8 œ œ J J œ œ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 289 Perc. ã 85 ∑ ∑ ∑ ∑
297
Brothers
293 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
293 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑
293 Gtr j j & œ œ j #œ œ œ j œ œ œ œ #œ œ œ
293 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
293 Bass ? j œ œ œ j j œ œ œ œ J œ œ œ œ œ 293 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
293 Perc. ã ∑ ∑ ∑ ∑
298
Brothers
297 A. Sx. # # & # ∑ ∑ ∑ ∑ √ œ. œ œ. œ T. Sx. # & # ∑ ∑
297 œ. œ œ. œ œ. œ œ. œ B Tpt. # b & # #œ. œ œ. œ #œ. œ œ. œ Tbn ?
297
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
297 œ #œ œ œ #œ œ #œ œ œ #œ & J œ œ J œ œ Pno.
? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
297 Bass ? œ j j œ j j œ œ bœ œ œ œ œ œ œ œ 297 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
297 Perc. ã ∑ ∑ ∑ ∑
299
Brothers
301 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
301 B Tpt. # b & # ∑ ∑ ∑ ∑
Tbn ? ∑ ∑ ∑ ∑
301
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
301 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
301 Bass ? j œ œ œ j j œ œ œ œ J œ œ œ œ œ 301 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
301 Perc. ã ∑ ∑ ∑ ∑
300
Brothers
305 A. Sx. # # & # ∑ ∑ ∑ ∑ œ T. Sx. # #œ. œ œ. œ œ. œ œ œ œ & # J J J
305
B Tpt. b ## œ œ & ∑ ∑ ‰ J J œ #œ. œ
Tbn œ ? #œ. œ aœ. œ aœ. œ œ œ œ J J J
305
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
305 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
305 Bass ? œ bœ œ œ. œ. œ. œ œ. 305 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
305 Perc. ã ∑ ∑ ∑ ∑
301
Brothers
309 A. Sx. ### œ #œ œ œ j & ∑ ∑ ‰ J J œ œ œ. œ œ. œ T. Sx. # #œ œ œ #œ j & # ‰ J J œ œ
309 B Tpt. #œ b # œ œ #œ j & # ∑ ∑ ‰ J J œ œ
Tbn ? œ. œ œ. œ ∑ ∑
309
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
309 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
309 Bass ? j œ. œ œ œ œ œ œ. œ œ. 309 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
309 Perc. ã ∑ ∑ ∑ ∑
302
Brothers
313 A. Sx. # # & # ∑ ∑ ∑ ∑ œ T. Sx. # #œ. œ œ. œ ˙ œ œ œ & # J J
313
B Tpt. b ## œ œ & ‰ J J œ #œ. œ ∑ ∑
Tbn œ ? #œ. œ aœ. œ aœ. œ œ œ œ J J J
313
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
313 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
313 Bass ? œ bœ œ œ. œ. œ. œ œ. 313 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
313 Perc. ã ∑ ∑ ∑ ∑
303
Brothers
317 A. Sx. ### œ #œ œ œ j & ∑ ∑ ‰ J J œ œ œ. œ œ. œ T. Sx. # #œ œ œ #œ j & # ‰ J J œ œ
317 B Tpt. #œ b # œ. œ œ. œ œ œ #œ j & # ‰ J J œ œ
Tbn ? œ. œ œ. œ ∑ ∑
317
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
317 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
317 Bass ? j œ. œ œ œ œ œ œ. œ œ. 317 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
317 Perc. ã ∑ ∑ ∑ ∑
304
Brothers
321 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #œ œ œ #œ. œ œ. œ #œ œ œ & # ‰ J J ‰ J J
321 B Tpt. # b & # ∑ ∑ œ. œ œ. œ
Tbn œ. œ œ. œ œ. œ œ ? J œ œ œ J J
321
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
321 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
321 Bass ? œ bœ œ œ. œ. œ. œ œ. 321 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
321 Perc. ã ∑ ∑ ∑ ∑
305
Brothers
325 A. Sx. # # & # ∑ ∑ ∑ ∑ œ. œ T. Sx. # #œ œ œ #œ j & # ∑ ‰ J J œ œ
325 B Tpt. #œ b # œ #œ. œ œ œ #œ j & # œ. ‰ J J œ œ
Tbn ? œ #œ. aœ. œ ∑ ∑
325
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
325 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
325 Bass ? j œ. œ œ œ œ œ œ. œ œ. 325 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
325 Perc. ã ∑ ∑ ∑ ∑
306
Brothers
329 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #œ œ œ #œ. œ œ. #œ #œ œ œ & # ‰ J J ‰ J J
329 B Tpt. # b # ‰ œ j œ œ. œ œ. œ ∑ & J #œ
Tbn œ. œ œ. œ œ. œ œ ? J œ œ œ J J
329
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
329 œ œ #œ œ œ #œ #œ œ œ #œ & J œ œ J œ œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
329 Bass ? œ bœ œ œ. œ. œ. œ œ. 329 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
329 Perc. ã ∑ ∑ ∑ ∑
307
Brothers
333 A. Sx. # # & # ∑ ∑ ∑ ∑ œ. œ T. Sx. # #œ œ œ #œ j & # ∑ ‰ J J œ œ
333 œ B Tpt. #œ œ #œ #œ b # œ œ œ #œ j & # Œ. J J J J œ œ
Tbn ? œ #œ. aœ. œ ∑ ∑
333
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
333 œ œ œ œ #œ œ #œ œ #œ œ #œ œ & J œ J #œ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
333 Bass ? j œ. œ œ œ œ œ œ. œ œ. 333 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
333 Perc. ã ∑ ∑ ∑ ∑
308
Brothers
Guitar solo 337 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # #œ œ œ #œ. œ œ. œ #œ œ œ & # ‰ J J ‰ J J
337 B Tpt. # #œ œ œ b & # ∑ ∑ ∑ ‰ J J
Tbn œ. œ œ. œ œ. œ œ. ? Œ
337
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
improvise 337 œ œ œ œ #œ #œ J œ #œ œ #œ J œ #œ œ & œ œ œ œ J ‰ J Pno. J J J œ œ œ #œ œ #œ œ œ b#œ nœ œ ? # œ J # œ œ #œ œ œ œ Œ J Œ J J 337 Bass ? œ bœ œ œ. œ. œ. œ œ. 337 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
337 Perc. ã ∑ ∑ ∑ ∑
309
Brothers
341 A. Sx. # # & # ∑ ∑ ∑ ∑ œ. œ œ. œ T. Sx. # #œ œ œ #œ j & # ‰ J J œ œ
341 B Tpt. œ. œ œ. œ #œ b # œ œ #œ j & # ‰ J J œ œ
Tbn #œ. œ œ. œ ? ∑ ∑
341
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
341 œ œ œ œ #œ #œ œ #œ œ #œ œ #œ œ & J œ J œ ‰ J J Pno. J #œ #œ #œ œ # œ # œ œ œ œ ? . . J œ œ #œ œ œ Œ Œ J J J 341 Bass ? j œ. œ œ œ œ œ œ. œ œ. 341 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
341 Perc. ã ∑ ∑ ∑ ∑
310
Brothers
345 œ A. Sx. # # œ. œ œ. œ ˙ œ #œ œ & # J J
T. Sx. # #œ œ œ #œ. œ œ. œ #œ œ œ & # ‰ J J ‰ J J
345 B Tpt. # #œ œ œ b & # ∑ ∑ ∑ ‰ J J
Tbn ? #œ. œ œ. œ œ. œ œ. Œ
345
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
345
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
345 Bass ? œ bœ œ œ. œ. œ. œ œ. 345 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
345 Perc. ã ∑ ∑ ∑ ∑
311
Brothers
349 A. Sx. # # œ # œ. œ. œ ‰ #œ œ œ œ œ #œ & J J J œ. œ T. Sx. # #œ œ œ #œ j & # ∑ ‰ J J œ œ
349 B Tpt. œ. œ œ. œ #œ b # œ œ #œ j & # ‰ J J œ œ
Tbn œ. œ œ. œ ? ∑ ∑ &
349
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
349
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
349 Bass ? j œ. œ œ œ œ œ œ. œ œ. 349 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
349 Perc. ã ∑ ∑ ∑ ∑
312
Brothers
353 #œ A. Sx. ### œ. œ œ. œ ˙ œ œ œ & J J T. Sx. # #œ œ œ #œ. œ œ. œ #œ œ œ & # ‰ J J ‰ J J
353
B Tpt. b ## œ j œ. œ œ. œ œ. œ & ‰ J œ œ
Tbn Œ & œ. œ œ. œ œ. œ œ.
353
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
353
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
353 Bass ? œ bœ œ œ. œ. œ. œ œ. 353 D. S. ã ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
353 Perc. ã ∑ ∑ ∑ ∑
313
Brothers
357 A. Sx. # # œ # œ. œ. œ ‰ #œ œ œ œ œ #œ & J J J ˙ œ T. Sx. # J #œ œ œ #œ j & # ∑ ‰ J J œ œ
357 B Tpt. #œ b # œ #œ. œ œ œ #œ j & # œ. ‰ J J œ œ
Tbn ∑ ∑ & œ. œ œ. œ
357
Gtr & ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
357
& ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
357 Bass ? j œ. œ œ œ œ œ œ. œ œ. 357 D. S. ã ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
357 Perc. ã ∑ ∑ ∑ ∑
314
Brothers
361 A. Sx. ### j j & œ. œ œ. œ ˙ œ œ #œ œ
T. Sx. # #œ œ œ #œ. ˙ œ œ #œ œ & # Œ. J J J ‰ J J
361
B Tpt. b ## œ j œ. œ œ. œ œ. œ & ‰ J œ œ
Tbn ? & #œ. œ œ. œ œ. œ œ. Œ
361
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
361 B m11 & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
361 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 361 X x D. S. ã ˙ œ ∑ ∑ ∑
361 J Perc. ã ∑ ∑ ∑ ∑
315
Brothers
365 Ending A. Sx. # # # œ. œ. œ ‰ #œ œ œ œ œ #œ & œ J J J œ. œ. T. Sx. # œ & # Œ ∑ ∑
365
B Tpt. # ~ #œ œ j b ~ œ #œ. œ œ #œ # Œ. ~ ‰ J œ & ~ J œ
Tbn ? Œ. œ #œ. œ ‰ #œ œ œ œ œ j J J œ
365
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
365
& ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
365 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
365 D. S. ã ∑ ∑ ∑ ∑
365 Perc. ã ∑ ∑ ∑ ∑
316
Brothers
369 A. Sx. # # & # ∑ ∑ ∑ ∑
T. Sx. # & # ∑ ∑ ∑ ∑
369 B Tpt. #œ #œ b ## œ œ #œ œ j œ œ #œ œ œ & ‰ J J œ ‰ J J J
Tbn ? ∑ ∑ ∑ ∑
369
Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
369 ‰ j j ‰ j j j & #œ œ œ j #œ œ œ Pno. #œ œ œ #œ œ œ j ? ‰ #œ œ œ #œ j ‰ #œ œ œ #œ œ J J œ œ J J œ 369 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
369 x D. S. j œ œj œj œ j ã ‰ œ xj œ ‰ xj œ œ œ
369 Perc. ã ∑ ∑ ∑ ∑
317
Brothers
373 A. Sx. # # & # ∑ ∑ ∑ ∑ ∑ G#7(#9) A 6 T. Sx. # & # ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 373 œ. œ œ. œ B Tpt. # #œ. œ œ. œ b & # ∑
Tbn ? ∑ ∑ ∑ ∑ ∑
373 F#7(#9) G 6 Gtr & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
373 F#7(#9) G 6 & ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ Pno. ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
373 F#7(#9) G 6 Bass ? ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ 373 X D. S. ã ˙ ‰ ∑ ∑ ∑ ∑
373 Perc. ã ∑ ∑ ∑ ∑ ∑
Glossary
Afoxé. 1.) A rhythm and musical genre. 2.) A percussion instrument made of gourd with a wooden handle. 3.) The popular Afro-Brazilian groups that parade in Bahia during Carnaval festivities.
Agogô. An Afro-Brazilian instrument made of metal that consists of two bells welded together and is played with a stick.
Alfaia. A wooden bass drum with a calf skin head, tensioned by ropes and hit with sticks.
Apito. A whistle instrument originating from indigenous people of Brazil.
Atabaques. Single-headed instruments similar to conga drums, used in Candomblé music.
Bembe clave. A rhythmic pattern found today in Afro Cuban rhythms, particularly the Afro-Cuban six eight pattern.
Caixa. An Afro-Brazilian snare drum.
Candomblé. An Afro-Brazilian religious group of Jeje-Nagu and Bantu origin.
Carnaval. A Catholic religious celebration that includes paradades with musical performances introduced in Brazil by the Portuguese. It takes place during the four days prior to Ash Wednesday, which marks the beginning of Lent.
Choro. An Afro-Brazilian musical genre.
Clave. A metronomic guide, usually played on a high-pitched percussion instrument, that performs a major role in Afro-Latin music.
Cocô. A musical style and dance originally from the Brazilian state of Paraíba.
Cuíca. A metal cylinder percussion instrument featuring a drum head on one end with a bamboo stick attached to its center. The sound is produced by the friction created by rubbing along the stick with a cloth.
318 319
Escolas de Samba. Samba schools which organize to participate in the parades during Carnaval. Gã. An instrument similar to agogô bells used in Candomblé music.
Ganza. Type of metal canister shaker filled with lead beads or pebbles.
Landó. An Afro-Peruvian musical genre.
Lé. The highest sounding atabaque drum that accompanies the rumpi, with the main job of improvising rhythmically.
Lundu. An eighteenth century and early nineteenth century dance that was accompanied by specific rhythms from African slaves.
Maracatu. An Afro-Brazilian song style which parades in the streets during Carnaval.
Mestizo. a term historically used in Spain and Hispanic America that referred to a person of combined European and Indigenous American descent.
Nações. Maracatu groups.
Orisha Exu. One of the Candomblé gods or orixas.
Orixa. A name for a Candomblé god.
Padé Exu. An indoor religious ritual performed before the afoxês get out to the streets during the Carnaval.
Pandeiro. A hand-held frame drum used in many styles of Brazilian music, similar to a tambourine.
Repinque. A double-headed metal drum from Brazil, which produces a high-pitched sound.
Rum. The main soloist of the atabaques, that has the lowest bass sound.
Rumpi. One of the atabaque drums that has a mid-tone and provides the main base of the beat with some improvisation, serving to answer the rum.
Samba. An Afro-Brazilian musical genre, that gained immense popularity in the twentieth century.
Shekere. A gourd-shaped West African percussion instrument that is covered in a beaded net that performs similarly to a shaker.
Surdo. The lowest bass drum used in Afro-Brazilian music.
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Surdo de Corte. A bass drum used in Afro-Brazilian music.
Tamborim. A small, high pitched single-headed drum used in samba.
Tresillo. A three-note rhythmic pattern commonly used in Afro-Latin music.
Vassi. A genre of Candomblé music.
Xequerê. A type of percussive shaker instrument, with a beaded net around a gourd, originally from West Africa. Also called Shekere.
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———. 2004. “Three Romances: Choro Dançado.” Recorded March 8-11, 2004. Track 2 on Concert in the Garden. ArtistShare. AS0001. CD.
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