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Legal Use Requires Purchase CONDUCTOR by John L Road Song By John L. (Wes) Montgomery Arranged by Alan Baylock INSTRUMENTATION Conductor 1st Trombone 1st E Alto Saxophone 2nd Trombone b 2nd E Alto Saxophone 3rd Trombone b 1st B Tenor Saxophone Bass Trombone b 2nd B Tenor Saxophone Guitar Chords b E Baritone Saxophone Guitar b 1st B Trumpet Piano b 2nd B Trumpet Bass b 3rd B Trumpet Drums b 4th B Trumpet b Optional/Alternate Parts Sample Solo C insts Sample Solo B Trumpet b Sample Solo B Tenor Sax b Sample Solo E insts b Sample Solo Trombone C Flute Vibraphone Tuba (Doubles Bass) Horn in F (Doubles 1st Trombone) 1st Baritone Horn T.C./B Tenor Saxophone (Doubles 1st Trombone) b Preview Only(Doubles 2nd Trombone) 2nd Baritone Horn T.C./B Tenor Saxophone b 3rd Baritone Horn T.C./B Tenor Saxophone (Doubles 3rd Trombone) Legal Use Requiresb Purchase NOTES TO THE CONDUCTOR Alan Thanks for your interest in this new arrangement of Wes Montgomery’s classic, Road Song. It’s written to feature your Baylock guitarist on the melody and on the improvised solo passages. I have included written-out suggested solo parts for C, B-flat, Alan Baylock is quickly becoming recognized as E-flat, and bass clef instruments for solo flexibility. Therefore guitar or any wind instrument could be the featured soloist. one of the most creative young voices in the music business today. He is in demand as a composer, To achieve the right vibe and feel, please have the band listen closely to Wes’ 1968 version found on the Road Song album. arranger, conductor, producer, instrumentalist, I also suggest listening to the demo track provided for you at alfred.com. educator, and is the leader of the Alan Baylock Jazz Orchestra. He is the chief arranger for the As always, strive to have distinction in the articulations. The staccatos should be very short, while all the phrases marked renowned USAF Airmen of Note and “Jazz Composer with tenutos should be long and connected. Housetop or marcato accents should be fatter than staccatos but still relatively in Residence” at Shenandoah University. short and accented. I recommend frequently mentioning the various articulation indications to the entire ensemble, and Baylock’s music has been performed and/or recorded don’t forget the rhythm section as well. by jazz greats Freddie Hubbard, Michael Brecker, Joe Lovano, Paquito D’Rivera, Maynard Ferguson, Because it’s scored in octaves, the ensemble horns should play fairly lightly when trading with the soloist from mm. 35–59. Phil Woods, David Liebman, Arturo Sandoval, Kurt Rosenwinkel, Kenny Werner, Nicholas Payton, When trading continues in measure m. 74, it’s critical that the staccato articulations are played very short. The strongest, Nnenna Freelon, Tierney Sutton, Kurt Elling, and most energetic passages should be mm. 1–5, mm. 31–34, mm. 83–90, and mm. 107–110. The horns are tutti at m. 51 so many more. His eclectic talents have also led him to each player should strive to articulate and phrase as one. writing music for Roy Clark, Clint Black, Wynonna, Al Jarreau, Chaka Khan, Patti LaBelle, Spyro Gyra, Ronan Once again, please refer back to the original recording or the professional demo version provided at alfred.com. Tynan, and symphony orchestras here and abroad. Baylock’s mastery of the art of jazz arranging and Thanks again! composition expresses itself in his incomparable technique, virtuosity, and an unquenchable desire —Alan Baylock to challenge and surprise. Along with explosive energy, ingenious reharmonizations, and imaginative melodic, tonal, and rhythmic expressions, Alan’s creations beam with a sense of joy and soulfulness, and are a glimpse into the depth of the human spirit. An inspiring educator, Alan is regularly featured as guest artist, clinician, and adjudicator at jazz festivals, universities, and high schools across the country. Many of his compositions/arrangements are published by Preview OnlyAlfred Music. Legal Use Requires Purchase CONDUCTOR By John L. (Wes) Montgomery 48224S ROAD SONG Arranged by Alan Baylock Funky rock å = 140 - - ^ ^ > ^ ^ . 1st EÑ Alto Saxophone # . - œ œ œ œ ⁄œ œ œ œ ^ œ >œ. > . > ^ . 4 Ó Œ œ œ ‰ Ô ‰ Ô ‰Ô ‰ œ ‰ Ô œ œ. œ- œ ˙ œ ∑ ∑ ∑ Ó Œ‰ œ & 4 Ô Ô Ô Ô f - - ^ ^ > ^ ^ . F 2nd EÑ Alto Saxophone # . - œ œ œ œ ⁄œ œ œ œ ^ œ >œ. > > ^ . 4 Ó Œ œ œ ‰ Ô ‰ Ô ‰Ô ‰ œ ‰ Ô œ œ. œ- ˙ œ ∑ ∑ ∑ Ó Œ‰ œ & 4 Ô Ô Ô œ. Ô f ^ - F 1st BÑ Tenor Saxophone 4 œ- œ- œ^ œ^ >œ œ œ^ ^ K . >. K œ . > ^ & 4 Ó Œ œ- ‰ Ô ‰ ⁄Ô ‰ œ ‰ œ ‰ œ œ œ œ. Ô œ ˙ œ ∑ ∑ ∑ Ó Œ‰ K œ. Ô Ô > œ. f ^ F 2nd BÑ Tenor Saxophone - - ^ œ^ >œ œ œ^ ^ K . > K > ^ & 4 Ó Œ œ- œ œ œ ‰ ‰ ⁄Ô ‰ œ ‰ œ ‰ œ œ. œ œ. K #œ ˙ œ ∑ ∑ ∑ Ó Œ‰ K œ. Ô Ô Ô > kœ . œ. F EÑ Baritone Saxophone # f ^ ^ ^ ^ ^ ^ ^ 4 ∑ ‰K ‰ K Œ Ó Œ‰K ŒŒ‰K ŒŒ‰K ŒÓ & 4 œ bœ œ bœ œ ˙ œ œ #œ. K K ˙ œ #œ œ #œ œ #œ œ k k > > œ œ. kœ œ. > f ^ ^ > ^ > . > ^ 1st BÑ Trumpet œ- œ- œ #œ œ ˙ œ œ >œ. œ œ. œ- œ ˙ œ & 4 ∑ ‰ Ô ‰Ô Œ Ô Ô ∑ ∑ ∑ ∑ f 2nd BÑ Trumpet ^ ^ > ^ > > - . > ^ 4 ∑ œ- œ- œ ‰ œ ‰ œ ˙ œ œ Œ œ. œ œ. œ œ ˙ œ ∑ ∑ ∑ Ó Œ‰ K & 4 Ô Ô Ô Ô œ. f ^ ^ F 3rd BÑ Trumpet - K > ^ > œ- œ. > ^ & 4 ∑ œ bœ œ ‰ œ ‰ œ ˙ œ œ Œ œ. œ œ. Ô ˙ œ ∑ ∑ ∑ ∑ k Ô > Ô f ^ ^ ^ 4th BÑ Trumpet 4 - K K K K . > ^ & 4 ∑ œ bœ œ ‰ œ ‰ œ ˙ œ œ Œ #œ. œ œ. œ ˙ œ ∑ ∑ ∑ ∑ k > > > kœ f - . ^ œ nœ- bœ^ œ^ >œ ˙ œ œ^ >œ. >œ œ. œ- œ ˙> œ^ œ. œ^ œ. œ^ œ œ^ œ. œ 1st Trombone ? Ô Ô Ô Ô Ô Ô Ô Ô bb 4 ∑ ‰ ‰ Œ Œ ‰ Œ Œ ‰ Œ Œ ‰ Œ Œ ‰ Œ -f - - . ^ œ bœ œ^ œ^ >œ ˙ œ œ^ >œ. >œ œ. œ œ ˙> œ^ œ. œ^ œ. œ^ œ œ^ œ. œ 2nd Trombone ? b 4 ∑ ‰ Ô ‰Ô Œ Ô Ô Œ ‰Ô Œ Œ ‰Ô Œ Œ ‰Ô Œ Œ ‰ Ô ‰ œ. b 4 Ô f - - . ^ F 3rd Trombone œ œ bœ^ œ^ > ^ > > . > ^ œ œ^ œ œ^ œ œ^ œ œ ? b 4 ∑ ‰ Ô ‰ œ ˙ œ œ Œ œ. œ œ. œ- #œ n˙ œ Œ ‰ Ô Œ Œ ‰ Ô Œ Œ ‰ Ô Œ Œ ‰Ô Œ b 4 Ô Ô Ô f . ^ Bass Trombone ? ^ ^ ^ ^ œ. œ^ œ. œ^ œ œ^ œ. œ bb 4 ∑ ‰ K ‰ K Œ K K Œ ‰ Œ Œ ‰ Œ Œ ‰ Œ Œ ‰ Ô Œ kœ bkœ œ nœ bœ ˙ œ œ nœ. œ œ ˙ œ Ô Ô Ô Chord changes shown in part. > > œ œ k . > f ^ > ^ > - œ- œ- œ^ œ ⁄œ œ œ œ^ ^ œ. >œ. > K . > ^ K Guitar b 4 œ œ œ œ œ œ œ. œ œ ˙ œ . ^ . ^ . ^ . ^ œ & b 4 Ó Œ œ œ œ œ ‰ œ ‰ ⁄Ô œ ‰ œ ‰ œ ‰ œ œ. œ œ. œ ˙ œ Œ Û ‰ Û Œ Œ Û ‰ Û Œ Œ Û ‰ Û Œ Œ Û ‰ Û ‰ œ. Ô Ô Ô Ô Ô kœ Ô Ô Ô Ô œ. f EÌ CÍ Dñ GÈ GÍ F ^ ^ > ^ ^ ^ ^ ^ bb 4 ∑ œ- œ ‰ œ ‰ œ w œ. K Œ ‰ K Œ Œ ‰ K Œ Œ ‰ K Œ Œ ‰ K Œ & 4 œ Ô Ô œ. œ ˙ Nœ ˙ œ œ œ œ œ œ œ œ œ Piano k œ. œ. œ œ. œ œ. œ œ. œ f > > > - - ^ œ^ >œ w > > . > ^ . ^ . ^ . ^ . ^ ? 4 œ œ œ Ô Ô nœ. bœ ˙ #œ n˙ œ œ œ œ œ œ œ œ œ bb 4 ∑ ‰ ‰ . Œ ‰ Ô Œ Œ ‰ Ô Œ Œ ‰ Ô Œ Œ ‰ Ô Œ Chord changes shown in part. Ô Bass - - ^ ^ > ^ > K . ^ ^ ^ ^ ^ ? b 4 ∑ œ bœ œ ‰ nœ ‰ bœ ˙ œ œ Œ nœ. œ- œ ‰ K Œ‰ œ- ‰ K Œ‰ œ- ‰ K Œ‰ œ- ‰ K Œ‰ œ- b 4 Ô Ô œ œ. Ô ˙ œ œ œ Ô œ œ Ô œ œ Ô œ œ Ô f > > Cross> stick on Snare - Keep Hi-Hat on 2 & >4 > > Solo Fill K K K K F œ œ œ ‰ œ ‰ œ ˙ œ œ Œ œ . œœ . œ Drums 4 . > . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 4 ’’’ Û ’’’’ ’’’’ ’’’’ Û | Û œ ‰ œ œ ‰ œ ‘ ‘ ‘ f 1 2 3 4 5 Ô 6 Ô 7 8 9 © 1968 (Renewed) TAGGIE MUSIC CO., a division of GOPAM ENTERPRISES, INC. PreviewThis Arrangement © 2020 TAGGIE MUSIC CO., a division of GOPAMOnly ENTERPRISES, INC. LegalAll Rights UseReserved including RequiresPublic Performance Used by Permission Purchase Conductor - 2 - Road Song ˆ 1. - - - - ^ ^ > ^ ^ . Alto 1 # - œ œ >œ ^ - - ^ . - œ œ œ œ ⁄œ œ œ œ ^ œ >œ. > . > . œ (œ) œ ∑ œ- œ œ œ œ Œ Ó Œ‰ œ œ ‰ Ô ‰ Ô ‰Ô ‰ œ ‰ œ œ. œ- œ ˙ œ . & . ( ) Ô Ô Ô Ô Ô . - - > - - ^ ^ >œ œ ^ ^ . > Alto 2 # œ- œ œ œ œ ^ - - ^ . œ- œ œ œ œ ⁄ œ œ ^ œ œ. > . > . ( ) œ ∑ œ- œ œ œ œ Œ Ó Œ‰ œ ‰ Ô ‰ Ô ‰Ô ‰ œ ‰ Ô œ œ. œ- œ ˙ œ . & ( ) Ô Ô Ô Ô ^ ^ ^ Tenor 1 œ- œ- > œ- œ- œ^ œ^ >œ œ œ^ ^ K . > K & . œ- œ œ œ ∑ œ œ œ Œ Ó Œ‰ K œ- ‰ Ô ‰ ⁄Ô ‰ œ ‰ œ ‰ œ œ. œ œ. K œ ˙ . ( ) kœ k k (œ) œ. Ô Ô > kœ . > œ. ^ ^ ^ Tenor 2 - - > - - ^ œ^ >œ œ œ^ ^ K . > K & . œ- œ œ œ œ œ ∑ œ œ œ Œ Ó Œ‰ K œ- œ œ œ ‰ ‰ ⁄Ô ‰ œ ‰ œ ‰ œ œ.
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