2013 Charles Mingus High School Competition

Transcription

1 201 Charles Mingus High School Competition Compositions for Combos "Better Get Hit In Your Soul" Blue Cee "Boogie Stop Shuffle"! "Celia" (only in C package)! "Diane" "Dizzy Moods" "Duke's Choice" (only in C package)!!!! "Duke Ellington's Sound Of Love"!!! East Coasting "Ecclusiastics" "Eclipse" (only in C package) "Fables of Faubus"!!! "Goodbye Pork Pie Hat" "Haitian Fight Song"! "Hora Decubitus" (aka "E's Flat Ah's Flat Too")!(only in C package)! "elly Roll"!! "Moanin'"!!! "Noddin' Ya Head Blues" (only in C package)!! "Nostalgia in Times Square"!!! "O Lord Please Don't Let Them Drop That Atomic Bomb On Me"! "OP (Oscar Pettiford)"! Opus 4 Orange as the Color of Her Dress Then Blue Silk!! "Peggy's Blue Skylight" "Pithecanthropus Erectus" "Portrait" (only in C package)!!! "Self-Portrait in Three Colors" (only in C package)!!! "Slippers"!! "Slop"!(only in C package)!! "So Long Eric" (only in C package)!! "Sue's Changes" "Us is Too" "Wednesday Night Prayer Meeting" "Weird Nightmare" (only in C package)! "Work Song" Let My Children Hear Music Inc 484 West 4rd St #4-S Ne York NY 1006 MingusMingusMinguscom azzedu@mingusmingusminguscom

2 E b lead sheet BETTER GET HIT IN YOUR SOUL 2012 Eb Page 2 of 67 A # # 6 4 G 7 hk»ca D 2 - feel f # # - D G 7 - (b)* E m7 # # - 1 D B # # G 7 # # C # # G 7 D G 7 D D # # - 1 D G 7 - (b)* D G 7 G 7 E 7 - (b)* 2 D D D G 7 - CHARLES MINGUS # E m7 # - (b)* D to solos ( Blues ) # # 2 E m7 last time * Ab in 1977 recording sloer ( directed) - D U u G u D U u Copyright 1975 AZZ WORKSHOP INC International Copyright Scured All Rights Reserved

3 E b lead sheet 1 # # 4 6 # # BETTER GET HIT IN YOUR SOUL 5 r f # 1977 version ( Mingus' opening Bass solo) n r r # n n - n - n b n - n - n n n 2012 Eb Page of 67 # n 9 # # n # n # n n # 1 # # Copyright 1975 AZZ WORKSHOP

4 E b lead sheet 2012 Eb Page 4 of version ( counter melody) A2 # r # # 6 r # n - r # f (b ) # #

5 E b lead sheet 2012 Eb Page 5 of 67 # # version ( background riffs) - ä - ä etc # a # - - n F > - - n > > > - - n > version ( hand clapping) clap # # # > > > > > > f

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8 Eb lead sheet Blue Cee 2012 Eb Page 8 of 67 CHARLES MINGUS Medium Sing (q»ca 160) 4 P D 7 B7(b 9 ) E7b5 G 7 F m(ma7) B b 9 F m(ma7) F m6 G 7 - b # # -! G 7 G 7 # Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved "It as ritten for Celia my ex-ife although I rote it before she as my ex-ife I used the Key of C; also a one-note form like Duke had done on C-am Blues" b! p (slide) f In the notes for the album The Clon recorded by Atlantic on March Mingus said of his repertoire: "Some of the guys had been saying that I didn't sing So I made some (compositions) that did This album (The Clon) is a standard blues It's in to keys - C and Bb - but that's not noticeable and it ends up in C basically I heard some Basie in it and also some church-like feeling" While Mingus never did play Blue Cee again he ent on to rite many more compositions based on the blues Mingus' use of repeated notes helps create the blue mood of this piece Also note the effective use of bitter dissonances in the last phrase The second chord in bar 10 may also be played as Db9 The above example notates the ailing riff hich is played after all solos and before the return of the head Blue Cee Album Name: The Clon Label: Atlantic

9 E b lead sheet A b b Uptempo shuffle q» º 4 Piano: G m f b b 4 f b b C m BOOGIE STOP SHUFFLE # # # G m N N # # # # 2012 Eb Page 9 of 67 CHARLES MINGUS N N N b b b b D7 # # N # n # # G m N b b B Horns bb # # # ( ) rhythm section simile a a bb C b b # # b n # b n N a A A n A n # # a b # # n 2 n a # b n a b b A n A n N b n n a # 2 a n bb # # a a b A n A n A n a b a b a # a b a # a n # Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

10 2 BOOGIE STOP SHUFFLE 2012 Eb Page 10 of 67 D 4th chorus ensemble melody b b n 2nd time sing # # n # A b b # n # # n ( D/Bb) bb # ( b) n A # # U fine 1 n # ( ) # # n 2 # to solos bb f N + o # + o N + o + o

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12 Eb Lead Sheet A Medium Sing Em7 5 f = ca 144 Dizzy Moods A7#5(#9) CHARLES MINGUS D7#5(#9) G7(#11) 1 5 Cm7 F7( 1) B ma7 C7 F7#5(#9) 9 2 B ma7 Fm7 = B B 7#5 Fm7 B 7 Fm7 15 B 7#5 E ma7 Gm7 C7#5 21 Gm7 C7 Gm7 C7#5 = Fm7 C 26 Em7 5 A7#5(#9) D7#5(#9) G7(#11) 0 Cm7 F7( 1) 4 B Coda C7 Copyright 1975 azz Workshop B ma7 F7 B 7#5(#11#9)

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14 E b lead sheet bb 4 4 G 7 # b 9 5 bb b blues C m9 Ballad q»ca º I as A B b Ma 9 young azz and and b 9 F 7 # 5 bb # B b b F 1(b 9 ) B b Ma9 care-free not a song hadfoundmy so-ul B b Ma7 D 7(# 11 ) # # rag - time - no F 1(b 9 ) n search-ing for my mel-o - dy love D # m7b5(11) D # o7(11) bb n bb n bb # # All a B m7 E 7 n # C # Ma7 C # 6 # # n D7#5b9(#9) # Lost in sound had got to my mood I as C # C 6 B Ma7 F 9(# 11) B b Ma9 n # # n blues that gets me C # m7b5 F # 7(# 11) n # # - lone sad clon ith his cir - cus closed # n A Ma7 A C # m7/a E b /G # F # m7/g # n # Lost on my mer - ry go - round came a mel - o - F Ma7 D7(b 9 ) b C # 11 C 9(# 11 ) G 7 b 9 # n # F Ma7 B 9 heart so year - ning Taught me to hear mu - sic out of love - from the Eb 1 (# 11 ) b life e all F 1(b 9 ) bb Duke Ellington's Sound of Love n Dm7(11) G 7(# 11 ) n # b ooed B Ma7 # don # n F n # 1(# 11) Gm7(#11) C 1(b 9) # # dy in my B b Ma 9 n soul for this live in - fi - nite ith the lov- er and be - C # C 6 B Ma7 F 9(# 11 ) B b B 1(# 11 ) Ma 9 fine # # n lov-ed - as one EL - LING - TON SOUND b D OF LOVE Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved Cm7b5(11) 2012 Eb Page 12 of 67 ords and music by CHARLES MINGUS # U # ( )

15 E b lead sheet A b b b Ballad q»ca º B 7(# 9) bb 4 # P Piano F G 7 # b 9 5 C m9 bb B bb bb n D # m7b5(11) bb n bb D # o7(11) # # B m7 E 7 n F Ma7 D7(b 9 ) Dm7(11) Bass enters on # # # n Duke Ellington's Sound of Love C B b Ma9 F1(b 9) B b Ma9 F 7 # b 9 5 # # B b Ma7 n G 7 b 9 F1(b 9 ) n ( n ) C # Ma7 C # 6 # # n # # # n D7#5b9(#9) Even 8th D 7(# 11) # C # C 6 B Ma7 F 9(# 11 ) C # m7b5 F # 7(# 11) n # # A Ma7 A C # m7/a E b /G # F # m7/g n # 11 C 9(# 11 ) Even 8th G 7(# 11 ) # > n> #> > # n Even 8th F Ma7 B 9 # # ( b) B b Ma 9 n D Cm7b5(11) B b Ma9 B Ma7 # # # n F # 1(# 11 ) Gm7(#11) C 1(b 9 ) 2012 Eb Page 1 of 67 CHARLES MINGUS E b 1(# 11 ) b # F 1(b 9 ) bb n C # C 6 B Ma7 F 9(# 11 ) # # n B b Ma9 b B 1(# 11) # U fine ( ) Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

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18 Eb lead sheet East Coasting 2012 Eb Page 16 of 67 CHARLES MINGUS Intro # # # # A # # Uptempo Sing ( q»ca 200 ) # # 4 4 f E b Bass* C Bass* F Bass* B b Bass* «n Piano 2-feel Trombone Trumpet 2 «n 4 measure Piano break Û Eb B Ma7 G # m7 # # f D Ma7 # # n B # # # # C # # G # m7b5 C # 7 G # m7b5 C # 7 Tenor 8vb G # m9 # # E b Ma7 n n n C m7 b * Bass notes only (not chords) b G m9 # # # n n C # - # m7 F # 7 F # m7b5 B 7 b n F # m7b5 B 7 F # m7b5 B 7 n n F m7 B b 7 n Trumpet b n F # m9 b F m7 F m9 n - # b n E b Ma7 # b n b n n D # m7 G # 7 # # Em7b5 b b 2 «2 modulate to B C # m7 # # # n b - n Em7b5 b b b n C m7 # n Trb Tenor b n n C # m7b5 n # Copyright 198 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved F # 7 n B b 7 F m7 n n D Ma7 D Ma7 # n B b 7 n # n >

19 2 D # # B Ma7 # # n G # m7 # # D Ma7 n C # - # m7 F # 7 F # m7b5 B 7 b n East Coasting n - D # m7 G # 7 # # C # m7 # # # n b - Em7b Eb Page 17 of 67 D Ma7 > E # n # # # G # m7b5 C # 7 C # m7b5 F # 7 # n b B m7 F # m7b5 B 7 n b # # n b n Em7b5 E 7 b # n # D Ma7 # DMa9 ( U fine) After East Coasting as composed for a Bethlehem recording date in August 1957 Mingus seems never to have played it again Although Mingus gre up on the West Coast critics and historians have associated his approach ith those living near the Atlantic shore Hoever the composer has stated: "Whatever coast he's on a man should be himself I don't rite in any particular idiom I rite Charles Mingus" In this piece Mingus devises an unusual form in hich boppish phrases traverse through a labyrinth of tonalities Within each phrase are internal and cross references hich distinguish most of Mingus' melodies Its structure may be represented as: 8 bars A 4 bars B1 4 bars B2 4 bars C (derived from the intro) 4 bars D 8 bars A 4 bars B1 4 bars B The desired effect of the introduction and C is created by doodle tonguing on brass instruments Saxophonists should utilize Lester Young's trademark technique of rhythmically applying alternate fingerings to one note East Coasting Album Name: East Coasting Label: Bethlehem

20 E b lead sheet Sloly q»ca A D7 # # 4 # F # m7 B7#5 # E m7 F # m7 G7 G # 7 C # 7 ( ) # # n G7 B b 7 b # # # n n b 4 2 Ecclusiastics C # 7 EMa Eb Page 18 of 67 CHARLES MINGUS B # # 2 4 D 7 G7 C 7 F 7 Bb # 7 Em7b5 # 9 5 # n n 4 C 1 # # 4 # "ail" D 7(# 9 ) 2 D 7(# 9 ) "ail" Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

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22 E b lead sheet b q»ca º Intro 4 G m7 Fables of Faubus B b Eb Page 20 of 67 CHARLES MINGUS b 4 # 2-feel P A G m7 - - b b F simile # G m7 - - b b b Em7b5(b9) # # P in octaves # (octaves) # A7(b 9 ) B b 7 B b 7 # # # # # n # n b P # n b # b n b D m7 C 7 B 7 (octaves) b b b Bass Walks B b 7 > p A - 7(# 9) f Û f p Piano Û > Û > ( Bass Walks ) # Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved G7b5 - f Û p

23 2 Fables of Faubus 2012 Eb Page 21 of 67 b 1 F 1 - f # Em(Ma7) - solos only: G 1 G 1 A b 1 A 1 Bb 1 B 1 Û Û Û Û Û Û C 1 F 1 F # 1 G 1 A b 1 A 1 Û Û Û Û Û Û b Û Û # n b b 2 Dm 9 (M a 7 ) # # # F b tutti Û Û Û Û Û Û Û Û Û Û Û ~~~ B seetly b n Gm(Ma7) E b m(ma7) # # # b n Gm(Ma7) E b m(ma7) # # b B7b5(b9) E Ma7 Bass and Drums double time # # A m7 n D 7(# 9 ) n # G7b5 b # P b Bass # # # b ( ) # # # #

24 C G m7 - - b F b simile # G m7 - - b b # (octaves) # (octaves) # Fables of Faubus B b 7 B b 7 # # # # 2012 Eb Page 22 of 67 # n b # b n b (octaves) Em7b5(b9) b A7(b 9) n # D m7 C 7 B 7 b Bass Walks b b B b 7 > Dm 9 (M a 7 ) b p # (# 9 ) - f Û f p Piano Û > Û > ( Bass Walks ) 1 # to solos G7b5 - f Û Last time - p b Û Û tutti Û Û Û Û Û Û Û Û Û Û Û ~~

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27 2012 Eb Page 25 of 67 he readerlperformer is advised to listen first to the Columbia version of Fables Of Faubus here the form is clear and concise; then to study the Candid version hich introduces the lyrics and more extended solos; and finally to follo the remarkable Fantasy/Debut recording featuring Clifford ordan hich is an example of true innovation and clearly shos that Mingus as in advance of all his contemporaries including ohn Coltrane Ornette Coleman and ohn Cage Pepper Adams as the first musician to devote a hole album to Mingus' compositions The great baritone saxophonist commissioned Thad ones to rite an arrangement of Fables Of Faubus for a session issued by Moton Records in September 196 Unfortunately the disc as poorly distributed and is considered a collector's item today In later performances Mingus changed the title to celebrate other political leaders such as: Nix On Nixon and Oh Lord Help Mr Ford Recently French poet and troubadour Claude Nougaro recorded Fables under the title Harlem Often Mingus used the folloing background lines-played or sung by his musicians-to support the soloists In example 1 ith to or more background horns X may be repeated by one voice hile the other continues at Y background figures

28 E b lead sheet Ballad q» ca C 7(# 9 ) G # 1 4 b b F B b 9sus G b # # 1 B n b 7sus C 7 b b b Dm7b5 G 7 # 9 5 b b # A 1(# 11 ) D 1 C # Ma9 F # 7(# 11 ) b b # # # # n n b F m11 G # 1 G # 7 b # # C # Ma7 # # F # 1 F 7 G 7 B b 7 C 7(# 9 ) G # 7 # n n b b # n # fi # # # # # n Solos C m7 F m7 C m7 F m7 C m7 C m7 F m7 C m7 F7 G # 7 C m7 F m7 C m7 F # 7#5 Am7b5 D 7 # 9 ( 5 C m7 D # m7 G # 7 G 7 G # 7 ( D # m7 G # 7 G 7 after repeat C # Ma7(#11) F # 7(# 11 ) F m7 C m7 F 7 ) F m7 G # 7 G7#5 C m7 F 7 G # 7 G7#5 C m7 F 7 C m7 F 7 Am7b5 D 7 C m7 F 7 C m7 F 7 ) fi C # Ma7(#11) F # 7(# 11 ) # # # # Goodbye Pork Pie Hat n C m U C # Ma7 U CHARLES MINGUS C m U 2012 Eb Page 26 of 67 Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

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30 T Sx Bb Tpt Bass E b lead sheet Bass Medium Sing q» ca Bass # Intro 4 # # P cresc poco-a-poco # # # ª ª A # # # f b Tenor tacet 1st time 2nd time start playing from bar 1 then play tice F Trumpet tacet first times 4th time start playing from bar 1 (one time only) Haitian Fight Song # ƒ 2012 Eb Page 28 of 67 CHARLES MINGUS ª ª Tbn Bass # # p Trombone plays 4 times: plays 8va from rd time # # (gets louder each time) # Bass plays 4 times # n # b n # # ª ª T Sx Bb Tpt Tbn Bass # p plunger half-valve # b # # f # m n ~ ~ # m # # Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

31 2 Haitian Fight Song 2012 Eb Page 29 of 67 T Sx Bb Tpt # # F plunger half-valve b n ~ ~ Tbn # # # # n b n Bass # # # # # ª ª # Solo ( G Minor Blues) 12 to open solos After Bass solo DC and ritard to end After 5 choruses of the Blues Mingus plays an open solo before setting up letter A again The horns re-enter as before eventually sloing don and stopping

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33 E b lead sheet Medium Ne Orleans Sing q» ca b b b b b B b 7 Alto Trb 4 4 C 7 n F F G m7 C 7 n b # b # # b b - # 2-feel ( slap bass style) # - elly Roll G m7 C 7 F 7 n b # - # # # b G m7 n b # # b > Trb fills 2012 Eb Page 1 of 67 CHARLES MINGUS b - # F 7 E 7 E b 7 b b D 7 - # G 7 > > C 7 > > b # # n # b 1 F 7 2 F 7 last time b Trb Fill b b b b Bass Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

34 2 elly Roll 2012 Eb Page 2 of 67 Tag Ending b b b b b b C 7 # 9 5 F b smear C 7 # 9 5 F b smear G m7 alk ( ) G m7 C 7 Bass solo G m7 Drum solo Bass solo ( ) G m7 F 7 C 7 b b b b Bass and Drums fine

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36 Eb lead sheet Medium up sing q» º Moanin' 2012 Eb Page 4 of 67 4th chorus Alto Sax 2 5th chorus Alto 1 2 6th chorus Altos A Total playing time: 6 choruses Play only at 4th chorus / Piano comping b b b f 1 n 2 D m 5th chorus only n Bb Ma7 # b Em7b5 CHARLES MINGUS All 6 choruses: Tenor Sax Baritone Sax Trombone Rhythm Section 4th chorus Alto 2 5th chorus Alto 1 2 b b b b b b P I Tenor: tacet first 2 choruses Baritone: play all 6 choruses P Trombones: tacet first chorus P D m kno ~~~~~~~~~~~~~~ b ~~~~~~~~~~~~~~ P D m D ṃ # Bass comes in (alk) at rd chorus Piano comes in at 4th chorus - B b Ma7 B b Ma7 - n b b n Em7b5 b b ª ª Em7b5 Em7b5 6th chorus Altos Ten Bari Trbs Rhy Sec D m b b b P b P b P D m ~~~~~~~~~~~~ ~~~~~~~~~~~~~ b P B b Ma7 - Bb Ma7 Em7b5 b n b Em7b5 Copyright 1976 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved b b >

37 2 Moanin' 2012 Eb Page 5 of 67 4th chorus Alto 2 b D m D m/c B b 7 5th chorus Alto 1 2 b D m D m/c B b 7 6th chorus Altos b D m D m/c Bb 7 Ten Bari Trbs b b b # b # # n D m/c # b n B b 7 b Rhy Sec b D m D m/c B b 7 ª ª 4th chorus Alto 2 b G m G m/f Em7b5 # n 5th chorus Alto 1 2 6th chorus Altos b b G m G m G m/f G m/f Em7b5 Em7b5 # n f Mingus: "Yes I Ten Bari Trbs b b b G m b ~~~~~ ~~~~ G m b G m/f b ~~~~~ ~~~~ G m/f b Em7b5 ~~~ - Em7b5 Rhy Sec b G m G m/f Drums sneak in Em7b5

38 Alto 1 B b Moanin' 2012 Eb Page 6 of 67 Ten b Bari Trbs Rhy Sec b b b F F G m Am7b5 D 7 ª ª Alto 1 b Ten Bari Trbs b b b F p Alto 2 Rhy Sec b G m Am7b5 D 7 ª ª Alto 1 2 G m b b # b # Ten b Bari Trbs b b Rhy Sec b G m Am7b5 D 7

39 Altos Ten Bari Trbs Rhy Sec Bari Rhy Sec + Ens Bari Rhy Sec + Ens 4 Moanin' b b b b F b b b b b G m C b f D m Û b Bass Drums ( Horns tacet) b P D m b ~~~~~~~~~~~~~ ~~~~~~~~~~~~~ P Bass Drums continue Add trombones B b Ma7 Bb Ma7 b b b E b Û n Em7b5 U U U U b n Em7b5 (fine) (fine) (fine) (fine) (fine) U b b 2012 Eb Page 7 of 67 ª ª ª ª > ª ª Bari Rhy Sec + Ens b D m b ª D m/c ƒ add other Horns and Piano ( collective improvisation) Bb 7 b ª Bari b ~~~~~ ~~~~~ b ~~~~~ ~~~~~ b ~~~~~ - Rhy Sec + Ens b G m G m/f Em7b5

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41 E b lead sheet Medium Sing q»ca b A 4 b f C 7 B b 7 C 7 B b 7 Nostalgia In Times Square b C 7 B b 7 b E b m7 A b 7 C 7 B b 7 b b b E b m7 A b Eb Page 9 of 67 CHARLES MINGUS b C 7 B b 7 b C 7 B b 7 b shuffle F # m7 D 7 # G n - m7 C 7 F b m7 B b 7 C 1 b B C 7 B b 7 b b C 7 B b 7 b b fine break break C 7 B b 7 b b b 2 C 7 B b 7 b E b m7 A b 7 b E b m7 A b 7 b b C 7 B b 7 b b C 7 B b 7 b b A m7 D # 7 G m7 C 7 F m7 B b 7 C b Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

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43 E b lead sheet 2012 Eb Page 41 of 67 Oh Lord Don't Let Them Drop That Atomic Bomb On Me Slo Blues q» ca CHARLES MINGUS # # # 4 # # F # # # # # # # # # Bass: one-to-the-bar feel ( ) F # 7 D 7 # # # B m7 n # # b n b n n E 7 n n # # # # 1 2 # # # # # # # 2 last time B b 1 b nu U n Copyright 1976 AZZ WORKSOP INC International Copyright Secured All Rights Reserved

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45 E b lead sheet Uptempo sing ( as fast as possible) A D Ma7 # # 4 # # OP (Oscar Pettiford) n D # o 7 D G m7 C 7 7 E m7 F # m7 n F m7 B b 7 n 2012 Eb Page 4 of 67 CHARLES MINGUS # b E m7 # # ( ) D 1 # # D 2 A7 D b n B G m7 # # b n C7(b 9 ) b n b F Ma7 - n n # # G m7 b n C 7 b n F # m7 # n B 7 # E m7 G m7 C 7(# # # 11 ) G m7 C 7(# 11 ) q = 4 q n # n # 4 # DMa7 # 4 n D # o 7 E m7 n # A7 Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

46 2 OP ( Oscar Pettiford) C # # G m7 C 7 D 7 F # m7 F m7 B b7 n 2012 Eb Page 44 of 67 b E m7 # # - - # # - ( ) D # # D # C 7 # b simile D G7 F 7 b n A7 D n # B b 7 # b E b Ma7 b b b Em7b5 # # b A7(b 9 ) b n D ( fine) D

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48 Eb lead sheet Opus Four 2012 Eb Page 46 of 67 CHARLES MINGUS A # # 4 4 Medium Sing (q»ca 176) Latinish ( h»ca 88) # ( Bm ) # 4 6 # # - - f Sing D m7 n - B b Ma7 n Em7b5 n # p E b 7 b n n D m7 ( 6 ) b n h = h 4 B b Ma7 b # 9 9 h = h # Em7b5 # # n - n - - b - n b # D Ma7 Latinish # # 4 6 # # # # # # - - D Ma7 E Ma7 # n F # Ma7 b b - # # # # n b b b # # h = h F Ma7 # # n n B G Ma7 n # n E b Ma7 4 n b b n n n n n n n # G # Ma7 n # C # n # 7 C Ma7 C n # # m7 F # 7 B m9 # 4 6 B Ma7 h = h C # # 4 6 Latinish ( Bm ) # # ( 6 ) h = h 4 Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

49 2 Opus Four 2012 Eb Page 47 of 67 D # # 4 4 D m7 n Sing B b Ma7 n Em7b5 n # p E b 7 b n n D m7 b n B b Ma7 # Em7b5 # # n - n - - b - n b # b 9 # 9 D Ma7 h = h # # 4 6 Latinish # # - D Ma7 - - # # Opus Four features phrase lengths of and 10 bars Structurally the Latinish interlude serves to conclude each of the A B A sections At A and D Mingus slips us his favorite progression in his favorite key - Dmin BbMa7 Em7(b5) A7/Eb7 The upardly chromatic maor-seventh chords support a melody ranging over to octaves The Latinish figure may be used as a fade-aay vamp to end the piece Officially recorded by Atlantic on October Opus Four may have been premiered at the Village Vanguard on August as No Name Opus Four Album Name: Mingus Moves Label: Atlantic

50 Eb lead sheet 2012 Eb Page 48 of 67 Medium Sing (see notes) 1 4 C F G C 6 D b Ma7 C 6 F 2 C 6 D b A Ma7 C 6 # G 7 # 9 5 C G 7 # # # 9 5 C # f Intro # ~~ G 7 # 9 5 C # ~~~ even 8ths E b m7 A b 7 B # n b b m D m7 G 7 G m7 F # 7b5 b C Ma7 B b Ma7 C Ma7 F m7 B b Ma7 ~~ b R n rush ahead b ~~~~~~ C F m9 B b 7 b ~~ Orange Was The Color of Her Dress Then Blue Silk C # m7 F # 7 A m7 D 7 E b m9 A b 7 b # # b B Ma7 1 C 6 D b Ma7 C 6 b # ~~~ D b Ma9 D 7(# 9 ) # D m7 G 7 n # ~~~~~~~ b Orange Was The Color of Her Dress Then Blue Silk ~~~~~~ Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved B b 7sus A m7 D 7 2 C 6 D b Ma7 C 6 D b Ma9 D 7(# 9 ) b # B m7 E 7 # # b F # 7b5 > ~~~~~ # C 6 D b Ma7 C 6 Album Name: Mingus Plays Piano Spontaneous Compositions and Improvisations Label: Impulse Album Name: Mingus At Monterey Label: azz Workshop Album Name: Changes To Label: Atlantic Album Name: Charles Mingus Sextet Label: East Coasting CHARLES MINGUS n

51 2 Orange Was The Color of Her Dress Then Blue Silk 2012 Eb Page 49 of 67 "It as ritten for a Robert Herridge television sho It's about a talented composer ho meets a rich girl that tries to ruin his life She doesn't have anything to offer him but money so she asks him to rite a song and dedicate it to her dress hich as orange She kne that nothing rhymes ith 'orange'" Orange as first recorded on uly by Impulse as a piano solo Hoever neither this nor another composition Song With Orange of hich Mingus speaks in the quote above shares many similarities ith the version later played as an ensemble piece in Scandinavia at the start of a European tour in the spring of 1964 The earliest commercial recording of the band arrangement is from a concert in Paris on April (Salle Wagram) hich as issued by America Hoever the best version as recorded at the Monterey azz Festival on September by azz Workshop The only studio version as recorded by Atlantic on December Orange remained in Mingus' repertoire until the end of the European tour in the fall of 1976 This is another neglected Mingus composition - probably because many found it too difficult to play The notes themselves are not difficult but the conception is complex Usually the opening chorus represents the standard rendition of a azz theme Hoever on the azz Workshop recording from the Monterey azz Festival Mingus launches into a free and creative stretching of tune and tempo Only after the solo choruses does Mingus give us a clear demarcation of the melody This transcription is based on that final chorus or re-capitulation here the melody is played in tempo and en forme Returning to the opening chorus one no understands: A is played at a medium tempo the first time but much sloer on the repeat; the first to bars of B can be played in a double-time Latin rhythm and may become a repeated vamp as ell; C may be stretched out by pausing on each tonal center or by giving each chord more beats Mingus uses an arsenal of devices during the solo choruses including: stop time figures tempo changes mood changes and the aforementioned stretching of form Throughout the performance a hook figure [ e q e h ] becomes a rallying point for the ensemble The overall form AAB may be analyzed as follos: A = a (4 bars) b (2 bars) c (vamp - 2 bars) a1 ( bars -includes hook) Note: The entire 11-bar A section follos the geneal tonal structure of the blues B = d (2 bars) e (2 bars) f (2 bars) a2 (adds a bar in front) For the ending Mingus vamps the hook figure and then reprises the introduction The folloing shos the background figure used on the A and B section Remember: these Mingus performances serve as inspiration - it is not necessary to re-create them note-for-note In the folloing examples A gives the background riff used for the first six bars and B shos another riff hich is used to accompany both melody and solos Note that this riff is ritten in cut-time as Mingus ould often have the rhythem section go into a double time latinish rhythm here During solos these measures might be vamped extensively on to the hook figure A b B F C Ma7 C f ~~~~ ~ ~ ~ b B b Ma7 b ~~~~ b C Ma7 b b ~ ~ ~ B b Ma7 C

52 E b lead sheet Peggy's Blue Skylight 2012 Eb Page 50 of 67 CHARLES MINGUS bb bb Medium sing q»ca A Em7b5 r bb 4 r f D m9 FMa 9 D 7(# 9 ) bb G 1 G m9 B b 7sus # B 7 b G7(b 9 ) R C m9 F 1(b 9 ) 1 b b B b B 7 Ma7 # b # r ( F m7 ) B F 7(# 9 ) B b 7 E m7 bb # # # n Dm7b5 bb b C bb bb B b 7sus b C m9 F 1(b 9 ) G7(b 9) b (# 9 ) # r # C Ma7 A7#5 # 2 # n C7#5 # n n (# 9) r # B b Ma 9 A7 n n n D 7(# 9 ) B b Ma 9 fine U ( ) Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved D Ma7 # F Ma7 B 7 n G7(b 9 ) R

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54 b E lead sheet Medium sing q» Horns Bass b b ( ) A 4 p D m 4 b B b /D b b p Em7b5 b b b 1 b f F m7 b Bass alks Interlude on cue D m7 n A7(b9# 9) ( B b /B ) B b 7 B b Ma7 n b G 7 p D m7 # C7(b 9 ) Em7b5 E b Ma7 b D m7 A7(b 9 ) n f F 7(# 11 ) B b Ma7 # Em7b5 Piano and Horns ad lib on cue b D m7 G 7 Em7b5 (# 9) to letter A # 4 6 # vamp until cue 4 Horns # # U Piano tremolo Pithecanthropus Erectus 2 h = h k D m7 ) G7 b 4 6 D m7 G7 U fine after vamp h k = 4 h ( vamp until cue Em7b5 D # /E # 9 5 D m7 U U b Û n solo break Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved G Eb Page 52 of 67 CHARLES MINGUS A7 5 5

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56 E b lead sheet Uptempo sing q»ca º A # GMa7 4 F7sus F 7 B b Ma7 n b # n b n f ( ) # A m7 D 7 # 9 5 D 7 # b 9 5 GMa7 B b 7 A m7 D7(b 9) B # # C m7 C # C m7 F 7 n G Ma7 ( F7sus ) F 7 n F7 n Slippers b # B b Ma7 Bb Ma7 B b Ma7 # A m7 D 7 # 9 5 D 7 # b 9 5 GMa7 B b 7 1 to solos ( A m7 D7(b 9 ) ( ) D7(b 9 ) ( ) 2 fine 2012 Eb Page 54 of 67 CHARLES MINGUS n GMa7 b last time ) n Copyright 1981 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

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58 E b lead sheet Medium slo sing q» ca A G m7 F 7 even 8ths A 9/E # n b D m7 C # Ma7 C m7 B 7(# 11) bb 4 # n # n F B b Ma7 Am7(11) G # 7 G 7 F # m7 F 7(# 9) bb # # n # # bb very slo E m7 n # n Cm7b5 F 7 # b 9 5 n B b 6(9) D m7 C # 7(# 9 ) n n sloer and rit C m9 F 1(b 9 ) # U n B6(9) b b ( n ) n n # # # ## # b # a # # n b n # # b B # # # # # sing q» ca ª B Ma7 ( # ) a a G # m7 N E Ma7 A m7 D7(b 9) N C # m7 F # 7(b 9) n D # m7 G # 7 # # # # # # n n n n n n # # # # n C steady four q» ca GMa7 # D m7/g # simile Sue's Changes GMa7 B b 9 G Ma7 b Am7b5 D 7 # 9 5 D b /G n 2012 Eb Page 56 of 67 CHARLES MINGUS F Ma7 # n B b Ma7 # N b n sloer and rit n B 7 # b A Ma7 F Ma7 # n # N N B 7 # A m7 D1(b 9 ) N n b U Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

59 2 Sue's Changes q»ca F D # G Ma7 n D m7/g simile F Ma7 # alk E B b 7 n B 7 G Ma7 # n a b even 8ths F Ma7 n D b /G n B 7 # # N b b n a # n n # > # # G # # a n # n A 1(# 11 ) faster sing q»ca D D(#5) G 7 C # 7 # - n - D Ma7 G # m7b5 C # # 9 5 F # # Ma7 C 7(# 9) # F # # n - m7 B 7 E Ma7 # - C # m7 F # m7 B # F Ma7 H ~~~~~ F Ma7 B 7 B b Eb Page 57 of 67 rhythm suspends # # # N b I # # D m7 G n N - 7 # - E m7 A7(b 9 ) n - - D m7 G7(b 9 ) n n # b ~~~~~~~ C 6 n A m7 # # D m7 F/G G/F Em7b5 # - vamp until DC * F Ma7 B 7 n n A7(b 9 ) D m7 G1(b 9 ) C # 7(# 9 ) n n b B b 7 # # # N b C6(9) F # 7b5 > * see notes for ending vamp until cue

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64 Eb lead sheet b b? b b E b m(ma9 ) b b A Ma7 4 # F 4 B b Ma7 # " ( E b m(ma9 )/A b ) B Ma7 # # " A 4 4 B b Ma9 ( B b Ma9/E b ) Tuba! B b Ma9 ( B b Ma9/E b )? b b b b! E b m(ma9 ) b b? b b? b b ( E b m(ma9 )/A b ) b E b m(ma9 ) b b b b? b b ( E b m(ma9 )/A b ) b C m11 ( Cm9b5) " # b b F9sus n Us Is To ( GMa9/C ) GMa9 # B b Ma9/E b B " B b Ma9 Brass Tuba simile f ( B b Ma9/E b ) # D m11 n 2012 Eb Page 62 of 67 CHARLES MINGUS " " Copyright 1977 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

65 2 Us Is To E b m(ma9 ) ( E b m(ma9 )/A b ) b b b b b b b b? b b E b m(ma9 ) b b? b b b b b b? b b ( E b m(ma9 )/A b ) G 1(b 9 ) b n b n# n F 1(b 9 ) b E b 1(# 11 ) n n # n b " # b "? # # n n # # n # A b 1(# 11 ) C b n B b Ma9 D 7(# 9 ) # # French Horns C 7(# 9 ) # n " ( B b Ma9/E b ) # n n n B b 7(# 9 ) # n # # # n n b b A Ma7 b # " # n # n # # n B b Ma7 # # " 2012 Eb Page 6 of 67 n # b n B Ma7 # # 4 4 D B b Ma9 ( B b Ma9/E b ) b b b b 4 4 E b m(ma9 ) ( E b m(ma9 )/A b ) # #

66 b b b b E b b B b Ma9 D 7(# 9 ) b C 7(# 9 ) ( B b Ma9/E b ) b b # # A b 1(# 11 ) E b m(ma9 ) b b F 1(b 9 ) # # # # n ( E b m(ma9 )/A b ) # G 1(b 9 ) B b 7(# 9 ) n # n b n # b E b 1(b 9 ) n b n b b # n # # # n # fi 4 2 # # 4 fi Coda b b 4 4 B Ma7 # # Us Is To A Ma7 B b Ma7 B n U b Ma7 B Ma Eb Page 64 of 67 "In a ay it's a tribute to Duke" Depending on the occasion Mingus has said that the title Us Is To referred to the United States and its contradictions (vis-a-vis black/hite rich/poor saint/devil to-faced and so on) Or that it referred to himself as a black citizen demanding recognition (the alternate spelling Us Is Too) Or that it as a tribute to Duke Ellington Or that it as all of these Premiered at the Village Vanguard on September and only recorded in concert by Columbia on February Us Is To never became ell knon among Mingus' orks Perhaps its inclusion in this collection ill bring its attention to more musicians Us Is To Album Name: Charles Mingus And Friends In Concert Label: Columbia

67 Eb lead sheet Wednesday Night Prayer Meeting 2012 Eb Page 65 of 67 Mel Trb Tn # #? # # # #? # # Uptempo Sing (q»ca 240) # # 4 6? # # 4 6 2nd time only * D 7 n - - f # f G n # * after solos both voices enter together and play both times n A 7 n Wednesday Night Prayer Meeting n - - n # n - - # # - - n - - n - n n - n - - n - D 7 n - - n - Album Name: Langston Hughes - Weary Blues Label: MGM/Verve Album Name: Blues And Roots Label: Atlantic D 7 ( U fine ) U ( fine ) Copyright 1976 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved CHARLES MINGUS - - n n - n # "This as based on a form of music I heard as a kid My mother used to go to church on Wednesday night There as alays clapping of hands and shouting Methodist or Holiness Church Holiness as a little louder in order to stir up the spirits the dead spirits People ent into trances Women shouted and rolled on the floor My mother never did that but she ent" Wednesday night prayer meeting must be the grandfather of all triple-meter gospel-soul-funk-azz compositions The elder cousin of Better Get Hit in Your Soul and Slop Wednesday Night Prayer Meeting as first recorded for MGM/Verve on March in order to accompany a poetry reading by Langston Hughes Extended versions ere later recorded in a studio for Atlantic on February ; at a azz festival concert in Antibes -uan-les-pins France on uly ; and once again in the Atlantic studios on anuary For this last recording Mingus composed a ne counter-melody in addition to the to themes included in this lead sheet Album Name: Mingus At Antibes Label: Atlantic Album Name: Me Myself An Eye Label: Atlantic

68 E b lead sheet b b Medium sing q» ca b b Em7b5 4 4 P D m on repeat only P b fi 1 D m Work Song # G m b 2 D m b 2012 Eb Page 66 of 67 CHARLES MINGUS fi Coda F Pedal b b b U b b n b n U Copyright 1975 AZZ WORKSHOP INC International Copyright Secured All Rights Reserved

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