WYNTON MARSALISWYNTON MARSALIS 22.,.APRIL IN PARIS 34...AUTUMN LEAVES 42.,,CARAVAN 58 ...CHEROKEE 15...DJANGO 4...A FoGey Day 80...LINUS & Lucy 67... THE SONG Is You 86...WHEN YOU WISH UPON A STAR Trumpet Ede: Gh Dhaest, ‘se Eater: Bi Gallfor, Dad Pugh snd Esha Nexburg ‘Coser Design: Debbie Johns Lipton Photograph Courtesy of Cod Techncogy os nnd ©1908 PhetoDis, Inc. Engraver: Randy L- Scheffe, Inlond Soa Mesle ¢ WARNER BROS. PUBLICATIONS - THE GLOBAL LEADER IN PRINT ‘USA: 15600 NV 48% Averuo, Miami FL 33014 Carek Tip (© 1987 WARNER BROS, PUBLICATIONS INC. MIE =) Any duplction, aapaton or arrangement ofthe ccioans conto tn thi caecilonreutes he welt cngen ofthe Pals var of hs bol nye phtacpied oF reproduced anya wthot permision. Unantoreed wick ae em nfangement of th US: Capright Ret and ae ponihable bylINTRODUCTION Jazz music and the American popular song were born just before the turn of the twentieth century. ‘They have the same parents - Ragtime and Blues. Both speak a ‘common melodic language descended from the minstrel show, the fiddler’s reel, the works song and the spiritual Both possess a harmonic vocabulary in the tradition of, the great J.S. Bach, And, both make extensive use of devices developed in musical theater houses from La Scala to'Lu Lu White's Legend has it that the first jazz musician was Buddy Bolden. His repertoire consisted of original and blues songs, yes: but he was known and loved for his, versions of popular songs and dance tunes. As the art of Jazz began to define itself, the practice of “jazzin™ a popular song became as important as swinging the blues. ‘As the American popular song evolved, composers like Hoagy Carmichael and George Gershwin increasingly Incorporated more of the swing and feel of jazz. As a matier of fact. Mr. Carmichael’s “Stardust” is said to be derived from an improvised solo of jazz cometist Bix Beiderbecke. In the late 1920's “and early 30's, the masterpiece recordings of trumpeter and singer Louis, Armstrong changed the relationship of jazz to the popular song, He had the ability to construct coherent improvised solos, which applied the musical implications of the blues to the more sophisticated harmonies and modulations of the popular song, This showed jazz, musicians everywhere that the popular song could be used as thematic material for improvised variations. Because Armstrong was also a masterful singer, he cut and pasted lyrics into a collage of powerful, syncopated modern music, inspiring generations of singers as well From the turn of the century to the late 1950's, thousands of songs were coming from musical theater, films and Tin Pan Alley. Jazz musicians sifted through this mountain of material to find the best songs. They loved to play a recognizable song because it provided ‘a. common ground between musician and audience. It still does. That someone could hum or sing along made the improvisation easier to follow and understand, In some instances a particular rendition of a popular tune became a musician's “signature” song, such as Coleman Hawkins’ “Body end Soul,” John Coltrane's “My Favorite Things,” Miles Davis’ “My Funny Valentine,” or ‘Tommy Dorsey's “I'm Getting ‘Sentimental Over You.” Musicians loved to find different ways to play these songs, from Lester Young's wispy melodic improvisations to Art Tatum's virtuosic runs and complete reharmonizations. There was even a style of jazz composition which fitted the harmonic structure and form of popular songs with jazz melodies, like Charlie Parker's “Ornithology” based on Morgan Lewis’ “How High the Moon” and the two million tunes written to Gershwin's “I Got Rhythm." Now these songs are called standards. They have been played in some form by every jazz musician from Jelly Roll Morton to Marcus Roherts. ‘The playing of standards is an essential part of the modern jazz musician's development. The melodies teach us how to sing through our instruments. The harmonic progressions Suide us through the many tiered structure of our 12 keys, And, most importantly, many of these songs place us in the topsy-turvy world of love and romance with its exceptions, triumphs, its humor and failures, These songs are our heritage. They can be arranged, rehar- monized, rephrased, syncopated, swung, crooned, oF just simply stated without losing their identity and charisma, ‘They are standards and they need to be played with soul. Yes. And awing, aeFOREWORD This book captures some of Wynton's most brilliant musical performances. {t includes transcriptions of the trumpet parts and piano sketch scores of the combo arrangements which can serve both as an aid in understanding the context in which these improvisations were played and as a template from which you can study. ‘or recreate the intricate harmonic and rhythmic aspects of these beautiful and amazing arrangements, Esch arrangement has been meticulously edited by Wynton himself, and includes an exact transposed transcription of the trumpet part, including all improvised solos and a piano sketch, in concert piteh, of the entire combo arrangement; including important string, woodwind, and orchestral scoring. Chord symbols in both concert and transposed key for trumpet are also Included. Because cof Wynton's strong feelings that an improviser should understand not only the chord changes and melody of a song, but also the meaning end feeling of its Iyries, the lyrics for each song have been placed under the trumpet part. We've used slash notation in sections where the plano or other accompanying instrument were playing freely improvised comping patterns behind Wynton. ‘Within these sections, however, we have also provided © ‘suggested chord votcings, which are set off in parenthesis. These guideline yoicings capture the essence of the accompanist's stylings for those selected sections. Every effort has been made to provide accurate transcriptions, notated in a clear and concise manner: They provide a textbook look at one of the most esteemed Trumpeter’s of our era, ‘The following is a list of recordings used as a source for each transcription: 1) APRIL IN PARIS from "Standard Time” Vol. 1, Columbia Records (CK40461) 2) AUTUMN LEAVES from “Standard Time” Vol. 1, Columbia Records (CK40461) 3) CARAVAN from "Standard Time” Vol. 1, Columbia Records (CK40461) 4) CHEROKEE, from “Standard Time” Vol. 1, Columbia Records (CK40461) 5) DJANGO. from "Hot House Flowers,” Columbia Records (CK39530) 6) A FOGGY DAY from “Standard Time” Vol. 1, Columbia Records (CK40461) 7) LINUS @ LUCY from "ioe Coo!'s Blues,” Columbia Records (CK66880) 8) THE SONG IS YOU from “Standard Time” Vol. 1, Columbia Records (CK40461) 9) WHEN YOU WISH UPON A STAR from 1 House Flowers,” Columbia Records (CK39550)A FOGGY DAY By OEORGE GERSHWIN and TRA GERSHWIN Medium Swing ‘Trumpet in Bb Piano! Sketch pd, Derle LD t: ig f § 3) o' with eup mue B75 Amit Dis A fog - ay es in Lon-don town. {© 1937 (Renewed 1969) GEORGE GERSHWIN MUSIC and IRA OERSHTWIN MUSIC ‘Thc Aramgement © 1995 GEORGE OERSHWVIN MUSIC and IRA GERSHWIN MUSIC AIIRights Administered by WH MUSIC CORP. ‘AILRIgMs Reserved A Foggy Day 11-1 ProsiEe ails) B91 ba +, pr(ts) DIgiD be of Dao its) ma Ee morn - ing ards) wnG3) Ang Din69) ‘The Brit-ish mu 3) ans) 2. 25 of Bing Amtt bb dered, could this thing Inst? ‘A Foggy Day-11-2 nestess wold wf age of — miracles had - n't passed, orl) profs) rll) * be Dmit. - a3 Cmnajl3 FISGLD, ‘and through [Bbmajt3 Bh3g1, Gmaj 7 AmiuD fog- gy Lon - don town the sun was Fmaj7/C PIs of Bm769) E709) JAm7 65) r idea tT ‘A Foggy Day -11-3 PsstBT b D7 Gmaj7 Dm? GT B79) Ao 1369) 3 AS p79) 61369) * The dotted uplet groupings represent the double time fel change of the rhythm section, which is played against the triplet groupings of Wyuton's sola A Roggy Day 11-4 PsstFO Gmaj 7D ‘A Poggy Day 11-5 Pasi 5709) D769) E709) Di7 65) AmiD iGmiuc D771 FI of Piano solo 15 era, rls) p74 onl) crs) AFonay Day- 11-6 PrISKe 15 15 __vrlfs) of10 61369) cmap PIB Bo? . ba F1369) Bhima 5. E709) A131) piss) tebe ated iB D769) laisgiy lcia(ts) rst] of Bho Amit pn FB eG A Foggy Day -11-7 PansDis MW of she PM, cms PIs Lt) BHI3q11) A Foggy Day -11- PRISED Omaj 7 76 PI3g1D 176) of 13611) Ang valls) ria E1311)els) B49) oilés) nuns pil) er(ls) sits . 1369) Cmaj7 Fist) ar(fs) is 49) Bhnaj7 B¥13¢11) an) \e wil) assguy pain [ws og i, Gusgiy ‘Foggy Day-11-9 rest”eG) anid) pl) Dmg ges oni) crlls) 6B Cmajt3 PI3i¢i) Dosus Bbnsj13 613611) Dosus ARoggy Day 11-10 Pr9sie14 FB A Foggy Day -11-11 Essie poses FisgL) B31)DJANGO By JOHN LEWIS Slowly ‘Trumpet in Bb Pianof Benes P crese. cerese. molto 2 1985 Rereved 989 HO MUSICINC “Anangenet ©1985 MJQ MUSIC INC. Django 7-1 igh Reel ing Pie Promace Pe PISSi2 Used by PermissionSwing 4-88 @i) DabovG he cntoye7 cmc DitsyG Gm9(nai7) 30] Gm) Fms(mnaj?) cm DIG9VG Gm9¢eaj7) Gm) 5 crave cme = DULG Gnenait) om cm, FIGWA BHTO9/G dg ) 2)18 Bho Brill af Am765) AG D Gom13 on) = ens) cme pm in in Django 7-4 PESSS23 19 : od on = col) DIgsyG Cx oyP ee eet B19 seed as dole due sing he jena) I Django 7-5 POSE20 cm o7b9) emis DIGI (3) ‘ p79 Jia Am7(5) D769, G7¢9 POA AAD ge cr) F) cmd Fmt Bis ass DbI3 (be BIS AB2 AuIB BS Drums - Floor Tom] 2 4 LSS |Z a1] Slowly ‘Orchestra - freely > ter ym. crash Django 7-7 pis2 APRIL IN PARIS By J VERNON DUKE Fast swing d=132 Em769, AT D Dmaj7 3 ‘Trompet Bb Tip A - pil in I Piano/ mp Sketch Din765) maj? aS vom f FEC TP ter eee ree rel 3 2 2 » —3. E763) AT Dmaj7 Pe aoe Chest = nuts in los - som, eeererer reer —I pm7é5, (dims. cont.) {© 1932 WARNER BROS. INC Renexed) Right fr te Extend Renewal Temi the Uae States contd by ‘VERNON DUKE MUSIC CORP. This Araagement © 1996 VERNON DUKE MUSIC CORP. end WARNER BROS. INC. Aplin Paris 12-1 “AM RightsReserved PPBSs2Amt DI 17} Gmaj7 eye Fina? chm 765) BT Bm Gim7 5) cH Again Pars 12-2 PISS13g) BIsgI), Bio, as | Bhi3¢1) A131) [33] Medium swing-hatftime : ts Gim765) Gut pire ruin? Bo? a7) mao ay back) er knew the charm of Spring, nev as” Se onlts lcmaio Cimi1e5) FHT O9) Bm? BA Gim7¢5) Gadi) A . : 3 ney-er knew my heart eotld sing, nev Bmiied Fim7(5) POUL) 2 Tempo J-d Fimaj7 Fmaj7—-Bmaj7 Bm7syA Em7GS) AT Dmaj7 I As pilin Par i oS # HFS) (gee) yee) Bmaj7Ehmaj7 maj? Du705yG\)pm76) 7 cmaj7 aga Pats 12-3 Bie25 Fim763) BI Bm7¢s) BB A769) ——— What have you oe 37] Medium swing JJ Bm7¢5) AT Dmaj7 Bm7¢5) AT Dmaj7 4 3 ‘palin Paris 12-4 PRISS226 m7 65) ar Dia}? Ano bis Gmajt3 Cin7és) FOS) BnT Bw/A Gtm7 65) Gisdit) cra. BTaly Boal. ATrab. eer FIs¢in) Gim7¢ CiTbD ——Fim765) Ents) ands) Dmaj7 D749) Aplin Pars 12-5 Prosechm7 5) FHT) Brij?) poten eds Bm7¢5) Fhmaj7 Bmaj7 2 3 7 Gim7 65) oad Pog foo ge dee 3 5 E769) |Am(maj7) Fm 7 (65) FOG) maj? BE? AT ger 2F ets Bhmaj? D7 a4 3 Bm7¢5) AT Dimaj? raf gee Atal. Aplin Pass 12-6 PBsfr Em7(¢5) [a] Bm7e5 a7 Dmay7 EY s Dmaj7 Dm7¢5) G7 — |cmaj7_— |Dm7¢5)_ G7 And isd A e1sdi Gin 765) Godt) cad BIg) BIO) A136) I 3 CaS 7 Bo13d11) ——A13¢9) |AbI3¢9) 1369) pilin Pasis-12-7 Prsss229 5 105} Gim7b5) cH) prs 7(3) mt ATG Dmgjo iS Fin7é5) 8705) ce ars) orci m7 5) cr Bm? BwA Gim7os) G7 Fim769) Fhmaj7 Finaj7 Bm765) 47 m7) AT Dmaj7 Bmaj7 Bimal? Dm75) Dm765) Fin705, Bi3¢1» Rote eee se AIG) Api in Paris 12-8 PIss261369) ah Dm7 G56 13] 46 16 [iss] Tempo dd Em7d5) aT —_—— Dm7¢5) Ca? Apilig Pais 12-9 Piss east wu (2) 6 14 Fiano solo 14 a Dm763) em7b5) (Double ime)31 Em7¢5) Ar Dmaj7 Double time fet) (Double time feet) Ant D7 (Double time fel) 201 (Double time feet) psi in Pars 12-10 PEs32 chm 63) HT , Bt (Double time feet) Gtm7 5) cn ‘(Double time feet) c1adin) Bisdit) Bio ag ie BhI3¢1) Angi) 27] JJ Gim7d5) Gna v&rt —Fim7 Bot As Dmaj7 Fim7¢5) Fmt ApailinPris- 12-11 Ess33 Cmi1és) FHT) Bm? BWA —-Gim765)— G96) FART -BT A769) be) amués e769) [Ano Fin7¢s) F969 D7 G79 Fas) Tempor Jd Bm705) ar Daaj7 a os I pm7¢s) maj? ‘(Drum fill-double time feel) sees Fim765) BT (Drum fill-double time fee!) BIS ATES, Dmaj7 (Drum fll-doubie time fel) yo pain Part 12-12 Phosa234 AUTUMN LEAVES By JOSEPH KOSMA Fast swing [2 J ors Cail Froail3 tyr in 7 Bb af ‘The fall- ing leaves. Piano np Sketch Bhingl3 2 pave) elt) Amis ar) Dmii T sce your lips, a) 15) comait3 Frgj13 Bm765) els the sun-bumed hands. 4s ts JAm7(¢5) ois 5 ©1947, 19s0 ENOCH ET CIE (© Reseed 1975, 1978 ENOCH ET CIB Sole Seng Agent or US.A, (acting is Tentoes an Rosestons) and Dominion of Cams: MORLEY MUSIC CO, by agreement with BROCH ET CIE "AMUN Reserved Used by persion Asta Leaves 8-1 PeaseAmis Since you 18 37) ex(ls) went away ah) rit soon the nights _ grow pills) hear 35 Cag FO AmI3_— Gtm Gm? Firat. Asta Leaves 8-2 Prosi2 But 1 ria Bm765) iiss you most of Am705) I wb) - tuna leaves = (is pal Ami3, stort36 4 Amd) 13808 Comyj13 Ped pards nl) amis an 45 is m7 (65) pi(fo lar(f5) (i) Dmil Gils. Cmajl3- Fmaj!3. mlb) As Bm7 (5 ails Amis = fe Ante oil) ‘Auras Leaves 8-3 Prosi7 Beet ee Dno G7at. cma) ts Frail B73) er() Ami3 Am765) vals) —— i 45 Gra, Feat Fimgjl3 enlfs Amit ea fs pis) Are Lesvos 8-4 Prssz38 {%] pmo) oils) 98] 5 choruses Cm9 Piano solo Bass solo 32. (#) 162 Dm? or €maj7 Fimaj7 Bm765) ze 7 b Amil Dunit o7 Cmaj7 Fmaj7 Asan Lewes 8-5 penseBm705) BT Amil Am705) [x] 78 wb) ents) Ams ab) ar) orlls) jon(t5) dno trae a ngs Pogt3 ands ’) ae bo nil’) sta An7és a) san im te ec) v7) thoitd pills) Autumn Leaves 8-6: Prasa?40 Amia Amds) Gises Cina Fimgji3 ct Bhaji | Bhmajt3 = S As tS amd —_na(ia) Amis ao, Dmti amr’) pil) (fs S) aks. Cimaji3 rngji3 B75) Ene bo 's oil) Ami 2) ua(ls) ens) Ags = ao) oma Asmuin Leaves 8-7 ross41 Bimgi3 Bm7¢b5) Ami3 Gf? Gm9 PII) Am7('5) E131) I 7 Jed. Halttime [222] rs en(ls) Amis raps) Ama ahs pal) *. rows) agts A sis 7 o1(b) Aton Leaves 8-8 Prossz42 CARAVAN By DUKE ELLINGTON, IRVING MILLS Bright New Orleans-groove and JUAN TIZOL 4 ‘Trumpet Bb Pianol Drum Sketch ea 13) pads) ‘With cup mute mp e749) {© 1957 (Renewed 1965) EMF MILLS MUSIC, INC, FAMOUS MUSIC CORPORATION inthe USA. Alt Rights outside he USA Conuolled by EMI MILLS MUSIC, INC. Publishing) and WARNER BROS, PUBLICATIONS U.S, INC Prat) ‘AURighisResened Cnevan 16-1 Prosi?BI DIG) 43 caaran- 16-2 PSH?cacavan = 16-3 PRISID Dail Gages 6B Gosus GB PIB Piano solo w/ TrumpetFI3 aif Am705) D709) = a James) [61] New Orteans groove pits) Covevan 16-4 Pras.46 Disg9) C1349) pats) Pe @) cll) Cunvan- 16-5 PIs47 Casvan = 16-6 PrOSSE48 109] Swing on FB Ccaaean 16-7 Prosi49 af Am7 65) D709) ah m7 65) 125] New Orleans groove 49 pis) a cv(ls) CCarayan = 16-8 PSD50 141) Swing He ah cr (3) Hl ae 4 be a) Cunvan- 16-9 PRISECuaran 16-10 Ess? cs 51189] New Orleans groove vis) er) (Caran - 16-11 Prsss2 Am7¢5) he Gm765 D769)15 Piano Solo 253 369] New Orleans groove 7s) 16 With cup mute Caanan 16-12 PRs5A Gm6 Daas) Carwvan 16-13 Press355 {sou} swing Dmil GI3%S GIB Gasus on cB CCaayon- 16-14 Prosi56 Bh3 a§ om765) 347] New Orleans groove D749) Cuaran 16-15 Prsss237 333 Cuavan 16-15, Prosa258 CHEROKEE By RAY NOBLE, Bright double time swing J=166 co G+ C13 C1369) Fmaj7 “Trumpet-Harmon mute ‘Trumpet Bb my v Po Block Chords Pianof Storch} Rhythm BIG BH369 mfp Double time Bs. Line sim. Bea) cs bo Daw A109) Ab3d1) 69 bro ce os en Gt) maj? ro, comp. lightly © 1928 THE PETER MAURICE MUSICCO. LTD. (London) US.A.Copysght Renewed and Arsgeed to SHAPIRO, BERNSTEIN de CO. INC. ‘All Rights Reserv Used by Permission Cheree 9-1 Pass?59 BHI3g11) 6 po AS3@1) § 17 Dm? or fe AN Eb? Db, Dhmaj7 Chest T Bmaj7 Bm BT ‘Amaj7 And D7 cherokee 9-2 Prosi60 Dat or 25) o§ Double metody Toctave lower aif Fmaj7 BHIagID AbI3@11) 33} cmaj7 cs = Pro, comp. lightly Bhmej7 Ccherckee-9-3 Posse co Pmaj7 fore}61 BbI3¢11) Cmaj7 Ds AMI3¢11) Dm? AT Dm out [a1] csi Gr 13 Fomaj7 BoISGI) co |Ab13g 11) bt Don oi ob Cherkee-9-4 Prsss262, Bm? ai Dimaj7 ctw Fy Bmaj7 Bm? 7 Amaj7 Amt D7 sit of cs eokee 9-5 Prisn63 Fmaj? .__BH3@I) Cmaj? AML) be Dm? or Cmaj7 GIL Bhmaj7 FIL Fmaj7 Brgy ANID, Charkee 9-6 Pr9Ss264 cmaj7 be Dm? AT Dm cu 3) § Gan cul Fimaj7 Byi3q1) |Ab13@11) Chere -9-7 pras3265 cmaj7 Disqiny c13¢1) Dat orgs) cmaj7 {81} tb Ana Dhmaj7 ctu? Par Bmaj7 cherokee 9-8 Prose66 Bm? B7 Amaj7 Am? D7 ou of [x] ons c3 Fmaj7 BHaGL) maj? AMG 1) bis Dm or J Chewckee 9-9 Proseor THE SONG IS YOU By 35 Bright swing (JJ=J 2) JEROME KERN ‘Trumpet Bh a 3) 9. Peer rt Storch oye aoe) nists) | vals) arm pan(f8) abad9) 61369) * pr oh) ase] py) ama v(b3) aren ait 7 . Gn (43) crabs) nfs) ates) hats) 126 9. Balt, ahs) BhI3¢9) ods) Atel, vn(ls) Ab1369)—-G13¢9) © 1932 7:9. HARMS COMPANY Copyright Reneved ‘The Song 6 You - 13-1 Pras| crm —rlfs)——_cxs6oy of) orm air({5)nhsés)—ars6o) t ie Sa = : nr on(fs)—ahisty| als) are pins) ahisde) arate) is) t lowsGid 9 Bras) Eno anGid Pepurtasees a joni) cd) Bs) BbI3¢1D, SS = it start, hen meta - way. onGtd ¢ abr3g iy) . BbI3¢1) A13¢1) ‘Te Sore sou 13-2 rissaoy cra ri(f3) crags) er(l8) ara) BA369)—_Arsé9) am ahs) whisé) | or(de) ee) Ab1365) 1369) .. 9. cra. ls) cist) ar (B5) wae) nding) arab some en- chant- ed pra sins) hse] ors) are | ni (B8) atiadsy ort of cw Fimn765) BI3gi) Down deep in my hear, AGI), le Bb3¢11) AIBA of AbI3G 1D) Gi3diy - The Song Ts You 13-3, Pras70 09 opr vba Gim75) cn Fim7(b5) | 1B Ffow)i3 tn ens) dt.——- heard this love - ly steain, wl) hve heard this glad re fain, uh) be) Abo ) be ‘The Song TeYou- 13-4 Prysa21 fos on tna ons) you know? Why can’t B13! #3) 49. 1 ts 55) cram F(ds) crs) ei(is) pr Bhn(f) hsb) A136 it you know tho we? 4 amos) ahisds) pilfs) ara | pin($S)anisd) asd) fs cra 2) crsés) wi(fs) arm, ail) shisboy ais), ‘That beaw- t= ful : + dy love and youth < A i) i pre alts) —pinbn] —oilfs) ame | vh(f9) binds) sds) of cn Hr, xu) —— and spring. — is sweet, the words are i B14) larGiun) (2) te The Song IeYou = 13-5 PISSDima Drnaji3 ‘The Song Is You 13-6 PDS Faim? B79 Emil Eni? ATalt. Arak.B Fim7(b5) 8769) Bn 1369) on anGi) ah anGh) ba oh, asi? as @) Dail Faim7 Emo AB Ang bis o crs “The Song Te You- 13-7 PrSssr"4 F4m765 wn) 2143) ans bs or of Gio? chat Pamgjt3 Ging cho The Song Is You 13-6 PRISE75 Bind Big b Hit Gia GH Gina chat. 19 Daajl3 Féim? End Aral, Di. 7 And Cea Gmajg e131) Bbi3g 1) ‘The Sone Is You 13-9 PSR.76 rimt9 ails) wr ails) arts) #35) EBm7 AT Dimgj13 167 31 32, 199 [zs] 32 Fhinaj7 Gino cttat. 32 32 ‘The Song sou 13-10 PrSS327 Pratt Bbmd Bo apes = Gas Gino frat, ‘The Song IsYou= 13-11 PSHB cra 8) crt) ef) a(S) hissy asst wolf) shisd | vis) are | obs) abiséo) ost 49 49. cra. rvs) ©1369) pis) 33 Bhmaj745)— Bb13¢9) A1369) os 4 : Bh3¢9) pits) ais Dhmaj745)Abi3ga) 1369) Gm ogi Fim765) abot 1) wi) wn(fs) ands) ii ants) prlls) lors) ‘The Song ts You 13-12 SSS?19 49> 49 Ss cra AB) cad) ells) ora ab) Bhis¢s) A136) Brat. pills) ‘BbI3¢9) vis) ots) Ab13¢9)—-G13¢9) . on ri) cry aol) arma) ist) art 9. 1) ’ eilis) —nh13¢9) oils Atal vin(ls) Ab13¢9) 61369) . cm iB) cnt) wm wh) haga) A169) w(t) nists) | ors) arm otal) absé9) 1369) wf) Repeat ad lib fade 4 49 ct w(t) cis) rs) Bat Bhi3¢9) AT369) re ' — wr wh) ahse| ors) are | vin) ase cst) ‘Te Song Is You 13-13 PIS33280 LINUS AND LUCY By VINCE GUARALDI Brightly J 160 Intro (ee ‘Trumpet in Bh Trumpet 8 Piano sketch alpthm section Piano! Sketch Piano, Bass unison v (Cinna) (© LEE MENDELSON FILM PRODUCTIONS, INC. 1965 Renewed) ARighs Reserved Lina apd Ley 6-1 PrSR?Fr ar SoloPiano Linus and Ley 6-2 PrSSSr82 oar Tocoing __ DS 3 vs [36] of 7d) Continue Bass figure throughout soo FB Hines and Lucy 6-3 PRISMLinus and Lacy - 6-4 PRISSE‘Tenor line DS Bal Coda 9 30 (Swing 35 Liusand Ley -6-5 PRISEDLinas an Lacy 6-6 PrSSS2 Repeat & fade Repeat & fadeWHEN YOU WISH UPON A STAR By LEIGH HARLINE, Bright jazz waltz feel Jeisa.192 Copyright ©1940 y BOURNE.CO. Renee AURighs Reseed Used by Pemlsion When You Wish Upon A Star 10-1 Pri87 ‘Woodwinds & Strings 2) os ois) no er(88) Asgin) diffrence who. sta, ae eee ==) | t i") ogi) Guo ‘When You Wish Upon A Star 10-2 PISS88 Bins Jed NC: ch C1369) 8 |. i fate — ei : oe writ ‘An = y= thing your heat de - sires will come to Strings eg PEECD= ded. tempo NC Ht Boi BPI3¢9) you. ——— “Giempo ri t rr iano, Brass NC. Piano, [40] ar) Abogi1) your dreams, ‘When You Wish Upon A Str 10-3 PrSsi289 Ano Bing de) NC r When you wish : star ike Swings Je cuinee cu c1369) Gms/c 7h BT ——_BHI369) Ne. ‘Tenor Sax, ‘When You Wish Upon A Sar 10-4 Pas rat‘When You Wish Upon A Star 10-5 PrIS32o1 49 pis. Gm9 Bind Bn B79) b onlls)—en($3) Gm763) C79) 49) m’ om lek 2» Fn lFm7(b5) B79) 2 AT is) of) Gm Bbmd Bm ETG9) Gm Gm7¢s) 769) Si Fm9— Fm7(b5) BH7 69) Ez When You Wish Upor A Star 10-6 Pr9Si2Bm765) B7G9) Am705)- DIGID Gm765) C710 cm765) C741 em765) BATA [ojarGs) wis) co bine m9 B79 =f glare ey ec Te) a STE ETE == ra LES ————| Amd oils) ENGHIGE ml ‘When You Wish Upon A St 10.7 2‘Tenor Sax. solo break| NC. ‘When You Wish Upon A Star 10-8 PRSSa294 191 ‘When You Wish Upon A Siac 10-9‘When You Wish Upon A Star 10-10 FISDWYNTON MARSALIS ds = CARAVAN CHEROKEE Dictibuted in the USA b & wane nos, um This book captures some of Wynton’s most brilliant musical performances. It includes transcriptions of the trumpet parts and piano sketch scores of the combo arrangements which can serve both as an aid in understanding the context in which these improvisations were played and as a template from which you can study or recreate the intricate harmonic and rhythmic aspects of these beautiful and amazing arrangements ra ee aE) NORM OE a ee AE} DJANGO A Foccy Day Linus & Lucy THE SONG Is You WHEN YOU WISH UPON A STAR -ATIONS Peron init