T I G E R M U S I C - F R E E D OW N L OA D

D O NA T I O N S S T RO N G LY E N C O U R A G E D

B U T N OT R E Q U I R E D

This product has been made available to you as a free download. I do not expect to be paid for
the download itself but I do hope, if you try it, like it and use it, that you will be willing to support it
by donating a token amount of money “to the cause”.

For each product, I will offer a suggested donation amount. That amount is not etched in stone
and I’m more than willing to receive less or more, based on your needs. But I would like to mention
that no amount is too small. Each file in the free music area of my web site has been downloaded
literally thousands of times in the last three months. That puts the sum of all the free music
downloads in the tens of thousands. If even one percent of all those people paid me ONE
DOLLAR, that would be hundreds of dollars of donations. So please, if all you can spare is one
dollar, send it. It will make a difference.

I also want to take this opportunity to PROMISE you that the money you send me will go
directly back into my music. I do not make my living off of my books and compositions. I make my
living playing the trumpet. So I don’t need this money for the rent, for gas in my car nor for eating
out. I need this money to fund other music projects. Right now (4/8/3) I’m saving up for a CD
project and I’m still six hundred dollars short of what I need to go into the studio. These are the
kinds of projects that my gig money won’t cover and for which I rely on your financial support to
accomplish.

Thank you very much for your interest in my work. More than anything, I hope you enjoy it.

SUGGESTED DONATION AMOUNT

THE RECOMMENDED DONATION AMOUNT FOR

“ S U RV I VA L S A M B A”
IS $6.00
You can make this payment online, via PayPal, at the “Tip Jar” page of my web site. Here’s
the URL for that page: http://www.eddielewis.com/tipjar.htm

Otherwise you can send me a check, cash or money order to my post office box at:

TIGER MUSIC
PO BOX 34027
HOUSTON, TX
77234-4027

IF YOU HAVE ANY QUESTIONS AT ALL , PLEASE EMAIL ME AT TIGER@ EDDIELEWIS . COM
 Try It, Like It, Use It, Support It
I have been very careful about the wording on the free downloads of this site. I have specified that it's the download which is
free, not the actual music. I don't expect anyone to send me money for music they don't try, they don't like or they don't use.
So, in so far as those three things are concerned, the downloads are indeed free.

However, if my music fulfills those three objectives, then I can't understand why anyone would refuse to send a "token"
amount of money to support the cause. If my music survives those three steps in the process of the download, then yes, I do
expect to get at least a little something in return.

I'm sort of glad that I waited so long to write this page. At this point (July of 2003), many of these books and compositions
have been available for almost three months. I'm having hundreds of hits per day, thousands per week, tens of thousands each
month. Coming from a mail order perspective, those numbers are staggering.

No Donations In Thirty Days

And yet, as impressive as those numbers are, not a SINGLE person has sent me a donation in a period of over thirty days. I
have to admit that it's been pretty difficult to take. These numbers mean one of two things. Either tens of thousands of people
are downloading my music but don't like it enough to send a donation, or tens of thousands of people are downloading it, like
it and are using it, but don't feel like they should send me any money for it.

I'm disappointed by both of these scenarios. And really, that's the word I'd use to describe my feelings about this entire
project. I'm disappointed. This disappointment has forced me to make some decisions about the future of this website. Oh, the
temptation is just SO GREAT to just pull the plug on the entire site and just let it go down the tubes. That always remains an
option.

Weighing Convenience Against Insult

But something has happened since I posted these compositions and books on my website. I cannot allow myself to forget
exactly WHY I posted all of this stuff in the first place. It was to remove the burden of the mail order business from my life.
With that burden removed, I feel so liberated that it almost neutralizes the bad feelings I have about not getting any donations.

Just the Daily Routines book alone has been downloaded thousands of times already. I can't help but to think about how much
work that would have been if those were mail order sales. I would have dreaded that work, even though it would have made
me some good money in the process.

And another thing that is cool about this setup is the ease with which I can share my books and compositions with friends and
professional acquaintances. Once the site was up and running, I called every trumpet player in my phone list to let them know
about it. It was that easy.

So I find myself weighing the convenience of the site against the insult of not receiving any donations for ANY of the
downloads. For now, the convenience wins over the insult. But as long as I continue to NOT receive any donations, the future
of this site hangs in the balance. The day when I no longer appreciate that convenience is the day the site comes down. It's as
simple as that.

You Can Make a Difference

You can change that by showing your support for this site with a donation. If all you can spare is one dollar, then please send
that dollar. My biggest fear, when I decided to make my music available this way, was that people would think their one
dollar would not make a difference. But if tens of thousands of people feel that way, then it does make a difference.

I want people to understand this point. Your dollar can make a huge difference in my life. Yes, just one dollar. I know that
many of the books and compositions on this site have higher donation price recommendations, but even one dollar would
make a difference if tens of thousands of people would send it.

Is my music not even worth a single dollar?

Apparently, tens of thousands of people don't think it is. So like I said, as long as this holds true, then the future of this site
hangs in the balance. I'm sorry to make this seem like a guilt trip, but I thought it was important that you know how much of a
difference you can make in the future of this site.
Trumpet
By Eddie Lewis
Survival Samba

Samba
           
         
 
2
2
1

          
                    
4


           
       
8
 

             
   
27
   


           
33


    
               


42
      
         
46

        
           


50

     
            
54

     
                        
59


                     
3


3

    
     
64

            
       
68

 
               
73
  
-2-
           
         
79

Alto Solo Break Tacit 1X

 
 
 
G min7 C min7
             
    
84

D min7 G min7 E Maj 7 F Maj 7 G min7

            
90

D min7 G min7 E Maj 7


G min7 C min7
           
96

F Maj 7 G min7 B Maj 7 E min7 A 7

            
102

B Maj 7 E min7 A 7 G 7(  11)

            
108

            
114

-3-
 D min7 G min7 E Maj 7

G min7
 C min7
  
        
          
120

F Maj 7 G min7 
 
G min7
  C min7   D min7  
        
125

G min7  F Maj 7 G min7

     E Maj 7
            
131

E Maj 7 E Maj 7

F min7
      
136

B 7 A Maj 7 D m7(  5) E Maj 7 F Maj 7

         
          
142

G min7 B Maj 7 E min7 A 7 B Maj 7

            
147

E min7 A 7 G 7(  11)
                  
153
 
-4-
         
  
         
         
158

                               
     3

162
  

 Ensemble
            
   

   
3

166


Solos E Maj 7 F Maj 7

 
           
3

     
172

G min7
To Coda

Mambo

       
177


          3           
      
186

   
             
      
3

  
189

-5-
         
 
193

D.S. al Coda

 
                      
194
  

            
                    
197



     
201

-6-
 Alto Sax By Eddie Lewis
Survival Samba
 
  
Samba
        
       
 2
2  
1

      
       

  
           
4

                 
      
8

             
         
14

                 
   
19

                  
            

24

       
    
29

       
        
34

                       

45

               
        
50

 
    
                 
 
55

        
              

60

                    
        
64

-2-
           
      

69

       
   
74


        
 
     
80


Tacit 1X
 
Alto Solo Break
     
D min7 G min7
             
84

A min7 D min7 B Maj 7 C Maj 7 D min7

            
90

D min7 G min7 A min7 D min7 B Maj 7

            
96

C Maj 7 D min7 F Maj 7 B min7 E 7

            
102

-3-
 F Maj 7 B min7 E 7 D 7(  11)
            
108

            
114

A min7 D min7
G min7            B Maj 7
    
D min7
      
120

A min7
C Maj 7 D min7 G min7     
D min7

    
        
125

D min7
      B Maj 7 C Maj 7 D min7
          
131

B Maj 7  
   B Maj 7   
C min7

136

E Maj 7   C Maj 7
       
F7
    A m7( 5)    B Maj 7
   
142

-4-
 D min7 F Maj 7 B min7 E 7 F Maj 7
            
147

B min7 E 7
 D 7( 11)               

       
153

         
     
             
158

               
               
3

 

162

 3
Ensemble
  
                     

166

Solos B Maj 7 C Maj 7


                 
3

172

D min7
To Coda

Mambo
       
177  
-5-
                  
       
3

186

   
      
3
                
189

      
 
193

D.S. al Coda

      
     
              
194

    
   
   
      
           
197

  
    
201

-6-
 Trombone By Eddie Lewis
Survival Samba
 
  
Samba
            
        
 2
2
1

      
       

  
           
4

  
  
   
8

        
   
  
  

28


      
   
33

         
       
    
42
   
         
   
46

               
      
50

     
    
     
54

                
 
59

   
                   

   
63

       
   
 
68

 
    
   
  
  

73

-2-
    
      
   
78

  
      
Alto Solo Break
 
            
83

B min7 C min7 F min7 D Maj 7

Tacit 1X

F min7
               
88

E Maj 7 F min7 F min7 B min7 C min7 F min7

            
94

D Maj 7 E Maj 7 F min7 A Maj 7

            
100

D min7 G 7 A Maj 7 D min7 G 7

            
106

F 7(  11)
            
112

-3-
 C min7
B min7     
  
F min7
      
    
118

F min7
      D Maj 7 F min7
 
E Maj 7
        
123

C min7 F min7
B min7            D Maj 7
    
F min7

     
128

F min7 D Maj 7 
E Maj 7
  D Maj 7
      
133

 E min7 A 7 G Maj 7
              
 
139

C m7(  5) D Maj 7 F min7 A Maj 7

  
E Maj 7
           
144

D min7 G 7 A Maj 7 D min7 G 7

            
150

-4-
    F 7(  11)
           
         
156

    
                             

159

             
    
3

    
       
 
163

Ensemble
    3   
   
   
         
167

   3         Solos D Maj 7 E Maj 7

         
172

F min7
To Coda
Mambo
  
      
177

        3         
  
     
185

-5-
     
               
3

        

189

       

193

D.S. al Coda

     
                  

194

      
          
            
197

  
    
201

-6-
Piano By Eddie Lewis
Survival Samba
Samba
 
   2
2  
   
                  
1

      

                     
4
  

 B min7 C min7 F min7 D Maj 7


F min7
         
8

F min7 B min7 C min7

 
E Maj 7 F min7
          
15

F min7 D Maj 7 F min7 A Maj 7


E Maj 7
             
21

D min7 G 7 A Maj 7 D min7

            
27
 G 7
 
        
                  
33
 

   

                            
37
  

 B min7 C min7 F min7 D Maj 7


F min7
         
41

F min7 B min7 C min7


E Maj 7 F min7
           
48

F min7 D Maj 7 F min7 D Maj 7

 
E Maj 7
          
54

F min7/C  D Maj 7 E min7 A 7

            
60

G Maj 7 C m7(  5) D Maj 7 F min7 A Maj 7


E Maj 7
           
66

-2-
 D min7 G 7 A Maj 7

            
72

D min7 G 7
                 
77


          
                  
81
  

B min7 C min7
Alto Solo Break
  
  F min7
          
85
  

F min7 D Maj 7 F min7


E Maj 7 F min7
           
91

B min7 C min7 F min7 D Maj 7

 
E Maj 7
          
97

F min7 A Maj 7 D min7 G 7 A Maj 7

            
103

-3-
 D min7 G 7 F 7(  11)

            
109

            
114

B min7 C min7 F min7 D Maj 7

 
F min7
          
120

F min7 B min7 C min7 F min7


E Maj 7 F min7
           
126

D Maj 7 F min7 D Maj 7 F min7/C 

 
E Maj 7
          
132

D Maj 7 E min7 A 7 G Maj 7

            
138

C m7(  5) D Maj 7 F min7 A Maj 7


E Maj 7
           
144

-4-
 D min7 G 7 A Maj 7 D min7

            
150

G 7 F 7(  11)
            
155

          3            
161


 Ensemble
 B min7
 F7C7 F min7
               
166

Solos To Coda
C min7 F min7 D Maj 7 F min7

E Maj 7
            
172

Mambo
                     
178            

                  
182        
-5-
 
                    
186
       

                  
190
       
D.S. al Coda

 
  
                 
194  

      

                      
197   


C7 F7
         
201

-6-
 Bass
By Eddie Lewis
Survival Samba

Samba
     
 2                
1
2 

                            
     
4

 F min7 B min7 C min7 F min7 D Maj 7

          
8

E Maj 7 F min7 F min7 B min7 C min7

            
15

F min7 D Maj 7 E Maj 7 F min7 A Maj 7

            
21

D min7 G 7 A Maj 7 D min7

            
27
 G 7 
               
           
33

                            
     
37

 F min7 B min7 C min7 F min7 D Maj 7

          
41

E Maj 7 F min7 F min7 B min7 C min7

            
48

F min7 D Maj 7 E Maj 7 F min7 D Maj 7

            
54

F min7/C  D Maj 7 E min7 A 7

            
60

G Maj 7 C m7(  5) D Maj 7 E Maj 7 F min7 A Maj 7

            
66

-2-
 D min7 G 7 A Maj 7
  
          
72

D min7 G 7
           
      
77

                       
          
81

B min7 C min7
Alto Solo Break

  
  F min7
 
            
85

F min7 D Maj 7 E Maj 7 F min7 F min7

            
91

B min7 C min7 F min7 D Maj 7 E Maj 7

            
97

F min7 A Maj 7 D min7 G 7 A Maj 7

            
103

-3-
 D min7 G 7 F 7(  11)
  
          
109

            
114

F min7 B min7 C min7 F min7 D Maj 7

            
120

E Maj 7 F min7 F min7 B min7 C min7 F min7

            
126

D Maj 7 E Maj 7 F min7 D Maj 7 F min7/C 

            
132

D Maj 7 E min7 A 7 G Maj 7

            
138

C m7(  5) D Maj 7 E Maj 7 F min7 A Maj 7

            
144

-4-
 D min7 G 7 A Maj 7 D min7
  
          
150

G 7 F 7(  11)
            
155


       
   
161

Ensemble

 B min7 C min7
   F min7
  
         
167

Solos
F min7 D Maj 7 F min7
To Coda
E Maj 7
           
173

Mambo
                   
           
178


                 
          
182

-5-
             

   
   


       
186

           
       
190
         
D.S. al Coda

 
              
           
194

                            
      
197


        

201

-6-
 Drums By Eddie Lewis
Survival Samba

           
Samba
 22        
1

    Fill

         
5

               
10

       
18

     
        
       
22

               
26
                     
     
34

 
                   
       
37


       
41

               
47

       
55

    
          
       
59

   
          
       
63

-2-
 
     
       
67

               
71


                 
       
79

Alto Solo Break

         
     
83

                
88

               
96

               
104

-3-
               
112

   
          
       
120


       
124

 
            
       
128


       
132

       
136

 
   
       
140

-4-
  
       
144

               
148

                
156

    
3

           
       
164

Fill
   
168

 Ensemble
        
170

Solos To Coda

        
174

-5-
 Mambo
          
178

            
182

D.S. al Coda

                     
     
194


                   
       
197


    
    
  
201


-6-