ULLA IN AFRICA

The opening hymn-tune (bars 1–5) is very beautiful and sonorous. It demands a good,
blended sound from each member of the section as well as a connected, legato articu-
lation and the ability to move from note to note with good ensemble. Make sure the
release in bar 4 (second half of beat 4) is unified so the trumpet pick-ups into bar 5 are
heard. In any type of chorale, listen to the lead voice for phrasing and style. The bot-
tom voices should provide a supportive cushion for the entire band.

This tune demands a keen sense of sixteenth-note sub-division throughout. Bars 10–17
is a section soli, just trombones and rhythm section. Make sure the last sixteenth of
beat 1 is short and that the eighth-notes on beat 3 are legato, always leading to the
next downbeat. This section demands some independence from the bass trombonist
as he/she plays by themselves on the second half of beat 2 in bars 10, 12, and 14. Play
that with confidence!

The trombone soli at letter C needs good rhythmic stability as a section. Listen to the
way the lead player interprets the tenuto markings and try not to let the sixteenth rests
break the flow of the musical line.

In the ensemble tuttis at letters E and G, each voice can play a little softer because
these are largely unison passages. When the line breaks into harmony (the ends of bars
51 and 53, for example) play a bit stronger.

Watch the key changes at letters I and J. In this brass section tutti, make sure to get off
all the tied notes in a timely manner. Keep the energy level going during the half notes
in bar 102.

8
How to Play Lead Trombone in a Big Band
 Ulla in Africa
Comp.: Heiner Wiberny
Medium slow, rubato Arr.: Peter Herbolzheimer

œ œ œ œ œ œ œ œ ˙.
? ## c J ‰ 3
œ œ ˙ œ #œ œ œ œ
4
F
6
A Tempo (q = 98–106)
4 >œ . >œ œ- œ- >œ . >œ œ- œ-
? # # 34 „„ Œ Œ

œ- œ- œ- œ-
12
? ##
œ. œ Œ œ- œ- œ- œ. œ
Œ Œ

œ. - œ- - œ- œ-
15
? ##
œ œ œ. œ- œ-
‰ ≈ œR œ ‰ œ œ œ Œ

both times

œ- >œ . >œ >œ ≈ œ- œ- œ-

A
18 3
? # # .. Œ Œ „ ∑ ≈
F

23 >œ . >œ >œ ≈ œ- - - >œ . >œ >œ ≈ œ- œ- œ- œ. œ ≈ œ- œ- œ-

? ##
œ
≈ ≈ ≈ ..
œ œ

B
26 4
? # # .. „„

9
©2006 advance music, all rights reserved How to Play Lead Trombone in a Big Band
 Ulla in Africa

30 >œ . >œ >œ ≈ œ- œ- œ- œ . œ œ ≈ œ œ- œ- œ . œ œ ≈ œ œ- œ- œ . œ œ ≈ œ œ- œ-

? ## ≈ ≈ ≈ ≈ ..

C
-œ - œ- >œ >œ ≈ œ- œ- œ- œ. œ- œ. ^ œ- œ- œ- >œ >œ ≈ œ- œ- œ œ- œ
Soli
34
-œ œ^ œ œ œ
? ## œ ≈ ≈ ≈

D - - œ. œ- œ. ^
37
- œ- >œ œ- œ^ œ- œ- œ- œ- œ- >œ >œ ≈ œ- œ œ - ^ œ œ œ
? ## ≈
œ
≈ ≈ ≈
œ œ

40 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 >œ ≈ œ- œ- œ œ- œ
43
- ^ 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
46 œ- œ- œ- >œ >œ ≈ œ- œ œ -œ œ^ œ œ œ
? ## ≈ ≈ ≈

49
- œ- >œ œ- œ^ œ- œ- E >œ n >œ >œ > >
œ œ >œ >œ >œ >œ >œ >œ > >œ œ
>œ >œ
? ## ≈ œ ≈ ‰ ≈ R œ

52 œ œ œ nœ œ œ . > > F Open

4
? ## ≈ œ œ œ œ œ œ œ
œ
œ œ œ œ œ .. „„ ..

10
How to Play Lead Trombone in a Big Band ©2006 advance music, all rights reserved
 Ulla in Africa

Cue
58
œ- . >œ >œ ≈ œ- œ- œ- œ- . >œ >œ ≈ œ- œ- œ- œ- . >œ >œ ≈ œ- œ- œ-
? ## ≈ ≈ ≈

61 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- G >œ n >œ >œ > > > > >
64
? ## œ œ œ œ >œ œ
≈ ≈ ‰ ≈ R

>œ >œ œ œ nœ œ œ . > >

? # # >œ >œ >œ >œ œ
67 œ œ
≈ œ œ
œ œ œ œ œ œ œ œ œ œ

70
G2 Open
4
Cue
4 -œ - œ- >œ >œ ≈ œ- œ- œ-
? # # .. „„ .. „„
œ ≈

œ. œ- œ. ^ œ- œ- œ- >œ >œ ≈ œ- œ- œ œ- œ
79
- ^ œ œ œ ->
œ- œ œ -œ œ^ œ- œ-
? ##
œ
≈ ≈ ≈ ≈
œ

82 H
7
? # # ..
œ
Œ Œ „„ „ ∑ .. n n b b b

11
©2006 advance music, all rights reserved How to Play Lead Trombone in a Big Band
 Ulla in Africa

>œ >œ ≈ >œ œ œ œ^ >œ >œ ≈ œ-

I
œ œ œ >œ ≈ >œ ≈ œ- œ- .
90
? b ≈ œ œ ≈
œ ≈ œ ≈
œ œ
>
bb

- - œ- œ- >œ >œ ≈ >œ œ œ œ^

œ œ œ >œ ≈ >œ ≈ œ-
93
? b œ
≈ ≈
œ œ
≈ œ œ ≈ œ
bb

>œ >
96
> > œ- œ- œ- œ- œ- J
¸ > ≈ œ œ œ œ
? b œ- . œ ≈ œ œ œ ≈ œ ≈ ≈
œ
≈ ≈
œ nb œ œ œ
>
bb n

- -
œ œ- œ >œ ≈ >œ ≈ œ- >œ . > œ- œ- œ- >œ ≈ œ œ- >œ ≈ œ- œ- œ-
99
?b œ œ ≈ ≈ ≈

102 >œ œ œ œ œ œ œ œ >œ œ

?b ˙ œ œ n˙ nœ œ œ
n##
F f
106 K 8 L 8
? ##

122 M
4 >œ . >œ >œ ≈ œ- œ- œ- >œ . >œ >œ ≈ œ- œ- œ-
? ## „„ ≈ ≈

128 >œ . >œ >œ ≈ œ- œ- œ- >œ . >œ >œ ≈ œ- œ- œ- N 4

? ## ≈ ≈ „„

- œ^
? # # œ- . œ- ≈ œ ≈ œ œ œ
134 œ œ œ œ œ
Œ Œ ∑

4 > - œ . #œ œ nœ œ œ . œ^
138
? ##
O
>œ . >œ œ ≈ œ- œ- œ
„„ ≈ Œ Œ
rit.

12
How to Play Lead Trombone in a Big Band ©2006 advance music, all rights reserved
 DU, DU, LIEGST MIR IM HERZEN

This entire chart is a study in playing fast rhythmic figures in a Latin feel. It’s impor-
tant to feel comfortable and confident with these figures so they can become part of
your rhythmic vocabulary, regardless of tempo. The background figures in bars 56–60
are a good example of these challenging rhythms.

At letter A, the trombones are asked to play with cup mute. When playing with mutes,
remember the pitch of the instrument sharpens a bit. If there is time, pull the tuning
slide out slightly when playing with a mute, remembering to push the slide back to its
original position when playing on the open horn. Different brands of mutes produce
different timbres. If possible, the section should try to use the same type of mute to
ensure a compatible sound.

The breath marks or releases in bars 35, 36, 39, and 40 are written so the ensemble
ends notes together. One way to unify these releases is to think of each whole note as
a dotted half note followed by a quarter rest. This coordinates and codifies the arran-
ger’s desire to put some space between the notes.

The entrance at bar 90 should be a loud, enveloping sound (not necessarily a penetrat-
ing type of loud sound). The quarter notes in this passage (bars 95, 96, 103, and 104)
should be played long, with a singing approach. This applies to the beat 4 quarter
notes found at letters I and K, as well.

The tutti syncopations found in bars 129–132 can be very challenging. These rhythms
tend to be rushed. Try to be very steady without “crowding” the time. Remember the
notes in bars 129, 131, and 132 enter after strong beats.

26
How to Play Lead Trombone in a Big Band
 Du, Du liegst mir im Herzen
Traditional, based on a version by Clare Fischer
Orchestrated by Dave Rivello

31 2
h = 120 Latin

?3
Rubato
U 1 4 Times

4 ∑ b C .. „ ..

Cup Mute , ,
35
? ..
A
w w œ. œ. œ b˙ œ œ.
J
b
F
,
, , œ . bœ . œ œ . nœ .
1 2

?b w . œ . bœ
..
39 w w œ œ

45
? b bw b˙ .
Œ
w w w

b >œ >œ >œ B

Open
3 bœ œ bœ
50
?b w w Œ ‰ J ‰ J „ ∑ Œ ‰ J
f F

bœ œ œ
?b J Œ ‰ J Ó
nw œ
‰ J
57 œ
∑ Œ ‰ ∑

˙. ˙. 5
?b Œ
62 bœ w nw
„„ ∑

C 4 Times 2 D 4
71
? b .. „ .. .. „„

4 2
1 2
77
?b „„ .. „
27
©2006 advance music, all rights reserved How to Play Lead Trombone in a Big Band
Du, Du. liegst mir im Herzen

7 b >œ >œ >œ E ˙.

?
83
‰ J ‰ J
œ ˙
b „„ „ ∑ Œ Ó
f

œ . bœ . œ b˙ . nœ . œ. œ. œ. ˙.
?
93 œ œ œ œ
b

?b ˙.
98 ˙. œ w ˙ bœ ˙
Œ Œ Ó

œ. œ. œ. 2
?b ‰
103 œ œ
„
œ w w

Piano Solo - 14 times or open

F 4 G 4 Times
4
? b ..
109
„„ .. .. „„ ..

4 Times Gradual build each time

Play 3rd and 4th time only
H 3 I
œ. œ. œ.
.. œ .
bœ ˙
? b ..
117
„ ∑ Œ ‰ J
œ œ
f

œ. bœ . œ. œ. œ. œ. bœ . n œ-
?b œ.
123 œ œ bœ

J
œ^ b œ . nœ .
1
œ.
? b ..
127 w
ΠJ
œ œ
Œ ‰ Œ ‰ J
bœ œ
Œ ‰ Ó ..

œ ˙ 2
b œ- K
bœ . bœ . nœ bœ . bœ . bœ nœ . bœ . bœ nœ . œ . bœ
?b ‰ J
132

28
How to Play Lead Trombone in a Big Band ©2006 advance music, all rights reserved
 Du, Du. liegst mir im Herzen

bœ . bœ . nœ bœ . œ.
?
137 bœ w w
b

bw w w w L 4 Times
2
?
141
.. „ ..
b
F subito

4 4 2
1 2
M
? b ..
147
„„ „„ .. „

7 b >œ >œ >œ N

˙.
?b
157
„„ „ ∑ Œ ‰ J ‰ J
œ ˙
Ó
f

œ. bœ . b˙ . nœ . œ. œ. œ.
?b
167 œ œ œ œ

?b ˙.
171
˙. ˙. œ w
œ Œ

˙ bœ ˙ œ. œ. œ.
?b Œ
175 œ œ œ
Ó ‰

^
œ. œ. œ-
?b w
179 w w

29
©2006 advance music, all rights reserved How to Play Lead Trombone in a Big Band