G2@ORDON GOOUWIN te SE ee ese As Recorded by Gordon Goodwin's Big Phat Band Hunting Wabbits 3 (Get Off My Lawn) GORDON GOODWIN Designed for Exporlanced High School and College Banda As Recortod by Gordon Goodwin's Big Phat Bana Belin sazz= As Recorded by Gordon Goodwin’s Big Phat Band 3 Hunting Wabbits 3 ” oO GORDON GOODWIN uw £ INSTRUMENTATION al 0 Conductor 1st Trombone Oo B> Soprano Saxophone 2nd Trombone 1st Eb Alto Saxophone 3rd Trombone a) (Alternate to Soprano Sax) Bass Trombone 2nd Eb Alto Saxophone (w/ Piccolo) Guitar Chords ec 2nd Eb Alto Saxophone (Alternate Part) Guitar 1st Bb Tenor Saxophone Piano 0 2nd Bb Tenor Saxophone Bass Eb Baritone Saxophone Drums 1st Bb Trumpet Auxiliary Percussion G 2nd B> Trumpet (Vibes, Congas, Bongos, Triangle, 3rd Bb Trumpet Xylophone, Crash Cymbal, Tambourine, Ath Bb Trumpet Vibraslap, Timbales, Shaker) @elwinsazz adivision of AlfredNOTES TO THE CONDUCTOR When | composed the first “Hunting Wabbits” back in 2001, | never would have thought there would be a HW2, much less a HW3. But the first one jumped out of the gate and audiences really responded to it, it even got a Grammy nomination for Best Instrumental Composition, but didn’t win. The chart you now hold did recently receive a Best Instrumental Composition nomination (as | write this the Grammy awards are a month away) and by the time you read this, you will be probably holding a Grammy-losing chart, but a darn-fun chart nonetheless. I'll give you a minute to appreciate my self-effacing gallows humor. OK, moving on. While the “Wabbits Trilogy” has been a compositionally satisfying experience for me as a writer, it is no doubt one of the more musically challenging pieces for you, the performer. So, let’s dig in and talk about some tips for playing this wacky piece of music. The chart begins with a vamp to set the mood. Keep it soft and tight, nice and crisp. Trombone 1, use a Harmon mute with stem so you can add that cartoony “wah” sound that is subtle but important. Let this vamp build so that the band hits £ at measure 33. The drummer should pay attention to the accents in the snare pattern in 36. This is a key element to the chart—think of it like you are playing a snare part ina concert band. For reference, you can hear drummer Bernie Dresel's great performance of this song on the Big Phat Band's recording That's How We Roll (Telarc International). There are many challenges in the percussion part, like the vibes and xylo sections. Hey, at least | didn’t write a timpani part! The percussionist doesn’t play mallets? There’s gotta be somebody in the concert band or orchestra that does. Invite them to sit in on this chart. Getting back to the melody at 38, bring the dynamic down to an easy mf, which is important because there are plenty of louder sections later on. The passage at 46 sounds a little bit “ragtimey,’ so go ahead and lean in that stylistic direction. There are a few places with some finger-buster sixteenths, like measures 52, 53, and 70-72. Passages like this can be best mastered by practicing them slowly—take your time and let your fingers get used to the licks, and you will get it, | promise. Moving on, the section at 77 transitions compositionally to almost a hoe-down feel. Notice the cap accents in 77, 80, 83, and 84, spit those notes out, crisp, clean and strong. There's a key change is at measure 99, so step the energy up a bit as you eventually build to the highest dynamic point in measure 118. This is a powerful moment to be followed by the drummer's snare cadence beginning very soft and building. The pianist handles the transition to the swing feel in 122. Make sure that he or she is clear and specific in articulating the difference between straight eighths in 120-121 and the swing eighths in 122. This part cracks me up because it kind of sounds like the pianist is messing up at first. The swing statement of the theme should do precisely that—swing it hard so it contrasts against the 2-beat straight eighths that precede it. The solo section is at 144. As the groove jumps back into the straight-eighth feel, the soloist(s) should attempt to improvise in a quirky, cartoony manner. You might want to check out my tenor solo on the BPB record for my attempt at it. Listen to the horn backgrounds and try to distribute solo licks in and around those figures. After the solo section the snare cadence escorts the band to the development section. Please note the dynamics and various accents in this snare cadence in 208-212. The saxes in 212 should play with extreme delicacy, striving for a soft, round sound and good intonation and this is my favorite part of the chart. This section gradually builds as the band works its way back to the bridge at 238. Tenor saxes, a note of apology for 239—that stuff is hard. You know the drill—practice it slowly and work it up to speed, but consider taceting those low F#s in beats 1 and 2. The final, grand and madcap statement of the theme occurs at 264 and it’s no holds barred here—pound it out, loud and exuberantly. | would point out measures 273 and 275; this is what trombones were invented for—the tri-tone glissando! As we near the end of the piece, discerning listeners will notice a couple of Carl Stalling tributes—the ascending guitar gliss in 280 is like the start of those Looney Tunes cartoons and a single, soft tenor sax note emerging from the loud ensemble. This is a device Stalling used, although more often with a bassoon. There is a quick reprise of the HW2 theme in 287, then the original HW theme in 289 before one more statement of the HW3 theme in 291... whew. Finally the 2 beat piano lick leads the band to the last ensemble declaration in 294, which should be laid back just a tad. That'll give it a little stronger emphasis, as if to say “That's all folks.” And indeed, it is. Thanks for playing HW3. | know your hard work will pay off with a really fun musical experience! —Gordon Goodwin Gordon Goodwin Gordon Goodwin started composed at the age of three. No masterpieces at that time, but he kept at it and wrote his first big band chart at age 13. It was good enough to convince him that he could possibly keep doing this. Flash cut 20 years later and Gordon is working in Hollywood, writing for television and film, playing sessions on keyboards and woodwinds, and working with artists like Ray Charles, Christina Aguilera, Johnny Mathis, Toni Braxton, John Williams, Natalie Cole, David Foster, Sarah Vaughan, Mel Torme, Brian McKnight and Quincy Jones, to name a few. Goodwin's cinematic scoring and orchestration craft can be heard on such films as The Sorcerer's Apprentice, Escape to Witch Mountain, Get Smart, Glory Road, National Treasure, The Incredibles, Remember the Titans, Armageddon, The Majestic, Con Air, Gone In 60 Seconds, Enemy of the State, Star Trek Nemesis and even the classic cult film Attack Of The Killer Tomatoes. In 2000, Goodwin formed The Big Phat Band, an eighteen piece jazz ensemble, which quickly gained a reputation as one of the most exciting large jazz ensembles on the planet. To date, the BPB has released five records, Swingin’ For The Fences (2000), XXL (2003), The Phat Pack (2006), Act Your Age, (2008) and That's How We Roll (2011). The albums have featured state-of-the-art guest artists like Arturo Sandoval, Eddie Daniels, Take 6, Brian McKnight, Johnny Mathis, Michael Brecker, Dianne Reeves, David Sanborn, Chick Corea, Dave Grusin, Lee Ritenour, Patti Austin, Art Tatum, Dave Koz, Gerald Albright and Marcus Miller. Goodwin's work has garnered him three Emmy Awards and eleven Grammy® nominations, with a win for his work on the Pixar film The Incredibles. His charts are played all over the world, and along with his method books and CDs, have been a robust source of inspiration and learning for thousands of young musicians.CONDUCTOR As Recorded by Gordon Goodwin's Big Phat Band 387118 HUNTING WABBITS 3 By GORDON GOODWIN Srenigar Brus ¢ = 154 Get Off My Lawn! ve ‘Bh SOPRANO SAXOPHONE bios ‘ONO Eb ALTO SAXOPHONE = (w/Pieaone) Sot 8) Tenor SAXOPHONE INO 8) TeNGe SAXOPHONE Eh BARITONE SANOPHONE Sor 8b Teumver 1No 6) Teomrer Seo 6) Teumrer ‘ououon wre aowon ore 4a 8) Teumrer ‘To Haewon (o/st0n) Sot TROMBONE INO TeoHsone $20 TeOMsene ‘BASS TROMBONE Guirse PIANO $186 Aowininey 7 PEeevssion (Tenge, Vises, XYLOPHONE, BONGOS, Cansh CYMBAL, Congas, ‘TAMBOURINE, ViBQASLAP, TiMBALES, SHALE?) Deus Sune rtunace © 2012 WINGOOD MUSIC PRODUCTIONS, INC. (ASCAP) Purchase a full-length All Rights Administered by ALFRED MUSIC PUBLISHING CO., INC performance recording! All Rights Reserved including Public Performance alfred.com/downloadsConoueroe Sp. Sax. Aurod Tenoe st Tenoe o Batt. Ter. Ter Ter. Ter. 4 ‘Aaeon, roo 8 TaN. we THN. 1 TIN. BA66 TEN. Gre. Pro. Bass, Pee. Devs Mt M 44 My M7 Tomure Sux 48 9 HUNTING Waseits 4 0Conoverse -$- HUNTING Waseits 4 ‘Sor. SAX, Aureus Auto d Tenens Tenoe ¢ Brel. Ter. Tet Ter. Tet & TN. d TN. TAN. S486 TEN, Gre. Pro. Bass, Pee, Devs d a uw % 4 Us i) 7 8 9-4- HUNTING Waseits 4 Conoueroe Sp. Sax. Aurod Tenoe t Tenoe ¢ Brel. Ter. Tere Ter. Ter. 4 Tent THN. 1 TAN. S486 TEN. Gre. Pro. ass. Pee, DevsConoueree -$- HUNTING Waseits $ ‘500. Sax Auto d Tenens Tenoe t Bae. Ter. Ter. Ter. Ter 4 Ten. THN. TIN. Bass TEN. Gre. Px. Ass Pree. ne Geass seit DevsConoveroe -6- aa HUNTING Wassits 4 S07. Sax aoe Auto d Tenoe t Tenoe t Batt. Ter Ter. Ter. Ter. 4 THN. Teno TON. $486 TAN. Gre. Pn. iss. Pree. DevsConoveror @ -1- ; HUNTING Wassits 4 Sp. Sax. ALTO d Tenoet Tenoe t Baal. Ter. Ter. Ter 09.4 TON. THN. TAN. Bass TEN. Gre. Pn. BASS Pere. Devs,Conoveroe -8- HUNTING Waseits $ ‘50°. Sax ALTO d ‘Tenors Tenoed Bnet Ter Ter er. Tet & Tent THN 1 TON. $486 TEN. Gre Pn. Sass. Pere. Devs,Conoveroe Oe -9- HUNTING Wassits 4 ‘50°. Sax ALTO d ‘Tenors Tenoe Bae, Tet Tet Ter. Tet 4 Tent TNL ‘TON. $486 TAN. Gre. Pro. hss, Pee, DevsConoveree @ -10- HONTING Wassits Sp. Sax. ALTO d Tenens Tenoe ¢ B2 Ter. Tet Tord 8.4 Tent THN. 1 TIN. 8186 TEN. Gre. PN. Sass al Tunane 2 Pee. nt DevsConoueroe HUNTING Waseits 4 a 4 ’ A Sp. Sax. ALTO d Tenens Tenoe t Bae, Tet Ter Ter. Tet 4 THN THN TON. 6 S486 TEN. Gre. Pn. Sass. Conans Peeve. Dawns, & % 0 8 ="Conoveroe -- a HUNTING Waseits $ ‘50°. Sax Auto d Tenens Tenoe ¢ $a Tord Ter. Ter. Tet. 4 TaN. THD TIN. Bass TEN. Gre. Pro. ass. ‘Sree on rauseuene Pee, (Go Lis accents) DevsCenoveree -i- _ HONTING Wassits 4 ‘50°. Sax ALTO d Tenens Tenoe t Bae, Ter Tere Ter. Ter. 4 Tent TiN. 1 TON. $486 TEN. Gre. Pro. hss. Pree, DevsConoveroe -1A- HUNTING Waseits $ —— ‘Sor. SAX Aro Tenoe Tenoe ¢ Brel. Tord Ter. Ter.§ Tet 4 Ten. TN. 1) ES eS SSS SSS SS Sooo ee S486 TEN. Gre. Px. BASS ViseasLar Pee. Devs 108 109 0 st Me Ms M4 5Conoveroe ele ne fe SEES a _ - Ib HUNTING Wassits 4 Sp. Sax. Auto d Tenens Tenoe t Brel. Ter. Ter. Ter. Tet 4 Tn. d TN. TAN. BA86 TEN. Gre. (S010) Px. ————_ — a BASS Peeve. DevsConoveroe SUING Feel, -1o- HUNTING Wassits 3 ‘50°. Sax ALTO d ‘Tenors Tenoe Brel. Ter. Ter. Ter Ter. & Tent THN TON. $486 TEN. Gre. Pro. Bass, Pee, DevsConoueroe -Li- HUNTING Waseits 4 ‘ > Sp. Sax. ALTO d Tenens Tenoe td Brel. Ter. Ter. Ter.§ Tet & Tent THN. 1 TEN. S486 TEN, couse) Gre. oushs) Pro. Sass. Pee, Devs, Mt 188 184 185 So 47 488 —Conoueroe -b- STeAQHT 8THS AT S008 f 7 HUNTING Waseits 4 Sp. Sax. Are Tenens Tenoe ¢ Batt. ‘To sree wore Tet ‘to Sree ware Tet ‘To Sroueer were er. AT Te Srenaarvore Tet 4 G7 To srener wore THN ‘To srorvore THN. 1 ‘To sro ‘TON. § ‘To sro S486 TEN. Gre. ono. fas6 Wise, ier vet, — non Ls Pee. Oeuns SAL sa sh a 1h4 sh sho 447Conoueroe Sp. Sax. ALTO d Tenens Tenoe ¢ Baal. Ter. Ter. Ter.§ Tet 4 TNL THN. TON. S486 TEN. Gre. Pro. Bass. Pee, Dros Stegur wore A rs Srengar more ‘* Sragirwere nd Srenger More 3 Steagnt more Stemgnt more en 148, 149 10 Sh cuss. ie 486 a 154 HUNTING Waseits 4 ‘Sreugi wate * rd ‘Srengat mote Ae ne a s a Sho a‘ AHUNTING Waseits 4 A Conovere a op “M- hom A Sp. Sax. Aro Tenens Tenoe Batt. Ter. Ter. ter. § Tet. 4 TON.d THN TAN. 6 S486 TEN. Gre. Pro. Bass. (eowr-nete) YL A Peeve. Dawns S96 457 158 459 a 100 doh LoL 105Conoveroe Sp. Sax. Auto d Tenoet Tenoe ¢ Brel. Ter. Ter. Ter.§ Tet. 4 THN. THN. TON. BA86 TEN. Gre. Pn. hss. (ete) Pee, Devs an a ren) HUNTING Waseits $Conoveroe -W- HONTING Wassits 4 © : hoo Sp. Sax. ALTO d Tenens Tenoe ¢ Bae, Tort Ter. Ter. Tet 4 TaN. Ten. TON. $486 TEN. Gre. Pro. Bass. Peeve. DewmsConoueroe # hs om ww yy . . HONTING Wassits $ Sp. Sax. Aurot ‘Tenors Tenoe Bae. Ter Ter. Ter.§ Tet. 4 THN. Teno TIN. 8 185 TEN. Gre. Pro. ass. Peeve. Deus 180 sah S80 488 184 185 180 487-U4- @ Conoueroe hit os o oh , 14 a, aged obs gut ONTING Waseits $ Sp. Sax. aad ALrot chitAt Tenens Tenoe t wns) Batt. = Tet ert Ter. chitAt td Buff Tent THN 1 TON. $486 TEN. Gre. Pro. iss. Pree. Dems 188 489 490 49h At 1% 194 49Conoveroe -b- HUNTING Wassits sn cbs ~_Ayet cbs osls)et ‘S0?. SAX assbi/oe Auto t owlh/o Tenoe td Tenoe t Assitl/ot Bad, Ter ert er. Tet 4 Tent THN. 1 TON. $486 TEN, Bs cushy Gre esti Pn. Ass Pere. Des 196 17 498 499 100 10h 100 106Conoveroe cbs ayet ahi) 50°. Sax Aue’ Tenens Tenoe ¢ Bae. Ter. Ter Ter. Ter. 4 Ten. Ten. TON. § $486 TAN. Bt ays babs) Gre. ny absbs) Pro. Bhs. Peeve. Devs, -lb- ‘Sreaadt 81H. (ON ve nesee stLos Seus SALE RI HUNTING Waseits 4Conoueroe -U- HUNTING Waseits 4 ‘500. Sax Auto d Tenens Tenoe t Bae. Ter. Ter Ter. Ter. 4 TaN. Ten. TIN. 8 8186 TEN. Gre Px. ass. wt sou sce Pee. at DawnsConoueroe -- HUNTING Waseits 4 ‘Sor. SAX, Autod Tenens Tenet Bhat Ter. Tet er. Tet 4 Ten. TN. TIN. 8 $486 TEN. Gre Pro. Bass. Pee, Ao Ls esens Devs cues. 100 wus we 1s 14 1s 1b a7Conoveroe -19- _ HUNTING Wassits 4 Sp. Sax. Autod Tenens Tenoe t Bae. Trt Tere Ter. Ter. 4 Tent THN. 1 TAN. S486 TEN. Gre. Px. ass. (gout. sites) Peeve. Devs 18 19 140 64 ut 1%Conoveree -40- cs) HONTING Wassits ‘50°. Sax ALTO d Tenens Tenoe ¢ Bae, Trt Tere Ter. Ter. 4 Ten. THN. 1 TEN. § S486 TEN. Gre. PN. Bass, Sa nd Teun (oautee) + 3 Pee, ca DevsConoueroe -t- HUNTING Waseits 4 ‘50°. Sax ALTO d Tenoe t Tenoe t Bae. Tet Ter. er. Tet & Tent Tn. TON. BA86 TEN. Gre. Pro. Bass. Peeve, DewmsConoueroe -%- Sp. Sax. Auto d Tenens Tenoe d ‘rel. Ter. Ter. Tort 09.4 TaN. THD TIN. 8 Bass TEN. Gre. Pro. BASS Pere. DeusConoueroe -%- HUNTING Waseits 4 ‘50°. Sax Auto d Tevet Tenoe ¢ Bae, Tet Tere er.§ Tet 4 Tent Tn. TON. BA86 TEN. Gre. Pro. Bass. Peeve, DewmsConoveree GH) -4- @ HONTING Wassits Sp. Sax. ALTO d Tenens Tenoe d ‘rel. Tet ert er. Tt. 4 THN TN. TAN. 6 S486 TEN. Gre. Pn. Ass Steg on tansovtIne Pee. Deus a ae tt 160 Loh Lol tos Lo4 165 166Conoueroe -%- HUNTING Waseits 4 ‘Sor. SAX, Autod Tenens Tenoed Brel. Ter. Ter. Tord 09.4 Tend TN. TIN. § S486 TEN. Gre. Pxo. Bass, Vises | Pee. DevsConoveroe - 40- HUNTING Waseits $ ‘Sor. SAX, Autod ‘Tenens Tenoe t Batt. Tet Tet ‘otaenon ae Haewon wore Ter. at To enon ore Haewon wore Tet — Tent THN. 1 TON. § S486 TEN. Gre. one. ass. a ene Pee. wt DeusConoveree GD -31- HUNTING Wassits 4 ‘50°. Sax ALTO d Tenens Tenoe ¢ Baal, Ter Tet Ter. Ter. 4 TiN Ten. TON. § $486 TEN. Gre. Pro. Biss. Sus reunaue ° Pree. a DeusConoveroe 2 8 - HUNTING Waseits $ Sp. Sax. ALTO d Tenens Tenoe ¢ Bae, Trt Tere Ter. Ter. 4 TaN. Teno TIN. 8 8186 TEN. Gre. 4 (888) Po. ass. Pee, Devs 188 189 oT OM os 1% £094