Mingus BB Estudios

2013 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)!!
"Jelly 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"!
"O.P. (Oscar Pettiford)" !
Opus 4
Orange was 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 43rd St. #43-S New York, NY 10036
MingusMingusMingus.com 212-736-4749 JazzEdu@MingusMingusMingus.com
B lead sheet
BETTER GET HIT IN YOUR SOUL
CHARLES MINGUS
hk ca.
C7
G
# 6 . G

-

& 4 .
2 - feel f
( b)*
G
C7
# C7

-
-
&

.
&
# w.
( b)*
A m7
1.
D7
# C 7
&
#
&
- w .
C7
#G

&
C7
&
1.
&
# w.
# w.
A m7
&
A m7
2.
D7
last time
* Ab in 1977 recording
D7
C7

.. w .
G
. J
C7
2.
( b)*
A7
slower ( directed)
C7
( b)*
..
w.
w ..
to solos ( Blues )
D7
Copyright 1975 JAZZ WORKSHOP, INC

International Copyright Scured All Rights Reserved
w ..
u
2012 Bb Page 2 of 67
B lead sheet
BETTER GET HIT IN YOUR SOUL
1977 version ( Mingus' opening Bass solo)
r
r
# 6
b b
# . .
.
.
b
& 4

n
f
# # r b n
n #
&
J - n -
J - n -
# n
.
&
b n b
b n
Copyright 1975 JAZZ WORKSHOP
B lead sheet
2
# 6
& 4
r
#
f
# ww ..
& w.
1963 version ( counter melody)
. w .
r
#
www ...
n w.
( b)
.
.
r # w.
B lead sheet
1359 version ( background riffs)
# 6 j j j j
& 4 - -
3a
# j j .
& - - b
F
>
etc.
j j . . .
- - b
> > >
j j .
- - b
>
1959 version ( hand clapping)
#
&
>
>
> >
> >
f
clap
Bb lead sheet
Medium Swing (q
ca. 160)
4
& 4 ..
P
D7
&
G7
E 7 (b 9)
A 7b5
.
&
b
-
Blue Cee
CHARLES MINGUS
C7
B b m (m aj7)
Eb 9
B b m (m aj7)
D7
D7
B b m6
#
# b
C7
D7
C7
w
w
C7
.

#
.
!
..
Copyright 1975 JAZZ WORKSHOP, INC.

International Copyright Secured All Rights Reserved
"It was written for Celia, my ex-wife, although I wrote it before she was my ex-wife.
I used the Key of C; also a one-note form like Duke had done on C-Jam Blues."
& bw
p (slide)
In the notes for the album The Clown recorded by Atlantic on March 13, 1957, Mingus said
of his repertoire: "Some of the guys had been saying that I didn't swing. So I made some
(compositions) that did. This album (The Clown) is a standard blues. It's in two 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 went on
to write 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 wailing riff which is played after all solos and before the return of
the head.
Blue Cee
Album Name: The Clown
Label: Atlantic
B lead sheet
BOOGIE STOP SHUFFLE
b 4
&bb 4
f
Piano:
b 4
&bb 4
f
Fm
bb
b
&
bb
& b
Uptempo shuffle q
Cm
CHARLES MINGUS
.
#
N # N .
N
# .
N #
.
.
Cm
n
# N .

.
n
Cm
b
.
b
b
&
G7
b
&bb
B Horns
rhythm section simile

wa
wa
b
n
b
& b b # n A A
n n
b
&bb
#
# n

#
N # n

& b b ( # n )
.
b b
b
&
# n A A
n n
b
n .
wa
ww
w
w
ww
w
w
wa
wa
b
n
wa
wa
b .
N n
wa
wa
wa
# n A A
n n
wa
b
n .
ww
w
w
wa
, b
n

wa

wa
w
w
w
wa
,
,
wa
j
#
n
BOOGIE STOP SHUFFLE
4th chorus ensemble melody
& b b .. n
n
2nd time swing
# j n
n
A
b
& b b # j n
n #
nw
( D/Bb)
#U w
bb b
A
&
j ( b ) n n n # www
n
fine
bb N +
& b
f
# +
N +
1.
#
# j .. n #
n
2.
to solos
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Medium Swing
Am75
Fm7
B7(13)
C7(#11)
1.
Emaj7
F7
B7#5(#9)
E7#5
= Bm7
Emaj7
Bm7

Cm7
21
G7#5(#9)
15
CHARLES MINGUS
2.
9
D7#5(#9)
Dizzy Moods
Bb Lead Sheet
= ca. 144
E7#5
F7
Amaj7
Cm7
F7#5
Bm7
Cm7
E7
F7#5
= Bm7
C
26
Am75
30
Fm7

34
D7#5(#9)
B7(13)
Coda
E
G7#5(#9)
Emaj7
3
3
C7(#11)
E7#5(#11#9)
F7
3
Copyright 1975 Jazz Workshop
B7
B lead sheet
Duke Ellington's Sound of Love
Ballad q ca.
E 7(# 9)
b 4
& b b 4 ..
Piano n ...
F J
b9
C 7#5
b .
& b b b
G #m7b5(11)
b
&bb
G m7(11)
B b13 (b 9)
b j
& b b .
F#6
#.
A7
3
G 7 (b 9)
j
.
11
B bMaj7
C 7(# 11)
#
3
F 6 E Maj7 B b 9(#11) E bMaj 9
n > # > >

>
Even 8th
j
(b) #
F#
j
b #
Even 8th
E9
# n
B 7 (# 11)
E bMaj9
n n
E Maj7
#w
C m7(#11) F 13 (b9)
A b13 (#11)
F m7b5(11)
F 6 E Maj7 B b 9(#11) E bMaj9
( b)
# .
D F # m7/D A b/C # B m7/C B 13 (# 11)
j
n
G 7 (# 11)
# j n # n
F 9(#11)
C 7 b9
F#
Even 8th
F #m7b5
D Maj7
C#
G 7#5b9(#9)
n n
n n #
b
& b b n.
F # Maj7
n
3
E b Maj7
n
J
B b13 (b 9)
G #o7(11)
E m7
B b Maj7
b9
b
& b b #.
&
B b7#5
E bMaj 9
Bass
enters on 3
b
&bb
bb b
B b 13(b9)
E bMaj9
P
3
F m9
CHARLES MINGUS
j
b

n
E 13 (#11)
( U fine )
#w
2012 Bb Page 12 of 67
B lead sheet
Duke Ellington's Sound of Love
Ballad q ca.
E bMaj9
b 4
&bb 4
I was young
b9
C 7#5
b b.
&bb
bb
blues,
b
& b b #
F # Maj7
A7
Lost on
heart
A b 13 (#11)
bb b
life
B b 13(b9)
b j
& b b .
lov - ed.
my mer - ry
G 7 (b9)
care-free,
B b13 (b9)
not a
E bMaj7
no
sad
# 11
C 7 b9
F#
blues that gets
we
all
as
live
came
his
mel - o
F#
one
C 7 (# 11)
E Maj7
#w
SOUND
dy
in
E9
()
my
E bMaj9
soul,
for this
.
J
F m7b5(11)
with
EL - LING - TON
wooed.
( )
love, - from the
E bMaj 9
B bMaj7
E Maj7 B b 9(#11)
F6
I was
nite
in - fi
n n
# n
3
Lost in
cir - cus closed down.

#
#
b
D F m7/D A /C B m7/C B 13 #11 C m7(#11) F 13 b 9
clown with

n n
E bMaj 9
me
B 7 (# 11)
mood.
# n
so year - ning. Taught me to hear mu - sic out of
to my
F6
love
#.
E Maj7 B b 9(#11)
had got
F #m7b5
( )
hadfoundmy soul.

G 7 # 11
F 9(#11)
G m7(11)
song
sound
F#6
G 7#5b9(#9)
go - round
C
3
D Maj7
n n
& b n n #
&
a - lone.
E m7
b
& b b n
E bMaj9
for my mel-o - dy.
All
rag - time,
G #m7b5(11) G #o7(11)
B bMaj7
and
b9
B b7 # 5
jazz and
F m9
search - ing,
bb
B b13 (b9)
& b
words and music by
CHARLES MINGUS
the
lov - er,
OF LOVE.

E 13 (# 11)
( U fine
be -
and
#w
2012 Bb Page 13 of 67
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East Coasting
Bb lead sheet
ca. 200 )
CHARLES MINGUS
Uptempo Swing ( q
#
Intro & 44
&
A b Bass*
Piano n
2-feel f
B b Bass*
F Bass*
n
2
Trombone & Trumpet
A b 4 measure Piano break
&
A
#
C # m7
F # m7
E b Bass*

G # m7

modulate to E
C #7
F # m7
& j # # # - # # # j # # n .
f
E Maj7
B7
#
n n
&
n
b J
G Maj7
B m7b5
B C#
&
&
C #m7b5
F #7
m7b5
F #7
A bMaj7
#
& w n
Tenor 8vb
C # m9
n b
B m7b5
n b
B m7b5
F m7
C m9
E7
j b J J
b
E7
A m7b5
E7
B b m7
E b7
Trumpet
B b m7
A # m9
D7
j n b b b n #
b
n
3
A bMaj7
n n
B m9
D7
n b
A m7b5
n b # n
F #m7b5
F m7
E b7
D7
>
G Maj7
G Maj7
n n
#
B b m7
E b7
n w n
J
Trb. & Tenor
# j # n b
n 3
#
# #

& # #
n b
#
3
j .
j n
b
j
j
n

B7
* Bass notes only. (not chords)

2012 Bb Page 16 of 67
East Coasting
D
#
C # m7
F # m7
G # m7
C #7
F # m7
& j # # # - # # # j # # n .
E Maj7
B7
#
n n
J
& n n
b
G Maj7
B m7b5
E7
j b J J

A m7b5
D7
E C #m7b5 F #7
A m7b5
B m7b5
E7
D7
3
# n
# n b
n b # n
n b
&
b
F #m7b5
B7
E m7
A7
D7
D7
G Maj7
>
G Maj7
nw
G Maj9
( U fine )
n # w
#
#
&
After East Coasting was composed for a Bethlehem recording date in August, 1957, Mingus seems never to
have played it again. Although Mingus grew up on the West Coast, critics and historians have associated his
approach with those living near the Atlantic shore. However, the composer has stated:
"Whatever coast he's on, a man should be himself.
I don't write in any particular idiom, I write Charles Mingus."
In this piece Mingus devises an unusual form in which boppish phrases traverse through a labyrinth of
tonalities. Within each phrase are internal and cross references which distinguish most of Mingus' melodies.
Its structure may be represented as:
8 bars
4 bars
B1
4 bars
4 bars
B2
C (derived from the intro)
4 bars
8 bars
4 bars
A
B1
4 bars
B3
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
2012 Bb Page 17 of 67
B lead sheet
Ecclusiastics
Slowly q ca.
# 4
& 4
&
# .
B m7
..
E 7#5
B b7
& b.
# 4 1. G 7(# 9)
& 4
"wail"
j
#
G7
C7
# 2 D 7.
& 4
#
CHARLES MINGUS
A m7
Eb7
F #7
b b
F7
A Maj 9
2
4
#9
D 7# 5
A m7b5
F #7
# n
C #7
C7

C7
G7
E b7
b #

J
B m7
4
4
G 7(# 9)
..
2.
"wail"

2012 Bb Page 18 of 67
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B lead sheet
q ca.
Intro C m7
b 4
& b 4 ..
Fables of Faubus
CHARLES MINGUS
b
& b 44 .. . #
2-feel P
b
& b ..
. - . F
b
& b .. . #
C m7
b
& b
. -

. -
b
& b . #
b
&b w
A m7b5(b9)
&
bb
j #
.
P
.
.
J
in octaves
.
. J
b >
b
& |
D 7 (b 9)
n
3
.
p
D 7(# 9)
j
-
f
|
J
f
j
n b . ..
P
(octaves)
j
n b .
j n b .
..
Eb7

#
.
E b7
. n
#
.
j #
.
Bass Walks
b
& b .
(octaves)
E b7
j #
.
simile
C m7
E b7
F7
G m7
>
Piano
( Bass Walks )
j
#.
p

>
j
-
f
C 7b5
E7
|
J
2012 Bb Page 20 of 67
Fables of Faubus
2
B b 13
b
& b .
1.
j j A m(Maj7)
#w
f
solos only:
b
&b |
J
&
bb
|
J
sweetly
C m(Maj7)
b n.
C m(Maj7)
b
& b .
E 7b5(b9)
n.
J
A bm(Maj7)
n.
J
# .
Bass and Drums double time
&
bb
&
bb

A bm(Maj7)
A Maj7
# w
J
F 13 F # 13 G 13 A b 13 A 13
D m7
n.
..
j
n b . ..
. n

b .
& b n
&b
2.
b
&b
tutti J
..
G m 9 (M aj 7 )
G 13 A b 13 A 13 B b 13 B 13 C 13
G 13
-
D7
n #
~~~
J
G 7(# 9)
n #
3
j
n
b.
# .
b
# # ( ) # #
P
C 7b5
Bass
# j
# j
2012 Bb Page 21 of 67
Fables of Faubus
b
& b
. - . F
b
& b . #
C m7
simile
b
& b
. C m7

. -
b
& b . #
A m7b5(b9)
b
&b w
.
.
J
(octaves)
.
. J
3
b >
b
& |
#
.
.
D 7 (b 9)

#
.
.
.
p
D 7(# 9)
j
-
f
|
J
f
# w
J
b .
b
&
tutti J
.
.

J
(octaves)
j
n b .
G m7
F7
>
Piano
( Bass Walks )
j
#.
p
1.
E7
>
j
-
f
C 7b5
|
J
to solos
.

J
.
2.
last time
.

J
~~
n
#
j
n b .
b
&b w
G m 9 (M aj 7 )
E b7
j #
.
Bass Walks
b
& b .
(octaves)
E b7
j #
.
b
&b
E b7
2012 Bb Page 22 of 67
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2012 Bb Page 24 of 67
he readerlperformer is advised to listen first to the Columbia

version of Fables Of Faubus where the form is clear and
concise; then to study the Candid version which introduces
the lyrics and more extended solos; and finally to follow the
remarkable Fantasy/Debut recording featuring Clifford Jordan
which is an example of true innovation and clearly shows that
Mingus was in advance of all his contemporaries, including John
Coltrane, Ornette Coleman and John Cage.
Pepper Adams was the first musician to devote a whole album to
Mingus' compositions. The great baritone saxophonist
commissioned Thad Jones to write an arrangement of Fables Of
Faubus for a session issued by Motown Records in September,
1963. Unfortunately, the disc was 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 following background lines-played or
sung by his musicians-to support the soloists. In example 1, with
two or more background horns, X may be repeated by one voice
while the other continues at Y.
background figures
2012 Bb Page 25 of 67
B lead sheet
Ballad q
4
& b 4 j
F
E b9sus
j
& b b
b
& J
G m7b5
B 13
& b #
ca.
CHARLES MINGUS
F 7(# 9)
C # 13
.. j b
C # 13
j
b b
n J b
D 13 (# 11)
#9
3
b
b
J # #
3
Bb7
E b7
C7
j
b b
B b m7
F7
b .
G 13
n #
J # n
F 7(# 9)
b b n b #
b
B b m7
B 7 (# 11)
F #Maj9
E b7sus
C 7# 5
Solos
Goodbye Pork Pie Hat
B b m7
B b m11
j b
J
n
J
fi
C #7
b .
C # 13
b J
C #7
F # Maj7
#.
F #Maj7(#11) B 7(# 11)
n #
,
.
# # #
# # n .
after
3
repeat
C #7
B b m7
& b .. w w
F m7
F m7
B b m7
B b7
F m7
#9
G 7#5
F m7
G # m7
B 7#5
C # 7 ( C 7 ) F m7
Bb7
C 7#5
Bb7
&b
F m7
F m7
C #7
D m7b5
C #7
F m7
C #7
B b m7
&b
F m7
B b7
F m7
Bb7
G # m7
C # 7 ( C 7 ) F m7
B b7
C 7#5
B b7
& b ..
F m7
fi
F m7
F #Maj7(#11)
B 7 (# 11)
D m7b5
,
b
#
&
# # # n
3
G7
Fm
F # Maj7

F m7
Fm
2012 Bb Page 26 of 67
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B lead sheet
ca.
Haitian Fight Song

CHARLES MINGUS
Medium Swing q
4 #
&4
fl
P cresc. poco-a-poco
Bass Intro
Bass
&
Bass
A
T. Sx.
fl
Tenor tacet 1st time, 2nd time start playing from bar 13, then play twice
& .. . . . . . . . . . . . . . . . . .
F
3
& ..
# # n
j.
p# (gets louder each time)
#
#
.
.
&
fl
fl
T. Sx.
B b Tpt.
Bass plays 4 times
&
.
p
&
Bass
3
j
plunger
half-valve
n ~ ~
&
fl
. m
fl
fl
fl
& . . . . . . . . . . . . . . . . .
3
Tbn.
b j n .
Bass
Trombone plays 4 times: plays 8va from 3rd time
Tbn.
3
b

3
f
fl
..
..
..
#
# .


2012 Bb Page 28 of 67
Haitian Fight Song
& . . . . . . . . . . . . . . . . .
F
plunger half-valve
b

n ~
~
&
3
T. Sx.
B b Tpt.
Tbn.
&
Bass
&
j
#
T. Sx.
&
# # n
3
fl
Solo ( A Minor Blues)
fl
12
b j n .
3
fl
fl
to open solos
After Bass solo D.C. 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 slowing down and stopping.
2012 Bb Page 29 of 67
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B lead sheet
Jelly Roll
ca.
Medium New Orleans Swing q
b 4 .. n b b b
& 4
J
F
m7
Alto C
F7
CHARLES MINGUS
n b
C m7
n b b J
F7
C m7
b 4
.
.
& b 4 .. # n J
# - n
F 2-feel ( slap bass style)
.
# n J
Trb.
b
&b
&
bb
B b7
n b
# .
F7
# n J
Eb7
b
.
& b n b
b
&b
b b
&
G7
b
&b
1.
b
& b b.
Trb. Fill
> >
C7
Trb. fills
Bb7
b > .
A7

A b7
> >

F7
j
#
# n
3
B b7
b
&b w
B b7
2.
.. w
w
. b .
j
.
last time
.. b .
. b .

w
j j
.
Bass
2012 Bb Page 31 of 67
Jelly Roll
Tag Ending
Bb
#9
F 7#5
b
& b b.
&b
smear
j
.
&
bb
walk
C m7
b .
b
&
b
&b
b
&b w
&
bb
( )
F7
J .
J
3
. . .
J
JJ
F7
C m7
C m7
.
J
()
w
J
b.
Bass solo
B b7
Bass and Drums
.
J
Drum solo
Bass solo
.
J
b.
smear
.
C m7
bb . . .
&
J
JJ
3
Bb
#9
F 7# 5
b .
.
fine
2012 Bb Page 32 of 67
2012 Bb Page 33 of 67
B lead sheet
Moanin'
Medium up swing q
4th chorus
Alto Sax 2
5th chorus
Alto 1 & 2
6th chorus
Altos
All 6 choruses:
Tenor Sax
b
j
& b 44 .. j J .
f
5th chorus only
1.
b 4 .. w
b
& 4 n.
n ..
2.
Gm
b
& b 44 ..

know
E bMaj7
b
~~
& b 44 .. .~~~~~~~~~~~~~
P
Trombone
Rhythm Section
4th chorus
Alto 2
5th chorus
Alto 1 & 2
6th chorus
Altos
Ten
Bari
Trbs
Rhy Sec.
b
&b
Gm
b
& b # . .
Gm
&
bb
Gm
.
.
b .
~~~~~~~~~~b
& b ~~
P
b
b
&
~~~~~~~
P .~~~~~~
b
& b ww
P
Gm
b
&b
P
E b Maj7
.
.
3
.
-
E bMaj7
j
.
b .
bw
w

- .
n w
n .
j .
E bMaj7
D7
Bass comes in (walk) at 3rd chorus.

Piano comes in at 4th chorus.
E bMaj7
A m7b5
A m7b5
.
.
. b
.
Trombones: tacet first chorus
b
& b 44 .. ww
P
Gm
b
& b 44 ..
P
j
b ww
Tenor: tacet first 2 choruses
b
. ~~~~~~~~~~~~~b
& b 44 .. ~~
P
D7
# .
J
Baritone: play all 6 choruses
Baritone Sax
CHARLES MINGUS
Total playing time: 6 choruses

Play only at 4th chorus w/ Piano comping
A m7b5
D7
D7
D7
A m7b5
A m7b5
bw
w
A m7b5
j
.
n
.

D7
b .
D7
>

2012 Bb Page 34 of 67
4th chorus
Alto 2
5th chorus
Alto 1 & 2
6th chorus
Altos
Ten
Bari
Trbs
Rhy Sec.
&
&
&
Moanin'
bb
bb
bb
Gm
Gm
Gm
G m/F
G m/F
G m/F
b
b
& b #
n
&
bb
b #w
& b #w
b
&b
Gm
Eb7
Eb7
G m/F
G m/F
j j .
E b7
D7
D7
D7
# b n
Eb7

E b7
j

3
D7
j b J
D7
4th chorus
Alto 2
5th chorus
Alto 1 & 2
6th chorus
Altos
&
&
bb
Cm
bb
Cm
b
&b
Cm
Cm
Ten
Bari
Trbs
Rhy Sec.
b
& b b .
b
& b ~~~~~ ~~~~ b
&
&
bb
bb
Cm
Cm
C m/B b
C m/B b
C m/B b
C m/B b
A m7b5
D7
A m7b5
D7
# n
3
Mingus:
A m7b5
A m7b5
D7
~~~~~ ~~~~ b ~ ~ ~ -
C m/B b
# n
"Yes
A m7b5
A m7b5
D7
D7
C m/B b
Drums sneak in
2012 Bb Page 35 of 67
Alto 1
Ten
Bari
Trbs
Rhy Sec.
b
&b w
&b
Ten
Bari
Trbs
&
Cm
Ten
Bari
Trbs
Rhy Sec.
b
&b
&b
&b
b
b
D m7b5
G7
J
J
p
j
j

J J
Alto 2
J
J
F
j
j

j j
b
&b
J
J
j
j

J
J
D m7b5
G7
j b n j b n
J
J
J
J
b

J
J
& b J
J
&
bb
.
j j
Alto 1 & 2
b
&b w
Cm
Rhy Sec.
b
&b j
j

F
b
j
j

&b
Alto 1
bb
Moanin'
Cm
b
&b j
j

b
j
j

&b

&
bb
Cm
j
j
J J
D m7b5
G7
2012 Bb Page 36 of 67
Moanin'
b
&b
b

b
b

&b
Altos
Ten
Bari
Trbs
b
&b
Cm
Rhy Sec.
Bari
Rhy Sec.
+ Ens.
b
~~
& b .~~~~~~~~~~~
f
Gm
b
&b
Rhy Sec.
+ Ens.
&
Bari
E b Maj7
Bass & Drums ( Horns tacet)
b
~~
& b .~~~~~~~~~~~
P
Bari
bb
G m Add trombones
E bMaj7
b
& b .
j .
A m7b5
j j .
b
&b
add other Horns and Piano ( collective improvisation)
G m/F
b
& b ~~~~~ ~ ~~~~ b
Cm
Rhy Sec.
+ Ens.
A m7b5
b
D7
n .
b
D7
(fine)
(fine)
n .
(fine)
bw
>
Bari
j .
Bass & Drums continue
Gm
Rhy Sec.
+ Ens.
(fine)

b
Ab
(fine)
b
&b
b
F

b
&b
b
b
&b
E b7
D7
j b J
~ ~ ~ ~ ~ ~~~~ b
~
C m/B b
~~~~~ -
A m7b5
w
D7
2012 Bb Page 37 of 67
2012 Bb Page 38 of 67
B lead sheet
Nostalgia In Times Square

Medium Swing q
ca.
4
& b 4 j .. b
f
F7
E b7
F7
& b b
F7
& b b b .
3
& b b
C m7
A b m7
D b7
& b b b .
. .
& b b .
.
&b
D m7
n .
j
b
A b m7
j b .
E b7
A b m7
D b7
j b
F7
B b m7
E b7
j 3
j b j
.
b .
F7
D b7
j 3
j
b
.
G7
E b7
F7
E b7
Eb7
E b7
j b
F7
F7
CHARLES MINGUS
E b7
shuffle
B m7
j . J n .
3
j
b
j
..
F
1.
fine
F7
E b7
A b m7
D b7
G7
break
E b7
2.
break
E b7
b . . b .
b . . b .
b . . b .
b
. .
b . . b .
b . . b .
b
.
C m7
F7
F7
E b7
F7
B b m7
b .
Eb7
F7
E b7
F7
j

F

2012 Bb Page 39 of 67
2012 Bb Page 40 of 67
B lead sheet
Oh Lord, Don't Let Them Drop That Atomic Bomb On Me

CHARLES MINGUS
ca.
Slow Blues q
D7
## 4
.
. .
& 4 #
#
.
#
#
F Bass: one-to-the-bar feel
#
& # ..
&
##
&
##
(B7)
D7
#.
n .
#
#
G7
.
.
.
.
#
#
E m7
j

3
.
.
#
#
j

n
# j
#
3
n b b .
b n .
2.
#
#
.. w
w
D7
last time
Copyright 1976 JAZZ WORKSOP, INC.

A7
1, 2.
D7
.
.
#
#
E b 13
bn
D7
2012 Bb Page 41 of 67
2012 Bb Page 42 of 67
B lead sheet
O.P. (Oscar Pettiford)

CHARLES MINGUS
Uptempo swing ( as fast as possible)
#
& 44 j
G7
A m7
#
&
# .
&
C m7
#
&
&
D7
F 7 (b9)
.
.
A m7
#
.
&
3
G#o7
# 4
& 4 n j
j
j .. .
q= q
j
b
j
b
b
3
j
- n n
B m7
E7
# n # .
3
F 7 (# 11)
C m7
43 b .
Eb7
( D7 )
j
.
2.
D7
b .
b n .
D7
G Maj7
B m7
B bMaj7
F7
B b m7
. n .
F7
n

b
b n
# b n
j n
# j
j
J
C m7
A m7
C m7
1.
..
j
n
.
j

#
&
D7
G#o7
G Maj7
n.
C m7
b.
A m7
F 7(# 11)
j 44
D7
j n # j

2012 Bb Page 43 of 67
O.P. ( Oscar Pettiford)
&
#
G7
A m7
#
&
# &
.
.
&

J
#
& b
.
F7
Eb7
#
& b
.
#
( D7 )
j
.
B m7
j
.
simile
j
b j
.
D 7 (b 9)
B b m7
n.

b
j n
j

C7
E b7
A m7b5
& b
.
F7
J
C m7
j
.
.
J
D7

b .
j
b
.
b
.
B b7
A bMaj7
b j
.
j
j .
.

J
D7
( fine)
G
2012 Bb Page 44 of 67
2012 Bb Page 45 of 67
Opus Four
Bb lead sheet
CHARLES MINGUS
ca. 176)
Medium Swing (q
Latinish ( h.
ca. 88)
# 6 ( Em ) # - & 4
.
J
# - .
f
E bMaj7
(6)
A b7
h. = h
44
# 4
j
.
& 4 . n n b # b n b b
b
Swing
p
&
G m7
E b Maj7
A m7b5
j j j j n j j b j
b - - - n - - -
#9
D 7b 9
j
n. b #w
A m7b5
G m7
G Maj7
h = h.
6
4
h. = h A bMaj7
.
# 6
4
#

4 b
b b n

& 4
# - . J
#
. - .
.
3
Latinish
G Maj7
&
# # n # n
# #
# #
.
A Maj7
# # #
# #
&
# #
B Maj7
F #7
#
& b
# 6
& 4
n n
F Maj7
B bMaj7
C #Maj7
C Maj7
# nw
n
n n
F # m7
B7
nw
nw
n
n
b n
E Maj7
E m9
#w
Latinish
#
.
# - . J
( Em )
(6)
h = h.
6
4
h. = h
44

2012 Bb Page 46 of 67
Opus Four
E bMaj7
A b7
#
j
.
& 44 . n n b # b n b b
b
Swing
p
&
G m7
E b Maj7
Latinish
# G Maj7
& 46 #
-
A m7b5
#9
D 7b 9
h = h.
j j b j j n . b # w
j j j j
b - n - - - n - - -
A m7b5
G m7
#
J
# -
#
J
G Maj7
6
4
Opus Four features phrase lengths of 2, 5, 6 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 Gmin | EbMaj7 | Am7(b5) | D7/Ab7 |
The upwardly chromatic major-seventh chords support a melody ranging over two octaves.
The Latinish figure may be used as a fade-away vamp to end the piece.
Officially recorded by Atlantic on October 29, 1973, Opus Four may have been premiered
at the Village Vanguard on August 4, 1973, as No Name.
Opus Four
Album Name: Mingus Moves
Label: Atlantic
2012 Bb Page 47 of 67
Bb lead sheet
Orange Was The Color of Her Dress, Then Blue Silk

Medium Swing (see notes)

4
& b 4 ..

F
Intro
F 6 G bMaj7 F 6
2.
& b j
J #
C 7#5
& b #
#9
C 7#5
D b7
~ ~
~~
F # m7
b.
J J
B7
& b .

b
&
D m7
j

J
#9
j

J
..
A b m9
D b7
# # #
b.
J
G bMaj9
n b b.
J J
J
E Maj7
G7
G bMaj7 F 6
D m7
rush ahead
F 6 G bMaj7 F 6
G7
b.
J
2.
3
j
.
~
. ~~ . . ~~~~~
>
G 7(# 9)
# .
G bMaj9
B 7b5
G 7(# 9)
n# b # .
3
# #
~ ~~ ~ ~ ~ ~
E m7
A7
b ~~~~~~
G m7
b
J
. r n
E b7sus
E bMaj7
F Maj7 E bMaj7 F Maj7
1.
~~
E b7
B 7b5
b.
even 8ths
B b m7
C m7
F
3
b ~~~ C
~~
&b

3
G m7
& b .
1.
C 7#5
j
b
n
b w
&
J
m
3
3
B b m9
F 6 G b Maj7 F 6
j
. # J # .
# J # .
.~~ .
3
3
f
J
A b m7
j

Bb
CHARLES MINGUS
C7
F 6 G bMaj7 F 6
#
3
n
J


Album Name: Mingus Plays Piano, Spontaneous Compositions and Improvisations Label: Impulse
Album Name: Mingus At Monterey Label: Jazz Workshop
Album Name: Changes Two Label: Atlantic
2012 Bb Page 48 of 67
Album Name: Charles Mingus Sextet Label: East Coasting
"It was written for a Robert Herridge television show. It's about a talented composer who 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 write a song and dedicate
it to her dress, which was orange. She knew that nothing rhymes with 'orange'."
Orange... was first recorded on July 30, 1963, by Impulse as a piano solo. However, neither this nor another
composition, Song With Orange, of which Mingus speaks in the quote above, shares many similarities with 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 17, 1964 (Salle
Wagram) which was issued by America. However, the best version was recorded at the Monterey Jazz Festival
on September 20, 1964, by Jazz Workshop. The only studio version was recorded by Atlantic on December 30,
1974. 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 jazz theme. However, on the Jazz Workshop recording from the Monterey Jazz 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, where the
melody is played in tempo and en forme. Returning to the opening chorus, one now understands:
A is played at a medium tempo the first time but much slower on the repeat; the first two bars of B can be played
in a double-time Latin rhythm and may become a repeated vamp as well; 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 follows:
A = a (4 bars) b (2 bars) c (vamp - 2 bars) a1 ( 3 bars -includes hook) Note: The entire 11-bar A section follows
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 following shows 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 following examples, A gives the background riff used for the first six bars and B shows another riff which
is used to accompany both melody and solos. Note that this riff is written in cut-time as Mingus would 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.
&b
j b
.
F
E bMaj7
~~~
&b C
~ ~f~
F Maj7
. .j b
. .j b
. .j b
F Maj7
~~ ~
. .j b
E b Maj7
~~~
2012 Bb Page 49 of 67
B lead sheet
Peggy's Blue Skylight
AA
Medium swing q ca.
b 4
& b b 4 .
CHARLES MINGUS
r ..

f
m7b5
G m9
b
&bb w
B bMaj 9
b
&bb w
G 7(# 9)
b
&bb
E b Maj7
& b
B ( BBb (# ))
b m7
# n
n n

3
3
E7
E b7sus
D 7(# 9)
3
3
#w
. r
b
.
n
C 7 (b9)
F m9
B b13 (b 9)
3
3

.
. r
J
.

n
3
3
C 13
C m9
1.
bb
D 7#5
E bMaj 9
E b7
F 7#5
2.
E7
b n
. r ..
w
A m7
D7

.
3
G Maj7
b

n
n .
& b b # # J n J n
3
G m7b5
C 7 (b9)
F Maj7
B b Maj7 E 7
j n
b b
b
.
& b b J n n
3
#
#
b
D 7( 9)
G 7( 9)
C 7 (b 9)
C E 7sus
3
3
3
bb b
r
.
.
.
b
.
r
&
n
3
F m9
B b 13 (b 9)
E bMaj 9
3
( U fine )
bb

& b
J

.
w
n
3
7 9

2012 Bb Page 50 of 67
2012 Bb Page 51 of 67
C lead sheet
Medium swing q
Pithecanthropus Erectus
E bMaj7
b
Horns
& b 44 .. w
w
p
3
b
4
Bass
& b 4 ..
( E b/G )
( E b/E )
bb
& w
.
b
&b
&
bb
Gm
A m7b 5
w
p
b
& b n
B b m7
b bw
&b
f
b
&b
D 7(b9# 9)
b
3
G m7
F 7 (b9)
B b 7 (# 11)
#w
G m7
n .
f
.
E bMaj7
A m7b5
G m7
C7
C7
Bass walks
w
p
D 7 (b9)
A m7b5
A bMaj7
b
&b w
1.
E b7
CHARLES MINGUS
D7
to letter A
D 7(# 9)
bb ..
6
&
.. # .. 4
#
vamp until cue
Piano and Horns ad lib
G m7
C7
h = h k ( GUm7 fine after vamp )

b 6
2.
& b 4 ..
vamp until cue
Interlude A m7b 5
b 4U
b
& 4 |
on cue
Piano tremolo
G #/A
Horns U
# # ww
on cue
A m7b5
C7
#9
D 7# 5
ww
G m7
C7
hk= h
.. 44
G m7

solo break

2012 Bb Page 52 of 67
2012 Bb Page 53 of 67
B lead sheet
Slippers
Uptempo swing q ca.
& 44 .. .
f
D m7
& .
C Maj7
( B b7sus )
#9
G 7#5
B b7
&w
&w
F m7
B b7
F m7
C Maj7
& .
D m7
& .
CHARLES MINGUS
( B b7sus )
#9
G 7# 5
B b7
E bMaj7
b b
# .
b9
G 7 #5
C Maj7
b
b
B b7
b9
G 7#5
( Eb7
..
( G 7(b 9) )
w
to solos
C Maj7 ( E b7
G 7 (b 9)
D m7
E bMaj7
b b n
1.
E b Maj7
E bMaj7
b b
#
D m7
b b n
G 7 (b 9))

2.
..
.
last time
C Maj7
fine
2012 Bb Page 54 of 67
2012 Bb Page 55 of 67
Sue's Changes
ca.
B lead sheet
Medium slow swing q
CHARLES MINGUS
B b7
F # Maj7
b 4 . J n
b
& b 4 .
3
F
3
C m7
j
#
D m7(11) C # 7
E bMaj7
b
&bb w
b
& b b n
A m7
n b
j
#
even 8ths
D 9/A b
j
#
&
&
.
b
ca.
Maj7
&
E bMaj7

.
.
3
b
3
G 7 (b 9)
D m7
steady four q
C Maj7
m7
n
J
slower and rit.
F # 7(# 9)
U
n j #
j j
b # #.
B 7 (b9)
j
b.
C Maj7
G # m7
#.
D m7b5

J
j
#.
B b Maj7
#w
D Maj7
#Nj
#9
G 7#5
#.
J
G b/C
##
nnn # #
C #7
b b.
J
E7
n
J
b
, F m9 B 13(b 9)
j
. b j .
E 6(9)
Eb 9
n.
slower and rit.
j
j n .
C Maj7
#w
j
& N b b n b
simile
F # m7
G m7/C
# #
G m7
E 7 (# 11)
j n b .
J
B b 7(# 9)
n n #
F m7
B m7
E b6(9)
j
#
#### ( # ) a a N
&
N
####
a n b b
A Maj7
b9
Bb 7 #5
ca. #
swing q
E Maj7
C7
very slow F m7b 5
b
& b b ( b )
G m7
j
#

E7
b #w
3
D m7
N N
3

G 13(b9)
b b
2012 Bb Page 56 of 67
nnnn
Sue's Changes
D qca.
C Maj7
&
B b Maj7
& .
walk
# .
# n &
J
3
B m7
B bMaj7
# .
& .
G m7
- b .
C7
j
#
A Maj7
#
C7
& n N
B b/C
n -
A m7
F #7
F # m7
E7
G Maj7
C/B b A m7b5
vamp until D.C. *

B bMaj7
#
& ..
E7
* see notes for ending
B m7
E9
E b7
N b
E b7
C 7 (b9)
b n
#
D 7 (b9)
G m7
#w
F 7(# 9)
B Maj7
B bMaj7
..
w
|
rhythm
suspends
F6
C 13 (b9) F # 7(# 9) F 6(9)
D7
..
D m7
b ~~~~
~~~n
b
n b j .
N b
#9
D7
G m7
E7
#w
>
F #7
D 7#5
# J
D 7 (b 9)
C #m7b5
#
j
.
& j j j - b n
#
G m7
~~~~~ # -
E7
faster swing q ca.

G (#5)
# .
.
& . J n # n
G
N # n b
& N b b b
F G
B b Maj73
D 13(# 11)
b.
even 8ths
E7
Eb7
C Maj7
bw
simile
.
G b/C
N b
J
G m7/C
vamp until cue
B 7b5
>
..
2012 Bb Page 57 of 67
2012 Bb Page 58 of 67
2012 Bb Page 59 of 67
2012 Bb Page 60 of 67
2012 Bb Page 61 of 67
Us Is Two
Bb lead sheet
E b Maj7
b
& b b 44 # #
42 # #
F
? b b 44
"
"
42
b
D Maj7
3
A bm(maj9 ) ( A bm(maj9 )/D b)
bb
& b
? bb
b
&
j
b
A bm(maj9 ) (A bm(maj9 )/D b)
bbb
? bb
b
j
b
A bm(maj9 ) (A bm(maj9 )/D b)
bb
& b
? bb
b
&
bbb
? bb
F m11
j
b
"
3
j j
. b
3
j j
. b
B b9sus
b
3
( E bMaj9/A b ) ,
44
J .
Tuba !
E bMaj9
C Maj9
(C Maj9/F )
B Eb
,
Maj9
n
3
G m11
J .

.
J
j
.
3
"
( E bMaj9/A b )
J
Tuba simile f
&
j
.
E bMaj9/A b
3
.
J
!
( E bMaj9/A b )
b.
"
44

E bMaj9
( F m9b5 )
E Maj7
CHARLES MINGUS
Brass

"
2012 Bb Page 62 of 67
&
A bm(maj9 )
bbb
( A bm(maj9 )/D b )
b
&bb
A bm(maj9 )
b
&bb
bb b J J
&
J J
E bMaj9
(A bm(maj9 )/D b )
Us Is Two
"
( E bMaj9/A b )
G 7(# 9)
n # #
"
b
J
#
#
n
3
French Horns
C 13 (b 9)
F 7(# 9)
bb

n n n
&
J
J
#
b n
#
n
n

? bb n
n n
b
3
E b 7(# 9)
n
bb n #
n # J # n # # # n b
b
&
J
3
# n # n
b
n n
? bb
J
n b b
b
B b 13 (b 9)
A b 13 (#11)
D b13 (#11)
D Maj7 E b Maj7
b n
#

&bb
b
#
n b
3
# n j
#
#
? bb
# n j
"
b
"
"
E bMaj9
bb 4 3
b
& 4
(E bMaj9/A b ) ,
A bm(maj9 ) ( A bm(maj9 )/D b )
E Maj7
42 # #
3
42
,
&
44
44
,
b b 4 J J J n J n
b
& 4
J J J
J J
J J J
J J
3
3
2012 Bb Page 63 of 67
Us Is Two
bb
E bMaj9
( E bMaj9/A b )
& b
A bm(maj9 )
3
( A bm(maj9 )/D b )
b J n J n
b
J J J
& b J J J J
J J J
J J
3
3
C 13 (b 9)
G 7(# 9)
b
& b b b
J
F 7(# 9)
B b13 (b 9)
b
& b b J n # # n #
n
3
D b13 (#11)
bb
& b
j
n b #
# n
3
fi Coda E Maj7
b
& b b 44 #
,
b b
J
E b 7(# 9)
A b13 (b 9)
n b #
n
b
J n b n n
3
3
D Maj7
# #
3
E bMaj7
fi
42 #
E Maj7
44
E b Maj7
nU
w
"In a way it's a tribute to Duke."

Depending on the occasion, Mingus has said that the title Us Is Two referred to the United States and
its contradictions (vis-a-vis black/white, rich/poor, saint/devil, two-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 was a
tribute to Duke Ellington. Or that it was all of these.
Premiered at the Village Vanguard on September 14, 1971, and only recorded in concert by Columbia
on February 4, 1972, Us Is Two never became well known among Mingus' works. Perhaps its inclusion
in this collection will bring its attention to more musicians.
Us Is Two
Album Name: Charles Mingus And Friends In Concert
Label: Columbia
2012 Bb Page 64 of 67
Bb lead sheet
Wednesday Night Prayer Meeting
Uptempo Swing (q ca. 240)
#
& 46
2nd time only *
.. b - -
Mel.
f
? # 46 # . .
.. w .
Trb. & Tn.
f
C7
3
#
- -
&
.
w.
? # # . .
3
G7
CHARLES MINGUS
3
- -
b
- n -
- - b .
b .
w.
# .
3
3
- -
b
- n -
- - b # .
.
w.
# .
G7
#
- -
b
&
- b
.
.
.
.
.
n
.
.
b ?#

nw.
D7
(U
G7
fine )
w.
(U
w . fine )
.
b .
..
.
# .
* after solos, both voices enter together and play both times
..

"This was based on a form of music I heard as a kid. My mother used to go to church on Wednesday night. There
was always clapping of hands and shouting. Methodist or Holiness Church. Holiness was a little louder in order
to stir up the spirits, the dead spirits. People went into trances. Women shouted and rolled on the floor. My mother
never did that, but she went."
Wednesday night prayer meeting must be the grandfather of all triple-meter, gospel-soul-funk-jazz compositions.
The elder cousin of Better Get Hit in Your Soul and Slop. Wednesday Night Prayer Meeting was first recorded for
MGM/Verve on March 18, 1958, in order to accompany a poetry reading by Langston Hughes. Extended versions
were later recorded in a studio for Atlantic on February 4, 1959; at a jazz festival concert in Antibes -Juan-les-pins,
France on July 13, 1960; and once again in the Atlantic studios on January 23, 1978. For this last recording,
Mingus composed a new counter-melody, in addition to the two themes included in this lead sheet.
Wednesday Night Prayer Meeting

Album Name: Langston Hughes - Weary Blues
Album Name: Blues And Roots
Label: MGM/Verve
Label: Atlantic
Album Name: Mingus At Antibes
Label: Atlantic
Album Name: Me Myself An Eye
Label: Atlantic
2012 Bb Page 65 of 67
B lead sheet
Medium swing q
Work Song
ca.
CHARLES MINGUS
J J w
b
& b 44 .. w
j
#
Gm
P
b 4
&b 4
3
A m7b5
fi Coda
&
bb
fi
1.
Gm
D7
b
& b b J J n j w
Gm
.. w
b w
3
2.
b
w
.
.
J b J w
F Pedal
.
.
P
..
D7
b
&b w
b
&b
on repeat only
Cm
.. b J w
J
3
3
U
b
b J J j
n w

2012 Bb Page 66 of 67
2012 Bb Page 67 of 67

Mingus BB Estudios

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Mingus BB Estudios

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2013 Charles Mingus

High School Competition

BETTER GET HIT IN YOUR SOUL

Copyright 1975 JAZZ WORKSHOP, INC

BETTER GET HIT IN YOUR SOUL

1977 version ( Mingus' opening Bass solo)

Copyright 1975 JAZZ WORKSHOP

1963 version ( counter melody)

1359 version ( background riffs)

1959 version ( hand clapping)

Copyright 1975 JAZZ WORKSHOP, INC.

BOOGIE STOP SHUFFLE

rhythm section simile

Copyright 1975 JAZZ WORKSHOP, INC.

BOOGIE STOP SHUFFLE

4th chorus ensemble melody

Duke Ellington's Sound of Love

F 6 E Maj7 B b 9(#11) E bMaj 9

n > # > >

F 6 E Maj7 B b 9(#11) E bMaj9

D F # m7/D A b/C # B m7/C B 13 (# 11)

Copyright 1975 JAZZ WORKSHOP, INC.

Duke Ellington's Sound of Love

blues that gets

love, - from the

cir - cus closed down.

so year - ning. Taught me to hear mu - sic out of

hadfoundmy so- ul.

for my mel-o - dy.

words and music by

Copyright 1975 JAZZ WORKSHOP, INC.

Trombone & Trumpet

A b 4 measure Piano break

Trb. & Tenor

* Bass notes only. (not chords)

Copyright 1975 JAZZ WORKSHOP, INC.

Copyright 1975 JAZZ WORKSHOP, INC.

Bass and Drums double time

he readerlperformer is advised to listen first to the Columbia

Goodbye Pork Pie Hat

F #Maj7(#11) B 7(# 11)

Copyright 1975 JAZZ WORKSHOP, INC.

Haitian Fight Song

Bass plays 4 times

Trombone plays 4 times: plays 8va from 3rd time

Copyright 1975 JAZZ WORKSHOP, INC.

Haitian Fight Song

Solo ( A Minor Blues)

After Bass solo D.C. and ritard to end

Medium New Orleans Swing q

Copyright 1975 JAZZ WORKSHOP, INC.

Bass and Drums

Bass comes in (walk) at 3rd chorus.

Trombones: tacet first chorus

Tenor: tacet first 2 choruses

Baritone: play all 6 choruses

Total playing time: 6 choruses

Copyright 1976 JAZZ WORKSHOP, INC

Bass & Drums ( Horns tacet)

Bass & Drums continue

Nostalgia In Times Square

Copyright 1975 JAZZ WORKSHOP, INC.

Oh Lord, Don't Let Them Drop That Atomic Bomb On Me