MingusBassClef2013 PDF

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
? lead sheet
A
Bass 2012 Page 2 of 67
BETTER GET HIT IN YOUR SOUL
CHARLES MINGUS
hk ca.
B7
F

? 6 ..

b 4
2 - feel f
( b)*
b
F
B b7
7
B

- .
-
?b

?b
w.
B b7
G m7
C7
?
b
B b7
?
b
?b
B b7
w.
G m7
G m7 last time
2.
w.
* Ab in 1977 recording
C7
C7
.. w .

B b7
G7
( b)*
F.
slower ( directed)
U
w.
C7
( b)*
to solos ( Blues )
w.
B7

2.
F.
J
B7

?
b
?
1.
- w .
1.
( b)*
..
.
Bb
Copyright 1975 JAZZ WORKSHOP, INC

International Copyright Scured All Rights Reserved
U
w.
? lead sheet
BETTER GET HIT IN YOUR SOUL
1977 version ( Mingus' opening Bass solo)
r .
r
b b
.
? 6 b.
.
b
b n
b 4
f
r
b n
n
b
?b
J b -
J b -
b
?
.
b
b n b
b n
Copyright 1975 JAZZ WORKSHOP
? lead sheet
1963 version ( counter melody)
2
? 6
b 4
w.
? b ww ..
r
#
. w .
r
#
www ...
n w.
( b)
.
.
r
#
- w .
.
.
? lead sheet
3
1359 version ( background riffs)
? 6 - -
b 4J J J J
3a
? - - b .
b J J
>
F
1959 version ( hand clapping)
>
>
clap
> >
> >

etc.
- - b . . .
J J
> > >
- - b .
J J
>
Blue Cee
bass clef lead sheet
ca. 160)
Medium Swing (q
C7
? 4 .. b
4
P
F7
? b
D 7 (b 9)
G 7b5
b .
?
b
-
CHARLES MINGUS
B b7
A b m (m aj7)
b b
C7
Db 9
b b
A b m (m aj7)
C7
A b m6
b n
b
B b7
B b7
C7
w
w
B b7
b J
.
..
Copyright 1975 JAZZ WORKSHOP, INC.

International Copyright Secured All Rights Reserved
? bw
p
"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."
!
(slide)
b
f
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
? lead sheet
A
BOOGIE STOP SHUFFLE
CHARLES MINGUS
Uptempo shuffle q
Bbm
.
? bb 4
bbb 4
f
.
n
A n A .
? bb 4

bbb 4

n

.

f .
.
bm
Eb m
B
? b b . n .
bbb
n A .
Piano:
? bb b

b b .
n .
Bbm
? bb b n A n b
bb
.
F7
? b b n
n b

b b b n
A n b

B Horns .
.
.
2
b
? b b ( n ) b
n
bbb
n
rhythm section simile
wa
bwa
? b b
bbb
? b b b n n A A
bb
n n
? b b n n A A
b b b n n
wa
A
ww
ww
ww
ww
wa
n n A A
n n
wa
wa
bwa
wa
.
N bn

wa

wa
wa
, b
n

wa
wa
wa
ww
ww
w
w
w
wa
n
n J
wa
,
,
BOOGIE STOP SHUFFLE
4th chorus ensemble melody
? b b b .. b
bb
n
2nd time swing
n J b n A

? bb b n b

bb J
n #
( D/Bb)
A n nU ww
? b b j ( b ) n
n # ww
b b b n
)
(
1.
fine
? bb b
bb
A +
n +
A +
nw
w
n
n
n .. n #
J
2.
to solos
Dizzy Moods
Bass Clef Lead Sheet
Medium Swing = ca. 144

Gm75
CHARLES MINGUS
C7#5(#9)
F7#5(#9)
B7(#11)
1.
5
Am7
Bm7
D7#5
E7
C
26
Gm75

34
Bm7
Bm7
D7
E7#5
E7#5
B7(#11)
Dmaj7

E7

A7
= Am7
F7#5(#9)
A7(13)
Coda
3
Am7
Gmaj7
Em7
C7#5(#9)
30
D7#5
= Am7

Dmaj7
21
2.
15
E7 A7#5(#9)

Dmaj7
A7(13)
Em7
3
Copyright 1975 Jazz Workshop
D7#5(#11#9)
? lead sheet
Duke Ellington's Sound of Love
Ballad q ca.
words and music by
CHARLES MINGUS
D bMaj9
? bb 4
bbb 4
? bb
bbb
I was young
b9
Bb 7 #5
b.
E b m9
blues,
? bb b n
bb
? b b n n n
bbb
3
Lost on
? bb
bbb
G b13(# 11)
life
A b 13(b9)
? b b .
bbb J
lov- ed.
D bMaj7
A b 13 (b 9)
- no
G7
n n
3
F 7 (b9)
go - round
C Bb #b
n
11
7 9
had got to my
mood.
E b 6 D Maj7 A b 9(#11)
3
love
blues that gets
came
mel - o
we
all
live
as
B b 7 (# 11)
in - fi
A bMaj7
nite
with
E b 6 D Maj7 A b 9(#11)
D bMaj9
one
EL - LING - TON
SOUND
D Maj7
#w
( )
()
D9
in
D bMaj9

for this
m7b5(11)
lov - er,
OF LOVE.

soul,
.
J
the
my
D Eb
dy
love, - from the
n
n
n n
E b 9(#11)
I was
cir - cus closed down.

b
C E m7/C G /B A m7/B b A 13 # 11 B bm7(#11) E b 13 b9
so year - ning. Taught me to hear mu - sic out of
F m7(11)
n b
wooed.
n n
his
Lost in
me
A 7 (#11)
clown with
D bMaj 9
# n
C Maj7
hadfoundmy soul.

F 7 # 11
E m7b5
sad
( )
n.
song
sound
E6
my mer - ry
not a
a - lone.
D m7
heart
E Maj7

F 7#5b9(#9)
for my mel-o - dy.
All
? b b b
bbb
b9
Ab7#5
F #m7b5(11) F #o7(11)3
D bMaj9
and care-free,
rag - time,
jazz and
search - ing,
A bMaj7
? bb
bbb
A b13 (b9)
D 13 (# 11)
be -
and
nU
w
fine
? lead sheet
Duke Ellington's Sound of Love
Ballad q
ca.
CHARLES MINGUS
D 7(# 9)
. 3 D bMaj9
A b13 (b 9)

? b b 4 n ...

.
bbb 4 J
Piano
P
F
Bass
? bb b
bb
enters on 3
b9
A b 7 #5
b9
Bb 7 #5
b.

n
3
E b m9
F #m7b5(11)
F #o7(11)
? b b n .
bbb
? bb b
bb
F m7(11)
A b13 (b 9)
? b b .
bbb J
E6
#.
G7
n.
n n
3
( b ) j n
A 7(# 11)
C E m7/C G b/B A m7/B b A 13(# 11)
F 7 (b9)
.
J
C#
E b 9(#11)
Even 8th
A bMaj7 D 9
D bMaj 9
b
n n n
J
B b7 b9
11
B b 7 (# 11)
b j n
3
E b 6 D Maj7 A b 9(#11) D bMaj 9
b
J

D Maj7
#w
B bm7(#11) E b13 (b9)
G b 13 (# 11)
E bm7b5(11)
( b)
Even 8th
n > >
> n >
n b
# n
n n
n J n
3
3
E b 6 D Maj7 A b 9 (#11) D bMaj9

3
E m7b5
C Maj7
F 7 (# 11)
? b b n n n
bbb
? b b b.
bbb
E Maj7
D m7
A b Maj7
3
b
n
? bb
bbb
A b 13 (b 9)

F 7#5b9(#9)
Even 8th
D b Maj7
n
J
D bMaj9
D 13 (# 11)
nw
fine
East Coasting

Uptempo Swing ( q
G b Bass*
CHARLES MINGUS
ca. 200 )
E b Bass*
Intro ? b 44 b b
f Piano
2-feel
2
?
b
Trombone & Trumpet
G b 4 measure Piano break
?b
A b Bass* D b Bass*

F # m7
modulate to D
? b j n # # - # n n j
f
F Maj7
A m7b5
D7
G m7b5
C7
b
b J
j
? b n
J b
b
D Maj7
B m7
E m7
A7
B7
?
?
E7
E7
B m7b5
b b
B m7b5
b b
G bMaj7
? w b
b
Tenor 8vb
A m7b5
E b m7
D7
D7
A b m7
B b m9
D b7
E m7
n b n b
A m7b5
G m7b5
A b m7
j b b b b n n
b
n
3
E b m7
Trumpet
b b
A m9
# n b.
C7
F Maj7
D b7

n n b
A b m7
Trb. & Tenor
G # m9
D b7
j .
j b
b
j
j
b

A7
* Bass notes only. (not chords)

>
J
,
,
F Maj7
b w b
J
E m7b5
#
b n n
# n
? # j #
#
n #
b
B m9
b b
b
C7
G bMaj7
East Coasting
F # m7
? j #
# - # n j
b n
n
A m7b5
D7 C7
F Maj7
G m7b5
b
J
j
? b n n
J
b
n b.
#
E B m7b5 E 7
C7
n b b Am7b5 n D 7b n Gb m7b5
b
n
b
?
b
b
nw
D Maj7
B m7
E m7
A7
B7
E m7
C7
F Maj7
>
J
F Maj7
(U

b
n # # w
E m7b5
A7
?
b
D m7
G7
C7
F Maj9
fine )
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
A
B1
4 bars
B2
4 bars
4 bars
C (derived from the intro)

D
8 bars
4 bars
4 bars
B1
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
? lead sheet
Slowly q ca.
Ecclusiastics
CHARLES MINGUS
A
F7
? 4 3
b 4 # .. .
A m7
D 7#5
C7
A b7
? b.
b
.
? 2
b 4
B b7
F 7(# 9)
? 4
b 4
"wail"
D b7
b n

F7
# n
E7
B b7
B b7
D b7
J
1.
#
J
3

J
A m7
G m7
G m7b5
F 7(# 9)
E7
b b
E b7
#9
C 7# 5
B7
G Maj 9
.
# .
3
2.
"wail"

2
4
4
4
? lead sheet
q ca.
Intro B b m7
? b b 4 ..
bb 4
CHARLES MINGUS
B b. m7
n .
J
P
B b.m7
? b b
bb
? b b . #
bb
? bb b w
b
G m7b5(b9)
.
. J
F
? b b b .. . #
b
simile
n .
J
. .
J
? bb >
bb |
D b7
n
.
n b . .
J
.
P

n
.
D b7
C 7(# 9)
-
J
f
|
J
f

J
p
(octaves)
n b .
J
.
F m7
n b .
n
n
..
. n
n . .
J
C 7 (b 9)

j
n
(octaves)
Bass Walks
? b b .
bb
in octaves
? bb b
b
D b7
D b7
? b b b 44 .. . #
b
2-feel P
? b b b ..
b
Fables of Faubus
Piano
( Bass Walks )
n.

B b7b5
-
J
f
|
J
E b7
>
D7

>
j

p
A b 13
? bb b .
b
1.
G m(Maj7)
- j # w
J
f
solos only:
? bb b |
b
J
? bb b w
b
? bb b
b
tutti J
sweetly
Bnbm(Maj7)
.
? bb b
b
? bb
bb
B bm(Maj7)
n.
? bb b .
b
D 7b5(b9)
n b . .
J
.
3
#.
n.
Bass and Drums double time
n n
~~~
J
G bm(Maj7)
n.

J
J
C m7
..
b
Gn m(Maj7)
.

J
J
G Maj7
n w
J
F 13 F # 13 G 13 A b 13 A 13
. n

..
|
J
2.
G 13 A b 13 A 13 B b 13 B 13 C 13
F m 9 (M aj 7 )
-C 7
G 13
Fables of Faubus
.
F 7(# 9)
n n
3
n
J
b.
# .
B b7b5
b
? bb b # # ( ) # #
b
P
? bb
bb
Bass
n
J
n
J
Fables of Faubus
B b. m7
? b b
bb
F
? b b . #
bb
simile
B b.m7
? b b b
b
? bb b . #
b
. .
J
? bb b w
b
n .
.
.
J
3
? bb b w
b
n
.
n .
J
C 7 (b 9)
F m 9 (M aj 7 )
n b .
C 7(# 9)
-
J
f
|
J
f
n w
J
( Bass Walks )
n.
.
.

J
w1.
>
.

J

>
B b7b5
j
p
-
J
f
|
J
to solos
D7
Piano

J
p
E b7
F m7
(octaves)
Last time
.

J
~~
? b b b .
b J
tutti
n b .
D b7
(octaves)
Bass Walks
? bb >
bb |

n
.
(octaves)
? bb
bb
? bb b .
b
D b7
G m7b5(b9)
D b7
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
? lead sheet
ca.
Ballad q
? b 4 j
bb 4
F
b
? b b
bb J
D 9sus
? bb J
b
F m7b5
A 13
? b #
bb
Solos
E b m7
Goodbye Pork Pie Hat

CHARLES MINGUS
E b 7(# 9)
.. b
J
B 13
b b
J
D b7sus
n J b
E b7
b b b .
J
#
B b7#
C 13 (#11)
F 13
n # n n
b b J
#
J
n
B 13
9
5
A b7
A b m7
B b7
D b7
E b 7(# 9)
A 7#5
E b m7
B7
b .
b J
E Maj7
#.
E Maj7(#11) A 7 (# 11)
after
repeat
B 13
B7
fi#
E b m7
A b m7
b
J
n
J
#
E b m7
A b m11
b b b n b #
A b m7
A 7 (# 11)
E Maj9
, n #
,
# # #
# b ..
3
A b m7
B7
B b7#5
E b m7
A b7
? b .. w
w
b b
E b m7
A b m7
E b m7
A b7
#9
F 7#5
F # m7
B 7 ( B b7 E b m7
A b7
? bb
b
)
E b m7
B7
E b m7
B7
A b m7
B7
B b7#5
? b
bb
(
E b m7 A b7
E b m7 A b 7
C m7b5 F 7
F # m7 B 7 B b 7 E b m7 A b7
E b m7 A b7
? b
b b ..
fi
A 7 (# 11)
C m7b5
,
#
? b
# # #
bb
b
E Maj7(#11)
Ebm
U
w
E Maj7
U
w

Ebm
U
w
? lead sheet
Haitian Fight Song
ca.
CHARLES MINGUS
Medium Swing q
#
#
?
4
Bass
bb 4
P cresc. poco-a-poco
#
#
Bass
bb
Bass Intro
#
#
T. Sx.
B b Tpt.
? b b .. . . . . . . . . . . . . . . . . .
3
3
3
3
F 3 3 3 3
Tenor tacet 1st time, 2nd time start playing from bar 13, then play twice
? b ..
b
Bass
# # n
? b b ..
j
# .
p (gets louder each time)
#
? b ..

b
T. Sx.
B b Tpt.
Tbn.
Bass plays 4 times
3
m
? b

b .
p plunger half-valve
b
b ~
~
? b
b
3
f
? b . . . . . . . . . . . .
b
3
Bass
? b
b
b j n .
3
. . . . .
.
m
Trumpet tacet first 3 times, 4th time start playing from bar 13 (one time only)
Trombone plays 4 times: plays 8va from 3rd time
Tbn.
..
..
..
#
#
..

T. Sx.
B b Tpt.
. . . . . . . . . . . . . . . . .
? bb
3
3
3
3
F plunger
half-valve
b
? bb
Tbn.
Bass
Haitian Fight Song
? b
b
j
#
? bb
&
bb
b ~ ~
# # n
Solo ( G Minor Blues)
12
b j n .
3
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.
? lead sheet
Jelly Roll
Medium New Orleans Swing q ca.

B b m7
Eb7
Alto n b
b -
? b b 4 ..
bb 4
F
CHARLES MINGUS
B b m7
b7
B b m7
n b E
n b
Trb.
.
.
? b b 4 .. # n J
# n
bb 4
F 2-feel ( slap bass style)
A b7
b
E7
n b
.
n
? bb
bb
? b b b # n J
b
D b7
? bb
bb
? bb b
b
F7
? bb
bb
B b7
> >
.
# n J
n
Trb. fills
b
.
? bb b n
b J
E b7
A b7
b > .
G7

G b7
> >
J

j n n n
#
3
A b7
1.
? bb b w
b
? b b b.
bb
Trb. Fill
A b7
w
. b .
.
J
.. w
2.
last time
.. b .
. b .

w
j j
.
Bass
Jelly Roll
Tag Ending
#9
E b7 # 5
Ab
? b b b.
bb
? bb b
j
b .
.
B b m7
. . .
? bb b
J
JJ
b
? bb
bb
? bb b
b
walk
B b m7
? bb
bb
? bb b w
b
( )
b.
smear
E b7
.
J J
? b b j
bb
B b m7
.
J
.
J
()
Bass and Drums
Bass solo
A b7
w
J
b .
Eb7
. . .
J
JJ
J
B b m7
Drum solo
Bass solo
.
J
Ab
#9
smear
E b7# 5
b .
.
fine
Bass Clef lead sheet
Moanin'
Medium up swing q
Total playing time: 6 choruses
Play only at 4th chorus w/ Piano comping
4th chorus
Alto Sax 2
5th chorus
Alto 1 & 2
6th chorus
Altos
All 6 choruses:
? b b b 44 .. j J .
b
J
f
n w . 5th chorus only
n ..
1.
? b b b 44 ..
b
2.
Fm
? b b b 44 ..
b
I
Tenor Sax
? bb b
b
Baritone Sax
? bb b
b
Trombone
? bb b
b
Rhythm Section
? bb b
b
4th chorus
Alto 2
5th chorus
Alto 1 & 2
6th chorus
Altos
Ten
Bari
Trbs
Rhy Sec.
? bb b
b
Fm
D b Maj7
C7
j
j
.
C7
.
.
G m7b5
know
b .
. ~~~~~~~~~~~~~b
44 .. ~~
. . b
P
3
Baritone: play all 6 choruses
44 ..

j n
~
~~
~~
~
~~
~~
~~
~
.~~
.
.
P
Trombones: tacet first chorus
,
- bw
.
w
44 .. w
w
P
Fm
D b Maj7
G m7b5
C7
44 ..
P
Bass comes in (walk) at 3rd chorus.
Piano comes in at 4th chorus.
D bMaj7
G m7b5
? b b b F
b
. ~~~~~~~~~~b
? b b b ~~
b
P
? bb b
b .~~~~~~~~~~~~~
P
? b b b ww
b
P
Fm
? bb b
b
P
m
n .
J
j
b ww
Tenor: tacet first 2 choruses
? b b b n . .
b
Fm
CHARLES MINGUS

- .
nw
D bMaj7

.
.
.
.
D b Maj7
C7
C7

b .
G m7b5
G m7b5

b
j
.
bw
w
G m7b5
n
.

C7
C7
>

4th chorus
Alto 2
5th chorus
Alto 1 & 2
6th chorus
Altos
Ten
Bari
Trbs
Rhy Sec.
Moanin'
? bb b
b
Fm
? bb b
b
Fm
? bb b
b
Fm
b
? bb b n
b
b
? bb b
b .
nw
? bb b n w
b
Fm
? bb b
F m/E b
F m/E b
F m/E b
F m/E b
D b7
D b7
C7
C7
C7
n b b
j j
F m/E b
D b7
D b7

D b7
C7
C7
5th chorus
Alto 1 & 2
6th chorus
Altos
Bb m
? bb b
b
Bb m
? bb b
b
Bb m
? bb b
b
Bb m
Ten
Bari
Rhy Sec.
B b m/A b
B b m/A b
B b m/A b
G m7b5
G m7b5
? bb b
b
Bb m
? bb b
b
B b m/A b
C7
G m7b5
n n
"Yes
C7
G m7b5
G m7b5
C7
Drums sneak in
C7
B b m/A b
3
b
C7
Mingus:
G m7b5
b
.
? bb b
w
b
? bb b ~
~~~~ ~~~~ b ~~~~~ ~~~~ b ~ ~ ~ -
b
Bb m
Trbs
B b m/A b
j b j

4th chorus
Alto 2
Alto 1
Ten
Bari
Trbs
Rhy Sec.
? bb b
b
? bb b
b
Ten
Bari
Trbs
Rhy Sec.
Ten
Bari
Trbs
Rhy Sec.
Bb m
? bb b
b
C m7b5
? bb b
b
? bb b
b J
J

? b b J
J
bb
? bb b j
j

b

? bb b
b
J
Bbm
? bb b
b
F7
J
C m7b5
Bb m
j

J
F7
j
b n
J
j j

J
J
j b n
C m7b5
j

J
p
Alto 2

J
? bb b J
J
b
F
? bb b j
j

b
? bb b

b
J
J
Bb m
j

J
? bb b w
b
J J
? bb b j
j

b

? bb b
b
J
F
Alto 1 & 2
Alto 1
Moanin'
F7

? bb b
b
b
b

? bb b
b
Altos
Ten
Moanin'

? bb b
b
b
F

? bb b
b
b
Bari
Trbs
Bbm
? bb b
b
Rhy Sec.
? bb b
b .~~~~~~~~~~~~~
f
Bari
? bb b
b
Fm
Rhy Sec.
+ Ens.
F m Add trombones
? bb b
b
P
Rhy Sec.
+ Ens.
Fm
Rhy Sec.
+ Ens.
D bMaj7
D b Maj7
G m7b5
(fine)
(fine)
C7
F m/E b
j
j

.
Db7
? bb b

b
add other Horns and Piano ( collective improvisation)
? bb b ~
b ~~~~ ~~~~~ b
Bbm
Rhy Sec.
+ Ens.
>
C7
j
j b
? bb b
b
Bari
C7
(fine)
n
.
n
.
j
.
G m7b5
(fine)
bw
j
.
Bass & Drums continue
? bb b
b .
Bari
Bass & Drums ( Horns tacet)
? bb b
~~
b .~~~~~~~~~~
P
Bari
(fine)
Gb
U
w
~ ~ ~ ~ ~ ~~ ~~ b
~
~~~~~ -
B b m/A b
G m7b5
C7
? lead sheet
Nostalgia In Times Square
Medium Swing q ca.

E b7
? b 4 j ..b
bb 4
b7 f
b7
E
E b7
? b b
bb
Eb7
C7
. .
D b7
G b m7

J b
D b7
Eb
break
D b7
b . . b .
G b m7
b .
C7
. b .
E b7
n .
B.b m7
F7
E b7
D b7
.
b . . b
A b m7
b .
D b7
2.
break
Eb7
D b7
E b7
D b7
b . . b .
b . . b .
Eb

1.
Eb7
C b7
F7
.
.
J n
b
j
..
J
D b7
shuffle
A m7
.
b . . b
fine
E b7
D b7
.
j b b .
J
J
Cb7
Eb7
.
b
J
G b m7
? bb
b
G b m7
A b m7
D b7
C. m7
j b
? b b . . b .
bb
Eb7
D b7
.
b
J
J
E b7
? b b b .
b
Eb7
D b7
? b b b b .
b
B b m7
D b7

J b
? b b b
b
CHARLES MINGUS
Bass Clef lead sheet
Oh Lord, Don't Let Them Drop That Atomic Bomb On Me

Slow Blues q
.
.
#
?4 #
4
F
.
? .
C7
ca.
.
.. .
.
? .
.
.
#
#
C7
Bass: one-to-the-bar feel
#
#
#
#
F.7
.
#
#
.
.
D m7
(A7)
1, 2.
C7
CHARLES MINGUS

b
J
w
.. w
C 7 last time
Copyright 1976 JAZZ WORKSOP, INC.

#
#
J
#
#
2.
#
#
b b b G .7
b b .
D b 13
bU U
b b
C7
? lead sheet
O.P. (Oscar Pettiford)

CHARLES MINGUS
Uptempo swing ( as fast as possible)
? b 44 j
F7
?
b
?
b
G m7
.
?
b
?b
?b
.. b
J
C7
B b m7
B b m7
jC 7
.
.
J
.
?b
F Maj7
b .
F#o7
? b 44 b
J
n n
3
E b 7 (# 11)
B b m7
j
b
b
-
b n
J
A m7
34 b .
q= q
D b7
( C7 )

j
.
j C7
j . .
. .
A b Maj7
b b .
C7
A b m7
. b .
b
J
A m7
2.
Eb7
G m7
Eb7
1.
b b
.
J
b b b
b
j b n
J
G m7

j
J
E b7 (b 9)
B b m7
F#o7
F Maj7
n.
n .
D7
B b m7
b.
E b 7 (# 11)
j b n
J
G m7

C7
j 44
O.P. ( Oscar Pettiford)
?b
F7
?b
G m7
?b
B b m7
E b7
( C7 )
j .
.
.
?
b
J
F
E b7
A m7

J .
simile
b
J .
? b
b
.
G m7b5
? b b
.
C 7 (b9)

J .
b j n .
D b7
b.

B b7

b
J
? b b
.
D b7
A b m7
j
.
.
J
C7
J .

b .
j
b
.
A b7
G bMaj7
.

F
j j .
.

J
C7

J .
( fine)
F
Opus Four
CHARLES MINGUS
ca. 176)
Medium Swing (q
Latinish ( h.
ca. 88)
- n
? b 46 n . J
.
f
( Dm )
D bMaj7
? b 44 . b b
J
F m7
G b7
44
F m7
#9
C 7b 9
n j j -j j b b j j - b - J
- -
b. b nw
J
G m7b5
b w
.
b b b
b n
b
b
p
G m7b5
Swing
D bMaj7
h. = h
(6)
F Maj7
h = h.
6
4
- - - h. = h G bMaj7
.
? b 46 n . J . n . J . 44 b b b b b

3
Latinish F Maj7
?b
nGMaj7
n n
n #
# n #
.
# # #
?b
# # n
A Maj7
? #
b
E7
E bMaj7
b
b b b
B bMaj7
n #w
n
n b
nw
nw
- n
? b 46 n . J
.
-
# #
A bMaj7
A7
E m7
B Maj7
#w
h = h.
6
4
D Maj7
D m9
Latinish
( Dm )

(6)
h. = h
44
Opus Four
D bMaj7
? b 44 . b b
J
F m7
Swing
D bMaj7
b w
Latinish
F Maj7
? b 46 n
-
G b7
.
b b b
b n
b
b
p
G m7b5
j j
n j j - b b j j - b J
- - -
G m7b5
n
J
n -
F m7
#9
C 7b 9
h = h.
6
4
b. b nw
J
n
J
F Maj7
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 Fmin | DbMaj7 | Gm7(b5) | C7/Gb7 |
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
Orange Was The Color of Her Dress, Then Blue Silk

CHARLES MINGUS
Medium Swing (see notes)
Eb
? b 4 .. j
bb 4
F
Intro
E b 6 E Maj7 E b 6
2.
j
? bb
b
J
B b7 # 5
#9
A B b ##
Bb
Eb
E b 6 E Maj7 E b 6
j

J
j

J
1.
B b7 # 5
#9
..
J
# .
J
# .
. ~~ ..
f
3
3
3
3
7 5
B b m7
E
#
? bb
J
# ~ ~
b
even 8ths
F # m7
B Eb
Maj7
A b m7
D b7sus
b
J
3
D bMaj7 E bMaj7 D bMaj7
. n
R
~~
? b b n b J b J bm w
b
B7
A 7b5
b.
Ab
C m7
b.
J
F7
rush ahead
A 7b5
3
? b b b ~~~~~ . ~~~ .. > . ~~~~~
b
J
3
3
3
E Maj9
F 7(# 9)
C Abm9. Db7b . F#.m9 B7 n b E Maj9 F 7(#.9)
b. n
b n . #
? bb
b
J
J
J
J
J
b
B b7
E b 6 E Maj7 E b 6
E b 6 E Maj7 E b 6
1.
2.
~~
F m7
A7
? bb .
b
E m7
? bb
C m7
D Maj7
# n #
b.
J
F7
n #
~~~~~~~
D m7
G 7.
b
J
3
B7
E 6 E Maj7 E 6
3
b ~~~~~~

F m7


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
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.
~~~
J. b . J. b . J. b . J. b
B E bMaj7 F
D bMaj7
E bMaj7
? bb C

b ~
~~~f
~~~~
? bb
b
. . b
J
D bMaj7
~~
~
? lead sheet
Medium swing q ca.
? b b 4 .
bbb 4
F m9
? bb w
bbb
A bMaj 9
? bb w
bbb
F 7(# 9)
? bb b
bb
Peggy's Blue Skylight

A
G m7b5
r .

.
f
3
B b 13
B b m9
D bMaj7
C 7#5
. r
E b7#5
3
n n
n
n b

3
3
D7
D b7sus
C 7(# 9)
nw
b
.
. n r
3
3
B b7 (b 9)
E b m9
A b 13(b9)
J
.
.

.

n
R
3
1.
CHARLES MINGUS
b n
J
n

.
b
D7
D bMaj 9
2.
. r . w
? bb b
bb
( b m7 )
D7
G m7
C7
F Maj7
B AAb 7(#9)
n
.
? b b n n J n J b n
bbb
3
b
b
b
F m7b 5
B 7 ( 9)
E Maj7
A bMaj7 D 7
.
b
n
n
? b b b
J J
bbb

3
C 7(# 9)
F 7(# 9)
B b7 (b 9)
C D b7sus
.
.
r
? b b b
.
.
n
bbb
R 3
3
3
3
E b m9
A b13 (b9)
D bMaj 9

U fine
? bb
J

.
w
bbb
n
3
3
)
(
? lead sheet
Medium swing q
Horns
Bass
Pithecanthropus Erectus
D bMaj7
A wF
4
? b b b 4 ..
b
p
?
4
( b b b b) 4 ..
? bb b
b
D b/F
G m7b5
D b/D
C 7 (b 9)
CHARLES MINGUS
Enb7w(b9)
? bb

n
bb
G m7b5
C 7(b9# 9)
D b Maj7
w
b wF m7
? bb
bb
3
p

? bb b n

b
? bb
bb
? bb
bb
A b m7
D b7
bw
? bb b w
b
1.
G bMaj7
F m7
Bb7
p
b

b 7 (#11)
nA.

f
.
G m7b5
B b7
F m7
C7
Bass walks
to letter A
C 7(# 9)
? b b ..
n
6
b b ..
n .. 4
vamp until cue
Piano and Horns ad lib
F m7
B b7
h= hk
? b b b 46 .. U
b
(vamp until cue
2.
F m7
fine after vamp
Interlude G m7b5
? b b b 44 U
|
b
on cue
Piano tremolo
on cue
G m7b5
F #/G
Horns#U
w
# w
B b7
#9
C 7# 5
w
w
F m7
B b7
hk= h
.. 44
F m7

solo break

? lead sheet
Slippers
Uptempo swing q
B bMaj7
ca.
? b b 44 .. .
f
? b b .
C m7
A b7sus
#9
F 7#5
E b m7
? b w
b
E b m7
A b7
B bMaj7
? b b .
? b b .
C m7
A b7
B w
? b
b
A b7sus
#9
F 7# 5
CHARLES MINGUS
A b7
D bMaj7
b b
n .
b b
n
b9
F 7#5
F 7 (b9)
to solos
B bMaj7
D b 7 C m7
1.
D bMaj7
D bMaj7
F 7 (b9)
C m7
A b7
b b b
D b7
D b Maj7
B bMaj7
b9
F 7#5
)
b b b
()
F 7 b9

last time
B b Maj7
2.
.. .
fine
..
? lead sheet
Sue's Changes
Medium slow swing q

B b m7
ca.
CHARLES MINGUS
A b7
D bMaj7
? bb w
bbb
G m7
? b b n
bbb
j
n
m7
ca. B
swing q
D Maj7
? ##
steady four q
B b Maj7
? bb
A bMaj7
? b
b
D bMaj7
F 7 (b9)
ca.

.
.
3
b
3
n
J
E m7
B bMaj7
#w
A 7 (b 9)
C m7b 5
#w
C Maj7
j
#N
#.
b
J
A b13 (b 9)
.
b J
J
B7
n.
J
A bMaj7
, .
n nU
J
F # m7
B bMaj7
D7
,
j n j n .
b
E 7(# 9)
slower and rit.

D 6(9)
E b m9
b.
J
simile
n n n
F m7
Db 9
n.
F m7/B b
A b 7(# 9)
3
n #
D b6(9)
.
J n J b
A m7
j b .
J
? b N b b n b
b
J
slower and rit.
N # j n b b
C m7
A b 7 #5
( #) N N N
G Maj7
even 8ths
b
C
j 9/G
b9
? b b b ( b )
bb
n b
? ##
b
very slow E m7b5
E Maj7
B b7
C m7(11) B 7
F m7
D 7(# 11)
E b m7
b

? b b b 44 .. J
bb
3
3
F
j
n
#9
F 7# 5
#.
J
nnnnn##
#
J
F b/B b
b.
nn b
b

D7
b #w
3
C m7
A N

F 13 (b9)
b bU
ca.
B b Maj7
? bb
A b Maj7
? b .
b
walk
F m7/B b
b
N
C 13 (#11)
N # n b
faster swing q ca.

F
F (#5)
b
- 7 b .
jB
#
E7
E m7
? ..
b
D7
Bb7
n
? b N
b
F m7
b -
G m7
A b/B b B b/A b G m7b 5
? j j b n
J
J
F m7
vamp until D.C. *

A bMaj7
? ..
b
* see notes for ending
D7
C 7 (b9)
b b

D7
#w
# w>
E- 7
B m7b5
A Maj7
D b7
N b
B b7 (b 9)
b b
#
F m7
D b7
C7
N b
w
|
..
rhythm
suspends
Eb 6
b ~~~~
~~~n
C7
..
C m7
B b 13 (b 9) E 7(# 9) E b6(9)
b
b b j .
F m7
E b 7(# 9)
A b Maj7
nb
D9
n -
C 7 (b 9)
#9
C 7# 5
A m7
A bMaj7
F Maj7
.
? .. N J b n b .
b
3
D7
G Maj7
A m7
~~~~~ n ? n J
b
b.
b
n
b #.
F b/B b
even 8ths
A b Maj7
D7
? b N b b b
b
F G
B b Maj7
bw
.
simile
3
D b7
Sue's Changes
vamp until cue
>
A 7b5
..
Us Is Two

D b Maj7
#
? b b b 44 n n
24 #
bb
3
3
3
F
? b b b 44
"
"
42
bb
C Maj7
G bm(maj9 ) ( G bm(maj9 )/C b)
? bb b
bb
? bb b
bb
? bb b
bb
j
b.
? bb b
bb
? bb b
bb
j
b.
(G bm(maj9 )/C b )
? bb
bbb
3
( E bm9b5 )
A b9sus
"
44
3
D bMaj9
"
B bMaj9
, n
3
.
J
!
( B bMaj9/E b)
j
.
F m11
j
D bMaj9
"
(D bMaj9/G b )
J
Tuba simile f
&
, n
.
J
j
.
D bMaj9/G b
( D bMaj9/G b )
b.
.
J
Tuba !
( D bMaj9/G b )
44
,
3
j
b.

3
j j
. b
E b m11
? bb
bbb
D bMaj9
3
j
. b j
G bm(maj9 )
G bm(maj9 ) (G bm(maj9 )/C b)
? bb b
bb
D Maj7
CHARLES MINGUS
Brass

"
G bm(maj9 )
? bb b
bb
b
& b bbb
(G bm(maj9 )/C b )
Us Is Two
G bm(maj9 ) (G bm(maj9 )/C b)
? bb b
bb
b b J
b
J
& bb
3
"
b
n
French Horns
E b 7(# 9)
n n
n n
G b13 (#11)
D b 7(# 9)
C b13 (#11)
# n
n n
n n n n n n
n n
? bb b b
bb
n
n
D bMaj9
? b b b 44
bb
3
( D bMaj9/G b )
n n n n n n b J
n b b
C Maj7 D bMaj7
G bm(maj9 ) ( G bm(maj9 )/C b )
b
n

? bb b
b
n
bb
n b
3
3
3
3
3
# n j
#
j
#
? bb
"
#
bbb
"
"
"
? bb
bbb
n n n
A b13 (b 9)
7 9
b n
? b b n
bbb
C
F (# )
, b b

J
( D bMaj9/G b )
J J
B b13 (b 9)
? bb
bbb
D bMaj9
n n
J
24 # #
D Maj7
2
4
&
44
4
4
,
b b 4 j j j j
b
J J n J J J n
& bb 4 J J J
J J
3
3
D bMaj9
? bb b
bb
3
( D bMaj9/G b )
Us Is Two
G bm(maj9 )
(G bm(maj9 )/C b )

3
j
j
j
j
b
& b b b b J J J J J J J n J J J n
3
3
B b 13 (b 9)
E F 7(# 9)
b b b ,
b
? bb b
J
J
bb
E b 7(# 9)
A b13 (b 9)
D b 7(# 9)
G b13 (b 9)
,
b
n
b b
n
? b b J n
J n n b n n
bbb
n n n
3
3
3
C b 13 (#11)

n b #
? bb
# n J
bbb
3
3
fi Coda
D Maj7
? b b 4 #
bbb 4
D bMaj7
3
C Maj7
D Maj7
fi
2 #
4
#
3
D bMaj7
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
4
4
Wednesday Night Prayer Meeting
Uptempo Swing (q ca. 240)
CHARLES MINGUS
2nd time only *
?b
Mel.
Trb. & Tn.
?b
b .
F-7 b

..
46
f 3
. .
.. w .
46 #
f
B-b7 b
? # . .
b
?b
?b
bCw7.
. . b .
w.
- b
- - b
- - b 3
.
.
b
w.
# .
b -
n .
- - - b
b .
b -
. b -
Fb
- b
- b
- 3
.
w.
# .
( F 7 fine )
U
..
w.
.
3
.
(U
w . fine ) b # . . ..
7
* 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 Label: MGM/Verve
Album Name: Blues And Roots
Label: Atlantic
Album Name: Mingus At Antibes Label: Atlantic

Album Name: Me Myself An Eye
Label: Atlantic
? lead sheet
Work Song
ca.
CHARLES MINGUS
Medium swing q
w
? b b b 44 ..
b
P3
? bb 4
bb 4
G m7b5
? bb b w
b
? bb
bb
fi Coda
? bb w
bb
..
C7
fi
1.
b w
. .
F Pedal
Fm
.. w
b
w
b
? b b b J J n j w
b
C7
2.
Fm
b
w
JJ
. .
on repeat only
Bm

w
J J
j
n
Fm
b
.. J J w
3
b
U
w
b
j
J J n w


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2013 Charles Mingus

High School Competition

Bass 2012 Page 2 of 67

BETTER GET HIT IN YOUR SOUL

Copyright 1975 JAZZ WORKSHOP, INC

Bass 2012 Page 3 of 67

BETTER GET HIT IN YOUR SOUL

1977 version ( Mingus' opening Bass solo)

Copyright 1975 JAZZ WORKSHOP

Bass 2012 Page 4 of 67

Bass 2012 Page 5 of 67

1359 version ( background riffs)

1959 version ( hand clapping)

Bass 2012 Page 6 of 67

Bass 2012 Page 7 of 67

Bass 2012 Page 8 of 67

bass clef lead sheet

Copyright 1975 JAZZ WORKSHOP, INC.

Bass 2012 Page 9 of 67

BOOGIE STOP SHUFFLE

Copyright 1975 JAZZ WORKSHOP, INC.

Bass 2012 Page 10 of 67

BOOGIE STOP SHUFFLE

4th chorus ensemble melody

2nd time swing

Bass 2012 Page 11 of 67

Bass Clef Lead Sheet

Medium Swing = ca. 144

Bass 2012 Page 12 of 67

Duke Ellington's Sound of Love

words and music by

blues that gets

Copyright 1975 JAZZ WORKSHOP, INC.

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.

Bass 2012 Page 13 of 67

Duke Ellington's Sound of Love

C E m7/C G b/B A m7/B b A 13(# 11)

E b 6 D Maj7 A b 9(#11) D bMaj 9

Copyright 1975 JAZZ WORKSHOP, INC.

B bm7(#11) E b13 (b9)

E b 6 D Maj7 A b 9 (#11) D bMaj9

Bass 2012 Page 14 of 67

Bass 2012 Page 15 of 67

Bass 2012 Page 16 of 67

bass clef lead sheet

Trombone & Trumpet

G b 4 measure Piano break

Trb. & Tenor

* Bass notes only. (not chords)

Bass 2012 Page 17 of 67

C (derived from the intro)

Bass 2012 Page 18 of 67

Copyright 1975 JAZZ WORKSHOP, INC.

Bass 2012 Page 19 of 67

Bass 2012 Page 20 of 67

Copyright 1975 JAZZ WORKSHOP, INC.

Bass and Drums double time

Bass 2012 Page 21 of 67