Page 1
& bb 44 !Moving Ballad Tempo q = 65œ œ œ œ œ œ œ œ
f! œ œ œ œ œ œ# œ œ
& bb wnF˙ ‰ Jœ̆ ‰ Jœ>S
w .>̇ Œpoco rit.
Sœ> œ> œ> œ œ œn œ œ œn œ œ# œ
33
& bb wnA Slow Tempo q = 56
F.œ ‰ œ œ œ œ w ˙ Jœ ‰ Œ 2
& bb ˙ ˙ .œ ‰ œ œb wB .œ ‰ œ œ œ œ
& bb w ˙ Jœ ‰ Œ 2 Œ œ œ œ œ œ œf
tpt. lead w~~~
& bb 5C
Œ œn œ œ œ ˙nF
‰ .œ œ œb ‰ Jœ œ œ œ œb
& bb ˙ œ œ œ œ. œD .˙ œ œ œ3
˙ œ , œ œ œ œ œ œ œ w~~~
& bb 2 U̇ Ó .˙bU Œ ˙nU Ó
& bb 42 44˙ ˙ba tempo ˙ œ œ œ œFaster q = 88
ß fœ œ œnrit. wU
ƒ
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
REED 1Alto Sax
Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 2
& bb 44 w>Moving Ballad Tempo q = 65
ƒwb -
fwn >
ƒwb - ,f
& bb wn > ˙b ‰ Jœ̆ ‰ jœ>SF w .>̇ Œpoco rit.
Sœ> .˙n >f
& bb wA Slow Tempo q = 56
F.œ ‰ œ œ œ œ w ˙ Jœ ‰ Œ 2
& bb ˙ ˙b .œ ‰ œ œ wB
.œ ‰ œ œ œ œ
& bb w ˙ Jœ ‰ Œ 2 Œ œb œ œ œ œ œf
tpt. lead w
& bb 5C
Œ œn œ œ œ ˙nF
‰ .œ œ œb ‰ jœ œ œ œ œ
& bb ˙ œ œ œ œ. œD .˙ œ œ œ3
˙ œ ,œ œ œ œ œ w~~
& bb 2 U̇ Ó .U̇ Œ U̇ Ó
& bb 42 44˙ ˙a tempo ˙ ˙bFaster q = 88
ß fœ œrit. wU
ƒ
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
REED 2Alto Sax
Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 3
& bbb 44 w>Moving Ballad Tempo q = 65
ƒw-
fw>
ƒw- ,f
& bbb w>F˙ ‰ Jœ̆ ‰ jœ>S
w .>̇ Œpoco rit.
Sœ> .>̇f
& bbb wA Slow Tempo q = 56
F.œ ‰ ˙ w ˙ Jœ ‰ Œ 2
& bbb ˙ ˙ .œn ‰ œ œ wB
.œ ‰ ˙
& bbb w ˙ Jœ ‰ Œ 2 Œ œ œ œ œb œn œf
tpt. lead w
& bbb 5C
Œ œn œ œ œ ˙nF
‰ .œ ˙n ‰ jœb œ œ œ œ
& bbb .˙ Jœ ‰D wb w w
& bbb 2 U̇ Ó .˙nU Œ U̇ Ó
& bbb 42 44˙ ˙a tempo ˙ ˙Faster q = 88
ß fœ œrit. wU
ƒ
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
REED 3Tenor Sax
Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 4
& bbb 44 w>Moving Ballad Tempo q = 65
ƒw-f w>ƒ
w-,
f& bbb w> F
˙b ‰ jœfl ‰ jœ>S w .>̇ Œpoco rit.
Sœ> .>̇f
& bbb wA Slow Tempo q = 56
F.œb ‰ ˙ wn ˙b jœ ‰ Œ 2
& bbb ˙ ˙n .œb ‰ œ œ wB
.œb ‰ ˙
& bbb wn ˙b jœ ‰ Œ 2 Œ œb œ œb œ œ œf
tpt. lead
w
& bbb 5C
Œ œn œ œ œ ˙nF
‰ .œ ˙ ‰ jœ œ œ œ œ
& bbb .˙ jœ ‰D
w wn wb
& bbb 2 U̇ Ó .U̇ Œ U̇ Ó
& bbb 42 44˙ ˙a tempo
˙ ˙Faster q = 88
ß fœ œrit. wU
ƒ
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
REED 4Tenor Sax
Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 5
& bb 44 w>Moving Ballad Tempo q = 65
ƒw-f w>ƒ
w-,
f& bb
w> F˙ ‰ jœfl ‰ jœ>S w .>̇
Œpoco rit.
S œ> .>̇f
& bbw
A Slow Tempo q = 56
F.œ ‰ ˙ w ˙ jœ ‰ Œ 2
& bb ˙ ˙ .œ ‰ œ œ wB
.œ ‰ ˙
& bbw ˙ jœ ‰ Œ 2 Œ œb œ œ œb œ œf
tpt. lead
w& bb 5C
Œ œn œ œ œ ˙nF
‰ .œ ˙ ‰ .œ œ œn& bb
.˙b jœ ‰D
w w w
& bb 2˙
U Ó .U̇ Œ ˙U Ó
& bb 42 44˙ ˙a tempo
˙ ˙Faster q = 88
ß f œ œrit.
wUƒ
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
REED 5Baritone Sax
Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 6
& bbb 44 4Moving Ballad Tempo q = 65
Œ œ .œ œ œ œ œ œ œ œ rœn œ .œ œb ˙
& bbb Œ œ. œ œ .œ œ œ œ œ .œ ‰ . Rœ œ œ .œ œ œ œpoco rit. œ œ .˙ 7A Slow Tempo q = 56
& bbb Œ œ œ œ œ œ ¿n .œ œ .œ œ Œ ÓB 5
& bbb Œ œn œ œ œ œ œn .˙ œb œ œb œ ’ ’œ Œ D13-9C (off-mike)
’ Œ ÓBm9
& bbb 6 6D
ÓU Ó Ó .U Œ ÓU Ó
& bbb 42 44!a tempo !Faster q = 88
!rit. ‰ jœ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œUEbmaj7 ~~~
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
SOLO TRUMPET(Dizzy Gillespie) Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 7
& bbb 44 œ> œ œ œ œ œ œ œMoving Ballad Tempo q = 65
ƒ! œ> œ œ œ œ œ œ œ 5 œ> œ .˙n >
f& bbb 3A Slow Tempo q = 56
Ó Œ œ œ œ œP
˙ ˙ ˙ .œ ‰ 2
& bbb 3B
Ó Œ œ œ œ œP
˙ ˙ ˙ .œ ‰ 2to cup mute
& bbb ‰ .œ ˙C cup mute
P ‰ .œn ˙ ‰ .œ ˙ ‰ Jœ œ œ ˙n
& bbb ˙ œ œ . .˙ ‰ 2to open 4D
& bbb>̇ ˙nf
open ˙b ˙ ÓU Ó Ó .U Œ ÓU Ó
& bbb 42 44!a tempo œ> œ œ œ ÓFaster q = 88
ƒ ‰ Jœ- œn - œ-rit. wU
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
TRUMPET 1Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 8
& bbb 44 w>Moving Ballad Tempo q = 65
ƒ! w> 5 œ> .>̇
f3A Slow Tempo q = 56
& bbb Ó Œ œb œ œ œP
˙ œn œ# ˙b .œn ‰ ‰ rœ#jœ œ œ œ œ .œ œb .œ
FSolo œ Œ Ó
& bbb 3B
Ó Œ œb œ œ œP
˙ œn œ# ˙b .œn ‰ 2to cup mute
& bbb ‰ .œ ˙C
cup mute
P‰ .œ ˙ ‰ .œ ˙ ‰ Jœn œ œ ˙
& bbb ˙ œb œ . .˙ ‰ 2to open 4D
& bbb >̇ ˙bf
open
˙ ˙ ÓU Ó Ó .U Œ ÓU Ó
& bbb 42 44!a tempo >̇ Ó
Faster q = 88
ƒœ œ- œ-rit. wU
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
TRUMPET 2Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 9
& bbb 44 w>Moving Ballad Tempo q = 65
ƒ! w> 5 œ> .>̇
f
& bbb 4A Slow Tempo q = 56˙ ˙#
P˙n .œ ‰ 2
& bbb 4B
˙ ˙#P
˙n .œ ‰ 2to cup mute
& bbb ‰ .œn ˙C cup mute
P‰ .œ# ˙n ‰ .œn ˙ ‰ Jœ œ œ ˙#
& bbb ˙n œ œ . .˙ ‰ 2to open 4D
& bbb >̇ œn œbf
open
˙ ˙ ÓU Ó Ó .U Œ ÓU Ó
& bbb 42 44!a tempo >̇ ÓFaster q = 88
ƒœ œn - œ-rit. wU
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
TRUMPET 3Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 10
& bbb 44 w>Moving Ballad Tempo q = 65
ƒ! w>
5 œ> .>̇f
& bbb 4A Slow Tempo q = 56
˙ ˙nP ˙b .œ ‰ 2
& bbb 4B
˙ ˙nP ˙b .œ ‰ 2to cup mute
& bbb ‰ .œ ˙#C cup mute
P ‰ .œn ˙# ‰ .œn ˙# ‰ Jœn œ œ ˙#
& bbb ˙n œb œn . .˙n ‰ 2to open 4D
& bbb >̇ ˙#f
open
˙n ˙ ÓU Ó Ó .U Œ ÓU Ó
& bbb 42 44!a tempo
>̇ ÓFaster q = 88
ƒ œ œ- œn -rit. wU
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
TRUMPET 4Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 11
? bbbbb 44 w>Moving Ballad Tempo q = 65
ƒ! w> 2 Ó Œ ‰ Jœ>
Sw .>̇ Œ
poco rit.
Sœ> .>̇f
? bbbbb2A Slow Tempo q = 56 œ œ œ œ œ œ
Pœ œ œ œ- Œ ˙ œn œ# ˙b .œ ‰
? bbbbb2 2B œ œ œ œ œ œ
Pœ œ œ Jœ œ ‰
? bbbbb˙ œn œb ˙b .œ ‰ 2to cup mute ‰ .œn ˙bC cup mute
P ‰ .œn ˙
? bbbbb ‰ .œn ˙b ‰ Jœn œ œ ˙ ˙n œb œ . .˙ ‰ 2to open
? bbbbb4D open >̇ ˙n
f˙b ˙
ÓU Ó Ó . Œ
? bbbbb 42 44ÓU Ó !a tempo >̇ Ó
Faster q = 88
ƒœ œrit. wU
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
TROMBONE 1Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 12
? bbbbb 44 w>Moving Ballad Tempo q = 65
ƒ! w> 2 Ó Œ ‰ Jœ>S
w .>̇ Œpoco rit.
Sœ> .>̇f
? bbbbbœ œ œ œ œ œA Slow Tempo q = 56
Pœ œ œ œ- Œ œ œ œ œ œ œ œ œ œ œ- Œ
? bbbbb ˙ œn œ ˙b .œ ‰ 2
? bbbbbœ œ œ œ œ œB
Pœ œ œ œ- Œ œ œ œ œ œ œ œ œ œ Jœ œ ‰
? bbbbb ˙ œn œ ˙b .œ ‰ 2to cup mute ‰ .œ ˙C cup mute
P ‰ .œ ˙
? bbbbb ‰ .œ ˙ ‰ Jœ œ œ ˙n ˙ œb œ . .˙n ‰ 2to open
? bbbbb4D open >̇ œn œb
f˙ ˙ ÓU Ó Ó .U Œ
? bbbbb 42 44ÓU Ó !a tempo >̇ Ó
Faster q = 88
ƒœ œrit. wU
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
TROMBONE 2Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 13
? bbbbb 44 w>Moving Ballad Tempo q = 65
ƒ! w> 2 Ó Œ ‰ jœ>S w .>̇ Œpoco rit.
S œ> .>̇f? bbbbb
4A Slow Tempo q = 56
˙ œn œnP ˙b .œb ‰ 2
? bbbbb4B
˙ œn œnP ˙b .œb ‰ ! œ œb œ jœn .œ
? bbbbb ‰ .œn œn œC
p‰ .œn ˙n ‰ .œn œ œ ‰ jœn œ œ ˙n
? bbbbb ˙n œ œ . .˙ ‰ 2
? bbbbb4D >̇
œn œnf ˙b œb œ ÓU Ó Ó .U Œ
? bbbbb 42 44ÓU Ó !a tempo >̇ ÓFaster q = 88
ƒœ œ- œn -rit.
wbU
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
TROMBONE 3Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 14
& bbbbb 44 |Dbmaj7
Moving Ballad Tempo q = 65
Œ œb >œœ>
œœ>Gb9
|Dbmaj7
|Gb9
’ ’ ’ ’Dbmaj7
& bbbbb ’ ’ ’ ‰ JÛ>Gb9 Ebm7
’ ’ ’ ’ ’ ’ ’Û>Ebm7
poco rit.
’ ’Û> Û>Ebm9 Ab13-5
& bbbbb ’ ’ ’ ’Dbmaj7
A Slow Tempo q = 56
’ ’ ’ ’Gb9
’ ’ ’ ’Dbmaj7
’ ’ ’ ’Gb9
’ ’ ’ ’Dbmaj7 Em7 A 7
& bbbbb ’ ’ ’ ’Ebm7 Ab7
’ ’ ’ ’Fm7 Bb7-9
’ ’ ’ ’Eb9 Ebm7 Ab13-9
’ ’ ’ ’Dbmaj7
B
’ ’ ’ ’Gb9
& bbbbb ’ ’ ’ ’Dbmaj7
’ ’ ’ ’Gb9
’ ’ ’ ’Dbmaj7 Em7 A 7
’ ’ ’ ’Ebm7 Ab7 ! ’ ’ ’ ’
Dbmaj7
& bbbbb ’ ’ ’ ’Gm9 C13-9
C
’ ’ ’ ’Am9 D9+5
’ ’ ’ ’Gm9 C13-5
’ ’ ’ ’F 6/A D 13
’ ’ ’ ’Gm7 Bbm9 Eb13
& bbbbb ’ ’ ’ ’Abmaj7 ’ ’ ’ ’Bbm7 Bbm7/Eb Eb7 -9
+5 ’ ’ ’ ’Ebm7 D 9
’ ’ ’ ’Dbmaj7
D
’ ’ ’ ’Gb9
& bbbbb ’ ’ ’ ’Dbmaj7
’ ’ ’ ’Gb9
’ ’ ’ ’Dbmaj7 Em7 A 7
’ ’ ’ ’Ebm7 Ab7
˙̇̇U ÓFm7
..˙̇nU ŒE9/Bb
& bbbbb 42 44˙̇̇U ÓEbm9
’ ’ ’ ’Gbmaj7/Ab Ab13-9
a tempo
’ ’ ’ ’Dbmaj7 Gb9
Faster q = 88
’ Û ÛAb 7sus Ab9-5rit.
|UDbmaj7
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
PIANO Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 15
? bbbbb 44 wDbmaj7arco
Moving Ballad Tempo q = 65
wGb9 wDbmaj7 .˙ ŒGb9 pizz. œ Œ œ ŒDbmaj7
? bbbbb œ Œ œ ‰ JœGb9 Ebm7 œ Œ œ Œ œ Œ œ ŒEbm7
poco rit.
œ œ œ œEbm9 Ab13-5 œ œ œ œDbmaj7A Slow Tempo q = 56
? bbbbb œ œb œ œGb9 œ œ œn œDbmaj7 œ œb œ œGb9 œ œ œn œnDbmaj7 Em7 A 7 œb œ œb œEbm7 Ab7
? bbbbb œ œ œn œ œFm7 Bb7-9 œ œ œ œb œnEb9 Ebm7 Ab13-9 œb œ œ œDbmaj7B œ œb œ œGb9 œ œ œn œDbmaj7
? bbbbb œ œb œ œGb9 œ œ œn œnDbmaj7 Em7 A 7 œb œ œb œEbm7 Ab7 œ Œ Œ ‰ œ œn3
œb œ œ œDbmaj7
? bbbbb œn œ œn œ œGm9 C13-9C
œn œn œn œAm9 D9+5 œn œ œn œ œ
Gm9 C13-5
œn .œn œ œn œF 6/A D 13 œn œ œ œGm7 Bbm9 Eb13
? bbbbb œ œn œ œAbmaj7
œ œ œ œBbm7 Bbm7/Eb Eb7 -9+5 œ œ œ œnEbm7 D 9 œb œ œ œ
Dbmaj7D
œ œb œ œGb9
? bbbbb .œ œ œ œ œ œnDbmaj7 œb œb œ œGb9
œ œ œn œnDbmaj7 Em7 A 7
œb œ œb œEbm7 Ab7 U̇ ÓFm7
? bbbbb 42 44.˙U ŒE9/Bb U̇ ÓEbm9 ˙ ˙Gbmaj7/Ab Ab13-9
a tempo
˙ ˙Dbmaj7 Gb9
Faster q = 88œ œ œnAb 7sus Ab9-5rit.
wbUDbmaj7
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
BASS Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 16
ã 44 w>æwDbmaj7
ß
Moving Ballad Tempo q = 65
x x x x x x x xœœ œœ œœ œœ
Gb9
F
bell of cym.
w>æwDbmaj7
ßx x x x x x x xœœ œœ œœ œœ
Gb9
F
bell of cym.
ã x x x x x xœœ>œœ œœ œœ
Dbmaj7
‘Ó ‰ jœ ‰ jœGb9 (saxes)
‘Ebm7
x x x x..˙̇æ> œ œ̂poco rit.
x> .x朜>..˙̇
>æEbm9
Ab13-5
fã œ œ œ œœ œ œ œ
Dbmaj7A
F
Slow Tempo q = 56
‘Gb9
‘Dbmaj7
‘Gb9
‘Dbmaj7 Em7 A 7
‘Ebm7 Ab7
ã ‘Fm7 Bb7-9 ‘Eb9 Ebm7 œ œ œ œœ œ œ œDbmaj7
B
‘Gb9 ‘Dbmaj7
ã ‘Gb9
‘Dbmaj7 Em7 A 7
‘Ebm7 Ab7
œ .Tæœ Ó . œ œ œ œœ œ œ œ
Dbmaj7
ã œ œ œ œœ œ œ œGm9 C13-9C
‘Am9 D9+5
‘Gm9 C13-5
‘F 6/A D 13
‘Gm7 Bbm9 Eb13
‘Abmaj7
ã ‘Bbm7 Eb7 -9
+5 ‘Ebm7 D 9
œ œ œ œœ œ œ œDbmaj7D
‘Gb9
‘Dbmaj7
‘Gb9
ã x> œ œ œœœ œ œ œ
Dbmaj7Em7 A 7
œ œ œ œœ œ œ œEbm7 Ab7 U̇ Ó˙
Fm7
.U̇ Œ.˙E9/Bb U̇ Ó˙
Ebm9
ã 42 44Tæ æ̇˙̇ ˙a tempo >̇æ æ̇>
œ œ œ œFaster q = 88
fxœ xœ xœœ œ œrit.
TwæUw œ œ œ œ jœ̂ƒ
46062
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
DRUMS Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.
Page 17
V bbbbb 44 9Moving Ballad Tempo q = 65 ‰ jœ œ œ œ œ œ œ
If you could see me now you'd
A Slow Tempo q = 56
œ œn œb œ ˙know how blue I've been.
‰ jœ œ œ œ œ œ œOne look is all you'd need to
V bbbbb œ œn œb œ .œ jœsee the mood I'm in. Per
œ œ œ œn œn œbhaps then you'd re a lize
œb œ œ .œ jœbI'm still in love with
wyou.
˙ Ó- - -
V bbbbb ‰ jœ œ œ œ œ œ œIf you could see me now you'd
B
œ œn œb œ ˙find me be ing brave,
‰ jœ œ œ œ œ œ œand try ing aw f'lly hard to
œ œn œb œ .œ jœmake my tears be have. But- - - -
V bbbbb œ œ œ œn œn œbthat's quite im pos si ble;
œb œ œ .œ jœbI'm still in love with
wyou.
˙ Œ œYou'll- - -
V bbbbb œ œ œ œ œ œhap pen my way on some
C
œn œ œ œ œ œ3 3
mem 'ra ble day and the
œn œ œ œ œn œmonth will be May for a
.˙ œnwhile. I'll- - -
V bbbbb œn œn œ œ œb œ œ œtry to smile but can I play the
˙ ‰ Jœ œ œpart with out my
˙ ‰ Jœ œ œnheart be hind the
wsmile?- -
V bbbbb ‰ jœ œ œ œ œ œ œThe way I feel for you I
D
œ œn œb œ ˙nev er could dis guise.
‰ jœ œ œ œ œ œ œThe look of love is writ ten
œ œn œb œ .œ jœplain ly in my eyes. I- - - -
V bbbbb œ œ œ œn œn œbthink you'd be mine a gain
œb œ œ .œ jœbif you could see the
U̇ œ œ œ œ œ3
way you've cap tured
jœ .˙bU ‰ Jœme. I'm- -
V bbbbb 42 44œUœ œ œ rœ œU ‰ jœ œ œ
yours e ter nal ly if you could
˙ jœ ˙see me
a tempo wnow.
Faster q = 88 ˙rit. wU- - -
Tadd Dameron and Carl SigmanArranged by Melba Liston
Transcribed by Mark Lopeman
VOCAL Jazz at Lincoln Center Library - Essentially Ellington
IF YOU COULD SEE ME NOW
Copyright © 1946 (Renewed) by Music Sales Corporation (ASCAP) and EMI Robbins Catalogue, Inc.International Copyright Secured. All Rights Reserved.46062
Page 18
JAZZ AT LIN
CO
LN C
ENTER’S ESSEN
TIALLY ELLIN
GTO
N LIBRA
RY
If You Could See M
e Now
Tadd Dam
eron and Carl Sigm
anA
rrang
ed b
y Melb
a Liston
As p
erformed
by D
izzy Gillesp
ie and
his Orchestra
Transcrib
ed a
nd Ed
ited b
y Ma
rk Lopem
an for Ja
zz at Lincoln C
enter
Full Score This tra
nscription w
as m
ad
e especia
lly for Jazz a
t Lincoln Center’s 20
16–17Tw
enty-Second A
nnual Essentially Ellington H
igh School Ja
zz Band
Progra
m.
Jazz a
t Lincoln Center a
nd A
lfred Pub
lishing g
ratefully a
cknowled
ge the coop
eration
and
supp
ort provid
ed in the p
ublica
tion of this year's Essentially Ellington m
usic series:
Founding
lead
ership sup
port for Essentially Ellington is p
rovided
by The Ja
ck and
Susan Rud
in Educa
tional a
nd Schola
rship Fund
.
Ma
jor supp
ort is provid
ed b
y Jessica a
nd N
ata
n Bibliow
icz, Alfred
and
Ga
il Engelb
erg, C
asey Lipscom
b,
Dr. J. D
ougla
s White a
nd the King
-White Fa
mily Found
ation, Aug
ustine Founda
tion, Ella Fitzg
erald
Cha
ritab
le
Founda
tion, Cha
rles Evans H
ughes M
emoria
l Founda
tion, and
the Ha
rold a
nd M
imi Steinb
erg C
harita
ble Trust.
Wynton M
arsa
lis, Ma
nag
ing a
nd A
rtistic Director, Ja
zz at Lincoln C
enter
Page 19
NO
TES ON
PLAYING
ELLING
TON
At least 95%
of mod
ern-da
y larg
e ensemb
le jazz p
laying
comes out
of three trad
itions: Count Ba
sie’s ba
nd, D
uke Ellington’s b
and
, and
the orchestra
tions of sma
ll groups. Those young
pla
yers interested in ja
zz w
ill be d
raw
n to sma
ll groups for the op
portunity to im
provise a
nd for
pra
ctical rea
sons (it is much ea
sier to orga
nize 4 or 5 peop
le than it is 15).
Schools have ta
ken over the task (form
erly perform
ed b
y da
nce ba
nds)
of training
musicia
ns to be ensem
ble p
layers. D
ue to the Basie Ba
nd’s
pop
ularity a
nd its sim
plicity of style a
nd em
pha
sis on blues a
nd sw
ing,
the better ed
ucators ha
ve alm
ost exclusively ad
opted
this trad
ition for tea
ching ja
zz ensemb
le pla
ying. A
s wond
erful as C
ount Basie’s style is,
it doesn’t a
dd
ress ma
ny of the imp
ortant styles d
eveloped
under the
grea
t musica
l umb
rella w
e call ja
zz. Duke Elling
ton’s comp
rehensive and
eclectic a
pp
roach to m
usic offers an a
lternative.
The stylistic richness of Ellington’s m
usic presents a
grea
t challeng
e to ed
ucators a
nd p
erformers a
like. In Basie’s m
usic, the conventions a
re very nearly consistent. In Elling
ton’s music there a
re ma
ny more
exceptions to the rules. This ca
lls for grea
ter knowled
ge of the la
ngua
ge
of jazz. C
lark Terry, w
ho left Count Ba
sie’s ba
nd to join D
uke Ellington,
said
, “Count Ba
sie wa
s college, b
ut Duke Elling
ton wa
s gra
dua
te school.” Know
ledg
e of Ellington’s m
usic prep
ares you to p
lay a
ny big
ba
nd m
usic.
The following
is a list of p
erforma
nce conventions for the grea
t ma
jority of Elling
ton’s music. A
ny devia
tions or ad
ditions w
ill be sp
elled out in the
individ
ual p
erforma
nce notes which follow
.
1. Listen ca
refully ma
ny times to the Elling
ton recording
of these p
ieces. There are m
any sub
tleties that w
ill elude even the m
ost sop
histicated
listener at first. A
lthough it w
as never Elling
ton’s w
ish to have his record
ings im
itated
, knowled
ge of these d
efinitive versions w
ill lead
musicia
ns to ma
ke more ed
ucated
choices when
creating
new p
erforma
nces. Ellington’s m
usic, though w
ritten for sp
ecific individ
uals, is d
esigned
to inspire a
ll musicia
ns to express
themselves. In a
dd
ition, you will hea
r slight note d
ifferences in the record
ing a
nd the tra
nscriptions. This is intentiona
l, as there a
re m
istakes a
nd a
lterations from
the origina
l intent of the music in the
recording
. You should ha
ve your pla
yers pla
y wha
t’s in the score.
2. Genera
l use of swing
phra
sing. The trip
let feel preva
ils except for
ba
llad
s or where nota
tions such as even eig
hths or Latin a
pp
ear.
In these cases, eig
hth notes are g
iven equa
l value.
3. There is a cha
in of comm
and
in ensemb
le pla
ying. The lea
d p
layers
in each section d
etermine the p
hrasing
and
volume for their ow
n section, a
nd their section-m
ates m
ust conform to the lea
d. W
hen the sa
xes and
/ or tromb
ones pla
y with the trum
pets, the lea
d
trump
et is the boss. The lea
d a
lto and
tromb
one must listen to the
first trump
et and
follow him
. In turn, the other saxes a
nd trom
bones
must follow
their lead
pla
yers. When the cla
rinet lead
s the bra
ss section, the b
rass should
not overblow
him. Tha
t mea
ns that the
first trump
et is actua
lly pla
ying “second
.” If this is done effectively,
there will b
e very little ba
lancing
work left for the cond
uctor.
4. In Ellington’s m
usic, each p
layer should
express the ind
ividua
lity of his ow
n line. He m
ust find a
musica
l ba
lance of sup
porting
and
follow
ing the section lea
der a
nd b
ringing
out the chara
cter of the und
erpa
rt. Each p
layer should
be encoura
ged
to express his or
her persona
lity through the m
usic. In this music, the und
erpa
rts a
re pla
yed a
t the sam
e volume a
nd w
ith the sam
e conviction as
the lead
.
5. Blues inflection should p
ermea
te all p
arts a
t all tim
es, not just when
these opp
ortunities occur in the lead
.
6. Vib
rato is used
quite a
bit to w
arm
up the sound
. Saxes (w
ho most
frequently rep
resent the sensual sid
e of things) usua
lly emp
loy vib
rato on ha
rmonized
pa
ssag
es and
no vibra
to on unisons. The vib
rato ca
n be either hea
vy or light d
epend
ing on the context.
Occa
sionally sa
xes use a lig
ht vibra
to on unisons. Trump
ets (w
ho very often are used
for heat a
nd p
ower) use a
little vibra
to on ha
rmonized
pa
ssag
es and
no vibra
to on unisons. Tromb
ones (w
ho are usua
lly noble) d
o not use slide vib
rato. A
little lip vib
rato is
good
on harm
onized p
assa
ges a
t times. Try to m
atch the sp
eed of
vibra
to. In genera
l unisons are p
layed
with no vib
rato.
7. Crescend
o as you a
scend a
nd d
iminuend
o as you d
escend.
The upp
er notes of phra
ses receive a na
tural a
ccent and
the low
er notes are g
hosted. A
lto and
tenor saxop
hones need to use
sub-tone in the low
er pa
rt of their rang
e in order to b
lend p
roperly
with the rest of the section. This m
usic wa
s origina
lly written w
ith no d
ynam
ics. It pretty m
uch follows the na
tural tend
encies of the instrum
ents; pla
y loud in the loud
pa
rt of the instrument a
nd soft in
the soft pa
rt of the instrument. For insta
nce, a hig
h C for a
trump
et w
ill be loud
and
a low
C w
ill be soft.
8. Qua
rter notes are g
enerally p
layed
short unless otherwise
notated
. Long m
arks a
bove or b
elow a
pitch ind
icate full va
lue: not just long
, but full va
lue. Eighth notes a
re pla
yed full va
lue excep
t when follow
ed b
y a rest or otherw
ise notated
. All notes
longer tha
n a q
uarter note a
re pla
yed full va
lue, which m
eans if it
is followed
by a
rest, release the note w
here the rest ap
pea
rs. For exa
mp
le, a ha
lf note occurring on b
eat one of a
mea
sure would
be
released
on bea
t three.
9. Unless they a
re pa
rt of a leg
ato b
ackg
round fig
ure, long notes
should b
e pla
yed som
ewha
t fp (forte-pia
no); accent then d
iminish
the volume. This is im
porta
nt so that the m
oving p
arts ca
n be
heard
over the sustained
notes. Don’t just hold
out the long notes,
but g
ive them life a
nd p
ersonality: tha
t is, vibra
to, inflection, crescend
o, or dim
inuendo. There is a
grea
t dea
l of inflection in this m
usic, and
much of this is hig
hly interpretive. Stra
ight or
curved lines im
ply non-p
itched g
lisses, and
wa
vy lines mea
n scala
r (chrom
atic or d
iatonic) g
lisses. In genera
l, all rhythm
ic figures need
to b
e accented
. Accents g
ive the music life a
nd sw
ing. This is very
imp
ortant.
10. Elling
ton’s music is a
bout ind
ividua
lity: one person p
er pa
rt—d
o not d
ouble up
beca
use you have extra
pla
yers or need m
ore strength.
More tha
n one on a p
art m
akes it sound
more like a
concert ba
nd
and
less like a ja
zz ba
nd.
11. This is a
coustic music. Keep
am
plifica
tion to an a
bsolute minim
um;
in the best ha
lls, alm
ost no am
plifica
tion should b
e necessary.
Everyone needs to d
evelop a
big
sound. It is the cond
uctor’s job to
ba
lance the b
and
. When a
guita
r is used, it should
be a
hollow-
bod
y, unam
plified
rhythm g
uitar. Sim
ple three-note voicing
s should
be used
throughout. A
n acoustic string
ba
ss is a m
ust. In med
iocre or p
oorly desig
ned ha
lls, the ba
ss and
pia
no ma
y need a
bit of
a b
oost. I recomm
end m
iking them
and
putting
them throug
h the house sound
system. This should
provid
e a m
uch better tone
than a
n am
plifier. Keep
in mind
that the rhythm
section’s prim
ary
function is to accom
pa
ny. The ba
ss should not b
e as loud
as a
trum
pet. Tha
t is unnatura
l and
lead
s to over-am
plifica
tion, ba
d
tone, and
limited
dyna
mics. Sta
y aw
ay from
monitors. They p
rovide
a fa
lse sense of ba
lance.
12. W
e have includ
ed chord
chang
es on all rhythm
section pa
rts so tha
t students ca
n better und
erstand
the overall form
of each
comp
osition. It is incumb
ent upon the d
irector to ma
ke clear w
hat
is a com
posed
pa
rt versus a p
art to b
e imp
rovised. The record
ings
should m
ake this clea
r but in insta
nces where it is not; use your
best jud
gm
ent and
pla
y something
that sound
s good
, is swing
ing,
and
is stylistically a
pp
ropria
te to the piece. Som
etimes, a
student
ma
y not have the technica
l skill to perform
a d
ifficult tra
nscription,
especia
lly in the case of one of D
uke’s solos, in that ca
se, it is best to
have the stud
ent work som
ething out tha
t is ap
prop
riate. W
ritten p
assa
ges should
be stud
ied a
nd ea
rned w
hen possib
le, as they
are a
n imp
ortant p
ort of our jazz herita
ge a
nd help
the pla
yer und
erstand
the function of his pa
rticular solo or a
ccomp
anim
ent. A
ll soloists should lea
rn the chord cha
nges. Solos should
be looked
a
t as a
n opp
ortunity to further develop
the interesting them
atic
ma
terial tha
t Ellington ha
s provid
ed.
13. The nota
tion of plung
ers for the bra
ss mea
ns a rub
ber toilet
plung
er boug
ht in a ha
rdw
are store. Kirkhill is a
very good
bra
nd
(especia
lly if you can find
one of their old ha
rd rub
ber ones, like the
one I loaned
Wynton a
nd he lost). Trum
pets use 5” d
iam
eter and
trom
bones use 6” d
iam
eter. Where Plung
er/Mute is nota
ted, insert
a p
ixie mute in the b
ell and
use the plung
er over the mute. Pixies
are a
vaila
ble from
Hum
es & Berg in C
hicag
o. Tricky Sam
Na
nton a
nd his successors in the Elling
ton plung
er tromb
one chair d
id not
use pixies. Ra
ther, each of them
emp
loyed a
Nonp
areil (tha
t’s the b
rand
nam
e) trump
et straig
ht mute. N
onpa
reil has g
one out of b
usiness, but the Tom
Crow
n Nonp
areil trum
pet stra
ight m
ute is very close to the sa
me thing
. These mute/p
lunger com
bina
tions crea
te a w
onderful sound
(very close to the huma
n voice), but
they also ca
n create som
e intonation p
roblem
s which m
ust be
corrected b
y the lip or b
y using a
lternate slid
e positions. It w
ould
be ea
sier to move the tuning
slide, b
ut pa
rt of the sound is in the
strugg
le to correct the pitch. If this p
roves too much, stick w
ith the p
ixie—it’s p
retty close.
Page 20
14. The d
rumm
er is the de fa
cto lead
er of the ba
nd. H
e estab
lishes the b
eat a
nd controls the volum
e of the ensemb
le. For big
ba
nd
pla
ying, the d
rumm
er needs to use a
larg
er ba
ss drum
than he
would
for sma
ll group
drum
ming
. A 22” or 24” is p
referred. The b
ass
drum
is pla
yed softly (nea
rly inaud
ible) on ea
ch bea
t. This is called
fea
thering the b
ass d
rum. It p
rovides a
very imp
ortant b
ottom to
the ba
nd. The b
ass d
rum sound
is not a b
oom a
nd not a
thud—
it’s in betw
een. The larg
er size drum
is necessary for the kicks; a
sm
aller d
rum just w
on’t be hea
rd. The key to this style is to just keep
tim
e. A rim
knock on two a
nd four (chop
ping
wood
) is used to lock
in the swing
. When it com
es to pla
ying fills, the few
er, the better.
15. The horn p
layers should
stand
for their solos and
soIis. Brass
pla
yers should com
e dow
n front for mod
erate to long
solos, surround
ing rests p
ermitting
. The sam
e ap
plies to the p
ep
section (two trum
pets a
nd one trom
bone in p
lunger/m
utes).
16. H
orns should p
ay close a
ttention to atta
cks and
releases.
Everyone should hit tog
ether and
release tog
ether.
17. A
bove all, everyone’s focus should remain at all tim
es on the swing. A
s the great bassist C
huck lsraels says, “The three most im
portant things in jazz are rhythm
, rhythm, and rhythm
, in that order.” Or as Bubber
Miley (Ellington’s first star trum
peter) said, “It don’t mean a thing if it
ain’t got that swing.”
GLO
SSARYThe follow
ing a
re terms w
hich describ
e conventions of jazz
perform
ance, from
trad
itional N
ew O
rleans to the p
resent ava
nt ga
rde.
Break • within the context of a
n ongoing
time feel, the rhythm
section stops for one, tw
o, or four ba
rs. Very often a soloist w
ill imp
rovise during
a
brea
k.
Call and response • rep
etitive pa
ttern of contrasting
exchang
es (d
erived from
the church proced
ure of the minister m
aking
a sta
tement
and
the congreg
ation a
nswering
with “a
men”). C
all-a
nd-resp
onse p
atterns usua
lly pit one g
roup of instrum
ents ag
ainst a
nother. Som
etimes w
e call this “tra
ding
fours,” “trad
ing tw
os,” etc., especia
lly w
hen it involves imp
rovisation. The num
bers d
enote the am
ount of m
easures ea
ch soloist or group
pla
ys. Another term
frequently used
is “sw
ap
ping
fours.”
Coda • a
lso known a
s the “outro.” “Tag
s” or “tag
ending
s” are outg
rowths
of vaud
eville bow
s that a
re frequently used
as cod
as. They m
ost often use d
eceptive ca
dences tha
t finally resolve to the tonic or they g
o from
the sub
-dom
inant a
nd cycle b
ack to the tonic.
Com
p • imp
rovise accom
pa
niment (for p
iano or g
uitar).
Groove • the com
posite rhythm
. This genera
lly refers to the comb
ined
repetitive rhythm
ic pa
tterns of the drum
s, ba
ss, pia
no, and
guita
r, b
ut ma
y also includ
e repetitive p
atterns in the horns. Som
e grooves
are sta
nda
rd (i.e., sw
ing, b
ossa nova
, sam
ba
), while others a
re m
anufa
ctured (orig
inal com
bina
tions of rhythms).
Head • m
elody chorus.
Interlude • a d
ifferent form (of rela
tively short length) sa
ndw
iched
betw
een two chorus form
s. Interludes tha
t set up a
key chang
e are
simp
ly called
mod
ulations.
Intro • short for introduction.
Ride pattern • the most com
mon rep
etitive figure p
layed
by the
drum
mer’s rig
ht hand
on the ride cym
ba
l or hi-hat.
Riff • a rep
eated
melod
ic figure. Very often, riffs rep
eat verb
atim
or with
slight a
lterations w
hile the harm
onies chang
e undernea
th them.
Shout chorus • also know
n as the “out chorus,” the “sock chorus,” or
sometim
es shortened to just “the shout.” It is the fina
l ensemb
le pa
ssag
e of m
ost big
ba
nd cha
rts and
where the clim
ax m
ost often hap
pens.
Soli • a ha
rmonized
pa
ssag
e for two or m
ore instruments p
laying
the sa
me rhythm
. It is customa
ry for horn pla
yers to stand
up or even
move in front of the b
and
when p
laying
these pa
ssag
es. This is done so
that the a
udience ca
n hear them
better a
nd to p
rovide the a
udience
with som
e visual interest. A
soli sound p
articula
r to Ellington’s m
usic com
bines tw
o trump
ets and
tromb
one in plung
ers/mutes in tria
dic
harm
ony. This is called
the “pep
section.”
Stop time • a
regula
r pa
ttern of short brea
ks (usually filled
in by
a soloist).
Swing • the p
erfect confluence of rhythmic tension a
nd rela
xation in
music crea
ting a
feeling eup
horia a
nd cha
racterized
by a
ccented
wea
k bea
ts (a d
emocra
tization of the b
eat) a
nd eig
hth notes that a
re p
layed
as the first a
nd third
eighth notes of a
n eighth-note trip
let. Duke
Ellington’s d
efinition of swing
: when the m
usic feels like it is getting
faster,
but it isn’t.
Vamp • a
repea
ted tw
o- or four-ba
r chord p
rogression. Very often, there
ma
y be a
riff or riffs pla
yed on the va
mp.
Voicing • the specific sp
acing
, inversion, and
choice of notes that m
ake
up a
chord. For insta
nce, two voicing
s for G7 could
be:
Note tha
t the first voicing includ
es a 9th a
nd the second
voicing includ
es a
9th and
a 13th. The a
dd
ition of 9ths, 11ths, 13ths, and
altera
tions are up
to the d
iscretion of the pia
nist and
soloist.
THE FO
UR ELEM
ENTS O
F MU
SICThe follow
ing a
re pla
ced in their ord
er of imp
ortance in ja
zz. We should
never lose p
erspective on this ord
er of priority.
Rhythm • m
eter, temp
o, groove, a
nd form
, including
both m
elodic
rhythm a
nd ha
rmonic rhythm
(the speed
and
regula
rity of the chord
chang
es).
Melody • a
tune or series of pitches.
Harm
ony • chords a
nd voicing
s.
Orchestration • instrum
entation a
nd tone colors.
—D
avid Berger
Page 21
IF YOU
CO
ULD
SEE ME N
OW
• INSTRU
MEN
TATION
Vocal
Reed 1 – A
lto Sax
Reed 2 – A
lto Sax
Reed 3 – Tenor Sa
x
Reed 4 – Tenor Sa
x
Reed 5 – Ba
ri Sax
Trump
et 1
Trump
et 2
Trump
et 3
Trump
et 4
Trump
et Solo
Tromb
one 1
Tromb
one 2
Tromb
one 3
Piano
Bass
Drum
s
ORIG
INAL REC
ORD
ING
INFO
RMATIO
NC
omposer • Ta
dd
Da
meron a
nd C
arl Sig
ma
n
Arranger • Melb
a Liston
Recorded • Ap
ril 7, 1957 in New
York
Master # • 290
835-29
Original Issue • Verve M
GV-8222 (D
izzy Gillesp
ie: Birks Works) [LP]
Currently available on C
D • Verve 314-537-90
0 (D
izzy Gillesp
ie: Birks W
orks)
Currently available as digital dow
nload • Am
azon/iTunes (D
izzy G
illespie: Birks W
orks)
Personnel • Dizzy G
illespie (lea
der, trum
pet); Lee M
orga
n, Ermit Perry,
Ca
rl Wa
rwick, Ta
lib D
aw
ud (trum
pet); M
elba
Liston, Al G
rey, Rod Levitt
(tromb
one); Jimm
y Powell, Ernie H
enry (alto sa
x); Billy Mitchell, Benny
Golson (tenor sa
x); Billy Root (ba
ritone sax); W
ynton Kelly (pia
no); Paul
West (b
ass); C
harli Persip
(drum
s); Austin Crom
er (vocal)
Soloists • Dizzy G
illespie (trum
pet intro); Austin C
romer (voca
l)
REHEARSAL N
OTES
• Ta
dd
Da
meron (1917–65) w
rote some of the m
ost melod
ic tunes of the Beb
op era
, and
wa
s also a
ma
sterful arra
nger for b
and
s of a
ll sizes, from q
uintets to big
ba
nds. M
any of the m
ost mem
orab
le p
ieces that D
izzy Gillesp
ie’s big
ba
nd of the 1940
s recorded
were
by D
am
eron. He w
rote with a
less ang
ular a
nd m
ore trad
itional
melod
ic sense than G
illespie, M
onk, and
Parker. A
s a p
ianist, he w
as
not a soloist b
ut a fine a
ccomp
anist for the m
usicians w
ho pla
yed
his music. It’s g
enerally a
ccepted
that D
am
eron’s sma
ll group
record
ings for the Blue N
ote lab
el in the late 1940
s that fea
ture trum
peter Fa
ts Na
varro a
re am
ong the m
ost imp
ortant a
nd
influential of the era
.
• A
fter ga
ining a
local rep
utation in his na
tive Clevela
nd, O
hio, D
am
eron cam
e to nationa
l attention throug
h his writing
for the Ka
nsas C
ity-ba
sed H
arla
n Leonard
Orchestra
in 1940. W
ithin a few
yea
rs he had
worked
for both Jim
mie Lunceford
and
Count Ba
sie. C
harlie Pa
rker and
Dizzy G
illespie fell in love w
ith Da
meron's w
riting
when they w
ere all in the Billy Eckstine b
ig b
and
in late 1944. They
emb
raced
Da
meron’s com
positions a
s they created
their music
and
his reputa
tion grew
.
• Sa
rah Va
ugha
n, who w
as a
lso in the Eckstine ba
nd, m
ad
e the first record
ing of this b
alla
d in 1946, a
nd it b
ecam
e well-know
n not only for her sing
ing b
ut also for the b
eautiful trum
pet p
laying
of Fredd
ie W
ebster, who w
as a
favorite of b
oth Gillesp
ie and
Miles D
avis.
• This version w
as a
rrang
ed b
y tromb
onist Melb
a Liston for the 1956
Gillesp
ie big
ba
nd a
nd is a
classic b
ackg
round cha
rt for a voca
list/soloist.
• There a
re not that m
any sp
ecific things (other tha
n having
the horns sing
their pa
rts at a
ll times a
nd to a
lwa
ys be und
er the m
elody) to b
e itemized
beyond
the following
:
• Pa
y close attention to a
ll of the phra
se ma
rkings a
nd to
every dyna
mic m
ark—
in a b
asic cha
rt like this, it is the a
ttention to these deta
ils that m
ake a
ll the difference.
• G
reat ca
re should b
e taken to crea
te a w
arm
, singing
sound
on all of the horns tha
t is underg
irded
by a
lot of air sup
port,
no ma
tter how soft they’re p
laying
.
• Lea
d p
layers ca
n determ
ine the specific vib
rato they w
ill use, m
aking
sure it relates to the tem
po. The rest of the horns
have to m
atch it p
recisely. This sounds sim
ple, b
ut can b
e a
big
challeng
e.
• M
ake the end
ing rea
lly big
, without losing
tone qua
lity or intona
tion—it’s rea
lly dra
ma
tic!
• Lea
rn the word
s first and
recite them like p
oetry, like a story. M
ake
sure you understa
nd a
nd feel them
. Practice the m
elody w
ithout w
ords - just sing
the notes. There are a
lot of intervals tha
t won't
get their true m
eaning
unless you nail them
precisely. It m
ay help
to work a
t the pia
no when you d
o this, if you can, p
icking out the
melod
y notes in time. A
lthough p
op tunes of tha
t era rep
eat the A
sections three tim
es, find w
ays to m
ake ea
ch one a little d
ifferent from
the others; the lyrics and
emotions ca
n help, as ca
n intensity, tone a
nd volum
e.
—Loren Schoenberg
To listen to origina
l recording
s, view intera
ctive videos of W
ynton M
arsa
lis lead
ing the Ja
zz at Lincoln C
enter Orchestra
in rehearsa
ls, and
ob
tain rehea
rsal g
uides for the Essentially Ellington 20
16–17 repertoire
plea
se visit jazz.org
/EE.
Page 22
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Vocal
Reed 12345
Trumpet 1234
Trumpet Solo(D
izzy)
Trombone 123
Bass
Drum
s
Piano
!!
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allad Tempo q = 65
ƒƒƒƒƒƒƒƒƒƒƒ Alto Sax
Alto Sax
Tenor Sax
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Baritone Sax
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46062S
Tadd Dam
eron and Carl Sigm
anArranged by M
elba ListonTranscribed by M
ark Lopeman
CO
ND
UC
TOR
Jazz at Lincoln Center Library - Essentially Ellington
IF YO
U C
OU
LD
SEE
ME
NO
W
Copyright ©
1946 (Renew
ed) by Music Sales C
orporation (ASC
AP) and EM
I Robbins C
atalogue, Inc.International C
opyright Secured. All R
ights Reserved.
Page 23
V&&&&&&&&&&???&??÷ b bb bbb bb bb bbb bbb bb bbb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Voc.
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tpt. Solo(D
izzy)
Tbns. 123
Bs.
Drs.
Pno.
‰jœ
œœ
œœ
œœ
Ifyou
couldsee
me
nowyou'd
wnwwww!!!!!!
œœ
œœ
œœ
!
’’
’’
!
œœ
œœ
œœ
œœ
œœ
œœ
D bmaj7
A
F Slow Tem
po q = 56
FP FFFF
œœn
œbœ
˙know
howblue
I'vebeen.
.œ‰
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. œ‰
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œœ
. œ‰
˙
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˙
.œ‰
˙!!!!!!œ
œœ
œ -Œ
!
’’
’’
!œ
œbœ
œ
‘
G b9
‰jœ
œœ
œœ
œœ
One
lookis
allyou'd
needto
wwwwnw!!!!!
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!
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!
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‘
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P
œœn
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seethe
mood
I'min.
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‰Œ
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‰Œ
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ӌ
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ӌ
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lize
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‰
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‰
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E bm7
A b7
wyou.
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B b7-9
F Solo
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E b9E bm
7A b13-9
--
-
If You Could See M
e Now
246062S
Page 24
V&&&&&&&&&&???&??÷ b bb bbb bb bb bbb bbb bb bbb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Voc.
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tpt. Solo(D
izzy)
Tbns. 123
Bs.
Drs.
Pno.
‰jœ
œœ
œœ
œœ
Ifyou
couldsee
me
nowyou'd
wwwww!!!!
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Ó!œ
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B
P
œœnœb œ˙find
me
being
brave,
.œ‰ œœœœ
. œ‰ œœœœ
. œ‰ ˙
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.œ‰˙!!!!!!
œœœ œ -
Œ
!
’’
’’
!œ
œbœ
œ
‘
G b9
‰jœ
œœ
œœ
œœ
andtry
ingaw
f'llyhard
to
wwwwnw!!!!!
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!
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D bmaj7
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my
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have.B
ut
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impos
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to cup mute
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to cup mute
to cup mute
to cup mute wyou.
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--
--
--
-
~~~~
If You Could See M
e Now
3
46062S
Page 25
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Voc.
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tpt. Solo(D
izzy)
Tbns. 123
Bs.
Drs.
Pno.
œœ
œœ
œœ
happen
my
way
onsom
e
!!!!!
‰.œ
˙
‰. œ
˙
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˙
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˙#’’
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‰. œn
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D13-9
Gm
9C
13-9
C
cup mute
(off-mike)
p
cup mute
cup mute
cup mute PPPP
cup muteP
cup muteP
œnœ
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33
mem
'rable
dayand
the
!!!!!
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˙
‰.œ
˙
‰. œ#
˙n
‰. œn
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’Œ
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Bm
9
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ayfor
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‰. œ
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!!!!!
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‰J œnœœ˙
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‰ J œnœœ˙
‰ J œœœ˙n
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’’
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œœnœ
‘
F6/A
D13
œnœn
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tryto
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!!!!!
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œ
˙œb
œ
˙nœ
œ
˙nœb
œn
!˙n
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‘
Gm
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9E b13
˙‰
J œœ
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y
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A bmaj7 FFFFF
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B bm7
B bm7/E b
E b7-9+5
to open
to open
to open
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to open
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wsmile?
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E bm7
D9
--
--
-
If You Could See M
e Now
446062S
Page 26
V&&&&&&&&&&???&??÷ b bb bbb bb bb bbb bbb bb bbb bbb bbb bbb bbb bb bbb bb bbb bb bbb bb bbb bb bbb bb bb
Voc.
Alto
Alto
Tenor
Tenor
Bari
Tpts. 1234
Tpt. Solo(D
izzy)
Tbns. 123
Bs.
Drs.
Pno.
‰jœ
œœ
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Thew
ayI
feelfor
youI
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open
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46062S
ESSENTIALLY ELLIN
GTO
NThe Essentially Ellington H
igh School Ja
zz Band
Progra
m (EE) is one of the m
ost unique curriculum
resources for high
school jazz b
and
s in the United
States a
nd a
broa
d. EE extend
s the lega
cy of Duke Elling
ton and
other semina
l big
ba
nd
comp
osers and
arra
ngers b
y wid
ely dissem
inating
music, in its orig
inal a
rrang
ements, to hig
h school musicia
ns for study
and
perform
ance. U
tilizing this m
usic challeng
es students to increa
se their musica
l proficiency a
nd know
ledg
e of the jazz
lang
uag
e. EE consists of the following
initiatives a
nd services:
Supplying the Music
Each year Jazz at Lincoln Center (JA
LC) transcribes, publishes, and
distributes original transcriptions and arrangem
ents, along with additional
educational materials including recordings and teaching guides, to high
school bands in the U.S., Canada, and A
merican schools abroad.
Talking about the Music
Throughout the school year, band directors and students correspond with
professional clinicians who answ
er questions regarding the EE music. EE
strives to foster mentoring relationships through em
ail correspondence, various conference presentations, and the festival w
eekend.
Professional Feedback Bands are invited to subm
it a recording of their performance of the charts
either for entry in the competition or for com
ments only. Every subm
ission receives a thorough w
ritten assessment. Bands are also invited to attend EE
Regional Festivals for an opportunity to perform and receive a w
orkshop.
Finalists and In-School Workshops
Fifteen bands are selected from com
petition entries to attend the annual C
ompetition & Festival in N
ew York C
ity. To prepare, each finalist band
receives an in-school workshop led by a professional m
usician. Local EE m
embers are also invited to attend these w
orkshops.
Com
petition & Festival The EE year culm
inates in a three-day festival at Jazz at Lincoln Center’s
Frederick P. Rose Hall. Students, teachers, and m
usicians participate in w
orkshops, rehearsals, and performances. The festival concludes w
ith an evening concert that features the three top
-placing bands, joining the Jazz at Lincoln C
enter Orchestra w
ith Wynton M
arsalis in concert previewing
next year’s EE repertoire.
Jazz at Lincoln Center Band D
irector Academy
This professional development session for band directors is designed to
enhance their ability to teach and conduct the music of D
uke Ellington and
other big band composers. Led by prom
inent jazz educators each summ
er, this com
panion program to EE integrates perform
ance, history, pedagogy, and discussion into an intensive educational experience for band directors at all levels.
As of M
ay 20
16, EE has d
istributed
scores to more tha
n 4,800
schools in the U.S. and
ab
road
.
Since 1995, over 648,00
0 stud
ents have b
een exposed
to Duke Elling
ton’s music throug
h
the Essentially Ellington Progra
m.
JAZZ AT LINC
OLN
CEN
TER is dedicated to inspiring and growing
audiences for jazz. W
ith the world-renow
ned Jazz at Lincoln Center
Orchestra and a com
prehensive array of guest artists, Jazz at Lincoln C
enter advances a unique vision for the continued development of
the art of jazz by producing a year-round schedule of performance,
education and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, yearly hall of fam
e inductions, weekly national radio
and television programs, recordings, publications, an annual high
school jazz band competition and festival, a band director academ
y, jazz appreciation curricula for students, m
usic publishing, children’s concerts, lectures, adult education courses, student and educator w
orkshops and interactive websites. U
nder the leadership of M
anaging and Artistic D
irector Wynton M
arsalis, Chairm
an Robert J. A
ppel and Executive Director G
reg Scholl, Jazz at Lincoln Center
produces thousands of events each season in its home in N
ew
York City, Frederick P. Rose H
all, and around the world. For m
ore inform
ation, visit jazz.org.
Jazz at Lincoln Center Education
3 Colum
bus Circle, 12th Floor, N
ew York, N
Y 10019
Phone: 212-258-9810
Fax: 212-258-9900
E-mail: EE@
jazz.org
jazz.org/EE