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    Duke Ellington Jazz Guitar 15 Sensational Songs

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    Duke Ellington Jazz Guitar 15 Sensational Songs

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    Duke Ellington Jazz Guitar 15 Sensational Songs

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    Duke Ellington Jazz Guitar 15 Sensational Songs

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    Duke Ellington Jazz Guitar 15 Sensational Songs

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    Duke Ellington Jazz Guitar 15 Sensational Songs

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    SOLO GUITAR DUKE ELLINGTON 15 SENSATIONAL SONGS B4..., el CONIACDD: DUKE ELLINGTON 2 Duke Ellington 3 Caravan 6 Come Sunday 8 Do Nothin’ Till You Hear From Me 11 Don't Get Around Much Anymore 14 | Got It Bad and That Ain't Good 18 | Let a Song Go Out of My Heart 21 I'm Just a Lucky So and So 24 Ina Sentimental Mood 27 It Don't Mean a Thin (If It Ain't Got That ving) 30 Mood Indigo 33 Prelude to a Kiss 36 Satin Doll 39 Solitude 42 Sophisticated Lady 45 Take the “A” Train Arranged by Dan Towey Cover photography: Frank Driggs Collection Used by permission ISBN O-b34-00b53-3 HAL*LEONARD® CORPORATION Ol | LL IGT F | I an DU Duke Ellington titled his biography Music Is My Mistress and, along with his song "It Don't Mean a Thing (|f It Aint Got That Swing’), it succinctly sums up the man and his philosophy. With the cen- tennial of his dirth in 1999, the spotlight is once again shining on his remarkable achievements. He created over 1500 compositions along with countless arrangements, and led one of the most influen- tial and swinging orchestras of the 20th century, through which passed some of the greatest jazz instrumentalists of all time. A refined and elegant man of broad attistic tastes, he set a standard of ‘excellence in his 50-year career that may never be equaled, Edward Kennedy “Duke” Ellington was born in Washington, D.C. on April 29, 1899. Unlike many of his contemporaries from the South, he grew up in a middle-class society family that provid- ‘ed him with the confidence and self-esteem to carry himself with dignity his entire life. Despite a con- ‘suming interest in baseball (that proved to be a distraction), Ellington began piano lessons at the age of seven, and even though he had developed a keen interest in ragtime and barrelhouse piano, did not take the instrument seriously until several years later. After hearing a talented pianist in Philadelphia on the way back from summer vacation in Asbury Park, New Jersey, he finally sat down with a purpose and composed his first piece, “Soda Fountain Rag.” By this time he had acquired his nickname from an upwardly mobile high school friend who decided Ellington should have a classy “tile” if he was going to travel in high society. In 1917 he started playing professionally in Washington and relocated to New York in 1923 as bandleader of the Washingtonians, eventually displaying the influences of Willie “The Lion” Smith, James P. Johnson, and Fats Waller in his piano styl. Elington made his recording debut in 1924 and went on to issue titles through 1926 to litte fan- fare, However, later in that year, the band released their first theme song, “East St. Louis Toddle-oo" (later covered by Steely Dan) and “Birmingham Breakdown.” Along with “Black and Tan Fantasy,” “Creole Love Call,” and a gig at the Cotton Club that followed in 1927, the Duke Ellington Orchestra had arrived. Except for a brief period during the early fifties when virtually all big bands struggled, his glorious career continued unabated, literally up until his death on May 24, 1974. Despite the expect ed turnover in personnel, he survived the changing musical trends of every era, including bebop, Which he liked and smoothly incorporated into his sound. In addition to an unparalleled catalog of jazz standards, Ellington also left as his legacy a number of ambitious suites, sacred music which he com- posed in the sixties, appearances in films, and movie soundtracks. The guitar was never a featured solo voice in the Duke Ellington Orchestra (like most bands of the swing era), although the legendary Lonnie Johnson guested on a number of sides in 1928 to Duke's appreciation. Part of this was due to the lack of amplification before the late thirties and the reluctance of many bandleaders to see the guitar beyond its traditional role as a time-keeping rhythm instrument, Fred Guy joined the band full-time as a banjoist shortly after they relocated to New York, then switching to guitar in 1933, Teddy Bunn took his place for eighteen months in the late twenties, and recorded with Elington in 1929. Guy played strictly rhythm, as did Freddie Green in Count Basie’s band, until his departure in 1947. Ellington never replaced him, although he once expressed admira- tion for Kenny Burrell. Nonetheless, due tothe strong blues and swing influences that show up in the melodies and ris, Elington’s music lends itself to guitar interpretation. The fifteen classics that follow are arrangements based on the orchestral recordings, not tran~ scriptions of guitar parts. The resulting music is extremely melodic with cool, single-note lines and hip chord voicings that blend seamlessly. They are a fiting tribute to the immortal music and genius of Duke Ellington Dave Rubin Caravan from SOPHISTICATED LADIES Words and Music by Duke Ellington, Irving Mills and Juan Tizol Verse Vigorously co 8 and stars a hove that shine so bright, ——— up- on my shoul-der as we creep = # T A 2 B 3 3 i Br = iG a $ : the mys try ot theie fad = ing igt 7 a cass the tins an Timp hep —_— this mem ty of our car a van. Copyright© 1997 (Ronawod 1965) and Assigned to Famous Music Corporation and EMI Mils Music In. in the U.S.A Fights ortho wold outside te U.S.A. Cortaled by EMI Mils Muse Inc. and Wamer Sros. Pubieabions ic. Intemational Copyright Secured Al Rights Reserved 3 ro =z = = FSS f Tis x i te ft. Z f * pre o SS them ro : F z —e g = ty # : : + = bg br (o_ciT9 DI) vit ing, rest ing in my arms Gai BI (bis DIS FE7) (F897 B7_FA79 CORI PALIb9) the mag - ie (Cmaj71B) By © t= tune © 87 co e ea eee = ae te Sj f a $ TE * fey My dream of Tove is coming woe within ore sen ate tet pte be t Lr ergs fog Et pte ae = = ay = a aw a = = 4 Ef =e = DC.alCoda — ) Coda wr Bo Come Sunday from BLACK, BROWN & BEIGE By Duke Ellington Verse Moderately Slow (7 = 3) FT Ebge11 A G7 Go m745) (Bb 13 Fb9) «crb9y (85765 Bmtb5) CR Ss = fe i 1.2, Lord, Dear Lord 8 bove: God AL —omight-y, God of ove, pat re | —_ = SS- iy wai at Seer? Teng aus emo F Bb (ch) (Ab7/Bb) (AriB> Bboy (ares be) “(CHT Bb7S 79) Copy 91848 Renews ty 6, Serene IASCAPY thcmnaona, Gonyran Suarod Al gle Aesonved 6 ey Soman BT 6 pts a aa 5 — ae SI + + Vere "7 eet or (Bb13 E49) Bb Eb6IBS (a7) ep Ee —— — Do Nothin’ Till You Hear From Me Words and Music by Bob Russell and Duke Ellington ey ‘Slow oy ats & _ Ga o _ fia ae = ee ee 1. Do notin Gl jon Rearhom ne. Pay to a ten ton was ose why poo ple tear the seam of an y- one's dream 4 * ae £ tts Ke ee 8 te ~ 6 £ 8 {a 3 5 a a 5 * = o 1 bo G Geer Am7 bo ‘ a (Am7__D9) Os Sa = is 0 ver my head Do. nothin’ f+ 3 3 ‘ (© Copyright 1949 (Renawed 1971) Hasan Music Carp. and EMI Robbins Catalog In. the USA. TA Fights culsde the USA. Contlled by EM Robbins Catalog Inc. Pubishing) 16 Warner Bros. Pubbcatons nett 8 Intemational Copyeght Secured Al Fights Feserved G maiz a emai have n't a chance. — Fbmaj? bo a - — a = eee . o With someone new, but does that mean that mun - crue? When we're a a8 7 fag 8 X ttle . I pe pe ed 8 Fe » ow = trp tt EE thal But please do noth in’ sill you hear it from me (te pois sfSapo8 = = = =H SS 2 + oy G (Gmaj?___Bb+7 Eb. bo Don’t Get Around Much Anymore Words and Music by Bob Russell and Duke Ellington = =f ‘ oS hss | 2 vo vetee, — = — j : $ vl = kk ta: § i i j aS f — z SS ‘© Copyright 1982 (Renewed 1970) Hanson Music Corp. and EM! Robbins Catalog Ine. inthe U.S.A ‘A Fights outside the U'S.A. Controlled by Eh Rabbins Catalog Inc. (PuDishing) ‘and Wamer Bos, Publeators ine (Part) Intemational Copyright Secured Al Fights Reserved 1" c Dm? —-D#°7 CE NC. ar BoT 7 AIH Ne. D7 or es oth eed fey’ hive ask'd: me — bout don't get a round much “an - y oy eS — my mind's more at eases but pb Fim7s BT EmT EBT, IBsust_ GT «G%5) why stir upmem ries? dais dates, might have gone but what E tae 9) . = ’ tC Ply dif Prent with - ot ar (AT ab7 FET. GT By CT C789) don't get a round much any — more, eS See oe 13 1 Got It Bad and That Ain’t Good Words by Paul Francis Webster Music by Duke Ellington Verse Rubato of co Bmt Eno Ant Dost (COIL ‘hme? © cot Fr cm ‘ = = = —— - You aint been. No. 1, ets 3 = af wis eran —p 3 , i ‘B a = Bb? Bhai? o (Amal? Boma?) wo. You aint bene Copyright© 1091 (Renewed 1958) and Assigned to Famous Music Corporation, EMI Mills Musi Inc. an Indigo Moos Musi oo The Songirtera Gul Of America ihe U.S.A Fight for the word autige the U.S.A. Contlled by EM Mils Music Ine. ana Warmer Bros. Publication Inc 30 Imernational Copyright Secured Al Rights Feserved BA? BMS ab Ce 6° SS = i : shoes. While be. te —- : 8 * é Bbmai7 ° cn? F789 (Amaj7 Bbmaj7_G79)___(G9 9) Ds = (cesarean (Cit B75) ee == = 7 + =| eo —_ oe ree att a =| vow tee * . = ~ pe po Sa ; 31 a ro i When ights are low, — Tm s0 lonesome 1 could oy. bap Tm jot a soul aby Bhai? or j: = —— t 6 safe 5 Soe ye blu er than blue — can When 1 get that mood in a be a 7 (ab7 AT_Bb7) 32 Prelude to a Kiss Words by Irving Gordon and Irving Mills Music by Duke Ellington ans Da? batt G+ G49 09 Am? pres == _—————————e SSS = : — - = 7 °° a ~ fe the dow Sloe Damo = my prelude 10 CCopyrign’ © 1908 (Renewed 1985) and Assigned to Famous Music Corporation ang El Mis Music Ine. nthe U.S.A, ight forte word ouside the U.S.A, Contolied by EMI Mls Musi inc, and Warmer Bes. Publications inc Intemational Copyegrt Secured. AlRighs Reserved 33 BT BT Arbo. Dm? song that grows from my Dm ow Am? DIR Dm? Gano that was my heart ty Bridge 6 Fim? B7 Ema? cin Fabs a ot = — = = te 2 te Though its just a sim. ple melo. dy wth maj? cin SS SS eS oe you could tum it 10 @ Dmil Ebmil Emil Bb oe oy Gersh- win touch, 2. Ob, s f =a —= ps = = : poe Poe i gaW= 2 J eS te he = 413 a pos potappt pop ; = == | | a Dn? Dmtl or an? > (Ger Ge7b9 69) ae | : —— | == SS ose - 4 your eyes, — my love is a pre ~ tude that | a + fre SS | Sj | = 0 a3 = es | . ~ Satin Doll from SOPHISTICATED LADIES Words by Johnny Mercer and Billy Strayhorn ‘Music by Duke Ellington Verse Moderately Dav? Dm? = Si: 1. Cig a rete hold or whieh ~~ = | Mf wick — Teng capo pss Cai (Abms bo maj7) (mrss an Copytignt© 1958 (Renewed 1986) and Assigned to Famous Music Corporation, \Withusle Corp. and Tempe Music, inc lo Muse Sales Corporation in U.S.A Fights forthe wore outside the USA, Contoled by Tempo Musi, Ine. clo Music Sales Corpeation 36 Intemational Copyright Secured Al Rignis Reserved Verse Dn? a a - 2 2.Ba by shall we go out m7 AB (59613) bo Dbi3 * | eo cs ar a Bridge Gm a Dm? —_D#PT CIE) Fmaj? 37 Am? Dr Amt Dr ar ———— He = poe? fie ete « tie te en pe 2 et FOF _ - SSS SSS SS 08-7 a @ Verse Dm o Dn? or © ' —— = a= f= ae a dd 6 = 2 = ich 3.Tele-phonenm bers wet You know Ent a bw? a br (Als asta) ——S=S= ———— =| f Doing _my thu bas wih wa, aad shat 38 Solitude Words and Music by Duke Ellington, Eddie De Lange and Irving Mills, Verse “Moderately Bbi7 "F sign eee Abinaj? bre! co Ebmaj? wT cD Fm? Bb ‘Copyright© 1994 (Renewed 1961) an Assigned to Famous Musi Corporation, ‘Scarsdale Musie Cop. and EM Mils Muse ine. be USA, Fgh fore word ausige ine U'S.A. Conrled by EW le Music tne. ‘and Warner Bros. Publeatons Ise Imernational Copyright Secured Al Fights Reserved Db7HIT Fm? po o Bb? wT filled with des 40 Bom? Bho. Abmai? a7 Eb6BD Gmit Gb27 (Am7_Abmai7 Gms) Bhar ent cot) pone a Fat 3 =e ia Der Lod a be sxtescms — a = ry Q L Bb7 EbmaiT (oT F7) a Sophisticated Lady from SOPHISTICATED LADIES Words and Music by Duke Ellington, Irving Mills and Mitchell Parish Verse Moderate 7 Bbm — Bom(imaj7) Bom GbTbS. FIbS ETS EDS (a0) “ Orbe i ° Sai a > tate a a *t bag | If wr singers a ys = — Et (F749 1759) SS 575 | Copyright © 1933 (Renewed 1960) and Assigned to Famous Musle Corporation and EM! Mills Music Inc. inthe U.S.A igh for the word outlce he U.S.A. Contras by EM Mals Muse Ino and Warner Bros. Pubieaion Ic 42 Imernational Copyign Secuted "All Rights Reserves Bom Bhmimai7) Bom? Gb7S PTS ETS EHTS AbmaiT aaa — in your Gea Abs G9 G89 FO Bs? bm? Eb9 iowe? Fo = er = Bridge abs Amos br Gna? En? 3 = = — Or a fhe see you now. Sok — ing, dink — ing new « @ Amt peric Bm? Ea ant, pit? 43 Gm? BET Cm man in ares - ta eat Bbm7 (wo79) cms FS Outro BhmBban(maj?Bbm7 Gb7S—FTBS ETS ETS Gee Moth, mS all you real ly want? tee dea ay 1 & & a Bo? Abs G9 i love you Ab6 (Bom? Eb+mai7 Ab Intro “Moderately Fast (2 Ab? Take the “A” Train Words and Music by Billy Strayhorn letrienoughon — a8 ee aoe nt 3 -| oe : = cmai7 = - oe rl go Sugar Hill way up jt Copyright @ 1941 (Renewed) by Music Sales Corporation (ASCAP) and Tempo Music, nc. 'Al Fights Adm stored by Music Sais Corporation Intemational Copyrght Secured Al igris Reserved Repinted by Permiss.on 6 No = miss the find you've missed the quick est way (0 Cmaj7 Bridge FmajT D7 Das Siam ing 2 a are oo bo co. pis - soon you wil te on Sugar lin — a 2 — ie cr PLAY LIE THE PROS BS Al DiMeola Solos ‘by Dan Towey This exploration of DiMeola’s music includes and lessons songs: Andonca * The Embrace * Global Safari Indigo Kiss My Axe + Last Tango For ANior * Morocco * One Night Las June © Ritmo De la Noche + Traces Of A Tear ¢ and more 0066033. transeribed solos $1695 @ Kevin Eubanks ~ Creative Guitarist An In-Depih Approach To Music Concepts & Techniques dy Kevin Eubanks Job Amaral Take an inside look at Kevin Fubar’ unique technique and fretboard visuals tion, including: lead sheets fr five orginal compo: sitions « chord forms + chord scales * melodic development + approach techniques + technical sles © harmonic development # and more 0496522 Book Pack $1995 The Jazz Style OF Tal Farlow Tht ELEMENTS OF Besor Guitar by Steve Rochinski Finally, the book that defines the melodie and. harmonic thinking behind the style of one ofthe most influential jazz guitars of the 20h century, Tal Farlow Includes instruction on: creating single-line solo; visualizing the neck; se of antcipa tion, expansion, and contraction signature and chord voiings; chond-melody con cep, special signature effects such as hongos and harmonics; tune and solo transcriptions; a more! 00673245, $1995 Jazz Instruction & Transcriptions from Hal Leonard

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