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Blood Count - (Strayhorn) Big Band Score
Blood Count - (Strayhorn) Big Band Score
BLOOD COUNT
BY BILLY STRAYHORN
As performed by the Duke Ellington Orchestra
Transcribed and Edited by David Berger and for Jazz at Lincoln Center
FULL SCORE
This transcription was made especially for Jazz at Lincoln Centers 201213
Eighteenth Annual Essentially Ellington High School Jazz Band Program.
Jazz at Lincoln Center and Alfred Publishing gratefully acknowledge the cooperation
and support provided in the publication of this year's Essentially Ellington music series:
Founding leadership support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund.
Major support is provided by The Con Edison Community Partnership Fund, The Irene Diamond Fund, Alfred and Gail Engelberg,
The Ella Fitzgerald Foundation, The Charles Evans Hughes Memorial Foundation, The Mericos Foundation,
The Harold and Mimi Steinberg Charitable Trust, and The Surdna Foundation.
pets, the lead trumpet is the boss. The lead alto and trombone
must listen to the first trumpet and follow him. In turn, the other
saxes and trombones must follow their lead players. When the
clarinet leads the brass section, the brass should not overblow
him. That means that the first trumpet is actually playing second. If this is done effectively, there will be very little balancing
work left for the conductor.
4. In Ellingtons music, each player should express the individuality of his own line. He must find a musical balance of supporting
and following the section leader and bringing out the character
of the underpart. Each player should be encouraged to express
his or her personality through the music. In this music, the
underparts are played at the same volume and with the same
conviction as the lead.
5. Blues inflection should permeate all parts at all times, not just
when these opportunities occur in the lead.
6. Vibrato is used quite a bit to warm up the sound. Saxes (who
most frequently represent the sensual side of things) usually
employ vibrato on harmonized passages and no vibrato on
unisons. The vibrato can be either heavy or light depending on
the context. Occasionally saxes use a light vibrato on unisons.
Trumpets (who very often are used for heat and power) use a
little vibrato on harmonized passages and no vibrato on unisons.
Trombones (who are usually noble) do not use slide vibrato. A
little lip vibrato is good on harmonized passages at times. Try to
match the speed of vibrato. In general unisons are played with
no vibrato.
7. Crescendo as you ascend and diminuendo as you descend.
The upper notes of phrases receive a natural accent and the
lower notes are ghosted. Alto and tenor saxophones need to use
sub-tone in the lower part of their range in order to blend properly with the rest of the section. This music was originally written
with no dynamics. It pretty much follows the natural tendencies
of the instruments; play loud in the loud part of the instrument
and soft in the soft part of the instrument. For instance, a high C
for a trumpet will be loud and a low C will be soft.
8. Quarter notes are generally played short unless otherwise notated. Long marks above or below a pitch indicate full value: not
just long, but full value. Eighth notes are played full value except
when followed by a rest or otherwise notated. All notes longer
than a quarter note are played full value, which means if it is
followed by a rest, release the note where the rest appears. For
example, a half note occurring on beat one of a measure would
be released on beat three.
chair did not use pixies. Rather, each of them employed a Nonpareil (thats the brand name) trumpet straight mute. Nonpareil
has gone out of business, but the Tom Crown Nonpareil trumpet
straight mute is very close to the same thing. These mute/
plunger combinations create a wonderful sound (very close
to the human voice), but they also can create some intonation
problems which must be corrected by the lip or by using alternate slide positions. It would be easier to move the tuning slide,
but part of the sound is in the struggle to correct the pitch. If
this proves too much, stick with the pixieits pretty close.
GLOSSARY
The following are terms which describe conventions of jazz
performance, from traditional New Orleans to the present avant
garde.
Break within the context of an ongoing time feel, the rhythm
section stops for one, two, or four bars. Very often a soloist will
improvise during a break.
Call and response repetitive pattern of contrasting exchanges
(derived from the church procedure of the minister making a
statement and the congregation answering with Amen). Calland-response patterns usually pit one group of instruments
against another. Sometimes we call this trading fours, trad-
Riff a repeated melodic figure. Very often, riffs repeat verbatim or with slight alterations while the harmonies change
underneath them.
Shout chorus also known as the out chorus, the sock
chorus, or sometimes shortened to just the shout. It is the
final ensemble passage of most big band charts and where the
climax most often happens.
Note that the first voicing includes a 9th and the second voicing
includes a 9th and a 13th. The addition of 9ths, 11ths, 13ths, and
alterations are up to the discretion of the pianist and soloist.
BLOOD COUNT
INSTRUMENTATION
Reed 1 - Alto Sax
Trumpet 1
Trombone 1
Bass
Trumpet 2
Trombone 2
Drums
Trumpet 3
Trombone 3
Trumpet 4
The piano is tacet for the entire piece. It could only trivialize
the seriousness of the situation. There is a starkness throughout except for the lush, effusive bridge at letter E. Notice how
the Ellington band turns on a dime (starting with the tom
tom roll, the upward run and explosion) and is pouring on the
swing and vibrato with the alto solo providing the filigree in a
post-New Orleans fashion. These 8 bars have always reminded
me of the glorious Honeymooners TV theme. For those not
familiar with the word schmaltz, it is Yiddish for chicken fat,
but in music and theater it means overly sentimental. When I
think of schmaltz, the picture of a violinist's left hand vibrating
comes to mind. Let's just say that a large helping of vibrato for
this section is de rigeur. Then on the next measure (letter F) it's
subito piano dead tone.
Dynamics are so important to the effectiveness of this piece.
The alto is the featured instrument and should stand up for the
entire piece. Everyone else is subservient. The soloist needs
to play the part of the dying man. This is not about notes; it's
all about feeling. The opening baritone counterline should be
played gently in soft answer to the alto. The trombones are
soft but noble. The bass can play the part as is or add a few
slight embellishments here and there--not too much, though-we don't want to lose the stark emptiness.
Vibrato is used in this piece to denote life. The root of the word
vibrato comes from the Latin vibrare meaning shake, but it is
also related to vivere, meaning to live. In performing this piece
we use little or no vibrato except in the bridges (C and E)--a
little at C and a lot at E. When the harmon mute trumpets
enter at G7, they represent the icy hand of deathdefinitely no
vibrato.
David Berger
CONDUCTOR
A Slow ballad q = 58
Reeds 1
(as-played)
alternate 1
(as-written)
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Copyright 1967 (Renewed) by Music Sales Corporation (ASCAP) and Tempo Music, Inc.
All rights for Tempo Music, Inc. administered by Music Sales Corporation (ASCAP) International Copyright Secured. All Rights Reserved.
Reprinted by Permission.
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Blood Count
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alt. Alto
(as-written)
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Blood Count
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Blood Count
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(as-played)
alt. Alto
(as-written)
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Blood Count
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(as-played)
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alt. Alto
(as-written)
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Tenor
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Tpts. 1
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(as-played)
alt. Alto
(as-written)
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Tpts. 1
&
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Drs.
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ESSENTIALLY ELLINGTON
The Essentially Ellington High School Jazz Band Program (EE) is one of the most unique curriculum resources for high school jazz bands in the United States, Canada, and American schools
abroad. EE extends the legacy of Duke Ellington and other seminal big band composers and arrangers by widely disseminating music, in its original arrangements, to high school musicians for
study and performance. Utilizing this music challenges students to increase their musical proficiency and knowledge of the jazz language. EE consists of the following initiatives and services:
Supplying the Music: Each year Jazz at Lincoln Center
(JALC) transcribes, publishes, and distributes original
transcriptions and arrangements, along with additional
educational materials including recordings and teaching guides, to high school bands in the U.S., Canada, and
American schools abroad.
Talking about the Music: Throughout the school year,
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band directors and students correspond[item
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profession-
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[item 40548]
Professional Feedback: Bands are invited to submit a
recording of their performance of the charts either for
entry in the competition or for comments only. Every
submission receives a thorough written assessment.
Bands are also invited to attend EE Regional Festivals for
[item 40549]
an opportunity to perform and receive a workshop.
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Printed in USA
al clinicians who answer questions regarding the EE music. EE strives to foster mentoring relationships through
email correspondence, various conference presentations,
and the festival weekend.
JAZZ AT LINCOLN CENTER is dedicated to inspiring and growing audiences for jazz. With the world-renowned Jazz at Lincoln
Center Orchestra and a comprehensive array of guest artists,
Jazz at Lincoln Center 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, weekly national radio
and television programs, recordings, publications, an annual high
school jazz band competition and festival, a band director academy, jazz appreciation curricula for students, music publishing,
childrens concerts, lectures, adult education courses, student
and educator workshops and interactive websites. Under the
leadership of Managing and Artistic Director Wynton Marsalis,
Chairman Robert J. Appel and Executive Director Greg Scholl,
Jazz at Lincoln Center produces thousands of events each
season in its home in New York City, Frederick P. Rose Hall, and
around the world. For more information visit jalc.org.