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Miller, Glenn - Method For Orchestral Arranging (1943)
Miller, Glenn - Method For Orchestral Arranging (1943)
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GLENN
I
MILLER’S
METHOD
EOR
ORCHESTRAL
ARRANGING
GLENN MILLER’S
METHOD FOk ORCHESTRAL ARRANGING
The original compositions contained in this collection are fully protected under the
copyright laws of the United States of America and all countries under International
copyright. The copying of either the separate parts or the whole or any portions
of the original material thereof by any process whatsoever is forbidden and subject
to the penalties provided under Section 28 of the copyright laws.
CONTENTS
INSTRUMENT CHART . 6
ORCHESTRAL EFFECTS.75
APPENDAGE.110
75572
4
GLENN MILLER
s
9
6 INSTRUMENT CHART
Signature and Scale Possible Practical
Signature Signature and Playing range Playing range Playing range Playing range
and sound in same scale as and actual as written for and actual as written for
Concert Key written for sound written instrument sound written instrument
Instrument instrument in concert in concert
7
Signature and Scale Possible Practical
Signature Signature and Playing range Playing range Playing range Playing range
and sound in same scale as and actual as written for and actual as written for
Concert Key written for sound written instrument sound written instrmnent
the instrument in concert in concert
English
Horn
Bassoon
French
Horn
Guitar
Drums
i Snare-Bass
Tom-Tum
Cymbal)
Violin
Viola
Cello
Double
Bass
(String-
Bass)
Tuba
Piano
8
SECTIONS
Eb Alto Saxophone
Eb Alto Saxophone
Bb Tenor Saxophone
Bb Tenor Saxophone
Concert Sketch
-3 -3-~~^
COMMENTS:
Suitable for legato melodies—background for solo instru¬
ment—background for solo voice—"Fill-ins” for en¬
sembles—melodic line in introductions—modulations—
interludes—endings and legato rhythmic passages.
Concert Sketch
2 Bt Clarin ets
« lenors
-^ 1 ...I rrl
COMMENTS:
Suitable for legato melodies in which the harmony is such
that it permits playing in thirds. Also suitable for back¬
ground for solo instrument or solo voice—melodic line
in introductions—modulations—interludes—endings and .
legato rhythmic passages.
Concert Sketch
COMMENTS:
Suitable for legato melody—counter-melody to solo in¬
strument—counter-melody to solo voice or group of
voices—"Fill-ins” for ensembles—melodic line in introduc-
t i o n s—modulations—interludes—endings—melody line
for ensemble against brass figurations.
Concert Sketch
gvo1 alt,.-.
•~ 1 * [Ijih. ,"p:|
-^Y. jy-ir- A-
ji=i;F-^M-^#• 90 1 -j** •
——b- II
Transposed for Respective Instruments
1 Alto
n
^ U /U ^ • ^ IQ V ^—"I 1 \
rH ^ ^ L, L 1 r 1 ^ f 1
Mu^1 . .
r
a na trs V #ff ■ "R*--
r
Baritone 1 j
H L— -^ hJ
J u* hi _
-*• dit — ■ »• T np ^ T
un^-#r' 1 1A ki • ^ • ^ L,
M I 0*h « 1 1
Alto Ld "1 k
2 Tenors
!L L«
TT-; 1"r 1
U w-UW—
“-s « ha ^ ihJ»L■ n^I■-w
' fV 1 A B
r/Pw 7—... p 1 ny 1 -
L^-U
LLU 1 ^^ ^ 'Ud u*
COMMENTS:
Suitable for rhythmic melody—counter melody to solo in¬
strument—counter melody to solo voice or group of
voices—"Fill-ins” for ensembles—melodic line in intro¬
ductions—modulations—interludes—endings.
Eb Alto Saxophone
E\) Alto Saxophone
E[j Alto Saxophone
B[j Tenor Saxophone
Bb Tenor Saxophone
Concert Sketch
2 Tei10 rs
w-M -t-
1^1 1 ^ w
— C®. '1 ■ ■
A
COMMENTS:
Suitable for legato or rhythmic melodies—background for
solo instrument or solo voice—melodic line for modula¬
tions—i ntroduc tions —interludes —endings—background
rhythms and background sustained passages.
Concert Sketch
/O L
L/ 1TA j m ^ I 1 V
^ PTI r« J
J * J A
i1 ^! F ^1 ^ y <5-
* -4 " t-3 -6
■S
L M m w m II i
p T 1i ■ . *
/ k I I/' r ' r 1 • A .
p
=4 —k "45
2Teno rs
f
1
A K
■ J m & » ■.
■VLf ' 1 f a . ^
9 5>-
Baritone
L/ ■ ■ ■ T %
71 m n m 1
r 1
)
C hJ ■ h-J* ■
COMMENTS:
Suitable for legato for rhythmic melodies—background
for solo instrument or solo voice—melodic line for modu¬
lations—introductions—interludes—endings—background
rhythms and background sustained passages.
Concert Sketch
^—
.uJ
1 ^
etc.
ora
1\ : ^ f—
J=^
-■-1-4 WJ—
7 1
T —
—
COMMENTS:
Suitable for introductions—modulations—interludes—
endings or melodies having harmonic structure similar to
Concert Sketch
1^
-^J1
.^2 ^ 1 -|= r jV ^J . h-i
2 Altos
V 1 ^ .\ —n p
r * It *'* 1^ — 2-:-^-
^ It/;
* Tenor
^ ^ r ri —(•—-^—
— ra-
r ^ ^ r If *
-W-
COMMENTS:
Suitable for melodic passages where the top voice (E^
Alto) lies mostly in perfect duet form (3rds or 6ths)
with the lower voice (lead Tenor).
Concert Sketch
3
-\ “id— r~ 1“
1
i
\
fjr ” ^ f
f 01- r- J'iM 7 = n:-*“T-
-—1.33
\ 7S
Transposed for Respective Instruments
Tenor
r melodi/^ 1
?. Altnn:
1 1 1
1 ^
V yu ..cj Tra .5 »
IP
Bj*um'm Tu*
WW ill Zn*
2^
f
VIL/ ' 1 T1 1 TV--
Tenor
Pa ■ ^ ■ - —--V-1 . -
^ 1 iW .r^.. A— 1
Pn ^ 1 •L L
v-i/ ' ; u:m. L
Baritone
ft a . ^ 1
OilTt y 1
A. 'u M . . 1 d 1 f
a• L .
W ' ■ ■■ g. sJ- -
-d——
COMMENTS:
Suitable for legato rhythmic passages in introductions—
interludes—modulations and endings.
Eb Alto Saxophone
E[j Alto Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone
Concert Sketch
"r
> Iff.
/ 0):, 1- "j -i-' 7H 1
[ /[> V r 73 ■
[S-OT' ng3r .”■ '*-wr
Tenor f/earfj
Piftlgs-A
2 Altos
A
I
' ih 1 - r" ■ 1 hff
^^9r-.-
1--
Tenor
1—
^—*44-—
4 -:: H
Baritone
, it* i y 1—iTi)
-[
COMMENTS:
COMBINATION No. 11
Eb Alto Saxophone
E\) Alto Saxophone
E\) Alto Saxophone
Bb Tenor Saxophone
Bb Tenor Saxophone
Concert Sketch
COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes—endings—background for solo voice
or solo instrument.
COMBINATION No. 12
Eb Saxophone
Eb Saxophone
Bb Tenor Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone
Concert Sketch
•g:’
A u rt
»
^'^9
_
*
^-
r
1
■
f h^i
P *'1
. 1 A
U H 1 1
V HiTT y V—T »-Sf m-1-3 1 V J_i
"im ^ 1 \1
-T ■ ^ h
LM2-^-1-L
I,
COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes—endings—background for solo voice or
solo instrument.
EXAMPLE No. 1
Concert Sketch
3^ 3^
K I f g
«
N P'Tit
- 4 —
r Lr M -. I
-^—
. 1 .-B 1
-- —
— J
f-S'
4=^; :
"3^
lib f]
(eh ^ - 1.1 r T ^ ■::fcF F f's f=#=; -f i
r P- —
1 L LL - —t- --«—
-j-i-
^3 ^
COMMENTS:
EXAMPLE No. 2
Concert Sketch
—n—rrnr-=—rR3 n i- -1—r—\ :—
- jk^Li- —J a-^-- —i—
1 1 -L ^
^ -g:
Z--
COMMENTS:
Suitable for rhythmic passages—background for solo in¬
strument or solo voice—"fill-ins”—melodic line in intro¬
ductions—modulations—interludes and endings.
Muted or open.
27
EXAMPLE No. 3
Concert Sketch
COMMENTS:
Suitable for introductions—modulations—interludes—
endings—"fill-ins”—background for solo instrument or
solo voice.
Concert Sketch
COMMENTS:
Suitable for melodic or rhythmic passages—introductions
—modulations—interludes and endings.
Cup mute
Harmon mute
EXAMPLE No. 5
Concert Sketch
} u A* S S ^
rm ^
3: 1 « * ■ a nE
"■g m'^ Tl-
—i-m-n
:m
t- f r r ^ r Lgj'f
‘ P
Transposed for Four Trumpets.
1st &2nd Trpts.
. muted
hS-i-T.rag • ^ --
--r— —.. a—r -:-
—M4 m w \
nH fij F l 1
1. m -— T ^ 1. - “«5t-
'1
if-
COMMENTS:
Suitable for legato or rhythmic passages—introductions—
modulations—interludes and endings.
EXAMPLE No. 6
Concert Sketch
w
1 4 -9. —
_ 8=]]
’ ff
3rd & 4th Trpts.
-::
11
1
ff
COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes and endings.
Concert Sketch
i^ p- F-' " r t f f- ff ^
Hat or plunger
\l h
+ 0 + 0
j —a—8—f—
j^j t
COMMENTS:
Suitable for introductions—modulations—interludes and
endings—background for solo voice or solo instruments
—rhythmic ensembles.
EXAMPLE No. 8
Concert Sketch
1
^=F=\ h Ji • 1,jI i 7-- i
d’
>
1|) i
1,j ^ ^-1- - 1 1 h
V ^
■ i ^
Transposed for Four Trumpets
— - -f— I
1
>
■ m»
' f
O +-- -k-
— -J» J- br .
COMMENTS:
Suitable for introductions—modulations—interludes and
endings—background for solo voice or solo instruments.
EXAMPLE No. 9
Concert Sketch
Oil ^ ^ l-Jl
rr '......
>
Ill
b I?
iv^ ^ a w
II ^
r i > r m
1> <)*/
IV ^ 5
COMMENTS:
treatment.
EXAMPLE No. 10
Concert Sketch
m A ^ • A to^
■-J
m K m
K V to •
1 ■ E p » ■ rji' ■ 1 ® —I—
j
! ■ 5 ! r.
m E m ^ r
t) n >5 Liji
TTT
IV
Orchestra backeround
^j ~ ... * ^ 1$
y t! ^ c. 11 1 2? 1
a 2 • d
COMMENTS:
Suitable for legato passages—introductions—modulations
—interludes and endings—background for solo voice or
solo instruments—"fill-ins”.
EXAMPLE No. 1
Concert Sketch
COMMENTS:
Suitable for legato melodies—background for solo instru¬
EXAMPLE No. 2
Concert Sketch
> >
• 1. 1 . 1 1
7»
^
A*
^^
w
T r
■
A
)
mi—
'Pa — n K ^—
" ^ if ^ ^
r
^-
)-]-k J
r
—— — 1 \ - J. - -
-f. 1 T-R T
.
^
r. ^
^ m
-
2
ri
1 i rr
..
/ w y\ ^ ca
’ ^ y% ^ ^
unison
rn
M^ ‘ r ^
i ) I
—
r d ^ "
^
COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes and endings—background for solo voice
or solo instruments.
EXAMPLE No. 3
Concert Sketch
k^rjr'*A V'
Transposed for Four Trombones
muted
e : p. E. .
- SL i1 g qf
open
-o-
xe:
& a 3.
COMMENTS:
Suitable for legato melodies—introductions—interludes—
modulations and endings.
EXAMPLE No. 4
Concert Sketch
t' -fVj
li
II
• 1.1 > k
<
^Vl>L
y A* '
W-—
Jij L K B '■-
‘ ^ -j
COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
EXAMPLE No. 5
Concert Sketch
I ^ +0 '*■ ^ +
A |9-
■• ■•
• !• r7 M 1 • • f •_ • 9 —
y k 11./ A A•
III.
IV
+ + + f. O +
o - O
■ I • _K P*
■
w m
•1. ? 1 1 1 i
m 0 iL /
’'j ♦
0 5* r
/ y
COMMENTS:
Suitable for introductions—modulations—interludes and
endings—background for solo instrument or solo voice.
EXAMPLE No. 6
Concert Sketch
COMMENTS:
Suitable for introductions—modulations—interludes and
endings—backgrounds ensembles—"fill-ins”. Used judi¬
EXAMPLE No. 7
Concert Sketch
y ^ ^- if PT . (‘**f—ffir-n
?T’ &.i ' ^ T f f' r1.. . -
I #1
—4- ^—
7 ‘ • 7 f. :
COMMENTS:
Suitable for introductions—modulations—interludes and
endings—all backgrounds.
EXAMPLE No. 8
Concert Sketch
+
COMMENTS:
Suitable for introductions—modulations—interludes and
endings—all backgrounds.
Concert Sketch
-6 ^- "t: —Vi’
y
S’?— ?-
-
.
£2.
9- O-
£2&
g. tii2. 2 . , 1?^2 XJL
r
M:, a---
- 5- 8 [|
y \> <P— y rJ y
L^ 9 \> ?- o
8- y- -S - J— rhz: 1 fa-ft-
— ^ f-M ^1^)0
Ol
4 Trombs. 9-
m:,-*—
7
2.
FM 1 2
-
2
. —
y y 2
g i> ?— o
COMMENTS:
This example is intended to display the technique of voic¬
ing for eight brass. The voicings are equally effective in
all types of music—smooth or rhythmic—slow or fast—
loud or soft—open or muted.
47
EXAMPLE No. 2
Concert Sketch
Q +O ^ +O +O+-0
I- ^-n
' “jt — X
# t
I ^ In ® im •- V•
1 i 1^ -H
7^ 1
+ -o
\ Hh — H- o h D
i ^9-' -i 9- -i 9- i-> #1 ^ •
1 *i.TrTlr-g' w >
\ 7 U. _ f
COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes and endings.
Open.
48
EXAMPLE No. 3
Concert Sketch
!■' iit-S H
J ^ 1f
m 1 ^ 1i . rv • V
.
1 r^ w V ; * B ■ J? i STS-1-
J (b)- ^ 1
hi w 2: I g- I?*
:d m
r ^ 1 A dm -1-
\ / kl. 7 A* w V • i
\ ■ I' f> ^
L\‘ .■ • nw H g: q
r
i
r
i— -.rjt,
!>
■■ -
2!
'V •
*
^ T 1 V ' A• tr V • ^
COMMENTS:
Suitable for rhythmic or melodic passages—introductions
—ensembles—brass choirs—modulations and endings.
EXAMPLE No. 4
Concert Sketch
Aj C-:
/f -Jf ^ K-K-
^ 1k -Js-^_
iU f .. m 1 jp--- ■-“1-r
1V -2^_:_:_ - i_i j,i j t-8-7-
0
—r
P-
P r ■■■■■
gliss. ->
i a;
\ -y -
r--
, s. —
—-1
» 1 ■
P-1-
•r »"
i-
COMMENTS:
Suitable for any passage of similar harmonic construction.
EXAMPLE No. 5
Concert Sketch
V . 1 rj L. ^- g .HI9
f^ ^ hi mct’’
117
uhixsz
u\4rji^
k (2. etc.
(2.
k^ ^ iT 1 5!
v-e-
r
etc.
4Trombs. ^ e Q.
-1-1 - ^-g- — ^-
n—
Z IT n
. y- 1. =
COMMENTS:
Suitable for any passage of similar harmonic construction.
Trial and error are the arranger’s best teachers. More ex¬
amples on this subject may be obtained from consulting
the excerpts from scores which appear in this book.
52
CHORD CHART
Concert Sketch
*»: •
-8- ni,i IV *»-
^ 8”
- -
-
—n— -H - —it
^\J u
—©-
4 Trombs.
-©• -©■ -©-
TST-TS- —n- - t>
. .21 ** .. ll ....
» - IL-
—©-
Concert Sketch
I «1 nin— [I«-i-gr»-
/ L ;i H : ft— ft- H nxf lull— =ft=
l\ - 21 21
-©— -©- -©-
—2t
no- rv©-
8-
i4i.inc>
4 Trombs. I oin^
Concert Sketch
^
^ \) sc
— r-f\— -O-
cl 41
«->41
—TT-
Sf 1
41 *^^41
TTcl TVSI
B B
"tr
B
§ B B
-ft
B
^1*1 V# ^ ^-
F W \.J n
o o OO ■■
4 Trombs.
§
=8=
31: ij
"O" “O" OO-
^ IV
54
THE RHYTHM.SECTION
Guitar Piano
Bobby Hackett Chummy MacGregor
Drums Bass
Moe Purtill Doc Goldberg
S6
BASS
ad lib.
C D7 G7 aI’7 G7 C Play as written
-1---
Jr w -1 .P.iT
— ^
'’r /r. y iJ .r m-
—
r 1 1 1 ■-7-
1-#1 W— 7-7—“T7-
7 X X I X I
The names of the chords are placed over the notes of the
bass part so that the bass player may have a complete
knowledge of the harmonic structure of the arrange¬
ment, thus aiding his improvisation. He should improvise
freely except where it is marked to play as written.
DRUMS
Solo break ad lib.
Tenor Solo Ensemble '3 '3 T
2 3 4 5 6 7 8
m ntff TfTf
ZZ
GUITAR
The names of the chords are placed over the notes of the
guitar part and special effects such as "solo single string”
or effects with other instruments should be clearly written
and marked "play as written.”
PIANO
adlib.
<|r7 V / /
Play as written
3
3
a ad lib.
/ / y-y
AAi
'l\f
TT
L.H. L.H.
a1>7 G7 W
I’M THRILLED
Lyric by iMusic by
SYLVIA DEE SIDNEY LIPPMAN
Slowly with expression
I
Piano mf
^ - -fp
J J jj. ts
i.ip y r dim, rit
cr^sc.
-
2
§
B!!7+
Fmi 7 Bt7
P
m IS
gin it
m
With the min - ute you came
i'
in - to
J)
sight:
„n
$ $
i
r
rfiti
&
M 106-3
Copyright 1941 MUTUAL MUSIC SOCIETY, Inc., 1270 Sixth Avenue. New York. N. Y.
International Copyright Secured Made in U. S. A All Rights Reserved.
61
a ten,p
ten.p ‘ ' f $
T'
El
ISE 3^
Fi
EI>6
a1> bI>7
Cmi.7 Fmi.7 add B'’ E'>maj7E-.7 E^6 , addG E'’niai7 Bi>7+
o
m IS m * ffl
J fj J.=^J- lj- JI
Ip
r ^ r r= cr^.yc. __ dim.
-^ wzz.
fffg, .TfP-
.. ii rt~'' I -9-
m J m s
pr
M infi-3
62
m
o o o Etdim. El>maj.7Etdim.
M m
^
—J7V— f r m
sjiriiifc tune when ^uu en-tPr a room. A symphony seems to play swing-time And a
iJ J J ^ j h-n
if-"'-- If# ijj" i’W'
=* i
r-fr i r cresc. r
33:
t»>o-
‘If-
E1>6
Fmi .7 Bt7 E»maj.7 Bi>7+
TO
* 5
mil - lion ro - ses burst in-to bloom! I’M THRILLED,
r'lr
just
r r
hold-ing your hand, Or
"p
lTV- za _p j—
p . 1j n 1 • |J‘
—■—*—*—■
j 1L J J J 1 >
g—' f p p T- - f.- '‘T ' rT^
dim.
Ak bI’7
Ef6 D!>7 e1>6 Fmi.7 addB^ addG
El>niaj.7 Cmi.7
:;:: ^ ffl
TO /T^
r/^
CTT
17
-»
X X F
1
• 1
r
1
“ 1
1
« r . . “ 1 ^ r 1
Here the personal tastes of you, the arranger, are the de¬
ciding factor. We believe the above example could be
appreciably improved, and in order to provide ourselves
with a suitable reference copy we are going to harmonize
it as we would like to hear it. We have no definite in¬
strumentation or number of voices in mind and we will
not accept a basic harmonization that is just "all right.”
Every chord must make us completely satisfied and all
voices must be led correctly.
THE INTRODUCTION:
In the fifth and sixth bars the saxes will be very high, and
to prevent a shallow thin sound and to aid the climactic
pattern of the melody, we shall reinforce the saxes with
sustained brass (in hats). This will serve as a ballast
and will support the crescendo of the saxes on reaching
VOCAL CHORUS:
VOCAL BACKGROUND:
JJ iia
movex \sustain J ^move^ ^sustain
rr
p--- 9- ^ -.-
-J J ^— -^ J •-■J
I move\ I sustain \ \move_[ \mov€\ |sustain\ | move
ji uJ i m
sustain J 1 movex
A
-111!
rm l^fl U jj —■ U ^^ . m 'J_m :. E^ m M n-1
—J— —1
p -m-1- L 1 ■^ ^
^ ^sustain , fiove,--——^
accentuate climax then
diminuendo with melody
69
A four bar figure for saxes follows allowing time for mute
adjustments in the brass and serving as an introduction
to the next movement. As yet there has been no op¬
portunity for any soloists in the band to display their
talents. Swing arrangements should provide for instru¬
mental self expression so it was decided to write a rhythmic
pattern and let the alto saxophone present his idea of
the “Song of the Volga Boatmen.” Notice the addition
of the saxophone figure to add variety in the background
on the repeat at letter “C.”
73
sets the stage for this unusual passage to follow. Four uni¬
son trombones, starting softly and comparatively low,
ORCHESTRAL EFFECTS
-is
8 14T»
1;
<5 rc>
o
) i_5
Q i I!t4
'r:
I
^ t = I +
O
( +
\ o 1*4^
<0
o
A STRING OF PEARLS—Bluebird Record No. 11382
i ^
Copyright 1942 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
- t
Uii "14
u
i;:] t'; t-| o +4
<7
a
o
I::. t'
- I o
t'
o nX
to
o
1^41*
+
o
o 1^44
nl t::: t +
o 1*44
«»- ^
;o
o W
t'
I:?. I::. o X
t-
o -lit
ri
6
l!!.. ^=1 > ,( o
o
Ulf9
o =
i;c
4* o
•£i < O
T3C T3V. c
4> rS
CC H CC
77
EXAMPLE NO. 2
Copyright 1945 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
ON THE OLD ASSEMBLY LINE—Bluebird Record No. 11480 78
EXAMPLE NO. 3
Copyright 1942 by Green Brothers and Knight, Inc., 1619 Broadway, New York, N. Y.
Used by Permission
ADIOS—Bluebird Record No. 11219
79
EXAMPLE NO. 4
Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
THE MAN IN THE MOON—Bluebird Record No. 11299
Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
EXAMPLE NO. 6
81
THE MAN IN THE MOON—Blue d Record No. 11299 82
EXAMPLE NO. 7
Copyright 1941 by Mutual Music Society, Inp., 1270 Sixth Ave., New York,
DEAR ARABELLA—^Bluebird Record No. 11326
EXAMPLE NO. 8
83
Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
84
Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
THE STORY OF A STARRY NIGHT—Bluebird Record No. 11462.
{Adapted from Tschaikowsky’s "Pathetique Symphony”)
by Al Hoffman, Mann Curtis, and Jerry Livingston EXAMPLE NO. 10
85
ipyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
SUNRISE SERENADE—Bluebird Record No. 10214. 86
EXAMPLE NO. 11
Copyright 1938 by Jewel Music Publishing Co., Inc., 1670 Broadway, New York, N. Y.
Copyright 1939 by Jewel Music Publishing Co., Inc., 1674 Broadway, New York, N. Y.
Used by Permission
87
EXAMPLE NO. 12
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Copyright owner for the British Commonwealth of Nations, excluding Canada and Newfoundland.
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88
Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
89
EXAMPLE NO. 14
EXAMPLE NO. 15
Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
91
EXAMPLE NO. 16
PAPA NICCOLINI—Bluebird Record No. 11342. 92
EXAMPLE NO. 17
Copyright 1941 by Mutual Music Society, Inc,, 1270 Sixth Ave., New York,
FOOLED—Bluebird Record No. 11416.
Lyric by Bob Russell, Music by Ros Merzger and Frank Lavere EXAMPLE NO. 18
93
'opyright 1941 by A B C Music Corp., 799 Seventh Ave., New York City
Used by Permission
IN THE MOOD—Bluebird Record No. 10416.
94
EXAMPLE NO. 19
EXAMPLE No. 20
Copyright 1942 by Jewel Music Publishing Co., Inc., 1674 Broadway, New York, N. Y.
Used by Permission
96
Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
97
98
EXAMPLE No. 22
tr rr T r rr .r r t r ^
Copyright MCMXLII by Chappell & Co., Inc., New York,
99
YESTERDAY’S GARDENIAS—Victor Record No. 27933
100
EXAMPLE No. 23
s
102
EXAMPLE No. 25
Dead tone
Dead tone
Alto
Dead tone
Baritone
4 Trpts
4 Trombs,
Piano
Bass
Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
AMERICAN PATROL—Victor Record No. 27873
EXAMPLE No. 26
103
Copyright 1942 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
IT MUST BE JELLY—Victor Record
104
EXAMPLE No. 27
Copyright 1942 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
105
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106
EXAMPLE No. 28
EXAMPLE No. 29
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Trombs.
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Piano
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Brushes
Drums — -- —=Efc—'
Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
109
Saxes.
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Trpts.
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APPENDAGE
:Tenor
Alto P Trpt. (in Hat)
T:
Clar.
1-1 ,l. p^frfr:=ff=q -r r
2 Altos --
ft#
Trpt.
. In Hat
Alto
Alto
Trpt.
Tenor
Tenor
Plungers
Q + o + o
2 Trpts.
Plungers etc.
+ o^
2 Trombs
-if f
of voices.
C Cdim. aI’9 G9
2 Altos
cl r c/^r
A STRING OF PEARLS
—Bluebird Record No. 11382
AMERICAN PATROL
—Victor Record No. 27873
ANVIL CHORUS
—Bluebird Record No. 10982
BOULDER BUFF
—Bluebird Record No. 11163
CARIBBEAN CLIPPER
—Victor Record No. 20-1536
IT MUST BE JELLY
' (’Cause Jam Don’t Shake Like That)
—Victor Record No. 20-1546
JINGLE BELLS
—Bluebird Record No. 11353
MOONLIGHT SONATA
—Bluebird Record No. 11386
HERE WE GO AGAIN
—Victor Record No. 20-1563
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