ie is THE TOT SERIES So", <> (F BEST SELLING BOOKS BOOKS Tie M1 TOLFoK Song: aPoputer Frere ff ey ime ‘ier fe ins Fer Evry 0 : 40 Paria ILTime Prados ee See ore ee snr2ge “Veal Stet Eaton M1286 Easy Piano/Easy Organ M128 Al Org W128 Easy Guitar M12Be Bb Instruments Mi28f —Eb/Bass Clef Instruments 3101 BigNote Piano Pieces 4% 101 Great Songs For All Organe 5 101 Populer Song: Fer Essy Pino 6 101 Hymns & Sacred Songs Ea Eee = ™ M1283 Accordion/Guiter ei Fora ae MIZBH Portable Chord Organ hwlaks Somes a M128) AG insvumens eae M126} Trumpet Solos (with Plane Ace.) M128 TriChord Piano N39 101 Nore Populer Songs— Al Chora Organs N40 101 Populer Sarge About Chrztres 40 Coolct AL-Time Hit Pardee Nat 101 Christmas Nelodies M1290 Vocal (Sheet Edtion) For Eaiy Fano/Orgen M1296 Eary Piano/Easy Organ oe maz 101 Courity Songs Mi29e all Ogn (4.chord) sey PianolOrgon M204 Emy Guitar M7101 Pop Songs-Easy Trumpets (101 Times 2) The New M1292 Bb Instruments Clint Popular Fake Book M129 Eb/Bes Clef Instruments M8 —101Popular Senge For Eesy Accorcion | —-M43_—For BD Instruments M1209 Tri-Chord Piano, M9 101 Three Chord Piono Pocee Nae For € instants M129h Portable Chord Organ NiO. 101 Preludes, Offertories & Postludes— Naa) 101 Popular Songs M1291 AC Instruments ‘All Organ (Veeal, Guitr Pano) M128} Accordion MMi 101 Most Popular songs For Easy Piano ff N45 101 Popular Songs For Easy Viotln M12. 101 Popular Senge For E>ey 46101 More Great Songe For All Orgone Eb Irstrumonts N47 101 Bote Favorkes— M13. 101 Foke Songs For All Organs EP/EO /Voc/Gt. 40 Groory All-Time Hit Paraders Mis 104 Popular elk Sons (Eeny iano) 89 County & Westen Sores i360 Veea heer Music} MIS 101 More Poplar Sanos 1502 Vocal M137. Eay Fiana/Eaay Organ For Easy eno NOD Easy Piano M138 All Orgen (4Grord) M16 101 Popular Songs For Easy Organ ede Oran M139 Easy Gutar 101 Popular Songs Combo Suvi E03 Ean7 Big Note Guiter Mis P.0.0. (C0) M79 For Eb Instrumente 40.8e OF The Year Misi Tr-Chard Piano Mtv For Bb Inseumentt M512” Vocal M182 Accordion Mize For Ctntruments OID Easy Piano TriGrore Pus M143. Bb Instruments Mi® 101.38 4 Chord Al Orgen Goodie NSH! 7.600. 12 Button Stylo Mid Eb/Bes clef M19. 101 Jaz: & Pop Senos— Sin Intermudot Pano M145 All Cinst Eesy TrumpetiClarinet NBII Intermediate Organ 'Mz0_ 101 Popular Songs—All Chord Organs 1520 41 Most Poputar Songs M21 101 Three Chord Gacrod Orgon Pieces Intermedits Piano Solos 40 Latos Country Folk MZ__ 101 Gowel Songs & Soirtuais— 42Bes OF The Year Fock And Pop All Ire, 532 “All Organ Mas" Vooa! M24 101 E997 Folk Gutar Solos S30 Eeoy Pano M148 Easy Fano Easy Organ How To Play NB3e Vocal miso allOrgan M25 101 Hymns & Sected Sorgs~ 43 Great Golden Standerds MISt acy Guitar Easy Accordion! Guitar NS4a_” Voeal Album M152 Portable Chord Organ M26 104 Exoy Standard Trumpet Solos MGA db Trumpets & Carinots M153. Esty Pano M27 101 Walt Disnoy Favorit MBde Guitar Mie coer \ M2B_ 101 Latest Folk Song Favorites Mad 3-Chord Pian Mies abn M2) 101 Popular Songs For Easy Trombone J WS4e_—All Organ M156 Eb/Bas Clot MSO 101 Popular Songe For Exsy Gur Mat intermediate Plano Solos M87 All ne M31 101 Popular Sengs For MBq Easy Piano/Eaxy Organ Hammond Chord Gra Meah Easy Guitar Mss 101 Clasitiod Plano Solos Modi Portable Chord Organ si Reo by D.C. Glover 45 Populer Wolte Sons = Sd M3t__ 191 Mow Papilar Songs 156” Easy Piano pa For Easy Guitar S62 Vocal Album . reel MMsSb__ 101 Latst Tor Pep Song Book MSGI All Organs EPIEO Voc Ot M563 Portable Chord Organ A us ae M36 104 Pooular Sona Book— 46 Sacred Sonos For All Year i Essy Paltasy Org M872 All Organ M37 101 Foksinger's Folk Song Book— MS7> Easy Plano Eeey Gutar NS? Vows!JACK GL van oath Transcribed and Edited by HOWARD BRUBECK Contents |. From THE DAVE BRUBECK QUARTET AT CARNEGIE HALL* LTD. 47708 6 BOSSA NOVA U.S.A, 11 SOUTHERN SCENE (Briar Bush) 17 THREE TO GET READY 22 ELEVEN FOUR 29 KING FOR A DAY 32 CASTILIAN DRUMS 34 IT'S A RAGGY WALTZ 43 BLUE RONDO A LA TURK 53 TAKE FIVE SELECTED PIANO SOLOS 57 CANTIGA NOVA SWING (From BOSSA NOVA U.S.A.) 65 SUMMER SONG (From JAZZ IMPRESSIONS OF THE U.S.A.) 72 WALTZ LIMP (From COUNTDOWN) 78 STRANGE MEADOW LARK (From TIME OUT) 87 BLUE SHADOWS IN THE STREET (From TIME FURTHER OUT) 92 LAMENTO (From BOSSA NOVA U.S.A.) 99 HOME AT LAST (From JAZZ IMPRESSIONS OF THE U.S.A.) 104 EVERYBODY'S JUMPIN’ (From TIME OUT) POINTS ON JAZZ (Piano Sole Version) 112-1. PRELUDE 119 I, SCHERZO 123. il, BLUES 133 IV. FUGUE 139°. RAG. 143VI. CHORALE 144 VII, WALTZ 148 VII A LA TURK 2 NOTES ON PERFORMANCE 111 NOTES ON THE MUSIC OF “POINTS ON JAZZ” "Note: Due fe copyright reseions, the fellowing selections from the record slbum do net appear in this book. PENNIES FROM HEAVEN, FOR Alt We IRNOW ond'St- LOUIS BLUES, Copyright © 1965 by DERRY MUSIC COMPANYNOTES ON PERFORMANCE By Howard Brubeck BOSSA NOVA U.S.A. uses a tune which Dave wrote long before the current flurry of Bossa Nova tunes. For some un- in 1962, The rhythm of the “new" Bossa is usually spread over two measures of eighth notes, with accents falling on the 1st, 4th, 7th, 11th known reason, the tune remained unused until Dave fitted it with the new rhythm which came to popul: ‘and 14th eighths. In the piano transcription, it was not possible to have this rhythm continuously expressed, due to the nat ral limitations of piano technique. However, much of the Bossa Nova rhythm feeling is conveyed in the composite rhythm ion should be played with the which results from the interplay between the melody and the accompaniment. The compos lightness and sensitivity which are characteristic of the essence of Latin American music. SOUTHERN SCENE has been performed in other recordings, but this is the first published version for piano solo. It contains expressive concepts which have become idiomatic in jazz. This is particularly true in the introduction and in the coda, which is based on the same material. In this composition there is a quality which reminds one of a simple story being told ina simple, intimate manner. The years which separate the story teller from his grandchild have been rich in experience, and pethaps a little hard. He has seen much and been an acute observer, But along with his wariness has come a capacity for faith and tenderness. In the recording, the beat is kept steady. In this solo version it may be quite valid to give more lati- tude to the expression of the performer's feelings by means of careful rubato. The pedal should be used freely in order to build resonance in the broader passages. The published material is taken from Dave's opening and closing sections, and fol lows rather exactly the Carnegie Hall performance. THREE TO GET READY uses not only three-beat measures, but three-measure phrases — both of which are not the usual procedure in jazz. Also out of the ordinary is the use of two measures of 3/4 meter in alternation with two measures of 4/4 meter, which is the rhythmic pattern of the improvisation sections, The eighth notes should be played evenly, with the triplet feeling gi to groups of dotted eighths and sixteenths. ELEVEN FOUR, as in the case of many of Dave's tunes in unusual meters, takes its name from the actual meter used. As with TAKE FIVE, the ostinato rhysam in the accompaniment is kept going throughout the composition, and in doing so, it clearly expresses the subdivision of the meter into groups of 3+2+3+3 in each measure. KING FOR A DAY has been claimed, more or less, by Gene Wright as his personal vehicle for Bass solos in the Quar- tet’s concerts. In the Carnegie Hall album, the piano plays a role which is important but not significant as solo material. Since 1d in this collection. A piano-vocal arrangement of it is published in THE REAL AMBASSADORS, by Dave and lola Brubeck. A vocal and instru: mental version featuring Louis Armstrong may be heard in the Columbia Records alburn, THE REAL AMBASSADORS, (OL 5850 and OS 2250), KING FOR A DAY has not been previously published as a piano solo, a brief version is conte CASTILIAN DRUMS, as the name implies, is primarily a drum solo for Joe Morello. The version given here is taken from other improvisations on this material by Dave, It is not so complex as the Carnegie Hall performance, and is included here to give the pianist who may not have acquired technical proficiency an opportunity to play the composition. Unique in this piece is the use of 5/4 meter as the basis for a rhythmic pattern which generates the Latino feeling. I'S A RAGGY WALTZ, in Dave's words, "is neither rag nor typical waltz, but a rhythmic variation of both stated in 1g Hink be- tween the old and the new use of shifting accents, when such devices as hemiola and secondary rag (the former is a classic 12-bar ‘Blues’ form, with an added B section, or bridge.” The performer will find this composition an interes 18th century device; the latter is from 20th century popular music) come together in a jazz work.3 BLUE RONDO A LA TURK takes its title from three important aspects of the composition. The improvised sections which follow the initial theme are in the traditional 12-bar “Blues” form. The harmonic structure uses a variation of the traditional “Biues” pattern. The form of the composition is sectional and clearly shows its derivation from the classic Rondo. The unusual rhythmic pattern, expressed in 9/8 meter, is a native of Turkey, where it is often used to accompany highly ani- mated folk dancing. In playing the 9/8 sections, be careful to keep the eighth note values equal — avoid playing the last three notes in the measure as a triplet group. TAKE FIVE may well be the first composition in §/4 meter to gain the kind of public acceptance which transforms 2 popular tune into @ “standard.” The rhythmic ostinato, which Dave has supplied to Paul's saxophone melody, generates a ‘ot heard alone, should be kept below the rnear-hypnotic swing. It should always be played with a triplet feeling and. whi melodic lines in dynamic vaiue. CANTIGA NOVA SWING (Swing A New Song) is an up-tempo jazz tune with a South American influence. The bridge, especially, has the parallel harmonic chord progressions often found in Spanish or south-of-the-border music. The idea of @ theme and variations lends itself admirably to this type of piece, and it is most interesting to follow the melodic and harmonic developrients arising out of the various treatments the theme undergoes at Dave's hands. ‘SUMMER SONG is one of Dave's greatest tunes. The version in the present collection is taken from the first recording by Dave and the Quartet in JAZZ IMPRESSIONS OF THE U.S.A. (CL 984). It later appeared in the musical production THE REAL. AMBASSADORS (OL. 5850/OS 2250) by Dave and lola Brubeck, in which the moving lyrics of Dave and lola are sung by Louis Arm: strong in sensitive evocation of ".. . peaceful golden summers away from the city”. Yet another setting of SUMMER SONG is heard in the album BRANDENBURG GATE REVISITED (CS 8763/CL 1963) in which the Dave Brubeck Quartet is backed by full orchestra arranged by Howard Brubeck. No doubt there will be many more recordings. The first theme statement is taken from Dave's initia! free rubato performance in the recording. It is followed by two improvisations in steady tempo except for the free concluding section. is in 3/4 meter while the accompaniment is expressed in 2/4 meter — the duplets used in the left hand part indicate the two- | STRANGE MEADOW LARK is anoter eraipeof Dave at his bebe, nthe recorded verte fom wh ths bs akan (TIME | OUT — C$ 8192/¢S 1397), Dave plays the first ful chorus and the end of the last chorus as @ piano solo. In these sections he exerclses the full freadom which is his when playing unaccompanied, and gives the performance all the nuances of expression wich are possible when free rubsto fs used. This work has a very special feature fom the standpcint of frm whlch sets It | apart from the usual ballad form. It is not Dave's only excursion into unusual forms in jazz, but it is the only case in the present collection in which this particular form is used. Instead of the usual plan of 32 measures divided into four groups of 8 | measures each — the most frequently employed ballad form — the initial theme is stated in a chorus consisting of 50 measures with an addtional two measure extension to lead tothe Ist improvisation section. Where traditional form employs a “period” of ‘eight measures divided into two four-measure “phrases”, MEADOW LARK takes its first flignt with a ten-measure period consisting [of a foursmeasure and a sirmeasure phrase. After the expected repetition, the “ridge” or “release” is heard in the usual place and in the usual &-measure plan. However, there is yot another flight to be observed at this point in the composition: the bridge is repeated. The bridge repetition is not quite note-for-note; the opening two notes are changed. The fourth period is twice kept from closing to extend it to 16 measures, All,of the first improvisation and all except the last of the second improvisation use the normal ‘steady beat of jazz. In them, Dave often alludes to the original melody, but manages some very deft variations on the meledy. The Meadow Lark flies in some strange patterns! BLUE SHADOWS IN THE STREET is taken from the slbum TIME FURTHER OUT (CS 8192/CL 1397), All the compositions in TIME FURTHER OUT are in the 12:bar blues tradition. Dave has referred to this composition, which is in 9/8 meter but has the4 feeling of 2 slow waltz, as... mood piece which disguises its rhythm and blues derivation by the use of odd melodic skips and dissonances, and shifting rhythmic accents within the repeated triplet figure." Where the skips are too wide, the pianist should roll the intervals involved, The technical device, often used by pazz pianists, of sliding the thumb from a black key up to an adjacent white key is an interesting part of the third improvisation section, The black key is usually notated as an appoggiatura (small face note), and should be attacked on the beat with the rest of the chord, The following white key is taken after the beat, by sliding the thumb up to it, This effect has its roots in the attempt of instrumentalists, whether they play the piano, the guitar, the trumpet, clarinet, saxophone or kazoo, to approximate the emotional warmth of the human voice in carefully and tastefully slurring up to a note after having purposely attacked it slightly flat in pitch, Dave has stated that in any language LAMENTO is a lament. In speaking of the language of Brazil, the land of the bossa nova, he points out that “Portuguese is a poetic language, often humorous or ironic, sometimes beautiful and always full of poetic image- ry". His words provide the key to interpretation of LAMENTO, The first two pages comprise the statement of the theme as played in the recording (BOSSA NOVA U. S. A., CS 8192 / CL 1998). Dave performs this as a piano solo without benefit of the drums and bass, and is therefore free to use a completely flexible tempo. The performer would do well to follow the composer's lead in this respect — let the poetry have free expression with the unfettered rhythm characteristic of this type of expression. ‘The second and third improvisations are taken rather exactly from the recording, with some editing needed to replace the rhythm originally cupplied by bass and drums. Here it would be wise to keep the beat steady and accept the challenge to find expression within this limitation HOME AT LAST is a most apt title for this composition for two reasons: it was actually recorded in Dave's own California home (with the master himself as A & R man and engineer, as well as composer and performer), and it was the last act before a short Christmas vacation at the end of an extensive and exhausting tour. Dave has written that “It attempts to convey my inner peace 2 | look again upon familiar landmarks — the calm of the Bay, the quiet of the hills, the warmth of the fireside, the love of the family —all felt with increased poignancy after my long absence. The wanderer has returned”. Since the work was performed entirely without other instruments, the original concept was one of great flexibility in tempo. The full resonance of the piano can be given ample latitude. If the chord reaches are too wide for some hands, the problem can be solved by rotling where necessary. The performance from which this version is transcribed appears as the last track in JAZZ IMPRESSIONS OF THE U.S.A. EVERYBODY'S JUMPIN’ is one of Dave's happiest, most swinging compositions, After a four.measure phrase in 4/4 meter, it shifts to 3/2 meter where it remains for two phrases. The next four-measure phrase is in 4/4 meter, and is followed by a four. measure phrase in 3/4 meter, From’that point until the conclusion of the opening forty-eight-measure section, the meter con: tinues to alternate between 4/4, 3/2 and 3/4 —which explains why it was used in the album TIME OUT! The three improvisa: tion sections use the blues-oriented 12-bar pattern, with the metric scheme slightly restricted to alternation between 4/4 and 3/4 meters. The concluding section of 24 measures is basically a recapitulation of opening material, with a strong conclusion in 4/4 meter. This tune, with words by Dave and wife, lola, is used as the opening chorus in THE REAL AMBASSADORS, A word of advice, to the point that the value of the quarter note remains constant through all the meter changes, may prevent performance difficulties, POINTS ON JAZZ ‘The notation of Dave's POINTS ON JAZZ has b versal in jazz whic! 1 of great interest to me. It would seem that there is much of the uni: can occupy a position of significance in music, But before this can occur, there must be an effort to ex. press in definite note values those rhythmic and melodic practices which are inherent in the various styles of jazz, In the past, the approach to notation of jazz figures has been quite acceptable to the initiated, but quite jte from representing the fine points. That the fine point nal system of notation does permit a reasonably accurate representation, and that once understood, the job of reading it will not be too difficult for the traditi can be notated accurately is questioned by some. It is my feeling that our tradit ally trained musician. It is important to be aware that the compositions in this collection use two different approaches to notation. In POINTS ON JAZZ, the rhythms have been very carefully spelled to produce, almost exactly as writ ten, a jazz feeling, In the other Compositions, taken from the Carnegie Hall concert, the usual notation found in jazz has been followed, In the latter case, the performer is expected to impute the triplet feeling to most patterns using tied eighth notes and the dotted eighth followed by a sixteenth — and, to a lesser extent, all eighth notes.This work is directed primarily to students and performers of music who, even though they be not particularly jazz o ented, may wish to play a composition which employs the jazz styles. The plural (styles) is used because in this work one finds allusions to the “Blues,” both fast and slow, Rag Time, "Le Jazz Hot” (and cool), the popular ballad (on which the work is based), jazz counterpoint, and even a Chorale with variations using jazz associated harmonies. ‘When preparing this composition, the performer will soon realize the importance of a steady beat and of the triplet in jazz rhythms. Since jazz from its inception has been closely associated with music for dancing (even marching), one finds an adherence to the beat quite prevalent: it is @ foundation point. However, a certain amount of rebellion against the pri- macy of a steady, unchanging beat is @ natural part of the jazz musician's make-up. His solution is @ typically American one: In the lower pitched rhythm instruments (String Bass, Bass Drum, bass of the Piano) he permits the beat to be heard with strength. He wants the listener to feel the beat — to know it's there, like the Constitution. But at the same time he challenges the beat. He rhythmically bends away from it notes which would normally be heard on it. In the melody, and perhaps in some aécompanying parts, he frequently plays off the beat. When he plays off the beat, the note which one would expect to hear on it is played slightly ahead of the beat. In the majority of cases (but not always) the displaced note is heard as the last sound of a triplet imputed to the preceding beat. A good portion of the quality normally referred to as “swing” comes from this triplet feeling. The performer will find that the notation makes frequent use of the accent mark. Sometimes it is given in parentheses, to indicate that the accent should be at least felt by the performer, if not actually heard by the listener. The nature of the music will indicate the degree of obviousness needed in accenting at any particular moment. In places where the accent is to a note occupying the last part of a triplet, subtlety is often, but not always, in order. The fingerings supplied should always be treated only as guides, since the jazz pianist often uses fingerings which may také the more traditional pianist by surprise. The only criterion for the selection of a particular fingering is whether its use results in the desired sound. If the pianist wants a “lump” of sound, he may be well counseled to deliberately use an “awk: ward” fingering. The suggestion most often needed by the traditionally trained musician to help him in his effort toward jazz is to relax. Regardless of how agitated and rhythmically invigorating jazz may sound (and its protagonists appear!) it is usually best per: formed by those who are mentally alert while at the same time quite relaxed physically. The physical effort can be great, but it should be no more than that which is the natural result of permitting one’s body to be used as needed in the execution of an idea. The student might well be told to do 2 good deal of practice on this music away from the keyboard, where he may be free from physical considerations while concentrating on the sound he wishes to produce. Since this work is in the “Theme and Variations” tradition, the performer may expect a gocd deal of variety in styles. Some variations are “swingers,” others drive hard. Some are in broad, grand style, while others seem personal and intimate. There is variety in the tempi, in the textures, in the degree of harmonic complexity and emotiona’ intensity. One parting sug: gestion to the performer: listen to the recording of the original version (Gold and Fizdale play Dave Brubeck’s Jazz Ballet, POINTS ON JAZZ, Columbia CL 1678 and CS 8478), and continue with the recording after the marvelous Gold and Fizdale Performance, to include the vocal version with Carmen McRae and Dave's own improvisations. One can also hear an extended improvised version by the Dave Brubeck Quartet on “THERE'LL BE NO TOMORROW" in the altum, BOSSA NOVA, U.S.A, Columbia CL 1998 and CS 8798. In each of these different conceptions will be found clues to the essen , the nature, and meaning of the music, which will serve as a base for one’s own interpretation, P. Sz The transcription for solo piano of a work originally written for two pianos must; of necessity, leave out some of the notes. Since the desire to include as many notes as possible is an ever-present temptation and challenge, it follows that the solo pianist may be more busy in playing the musi than either of the two-piano partners. | tase some consolation in the fact that the excellent rehearsal pianist for The American Ballet Theater managed the present transcription in manuscript form for the weeks of rehearsing which preceded the first performance, In places where the reaches are too large for some hands, or the notes too many, some editing may be desirable, and certainly should be considerec permissible.BOSSA NOVA U.S.A. DAVE BRUBECK Moderato G # z pene 5 7h) P a7 F6 Fe(add9) Ebm6 F768) Bhmaj7 BLS Bb6(adds) ‘ Fmé G79) Ka he #) 3 A maj 7@ad9) Ebme = F768) Bbmaj7(add9) = T = Tee ey 7 2's Copyright ©1962 & 1963 by Derry Music Co, , San Francisco, Calif, ‘This arrangement Copyright ©1463 by Derry Music'Co, Used by Permission International Copyright Secure Made in U.S.A, ‘ATL Rights ReservedDoms Eb? Abmaj.7 Dbmaj7 Bbms c7+i69) | cea | id. thy i poms C769) Emaj7, Fe | Lig ad 2 ES ho:oe i ewe » Ebm6 Dm Cm Bbm F769) Brmaj7 Bho i i 1. - eo Fm6 Fm@7) G7-+11 613069) Cmaj.7 Ebm6 F769) Bbmaj7@ad9) if > Dome Rp Abmaj7 = Dhmaj7 Bom c7bs)F6(add9) Improvisation Bhme c769) : Fmd) Re abet 2 12 b. p Lope tf 2 BO af Bbmaj.7 Bee Fm6 76s)Dbms6 Eb769) Abmaj.7 Dbmaj7 Bbmé 5 2 3 yee rr Bhme c769) 2 8 $8 8 3 > ca 2 4, i i= Fmaj.7 F6 Ebm6 Dm Cm = Bbm g 3 5 g i so3 Se i 3 F769) Bhmaj7 | BbG Fmé FmG7) G7+1 Gisbs) Cmaj7 Ebme 5 ne vBbmaj.7@dd9) bm6 Abmaj7 Dbmaj.7 Bbms e769) Set vibrateSOUTHERN SCENE (Briar Bush) Moderately slow (4:80) Fmaj7 Gb? 3 3 2 ry 5 2 i Sf with expression Copyright ©1969, 1962 & 1064 by Derry Music Co, Intemational Copyright Secated Made in U.8: San Francisco, Calif, All Rights Reserved° Gm? c7 ao13 Dm? co C7 Ames) aby Gm? 0? Am? bm? te gy 4 2 i o7 41a) Am? Dm? ; or 8 G76 69 GH) Pmaj? ott 5 3 2 i Fe Eb F Bb Gm7 C7 Gm? G7 Db? Cc B Gm7 G7 Db? 08 Dm? ans az p79) Gm D Gm dim c914 Improvisation 7 19+5) ad e Fo Fi 3 z Bb 24 745) Fe za do 3 : Nye . = | —_— — oe pe Gm? 349) Gm7 65) Dm? oe 47 Am? D7 5 a ts Dm a? c at prea Gm? Bain? C9 Bye FPRb @ F Ee bt p75) ma gan o dddsdds pw p79) Abia pce G7 a me pre) b 43 se 4 Bb addi) add) F F® RIS G7 Fe OF? abe 8 i * To be played on the beatTHREE TO GET READY " DAVE BRUBECK Light and playful J: +76 c oe oF a @ 4 a4 2 3 © ¢ ov oF a oc | A { Coppright © 2080 & 1002 by Deny Music Co, San Francisco, Calf Intemational Copyright Secured Made in U. "3. AL AIL Rights ReservedFm6 2 BU? a a ° 2nd Improvisation : P 7 Pmé i it i ; i19 8rd Improvisation cm? F7 5 Bb? om a cm? 4th Improvisation Cui? i Cm? FT rf 1 = 4 aFm6 Em? Fas By? 21 a 42a 28 c o oF ac F a yea c cm c? Cm slight ritard to end —_——a ELEVEN FOUR PAUL DESMOND Moderately fast 7 12 = 208) Bb? Gm7 Cu? Ce pee 5 35 wes > 4 1 ie 2 Fr? Bb? Gm? Cm? Cmé Abm? Gm7 Fem? Copyright © 1962 & 1968 by Desmond Music Co,, San Franciteo, Calif, Intemational Copyright Secured Made in'U. 8. Ay ‘AML Rights ReservedFr Bb? Gm? Cm? 23 Fr? Bb? Gm? Cm? cms Abm7 Gm? Fm? Fm? Bb Ebmaj7 EDS25 Cmé Abm? = Gm7 Fem? Fm? Bb? Ebmaj.7 m7 he ist Improvisation F? Bb? Gm? 14 2 3 4 2 a (simile) Cms Abm? Gm7 = Fem7 By? = Ebmaj.7 Cm? ‘tt 23 = “petzte gaia ra Abm? Gm? Bb? Bbmaj7 Bbs 1423142 3as Dm? G7 Em? Am Pm? BT 5 S Am? De? Bm? Em? Am? Dv Gm? o a4 4eQ2t2 34 2 & ater gttah 1, 2 8 Fv Bb Gm? Cm? F7 Bb? Gm? Cm? ; Cmé Abn? Gm? Fem? Fm? By? Ebmaj.7 Bb 413g = 4B 4 2 8F 2 2nd Improvisationg.7 Cm? FR? Bb? Gm? Cm7 ; Ea BY 2123 4 32 3 4 3 2 23214 23423 — =Cms Abm? Gm7 Fem? Fu? Bb? Ebmaj +2tsiases BS a7 Bb? Ebmaj.7 be 1235 D? Aw? ys Gn? sg 4 at 23th Hs a2,Fr? Bb? Gm? Cn? Fr Bb7 Gm? Cm? a Hy Cms Ab7 Gm Fem? Fo? Bb? Gr fone B Sy ees sae ets > Fn? BiG) am? (59!) Fm? Byb®) Gm? cult) i 3 i 5 4 gradually softer totheend (i) Fm? B79) Gm? cbs. Fm? Bb7b9) Bb Pp Pp = 1 & $ iKING FOR A DAY 29 DAVE BRUBECK Easy swing (d:104) 8 ‘Gm? os Gm7 6 Gui? Copyright ©1962 & 1963 by Derry Music Co. , San Francisco, Calif, ‘This arrangement Copyright ©1964 by Demy Music Co. Used by Permission Intemational Copyright Secured Made in U.S.A. 'All Rignts ReservedFe cm? Fe Cm? Veror'g t Cradd®) ce Bm? 5) ° i 5 7 I “ 5 , * go B7 Ge) ‘Am = Am?) at 2 i 3 5 2 Z i 2 ae 3 3 i $ 2ar Gu? 3 & & 8 ean 3 é 2 a ey & al a fae a a 4 8 & Fanaa” CASTILIAN DRUMS DAVE BRUBECK Fast blues 230) , pres-9) >? a one 2 Copyright © 1962 & 1964 by Demy Music Co, , Sam Francisco, Calif, Intemational Copyright Secured ‘Made in U.S.A, All Rights ReservedBb? tt) Gadd) = wv z 2 ave ‘Ave 3 ke SO aa z the Bend 3 - % ao geo S th z Dans aaa IT’S A RAGGY WALTZ DAVE BRUBECK Swinging waltz tempo é::60 @? a 5D? = Gdim 5 5 s 3 More gentle @ 3 Copyright © 1962 by Derry Music Co., San Francisco, Calif, rmcemavonsl Cobyught Sectled Naa in Bose e ANE Righe Reserved =Abmaj 7 o 7 CBdim or2nd Improvisation 6 a: o 28 28 > 23 4G 2 wa Aw? a ee 2 youv7 Bou? Tunseeend Ab Eb 5 Bi? Pao? 23wotomf, s Sanoel. 7 3rd Improvisation oe geen 6 5 i osa z - l £ ° a é “ Bans A & © wee le 2 4 L. 2 sre Boom a 40 Reven Eb 7titC8 Gdim as 6 G v7 Gdim ov 07 Ba? Em? Bba? Eb Abmaj Abe Gm? e42 v7 EbT +H En? Bb? 7 a7 Gdim pT B7 oe? Chaim o 2BLUE RONDO A LA TURK 43 DAVE BRUBECK 26 (diss78) Fmaj? F? pe Fe 2 Lively 4 on ~ s a F caer Ee geen Fmaj? F7 Fe Ft F Ft FS Copyright © 1980 & 1962 by Demy Music Co. , San Francisco, Calif, International’ Copyright Secured Made in U.S.A, All Rights ReservedAm F Am FeAm Dm Am? im? Am? 0” ee ae Ea mF, > Am Dm® Am? Bdim? 2 = Ee eeAm Dm 5 & A. Finaj? Gn? Feo Fe Ft rf? maj? F7 FS Ft Finaj? F? Gm? Fe Ft Fmnaj? F7 FoR? Fe Fe Pe Fv Dm Am py? arDo Geese] he ® A. |r wecire en 4 7 LAMM are he © a o A~ Bd. _ [: An Oh L A g a 2 — PS . Ae Wh “A shea & 2 \ ees g sine E . é fee B A A i shee Boot L & A ad” ¥i6 A Ne geezd. Fmaj? F7 FSist Improvisation ¥? 3 & 5 £ & & z =50 Bhmé F? FY Pmaj?52 A Am Dut Am D DmSAm Pmaj? Feo FTAKE FIVE 53 PAUL DESMOND Moderately fast J:176 Bho Bbm? ’ i : Bm Bom? Ebm Bom? Bbw Bbm? 123 ee | Ebo Bom? = Eb Bbm? Ebm Bbmt Ebm Bhm? Spteteeh 2 12 34 2 3 12 Sag24 2 0 m m m? r 7 r Bb Bhm? Bh Bb Ebm Bho kb Conyright, © 1960 & 1961 by Deny Music Co, , San Francisco, Calif. Intemational’ Copyright Secured jade in U.S.'A. Al Rights Reserveda ob Abb Bbn? Ebm? Abu? by? Fa? Bb? Bbm Bm? = Ebm. Bbm? Ebm Bom? = Ebm Bbm? aa GS 7 = a7 Bbm Bom? Ebm Bbm? Ebm Bou? Ebm By? 28 2 15 3 1 ot 123 42 455 Bbm Rom? = Ebm Bom? Ebm Bbm7 Ebm Bbm?56 Ebm che Abas Bbm? Ebm? Ab? Db? Ghmaj? ch Abmé Bho? Eba? Abm? Db? Fm? Bb? Ebp Bbm? Ebm Bbm? Ebm Bbm? Ebm Bb? Ebm Bbm? Ebm Bbm? Ebm Bhat Ebm Bbm? Ebm Bom? Ebm Bom? Ebm Bom? Ebm Bbm? Bhm? ebmCANTIGA NOVA SWING bi (Swing A New Song) DAVE BRUBECK Fast (¢: 120) Gm7 ce Gm7 co Gm7 ce we g 5 3 2 Gm7, ce i i ye = 1 8 Copyright © 1968 by Derry Music Co.,San Francisco, Calif. ternational Copyright Secured Made in U. S. A. All Rights Reserved Used by Permission38 £7 Bm7(-5) Am7 eh De Am7 Bone woh: G7 D7 Ag ET ca Gm7 E7 Bm7(-5) D9 Am? woh: De4st Improvisation Gnu? Gm7 ce 2 aoe LG 2 cs a 1 | oe Sf ony ee oye v viBb AT : 2 M7, 8 G7 Cmaj7_ C6 Cmaj7 4 24 3 thee 2nd’ Improvisation ous Gm7 c7 Gm7 c7 ew 2smn zee = z t 3 a Vv mer oven] 2 oproe| yer i yr ayeD? Am7 i D7 Am7 D7 Am? E7 ep ok ae Te >. fake hae ae ee co BIS = FE opm7 Gt ~ cmj7 G8 t f 3 O65 a 8 J 5 58rd Improvisation co cone Bene g S g & ote : aoe 5 a a e 8 mere : Levee g : 3 § Levene : < & a je . [more a a ened ren 7 a @ g 8 & 2b 7 5 ei a ent Jace Jaen 5 5 5 & no e =A 1 8 aFe BO o Bb A768) 7 =n z z to 3 b 3 oF 2 Pre att coneyece! m7) ,G13¢8) 8 i te i, 4 £4 BA or oa t =e T +f — = 4 2 i 7 2 4 , a ( 2 gpa) ga1sce) gc g¥q7G) puis) Hg Ba an 2a obe 2 4 4 Ws 8SUMMER SONG “ Tempo rubaio «= 50 DAVE BRUBECK Dms Bbmé Am7 AT tempo primo Amy Dm Copyright ©1957 & 1968 by Demy Music Co, , San Francisco, Calif. Intemational Copyright Secured Made in U.S.A, ‘All Rights Reservedg ay Dm? FY Dmé 5 Fm Gna CF Fina? Dm DhnGe) . 4 5 5 3 3, aS 3 45 34 ‘Tempo rubato J: 50 ‘Am onl ar SespressDm 67 atom patoecen % en be ae xen on ba eo poor ey to Dmsé Bhms Am? Dmy Gm or Ist Tnprovigation c D h ; 5 Lightly 4: 120 5 a I Gm? Cm 4 ij 4 5 4 Uy 8 Bbr Eb6 Abmaj.7 By Bhdimy omyi Bhdimy Cm AbY Adim.7 Ebmaj.7 Cm? Fxb9) Boy Ab cmy FY Boy Gm7 cm? Fr Bby :Fm? Bby Epmaj.7 Cm7 F2Xb9) Bb 69 m7 Fy By Ebmaj7 Gmv 5470 Bbdim.7 my AbG Adim.7 Ev6 Cm Frbs) Bby Eb Abr Bdim.7 Om Aby BY Ebm Cm 5 i ttf ptFn? Ebmaj7 om7 71 ‘Fm7 Boy = Komaj7 Cm? "7 ‘BbT 5 sro gr gh gg i i 23 7 Ed on i it 3 4. i . sini j Normal Pedat Baim 3 % 2 ae é g wa stow our was ons Boras ab BD ‘ 3 f i a j *Pedal each chord at the instant of its release.2 WALTZ LIMP DAVE BRUBECK foe fe 2 deo seats 2— — =I T 2 i ee __—_—2——— 2 Copyright ©1962 & 1969 by Denry Musie Co, , San Francisco, valif, Intemarionel Gobyrigit Secured” Mladen G.S.Ay ath Rights Reserved—2— 2 2 Lee 1 2 : eet 2 Lee 1st Improvisation g? Cu? . ‘a? eon OO ee oS 3 2 on 4 5 sas ar) > aeat3 —— : 2—— of74 2nd Improvisation Db a7) 2 Cm? 5 3 8 5 8 ea 24 3 ae 12 |__ 2+ ae : 8rd Improvisation ey om m6 1 Cm? wt “TT s+? way Hk - Sf, name ae Lot a ceo ie ee Les 2 2 44th Improvisation a oe us cae oy 3 Tad 4 g ° 4 55g i 1Ans sds h $ a ee _ oe iT | fey tat f pitt 4 Ab7 a7 tti1 8 Fs & 6 5 i iii peri ? Lega7 Cm? Bowen Fof 76 24 Cm? et p? Fm 2 Let 6th Improvisation2 a 2 a 7 7 2 aaah —) _2— A78 STRANGE MEADOW LARK DAVE BRUBECX| 5 5 Abmaj? iz Gis 7 a 2 sane ; Z Fit t ic 4h pe Ue ey + =A An sma? gre TP peo tata a 7 5 2 sight, ©2980 & 1962 by Derry Mute Cop San Francisco, Cali, Intemational Copyright See Made in U’'S.A, Rights Reservedabmaj Db7 ~ => gia crn Fin? Bb!9 ETH Abmaj? Db9 $ A Td be b mT aj mi cm) FP? Gmaj?, maj? 84%) Ge os 3 gas 5 58, Gmaj?_ co 9 G76%) Cmaj7as poreit ce. chain Goa? wo Fea? 6 oe: aa i i EN ate Ra 4 3 i} 5) By a aa z 2 4 5 4 2 5 5 3 5 5 ae Fa? £7 Bbmaj? ayrett 8 as crt Fm7 pi? EBT Abmay/DbSa1 ADS Bhs Bb ss69) Ee 4 Cm? om Fr : iT) of bPR 7 3 3 5 ¢ 4, 5 tei 2 i 43 i —_ 1st Improvisation on? Fim Fo?) Steady beat i 422 b. fun 5 a mf playfully 7 Fi 7 7 i y 3 2 vmte EF tg i Fi ; 3 g 5 Gm? co Fm? Bb? Eb? Abmaj?—Db7 2 a 423 4 5 3 ot ‘ped ; 7 7 7 77 1 i : i t BF 2 fe ‘ 5 5 5 a8 4 5 3 Ebmé Fe Fm? Bb Fo BbTag AW a? om? FSB Rye 4 2 iBW Gus Gmaj7 as 7 cH dim as Frm = Gmaj7_ Am? 5 — = 7 2 ot i 2 £__"—ciel aa yoP py + 3 5 5 8 4 Fm? Bb7_Bb7_Abmaj?_ pho Garr oF Abmaj?—-Db7 2nd Improvisation Ebmaj?___ Ab? ee ee gaa ‘ 2 8 a 7 . 3 AbTH G78) om ; ee aeAbmaj? Die a7 5) Fm7 Bb!s gbt8 Abmal” 5 — ee 3 Tot oF A a's 2 : 4 2 8 4 ; se m yo cot Fm? em fg ssw on j E i 3 4 by EON : z mo —~oa i Pa toy ba be 1 2 5 atTempo primo co Abvets B toca) G?_Om? pT Bbe Ev os as orett Fm? Bhd Rb7eH Ab Die ¥ b Cm FT Bhs Bb 13(49) ayeett nie gimajy BO _Ebmal? Db © Dy Bb Fi A 3S : ; are ee ae 4 i —i Dee te i a Gg iT 4 2 & iBLUE SHADOWS IN THE STREET “ DAVE BRUBECK Slow and wistful ¢.:75 Cpr Fm? Cm? 4 af expressively Fu? Fine 32 5 yt © 1902 by Deny Music Co., San Franclico, Calif rovemanonal Copyright Secured 'Sygde ‘in Us Seas AIL Righe Reserved1st Improvisation +f 1 t 7 2 2 ; enna nue? 3 3 5 i 4 BB 3 3 A: cme aaet 2 Sg, SS sets pet eke ts eet 4 4 ——— 3 13 eh lightly 2 ; 1 = fT 7 =; i to ABs, pee 4 at 2 a48 sg wa Sy yele 2nd Improvisation Cmimas?) 74% 5 omg Fotos § ' i 1 ben ato, i 1 the 2drovisation cre ; a 4 z 3cm Fo? a7 (b8) Cm? Fmé the ebapporataturs and the chord tone Bb are attacked oa the beat. The Bb (Beatural) follows after the attack, Both Hh and Fare Nid for tne remainder of the beat.” LAMENTO (Lament) DAVE BRUBECK rit. ‘Db? ‘ Tempo rubato Moderate (J 4 7 (erie wf oat sia 8 5 faster (/ = 148) ri Gb Ab? CET ¥o(-9) Bhm7 — Ebm7 Cm7 Db Bm Ps 8 5 A faster (5) oo joao} tt Ut GG te RES i i r a i $ ' 3 4 , peep fa k | rit. fast moderate faster Em Fm Ebm Eb7 Abo "”Ab7 AbT(#5) «Db Gb ADT Pi,. bas 4 (f0,% 23 $884 hi $ 3 fi i 2 ihe io RT OE t t 22 2 2 4 6 8 4 t rit. faster 5 ©m7 FeCs)Bbm7 Ebm7 gang ob mae Be petnni7 Fe Fi 5 4 4 g 24 Eri tt,e, tits Gi42 7 2 if Copyright ©1963 by Demy Music Co. , San Francisco, Calif, International Copyright Secured Made in U.S.A, 11 Rights ReservedE6 5 4 3 B7 B7(+5) Fim9 5 a 2 i ane Fe 5 3 t rit. C7(+5) r 4 had moderate Gmo a a 910 nee san: 5 ae OS aa wow ae ° Bea] a Boe 08 a 2 “ eared ee want co ete © ° 2 une eo Que t- | a wae Seas se a » g oer accra a0 Seer 20 “ ene] een] Bhm7 F7 wee! Good Ebm7Cm7 Db94 Moderately fast, swinging (d = 152) Db 5 4 (b) i i 4 8g a i = so Ast Improvisation Dbmaj.7 Gp maj? Ab? Ab sas 8 again ft, 4 S tess 4 . of m7) Dbmaj.7 Bhm7 £ = > a Ebm7 Gb maj.7 ata, at, i F Bbm7 Ebm em ee FF > tee2siaeAb? Ebm? ab? Dhmaj.7Db7 a4 a 4 ag Sy 4 2 1 2 eters | —S.-_s [| > : | = = SS = Gbmaj7 Ab? F7(-9) Bhm7 Ebm7 Cm7(-5) | Gm7(-5) c7 Fmaj.7 Fe F}m7 B7 2 8128 5 48 eae »Em7 AT Dmaj7? 5 Ab7(+5) Dbmaj7 — Db6 i Gb Ab? F7(-9) Bbm7 Gbe Cm7(-8) De Bbm7 Ebm7 Abs 23 1 4 5 ted 5, aot a Db7 Gb7 F7 EZ Eb7 2nd Improvisation Abo Db6 5 a moa Q neCm7 Ebm7 5 (5) Db Bhm7 Ebm Fm Gb6Eb9 Abo 3 3 8 sb 8 5 a3 a + ; ? 3 yo 4 — tai? ? 3 Ab7@5) ; 2 76 Rpmaiz Bo, ab? Bbm7 Ebm7 — Cm7(-5) Db 5 Ebm7Fm7G>6 Eb F Fe § $ $ a3 3s £34 $4 8 8 2 2 foi 34 ¢ i$ io6 4 4 ti 7 sirean, = : = Re 5 oe ts y 4 F i i > 3 4 ‘ z fe m7 c7 5 uy 5 5 Fes Fimo B7 og i ieee Yoda A i ict wep att one 9 A7(-5) Fm? Bb7 , EEG vaeiuaase 48 5-232 $s g io? 3 tam 73 25 + 54Ab7 Dbmaj.7 Dbé & Ab7 F7 § Bim? 8 5 4 i 3 z 8g 5 Bo 2 2 a ee 1% $e. f , 2 2 4 2 5 7 Cm7-5)Db Ebm 5 2 8 4 i 2 3 4 i i Fm Ebm7zb7 —Ab7 a1369) rar Tat reHOME AT LAST 29 DAVE BRUBECK Tempo rubato d= 60 Anb5) Dm ay Dm ay Da A ony wrsn® (GV! Dm a Dm A CHT Bytit 8 54 3 rin fig, 4 3 4 it Mp atempo accel T 1 2? 2 8 4 5 bo Dmy G7(b5) Dm? Gxb5)Dmy Em6 Dm GY = bm? G Blo ao Asda) 5 Taras aan : 5 . oh Fg FE 2 ent fee i 2 2 5 SSO toi =a] Dmg?) Gis+4 fester ———— rit San Francisco, Calif. Copyright ©1957 & 1968 by Derry Music Co, saat CO yey, ‘All Rights Reserved International Copyright Secured Made in U.3.A.bY Dm chim. Gno B7H Bie AS Ab9 Go 3 4 3 3101 Bh+Hit Bbmajy Eo Abmaj.7 3 “TE ‘ za § i 3 2 2, 3 a~ 3 fas PNK i i ra |mpiaster 2 : rm PF Ffn Amaj7 pia SBN 7 AT) Din Cin. Cm9_BYH1 B59 Ag Abs Go Chin. Da ers cts Poe Fy Bh Pa ab a 3 Ps aa Ani 38 or a as F 84 9 tye H 5 3 438 Boe 2% z Vin 5) 7 i Uh i 4 i 3 S fasterJn Improvisation 1 yoz Dm Dm With steay bea, and slightly fast $34 Hee 2 ae © LZ s aa ; t 7 Fu ¢ py____Aidim. EY gy Dm Gdim. Fy BS Na 5 a Tiadtt ae, — " aP hte a 2 ND ee = = ar setocoen eas tom mtocoe 1 on hb g a : a i 3103 Faster tempo a 5 a > D) preag, ls Dowty! aid104 EVERYBODY’S JUMPIN’ DAVE BRUBECK Easy swing d:10 Fé ° 07 4 v7 Fe ¢ Am? anrsita) 2 ious a 2 at 7 1 2 3 4 5 3 5 On Dbmaj? E47 i, aol Gm Fmaj? ded od Copytight © 1960 & 1962 by Demy Mule Co, San Franclico, Calf Intemational CSpyrignt Secured Made in U8. ae ‘Mi Rights ReservedF7 uD Bbmaj7 ES Doe© (cm G4) b 5 i 5 Dps gE Bh dim? Bb? Bbdim? Ebmé Bbdim? g xf. pO s 3h chmaj? pb7 Ebu? Gh bm? Bbm? Chma? DBT Ebm? 2 I 2 H &107 Pm7(tt) +94 2 gyre tit 4 4 3 2 i i 1st Improvisation Fmé Gm Ebm? Pm? $4 tut a 3 4s Chmaj7 pb? Ebm? Fa? Gbmaj? Abm? Bhai? ch pov Ebm? sate y 4 sea | Fr? (i preteen108 2nd Improvisation Fm? (Ht) ree g sa 2 ‘Po? bua’ Abus? Bb? Chmaj? vb? ebm? Fa? os! 1s So eee ee gee arb) ° re oo Fs o? Am? Gn? Pima? Ab Rbm? Gm? Either the C or tho Eb may be omitted, if necessary.110 Dbmaj? Eb? Fo? ab Bh? cat Dbmaj? Eb? Po? > Gm? ort Bhs Fmaj7 Bbmaj? i } i i i i L > b > L > tT i t Fmai’ Bogs 4 Gb i 5 3 : 4 i 4 i =— b,NOTES ON THE MUSIC OF "POINTS ON JAZZ” By Dave Brubeck POINTS ON JAZZ is a ballet suite which was originally composed for two pianos as a set of rhythmic variations on a theme. Some of the variations are based on jazz concepts, others are derived from the classics. The history of POINTS ON JAZZ began on a cold day in March, 1958. Travelling through Poland between the cities of Llodz and Poznan, | jotted down a romantic, melancholy theme that seemed to ex- ress the feeling of those who sat with me on the train, staring out at the barren winter landscape. My Quartet was on a State Department sponsored tour behind the Iron Curtain, and our final concert in Poland was scheduled for the following evening in Poznan. That night, at concert intermission, | played the theme for the members of my group, and suggested to our announcer-interpreter friend, Roman Waschko, that as a dedication to the people of Poland we would play the new piece as an encore. To express in some measure our gratitude for the warmth with which we had been received in their country, I called the piece “Dziekuye,” the Polish word for “thank you.” The audience responded with a stunned hush, followed by applause mingled with tears. When | returned to the United States in the Spring, | sent copies of the piece back to Poland, and the printed music appeared as the cover of the Polish jazz magazine. Soon the piece was being performed by Polish jazz musicians. “Dziekuye” was often played by my Quartet on our concert tours of the United States and Europe, and finally was recorded in the Quartet album “Jazz Impressions of Eurasia” (CL 1251). When Dania Krupska, an American choreographer of Polish descent, heard “Dziekuye” on the al- bum, she immediately wired to ask if | would use the theme to write music for a jazz ballet she was preparing. At our first meeting, she told me the story of the ballet and the variations in rhythms she had outlined for her dancers. As the story unfolded, | improvised variations on the theme “Dziekuye.” These impromptu variations later became the basis for the composition commissioned by the American Ballet Theatre, “The Boy is the Theme. He is all alone on the stage—detached. Gradually movement begins. The Girls make their entrances. He tries to reach out and make contact with them, but cannot.” Dania’s description produced the first variation, PRELUDE. “Now The Girl enters. She is fresh, gay, bubbling with life.” THE GIRL is the SCHERZO, with bright arpeggios and a pounding, rhythmic. pulse. “Here Comes The Temptress.” She is 2 slow BLUES. “She entices The Boy, then leaves him to summon other men to gather around her. They fight for her in a primitive dance and she is tossed wildly from one man to another.” The BLUES tempo quickens. “Then The Temptress snaps her fingers and walks out on the men.” End of BLUES variation. The FUGUE was designed as a choreographed “chase,” with entrances of the dancers correspond- ing to the musical entrances. “Now The Girls and The Boys are happily together again. They are wacky, happy Couples.” The RAG. “Their happiness makes The Boy feel even more alone.” The Boy's theme in a CHORALE variation. “The Girl reaches out for The Boy. She wants to comfort him.” Introduction to WALTZ variation, “He recognizes her as The Girl of the SCHERZO. They dance a romantic pas de deux.” The SCHERZO theme in 2/4 and The Boy's theme in 3/4 meet in the WALTZ variation. “The Girl is overjoyed. She must call everyone to share her happiness.” A LA TURK variation and FINALE. “In the confusion of their celebration, The Boy and The Girl are separated. After a climactic search they find each other, embrace, and walk away arm in arm.”nz POINTS ON JAZZ A Ballet by Dave Brubeck (commissioned by the American Ballet Theatre) I-Prelude + Il-Scherzo + Ill—Blues « IV—Fugue * V—Rag + Vi—Chor I. PRELUDE ‘Transcribed from the original Two-Piano Score by Quiet, Calm J-56 HOWARD BRUBECK Vil—Waltz + VIIA La Turk SS np ass poco a poco accel, ."7 Slightly faster ¢ +154 Copynight (©1962 & 1963 by Dery Music Co, , Sen Francisco, Calif his axdogerene Copyright ©1900 by Deny Music Co, Used by Permian Intemational Copyright Secured Made In U.8.4. ‘AIL Rights Reserved—__ * 3, 2 oo S14 rsa a a a “Bring out the melodic imitation as clearly as possibleus116 — & ee Brighter Top se Foye Fe t ier ee oe a! a 7 Fe =uz IS "Fa FaTempo Primo rit. and softer to end119 II. SCHERZO121e oy ae 1255 4% 142 1 aut a4 a > decrescendo to end vdll123 III. BLUES Slow Blues 4-69 goa aadSlightly Slower ¢:60 . 133 oe125 z $ i i 34 2 a4 Zz Z 2 i Slightly faster d= 128 ded 4 poco a poco accel, to next tempo 5 3 3S > >> > 2 5 care, Sf non legatoFast Blues Tempo d- 188 bee a ee127128 yen ara _ ay V v Vv on i 45 Sys 819d) 9 St z130 | |4132 triptet dd gradually Somer fo. 7, PP RB . .Blues Tempo 4:88 gran ane133 IV. FUGUE Moderately Fast J-s0 In a swinging style134 eo ee i) oa oh es conf on o eal S {| iS me a ok C ooka C en AI ae oy a eVwon: Ah 5Fast ¢-190 * V. RAGeS a A <0 an A A A 7 A A eeewan yee lye oe vier ioe lye142VI. CHORALE x - = ae ag &§ —= | >> dd 4144 VI. WALTZ Moderately Fast d-=60 s 3 2 i3 3 3 . aa 1A AF \_* ~d ‘| | wT v>146147 Broader to end148 Vill. A LA TURK Fast d.-130 Se149,4153* FINALE (Theme) Broad J.-d simile * Copyright ©1962 & 1063 by Derry Music Co, , San Francisco, Calif, ‘This atangement Copyright © 1968 by Deny Music\Co, Used by Fetmistion Imemarion3! Copyright Secure Made in U.S.A. 11 Rights ReservedSP dacrese..poco rit. poco rit, —_——.. = molto ritardando accel. /c cresc.THE'10T SERIE er > ere Tite & Carole (Sivor Bos) ‘Me82~ Vocal Maeb Easy Pano Mee All Organ Med Portable Chard Organ M58 Easy Piano/Easy Organ MSI Emy Guitor M599 48 Folk Song Favorites iKingson Tria, Voos soa 49 Most Populr azz Songs Yocal Maa" Flut Solos rom Herb Alport and “The Tijuana Bras Mé5 101 Eas/-ToPlay Pops ‘by den Brihall MBE Best Of The Medern Worle Library Essy Pano Maz Hot 101—Emy Piono/Orgen MGB 101 Three Chord All Orson Piecos Golden Sula instuetor Mea Book t Mo Bak 2 M71 Books. best OF The AlLTime hit Poraers 78s Ves 786 Easy Paro/Easy Orzan M78 All Organ M7ed—Gulter (M78 Bb Inctruments M7et Eb Instruments M7Bg Accord 7B Cord Oroane M7Bi Bass Cet Inaruments M78} Cinsrunenis BO Meee The Stars (Top 40 Song Cher) Bi Fabulovs Golden 20 Sang Book MB3_ New Golden 40 Song Book Maa New Golden 40 Bok Of show Tunes Ma New Golden 40 Beok Of English Muse all & Vaudevie Songs M7 New Chestinas Stir Prsantation "Albu ‘Mae Glen Campbell Delixe Sowerir 1MB9__— Glen Campbell Delixe TV & Preture Song Album M90 Gon Campbell “That Christmas Feeting NOI TheBee Gees Latert NO2 Buck Owere Gouveni Gong ‘Album No.1 NUMERICAL LISTING ‘continuosy OF BEST SELLING BOOKS $2.95 each Golden Senas OF Erie Ford Greom ~ Whoo! 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