Copyright by Zachary Glenn Evans 2016

Copyright

by

Zachary Glenn Evans

2016

ii

The Thesis Committee for Zachary Glenn Evans Certifies that this is the approved version of the following thesis:

Vignettes: Deconstructing an Organic Compositional Process

APPROVED BY SUPERVISING COMMITTEE:

John Mills

Jeff Hellmer

John Fremgen

Supervisor:

Co-Supervisor:

iii

Vignettes: Deconstructing an Organic

Compositional Process

by

Zachary Glenn Evans, B.M.

Thesis

Presented to the Faculty of the Graduate School of

The University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Master of Music

The University of Texas at Austin May 2016

iv

Abstract

Vignettes: Deconstructing an Organic Compositional Process

Zachary Glenn Evans, M. Music

The University of Texas at Austin, 2016

Supervisor: John Mills

Co-Supervisor: Jeff Hellmer

Vignettes is an original ten-part suite of music for a ten-piece ensemble written

with accompanying projected visuals. In scope, the piece is essentially a work of chamber

jazz, in this case referencing a medium size jazz ensemble influenced by neoclassical and

modern compositional techniques. The piece draws from disparate influences outside of

the traditional jazz medium. The goal of this thesis is to outline the initial objectives of

Vignettes, explore the organic compositional process in creating this piece of music, and

to further analyze the resulting music. The structure of each movement of Vignettes has

been thoroughly diagramed to reveal the atypical form of each vignette. By expounding

upon the harmonic, melodic, motivic, rhythmic, and textural tendencies throughout the

piece, the personal compositional voice is broken down into key components: exploration

of electronic elements in a chamber jazz ensemble, modal composition, harmonic

recontextualization, rhythmic dissonance, subtle thematic connectivity, and utilization of

a visual presentation. By analyzing the organic compositional process of Vignettes

further, deeper insight is gained that will inform future creative and compositional

endeavors.

v

Table of Contents

List of Figures ......................................................................................................... vi!

Chapter 1: Introduction to Vignettes and Influences .............................................. 1!

Chapter 2: Structure ................................................................................................ 5

Chapter 3: Harmonic and Melodic Relations ....................................................... 13!

Chapter 4: Thematic and Motivic Material .......................................................... 19!

Chapter 5: Rhythmic Concept .............................................................................. 24!

Chapter 6: Texture, Color, and Instrumentation ................................................... 30!

Chapter 7: Effect of Vignettes on Ongoing Work ................................................ 33!

Appendix - Full Score ........................................................................................... 35

Bibliography ........................................................................................................ 268!

Vita .................................................................................................................... 269

!

!

vi

List of Figures

Figure 1:! Vignette!1!Structural!Diagram ............................................................ 6









Figure 10:! Vignette!10!Structural!Diagram ......................................................... 7

Figure 11:! Vignette 1 - excerpt a ............................................................................ 8

Figure 12:! Vignette 6 - excerpt a ............................................................................ 9

Figure 13:! Vignette 3 - excerpt a .............................................................. 11, 17, 21

Figure 14:! Vignette 3 - excerpt b .................................................................... 12, 18

Figure 15:! Vignette 1 - excerpt b .......................................................................... 14

Figure 16:! Vignette 4 - excerpt a .......................................................................... 15




Figure 20:! Vignette 1 - excerpt c .......................................................................... 19


Figure 22:! Vignette 10 - excerpt a ........................................................................ 20


vii





Figure 28:! Vignette 3 - excerpt d .......................................................................... 25

Figure 29:! Vignette 4 - excerpt d .......................................................................... 25




Figure 33:! Vignette 3 - excerpt e .......................................................................... 28



Figure 36:! Vignette 3 - excerpt f .......................................................................... 32


!

Chapter 1: Introduction to Vignettes and Influences

Vignettes is an original ten-part suite of music for a ten-piece ensemble written

with accompanying projected visuals. In scope, the piece is essentially a work of chamber

jazz, in this case meaning a medium sized jazz ensemble that draws from disparate

influences outside of the traditional jazz medium. The instrumentation is for tenor vocals

(utilizing a vocoder), alto saxophone (with a soprano double), tenor saxophone (doubling

on a sampler), trumpet, trombone, acoustic piano, electric guitar, acoustic/electric bass,

drum set, and a final part that functions as the conductor but also plays an additional alto

saxophone (with effects pedals), flute, keyboard, and a drum machine. The acoustic core

of the instrumentation is fairly familiar in the jazz medium, but the inclusion of electronic

elements like vocoder and samples as well as avant-garde visuals pushes the project

slightly outside of what may considered the typical timbral spectrum and overall scope of

most jazz ensembles. Vignettes initially began with the simple desire to create a

continuous musical work for a medium size ensemble with a few tenets to follow and

steer the direction of the project.

The original conceptual core of Vignettes began with the desire to compose a

multi-movement work that focused on shorter mood-intensive pieces, hence the title of

the piece, Vignettes, which may be defined as a fleeting and redolent episode. There were

also aspirations to include a visual element that would complement and enhance the

musical presentation and draw the audience further into the experience. From the

project’s inception, a principal goal was to seamlessly include instrumentation borrowed

from outside of a typical jazz ensemble. Regarding the visual element, it was decided that

the most effective and novel expression of a vignette would be to assign an associated

GIF (Graphics Interchange Format), which is a short and repeating video, and to project

those onto a screen behind the ensemble. While a visual element is not explored as often 1

in the jazz genre, it is certainly not without precedent. A recent and notable example is

Darcy James Argue’s Brooklyn Babylon, which included animation and painting by artist

Danijel Zezelj in live performance. Various other examples exist within the art-music

side of jazz, particularly utilizing projection shows. The visual aspect of performance is a

paramount concern in a large segment of popular music, but is seldom considered in most

live jazz performance. Considering the profound impact that the visual dimension can

have on the atmosphere and tone of a musical performance, it is worth appealing to the

audience beyond the auditory experience. By engaging another dimension of

experiencing an artistic work the performance can capture the audience even further,

especially considering the dynamic and already less predictable nature of improvisational

music. That being said, the visual component, though important, was secondary to the

musical component in the creation of Vignettes.

Instead of predetermining the GIFs before the compositional process began, the

visuals and even the exact titles of each piece were decided upon after the music was

written. This process allowed the music to function as the muse for of the selected visuals

instead of the inverse, a common compositional trope. In listening back to the MIDI

realizations created for each piece, utilized for compositional and rehearsal purposes, a

certain word or image often sprung to mind. Then a GIF was searched for to match that

word or visual. For example, the second vignette conjured the image of slowly

awakening in the morning. Therefore the vignette was simply titled “Woke,” and an

appropriate visual was found based on that idea. In this case, the GIF is a repeating visual

of a couple lying in bed in various positions. The GIF was then altered to match the

overall aesthetic of the visuals – black and white, contained within a circle, and with a

black background.

The instrumentation was patterned after the music that influenced the 2

composition. The work from its inception drew from a variety of influences in both

composition and instrumentation. Within the jazz realm, chamber jazz ensembles have a

rich history from the Miles Davis/Gil Evans collaborations and artists like Chico

Hamilton to contemporary groups like the SF Jazz Collective and projects such as Tigran

Hamasyan’s album Mockroot and Miguel Zenon’s album Alma Adentro: The Puerto

Rican Songbook. Hamasyan’s album varies in instrumentation from piece to piece and

often subtly incorporates electronics and world instruments, and Zenon’s album adds a

ten-piece woodwind ensemble to the core jazz quartet.

The Robert Glasper Experiment has been a pervasive influence in the writing

style of these vignettes as well. Particularly saxophonist/keyboardist KC Benjamin has

influenced the texture and instrumentation. Benjamin often uses a vocoder synthesizer in

tandem with a keyboard to create a robotic vocal effect, and that similar effect is used

throughout Vignettes. The primary motif that reoccurs in various movements is carried in

the vocoder, and the effect pushes the color of the work out of the strict acoustic jazz

realm. The inclusion of samples and drum machine was driven by the aspiration to

include elements of modern hip-hop production. “Vignette 10: Dance” is particularly

inspired by this aesthetic. The drum machine used is similar to a distorted Roland TR-

808, and the samples utilized in that particular movement are heavily effected field

recordings of an African Pygmy tribe. The direct inspiration for this sound was the

production style of both Timbaland and Kanye West. Specifically, West’s sampling of

Continent No. 6’s “Afromerica” in his song “Power” was a fairly direct model for the

sample styling in the final movement of Vignettes.

Other movements also began with similar conceptual basis of mimicking another

artist’s style and drawing direct influence. “Vignette 8: Stasis” began as an attempt to

reproduce the rhythmic concept of piano trios like the Vijay Iyer Trio and The Bad Plus. 3

“Vignette 9: Sun Eater” also began with the idea of borrowing a rhythmic concept. In this

case, the overlying of swing eighth notes over a fast 2+3 five-pattern was derived from

Chris Dave’s drumming on a particular bootleg recording of the Robert Glasper

Experiment playing “For the Foundation” at the 55 Bar in New York City.

The inclusion of electronic elements in jazz ensembles was definitely explored by

jazz fusion groups such as Weather Report, but these ensembles generally did not make

extensive use of drum machines and the overall aesthetic was dissimilar. The primary

inspiration for electronic sounds in Vignettes within a jazz ensemble was drawn rather

from more modern artists, particularly the Norwegian ensemble Jaga Jazzist and the Los

Angeles-based producer Flying Lotus. Jaga Jazzist is a jazz ensemble with varied

members and instrumentation that frequently incorporates electronic instrumentation and

influences into a jazz ensemble setting and does so coherently and with aesthetic

discernment. Their first album, for example, opens with a track called “Animal Chin” that

combines the live ensemble with a sampled drum-and-bass loop. Flying Lotus approaches

a similar sound from the other end of the spectrum; he is an electronic music producer

that brings in jazz instrumentalists and influences into an electronic music framework.

His most recent album incorporates obscure drum samples and features modern jazz

figures like Kamasi Washington, Thundercat, Deantoni Parks, and even legendary jazz

great Herbie Hancock. These two artistic sounds have been influential and essential to the

overall aesthetic and compositional approach to Vignettes.

4

Chapter 2: Structure

In deciding the structure of the work as a whole, the general goal of creating

singularly focused pieces created the necessity for shorter movements. The repetitive and

specifically dedicated concept in each vignette was decidedly not sustainable or

interesting over longer durations. Moreover, the focused framework of ten shorter

movements allows for the listener to become engrossed in each musical concept but not

exhausted by it. The overarching structure of ten movements with limited thematic

material was decided according to the length of time allotted for the overall work. Since

the piece needed to be 50-60 minutes long, each piece was targeted to be around 4:30-

5:00 in length. Originally the plan was to include twelve vignettes, but it was decided that

ten would allow more time for soloists to fully develop their solos in each piece. The

length of each movement was decided based on the motivic and thematic material.

The overarching form of each vignette was not predetermined or thoroughly

considered in the compositional process. Instead, the form of each arose organically in

the moment while writing the music. Therefore, to analyze the structure of the piece as a

whole it was necessary to analyze the resulting formal structures of each movement. The

most efficient way to demonstrate the organization was in a visual diagram of each

movement.

5

Figure 1: Vignette 1 Structural Diagram





Decompression!(aka!relief!from!tension)!

6






7

As demonstrated, the internal organization of each vignette varies widely, but

structural devices within each movement do overlap. The term “additive process” appears

multiple times in the structural outline (Figures 1-10), which can be defined as a

repetitive section that continues to add instruments and layers each part over the next.

“Vignette 1: Blink,” begins with this structural device and also ends with a second

section dependent upon an additive process. In the example below (Figure 11), each

repeated sections adds new layers. At m. 9 the vocals, drum machine, and piano are

added to the saxophones. The vocal/vocoder pad is the only determined part to hold down

the section with multiple indeterminate layers surrounding it. When the next layers are

added at m. 10, the brass plays a similar role by maintaining steady quarter notes.

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11

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2

12 VignettesAdded layer 1 Added layer 2

Figure 11: Vignette 1 - excerpt a

8

Additive processes also appear prominently in “Vignette 3: Chase.” The natural

developmental nature of these sections matches with the visual motif of the GIFs. The

single repeating image evolves over time and takes on new meaning in the framework of

the music, and the additive process as a structural device repeats an idea and evolves it by

adding layers and providing new context.

A common thread in almost all of the vignettes is a solo section planted in the

middle of the movement. Each vignette intentionally features a different soloist. This

provides another inherently developmental section, an alternatively natural segue into the

next structural set piece. The majority of the solo sections in the vignettes were based on

the form or previous material in some way, though not always overtly or as in a

traditional jazz standard. For example, the chord changes in “Vignette 5: Dust” and

“Vignette 9: Sun Eater” are based on the previous chord progression but are transposed to

create variance in the tonalities. Other solo-section chord progressions are based on a

segment of the previous material and not an entire form, such as “Vignette 3: Chase” and

the drum solo vamp in “Vignette 6: Painted.” In the latter, the five-bar phrase from the A

section becomes the vamp figure for the drum solo.

While a few of the movements are primarily through composed, such as “Vignette

1: Blink” and “Vignette 3: Chase,” a number of the movements contain more common

song forms such as AABA or ABAB. However, those structures are still not repeated in


9

the familiar fashion of most jazz standards where the form is repeated ad infinitum.

Whenever these more common formulas are used, a loosely related solo section or

another entirely unrelated section interrupts them. This is exemplified is “Vignette 7:

Currents,” demonstrated in the structural diagram in Figure 7 (p. 6). The ABA’B’ form is

essentially repeated in mm. 65-104 but only after an interrupting section in mm. 49-64.

Also, instead of returning as ABA’B’, the order is now BAB’A’. “Vignette 9: Sun Eater”

similarly contains the common form of AA’BA’. However, the use of this form is also

altered in this instance. After the solo section, which as mentioned previously is based on

the A section of the form, only the final the B and A’ sections return during the

recapitulation of the melody. The return to the B section felt natural due to the solo

section being based upon the changes of the A section to provide variety and to manage

the length of the tune. This treatment of the form may be analogous to skipping to the

bridge of the form in a longer jazz ballad, as gigging jazz musician often do to manage

the length of a ballad.

The variety of organization and structure throughout the various movements was

another element that primarily arose organically. Once the writing process began on a

vignette, each section was written and developed until a natural end arose and then the

transitioned to a new idea. If it seemed appropriate, a previous idea would be returned to,

but returning to previous structural sections was never deemed necessary in every

vignette. For example “Vignette 3: Chase” does not return to any complete section

throughout the movement. However, the motivic material in each section overlaps and

evolves to create continuity.

10


11

The guitar ostinato in mm. 46-49 (figure 13) becomes the melodic material,

carried by the alto saxophone, in mm. 58-65 (figure 14) and is placed in a different

harmonic context with various layers entering and overlapping. Despite the lack of exact

repetition in the form, the thematic and harmonic material creates noticeable connectivity

for the listener between contrasting sections, allowing Vignettes as a whole to remain a

graspable experience upon first hearing it.

Figure 14: Vignette 3 - excerpt b

12

Chapter 3: Harmonic and Melodic Relations

Harmonically and melodically, Vignettes covers a wide spectrum of colors but

still maintains a sense of continuity. The connective tissue between the vignettes in a

harmonic sense is somewhat intentional but also rises organically from the personal style

of the composer. Similar to the rhythmic conception, the harmonic conception of

Vignettes largely arose organically by composing one or two layers of the music at a

time. The overall harmonic structure was of course considered, but often the composition

took form intuitively. The result is a balance of modal writing, intentional passing

dissonances, and recontextualized diatonic melodies.

The overall work contains a variety of sections that are in a modal harmonic

framework. The opening movement, “Vignette 1: Blink,” is a fitting example and

actually stays in E Aeolian throughout the entire movement. The parts in this particular

movement were written to achieve modal saturation, where almost every note in the

mode is present in a passing line or sustained. In this particular case, the modal saturation

is achieved via a partial heterophony or imitation in the winds.

13

In Figure 15, the melodic lines were written independently of each other based on the

same melodic contour within E Aeolian without regard for the vertical harmonic

structure. Once the harmonic structure is planted underneath, the effect achieved is modal

saturation with coincidental harmonies arising in the voices. In each vignette there is at

least one section that devolves into simpler modal harmony, most often in the solo

sections to allow the ensemble ample room for improvisational exploration.

Dissonance also plays a factor, however, throughout Vignettes, although the

context for the harmonic tension still prevents the music from being overly abrasive.

Multiple compositional devices allow for this phenomenon. Utilizing open harmonies,

primarily open fifths, in the rhythm section allows for less diatonic rigidity in the melody


14

for avoiding dissonances. With fewer notes to clash with in the fundamental harmony,

more exotic melodic lines are permissible. This concept is displayed best in the C section

of “Vignette 4: Ritual” at m. 29.

The shifting fifths in the chords allow the angular melody to move in and out of different

modes and include chromaticism that would not be as functional otherwise. The result is

still feels disorienting, but there is not a distinct crunch between the pitches. Dissonance

is also acheived in some occasions via side-slipping, chromatically planing a melodic line

from inside to outside of the key. This briefly occurs in a counter melody in “Vignette 9:

Sun Eater.”

Here in Figure 17, the saxophones utilize side slipping in the second measure. This

momentary dissonance clashes against the underlying harmony, but within the context of

the melodic line the dissonance is resolved. “Vignette 9: Sun Eater” also contains

particularly dissonant chords in the bridge of the form. The level of dissonance increases

throughout the bridge and utilizes less common chords such as Maj7(#9) chords and



15

Maj(add4). The eventual resolution at the end of the bridge provides resolution and relief

to the dissonant and tense nature of the bridge in “Vignette 9: Sun Eater.”

Recontextualization is also a major harmonic and melodic device used throughout

Vignettes. A diatonic melody that may sound harmonically simple in a more common

context is placed on top of a more obscure harmony or chord progression. Essentially, the

diatonic melody is being reharmonized. This concept is plainly demonstrated in “Vignette

7: Currents.” On the first statement of the A-section melody, the melody appears in the

predominantly diatonic and consonant context of G Lydian.

The modal context of the first appearance of the melody maintains an overall consonant

texture. However, in the repetition that melody is recontextualized with more dissonant

and stripped down accompaniment. The harmonic context for exactly the same melody is

now obscured, living somewhere between F# dorian and F# Major. The absence of dense

harmonic information allows for the context to be less defined and perceivably dissonant

than it might be otherwise.


16

In another scenario in “Vignette 3: Chase,” previously cited in the chapter

covering structure (Figures 13-14 p.11-12), the modal ostinato in the guitar becomes the

primary melody and is doubled in the sax. This figure is not altered from before, but the

chordal context and bass fundamental change around the figure to provide new context.

Recontextualization is especially important to the motivic development of Vignettes.

Multiple themes appear in contrasting contexts in order to further develop those themes.



17



18

Chapter 4: Thematic and Motivic Material

Vignettes, despite focusing on short independent movements, still contains

elements of thematic and motivic continuity between each piece. Some of this

connectivity is more overt and other elements of unity only become apparent after

studying the score or with repeated listenings.

There are three primary themes that occur across various vignettes. The first and

most obvious reoccurring motivic material is the sample that begins the entire piece. This

sample is an electronically modified recording of an owl’s “hoot.” The “hoot” glissandos

a descending half step, and that sound is thusly repeated until the score instructs to

gradually fade out the repeating loop. The owl recording provides thematic continuity as

it is used at the beginning and end of each vignette. This not only serves a motivic

function that creates a sense of connection between the movements, but it also as a matter

of practicality allows transition time between each vignette without disrupting the flow of

the piece. The owl sample was original chosen for its pitch set, D4 and C#4, which was

applied to fit over multiple chord progression in various movements. Eventually the

practical potential of the sample was realized, and the ambient nature of it allowed it to

seemingly be applicable over any of the vignette’s introductions and outros.

The more conventional example of motivic material is carried in the

voice/vocoder part and is considered the primary motif of the piece. The motif first

appears in the sixth measure of “Vignette 1: Blink.”

Figure 20: Vignette 1 - excerpt c

19

This simple theme of two chords, built with consonant harmonies and alternating in a

specific rhythm appears in various forms in eight out of the ten vignettes. In several

cases, the appearance of the primary motif is not terribly disguised. For instance, the

initial appearance in the first vignette is a prominent entrance and is the principal melodic

material at the moment of entrance. In other cases this theme is disguised and functions

as a supplemental pad beneath a melodic line, as exemplified in “Vignette 4: Ritual.”

In Figure 21 above, the alto saxophone carries the melody and the vocal motif is

disguised as a pad. The primary motif is fully realized in the final vignette and becomes

the melodic material placed in the vocals, horns, piano, and guitar. Seen below in Figure

22, Vignettes ends with the piano alternating between the two chords of the motif. In this

manner, the primary vocal motif and owl sample serve as bookends for Vignettes,

beginning and ending the work as a whole.

Various other minor themes are intentionally and sparsely placed throughout the

vignettes. One more overtly utilized theme, although only appearing in two vignettes,

first appears in “Vignette 3: Chase” in the guitar, cited previously in discussing structural

continuity (Figure 13, p.11).



20

In its initial appearance, the figure functions as an ostinato supporting the melodic

material in the horn section. The ostinato appears again as supportive material in the

guitar in “Vignette 7: Currents,” seen below in Figure 23, although with a transposed

pitch-set from its earlier appearance.

The guitar motif retains its function as an ostinato throughout the piece and does not

develop beyond that supportive role. While this connectivity may not be immediately

obvious on an initial hearing at a live performance, the hope is that a sense of unity is

created at least on an experiential level. A similar example that may not be immediately

obvious upon initially hearing the piece appears in “Vignette 6: Painted” and “Vignette 9:

Sun Eater,” shown in Figure 24 and 25 below, respectably.



21

The melodic material, original composed for “Vignette 9: Sun Eater,” appears also as

melodic material in “Vignette 6: Painted,” although placed within a five-bar phrase,

rhythmically transformed to fit in a 12/8 meter, and fragmented between two instruments.

The initial appearance foreshadows the more conventional use of that melodic material in

the latter vignette. Another brief and simple, but potentially more noticeable, thematic

idea appears in the intro of both “Vignette 2: Woke” and ”Vignette 3: Chase” in the

double bass, shown in Figure 26 and 27 below.

The repetitive bowed sixteenth-note figure appears at the introduction of both vignettes,

both in the upper register, and both on a single note. Since these movements are

consecutive, the connectivity may be more noticeable.

The thematic and motivic material interspersed throughout Vignettes maintains

the goal of uniting the work as a whole. Instead of each movement being a song into

itself, the goal is to present a singular experience that takes the thematic concept of a



Upright



22

vignette, a brief concept that stands on its own, and creates a commonality between the

ten vignettes. The motivic material aids in creating this effect as well as the overall tone,

harmony, and compositional style on display throughout Vignettes.

23

Chapter 5: Rhythmic Concept

The overall rhythmic concept of Vignettes varies from movement to movement,

but a general sense of rhythmic inventiveness, dissonance, and novelty pervades the

work. The rhythmic model attempts to remain engaging via common transformations

such as metric modulations, cross-rhythms, varying time signatures, and more obscure

metric concepts. In the compositional process for Vignettes, however, these devices to

arose organically and not through contrivances. If complex rhythmic structures are

arrived at through the organic creative process as a natural extension of the composer’s

time feel, then that sense of rhythm will translate well to the audience despite the

complexity. If the composer starts the compositional process with the intent of

complexity or from a purely mathematical standpoint, then the music stands far less of a

chance of connecting to an audience. This is where so many younger and inexperienced

composers go wrong when initially attempting to write in mixed or odd meters. Ideally,

the writer begins by composing freely and only afterward assigns a meter. That was the

process in writing the more rhythmically complex sections of Vignettes; the music was

first composed in the organic creative process and secondly assigned meter and proper

notation.

The most common rhythmic device utilized across the various vignettes is

alternating meters. Instead of writing a piece strictly in an odd time signature, phrases are

extended or abbreviated by adding to or subtracting from one measure of the phrase. This

is most obviously demonstrated in the A section of “Vignette 3: Chase,” shown in Figure

28.

24

In this example, the four-measure phrase is extended by a beat by putting the last

measure in 4/4 time. This technique is also demonstrated throughout “Vignette 7:

Currents.” In some cases parts of the phrase are abbreviated instead of extended as seen

in “Vignette 4: Ritual,” shown in Figure 29.

Cross-rhythms that imply a shifting meter over common times are also a

commonly employed device. The first appearance of a cross-rhythm appears in “Vignette

2,” seen in Figure 30.

Figure 28: Vignette 3 - excerpt d


Figure 29: Vignette 4 - excerpt d

25

Over the written 3/4 measures, the drums imply a 12/16 feel in the division of the beats

briefly before returning to a steady three-feel.

A similar device is used in the structural form of “Vignette 5,” but this section also

utilizes an abbreviated four-bar phrase, shown in Figure 31.


Guitar

Piano

Bass

Drums

26

In this case, a two-two-three 7/16 cross rhythm is applied in m. 24 in the horn

section and the drums. The abbreviation of the final measure in the example allows the

7/16 figure to neatly fit inside the overall rhythmic framework. The opening section of

“Vignette 6,” shown in Figure 32 below, relies greatly on overlapping clapped cross-

rhythms, and the rhythms also fit within the overall structure.

Here, the meter changes with each new clapping pattern that enters. Each phrase contains

a total of sixty eighth notes, and that stable duration of time is divided into six measures

of 5/4 followed by five measures of 6/4 and then 12/8. The clapping patterns overlap

briefly as each new section starts. The 5/4 pattern is especially disorienting in the

example because it does not line back up with beat one until the end of the phrase.

However, the pattern still fits into the larger framework and re-aligns when the section

repeats the five-bar phrase. The rhythmic dissonance in the example intentional is utilized

to obscure any clear sense of the meter until the primary melody enters and the rhythm

settles.

When the cross-rhythm is sustained over a longer duration and takes precedent as

the primary rhythmic structure, a metric modulation is warranted. This only occurs once

in the entirety of Vignettes and can be found at the very end of “Vignette 3: Chase,”

shown in Figure 33.


27

The example shows the eighth note becoming the dotted eighth note. The sustained notes

in the winds easily allow this transformation to happen. Instead of the measure being

divided into three, now the bar is subdivided into two. Then that subdivision is doubled in

length so that the resulting 2/4 becomes 4/4.

Other less common rhythmic devices are employed in various movements. A

basic swing feel, while not the primary modus operandi of Vignettes, is frequently

employed to contrast even-eighth sections. By utilizing a drum machine in combination

with a drum set, it is possible to imply a double-time swing feel on top of an even-eighth

hip-hop backbeat. The swing rhythm, since it is in double time, properly fits inside of the

slower even-eight hip-hop feel. This concept is employed and prominently featured in

“Vignette 10” By utilizing this technique, the driving nature of a fast swing feel is

maintained with the danceable sensation in the hip-hop groove.

“Vignette 9: Sun Eater,” shown in Figure 34, features a specific and less obvious

rhythmic concept. A 20/16 cross-rhythm in the drums is used to imply a 4/4 swing feel.

The three-two subdivision of quintuple groupings in the drums provides a quasi-swing

feel for the rest of the band to play over. If the standard eighth-note swing-feel is based

on the triplet with a 2-1 ratio, then the quintuple 3-2 ratio is closely related.

Figure 33: Vignette 3 - excerpt c Bass

Drums

28

This concept, while uncommon, has been explored by a few select drummers including

Chris Dave with the Robert Glasper Experiment. The effect between the kick drum and

the snare drum creates a swing pulse for the rest of the band to play over, but the hi-hat

subdivision maintains the five-pattern in between the kick and the snare drum.

The most foreign rhythmic feel appears in “Vignette 8: Stasis.” This example,

shown in Figure 35, is a definite case of an organic compositional process dictating the

meter, and the result was the clearest way to notate the meter.

This four-measure rhythmic phrase is maintained throughout the entire movement, and is

admittedly convoluted in its notation. However, the resulting music is graspable while

simultaneously uneasy, and the result was the only practical way to note the rhythmic

feel.



29

Chapter 6: Texture, Color, and Instrumentation

The core instrumentation of Vignettes is an 8-piece jazz ensemble. This familiar

combination of four horns and four rhythm section players calls to mind a specific and

precedented sound in jazz. Generally, the winds cover the melody and countermelodies in

either unison or harmonized fashion, and the rhythm section provides the rhythmic and

harmonic foundation. This treatment is the most common and functional way that an 8-

piece chamber jazz ensemble is utilized. From Charles Mingus’ recordings in the 60s to

modern groups like the SF Jazz Collective, this timbral combination has lengthy

precedence. A primary objective of Vignettes was to experiment and expand upon that

familiar color palette with additional layers of vocals and more electric sounds, thus

creating a 10-piece ensemble.

However, the primary goal was to not only add exotic sounds to the ensemble but

to integrate them in an organic fashion. To avoid the impression of the additional

elements feeling gimmicky or tacked-on, these unexpected elements are either paired

with familiar timbral sounds or are introduced in a specific manner. The opening

movement, “Vignette 1: Blink,” immediately informs the listener that the sonic palette

will be varied by beginning with a repeating and ambient sample of an owl with

electronic effects on it. This introduces the listener, along with the visual element, that

the texture of the ensemble will include unexpected elements. The next layer of this

additive process is the guitar, a familiar component that contrasts the foreign nature of the

sample. The next layer is the vocoder, which initially appears with the primary motif of

Vignettes and functions more like a synth keyboard than a vocal effect in this instance.

By introducing the vocoder effect in this way, while the instrumentation is sparse, the

listener continues to gradually be introduced to the unusual components of the ensemble.

The next entrance is the saxophones and the drum machine. This particular entrance is 30

significantly and intentionally more explosive. The saxophones are utilized as a random

and pointillistic texture instead of a melodic one via indeterminate box notation, and the

distorted drum machine’s entrance comes before the drum set’s initial appearance.

Eventually, the drum set joins the drum machine and the muted brass enters along with

the bass. By introducing the acoustic ensemble into the electric sound in the opening of

the entire work, the precedent is set for sonic experimentation. If a movement with more

conventional instrumentation appeared initially, then the electric elements may seem

jarring. By opening with these elements, however, the audience knows what to expect for

the rest of the piece.

Pairing electric elements with familiar acoustic sounds also allows for a more

integrated and cohesive texture. The aforementioned pairing of drum machine and drum

set is an obvious and effective combination, but additional combinations are utilized

throughout Vignettes. The melody in “Vignette 7: Currents” is carried by the vocal part,

which in this case contains lyrics. On the melody’s repetition, it is doubled with a

saxophone to create a new combined texture and integrate the two elements. In the same

vignette, the synth keyboard is matched with the entire horn section and piano. The

trombone in particular glissandos along with the keyboard and matches the color. By

utilizing these pairings, the aim is to effectively integrate the electronic elements into the

ensemble.

Additional pairings of instruments, besides acoustic/electric combinations, also

provide less common textures. Miguel Zenon’s Alma Adentro: The Puerto Rican

Songbook was particularly influential in “Vignette 3: Chase.“ Zenon’s album features his

quartet augmented by a ten-piece woodwind ensemble, and the song “Tiemblas” features

a syncopated flute, piano, and ride cymbal line in the accompaniment. This specific color

was mimicked in the opening of “Vignette 3: Chase,” shown in Figure 36. 31

By utilizing the upper tessitura of both the piano and the drum set and pairing them with

the flute, a specific and pointed combined color is created.

Wind and rhythm section instruments are also scored outside of their traditional

roles in a jazz ensemble to produce distinctive textures. Utilizing the upper range of the

arco bass is a reoccurring texture and motif seen in both “Vignette 2: Woke” and

“Vignette 3: Chase.” This repetitive sixteenth-note texture removes the harmonic

foundation usually provided by the bass and gives it a more rhythmic function. When the

bass does descend to the lower register and resumes its normal function, the moment is

more affecting. The horn section is occasionally employed in unusual ways as well. In the

opening section of “Vignette 5: Dust,” the winds create a swirling pad by combining

sustained notes with rhythmically clashing sequences of notes in the saxophones.

The combined effect of each element is a singular and shifting harmonic texture. Between

the electronic components, acoustic pairings, and unconventional uses of instruments, the

color and textures utilized throughout Vignettes will ideally remain engaging throughout

by creating enough variance for the listener.

Figure 36: Vignette 3 - excerpt e


32

Chapter 7: Effect of Vignettes on Ongoing Work

The Vignettes project has been an opportunity to work on developing a new layer

to my compositional process and a new approach to presenting my work. I have a decent

amount of experience writing for a similar 8-piece ensemble with my hip-hop/jazz

crossover band Monkier, and I intend to allow concepts I experimented with in Vignettes

to inform future projects with that group. Primarily I want to begin to integrate the use of

live sampling, electronic drum sounds, and to put more of an emphasis on the visual

presentation in live shows with Monkier.

In integrating samples into future works, ideally I would be sampling recordings

that I have previously made myself to avoid legal issues when releasing a recording.

There are a few ways I can go about this. I can simply record various instruments on my

own and convert those into playable samples. Another possible route is recording any live

jazz gigs I play and hunting for “sample-able” portions in that music. Another potential

source of music to sample is my own previously recorded material, which could be

significantly altered and recontextualized via various electronic effects and

manipulations. The use of samples gives access to additional colors incapable of

reproduction by conventional means and also offers a familiar timbre in the hip-hop

genre.

The additional layer of electronic drums in addition to a drum set is also a way to

bridge the gap between the jazz tradition and the popular conception of drums in much of

modern music. Originally, in the advent of drum machines, they were attempting to

reproduce the sound of acoustic drums, but now electronic drums have evolved into their

own timbral color. The most effective incorporation of drum machine into an acoustic

environment, then, is to create a more electric sound on the drum machine. In Vignettes, I

achieved this by distorting a TR-808 drum machine patch on my computer and then 33

playing the sound via a MIDI keyboard. Drummer Deatoni Parks has explored a similar

approach recently. His recent album “Technoself” was a compilation of live recordings in

which he played drum set while manipulating drum samples and other samples on a

MIDI keyboard. For my own efforts with Monkier, the most effective approach may be to

incorporate a drum sample pad with programmable MIDI for the drummer to have as an

addition to the drum kit. This approach is fairly common in live hip-hop bands to

reproduce electronic drum sounds that are on the studio recordings.

Visual presentation and the theater of live performance has been an aspect I have

wanted to enhance for a time now, and I am glad I took the opportunity to experiment

with the concept more in Vignettes. In the majority of non-jazz venues, there is an

element of stage lighting and presentation that is considered. With my future works,

Monkier or otherwise, I plan to put more emphasis on the overall experience beyond just

the music. Ways I might accomplish this could be visual projections similar to Vignettes,

more staging or theatrical elements in a performance, or to collaborate with a visual artist

that could add an extra element. If the music is affecting and engaging, as high-caliber

live jazz has the utmost potential to be, then including another level of sensory

engagement can push the listener’s experience to another level.

Overall, the experience of writing, preparing, rehearsing, analyzing, writing

about, and performing Vignettes has been an opportunity to expand upon the work I have

pursued throughout my collegiate career. I hope to continue that expansion as I move

forward in my professional career.

34

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fœ fœ fœ.x .x .x .x

Esus2

Big Sweeping chords

Œ œ œ œ3

!!!

Œ œ œ œ3

I woke to

!.|

..œœ ..œœ ..œœ ..œœœ œ œ

‘

22


C#sus2

.œ .œ

!!!

.œ .œyour eyes

!.|


‘

23


Bsus2

œ œ œ œ3

!!!

œ œ œ œ3

can it

!.|


‘

24


Vignettes

49

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.˙

!!!

.˙aid

!.|

...œœœ ...œœœ ...œœœ ...œœœœ œ œ

‘

25


Esus2

.˙

!!!

.˙in

!.|


‘

26


C#sus2

.œ .œ

!!!

.œ .œloos ing

!.|


‘

27


Bsus2

.œ .œ!!!

.œ .œthese knots

!.|...œœœ ...œœœ ...œœœ ...œœœ

œ œ œ

‘

28


-

Vignettes

50

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œ

œ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|


.˙

29

.œ .œ .œ .œx x x x x x x x x x x x

Esus2

C

PPPP

P

PP

P

.œ .œœ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|


.˙

30


C#sus2

.œ .œœ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|


.˙

31


Bsus2

.œ .œœ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|...œœœ ...œœœ ...œœœ ...œœœ

œ œ œ

.˙

32


Vignettes

51

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œn .œ#œn - œn - œn -

œn - œn - œn -œn - œn - œ-

!!

.|...œœœnn ...œœœ ...œœœ ...œœœ

œn œ œ

.˙

33


Fsus2

.œ# .œnœ# - œn - œn -

œn - œn - œn -œn - œn - œn -

!!

.|...œœœnnn ...œœœ ...œœœ ...œœœ

œn œ œ

.˙n

34


Dsus2

.œn .œnœn - œ- œn -

œn - œn - œn -œ- œn - œn -

!!


œn œ œ

.˙n

35


Csus2

.œ .œœn - œn - œ-

œn - œn - œn -œn - œ- œn -

!!


œ œ œ

.˙

36

.œ .œ Jœ œ œ œx x x x x x x x x x x x

Vignettes

52

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.˙

.˙

.˙

.˙

!!!

œœ œœ œœ‰ . Rœn œ œ œ .œ

.˙n

37

.œ œ ‰ Jœ hx x x

D

fff

ffff

ff

f

3/4 Beat

!!

Œ œ œ œ3

!Œ œ œ œ3

We woke to

!!

œœn œœ œœ.œ œ œ œ œ .œ

.˙

38

œ œ hx x x

!!

.œ .œ

!.œ .œ

dull strains

!!


.˙

39

’ ’ ’Sim.

!!

˙ œ œ œ

!˙ œ œ œ

of

!!


.˙

40

’ ’ ’

Vignettes

53

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!

.˙!

.ra

!!


.˙

41

’ ’ ’

!!

.˙!

.˙pid

!!


.˙

42

’ ’ ’

!!

.˙!

.˙thoughts

!!


.˙n

43

’ ’ ’

!!!!!!!


.˙

44

’ ’ ’

- - -

Vignettes

54

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!!!!

..œœ ..œœ ..œœ ..œœœn œ œœ œ œ œ œ œ œ œ œ œ œ œ

45

’ ’ ’

!!

Œ œ œ œ3

!Œ œ œ œ3

I woke to

!!


‘

46

’ ’ ’

!!

.œ .œ

!.œ .œ

your eyes

!!


‘

47

’ ’ ’

!!

œ œ œ œ3

!œ œ œ œ

3can it

!!


‘

48

’ ’ ’

Vignettes

55

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!

.˙

!.˙

aid

!!


49

’ ’ ’

!!

.˙

!.˙

in

!!


‘

50

’ ’ ’

!!

.œ .œ

!.œ .œ

los ing

!!


‘

51

’ ’ ’

!!

.œ .œ!

.œ .œthese knots

!!


‘

52

’ ’ ’

-

Vignettes

56

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œ

!.œ .œ

!!!!

..œœ ..œœ ..œœ ..œœœn œ œ

.˙n

53


E

P

P

PP

P

.œ .œ

!.œ .œ

!!!!


.˙

54


.œ .œ

.œ .œ

.œ .œ

!!!!


.˙

55


P

.œ .œ

.œ .œ

.œ .œ

!!!!


.˙

56


Vignettes

57

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ# .œn

.œn .œ#

.œn .œn

.œ# .œn

!!!

..œœnn ..œœ ..œœ ..œœœn œ œ

.˙n

57


P

.œ# .œn

.œn .œn

.œ# .œn

.œn .œ

!!!

..œœnn ..œœ ..œœ ..œœœ œ œ

.˙n

58


.œ .œ#

.œn .œn

.œ# .œn

.œ# .œn

!!!

..œœn ..œœ ..œœ ..œœœn œ œ

.˙n

59


.œn .œn

.œn .œ

.œn .œn

.œn .œn

!!!


.˙n

60


Vignettes

58

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

..

..

..

..

..

..

..

..

..

..

..

..

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.˙

.˙

.˙

.˙

!!!!!

.˙

61

!

ffff

f

˙ Œ˙ Œ˙ Œ˙ Œ

!!!!!

˙ Œ

62

!

!!!

’ ’ ’!!

’ ’ ’’ ’ ’

’ ’ ’

63

’ ’ ’

Emaj7

Emaj7

Emaj7

Emaj7

Trombone SoloStart Space-y





F

Pizz.

!!!

’ ’ ’!!

’ ’ ’’ ’ ’

’ ’ ’

64

’ ’ ’

Vignettes

59

&&&?

&&&&?

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!

’ ’ ’!!

’ ’ ’’ ’ ’’ ’ ’

65

’ ’ ’

!!!

’ ’ ’!!

’ ’ ’’ ’ ’’ ’ ’

66

’ ’ ’

!!!

’ ’ ’!!

’ ’ ’’ ’ ’’ ’ ’

67

’ ’ ’

!!!

’ ’ ’!!

’ ’ ’’ ’ ’’ ’ ’

68

’ ’ ’

Vignettes

60

&&&?

&&&&?

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!

’ ’ ’!!

’ ’ ’’ ’ ’’ ’ ’

69

’ ’ ’

!!!

’ ’ ’!!

’ ’ ’’ ’ ’’ ’ ’

70

’ ’ ’

4xs

!.œn - .œn -

!

’ ’ ’!!!

’ ’ ’’ ’ ’

71

’ ’ ’

A aeolian

A aeolian

A aeolian

Enter 3rd X

G .œn - .œn -.œ# - .œn -

!

’ ’ ’!!!

’ ’ ’’ ’ ’

72

’ ’ ’

Enter 3rd X

Vignettes

61

&&&?

&&&&?

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ# - .œn -.œ# - .œn -

.œn - .œn -’ ’ ’

!!!

’ ’ ’’ ’ ’

73

’ ’ ’

Enter 3rd X

.œ# - .œ# -

.œn - .œ# -

.œ# - .œn -’ ’ ’

!!!

’ ’ ’’ ’ ’

74

’ ’ ’

.œn - .œ# -

.œn - .œn -

.œ# - .œn -

’ ’ ’!!!

’ ’ ’’ ’ ’

75

’ ’ ’

.œn - .œn -

.œ# - .œn -

.œn - .œ# -’ ’ ’

!!!

’ ’ ’’ ’ ’

76

’ ’ ’

Vignettes

62

&&&?

&&&&?

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

..

..

..

..

..

..

..

..

..

..

..

..

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ# - .œn -.œ# - .œn -

.œn - .œn -’ ’ ’

!!!

’ ’ ’’ ’ ’

77

’ ’ ’

.œ# - .œ# -

.œn - .œ# -

.œ# - .œn -’ ’ ’

!!!

’ ’ ’’ ’ ’

78

’ ’ ’

4xs

!!!!!!!!


79

!

Bowed

F

H

!!!!!!!!


80

!

Vignettes

63

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!!!!!!

‘

81

!

!!!!!!!!!

‘

82

!

!!!!!!!


‘

83

!

F

!!!!!!!


‘

84

!

Vignettes

64

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!!!!


‘

85

!

!!!!!!!


‘

86

!

!!!!!!!


‘

87

!

!!!!!!!


‘

88

!

Vignettes

65

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!!!!


‘

89

!

!!!!!!!


‘

90

!

!!!!!!!


‘

91

..X˙

I

F

Œ œ œ œ3

!!!

Œ œ œ œ3

We woke to

!!


‘

92

!

F

FGentle

Gentle

Vignettes

66

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œ

!!!

.œ .œdull strains

!!


‘

93

!

˙ œ œ œ

!!!

˙ œ œ œof

!!


‘

94

!

.˙

!!!

.ra

!!


‘

95

!

.˙

!!!

.˙pid

!!


‘

96

!

- - -

Vignettes

67

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.˙!!!

.˙thoughts

!!


‘

97

!

!!!!!!!


‘

98

!

!!!!!!

.|..œœ ..œœ ..œœ ..œœ

œ œ œ

‘

99


Esus2

Big Sweeping chords

Œ œ œ œ3

!!!

Œ œ œ œ3

I woke to

!.|


‘

100


C#sus2

Vignettes

68

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œ

!!!

.œ .œyour eyes

!.|


‘

101


Bsus2

œ œ œ œ3

!!!

œ œ œ œ3

can it

!.|


‘

102


.˙

!!!

.˙aid

!.|


‘

103


Esus2

.˙

!!!

.˙in

!.|


‘

104


C#sus2

Vignettes

69

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œ

!!!

.œ .œloos ing

!.|


‘

105


Bsus2

.œ .œ!!!

.œ .œthese knots

!.|...œœœ ...œœœ ...œœœ ...œœœ

œ œ œ

‘

106


.œ .œ

œ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|


.˙

107


Esus2

J

PPPP

P

PP

P

.œ .œœ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|


.˙

108


C#sus2

-

Vignettes

70

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œœ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|


.˙

109


Bsus2

.œ .œœ- œ- œ-

œ- œ- œ-œ- œ- œ-

!!

.|...œœœ ...œœœ ...œœœ ...œœœ

œ œ œ

.˙

110


.œn .œ#œn - œn - œn -

œn - œn - œn -œn - œn - œ-

!!

.|...œœœnn ...œœœ ...œœœ ...œœœ

œn œ œ

.˙

111


Fsus2

.œ# .œnœ# - œn - œn -

œn - œn - œn -œn - œn - œn -

!!


œn œ œ

.˙n

112


Dsus2

Vignettes

71

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œn .œnœn - œ- œn -

œn - œn - œn -œ- œn - œn -

!!


œn œ œ

.˙n

113


Csus2

.œ .œœn - œn - œ-

œn - œn - œn -œn - œ- œn -

!!


œ œ œ

.˙

114


.˙

.˙

.˙

.˙

!!!

œœ œœ œœ‰ . Rœn œ œ œ .œ

.˙n

115

.œ œ ‰ Jœ hx x x

K

fff

ffff

ff

f

3/4 Beat

!!

Œ œ œ œ3

!Œ œ œ œ3

We woke to

!!


.˙

116

œ œ hx x x

Vignettes

72

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!

.œ .œ

!.œ .œ

dull strains

!!


.˙

117

’ ’ ’Sim.

!!

˙ œ œ œ

!˙ œ œ œ

of

!!


.˙

118

’ ’ ’

!!

.˙!

.ra

!!


.˙

119

’ ’ ’

!!

.˙!

.˙pid

!!


.˙

120

’ ’ ’

- - -

Vignettes

73

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!

.˙!

.˙thoughts

!!


.˙n

121

’ ’ ’

!!!!!!!


.˙

122

’ ’ ’

!!!!!!!


123

’ ’ ’

!!

Œ œ œ œ3

!Œ œ œ œ3

I woke to

!!


‘

124

’ ’ ’

Vignettes

74

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!

.œ .œ

!.œ .œ

your eyes

!!


‘

125

’ ’ ’

!!

œ œ œ œ3

!œ œ œ œ

3can it

!!


‘

126

’ ’ ’

!!

.˙

!.˙

aid

!!


127

’ ’ ’

!!

.˙

!.˙

in

!!


‘

128

’ ’ ’

Vignettes

75

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!

.œ .œ

!.œ .œ

los ing

!!


‘

129

’ ’ ’

!!

.œ .œ!

.œ .œthese knots

!!


‘

130

’ ’ ’

.œ .œ

!.œ .œ

!!!!

..œœ ..œœ ..œœ ..œœœn œ œ

.˙n

131


L

P

P

PP

P

.œ .œ

!.œ .œ

!!!!


.˙

132


-

Vignettes

76

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œ

.œ .œ

.œ .œ

!!!!


.˙

133


P

.œ .œ

.œ .œ

.œ .œ

!!!!


.˙

134


.œ# .œn

.œn .œ#

.œn .œn

.œ# .œn

!!!

..œœnn ..œœ ..œœ ..œœœn œ œ

.˙n

135


P

.œ# .œn

.œn .œn

.œ# .œn

.œn .œ

!!!

..œœnn ..œœ ..œœ ..œœœ œ œ

.˙n

136


Vignettes

77

&&&?

&&&&??

ã

bbbb

bbbbbbbbbb# # # # ## # # # ## # # # ## # # # ## # # # ## # # # ## # # # #

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ .œ#

.œn .œn

.œ# .œn

.œ# .œn

!!!


.˙n

137


.œn .œn

.œn .œ

.œn .œn

.œn .œn

!!!


.˙n

138


.˙

.˙

.˙

.˙

!!!!!

.˙

139

!

ffff

f

˙ Œ˙ Œ˙ Œ˙ Œ

!!!!!

˙ Œ

140

!

Vignettes

78

&&&&?

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&&

?

ã

# # #

# ## #

44

44

44

44

44

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44

Conductor/Distorted Flute/Drum Machine

Alto Sax

Tenor Sax

Trumpet in Bb

Trombone

Electric Guitar

Electric Bass

Drum Set

Piano 2

Voice

Vocoder 1

!U

!U

!U

!U

!U

!U

! &

!U

!U

!U

1

!U

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Owl Sample (~:15)

Allegro q = c 120

œ. ‰ Jœb .Œ " .Jœ.

!!!!!!

!œ. ‰ Jœb .

Œ " .Jœ.

!

2

x ‰ jx Œ " .jx

Sample Continues

F

F

F

Flute

‰ Jœ. ‰ . Rœ. Œ œ.

!!!!!!

!‰ Jœ. ‰ . Rœ. Œ œ.

!

3

‰ jx ‰ . rx Œ x

œ. ‰ Jœ. Œ " .Jœ.

!!!!!!

!œ. ‰ Jœ. Œ " .Jœ.

!

4

x ‰ jx Œ " .jx

VignettesZac EvansScore

Vignette 3: Chase

79

&&&&?

&&

&&

?

ã

# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

‰ Jœ# . ‰ . Rœb .Œ " .Jœ.

!!!!!!

!‰ Jœ# . ‰ . Rœb .

Œ " .Jœ.

!

5

‰ jx ‰ . rx Œ " .jx

.œ. œ. Œ " .Jœ. ‰ . Rœ.

!!!!!!

!.œ. œ. Œ " .Jœ. ‰ . Rœ.

!

6

.x x Œ " .jx ‰ . rx

" .Jœ. œ. " .Jœb .Œ

!!!!!!

!" .Jœ. œ. " .Jœb .

Œ

!

7

" .jx x " .jx Œ

œ. œ. ‰ . Rœ. Œ " .Jœ.

!!!!!!

!œ. œ. ‰ . Rœ. Œ " .Jœ.

!

8

x x ‰ . rx Œ " .jx

Vignettes

80

&&&&?

&&

&&

?

ã

# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

#

.œ. œ. Œ " Rœ. ‰ œ.

!!!!!!

!.œ. œ. Œ " Rœ. ‰ œ.

!

9

.x x Œ " rx ‰ x

œ. ‰ Jœb .Œ " .Jœ.

!!!!

wDo

ww

!œ. ‰ Jœb .

Œ " .Jœ.

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

10

’ ’ ’ ’S ‰ jS Œ " .jSCross-stick on downbeats

Ride Cont.

A

F

F

Bowed

‰ Jœ. ‰ . Rœ. Œ œ.

!!!!

˙ ˙Do

˙ ˙

!‰ Jœ. ‰ . Rœ. Œ œ.


11

’ ’ ’ ’‰ jS ‰ . rS Œ S

œ. ‰ Jœ. Œ " .Jœ.

!!!!

wDo

ww

!œ. ‰ Jœ. Œ " .Jœ.


12

’ ’ ’ ’S ‰ jS Œ " .jS

Vignettes

81

&&&&?

&&

&&

?

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# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

(#)

‰ Jœ# . ‰ . Rœb .Œ " .Jœ.

!!!!

˙ ˙#Do

˙ ˙##

!‰ Jœ# . ‰ . Rœb .

Œ " .Jœ.


13

’ ’ ’ ’‰ jS ‰ . rS Œ " .jS

.œ. œ. Œ " .Jœ. ‰ . Rœ.

!!!!

wDo

ww

!.œ. œ. Œ " .Jœ. ‰ . Rœ.


14

’ ’ ’ ’.S S Œ " .jS ‰ . rS

" .Jœ. œ. " .Jœb .Œ

!!!!

˙ ˙Do

˙ ˙

!" .Jœ. œ. " .Jœb .

Œ


15

’ ’ ’ ’" .jS S " .jS Œ

œ. œ. ‰ . Rœ. Œ " .Jœ.

!!!!

wDo

ww

!œ. œ. ‰ . Rœ. Œ " .Jœ.


16

’ ’ ’ ’S S ‰ . rS Œ " .jS

Vignettes

82

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&&

&&

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# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

(#)

.œ. œ. Œ " Rœ. ‰ œ.

!Ó Œ œ œ œ œ

!!

˙ ˙#Do

˙ ˙##

!.œ. œ. Œ " Rœ. ‰ œ.


17

’ ’ ’ ’.S S Œ " rS ‰ S

legato

legato

F

œ. ‰ Jœb .Œ " .Jœ.

Œ œ œ œ œb ÓÓ Œ œ œ œ œ

!!

wDo

ww

!œ. ‰ Jœb .

Œ " .Jœ.


18

’ ’ ’ ’S ‰ jS Œ " .jS

F

B

‰ Jœ. ‰ . Rœ. Œ œ.

‰ Jœ " .Jœ œ .œ ŒÓ ‰ œ œ œ

!!

˙ ˙Do

˙ ˙

!‰ Jœ. ‰ . Rœ. Œ œ.


19

’ ’ ’ ’‰ jS ‰ . rS Œ S

œ. ‰ Jœ. Œ " .Jœ.

.œ œ Œ ‰ œ œ ŒŒ œ œ œ œ

Œ .œ œ

!!

wDo

ww

!œ. ‰ Jœ. Œ " .Jœ.


20

’ ’ ’ ’S ‰ jS Œ " .jS

Vignettes

83

&&&&?

&&

&&

?

ã

# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

(#)

‰ Jœ# . ‰ . Rœb .Œ " .Jœ.

Ó Œ ‰ œ œœ œ œ .œ œ œ œ œ

Œ!!

˙ ˙#Do

˙ ˙##

!‰ Jœ# . ‰ . Rœb .

Œ " .Jœ.


21

’ ’ ’ ’‰ jS ‰ . rS Œ " .jS

.œ. œ. Œ " .Jœ. ‰ . Rœ.œb Œ ‰ Jœ ŒŒ œ œ œ œ

Œ œ œ

!!

wDo

ww

!.œ. œ. Œ " .Jœ. ‰ . Rœ.


22

’ ’ ’ ’.S S Œ " .jS ‰ . rS

" .Jœ. œ. " .Jœb .Œ

Ó Œ ‰ œ œœ .œ .œ œ œ œ œ

Œ!!

˙ ˙Do

˙ ˙

!" .Jœ. œ. " .Jœb .

Œ


23

’ ’ ’ ’" .jS S " .jS Œ

œ. œ. ‰ . Rœ. Œ " .Jœ.

œb Œ .œ œ œ œ

‰ " Rœ œ œ œbÓ

!!

wDo

ww

!œ. œ. ‰ . Rœ. Œ " .Jœ.


24

’ ’ ’ ’S S ‰ . rS Œ " .jS

Vignettes

84

&&&&?

&&

&&

?

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# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

(#)

.œ. œ. Œ " Rœ. ‰ œ.œ Œ ˙b

œ œ œ œb œ .œ ˙

!!

˙ ˙#Do

˙ ˙##

!.œ. œ. Œ " Rœ. ‰ œ.


25

’ ’ ’ ’.S S Œ " rS ‰ S

œ. ‰ Jœb .Œ " .Jœ.

Œ œ œ œ œb ÓÓ Œ œ œ œ œ

!!

wDo

ww

|œ. ‰ Jœb .

Œ " .Jœ.

ww

26

’ ’ ’ ’S ‰ jS Œ " .jS

G maj9(#11)

Ride Cont.

‰ Jœ. ‰ . Rœ. Œ œ.

‰ Jœ " .Jœ œ .œ ŒÓ ‰ œ œœ œ

!!

˙ ˙Do

˙ ˙

|‰ Jœ. ‰ . Rœ. Œ œ.

ww

27

’ ’ ’ ’‰ jS ‰ . rS Œ S

œ. ‰ Jœ. Œ " .Jœ.

.œ œ Œ ‰ œ œ ŒŒ œ œ œ œ

Œ .œ œ

!!

wDo

ww

|œ. ‰ Jœ. Œ " .Jœ.

ww##

28

’ ’ ’ ’S ‰ jS Œ " .jS

D maj7/F #

Vignettes

85

&&&&?

&&

&&

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# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

‰ Jœ# . ‰ . Rœb .Œ " .Jœ.

Ó Œ ‰ œ œœ œ œ .œ œ œ œ œ

Œ!!

˙ ˙#Do

˙ ˙##

|‰ Jœ# . ‰ . Rœb .

Œ " .Jœ.

ww

29

’ ’ ’ ’‰ jS ‰ . rS Œ " .jS

.œ. œ. Œ " .Jœ. ‰ . Rœ.œb Œ ‰ Jœ ŒŒ œ œ œ œ

Œ œ œ

!!

wDo

ww

|.œ. œ. Œ " .Jœ. ‰ . Rœ.

ww

30

’ ’ ’ ’.S S Œ " .jS ‰ . rS

D maj7

" .Jœ. œ. " .Jœb .Œ

Ó Œ ‰ œ œœ .œ .œ œ œ œ œ

Œ!!

˙ ˙Do

˙ ˙

|" .Jœ. œ. " .Jœb .

Œ

ww

31

’ ’ ’ ’" .jS S " .jS Œ

œ. œ. ‰ . Rœ. Œ " .Jœ.

œb Œ .œ œ œ œ

‰ " Rœ œ œ œbÓ

!!

wDo

ww

|œ. œ. ‰ . Rœ. Œ " .Jœ.

ww##

32

’ ’ ’ ’S S ‰ . rS Œ " .jS

F #-7

Vignettes

86

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# # #

# ## #

43

43

43

43

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44

44

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

.œ. œ. Œ Ó ãœ Œ ˙b

œ œ œ œb œ .œ ˙

!!

˙ ˙#Do

˙ ˙##

|.œ. œ. Œ " Rœ. ‰ œ.

ww

33

’ ’ ’ ’.S S Œ " rS ‰ S

œœ

œ " œœ

œ œ œ œ

Œ ‰ œ œn œ œ# œ œbŒ ‰ œ œn œ œ# œ œb

Œ ‰ œ œn œ œ# œ œb

Œ ‰ œ œb œ œ# œ œb

!!

œ œ œ œ .œ œœä œ œb ä œ

’ ’.œ œ

34

.œ œ ‰ Jœ œ

E-7

Let ring when possible

Grooving Ride

C

Distorted 808

œœ

œ " œœ

œ œ œ œ

œ œ œ œ œ# œ œ .œ# œœ œ œ œ œn œ œ .œ# œœ œ œ œ œn œ œ .œ# œœ œ œ œ œb œ œ .œn œ

!!

œ œ œ œ .œ œ

" .Jœä œ œä .œ œä

’ ’.œ œ

35

.œ œ ‰ Jœ œ

4fr.

œœ

œ " œœ

œ œ œ œ

.œ œ œ œ œ

.œ œ œ œ œ

.œ œ œ œ œ

.œ œ œ œ œ

!!

œ œ œ œ .œ œœ œä œä

’ ’.œ œ

36

.œ œ ‰ Jœ œ

Vignettes

87

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&&

&&

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# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

D. S.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

œœ

œ " œœ

œœ

œ œ œ œ

œ œ# œ œ œ# œ# œn œ œ# œ œbœ œb œ œ œn œn œ# œ œ# œ œb

œ œb œ œ œn œn œ# œ œ# œ œbœ œb œ œ œb œn œ# œ œn œ œb

!!

.œ# œ œ œ œ .œ œœ œä œ " .Jœä œ œ# ä

.Û Û Û Û Û .Û Û

37

.œ œ ‰ Jœ " .Jœ œ

B sus

œœ

œ " œœ

œ œ œ œ

" œb . œ. " œ. œ. œn - œ-

" œb . œ. " œ. œ. œn - œ-

" œb . œ. " œ. œ. œn - œ-

" œb . œ. " œ. œ. œn - œ-

!!

œ œ œ œ .œ œ.œ œb ä œ œ .œä

’ ’.œ œ

38

’ ’ ’

E-7


sim.

œœ

œ " œœ

œ œ œ œ

œ- œ œ œb " œ. œ. œ. œ# œœ- œ œ œb " œ. œ. œ. œn œœ- œ œ œb " œ. œ. œ. œn œœ- œ œ œb " œ. œ. œ. œb œ

!!

œ œ œ œ .œ œ.œä œä œ " .Jœä

’ ’.œ œ

39

’ ’ ’

œœ

œ " œœ

œ œ œ œ

‰ Jœ. " .Jœ. œ

‰ Jœ. " .Jœ. œ

‰ Jœ. " .Jœ. œ

‰ Jœ. " .Jœ. œ

!!

œ œ œ œ .œ œ.œ œä œ .œä œä

’ ’.œ œ

40

’ ’ ’

Vignettes

88

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44

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43

43

43

43

43

43

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43

43

43

44

44

44

44

44

44

44

44

44

44

44

D. S.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

œœ

œ " œœ

œœ

œ œ œ œ

.œä œ ‰ Jœ œ .œ œä




!!

.œ# œ œ œ œ .œ œ

" .Jœb ä œ œä œä .œ œä


41

’ ’ ’ ’

B sus

œœ

œ " œœ

œ œ œ œ

œä ‰ œ œn œ œ# œ œbœä ‰ œ œn œ œ# œ œbœä ‰ œ œn œ œ# œ œbœä

‰ œ œb œ œ# œ œb

!!

œ œ œ œ .œ œœ " .Jœ .œ œ

’ ’.œ œ

42

!

E-7

œœ

œ " œœ

œ œ œ œ

œ œ œ œ œ# œ œ .œ# œœ œ œ œ œn œ œ .œ# œœ œ œ œ œn œ œ .œ# œœ œ œ œ œb œ œ .œn œ

!!

œ œ œ œ .œ œœ " .Jœ œ

’ ’.œ œ

43

!

œœ

œ " œœ

œ œ œ œ

.œ œ œ œ œ

.œ œ œ œ œ

.œ œ œ œ œ

.œ œ œ œ œ

!!

œ œ œ œ .œ œœ œ œb œ

’ ’.œ œ

44

!

Vignettes

89

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&&

&&

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# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

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43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

D. S.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

œœ

œ " œœ

œœ

œ œ œ œ

œ œ# œ œ œ# œ# œn œ œ# œ œbœ œb œ œ œn œn œ# œ œ# œ œb

œ œb œ œ œn œn œ# œ œ# œ œbœ œb œ œ œb œn œ# œ œn œ œb

!!


" .Jœ œ œ .œ œ œ


45

!

B sus

œœ

œ " œœ

œ œ œ œ

" œb œ " œ œ œn œ




!!

œ œ œ œ .œ œœ œ œ œ

’ ’.œ œ

46

!

E-7

œœ

œ " œœ

œ œ œ œ

œ œ œ œb " œ œ œ œ# œœ œ œ œb " œ œ œ œn œœ œ œ œb " œ œ œ œn œœ œ œ œb " œ œ œ œb œ

!!

œ œ œ œ .œ œœ " .Jœ œ œ#

’ ’.œ œ

47

!

œœ

œ " œœ

œ œ œ œ

‰ Jœ. " .Jœ. œ

‰ Jœ. " .Jœ. œ

‰ Jœ. " .Jœ. œ

‰ Jœ. " .Jœ. œ

!!

œ œ œ œ .œ œ.œ œb œ œ .œ

’ ’.œ œ

48

!

Vignettes

90

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&&

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# # #

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44

44

44

44

44

44

44

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44

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43

43

43

43

43

43

43

43

..

..

..

..

..

..

..

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..

..

44

44

44

44

44

44

44

44

44

44

44

D. S.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

œœ

œ " œœ

œœ

œ œ œ œ &





!!


.œ œ œ " .Jœ .œ œ


49

!

B sus

!!!!

’ ’ ’!!

!

’ ’ ’

’ ’.œ œ

50

.œ œ ‰ Jœ œ

E-7

E-7

E-7

Solo

Grooving Ride

Comp.

Improvise clapping patterns partway through solo




D

!!!!

’ ’ ’!!

!

’ ’ ’

’ ’.œ œ

51

.œ œ ‰ Jœ œ

!!!!

’ ’ ’!!

!

’ ’ ’

’ ’.œ œ

52

.œ œ ‰ Jœ œ

Vignettes

91

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&&

&&

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# # #

# ## #

44

44

44

44

44

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44

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43

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43

43

43

43

43

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43

43

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44

44

44

44

44

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!

’ ’ ’ ’!!

!

’ ’ ’ ’


53

.œ œ ‰ Jœ " .Jœ œ

B sus

B sus

B sus

!!!!

’ ’ ’!!

!

’ ’ ’

’ ’.œ œ

54

’ ’ ’

E-7

E-7

E-7

sim.

!!!!

’ ’ ’!!

!

’ ’ ’

’ ’.œ œ

55

’ ’ ’

!!!!

’ ’ ’!!

!

’ ’ ’

’ ’.œ œ

56

’ ’ ’

Vignettes

92

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# # #

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44

44

44

44

44

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44

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43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!

’ ’ ’ ’!!

!

’ ’ ’ ’


57

’ ’ ’ ’

B sus

B sus

B sus

OpenNext Section Cued !

œ œ œ œ .œ œ

!!

.˙

.˙Ah

!

œ œ œ œ .œ œ.....˙˙˙

.|

58

’ ’ ’

C 69

C 69

w/ guitarbackground part

E

F

Ff

!œ œ œ œ .œ œ

!!

.˙

.˙!

œ œ œ œ .œ œ.....

˙˙˙#

.|

59

’ ’ ’

D(add4)

/F #

D(add4)

/F #

!œ œ œ œ .œ œ

!!

˙ œ .œ#

.˙!

œ œ œ œ .œ œ

....˙˙#.|

60

’ ’ ’

A 7/C#

A 7/C#

Vignettes

93

&&&&?

&&

&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!.œ# œ œ œ œ .œ œ#

!!

w

w!

.œ# œ œ œ œ .œ œwwwww##


61

’ ’ ’ ’

/G #E(add4)

/G #E(add4)

!œ œ œ œ .œ œ

!!

.˙

.˙Ah

!

œ œ œ œ .œ œ.....˙˙˙

.|

62

’ ’ ’

G 69

G 69

!œ œ œ œ .œ œ

!!

.˙

.˙!

œ œ œ œ .œ œ.....˙˙˙

.|

63

’ ’ ’

F maj9

F maj9

!œ œ œ œ .œ œ

!!

˙ œ .œ

.˙!

œ œ œ œ .œ œ.....˙˙˙

.|

64

’ ’ ’

C 69

/E

C 69

/E

Vignettes

94

&&&&?

&&

&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!.œ# œ œ œ œ .œ œ œ œ œ

Ó ‰ œ# œ œ œ œ œÓ ‰ œ# œ œ œ œ œw

w!

.œ# œ œ œ œ .œ œ.....˙˙˙# Œ


65

’ ’ ’ ’

C maj7(#11)

C maj7(#11)

ff

!œ œ œ œ .œ œ

.˙

.˙

.˙

.˙Ah

!

œ œ œ œ .œ œ.....˙˙˙

.|

66

’ ’ ’

C 69

C 69

!œ œ œ œ .œ œ

.˙

.œ .œ#

.˙

.˙!

œ œ œ œ .œ œ.....

˙˙˙#

.|

67

’ ’ ’

D(add4)

/F #

D(add4)

/F #

!œ œ œ œ .œ œ

.˙

.˙˙ œ .œ#

.˙!

œ œ œ œ .œ œ

....˙˙#.|

68

’ ’ ’

A 7/C#

A 7/C#

Vignettes

95

&&&&?

&&

&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!.œ# œ œ œ œ .œ œ#

w

˙ ˙#w

w!

.œ# œ œ œ œ .œ œwwwww##


69

’ ’ ’ ’

/G #E(add4)

/G #E(add4)

!œ œ œ œ .œ œ

.˙

.˙

.˙

.˙Ah

!

œ œ œ œ .œ œ.....˙˙˙

.|

70

’ ’ ’

G 69

G 69

Grooving Ride

!œ œ œ œ .œ œ

.˙

.œ .œ

.˙

.˙!

œ œ œ œ .œ œ.....˙˙˙

.|

71

’ ’ ’

F maj9

F maj9

!œ œ œ œ .œ œ

.˙

.˙˙ œ .œ

.˙!

œ œ œ œ .œ œ.....˙˙˙

.|

72

’ ’ ’

C 69

/E

C 69

/E

Vignettes

96

&&&&?

&&

&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!.œ# œ œ œ œ .œ œ

w

ww

w!

.œ# œ œ œ œ .œ œ.....˙˙˙# Œ


73

’ ’ ’ ’

C maj7(#11)

C maj7(#11)

!˙ .œ œn

.˙b

.˙n

.˙b

!!

!!

.˙#

74

’ ’ ’Just ride cymbal, keep time

F

ff

ff

f

!˙b .œ œb

.˙b

.˙n

.˙b

!!

!!

.˙

75

’ ’ ’

!.˙n.˙n

.˙

.˙

!!

!!

.˙

76

’ ’ ’

Vignettes

97

&&&&?

&&

&&

?

ã

# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!.˙.˙

.˙n

.˙b

!!

!!

.˙#

77

’ ’ ’

!˙n, .œ œb

.˙b,

.˙b,

.˙,

!!

!!

.˙#

78

’ ’ ’

!˙b .œ œ

.˙b

.˙b

.˙b

!!

!!

.˙

79

’ ’ ’

!

.˙#

.˙b

.˙b

.˙

!!

!!

.˙b

80

’ ’ ’

Vignettes

98

&&&&?

&&

&&

?

ã

# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!

.˙#

.˙

.˙

.˙b

!!

!!

.˙

81

’ ’ ’

!

.˙#,

.˙b,

.˙b,

.˙,

!!

!!

.˙b

82

’ ’ ’

!

.˙#

.˙

.˙

.˙b

!!

!!

.˙

83

’ ’ ’

!

.˙#

.˙b

.˙b

.˙

!!

!!

.˙b

84

’ ’ ’

Vignettes

99

&&&&?

&&

&&

?

ã

# # #

# ## #

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!

.˙#

.˙

.˙

.˙b

!!

!!

.˙

85

’ ’ ’

!

.˙#,

.˙b,

.˙b,

.˙,

!!

!!

.˙b

86

.x .x .x .x

!

.˙#

.˙

.˙

.˙b

!!

!!

.˙

87

.x .x .x .x

!

.˙#

.˙b

.˙b

.˙

!!

!!

.˙b

88

.x .x .x .x

Vignettes

100

&&&&?

&&

&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!

.˙#

.˙

.˙

.˙b

!!

!!

.˙

89

.x .x .x .x

!

˙#,

˙˙b

,˙

˙b,

˙˙, ˙b

!!

!!

˙b ˙

90

’ ’ ’ ’Laid back (swing x)cross stick hip-hop, eights in ride

(‰.=‰)G

!

˙# ˙˙b ˙

˙b ˙˙ ˙b

!!

!!

˙b ˙

91

’ ’ ’ ’

!

˙# ˙˙b ˙

˙b ˙˙ ˙b

!!

!!

˙b ˙

92

’ ’ ’ ’

Vignettes

101

&&&&?

&&

&&

?

ã

# # #

# ## #

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Fl.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!

˙# ˙˙b ˙

˙b ˙˙ ˙b

!!

!!

˙b ˙

93

’ ’ ’ ’

!!!!!!!

!!

˙b ˙

94

’ ’ ’ ’

Rap w/effects on voice(Double 5th below)

Vary it up, lay back

!!!!!!!

!!

˙b ˙

95

’ ’ ’ ’

Vamp Until Cued

Vignettes

102

&&&&?

&?

&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Conductor/Alto Sax

Alto Sax

Tenor Sax

Trumpet in Bb

Trombone

Electric Guitar

Bass Guitar

Drum Set

Piano/Keyboard 2

Voice 1

!!!!!!!!!

!

1

‰ Jœ œ .œ œ ‰ Jœw/ Steady es on low tom rim

F

!!!!!!!!!

!

2

‰ Jœ œ œ .œ ‰ Jœ

!!!!!!!!!

!

3

œ .œ œ ‰ Jœ .œ œ

!!!!!!!!!

!

4

œ .œ œ œ .œ Œ

Vamp until cued

VignettesZac Evans

Score

Vignette 4: Ritual

103

&&&&?

&?

&&

?

ã

# # #

# ## #

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!

Œ ‰ Jœ œä ŒŒ ‰ Jœ œä Œ

!! &

œœ ˙ ‰ jœœÛ | ‰ JÛ

‰ Jœ œ œ ‰ .œ œ ‰ Jœ

5

‰ Jœ œ .œ œ ‰ Jœ

G 7 A-7 G 7Include Roots (bass is doing something else)

Cont. sim

A

FF

F

F

F

!!!

Œ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰

!!

jœœ œœ Jœœ œœ ..œœ

JÛ Û JÛ Û .Û

œ œ œ .œ

6

‰ Jœ œ œ .œ

A-7 D-6 C maj7

!!!

Œ ‰ œ œ œ œ ‰ ŒŒ ‰ œ œ œ œ ‰ Œ

!!

œœ œœ Jœœ œœ jœœÛ Û JÛ Û JÛ


7


G 7 A-7 G 7 F maj7

!!!

Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰

!!

ww|

’œ œ œ œ

8

.œ œ œ .œ œ œ .œ

Vignettes

104

&&&&?

&&&&

?

ã

# # #

# ## #

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!


!!



9


G 7 A-7 G 7

!!!

Œ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰

!!


JÛ Û JÛ Û .Û

œ œ œ .œ

10

‰ Jœ œ œ .œ

A-7 D-6 C maj7

!!!


!!



11


G 7 A-7 G 7 F maj7

!!!

Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰

!!

ww|

’œ œ œ œ

12


Vignettes

105

&&&&?

&&&&

?

ã

# # #

# ## #

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!œ œ# œä Œ Œ œ œ œ œœ œ# œä Œ Œ œ œ œ œ

Œ ‰ Jœ œ# ä ŒŒ ‰ Jœ# œä Œ

!!



13


A 7 G 69 A 7

B

FF

!!!

Œ œ- œ# . ‰ œ- œ. ‰Œ œ# - œ. ‰ œ- œ. ‰

!!

jœœ œœ jœœ œœ ..œœ#

JÛ Û JÛ Û

œ œ œ .œ

14

‰ Jœ œ œ .œ

G 69

!œ œ# œä Œ Œ œ œ œ# œ

œ œ# œä Œ Œ œ œ œ# œ


!!

œœ œœ jœœ œœ jœœÛ Û JÛ Û JÛ


15


E-11A 7 G 69 A 7

!‰ œ- œ. ‰ œ- œ# . ‰ œ- œ. ‰- œ# - œ.

‰ œ- œ. ‰ œ- œ# . ‰ œ- œ. ‰- œ# - œ.

Œ œ# - œ. ‰ œ- œ. ‰ œ- œ# . ‰Œ œ- œ. ‰ œ- œ# .

‰ œ- œ.‰

!!

ww|

’œ œ# œ œ

16


Vignettes

106

&&&&?

&&&&

?

ã

# # #

# ## #

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!œ œ# œä Œ Œ œ œ œ œœ# œ œä Œ Œ œ œ œ œ


!!



17


A 7 G 69 A 7

!!!

Œ œ- œ# . ‰ œ- œ. ‰Œ œ# - œ. ‰ œ- œ. ‰

!!

jœœ œœ jœœ œœ ..œœ#

JÛ Û JÛ Û

œ œ œ .œ

18

‰ Jœ œ œ .œ

G 69


œ# œ œä Œ Œ œ# œ œ œ


!!

œœ œœ jœœ œœ jœœÛ Û JÛ Û JÛ


19


E-11A 7 G 69 A 7

!‰ œ- œ. ‰ œ- œ# . ‰ œ- œ. ‰- œ- œ.

‰ œ- œ# . ‰ œ- œ. ‰ œ- œ. ‰- œ- œ# .

Œ œ# - œ. ‰ œ- œ. ‰ œ- œ# . ‰Œ œ- œ. ‰ œ- œ# .

‰ œ- œ.‰

!!

ww|

’œ œ# œ œ

20


Vignettes

107

&&&&?

&&&&

?

ã

# # #

# ## #

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!.˙ ‰ Jœ.˙ ‰ Jœ


!!



21


G 7 A-7 G 7

C

!.˙.˙

Œ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰

!!


JÛ Û JÛ Û .Û

œ œ œ .œ

22

‰ Jœ œ œ .œ

A-7 D-6 C maj7

!.˙ ‰ Jœ.˙ ‰ Jœ


!!



23


G 7 A-7 G 7 F maj7

!.˙ Œ.˙ Œ

Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰

!!

ww|

’œ œ œ œ

24


Vignettes

108

&&&&?

&&&&

?

ã

# # #

# ## #

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!.˙ ‰ Jœ.˙ ‰ Jœ


!!



25


G 7 A-7 G 7

!.˙.˙

Œ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰

!!


JÛ Û JÛ Û .Û

œ œ œ .œ

26

‰ Jœ œ œ .œ

A-7 D-6 C maj7

!.˙ ‰ Jœ.˙ ‰ Jœ


!!



27


G 7 A-7 G 7 F maj7

!.˙ Œ.˙ Œ

Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰

!!

ww|

’œ œ œ œ

28


Vignettes

109

&&&&?

&&&&

?

ã

# # #

# ## #

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!Ó œ œ œ œ

Ó œ œ œ œ

!!

wDo

www!

Œ Û |

Œœœ ˙

29

Œ f Œ œ œ

A5 G5

Double XSwing ŒÂ = Œ Ç‰

Swing Pattern

cross-stick Tom

D

ff

f

ff

f

!œ# œ œ œ œ œ œœ# œ œ œ œ œ œ

!!

wwww

!.Û JÛ Û Û..œœ Jœœ œœ œœ

30

Œ f Œ œ œ

A5 B b5 A5

!œ œ œ œ# œ œ œ œnœ œ œ œ# œ œ œ œn

!!

wDo

www!

Û Û JÛ .Ûœœ œœ Jœœ ..œœ

31

Œ f Œ œ œ

G5 A5

!œ œ‹ .

œ œ# .

œ- œ# .œ- œ# .

!!!

|˙

32

Œ f

F #5

Let beat flip

ff

~~~~~~~~

Vignettes

110

&&&&?

&&&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!˙ œ œ œn œ˙ œ œ œn œ

!!

wDo

www!

Œ Û |

Œœœ ˙

33

Œ œ œ Œ f

A5 G5

!

Jœ# œ Jœ œ œ œn


!!

wwww


34

Œ œ œ Œ f

A5 B b5 A5

!œ œ œn œ œ œœ œ œn œ œ œ

!!

wDo

www!


35

Œ œ œ Œ f

G5 A5

!œ œ# œ-œ œ# œ-

œ œ œ# -œ# œ œ-

!!!

|˙

36

Œ œ œ

F #5

Flip back

Vignettes

111

&&&&?

&&&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!Ó œ œ œ œ

Ó œ œ# œ œ

!!

wDo

www!

Œ Û |

Œœœ ˙

37

Œ f Œ œ œ

A5 G5

E

!œ# œ œ œ œ œ œœ# œ œ œ œ œ œ

!!

wwww


38

Œ f Œ œ œ

A5 B b5 A5

!œ œ œ œ# œ œ œ œnœ œ œ# œ# œ œ œ œn

!!

wDo

www!


39

Œ f Œ œ œ

G5 A5

!œ œ‹ .

œ œ.

œ- œ# .œ- œ# .

!!!

|˙

40

Œ f

F #5

Let beat flip

~~~~

~~~~

Vignettes

112

&&&&?

&&&&

?

ã

# # #

# ## #

44

44

44

44

44

44

44

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44

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c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!˙ œ œ œn œ˙ œ œ œ œ

!!

wDo

www!

Œ Û |

Œœœ ˙

41

Œ œ œ Œ f

A5 G5

!



!!

wwww


42

Œ œ œ Œ f

A5 B b5 A5

!œ œ œn œ œ œ

œ œ œn œ œ œ#

!!

wDo

www!


43

Œ œ œ Œ f

G5 A5

!œ œ# œ-œ œ# œ# -

œ œ œ# -œ# œ œ-

!!!

|˙

44

Œ œ œ

F #5

Flip back

Vignettes

113

&&&&?

&&&&

?

ã

# # #

# ## #

44

44

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c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!Ó Œ œ œ œ œ

Ó Œ œ œ œ œ


!!

œœ ˙ ‰ Jœœ

Û | ‰ JÛ


45


A 7 G 69

Half time (original time)Straight e

F

FFFFF

F

F

FF

!!!

Œ œ- œ# . ‰ œ- œ. ‰Œ œ# - œ. ‰ œ- œ. ‰

!!

Jœœ œœ Jœœ œœ ..œœ#

JÛ Û JÛ Û

œ œ œ .œ

46

‰ Jœ œ œ .œ

A 7G 69


œ# œ œä Œ Œ œ# œ œ œ


!!

œœ œœ Jœœ œœ Jœœ

Û Û JÛ Û JÛ


47


A 7 G 69

!‰ œ- œ. ‰ œ- œ# . ‰ œ- œ. ‰- œ- œ.

‰ œ- œ# . ‰ œ- œ. ‰ œ- œ. ‰- œ- œ# .

Œ œ# - œ. ‰ œ- œ. ‰ œ- œ# . ‰Œ œ- œ. ‰ œ- œ# .

‰ œ- œ.‰

!!

ww

|

’œ œ# œ œ

48


E-11A 7

Vignettes

114

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?

ã

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c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!.˙ ‰ Jœ.˙ ‰ Jœ


!!

œœ ˙ ‰ Jœœ

Û | ‰ JÛ


49


G 7 A-7G 7

!.˙.˙

Œ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰

!!

Jœœ œœ Jœœ œœ ..œœ

JÛ Û JÛ Û .Û

œ œ œ .œ

50

‰ Jœ œ œ .œ

D-6A-7 C maj7

!.˙ ‰ Jœ.˙ ‰ Jœ


!!


Û Û JÛ Û JÛ


51


G 7 A-7 G 7 F maj7

!.˙ Œ.˙ Œ

Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰Œ œ- œ. ‰ œ- œ. ‰ œ- œ. ‰

!!

ww

|

’œ œ œ œ

52


Vignettes

115

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?

ã

# # #

# ## #

c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!ww

ww

!!

œ œ œ œ œ œ œ œ!

œ œ œ œ œ œ œ œ

53

’ ’ ’ ’Y 16ths in hi-hat

G

pppp

p

pp

!ww

ww

!!



54

’ ’ ’ ’

!ww

w#w

!!

œ# œ œ œ œ œ œ œ

!


55

’ ’ ’ ’

!

w#w

ww

!!


!


56

’ ’ ’ ’

Vignettes

116

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ã

# # #

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c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!ww

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!!



57

’ ’ ’ ’Y 32nds in hi-hat

!ww

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!!



58

’ ’ ’ ’

!ww

w#w

!!


!


59

’ ’ ’ ’

!

w#w

ww

!!


!


60

’ ’ ’ ’

Vignettes

117

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ã

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..

..

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..

..

..

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..

..

..

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c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!!!!!

œœ œœ œœ œœ œœ œœ œœ œœ’ ’ ’ ’


61

’ ’ ’ ’

C#add4/F

Eadd4/G #

Eadd4/G #

Active Rock Beat

Sustained comping

HAlto Solo (w/effects)

F

’ ’ ’ ’!!!!!!



62

’ ’ ’ ’

A maj9

C maj9

C maj9

’ ’ ’ ’!!!!!!



63

’ ’ ’ ’

F # 69/A #

A 69

/C#

A 69

/C#

’ ’ ’ ’!!!!!!



64

’ ’ ’ ’

D maj7(#11)

F maj7(#11)

F maj7(#11)

Vignettes

118

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?

ã

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..

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42

42

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..

..

..

..

..

..

..

..

..

..

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c.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!!!!!



65

’ ’ ’ ’

F #9sus

A 9sus

A 9sus

Open Solo Section

!œn œ# .˙

Ó Jœ .œ#

œ# œ .˙

Ó Jœ .œ#

w#

www##œœ## œœ œœ œœ| |


66

œ ‰ Jœ f ‰ Jœ

F #add4/A # D maj9

F #add4/A # D maj9

Sustained comping

Enter on Cue

Enter on Cue

Enter on Cue

Enter on Cue

Enter on Cue

I

pp

ppp

pp

p

p

Sudden

!œ œ# .˙

˙ Jœ# .œ

œ œ# .˙˙ Jœ# .œ

w

wwwœœ## œœ œœ œœ| |


67

Œ ‰ Jœ f ‰ Jœ

B 69

/D # G maj7(#11)

B 69

/D # G maj7(#11)

!Jœ# .œU

U

Jœ# .œUU

U

˙˙˙U

œœ## œœ|U

Û Û Û Û

68

œ f

B 9sus

B 9sus

VampHorn Entrance CuedEnd is Cued

Vignettes

119

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&??

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Alto Sax

Tenor Sax

Trumpet in Bb

Trombone

Electric Guitar

Electric Bass

Drum Set

Piano/Keyboard 2

Voice 1

!!!!!

!!

w‰ .œ ˙

1

.œ Jœ œ Œx x x x

!!!!!

!!

˙ ˙‰ .œ ‰ .œ

2

Œ ‰ Jœ œ Œx x x x

!!!!!

!!

wn ‰ .œ ˙

3

’ ’ ’ ’Sim.

!!!!!

!!

˙ ˙bb

4

’ ’ ’ ’

Vignettes

Zac Evans

Score

Vignette 5: Dust

120

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&

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A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!!

!!

w‰ .œ ˙

5

’ ’ ’ ’

!!!!!

!!

˙ ˙‰ .œ ‰ .œ

6

’ ’ ’ ’

!!!!!

’ ’ ’ ’’ ’ ’ ’

!

7

œ œ .œ œ œ .œ Jœ

Low atonal, non-rhythmic rumblings

Rapidly scratch string

!!!!!

’ ’ ’’ ’ ’

!

8

œ .œ œ œ .œ

Vignettes

121

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&

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ã

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A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3


˙ ˙Œ

˙ œ

!

!Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

9


Legato, textural

Legato, textural

Legato, textural

Legato, textural

A

œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3œ œ œ œ œ œ œ œ

˙ ˙œ ˙ œ

!

!

œœ ‰ jœœn œœ ‰ jœœœ ˙ œ

˙ ˙‰ .œ ‰ .œ

10




˙ ˙œ ˙ œ

!

!œœ ‰ jœœ ˙œ .˙

wn ‰ .œ ˙

11

’ ’ ’ ’Sim.



˙ ˙œ ˙ œ

!

!ww

w

˙ ˙bb

12

’ ’ ’ ’

Vignettes

122

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&

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ã

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bb

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44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3œ œ œ œ œ œ œ œ

˙ ˙œ ˙ œ

!

!Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

13

’ ’ ’ ’



˙ ˙œ ˙

Œ!

!

œœ ‰ jœœn œœ ‰ jœœœ ˙ œ

˙ ˙‰ .œ ‰ .œ

14

’ ’ ’ ’

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

!

!œœ ‰ jœœ ˙œ .˙

w‰ .œ ˙

15


7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

‰ Jœ œ " .Jœœ. " œ. œ. Œ‰ Jœ œ " .Jœœ. " œ. œ. Œ

!

!..˙

.˙

.˙b ‰ jœb ˙

16

œ .œ œ œ .œ

Vignettes

123

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&

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ã

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bb

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44

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44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!

wTry

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

17

!

F-7(b13)

!!!!

˙ Œ ‰ jœto

| |œœ ‰ jœœn œœ ‰ jœœ

œ ˙ œ

˙ ˙‰ .œ ‰ .œ

18

!

Eb 69 D b 69

!!!!

œ œ œ jœ .œ3case the pan try walls

|œœ ‰ jœœ ˙œ .˙

wn ‰ .œ ˙

19

!

B b 69/D

!!!!

˙ Ó

| |ww

w

˙ ˙bb

20

!

C sus/E

-

Vignettes

124

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&

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ã

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bb

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bbbb

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bbbb

43

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44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

Œ ˙ œ œ

Œ ˙ œ œ

Œ ˙ œ œŒ ˙ œ œ

Œ .˙Time

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

21

!

F-7(b13)

FF

FF

˙ Ó˙ Ó˙ Ó˙ Ó˙ Œ ‰ jœ

to


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

22

!

Eb 69 D b 69

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

.œ Jœn Jœ œ Jœsteal a way with the


w‰ .œ ˙

23


C sus

7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

‰ Jœ œ " .Jœœ. " œ. œ. Œ‰ Jœ œ " .Jœœ. " œ. œ. Œœ œb ˙

falls

.|..˙

.˙

.˙b ‰ jœb ˙

24

œ .œ œ œ .œ

/EC sus

-

Vignettes

125

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&

&&??

ã

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bb

bbbbbbbb

bbbb

bbbb

bbbb

bbbb

44

44

44

44

44

44

44

44

44

44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.˙ œ œ

.˙ œ œ

.˙ œ œ

.˙ œ œ

wTake

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

25


F-7(b13)

B

˙ Ó˙ Ó

˙ Ó˙ Ó˙ Œ ‰ jœ

the


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

26


Eb 69 D b 69

!!!!

œ œ œ jœ .œ3script and know your part


wn ‰ .œ ˙

27

’ ’ ’ ’

B b 69/D

Sim.

!!!!

˙ Ó

| |ww

w

˙ ˙bb

28

’ ’ ’ ’

C sus/E

Vignettes

126

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&

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ã

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bb

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43

43

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43

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44

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44

44

44

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44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.˙ œ œ

.˙ œ œ

.˙ œ œ

.˙ œ œ

Œ .˙I

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

29

’ ’ ’ ’

F-7(b13)

˙ Ó˙ Ó˙ Ó˙ Ó˙ Œ ‰ jœ

am


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

30

’ ’ ’ ’

Eb 69 D b 69

Œ œ ‰ . Rœ œ

œ. œ. ‰ . rœ. " .jœ. ‰ jœ.Œ œn ‰ . Rœ œ

œ. œ. ‰ . rœ. " .jœ. ‰ jœ..œ Jœn Jœ œ Jœ

hol ding still for your


w‰ .œ ˙

31


C sus

‰ Jœ œ " .Jœ

œ. " œ. œ. Œ‰ Jœn œ " .Jœ

œ. " œ. œ. Œœ œb ˙

start

.|..˙

.˙

.˙b ‰ jœb ˙

32

œ .œ œ œ .œ

/EC sus

-

Vignettes

127

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&

&&?

ã

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bb

bbbbbbbb

bbbb

bbbb

bbbb

44

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43

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43

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44

44

44

44

44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ œ ˙ œ œ œ œ

!.œ œ ˙ œ œ œ œ

!wAh

||

!

33

!

B maj7(#11)

B maj7(#11)

C

f

f

ff

.œn œ ˙ œ œ

!.œn œ ˙ œ œ

!w

||

!

34

!

C 7sus

C 7sus



!w

||

!

35

!

D b 69

D b 69

œ ‰ Jœ œb œ

!œ ‰ jœ œb œ

!.˙

.|

.|!

36

!

D-7

D-7

Vignettes

128

&&&?

&

&&?

ã

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bb

bbbbbbbb

bbbb

bbbb

bbbb

44

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44

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44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ œ ˙ œb œ œ œb

!.œ œ ˙ œb œ œ œb

!wAh

||’ ’ ’ ’

37

’ ’ ’ ’

D b13sus

D b13sus

D b13susSwing Mambo

Elvin Jones Swing Mambo (regular time)ff

.œ œ ˙ œ œ

!.œ œ ˙ œ œ

!w

||’ ’ ’ ’

38

’ ’ ’ ’

Eb-9

Eb-9

Eb-9

.œ œ ˙ œb œ œb œn

!.œ œ ˙ œb œ œb œn

!w

||’ ’ ’ ’

39

’ ’ ’ ’

D-7

D-7

D-7

œ ‰ Jœ œb œ

!œ ‰ jœ œb œ

!.˙

.|

.|’ ’ ’

40

’ ’ ’

F maj7/A

F maj7/A

F maj7/A

Vignettes

129

&&&?

&

&&?

ã

bbb

bb

bbbbbbbb

bbbb

bbbb

bbbb

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1


.œ œ ˙ œ œb œ œ



wAh

||’ ’ ’ ’

41

’ ’ ’ ’

B maj7(#11)

B maj7(#11)

B maj7(#11)

D

ffff

.œb œ ˙ œ œ

.œ œ ˙ œ œ

.œn œ ˙ œ œ

.œn œ ˙ œ œ

w

||’ ’ ’ ’

42

’ ’ ’ ’

C 7sus

C 7sus

C 7sus





w

||’ ’ ’ ’

43

’ ’ ’ ’

D b 69

D b 69

D b 69

œ ‰ Jœn œb œœ ‰ Jœ œn œ

œ ‰ jœ œb œœ ‰ Jœ œ# œ

.˙

.|

.|’ ’ ’

44

’ ’ ’

D-7

D-7

D-7

Vignettes

130

&&&?

&

&&?

ã

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bb

bbbbbbbb

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bbbb

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44

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44

44

44

44

44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.œ œ ˙ œb œ œ œ

.œ œ ˙ œb œb œ œb



wAh

||’ ’ ’ ’

45

’ ’ ’ ’

D b13sus

D b13sus

D b13sus

.œ œ ˙ œ œ

.œ œb ˙ œ œ

.œ œ ˙ œ œ

.œ œ ˙ œ œ

w

||’ ’ ’ ’

46

’ ’ ’ ’

Eb-9

Eb-9

Eb-9

.œ œ ˙ œb œ œb œb

.œ œ ˙ œn œ œb œ


.œ œ ˙ œn œ œb œn

w

||’ ’ ’ ’

47

’ ’ ’ ’

D-7

D-7

D-7

œ- Œ Œœ- Œ Œœ- Œ Œœ- Œ Œ

.˙

.|

.|’ ’ ’

48

’ ’ ’

F maj7/A

F maj7/A

F maj7/A

Vignettes

131

&&&?

&

&&

?

ã

bbb

bb

bbbbbbbb

bbbb

bbbb

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44

44

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44

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

Œ œ ‰ . Rœ œ

œ. œ. ‰ . rœ. " .jœ. ‰ jœ.Œ œn ‰ . Rœ œ

œ. œ. ‰ . rœ. " .jœ. ‰ jœ.!

|!

w‰ .œ ˙

49


C sus

‰ Jœ œ " .Jœ


œ. " œ. œ. Œ!

.|!

.˙b ‰ jœb ˙

50

œ .œ œ œ .œ

/EC sus

.˙ œ œ

.˙ œ œ

.˙ œ œ

.˙ œ œ

wTry

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

51


F-7(b13)

E

˙ Ó˙ Ó

˙ Ó˙ Ó˙ Œ ‰ jœ

to


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

52


Eb 69 D b 69

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D. S.

Pno. 2

Voice 1

!!!!



wn ‰ .œ ˙

53

’ ’ ’ ’

B b 69/D

sim.

!!!!

˙ Ó

| |ww

w

˙ ˙bb

54

’ ’ ’ ’

C sus/E

.˙ œ œ

.˙ œ œ

.˙ œ œ

.˙ œ œ

Œ .˙Time

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

55

’ ’ ’ ’

F-7(b13)

˙ Ó˙ Ó˙ Ó˙ Ó˙ Œ ‰ jœ

to


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

56

’ ’ ’ ’

Eb 69 D b 69

-

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D. S.

Pno. 2

Voice 1

Œ œ ‰ . Rœ œ

œ. œ. ‰ . rœ. " .jœ. ‰ jœ.Œ œn ‰ . Rœ œ


steal a way with the


w‰ .œ ˙

57


C sus

‰ Jœ œ " .Jœ


œ. " œ. œ. Œœ œb ˙

falls

.|..˙

.˙

.˙b ‰ jœb ˙

58

œ .œ œ œ .œ

/EC sus

wb

wbw

w!

||

|

59

’ ’ ’ ’

A b-7(b13)

A b-7(b13)

A b-7(b13)

F

Bass Solo

Bass Solo

Bass Solo

Bass SoloLeave space at top of solo

1x Only

1x Only

1x Only

1x Only

!!!!!

| || |

| |

60

’ ’ ’ ’

G b 69 E 69

G b 69 E 69

G b 69 E 69

-

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D. S.

Pno. 2

Voice 1

!!!!!

|||

61

’ ’ ’ ’

D b 69/F

D b 69/F

D b 69/F

!!!!!

| || || |

62

’ ’ ’ ’

Ebsus/G

Ebsus/G

Ebsus/G

!!!!!

|||

63

’ ’ ’ ’

A b-7(b13)

A b-7(b13)

A b-7(b13)

!!!!!

| || || |

64

’ ’ ’ ’

G b 69 E 69

G b 69 E 69

G b 69 E 69

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Pno. 2

Voice 1

!!!!!

|||

65

’ ’ ’ ’

Ebsus

Ebsus

Ebsus

!!!!!

.|

.|

.|

66

’ ’ ’

/GEbsus

/GEbsus

/GEbsus

Open SoloNext Section Cued Œ œ ‰ . Rœ œ

œ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

!

!!

w‰ .œ ˙

67


7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

‰ Jœ œ " .Jœœb .

" œ. œ. Œ‰ Jœn œ " .Jœœn . " œ. œ. Œ

!

!!

.˙b ‰ jœ ˙

68

œ .œ œ œ .œ

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Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

Œ œb ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

!

!!

w‰ .œ ˙

69


7/8 Cross Rhythm

‰ Jœ œ " .Jœœ. " œ. œ. Œ‰ Jœ œ " .Jœœ. " œ. œ. Œ

!

!!

.˙b ‰ jœb ˙

70

œ .œ œ œ .œ

ww

ww

!

!!

!

71

!

!!!!

wTry

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

72

’ ’ ’ ’

F-7(b13)

Half-time groove

G

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D. S.

Pno. 2

Voice 1

!!!!

˙ Œ ‰ jœto


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

73

’ ’ ’ ’

Eb 69 D b 69

!!!!



wn ‰ .œ ˙

74

’ ’ ’ ’

B b 69/D

!!!!

˙ Ó

| |ww

w

˙ ˙bb

75

’ ’ ’ ’

C sus/E

Œ ˙ œ œ

Œ ˙ œ œ

Œ ˙ œ œŒ ˙ œ œ

Œ .˙Time

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

76

!

F-7(b13)

FF

FF

-

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D. S.

Pno. 2

Voice 1

˙ Ó˙ Ó˙ Ó˙ Ó˙ Œ ‰ jœ

to


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

77

!

Eb 69 D b 69

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

Œ œ ‰ . Rœ œœ. œ. ‰ . Rœ. " .Jœ. ‰ Jœ.

.œ Jœn Jœ œ Jœsteal a way with the


w‰ .œ ˙

78


C sus

7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

7/8 Cross Rhythm

‰ Jœ œ " .Jœœ. " œ. œ. Œ‰ Jœ œ " .Jœœ. " œ. œ. Œœ œb ˙

falls

.|..˙

.˙

.˙b ‰ jœb ˙

79

œ .œ œ œ .œ

/EC sus

.˙ œ œ

.˙ œ œ

.˙ œ œ

.˙ œ œ

wTake

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

80


F-7(b13)

H

-

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D. S.

Pno. 2

Voice 1

˙ Ó˙ Ó

˙ Ó˙ Ó˙ Œ ‰ jœ

the


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

81


Eb 69 D b 69

!!!!

œ œ œ jœ .œ3script and know your part


wn ‰ .œ ˙

82

’ ’ ’ ’

B b 69/D

sim.

!!!!

˙ Ó

| |ww

w

˙ ˙bb

83

’ ’ ’ ’

C sus/E

.˙ œ œ

.˙ œ œ

.˙ œ œ

.˙ œ œ

Œ .˙I

|Œ ‰ jœœ ˙Œ .˙

w‰ .œ ˙

84

’ ’ ’ ’

F-7(b13)

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D. S.

Pno. 2

Voice 1

˙ Ó˙ Ó˙ Ó˙ Ó˙ Œ ‰ jœ

am


œ ˙ œ

˙ ˙‰ .œ ‰ .œ

85

’ ’ ’ ’

Eb 69 D b 69

Œ œ ‰ . Rœ œ

œ. œ. ‰ . rœ. " .jœ. ‰ jœ.Œ œn ‰ . Rœ œ


hol ding still for your


w‰ .œ ˙

86


C sus

‰ Jœ œ " .Jœ


œ. " œ. œ. Œœ œb ˙

start

.|..˙

.˙

.˙b ‰ jœb ˙

87

œ .œ œ œ .œ

/EC sus



!wAh

||

!

88

!

B maj7(#11)

B maj7(#11)

I

f

f

ff

-

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D. S.

Pno. 2

Voice 1

.œn œ ˙ œ œ

!.œn œ ˙ œ œ

!w

||

!

89

!

C 7sus

C 7sus



!w

||

!

90

!

D b 69

D b 69

œ ‰ Jœ œb œ

!œ ‰ jœ œb œ

!.˙

.|

.|!

91

!

D-7

D-7


!.œ œ ˙ œb œ œ œb

!wAh

||’ ’ ’ ’

92

’ ’ ’ ’

D b13sus

D b13sus

D b13susSwing Mambo

Elvin Jones Swing Mambo (regular time)ff

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Pno. 2

Voice 1

.œ œ ˙ œ œ

!.œ œ ˙ œ œ

!w

||’ ’ ’ ’

93

’ ’ ’ ’

Eb-9

Eb-9

Eb-9


!.œ œ ˙ œb œ œb œn

!w

||’ ’ ’ ’

94

’ ’ ’ ’

D-7

D-7

D-7

œ ‰ Jœ œb œ

!œ ‰ jœ œb œ

!.˙

.|

.|’ ’ ’

95

’ ’ ’

F maj7/A

F maj7/A

F maj7/A





wAh

||’ ’ ’ ’

96

’ ’ ’ ’

B maj7(#11)

B maj7(#11)

B maj7(#11)

J

ffff

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D. S.

Pno. 2

Voice 1

.œb œ ˙ œ œ

.œ œ ˙ œ œ

.œn œ ˙ œ œ

.œn œ ˙ œ œ

w

||’ ’ ’ ’

97

’ ’ ’ ’

C 7sus

C 7sus

C 7sus





w

||’ ’ ’ ’

98

’ ’ ’ ’

D b 69

D b 69

D b 69

œ ‰ Jœn œb œœ ‰ Jœ œn œ

œ ‰ jœ œb œœ ‰ Jœ œn œ

.˙

.|

.|’ ’ ’

99

’ ’ ’

D-7

D-7

D-7

.œ œ ˙ œb œ œ œ

.œ œ ˙ œb œb œ œb



wAh

||’ ’ ’ ’

100

’ ’ ’ ’

D b13sus

D b13sus

D b13sus

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D. S.

Pno. 2

Voice 1

.œ œ ˙ œ œ

.œ œb ˙ œ œ

.œ œ ˙ œ œ

.œ œ ˙ œ œ

w

||’ ’ ’ ’

101

’ ’ ’ ’

Eb-9

Eb-9

Eb-9

.œ œ ˙ œb œ œb œb

.œ œ ˙ œn œ œb œ


.œ œ ˙ œn œ œb œn

w

||’ ’ ’ ’

102

’ ’ ’ ’

D-7

D-7

D-7


!

.|

.|’ ’ ’

103

’ ’ ’

F maj7/A

F maj7/A

F maj7/A


!

!.|.|

104

.|

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Pno. 2

Voice 1


!

!.|.|

105

.|


!

!.|.|

106

.|

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Clap 1

Alto Sax 2

Tenor Sax 3

Trumpet 4

Trombone 5

Electric Guitar

Bass Guitar

Drum Set

Piano/Keyboard 2

Voice 1

Û Û ‰ JÛ ‰ JÛ Û ÛÛ Û ‰ JÛ ‰ JÛ Û ÛÛ Û ‰ JÛ ‰ JÛ Û Û

!!!! &

’ ’ ’ ’ ’

w Œ

| Œ!

1

x x x x x x x x x x

A Aeolian

F maj7

Solo

Roots in voicings

Add kick on every 1

Claps

Claps

Claps

fff

F

F


!!!!

’ ’ ’ ’ ’

.˙ ˙.| |

!

2

x x x x x x x x x x

E-7


!!!!

’ ’ ’ ’ ’

w Œ

| Œ!

3

x x x x x x x x x x

F maj7


!!!!

’ ’ ’ ’ ’

.˙ ˙.| |

!

4

x x x x x x x x x x

E-7

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ScoreVignette 6: Painted

147

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c. 1

A. Sax. 2

T. Sax 3

Tpt. 4

Tbn. 5

Gtr.

Bass

D. S.

Pno. 2

Voice 1


!!!!

’ ’ ’ ’ ’

w Œ

| Œ!

5

x x x x x x x x x x

F maj7


!!!!

’ ’ ’ ’ ’

.˙ ˙.| |

!

6

x x x x x x x x x x

E-7

.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ

JÛ Û JÛ Û Û Û JÛ ‰ Û Û

JÛ Û JÛ Û Û Û JÛ ‰ Û Û.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ

!!

’ ’ ’ ’ ’ ’

w Œ œ| Œ Û

!

7

x x x x x x x x x x x x

F maj7

Continue 5/4 pattern, 1st X ONLY

Continue 5/4 pattern, 1st X ONLY

Claps

Clapsf

f

A

.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ‰ Û JÛ Û Û JÛ Û JÛ‰ Û JÛ Û Û JÛ Û JÛ


.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ!!

’ ’ ’ ’ ’ ’

˙ ˙ ˙| | |

!

8


E-7 F maj7

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812

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812

812

812

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812

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812

812

812

812

c. 1

A. Sax. 2

T. Sax 3

Tpt. 4

Tbn. 5

Gtr.

Bass

D. S.

Pno. 2

Voice 1

.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛÛ Û Û JÛ ‰ Û Û ‰ Û JÛÛ Û Û JÛ ‰ Û Û ‰ Û JÛ


.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ!!

’ ’ ’ ’ ’ ’

˙ Œ .˙| Œ .|

!

9


.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛÛ Û JÛ Û JÛ Û Û ÛÛ Û JÛ Û JÛ Û Û Û


.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ!!

’ ’ ’ ’ ’ ’˙ w| |

!

10


E-7 F maj7


JÛ ‰ Û Û ‰ Û JÛ Û Û

JÛ ‰ Û Û ‰ Û JÛ Û Û.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ

!!

’ ’ ’ ’ ’ ’Œ .˙ ˙Œ .| |

!

11


Œ JÛ Œ JÛ Œ JÛ Œ JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛ


.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ!!

’ ’ ’ ’

w Œ œ| Œ Û

Jœœ Œ Jœœ Œ Jœœ Œ Jœœ Œ

12


F maj7

F

B

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149

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A. Sax. 2

T. Sax 3

Tpt. 4

Tbn. 5

Gtr.

Bass

D. S.

Pno. 2

Voice 1



.Û Û ‰ JÛ .Û Û ‰ JÛ .Û Û ‰ JÛ ?

!!

’ ’ ’ ’

˙ ˙ ˙| | |

Jœœ Œ Jœœ Œ Jœœ Œ Jœœœœ

13


E-7 F maj7


!!!!

’ ’ ’ ’

˙ Œ .˙| Œ .|


14


To Trumpet

To Trombone


!!!!

’ ’ ’ ’˙ w| |


15


E-7 F maj7


!!!!

’ ’ ’ ’Œ .˙ ˙Œ .| |

Jœœ Œ Jœœ Œ Jœœ Œ Jœœ œœb

16


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Tpt. 4

Tbn.

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D. S.

Pno. 2

Voice 1

JÛ Û Û JÛ Û JÛ ‰ Û ÛŒ JÛ Œ JÛ Œ JÛ Œ JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛ

!!!!

’ ’ ’ ’

w Œ œ| Œ Û


17


F maj7

‰ Û JÛ Û Û JÛ Û JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛ

!!!!

’ ’ ’ ’

˙ ˙ ˙| | |


18


E-7 F maj7

‰ Û Û ‰ JÛ ‰ JÛ Û Û JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛ

!!!!

’ ’ ’ ’

˙ Œ .˙| Œ .|


19


Û JÛ ‰ Û Û ‰ Û JÛ ÛŒ JÛ Œ JÛ Œ JÛ Œ JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛ

!!!!

’ ’ ’ ’˙ w| |


20


E-7 F maj7

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# #

c. 1

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Tpt. 4

Tbn.

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Bass

D. S.

Pno. 2

Voice 1

Û JÛ Û JÛ ‰ Û Û ‰ ÛŒ JÛ Œ JÛ Œ JÛ Œ JÛŒ JÛ Œ JÛ Œ JÛ Œ JÛ &

!!!!

’ ’ ’ ’Œ .˙ ˙Œ .| |


21


JÛ Û Û JÛ Û JÛ ‰ Û Û!!!!!!!

w ‰ ‰ œ| ‰ ‰ Û


22


F maj7

To Alto

To Tenor

‰ Û JÛ Û Û JÛ Û JÛ!!!!!!!

˙ ˙ ˙| | |


23


E-7 F maj7

‰ Û Û ‰ JÛ ‰ JÛ Û Û JÛ!!!!!!!

˙ ‰ ‰ .˙| ‰ ‰ .|


24


Vignettes

152

ãã&ã?

&&&&??

ã

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..

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c. 1

A. Sx.

T. Sx.

Tpt. 4

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

Û JÛ ‰ Û Û ‰ Û JÛ Û!!!!!!!

˙ w| |


25


E-7 F maj7

Û JÛ Û JÛ ‰ Û Û ‰ Û!!!!!!!

Œ .˙ ˙Œ .| |


26


’ ’ ’ ’!!!!!!

.Û Œ JÛ .|

w ‰ ‰ œ| ‰ ‰ Û


27

x x x x x x x x x x x x x x x x.œ .œ .œ .œ

D-11 G/D

F maj7

Enter 2nd X to double drums

12/8 Shuffle Groove

ff

f

f

C

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!!

˙ ˙ ˙| | |


28


E-7 F maj7

f

f

legato

legato

Vignettes

153

ãã&ã?

&&&

&??

ã

# # #

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D. S.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!

œ œ œ Jœ œ .œ Œ .

!œ œ œ Jœ œ .œ Œ .

!!

.Û Œ JÛ .|

˙ ‰ ‰ .˙| ‰ ‰ .|


29

’ ’ ’ ’

D-11 G/D

cont. sim

f

f

legato

legato

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!!

˙ w| |


30

’ ’ ’ ’

E-7 F maj7

’ ’ ’ ’!

œ œ œ Jœ œ .œŒ .

!œ œ œ Jœ œ .œ

Œ .

!!

.Û Œ JÛ .|

Œ .˙ ˙Œ .| |


31

’ ’ ’ ’

B bmaj9D-11

’ ’ ’ ’!!!!!!

.Û Œ JÛ .|

w ‰ ‰ œ| ‰ ‰ Û


32

’ ’ ’ ’

D-11 G/D

F maj7

Vignettes

154

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D. S.

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!!

˙ ˙ ˙| | |


33

’ ’ ’ ’

E-7 F maj7

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!

.Û Œ JÛ .|

˙ ‰ ‰ .˙| ‰ ‰ .|


34

’ ’ ’ ’

D-11 G/D

’ ’ ’ ’!

œ œ œ Jœ œ .˙

!œ œ œ Jœ œ .˙

!!!

˙ w| |


35

’ ’ ’ ’

E-7 F maj7

’ ’ ’ ’!

.˙ Ó .

!.˙ Ó .

!!

.Û Œ JÛ .|Œ .˙ ˙Œ .| |


36

’ ’ ’ ’

B bmaj9D-11

Vignettes

155

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A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!!!!

.Û Œ JÛ .|

.Û Œ JÛ .|

.Û Œ JÛ .|

37

’ ’ ’ ’

D-11 G/D

D-11 G/D

D-11 G/D

Drum Solo

D

!!!!!!!!!!

38

’ ’ ’ ’

!!!!!!!

.Û Œ JÛ .|

.Û Œ JÛ .|

.Û Œ JÛ .|

39

’ ’ ’ ’

D-11 G/D

D-11 G/D

D-11 G/D

!!!!!!!!!!

40

’ ’ ’ ’

Vignettes

156

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?

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c. 1

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

!!!!!!!

.Û Œ JÛ .|

.Û Œ JÛ .|

.Û Œ JÛ .|

41

’ ’ ’’

B bmaj9D-11

B bmaj9D-11

B bmaj9D-11

’ ’ ’ ’!!!!!!

.Û Œ JÛ .|

w ‰ ‰ œ| ‰ ‰ Û


42


D-11 G/D

F maj7

Enter 2nd X to double drums

12/8 Shuffle Groove

ff

f

f

E

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!!

˙ ˙ ˙| | |


43


E-7 F maj7

f

f

legato

legato

’ ’ ’ ’!

œ œ œ Jœ œ .œ Œ .

!œ œ œ Jœ œ .œ Œ .

!!

.Û Œ JÛ .|

˙ ‰ ‰ .˙| ‰ ‰ .|


44

’ ’ ’ ’

D-11 G/D

cont. sim

f

f

legato

legato

Vignettes

157

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ã

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c. 1

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!!

˙ w| |


45

’ ’ ’ ’

E-7 F maj7

’ ’ ’ ’!

œ œ œ Jœ œ .œŒ .

!œ œ œ Jœ œ .œ

Œ .

!!

.Û Œ JÛ .|Œ .˙ ˙Œ .| |


46

’ ’ ’ ’

B bmaj9D-11

’ ’ ’ ’!!!!!!

.Û Œ JÛ .|

w ‰ ‰ œ| ‰ ‰ Û


47

’ ’ ’ ’

D-11 G/D

F maj7

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!!

˙ ˙ ˙| | |


48

’ ’ ’ ’

E-7 F maj7

Vignettes

158

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c. 1

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’.œ œ Jœ .˙

!.œ œ Jœ .˙

!!!

.Û Œ JÛ .|

˙ ‰ ‰ .˙| ‰ ‰ .|


49

’ ’ ’ ’

D-11 G/D

’ ’ ’ ’!

œ œ œ Jœ œ .˙

!œ œ œ Jœ œ .˙

!!!

˙ w| |


50

’ ’ ’ ’

E-7 F maj7

’ ’ ’ ’!

.˙ Ó .

!.˙ Ó .

!!

.Û Œ JÛ .|Œ .˙ ˙Œ .| |


51

’ ’ ’ ’

B bmaj9D-11

Û Û ‰ JÛ ‰ JÛ Û Û!

œ œ ‰ Jœ ‰ Jœ œ œ

!!!!

’ ’ ’ ’ ’

w Œ

| Œ!

52

x x x x x x x x x x

AAeolian

F maj7

Solo

Add kick on every 1

ClapsF

Vignettes

159

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A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1



!!!!

’ ’ ’ ’ ’

.˙ ˙.| |

!

53

x x x x x x x x x x

E-7



!!!!

’ ’ ’ ’ ’

w Œ

| Œ!

54

x x x x x x x x x x

F maj7



!!!!

’ ’ ’ ’ ’

.˙ ˙.| |

!

55

x x x x x x x x x x

E-7



!!!!

’ ’ ’ ’ ’

w Œ

| Œ!

56

x x x x x x x x x x

F maj7

Vignettes

160

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ã

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c. 1

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1



!!!!

’ ’ ’ ’ ’

.˙ ˙.| |

!

57

x x x x x x x x x x

E-7

Open Vamp, Guitar Cadenza on CueTo Next Vignette -->

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Conductor/Synth

Alto Sax

Tenor Sax

Trumpet in Bb

Trombone

Electric Guitar

Bass Guitar

Drum Set

Piano 2

Voice

Vocoder 1

!!!!!!! &

œ œ œ œ .œ œ

!.œ œ Œ Œ

1

!


F

F

Double all pitches on vocoder

!!!!!!!

œ œ œ œ .œ œ

!.œ œ Œ Œ

2

!

!!!!!!!

œ œ œ œ .œ œ

!.œ œ Œ Œ

3

!

!!!!!!!

.œ œ œ œ œ .œ œ

!.œ œ œ œ œ .œ œ

4

!

Vignettes

Zac Evans

Score

Vignette 7: Currents

162

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!!!!

œ œ œ œ .œ œ..˙

.œ œ Œ Œ

5

.XF

Ride

!!!!!!!


.œ œ Œ Œ

6

!

!!!!!!!


.œ œ Œ Œ

7

!

!!!!!!!

.œ œ œ œ œ .œ œww


8

Ó Œ ‰ œ œ

Vignettes

163

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

...˙˙œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ œ.˙

!!

œ œ œ œ .œ œ

œ°

œ œ œ œ œ.œ œ Œ Œ

9

‰ jx ‰ x x ‰jx.œ œ ‰ Jœ

w/funky hi-hat

A

FFFF

F

...˙˙œ œ œ œ œ œ œ œ

5 3

œ œ œ œ œ œ œ œ5 3


.˙

!!

œ œ œ œ .œ œ


.œ œ Œ Œ

10


œ œ œ œ œ œ œ œ œ3 3 3



!!

œ œ œ œ .œ œ


.œ œ Œ Œ

11


www#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

7

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7


w#

!!




12

‰ jx ‰ x x jx.œ œ ‰ Jœ " .Jœ œ œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vignettes

164

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

...˙˙œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ.˙

!!

œ œ œ œ .œ œ

œ œ œ œ œ œ œ œ œ œ œ œ.œ œ Œ Œ

13

’ ’ ’

...˙˙œ œ œ œ œ œ œ œ œ œ œ

7

œ œ œ œ œ œ œ œ œ œ œ7


.˙

!!

œ œ œ œ .œ œ


.œ œ Œ Œ

14

’ ’ ’




!!

œ œ œ œ .œ œ


.œ œ Œ Œ

15

’ ’ ’

wwwœ œ œ œ œ œ œ œ œ

5

œ œ œ œ œ œ œ œ œ5


w

!!


œ œ œ œ œ œ œ œ œ*

5


16

’ ’ ’ ’

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vignettes

165

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!!

.˙Slip

!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

17

’ ’ ’

B

!!!!!

.˙!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

18

’ ’ ’

!!!!!

.˙!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

19

’ ’ ’

!!!!!

˙ ˙in to

!


˙# ˙.œ œ œ œ œ .œ œ

20

’ ’ ’ ’

-

Vignettes

166

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43

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!!

.˙streams

!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

21

’ ’ ’

!!!!!

.˙!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

22

’ ’ ’

!!!!!

.˙!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

23

’ ’ ’

!!!!!

˙ ˙an y

!


˙# ˙.œ œ œ œ œ .œ œ

24

’ ’ ’ ’

-

Vignettes

167

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!!

.˙thing

!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

25

’ ’ ’

!!!!!

.˙!

œ œ œ œ .œ œ

..˙

.œ œ Œ Œ

26

’ ’ ’

!!!!!

.˙!

œ œ œ œ .œ œ

..˙

.œ œ# Œ Œ

27

’ ’ ’

!!!!!

˙ ˙bro ther

!


˙# ˙.œ œ œ œ œ .œ œ

28

’ ’ ’ ’

-

Vignettes

168

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

...˙˙˙œ œ œ œ œ œœ œ œ œ œ œ


.˙run

!

œ œ œ œ .œ œ

œ œ œ œ œ œ.œ œ Œ Œ

29

’ ’ ’

C

ff

f

fF

...˙˙˙œ œ œ œ œ œ œ œ5 3



.˙

.˙!

œ œ œ œ .œ œ


.œ œ Œ Œ

30

’ ’ ’




!!

œ œ œ œ .œ œ


.œ œ Œ Œ

31

’ ’ ’

wwwœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7


œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7w

!!




32

’ ’ ’ ’~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vignettes

169

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

...˙˙˙œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ


!!

œ œ œ œ .œ œ


33

’ ’ ’

...˙˙˙œ œ œ œ œ œ œ œ œ œ œ7


œ œ œ œ œ œ œ œ œ œ œ7.˙

!!

œ œ œ œ .œ œ


.œ œ Œ Œ

34

’ ’ ’




!!

œ œ œ œ .œ œ


.œ œ Œ Œ

35

’ ’ ’

wwwœ œ œ œ œ œ œ œ œ5



w

!!




36

’ ’ ’ ’

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vignettes

170

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!

.˙

!!

.˙tame

!!

Œ ‰ Jœ œb.œ œ# Œ Œ

37

’ ’ ’

D

F

F

!!

.˙

!!

.˙!!

.œ Jœ œb

.œ œ# Œ Œ

38

’ ’ ’

!!

.˙

!!

.˙!!

.œ Jœ œb

.œ œ# Œ Œ

39

’ ’ ’

!!

˙ ˙

!!

˙ ˙hon ored

!!

.œ Jœ ˙b

.œb œn œ œb œ .œb œb

40

’ ’ ’ ’

-

Vignettes

171

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!

.˙

!!

.˙chills

!!


41

’ ’ ’

!!

.˙

!!

.˙!!

.œ Jœ œb

.œ œ# Œ Œ

42

’ ’ ’

!!

.˙

!!

.˙!!

.œ Jœ œb

.œ œ# Œ Œ

43

’ ’ ’

!!

˙ ˙

!!

˙ ˙to be

!!

.œb Jœ ˙


44

’ ’ ’ ’

- -

Vignettes

172

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44

44

44

44

44

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43

43

43

43

43

43

43

43

43

43

Synth

A. Sx.

T. Sx.

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Gtr.

Bass

D. S.

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Voice

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47

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48

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Vignettes

173

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43

43

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Synth

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T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

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Voice

Voc. 1

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49

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51

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52

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Vignettes

174

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Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!!!!


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53

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54

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55

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175

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Gtr.

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D. S.

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Voice

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!!!!!!!

’ ’ ’’ ’ ’’ ’ ’

57

’ ’ ’

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58

’ ’ ’

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!!!!!!!

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59

’ ’ ’

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C maj7(#11)

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!!!!!!!

’ ’ ’’ ’ ’’ ’ ’

60

’ ’ ’

C#-11

C#-11

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Vignettes

176

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Gtr.

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D. S.

Pno. 2

Voice

Voc. 1

!!!!!!!

’ ’ ’’ ’ ’’ ’ ’

61

’ ’ ’

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!!!!!!!

’ ’ ’’ ’ ’’ ’ ’

62

’ ’ ’

A 13

A 13

A 13

!!!!!!!

’ ’ ’’ ’ ’’ ’ ’

63

’ ’ ’

C 7(#11)

C 7(#11)

C 7(#11)

!!!!!!!

’ ’ ’’ ’ ’’ ’ ’

64

’ ’ ’

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Vignettes

177

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Synth

A. Sx.

T. Sx.

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Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

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Vignettes

178

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44

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44

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44

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43

43

43

43

43

43

43

43

43

43

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

...˙˙œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ


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’ ’ ’ ’

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vignettes

179

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43

43

43

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43

43

43

43

43

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Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

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73

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76

’ ’ ’ ’

Vignettes

180

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44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!.˙

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77

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78

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80

’ ’ ’ ’

Vignettes

181

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44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!.˙

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81

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84

’ ’ ’ ’

Vignettes

182

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44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

...˙˙˙œ œ œ œ œ œœ œ œ œ œ œ


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85

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88

’ ’ ’ ’~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Vignettes

183

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43

43

43

43

43

43

43

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43

43

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

...˙˙˙œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ


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89

’ ’ ’


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’ ’ ’ ’

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Vignettes

184

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43

43

43

43

43

43

43

43

43

43

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

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93

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95

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96

’ ’ ’ ’

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Vignettes

185

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44

44

44

44

44

44

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43

43

43

43

43

43

43

43

43

43

43

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!

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97

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98

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99

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100

’ ’ ’ ’

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Vignettes

186

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44

44

44

44

44

44

44

44

44

44

Synth

A. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!

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101

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103

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104

’ ’ ’ ’

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Vignettes

187

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T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice

Voc. 1

!!!!!!!!!!

105

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106

’ ’ ’ ’

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107

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˙# ˙.œ œ œ œ œ .œ œ

108

’ ’ ’ ’

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Vignettes

188

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Gtr.

Bass

D. S.

Pno. 2

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109

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Vignettes

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Electric Guitar

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Drum Set

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Vignettes

Zac Evans

©2015 Zac Evans Music

ScoreVignette 8: Stasis

190

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Vignettes

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83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ .œ

!

....œœœœb!

185

!

˙ œ3

˙

˙˙˙°˙

186

œx x3

p

.œ .œ

..œœ

....œœœœ.œ

187

.Jœ .jx

.œ œ˙ Jœœ


188

œ Jx x

&&&?

ã

# # # 83

83

83

83

83

42

42

42

42

42

83

83

83

83

83

85

85

85

85

85

83

83

83

83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ .œ

..œœ

....œœœœ.œ

189

.Jœ .jx

˙ œ3

˙

˙˙˙˙

190

œx x3

p

.œ .œ

..œœ

....œœœœ.œ

191

.Jœ .jx

.œ œ

˙ Jœœ


192

œ Jx x

Vignettes

213

&&&?

ã

# # # 83

83

83

83

83

42

42

42

42

42

83

83

83

83

83

85

85

85

85

85

83

83

83

83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ#

..œœ

....œœœœ.œ

193

.Jœ .jx

˙ œ3

˙

˙˙˙°˙

194

œx x3

p

.œ .œ

..œœ

....œœœœ.œ

195

.Jœ .jx

.œ œ

˙ Jœœ


196

œ Jx x

&&&?

ã

# # # 83

83

83

83

83

42

42

42

42

42

83

83

83

83

83

85

85

85

85

85

83

83

83

83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ .œ

..œœ

....œœœœ.œ

197

.Jœ .jx

˙ œ3

˙

˙˙˙˙

198

œx x3

p

.œ# .œ

..œœ

....œœœœ.œ

199

.Jœ .jx

.œ œ

˙ Jœœ


200

œ Jx x

Vignettes

214

&&&?

ã

# # # 83

83

83

83

83

42

42

42

42

42

83

83

83

83

83

85

85

85

85

85

83

83

83

83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ

..œœ

....œœœœ.œ

201

.Jœ .jx

œ œ˙

˙˙˙°

202

œx x3

p

œ œ œ..œœ

....œœœœ.œ

203

.Jœ .jx

.œ œ˙ Jœœ

˙˙˙ jœœœœ˙ Jœ

204

œ Jx x

&&&?

ã

# # # 83

83

83

83

83

42

42

42

42

42

83

83

83

83

83

85

85

85

85

85

83

83

83

83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ .œ

..œœ

....œœœœ.œ

205

.Jœ .jx

œ œ

˙

˙˙˙˙

206

œx x3

p

œ œ œ

..œœ

....œœœœ.œ

207

.Jœ .jx

.œ œ

˙ Jœœ

˙˙˙ jœœœœ˙ Jœ

208

œ Jx x

Vignettes

215

&&&?

ã

# # # 83

83

83

83

83

42

42

42

42

42

83

83

83

83

83

85

85

85

85

85

83

83

83

83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ .œ

..œœ

....œœœœ.œ

209

.Jœ .jx

œ œ

˙

˙˙°

˙b

210

œx x3

p

œ œ œ

..œœ

....œœœœ.œb

211

.Jœ .jx

.œ œ

˙ Jœœ

˙˙ jœœœœ˙b jœ

212

œ Jx x

&&&?

ã

# # # 83

83

83

83

83

42

42

42

42

42

83

83

83

83

83

85

85

85

85

85

83

83

83

83

83

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ .œ

..œœ

....œœœœ.œb

213

.Jœ .jx

œ œ

˙

˙˙˙b

214

œx x3

p

œ œ œ

..œœ

....œœœœ.œb

215

.Jœ .jx

.œ œ

˙ Jœœ

˙˙ jœœœœ˙b jœ

216

œ Jx x

Vignettes

216

&&&?

ã

# # # 83

83

83

83

83

..

..

..

..

..

A. Sx.

Gtr.

Bass

D. S.

Pno.

.œ .œ

..œœ

....œœœœ.œb

217

.Jœ .jx

2xs

!!!!

218

!

Cue Recorded Voice

Vignettes

217

&&&?

&

&&&

?

ã

bbbbbbbbbbbbbbb# # # # ## # # # #

# # # # ## # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

44

Soprano Sax

Tenor Sax

Trumpet in Bb

Trombone

Electric Guitar

Double Bass

Drum Set

Piano/Keyboard 2

Synth 1

!!!!!

!!!

!

1

œxx

œxœxx

œx

œxx

œxœxx

œx

5 5 5 5

Gliding

Swing es

F

!!!!!

!!!

!

2

œxx

œxœxx

œx

œxx

œxœxx

œx

5 5 5 5

!!!!!

!!

œ œ œ œœ œ œ œœ œ œ œœ œ œ œ5 5 5 5

!

3

’ ’ ’ ’

Gliding

Cont. Sim.

F

!!!!!

!!


!

4

’ ’ ’ ’

VignettesZac Evans

Score

Vignette 9: Sun Eater

218

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!!!!

!.Û JÛ |


.Û JÛ |

5

’ ’ ’ ’

E/G #Eb-

/B b

E/G #Eb-

/B b

F

F

!!!!!

!

|


|

6

’ ’ ’ ’

!!!!!

!.Û JÛ |


.Û JÛ |

7

’ ’ ’ ’

Eb-/B b F #-11

/E

Eb-/B b F #-11

/E

!!!!!

!

|


|

8

’ ’ ’ ’

Vignettes

219

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!!!!

!.Û JÛ |


.Û JÛ |

9

’ ’ ’ ’

E/G #Eb-

/B b

E/G #Eb-

/B b

!!!!!

!

|


|

10

’ ’ ’ ’

!!!!!

!.Û JÛ |


.Û JÛ |

11

’ ’ ’ ’

A maj7(#11) Emaj7

A maj7(#11) Emaj7

!!!!!

!

|


|

12

’ ’ ’ ’

Vignettes

220

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!

œ œ œ ˙!

.œ Jœ ˙Do Do

...œœœjœœœ ˙˙˙

œ œ œ ˙


.Û JÛ |

13

.œ œ .œ œ .œ œ .œ œ5

55

5

E/G #Eb-

/B b

F

F

!!

‰ œ œn œ œ œ ˙3

3

!!

!‰ œ œ# œ œ œ ˙3

3


|

14

.œ œ .œ œ .œ œ .œ œ5

55

5

!!

œ œ œ ˙

!

.œ Jœ ˙Do Do


œ œ œ ˙


.Û JÛ |

15

’ ’ ’ ’

Eb-/B b F #-11

/E

Cont. Sim.

!!

‰ œ œ œ œ œ ˙3

3

!!

!‰ œ œ œ œ œ ˙3

3


|

16

’ ’ ’ ’

Vignettes

221

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!

œ œ œ ˙

!!

!œ œ œ ˙


.Û JÛ |

17

’ ’ ’ ’

A 69Gmaj7(#9,#5)

!!

œn œ œ ˙

!!

!œ# œ œ ˙


.Û JÛ |

18

’ ’ ’ ’

D b7 G b 69/A b /B b

!!

‰ œ œ œ œ œ ˙3

3

!!

!‰ œ œ œ œ œ ˙3

3


.Û JÛ |

19

’ ’ ’ ’

A maj7(#11) Emaj7

!!

‰ jœ .˙!!

!‰ jœ .˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

5 5 5 5

|

20

œx x

œx œ x x

œx

œx x

œx œ x x

œx

5 5 5 5

Vignettes

222

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙!!

Ó œ œ œ

.œ Jœ ˙Do Do


.Û JÛ |


.Û JÛ |

21

’ ’ ’ ’

E/G #Eb-

/B b

E/G #Eb-

/B b

A

Cont. sim.

f

f

f

ff

ff


3

Ó " œ œ œ œ œn œn œnÓ " œ œ œ œ œn œn œ#˙ Ó

!

!

|

œ œ œ œœ œ œ œœ œ œ œœ œ œœ5 5 5 5

|

22

’ ’ ’ ’

f

f

œ œ œ ˙

.œ jœ ˙

.œ jœ ˙Ó œ œ œ

.œ Jœ ˙Do Do


.Û JÛ |


.Û JÛ |

23

’ ’ ’ ’

Eb-/B b F #-11

/E

Eb-/B b F #-11

/E

‰ œ œ œ œ œ ˙3

3

Ó " œn œ œ œ œ œ œ

Ó " œb œn œ œn œ œ œw

!

!

|


|

24

’ ’ ’ ’

Vignettes

223

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙

œ œn œ ˙

œ œ œ ˙œ œ œ ˙

!

!.Û JÛ |


.Û JÛ |

25

’ ’ ’ ’

A 69Gmaj7(#9,#5)

A 69Gmaj7(#9,#5)

œn œ œ ˙

œ œ œ ˙


!

!.Û JÛ |


.Û JÛ |

26

’ ’ ’ ’



‰ œ œ œ œ œ ˙3

3

Ó Œ œn œÓ Œ œ œ

!!

!.Û JÛ |


.Û JÛ |

27

’ ’ ’ ’

A maj7(#11) Emaj7

A maj7(#11) Emaj7

‰ jœ .˙w

w‰ Jœ .˙

!

!

|


|

28

’ ’ ’ ’

Vignettes

224

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!!!

wnAh


|

’ ’ ’ ’

29

x .x x x .x x5 5

.œ œ .œ œ .œ œ .œ œ5 5 5 5

C#13

C#13

Walk qs

B

Slow Swing Ride

F

F

F

F

F

Vocoder double

!!!!

˙nAh

œn œ œ œ œ œ5 5

|

’ ’

30

x .x x5

.œ œ .œ œ5 5

C maj13

C maj13

!!!!

wnAh


|

’ ’ ’ ’

31

x .x x x .x x5 5

.œ œ .œ œ .œ œ .œ œ5 5 5 5

B maj13(#11)

B maj13(#11)

!!!!

˙nAh


|

’ ’

32

x .x x5

.œ œ .œ œ5 5

C#maj7(#5)

C#maj7(#5)

Vignettes

225

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!

ww

wnAh


|

’ ’ ’ ’

33

’ ’ ’ ’

G # 69

G # 69

C

Cont. Sim.

!!

˙b˙n

˙nAh


|

’ ’

34

’ ’

Gmaj(add4)

Gmaj(add4)

!!

w#wn

wnAh


|

’ ’ ’ ’

35

’ ’ ’ ’

F #m69

F #m69

!!

˙˙n

˙nAh


|

’ ’

36

’ ’

E#maj13

E#maj13

Vignettes

226

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!wn

wnwn

wnAh


|

’ ’ ’ ’

37

’ ’ ’ ’

Dmaj7(#9)

Dmaj7(#9)

!˙n

˙b˙n

˙nAh

œ œ œ œ œ œ5 5

|

’ ’

38

’ ’

D #maj13(#11)

D #maj13(#11)

!wn

wwn

wnAh


|

’ ’ ’ ’

39

’ ’ ’ ’

Dmaj7(#9)

Dmaj7(#9)

!˙n

˙b˙n

˙nAh


|

’ ’

40

’ ’

D #maj13(#11)

D #maj13(#11)

Vignettes

227

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

ww

wnwn

wnAh


|

’ ’ ’ ’

41

’ ’ ’ ’

B maj13

B maj13

D ˙b˙n

˙n˙n

˙nAh


|

’ ’

42

’ ’

A #maj7(add4)

A #maj7(add4)

ww

wnwn

wnAh


|

’ ’ ’ ’

43

’ ’ ’ ’

A maj9(#5)

A maj9(#5)

.œn œ œb

.œ œ œn

.œ# œb œ

.œ œn œ

˙nAH


|

’ ’

44

’ ’

G #7 b9( b13)

G #7 b9( b13)

Vignettes

228

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œn œ œn œ œ œ œwn

ww

!

!!

œ œn œ œn œ# œn œ œw#

45

Y

Straight 8ths

Straight 8ths œ œ œn œ œ œ œ œwn

w#w

!

!!

œn œ# œn œ œ œ œ œw

46

!

ww

ww

!

!!


w

47

œx x

œx œ x x

œx

œx x

œx œ x x

œx

5 5 5 5

ww

ww

!

!!


!

48

œx x

œx œ x x

œx

œx x

œx œ x x

œx

5 5 5 5

Vignettes

229

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙!!

Ó œ œ œ

.œ Jœ ˙Do Do


.Û JÛ |


.Û JÛ |

49

’ ’ ’ ’

E/G #Eb-

/B b

E/G #Eb-

/B b

E

Cont. Sim.

f

f

f

ff

ff


3

Ó " œ œ œ œ œn œn œnÓ " œ œ œ œ œb œb œ˙ Ó

!

!

|


|

50

’ ’ ’ ’

ff

œ œ œ ˙

.œ jœ ˙


.œ Jœ ˙Do Do


.Û JÛ |


.Û JÛ |

51

’ ’ ’ ’

Eb-/B b F #-11

/E

Eb-/B b F #-11

/E

‰ œ œ œ œ œ ˙3

3



!

!

|


|

52

’ ’ ’ ’

Vignettes

230

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙

œ œn œ ˙


!

!.Û JÛ |


.Û JÛ |

53

’ ’ ’ ’

A 69Gmaj7(#9,#5)

A 69Gmaj7(#9,#5)

œn œ œ ˙

œ œ œ ˙


!

!.Û JÛ |


.Û JÛ |

54

’ ’ ’ ’



‰ œ œ œ œ œ ˙3

3

Ó Œ œn œÓ Œ œ œ

!!

!.Û JÛ |


.Û JÛ |

55

’ ’ ’ ’

A maj7(#11) Emaj7

A maj7(#11) Emaj7

‰ jœ .˙w

w‰ Jœ .˙

!

!

|


|

56

’ ’ ’ ’

Vignettes

231

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

..

..

..

..

..

..

..

..

..

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

.Û JÛ |

.Û JÛ |

.Û JÛ |

.Û JÛ |!

.Û JÛ |

.Û JÛ |

.Û JÛ |

57

’ ’ ’ ’

A b/C

G-

/D

A b/C

G-

/D

A b/C

G-

/D

G b/B bF-

/C

G b/B bF-

/C

G b/B bF-

/C

G b/B bF-

/C

F

Alto Solo (conductor)Pads on last 2 Xs (cued)

||||

!

||

|

58

’ ’ ’ ’

.Û JÛ |

.Û JÛ |

.Û JÛ |

.Û JÛ |!

.Û JÛ |

.Û JÛ |

.Û JÛ |

59

’ ’ ’ ’

G-

/DB b-11

/A b

G-

/DB b-11

/A b

G-

/DB b-11

/A b

F-

/CA b-11

/G b

F-

/CA b-11

/G b

F-

/CA b-11

/G b

F-

/CA b-11

/G b

||||

!

||

|

60

’ ’ ’ ’

Vignettes

232

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

..

..

..

..

..

..

..

..

..

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

.Û JÛ |

.Û JÛ |

.Û JÛ |

.Û JÛ |!

.Û JÛ |

.Û JÛ |

.Û JÛ |

61

’ ’ ’ ’

C# 69Bmaj7(#9,#5)

C# 69Bmaj7(#9,#5)

C# 69Bmaj7(#9,#5)

B 69Amaj7(#9,#5)

B 69Amaj7(#9,#5)

B 69Amaj7(#9,#5)

B 69Amaj7(#9,#5)

.Û JÛ |

.Û JÛ |

.Û JÛ |

.Û JÛ |!

.Û JÛ |

.Û JÛ |

.Û JÛ |

62

’ ’ ’ ’

F 7 B b 69/C /D

F 7 B b 69/C /D

F 7 B b 69/C /D

Eb7 A b 69/B b /C

Eb7 A b 69/B b /C

Eb7 A b 69/B b /C

Eb7 A b 69/B b /C

.Û JÛ |

.Û JÛ |

.Û JÛ |

.Û JÛ |!

.Û JÛ |

.Û JÛ |

.Û JÛ |

63

’ ’ ’ ’

C#maj7(#11) G #maj7

C#maj7(#11) G #maj7

C#maj7(#11) G #maj7

B maj7(#11) F #maj7

B maj7(#11) F #maj7

B maj7(#11) F #maj7

B maj7(#11) F #maj7

D.S. al Fine

||||

!

||

|

64

’ ’ ’ ’

Vignettes

233

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!!!

wnAh


|

’ ’ ’ ’

65

x .x x x .x x5 5

.œ œ .œ œ .œ œ .œ œ5 5 5 5

C#13

C#13

Walk qs

G

Slow Swing Ride

F

FF

F

F

!!!!

˙nAh


|

’ ’

66

x .x x5

.œ œ .œ œ5 5

C maj13

C maj13

!!!!

wnAh


|

’ ’ ’ ’

67

x .x x x .x x5 5

.œ œ .œ œ .œ œ .œ œ5 5 5 5

B maj13(#11)

B maj13(#11)

!!!!

˙nAh


|

’ ’

68

x .x x5

.œ œ .œ œ5 5

C#maj7(#5)

C#maj7(#5)

Vignettes

234

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!!

ww

wnAh


|

’ ’ ’ ’

69

’ ’ ’ ’

G # 69

G # 69

H

Cont. Sim.

!!

˙b˙n

˙nAh


|

’ ’

70

’ ’

Gmaj(add4)

Gmaj(add4)

!!

w#wn

wnAh


|

’ ’ ’ ’

71

’ ’ ’ ’

F #m69

F #m69

!!

˙˙n

˙nAh


|

’ ’

72

’ ’

E#maj13

E#maj13

Vignettes

235

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

!wn

wnwn

wnAh


|

’ ’ ’ ’

73

’ ’ ’ ’

Dmaj7(#9)

Dmaj7(#9)

!˙n

˙b˙n

˙nAh


|

’ ’

74

’ ’

D #maj13(#11)

D #maj13(#11)

!wn

wwn

wnAH


|

’ ’ ’ ’

75

’ ’ ’ ’

Dmaj7(#9)

Dmaj7(#9)

!˙n

˙b˙n

˙nAh


|

’ ’

76

’ ’

D #maj13(#11)

D #maj13(#11)

Vignettes

236

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

ww

wnwn

wnAh


|

’ ’ ’ ’

77

’ ’ ’ ’

B maj13

B maj13

I ˙b˙n

˙n˙n

˙nAh


|

’ ’

78

’ ’

A #maj7(add4)

A #maj7(add4)

ww

wnwn

wnAh


|

’ ’ ’ ’

79

’ ’ ’ ’

A maj9(#5)

A maj9(#5)

.œn œ œb

.œ œ œn

.œ# œb œ

.œ œn œ

˙nAh


|

’ ’

80

’ ’

G #7 b9( b13)

G #7 b9( b13)

Vignettes

237

&&&?

&

&&

?

ã


# # # # ## # # # #

# # # # #

44

44

44

44

44

44

44

44

44

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œn œ œn œ œ œ œwn

ww

!

!

œ œn œ œn œ# œn œ œw#

81

Y

Straight 8ths

Straight 8ths œ œ œn œ œ œ œ œwn

wnw

!

!

œn œ# œn œ œ œ œ œw

82

!

ww

ww

!

!


w

83

œx x

œx œ x x

œx

œx x

œx œ x x

œx

5 5 5 5

ww

ww

!

!


!

84

œx x

œx œ x x

œx

œx x

œx œ x x

œx

5 5 5 5

Vignettes

238

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙!!

Ó œ œ œ

.œ Jœ ˙Do Do


.Û JÛ |


.Û JÛ |

85

’ ’ ’ ’

E/G #Eb-

/B b

E/G #Eb-

/B b

J

Cont. Sim.

ffff

f

ff

ff


3

Ó " œ œ œ œ œn œn œnÓ " œ œ œ œ œb œb œ˙ Ó

!

!

|


|

86

’ ’ ’ ’

œ œ œ ˙

.œ jœ ˙


.œ Jœ ˙Do Do


.Û JÛ |


.Û JÛ |

87

’ ’ ’ ’

Eb-/B b F #-11

/E

Eb-/B b F #-11

/E

‰ œ œ œ œ œ ˙3

3



!

!

|


|

88

’ ’ ’ ’

Vignettes

239

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙

œ œn œ ˙


!

!.Û JÛ |


.Û JÛ |

89

’ ’ ’ ’

A 69Gmaj7(#9,#5)

A 69Gmaj7(#9,#5)

œn œ œ ˙

œ œ œ ˙


!

!.Û JÛ |


.Û JÛ |

90

’ ’ ’ ’



‰ œ œ œ œ œ ˙3

3

Ó ‰ œ œ œ œ œ3

3

!!!

!.Û JÛ |


.Û JÛ |

91

’ ’ ’ ’

A maj7(#11) Emaj7

A maj7(#11) Emaj7

ww‰ œ œ œ œ œ ˙

33

Ó ‰ œ œ œ œ œ3 3

!

!

|


|

92

’ ’ ’ ’Fill

Vignettes

240

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙

œ œn œ ˙


!

!.Û JÛ |


.Û JÛ |

93

’ ’ ’ ’

A 69Gmaj7(#9,#5)

A 69Gmaj7(#9,#5)

œn œ œ ˙

œ œ œ ˙


!

!.Û JÛ |


.Û JÛ |

94

’ ’ ’ ’



‰ œ œ œ œ œ ˙3

3

Ó ‰ œ œ œ œ œ3

3

!!!

!.Û JÛ |


.Û JÛ |

95

’ ’ ’ ’

A maj7(#11) Emaj7

A maj7(#11) Emaj7

ww‰ œ œ œ œ œ ˙

33

Ó ‰ œ œ œ œ œ3 3

!

!

|


|

96

’ ’ ’ ’

Vignettes

241

&&&?

&

&&&

?

ã


# # # # ## # # # ## # # # #

# # # # #

S. Sx.

T. Sx.

Bb Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Synth 1

œ œ œ ˙

œ œn œ ˙


!

!.Û JÛ |.Û JÛ |

.Û JÛ |

97

’ ’ ’ ’

A 69Gmaj7(#9,#5)

A 69Gmaj7(#9,#5)

A 69Gmaj7(#9,#5)

œn œ œ ˙

œ œ œ ˙


!

!.Û JÛ |.Û JÛ |

.Û JÛ |

98

’ ’ ’ ’




‰ œ œ œ œ œ U3

3


3


3

‰ œ œ œ œ œ U3 3

!

!.Û JÛ

U|.Û JÛ

U|

.Û JÛU|

99

.Û JÛU|

A maj7(#11) Emaj7

A maj7(#11) Emaj7

A maj7(#11) Emaj7

Vignettes

242

&&&&&?

&&

&?

ã

44

44

44

44

44

44

44

44

44

44

44

Conductor/Drum Machine 1

Alto Sax

Sampler Output 2

Sampler/Tenor Sax

Trumpet in Bb

Trombone

Electric Guitar

Bass Guitar

Drum Set

Piano/Keyboard 2

Voice 1

! ã

!Ó Œ œœ œœÓ Œ œ

!!!!

!!

1

!

Pygmy Sampler

Brushes

Œ œ œ Œ œ œ

!œœ œœ œœ

jœœ œœ jœœw

!!!!

!!

2

!

f

fDistorted 808

Œ œ œ Œ œ œ

!

œœ œœ œœ œœ œœ œœœ .˙

!!!!

!!

3

!

Œ œ œ Œ œ œ

!jœœ œœ jœœ œœ œœ œœ

.˙ œ!!!!

!!

4

!

VignettesZac Evans

Score

Vignette 10: Dance

243

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

Œ œ œ Œ œ œ

!œœ œœ œœ

jœœ œœ jœœw

!!!!

!!

5

!

Œ œ œ Œ œ œ

!


!!!!

!!

6

!

Œ œ œ Œ œ œ


.˙ œ!!!!

!!

7

!

œ œ Jœ œ Jœ

!œœ œœ Jœœ œœ jœœ

œ œ jœ œ jœ!!!!

!!

8

!

Vignettes

244

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

‰ Jœ œ œ œ œ

!œœ œœ œœ œœ œœ œœ

˙ ˙!!!!

!!

9

!

œ œ Jœ œ Jœ



!!

10

!

‰ Jœ œ œ œ œ


˙ ˙!!!!

!!

11

!

œ œ Jœ œ Jœ


œ œ .œ jœ!!!!

!!

12

!

Vignettes

245

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

‰ Jœ œ œ œ œ

!jœœ œœ jœœ œœ œœ œœjœ œ jœ ˙

!!!!

!!

13

!

Y

!jœœ œœ Jœœ œœ Œ

w!!!!

!!

14

!

Ó ‰ x x x

!jœœ œœ Jœœ œœ œœ œœ œœ

˙ œ œ œ œ!!!!

!!

15

!

œ œ Jœ œ Jœx x x x x x x x



!!

16

!

AHip-hop beat

Vignettes

246

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

‰ Jœ œ œ œ œx x x x x x x x


œ œ œ ˙!!!!

!!

17

!

’ ’ ’ ’!

œœ œœ Jœœ œœ jœœ


!!

18

!

’ ’ ’ ’!

œœ œœ œœ œœ œœ œœ œœ

œ œ œ œ œ œ!!!!

!!

19

!

’ ’ ’ ’!

œœ œœ Jœœ œœ jœœ


!!

20

!

Vignettes

247

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!

œœ œœ œœ œœ œœ œœ

œ œ œ ˙!!!!

!!

21

!

’ ’ ’ ’!

jœœ œœ Jœœjœœ œœ Jœœ

˙ jœ .œ!!!!

!!

22

!

’ ’ ’ ’!

jœœ œœ Jœœjœœ œœ Jœœ

˙ jœ .œ‰ œ œ# œ œ# œ# œ# œ

‰ œ œ œ œ# œ œ# œ

!!

!!

23

!

FF

’ ’ ’ ’!

jœœ œœ Jœœjœœ œœ jœœ

˙ .œ jœŒ .˙#

Œ .˙

!.œ# Jœ .œ Jœ

.œ# jœ .œ jœ!

24

!

B

F

F

Vignettes

248

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!

œœ œœ œœ œœ œœ œœ œœjœ œ jœ ˙

ww

!.œ Jœ ˙

.œ jœ ˙!

25

!

’ ’ ’ ’!!

œ œ jœ œ jœww

!.œ# Jœ .œ Jœ

.œ# jœ .œ jœ!

26

!

’ ’ ’ ’!!

jœ œ jœ ˙!!!

.œ Jœ ˙

.œ jœ ˙!

27

!

’ ’ ’ ’!!

œ œ jœ œ jœŒ .˙#

Œ .˙

!‰ œ# Jœ .œ Jœ

‰ œ# jœ .œ jœ!

28

!

Vignettes

249

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!

œ Œ œ œww

!.œ Jœ ˙

.œ jœ ˙!

29

!

’ ’ ’ ’!!

œ œ jœ œ jœww#

!.œ# Jœ .œ Jœ

.œ# jœ .œ jœ!

30

!

’ ’ ’ ’!!

jœ œ jœ ˙!!!

.œ Jœ ˙

.œ jœ ˙!

31

!

’ ’ ’ ’!!

jœ œ jœ œ œ œ œŒ .˙

Œ.˙#

!.œ# Jœ .œ Jœ

.œ# jœ .œ jœ!

32

!

Vignettes

250

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!

œ œ œ œ œ œww

!.œ Jœ ˙

.œ jœ ˙!

33

!

’ ’ ’ ’!!

œ œ œ œ œww

!.œ# Jœ .œ Jœ

.œ# jœ .œ jœ!

34

!

’ ’ ’ ’!!

œ œ œ œ œ!!!

.œ Jœ ˙

.œ jœ ˙!

35

!

’ ’ ’ ’!!

œ œ œ jœ œ jœŒ .˙

Œ.˙#

!‰ œ# Jœ .œ Jœ

‰ œ# jœ .œ jœ!

36

!

Vignettes

251

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!

œ œ .˙ww

!.œ Jœ ˙

.œ jœ ˙!

37

!

’ ’ ’ ’!!

œ œ jœ œ jœw#w

!.œ# Jœ .œ Jœ

.œ# jœ .œ jœ

.œ œ œ œ .œ œ œ œ

38

!f

’ ’ ’ ’!!

œ œ .˙Ó œ# œ œ " œ# œ œ

Ó œ œ œ "œ œ œ

!.œ Jœ ˙

.œ jœ ˙


39

!

ff

’ ’ ’ ’!!

œ œ jœ œ jœ.œ# œ ˙ œ# œ œ

3.œ œ ˙ œ œ œ3

!.œ œ œ œ .œ œ œ œ



40

!

C

Vignettes

252

ã&&&&?

&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!

œ œ œ ˙.œ# œ .˙.œ œ .˙




41

!

’ ’ ’ ’!!

œ œ jœ œ jœ.œ# œ ˙ œ# œ œ

3.œ œ ˙ œ œ œ3




42

!

’ ’ ’ ’!!

œ œ œ ˙.œ# œ# œ œ# œ œ " œ# œ œ.œ œ œ œ œ œ "

œ œ œ




43

!

’ ’ ’ ’!!

œ œ œ jœ œ jœ.œ# œ ˙ œ# œ œ

3.œ œ ˙ œ œ œ3




44

!

Vignettes

253

ã&&&&?

&

&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!

œ œ œ ˙.œ# œ .˙.œ œ .˙

!




45

!

!!!

w.œ# œ ˙ œ# œ œ

3.œ œ ˙ œ œ œ3

!

!

!!

46

!

!!!

˙ œ œ œ œ.œ# œ# œ Ó.œ œ œ Ó

!

!

!!

47

!To Brushes

’ ’ ’ ’!!

œ œ ‰ œ jœ œ jœww

wDo

www|

|w

48

’ ’ ’ ’

Csus2

Csus2

2x Swing

Arco

D

FF

F

F

FFF

Reverb/Delay

Vignettes

254

ã&&&&?

&&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!

jœ œ jœ œ œ œ˙ ˙#˙ ˙

˙ ˙#Do

˙ ˙#

| |

| |˙ ˙

49

’ ’ ’ ’

D 69

D 69

’ ’ ’ ’!!

œ œ .œ jœww

wDo

www|

|w

50

’ ’ ’ ’

Csus2

Csus2

’ ’ ’ ’!!

jœ œ jœ ˙˙ ˙#˙ ˙

˙ ˙#Do

˙ ˙#

| |

| |˙ ˙

51

’ ’ ’ ’

D 69

/B

D 69

/B

’ ’ ’ ’!!

œ œ jœ œ jœww

wDo

www|

|w

52

’ ’ ’ ’

Csus2

Csus2

Vignettes

255

ã&&&&?

&&&

&?

ã

D. S.

A. Sx.

Spl. 2

Samp/T. Sax.

Tpt.

Tbn.

Gtr.

Bass

D. S.

Pno. 2

Voice 1

’ ’ ’ ’!!

jœ œ jœ œ œ œ œ˙ ˙#˙ ˙

˙ ˙#Do

˙ ˙#

| |

| |˙ ˙

53

’ ’ ’ ’

D 69

/B

D 69

/B

’ ’ ’ ’!!

œ œ jœ œ jœww

wDo

www|

|w

54

’ ’ ’ ’

Csus2

Csus2

’ ’ ’ ’!!

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Bibliography

Holland Festival. "Holland Festival 2013: Danijel Zezelj / Darcy James Argue - Brooklyn

Babylon." YouTube. YouTube, 23 June 2013. Web. 24 Apr. 2016.

Davis, Miles. The Complete Birth of the Cool. Orch. Gil Evans. Rec. 21 Jan. 1949.

Capitol, 1998. MP3.

Hamilton, Chico. The Original Chico Hamilton Quintet. Rec. 11 Nov. 1955. World

Pacific, 1960. MP3.

SF Jazz Collective. Nonesuch, 2006. MP3.

Hamasyan, Tigran. Mockroot. Nonesuch Records, 2015. MP3.

Zenón, Miguel. Alma Adentro: The Puerto Rican Songbook. Marsalis Music, 2011. MP3.

Glasper, Robert. Black Radio. Robert Glasper Experiment. Blue Note Records, 2012.

MP3.

Iyer, Vijay. Accelerando. Vijay Iyer Trio. ACT Music, 2012. MP3.

The Bad Plus. Made Possible. E1 Music, 2012. MP3.

Zion, Afuang. "Robert Glasper Experiment Birthday Set." YouTube. YouTube, 28 May

2012. Web. 25 Apr. 2016.

Jaga Jazzist. A Livingroom Hush. Ninja Tune, 2001. MP3.

Flying Lotus. You're Dead! Warp Records, 2014. MP3.

Deantoni Parks. Technoself. Stones Throw, 2015. MP3.

268

Vita

Zachary Glenn Evans is a saxophonist, composer, and educator primarily based in

Atlanta, Georgia. He received his undergraduate degree in saxophone performance from

Kennesaw State University in Spring 2013. In May 2016, Zachary will complete his

graduate degree in jazz composition from the University of Texas at Austin where he

served as a teaching assistant. Also as of May 2016, Zachary serves as the Education and

Outreach Coordinator for the Georgia Symphony Orchestra. Zachary also leads the hip-

hop/jazz band, Monkier, in which he composes, raps, and plays keyboard and saxophone.

He continues to compose and perform with various local and national acts. Zachary is

also a recipient of the Graduate Arts Award from the Jack Kent Cooke Foundation.

Email: [email protected]

This thesis was typed by Zachary Glenn Evans.

269

Documents

Copyright by Zachary Glenn Evans 2016