JAZZ BAND SERIES @) Belwin JAZZ a division of Alfred CITY DOCK By W. SCOTT RAGSDALE INSTRUMENTATION Conductor Ist E} Alto Saxophone ‘2nd 6 Alte Saxophone Ist Bs Tenor Saxophone {and Bb Tenor Saxophone 5 Baritone Saxophone Ist Bs Trumpet 2nd Bb Trumpet 23rd BP Trumpet 4th Bb Trumpet Ist Trombone 2nd Trombone ard Trombone 4th Trombone Gultar Chords Guitar Plane Vibraphone Bass Drums ‘Optional Alternate Pares c Flute 3rd Baritone T. C. (Doubles 3rd Trombone)CITY DOCK By W. SCOTT RAGSDALE NOTES TO THE CONDUCTOR iy Docks an easy-singing chart that contains elements ofthe WestCoast style of the 60s. The tampa is marked “medium-up "and shouldbe played ator around ram = 172, “heey secon should focus on maintaining the tempo, while the horns can ay back ‘alti n adtena sng sty ‘Aways exaggerate dynamics! Play lighy behind soloists, espetaly in measure 20 bind te piano sol, At measure 8, slat softy an bul othe imax in measure 104, Tiss the mast portland intnse point ofthe chart, The Ry Section ‘+The Freie Gren style of comping is very important to the groove. The guitarist should study this sl, stant reorcngs of the Count Basie Orchestra and develop ‘he abit o voice chords inthe ower eit For the best sound, ak th guts 0 sea medium tick pe, and hol it loosely etwesn the thumb ad index fage in loner to achiev avery bright, arouse qualty sound. Strum sagt quarto ots, ‘min he sound of th chord right at ting the sings, Strum from he elbow ving a rg, singing sound that propels the ttm secon forward Dostum ‘tom the wis or ngs, which sounds fred and tends to dra instead af propa the ‘tytn. Th guitars quartar-ote ryt shou pricy mesh withthe bass into one big sound. When te guitarists comping locks in tine with the bass and drums, very powerful is rated that wil el the whol band ving ‘+The writen piano arts a good example of now big-bad piano i used “lyin the hates" and prin color oer the band's sound. The plist should feo ree to experimen, embelish the chords and come up wih hs ar her own viings. ‘The drummer stout lock in wit tha time ofthe bass and guitar. He or se should taka cart sith ftom the hi-hat pattem to the rie cymtal where inated, ays eancenating on keeping good tins. Diet te drummer to set up te bigger ensemble figures, ast measures 62, 60, and 104, and make sre he o she sets up the band ik on beat 2in measure 113, The Horns * Rays sive for god intonation win each ection during unison passapes, a wth the sas measures 10, 82, and 128. The sae apps to trombone at measure 1 andthe entire brass sooton at measure 26. Watch th intonation during ouster chords, a in he brass during the introduction “A capped notes, or “oot aoents”*) shouldbe interpreted as fat cap, and not layed too short think “da, ‘Pay ctl attention to syncope notes that al of the beat, a in measures 22-29. ay these figures wih good tina without yng back, or he rhythmic efac wil be last. + Background pats shuld alvays be subordinate to soos Takano ofthe hy changes and be read + Kp ha saxopoe sol smooth and swinging, + Asa general rl the faster the tempo, the ss swing fas need. The nots shoul become more even asthe foo increases, ‘+ nmeasure 8, te brass alo sould be long and smoot, sting ntl best ofthe folowing measure. ‘In measur 105, play the eth notes with aceants onthe offbeat (oth “and” of act bral), but dont sxagert this ecniue Solis * Slits should fst ar he melody as itis played bythe snes during ha fest scion, in measures 10-22. Knowing th mloy wil help to ply solos more fea, everualy breaking away rom the writen notes to compose ar inrovse. During a perfomance, soos shoud standup come out ton to ply. reas enoy! Scott RagsconpuctoR cirypock By W. SCOTT RAGSDALE