Notes To The Conductor:: Black Part 1: Work Song

Notes to the Conductor:
Black Part 1: Work Song:

Although there are no vocals, there is an unquestionably operatic atmosphere to Work Song. Duke Ellington’s lengthy jazz quasi-oratorio can be roughly broken into three different
musical motifs, each coming back multiple times throughout the piece both individually and intertwining with one another.
The first of these motifs is the now iconic introductory fanfare at measure 5, which largely serves as the “chorus” of the movement. Thumping double-stopped bass and pound-
ing tom-toms provide the earth-shattering rhythmic foundation underneath a triumphant rhythmic riff that passes back and forth between the saxophones and brass. This section,
regardless of location or dynamic level, needs to possess an authoritative presence in order to maintain a consistent emotional impact. Examples of these “choruses” occur at
measures 25, 67, 117, and 189.
The second motif appears first at measure 11, taking the form of a saxophone section soli. This can effectively be considered the “recitative” portion of the “oratorio,” as these
sections often serve as musical bridges between the “arias” of the individual instrumental soloists. They are often accompanied with a slight uptick in tempo from the “choruses,” as
well as a general lighter overall feel. Other examples of these “recitatives” occur at measures 39, 145, and 158 (albeit in the trumpets on this occasion).
Last but not least is the motif of the individual soloists, performing their “arias” at various points across the duration of the movement. To add to the comparison to opera, the four
primary voice ranges are represented by four separate instruments. First is the “bass-baritone” of Harry Carney’s baritone saxophone at measure 72. Following in succession from
here is Shorty Baker’s trumpet (the “soprano”) at measure 123, “Tricky” Sam Nanton’s trombone (the “tenor”) at measure 145, and finally Johnny Hodges’s alto saxophone (the
“alto”) at measure 214.
Black Part 2: Come Sunday:

The most famous and frequently covered portion of Black, Brown, and Beige, Come Sunday is without a doubt the best example of a jazz hymn. There should be a sense of reverence
and awe throughout the performance of this movement, regardless of volume, tempo or feel.
The beginning of the movement is taken at an extremely slow, almost quasi-rubato tempo. It is largely a brass chorale, with some occasional interjections from the woodwinds.
Several of the brass instruments get brief but noteworthy solo lines during this section, which should stand out from the rest of the ensemble as much as possible without resort-
ing to excessive volume or force.
Interestingly enough, the full melody is never stated until the end of the piece, but bits and pieces come up at several points throughout the arrangement. The first main melody
statement comes from Lawrence Brown’s trombone at measure 12. The tempo remains dirge-like at first, but it gradually accelerates over the next several bars as the ensemble
dramatically swells underneath. A full-powered trumpet fanfare sets up a woodwind soli at a new, brighter tempo at measure 22.
This soli eventually tails off for the entrance of Ray Nance’s violin at measure 33, which takes center stage for a significant portion of the rest of the movement. This written solo
passage is cued in the clarinet part in the event that a violin soloist is not available. It is important for all ensemble musicians to err on the side of caution when it comes to volume
in order to not overwhelm the violin soloist. As the arrangement continues, gradually Lawrence Brown’s trombone and Cootie Williams’ plunger-muted trumpet join in with subtle
yet highly effective counter-lines underneath Nance, adding a stunning layer of texture and depth.
A brief and somewhat ominous growling plunger section in the brass at measure 57 marks the conclusion of Nance’s portion of the program. A brief piano cadenza sets up the ap-
pearance of the full melody at last at measure 64, played with incomparable taste by alto saxophonist Johnny Hodges. Most of the backgrounds underneath the melody come in the
form of trombone pads, with a brief woodwind counter line adding a little subtle depth at measure 73. The woodwinds bring the arrangement to a close after Hodges’ full melody
statement with one last barely audible chorale at measure 80.

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Black Part 1: Work Song:

Black Part 2: Come Sunday:

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