Autumn in New York - JLP-8016 - Score.mus

autumn in new york - notes
Background
The hit side of the January, 1952 recording date (the tape boxes are not marked), Autumn in New York, was one of
the biggest hits written by composer Vernon Duke. Duke led a double life; as Vladimir Dukelsky, he composed concert
music, including a ballet commissioned by Serge Diagalev of the Ballet Russe (The Rite of Spring was another Diagalev
commission). As Duke (a name suggested by his friend George Gershwin), he wrote many wonderful songs for shows
that were not very successful. His music has had a resurgence of interest in recent years, with many new recordings of
his scores and individual songs.
The Music
Thanks to the rediscovery of the original scores and parts of the Bird with strings arrangements, we now know that Joe
Lipman did not arrange Autumn in New York. The handwriting on the score is totally different from scores where
Lipman's name is on the title page, and there is no name to be found on Autumn. Based on the amount of copy errors
on the parts of "Temptation," it is clear that this recording date was prepared in a hurry, and obviously Lipman could
not finish all four scores scheduled. So a 'ghost' was hired to write this score.
Ghosting became very common among arrangers when radio networks (stations throughout the country grouped
together by organizations such as the Columbia Broadcasting System [CBS] and the National Broadcasting Company
[NBC]) were formed in the late 1920's. With the amount of local and national programming broadcast every day that
demanded many pages of music to be played live, staff arrangers who got into a bind made a phone call to one or
several other arrangers to get the job done. During the big band era, Horace Henderson completed arrangements for
Benny Goodman that were credited to his brother Fletcher. After the war, the recording and television industries
provided work for hundreds of arrangers from coast to coast, and there was more than enough activity to keep them
busy. No one cared about getting credits on record labels or album covers, the arrangers just wanted the work. In New
York, Marion Evans, Billy Byers, Neal Hefti, Don Costa and a few other arrangers lived within several blocks of each
other in the west 70s, and it was not uncommon for one arranger to call another one to finish an arrangement while
four or five copyists sat in an apartment and cranked out parts for a date that would begin twenty minutes from the
arrival of the 'ghost.'
Whoever wrote Autumn in New York for Parker was clearly a 'commercial' writer, and this is not meant in a negative
way. But there is not a saxophone besides Parker to be heard, and the bulk of the arrangement features the strings,
although there are two 'written' solos played by trumpet and trombone. The arrangement is a straightforward setting
that works beautifully and is not terribly difficult. One instrumentation note: this arrangement reminds us that it was
easy to get top musicians in New York when an arranger could write three reed parts that call for bass clarinet.

Notes to the Conductor
This arrangement is a perfect introduction for a jazz ensemble combined with a string section. Rarely do high school
and college string players have opportunities to play popular music of this quality because it is simply not available, a
situation that we at Jazz Lines Publications are slowly rectifying.
Every musician must hear the rhythm section, particularly the drums so that all players can be in synchronization. The
reason this arrangement makes such a good first 'chart' for orchestra is that issues such as playing behind the beat and
intonation between strings and winds are minimized.
Dynamics are pretty much as indicated by the arranger. There were instances where triple-p was written on the
manuscript, which is totally impractical for live performance. Proper balance between the woodwinds and strings is
crucial, as the winds can be easily buried. Amplification of the instruments may help, or the dynamics may have to be
altered depending on your performance space.
Jeffrey Sultanof
- January 2010

Jazz lines PubLications
Alto Sax.
(As-Played)
Solo Alto
Alto Sax.
(Cues)
Flute 1
Flute 2
Clarinet 3
Clarinet 4
Oboe
rubato
{O`b`o`e``} {S`o`l`o`}
mp
{F`l`u`t``e```}
{F`l`u`t``e```}
{C`la`r`i`n```e`t```}
{C`la`r`i`n```e`t```}
the jeffrey sultanof master edition
autumn in new york
Score
Recorded by Charlie Parker Words and Music by Vernon Duke
arranged by Joe Lipman
p
p
p
p
jLp-8016
Trumpet 1
{In` `H`a`t`````}
Trumpet 2
{In` `H`a`t`````}
Trumpet 3
{In` `H`a`t`````}
Trumpet 4
{In` `H`a`t`````}
Trombone 1
{In` `H`a`t`````}
Trombone 2
{In` `H`a`t`````}
Trombone 3
{In` `H`a`t`````}
Trombone 4
{In` `H`a`t`````}
Violin A
Violin B
Violin C
mp
mp
mp
Violas
mp
Celli
Harp
Guitar
[Df,An]
mp
pp
g
mp
[En]
g
pp
[An,Dn]
~~~~
C6/9 Gliss
p
[Cs,Fs]
Piano
Bass
Drum Set
ã
{A`r`c`o``}
mp
Copyright © 1934 by Kay Duke Music
Copyright Renewed
International Copyright Secured All Rights Reserved
Layout, Design, and Logos © 2009 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM

jLp-8016
A. Sx.
(A/P)
Solo A.S.
A. Sx.
(A/W)
Fl. 1
Fl. 2
Cl. 3
Cl. 4
Ob.
Tpt. 1
f
f
f
f
f
{T`o` `C`la`r`i`n```e`t```}
{T`o` `B`a`s`s` `C`la`r`i`n```e`t```}
{T`o` `B`a`s`s` `C`la`r`i`n```e`t```}
{T`o` `C`la`r`i`n```e`t```}
autumn in new york
C >9
C >9
Score - Page 5
{S`o`l`o`}
{S`o`l`o`}
a tempo q = 90
[A] D>7 E>7
D>7 E>7
{T`o` `C`u`p` `M`u`t`e``````}
Jazz lines PubLications
F6
G7
F6
G7
Tpt. 2
Tpt. 3
Tpt. 4
fp
fp
fp
fp
{T`o` `C`u`p` `M`u`t`e``````}
{T`o` `C`u`p` `M`u`t`e``````}
{T`o` `C`u`p` `M`u`t`e``````}
Tbn. 1
{T`o` `C`u`p` `M`u`t`e``````}
fp
Tbn. 2
{T`o` `C`u`p` `M`u`t`e``````}
fp
Tbn. 3
{T`o` `C`u`p` `M`u`t`e``````}
fp
Tbn. 4
{T`o` `C`u`p` `M`u`t`e``````}
Vln. A
Vln. B
Vln. C
Vla.
fp
{S`o`l`i`}
fp
f
{S`o`l`i`}
f
{S`o`l`i`}
f
Div
mp
mp
mp
Vc.
Hp.
Gtr.
g
Div
fp
[An,Bn,Cn]
Ef,Fn,Bf]
F>7 G>7
’ ’ ’ ’
g
A 6 B 7sus B 7
’ ’ ’ ’
Pno.
Bass
D. S.
ã
6
fp
’ ’ ’ ’
F>7 G>7
F>7
{P`i`z`z``}
G>7
œ œ œ œ
œ œ
’ ’ ’ ’
A 6 B 7sus B 7
A 6
B 7sus
’ ’ ’ ’

Jazz lines PubLications
autumn in new york
Score - Page 6
jLp-8016
A. Sx.
(A/P)
Solo A.S.
A. Sx.
(A/W)
C6
C6
C9 B 9 A9
C9 B 9
D>7 E>7
D>7 E>7
F6
G7
F6 G7
C9
C9
Fl. 1
Cl. 2
~~~~~~~~~~~~~~~
Bs. Cl. 3
~~~~~
~~~~~~~~~~~~~~~
Bs. Cl. 4
~~~~~~
Cl. 5
~~~~~~~~~~~~~~~
Tpt. 1
Tpt. 2
Tpt. 3
Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vln. A
Vln. B
pp
Vln. C
Vla.
Vc.
mp
mp
pp
pp
g
Hp.
Gtr.
E 6
’ ’ ’ ’
E 9 D 9 C9
’ ’ ’ ’
F>7 G>7
’ ’ ’ ’
A 6 B 7sus B 7
’ ’ ’ ’
E 9
’ ’ ’ ’
[Df,Gf]
G 7 (b9) G 7
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
Pno.
Bass
E 6
E 6
E 9 D 9 C9
E 9 D 9 C9
F>7 G>7
F>7
G>7
A 6 B 7sus B 7
A 6
B 7sus
E 9
E 9
G 7 (b9) G 7
G 7
(b9)
D. S.
11
ã
’ ’ ’ ’
(4)
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
’ ’ ’ ’
(8)