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ST. LOUIS BLUES

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W. C. HANDY

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Arranged by VICTOR GOINES

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INSTRUMENTATION

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Conductor 1st Trombone Optional Alternate Parts
1st E% Alto Saxophone 2nd Trombone C Flute
2nd E% Alto Saxophone
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3rd Trombone Tuba
1st B% Tenor Saxophone 4th Trombone Horn in F (Doubles 1st
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2nd B% Tenor Saxophone Guitar Chords Trombone)
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Guitar 1st Baritone T.C. (Doubles
E% Baritone Saxophone
Piano 1st Trombone)
1st B% Trumpet
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Bass 2nd Baritone T.C. (Doubles

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2nd B% Trumpet Drums 2nd Trombone)

3rd B% Trumpet 3rd Baritone T.C. (Doubles
4th B% Trumpet
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3rd Trombone)
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 ST. LOUIS BLUES

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W. C. HANDY

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Arranged by VICTOR GOINES

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NOTES TO THE CONDUCTOR

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William Christopher Handy (November 16, 1873–March 28, 1958) was an African-American blues composer and musician, often known
as “the Father of the Blues.” Handy composed St. Louis Blues in 1914. Though the name of the song may imply that it is about events in
St. Louis, Missouri, it instead refers to a sophisticated woman from that city. The form is unusual in that the verses are the familiar standard

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12-bar blues but it also has a 16-bar bridge written in the habañera rhythm, popularly called the “Spanish Tinge.” Handy said in writing

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St. Louis Blues, his objective was “to combine ragtime syncopation with a real melody in the spiritual tradition.”

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My arrangement features a traditional swing feel and a Latin rumba style. The drumset player should set up the rumba feel 2 or 3 beats prior
to the change in order to prepare the ensemble for the different feel. All Latin grooves are played with straight eighth notes. This contrast with

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the swing eighths is a key element in this arrangement. The rhythmical essence of the rumba is an accented pattern of beats 1, the “and” of 2,

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and 4, or it can be visualized as two dotted-quarter notes and a quarter note.

In the swing section for the rhythm section, the guitar should comp with a traditional quarter note feel. The guitar is of less importance
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in the rumba style. The bass will provide the rumba rhythmic pattern as written. The pianist can embellish the comping in the rumba style,
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but should keep it simple and coordinated with the bass pattern.
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Soloists may play the suggested written solo or ad lib, but always play in the appropriate style.
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For the ensemble, play the marcato, or rooftop (^), accent detached, but not staccato or clipped. Play the fall-off in measure 53 quickly. Section
players should mimic the lead player in a fall-off. The last two measures may be dictated to enhance the dramatic ending. The drummer may
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fill over these chords if desired.

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Please enjoy!
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 –Victor Goines
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 JAZZ FOR YOUNG PEOPLE™ SERIES

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These charts are based on repertoire from the Jazz for Young People Curriculum, Jazz for Young People Curriculum Online www.

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a multimedia jazz appreciation curriculum. jazzforyoungpeople.org
This educational website supplements the Jazz for Young People Curriculum
Jazz for Young People Curriculum
™
with original audio and video clips, classic photographs, engaging biographies, and

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Let Wynton Marsalis welcome your students into the infectious energy of swing. dynamic activities that enliven jazz for students of all ages. A great resource for

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As the voice behind the Jazz for Young People Curriculum, he brings the music any teacher, each online lesson features a Tips for Teachers section that offers
to life through vibrant audio examples, lively activities, and narration filled with an array of classroom activities and access to a forum that allows teachers to

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warmth and humor. Intended primarily for 4th–9th graders, this multimedia kit is exchange their own lesson plans. Students, teachers, and jazz fans alike can enter
designed for both musicians and non-musicians and provides flexible lessons that the site at www.jazzforyoungpeople.org.

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can be taught in one semester-long unit or in shorter, individual units. Open the
box. Open your students to the joy of jazz. Jazz at Lincoln Center is a not-for-profit arts organization dedicated to jazz.

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With the world-renowned Lincoln Center Jazz Orchestra, the Afro-Latin Jazz
Each curriculum kit includes: Orchestra, and a comprehensive array of guest artists, Jazz at Lincoln Center
advances a unique vision for the continued development of the art of jazz by
• A 10-CD set (including one CD-ROM) of newly recorded music performed

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producing a year-round schedule of performance, education, and broadcast
by the LCJO and special guests.

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• An in-depth Teaching Guide that leads educators step-by-step through international tours, residencies, weekly national radio and television programs,
each lesson: explaining jazz styles, musical concepts, historical information, recordings, publications, an annual high school jazz band competition and festival,
and key jazz figures; suggesting participatory activities and cross-curricular a band director academy, a jazz appreciation curriculum for children, advanced
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links; providing additional resources and integrating the National Standards training through the Juilliard Institute for Jazz Studies, music publishing, children’s
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for Music Education.
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concerts, lectures, adult education courses, film programs, and student and
• A set of 30 Student Guides includes focused listening charts, fun activities, educator workshops. Under the leadership of Artistic Director Wynton Marsalis,
historical summaries, biographies, and photographs that reinforce musical President & CEO Derek E. Gordon, Executive Director Katherine E. Brown,
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concepts. Chairman of the Board Lisa Schiff and Jazz at Lincoln Center Board and staff, Jazz
at Lincoln Center will produce hundreds of events during its 2004-05 season.
• A video that enlivens the classroom experience by taking students behind the
This is the inaugural season in Jazz at Lincoln Center’s new home—Frederick P.
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scenes at the curriculum recording session.

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Rose Hall—the first-ever performance, education, and broadcast facility devoted

to jazz.
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For more information, visit www.jalc.org.

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