In A Sentimental Mood - Ellington/Coltrane - Sheet Music?

[ondineshimmers]

Hi there,

I'm looking to buy the sheet music for the In A Sentimental Mood, the version played by Duke Ellington and John Coltrane, 1962.

I'm specifically looking for the piano part, but will take the whole score for all instruments if need be.

Can't seem to find it after much time searching which I find strange...there are tons of other arrangements I'm not interested in.

Your help is greatly appreciated.

Thanks
Complete Jazz Newbie (this would be my first piece!)

[Prezfan]

I haven't been able to find anything that has a transcription of that particular recording. You might want to send an email to the people at jazzbooks.com and see if they can help you out. As far as I can tell, there isn't a book with the transcriptions for that particular album. The recording Duke and Trane made of that song is one of my all time favorites. I'll keep searching and see if I can come up with something.

I did find this:
http://www.pianospot.com/1703434.html

It's a book of Ellington piano solos and it has "In a Sentimental Mood", but the only problem is that Duke recorded that song so many times, there is no way to tell from the description if that is the one you want. Send them an email and ask them if they can look in the book and see if it gives the name of the album it's from or a date for the recording from which that solo was transcribed. The one you are looking for was recorded on September 26, 1962.

[Kadence]

A difficult choice for a first jazz tune! Very nice chord progression and is very beneficial to your repertoire, but have you looked at something a little more basic? Eg All Blues by Miles Davis? Thats simple but can be built on a lot. This tune is never too easy without sacrificing a powerful sound.

[Debber]

Originally Posted by ondineshimmers

Hi there,

I'm looking to buy the sheet music for the In A Sentimental Mood, the version played by Duke Ellington and John Coltrane, 1962.

I'm specifically looking for the piano part, but will take the whole score for all instruments if need be.

Can't seem to find it after much time searching which I find strange...there are tons of other arrangements I'm not interested in.

Your help is greatly appreciated.

Thanks
Complete Jazz Newbie (this would be my first piece!)

Hi Ondineshimmers,

Beautiful piece of music you chose there!! Unfortunately i haven't got the score for you. Maybe you can ask your teacher to help you starting to transcribe (parts of) it...
Also, you might benefit from the Aebersold Duke Ellington play-a-long #12 (In A Sentimental Mood is among the songs):

[page]

Hi Debber, I don't think the OP will read what you wrote, because he or she only did appear on that day this february and didn't come back after that. Not even to thank Prezfan and Kadence for their replies. This has happened before unfortunately. But thanks for posting because other members of the board might be interested and looking for this song too.
Funny coincidence is that a friend of mine is studying the song right now. I think it is a lovely melody.

[page]

Okay, I've typed it out for those interested. Mike A. will probably link it to the theory/analysis index. Some parts were a bit hard to read, so I hope this is right:

In A Sentimental Mood changes, its in F:

4/4(-) - - - ||: Dm – Dm(Maj7) - | Dm7 – Dm6 - | Gm – Gm(Maj7) - |

| Gm / Gm6 A7 | Dm - - - | D7 - - - | Gm7 – Gb7 - | 1. FMaj7 - - - :||

|| 2. FMaj7 – Ab7 - | DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | DbMaj7 - Bb7 - |

| Eb7 – Ab7 - | DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | Gm7 - - - |

| C7 - - - | Dm – Dm7(Maj7) - | Dm7 – Dm G | Gm – Gm(Maj7) - |

| Gm / Gm6 A7 | Dm - - - | D7 - - - |Gm7 – C7b9 - | FMaj7 - - - ||

This is from the RB 1. I don’t know what the / means in measure 5 and 22. Any corrections are welcome.

[Debber]

Originally Posted by page

Okay, I've typed it out for those interested. Mike A. will probably link it to the theory/analysis index. Some parts were a bit hard to read, so I hope this is right:

In A Sentimental Mood changes, its in F:

4/4(-) - - - ||: Dm – Dm(Maj7) - | Dm7 – Dm6 - | Gm – Gm(Maj7) - |

| Gm / Gm6 A7 | Dm - - - | D7 - - - | Gm7 – Gb7 - | 1. FMaj7 - - - :||

|| 2. FMaj7 – Ab7 - | DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | DbMaj7 - Bb7 - |

| Eb7 – Ab7 - | DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | Gm7 - - - |

| C7 - - - | Dm – Dm7(Maj7) - | Dm7 – Dm G | Gm – Gm(Maj7) |

| Gm / Gm6 A7 | Dm - - - | D7 - - - |Gm7 – C7b9 - | FMaj7 - - - ||

This is from the RB 1. I don’t know what the / means in measure 5 and 22. Any corrections are welcome.

Hi Page, those '/' s are meant as '-' s in the RB
I checked my 6th edition RB and it has measure 10 || 2. FMaj7 – Ebm7 Ab7 |
measure 20: | Dm7 – Dm6 - |
In measure 21 you forgot the trailing '-' i think.

btw, tnx. for mentioning about the OP. Hadn't noticed that yet...

[page]

I've edit ms 21. I know there are different versions, I picked the one from the Real Book 1. The song is also in The Real Book of Blues, The New Real Book 3 and The Book and in a few other books. I picked the one I had. Thanks for your corrections.

[Scottone]

One of my favorite songs in the jazz canon.

A few things to look at in this song:

The opening phrase, "Dm – Dm(Maj7) - | Dm7 – Dm6 - |",
pedaling the bass, as it is written, is one way to go; you can also see it as "Dm - A7b9 - | Dm7 - G7 - |"; another option is "Dm - - - | Aø - D7b9 - |" .
Another common substitution, usually reserved for the final A section, is
"Bø - Bbm - | Am - Ab9 - |".
In the next phrase, it's the same progression in Gm:
"Gm - Gm(Maj7) - | Gm7 - Gm7 A7b9 |", but since the melody doesn't include the chromatic descent, you don't have to use it. You, instead of placing three chords in the second bar, make a diatonic descent:
"Gm - Gm/F - | Eø - A7b9 (or Eb9) - |". any time a rhythmic cadence is established for a song, it helps to set the mood. To force three chords into the bar will impact on the phrasing and the mood set by the soloist.

In the bridge, you have:
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | DbMaj7 - Bb7 - | Eb7 – Ab7 - |".
Instead of the 1-6-2-5 cadence for the last two bars, try a chromatic descent:
"DbMaj7 - E9 - | Eb9 - D9 - |". The dominant 9ths can also be subbed as
"DbMaj7 - Eº - | Ebm - D9 - |".

Also, since the melody of the bridge ends on a C, you have several options.
The original from your chart:
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | Gm7 - - - | C7 - - - |", or
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | G11 (F/G) - - - | Gb7b5 - - - |", or
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | Bb9 - B7b9 - | C7 - - - |", or even
"DbMaj7 – Bbm7 - | Ab13 - Ab7/Gb | Fmaj7 - Ab9 - | Gm11 - - - |".

The joy of jazz is that there are no right ways to do a song, only the ways that we musicians feel comfortable with (if, of course, comfort is what we want to feel at a given moment). All storytelling, especially in jazz, is about tension and release; each of us has a different threshold for tension. Some of the harmonic and rhythmic devices create a tension that causes anxiety in us, not knowing how or when to release it. Practice sessions are when we can explore the possibilities, and gauge our reactions to the various combinations of sound in time.

Have fun!

[page]

Thanks Scotty, you're a great teacher! The way you talk about this song makes me want to explore all of this, to make it part of my repertoire.

[Ianant]

This is one of my favorite compositions ever. I will play and perform it 'till the day I die.

[engelbach]

Originally Posted by Scottone

One of my favorite songs in the jazz canon.

A few things to look at in this song:

The opening phrase, "Dm – Dm(Maj7) - | Dm7 – Dm6 - |",
pedaling the bass, as it is written, is one way to go; you can also see it as "Dm - A7b9 - | Dm7 - G7 - |"; another option is "Dm - - - | Aø - D7b9 - |" .
Another common substitution, usually reserved for the final A section, is
"Bø - Bbm - | Am - Ab9 - |".
In the next phrase, it's the same progression in Gm:
"Gm - Gm(Maj7) - | Gm7 - Gm7 A7b9 |", but since the melody doesn't include the chromatic descent, you don't have to use it. You, instead of placing three chords in the second bar, make a diatonic descent:
"Gm - Gm/F - | Eø - A7b9 (or Eb9) - |". any time a rhythmic cadence is established for a song, it helps to set the mood. To force three chords into the bar will impact on the phrasing and the mood set by the soloist.

In the bridge, you have:
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | DbMaj7 - Bb7 - | Eb7 – Ab7 - |".
Instead of the 1-6-2-5 cadence for the last two bars, try a chromatic descent:
"DbMaj7 - E9 - | Eb9 - D9 - |". The dominant 9ths can also be subbed as
"DbMaj7 - Eº - | Ebm - D9 - |".

Also, since the melody of the bridge ends on a C, you have several options.
The original from your chart:
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | Gm7 - - - | C7 - - - |", or
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | G11 (F/G) - - - | Gb7b5 - - - |", or
"DbMaj7 – Bbm7 - | Ebm7 – Ab7 - | Bb9 - B7b9 - | C7 - - - |", or even
"DbMaj7 – Bbm7 - | Ab13 - Ab7/Gb | Fmaj7 - Ab9 - | Gm11 - - - |".

The joy of jazz is that there are no right ways to do a song, only the ways that we musicians feel comfortable with (if, of course, comfort is what we want to feel at a given moment). All storytelling, especially in jazz, is about tension and release; each of us has a different threshold for tension. Some of the harmonic and rhythmic devices create a tension that causes anxiety in us, not knowing how or when to release it. Practice sessions are when we can explore the possibilities, and gauge our reactions to the various combinations of sound in time.

Have fun!

Excellent post, Scotty — especially your last paragraph.

[Scottone]

Thank you, Jerry- you have always been supportive...

By the way, all, I got a PM on this, so I thought I'd share with the masses:

The shorthand symbol 'ø' stands for half-diminished. It is a scale tone chord, natural to the major scale, in the seventh position.
Many musicians write it as an altered chord- minor seventh, flatted fifth (m7b5), and while the spelling is correct, it is best to understand this chord as one of the five primary chord qualities.

Of those five: major (M), minor (m), dominant (x or no symbol), diminished (º) and half-diminished (ø), only the diminished chord is not natural to the major scale. In other words, the scale tone chords are:

do (M), re (m), mi (m), fa (M), so (x), la (m), ti (ø).

[ondineshimmers]

Wow, all these replies after all this time! Thanks for everyone's input. I'll be checking out those chord progressions. I will tinker some more but as a classically trained piano player, I am still on the lookout for the actual notes of the 1962 version, as it is quite difficult for me without a regular score. I will see what I can do, looking forward to it!



--->Page, your only achievement from your post below was injecting a sour tone into an innocuous thread on one of the most beautiful pieces with your bewilderingly negative attitude. Pity.

"page Hi Debber, I don't think the OP will read what you wrote, because he or she only did appear on that day this february and didn't come back after that. Not even to thank Prezfan and Kadence for their replies. This has happened before unfortunately. But thanks for posting because other members of the board might be interested and looking for this song too."

[engelbach]

Originally Posted by ondineshimmers

--->Page, your only achievement from your post below was injecting a sour tone into an innocuous thread on one of the most beautiful pieces with your bewilderingly negative attitude. Pity.

Well now, ondineshimmers, I don't think the situation justifies that comment.

You started this thread way back in February, and a number of people were gracious enough to respond to your post. Yet five months later you still hadn't acknowledged any of them, and Page commented on that. In addition, she continued to contribute useful information to the thread.

Now it's November — nine fucking months later — and you have the nerve to high-handedly criticize one of the loveliest people on this board for accurately describing exactly what happened.

The moderators of this board want us to be accommodating to new people, and by and large this is a very friendly, as well as knowledgable, group of professional musicians. But given your own behavior, you are in no position to criticize any of us for ours.

You owe Page a debt of gratitude for her contribution, and an apology for both your inappropriate criticism of her and your lack of courtesy to everyone else who contributed to this thread.

Cheers,
Jer