s Jazz Lines Publications

s e n t
e
Pr begin the beguine
Arranged by bill holman
edited by jeffrey sultanof and rob duboff

full score
jlp-8486

Words and Music by Cole Porter

© 1935 (Renewed) WB MUSIC CORP.
This Arrangement © 2011 WB MUSIC CORP.
All Rights Reserved Including Public Performance Used by Permission
Logos, Graphics, and Layout Copyright © 2011 The Jazz Lines Foundation Inc.

This Arrangement Has Been Published with the Authorization of Terry Gibbs.
Published by the Jazz Lines Foundation Inc.,
a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage.

The Jazz Lines Foundation Inc.

PO Box 1236
Saratoga Springs NY 12866 USA
  
terry gibbs dream band series

begin the beguine (1959)

Background:
Born in Brooklyn in 1924,Terry Gibbs began his professional career at the age of twelve winning the Major
Bowes Amateur Hour (one of the most popular radio shows on the air; Frank Sinatra also made his first
professional appearance on this program). Gibbs toured with Benny Goodman, Chubby Jackson, Buddy Rich
and Woody Herman, becoming a leader himself some years later. In addition, he has composed over 300
songs, 280 of which have been recorded by the likes of Nat King Cole, Woody Herman, George Shearing,
Julian ‘Cannonball’ Adderley, Buddy DeFranco, and many other jazz musicians.

According to Gibbs, when he moved to Los Angeles in 1957, he’d already made an album with a big band
that he wasn’t very pleased with. He wanted to do a new one, but he wanted the music to be fully rehearsed
before the band entered the studio. Unfortunately, the music union did not allow rehearsal for a record date.

Gibbs had a gig with his quintet at a club called the Seville. Soon after, Gibbs was allowed to bring in a big
band instead of the quintet; the owner paid him the same amount of money. Being that Gibbs was not a local
attraction, he would have just enough money to pay everyone local scale ($15), and, as the leader, he would make $11 after paying the bandboy $8. Gibbs appeared
on local television shows plugging his appearance, and the night of the show 300 people, famous movie stars as well as musicians, came to the club to hear an all-star
ensemble playing top arrangements by Med Flory, Manny Albam, Bill Holman, Al Cohn, Bob Brookmeyer, and Marty Paich. Engineer Wally Heider came down to the
various clubs where the band performed and recorded it, resulting in several albums issued almost twenty years later on the Contemporary label.The musicians were
the cream of the L.A. scene at the time.

Thanks to an exclusive agreement with Terry Gibbs, many of the wonderful arrangements recorded by this incredible big band known as the Terry Gibbs Dream Band
will be available as will numerous other un-recorded instrumental arrangements written for the band over the years.

Acknowledgements:
Special thanks to Terry Gibbs for granting us access to his library and sharing with us many memories of forming and playing with the Terry Gibbs Dream Band. We’re
thrilled to have the opportunity to publish music from this wonderful library.

Jeffrey Sultanof
- January 2012


jlp-8486

Score
begin the beguine Jazz Lines Publications
Words and Music by Cole Porter
recorded by the terry gibbs dream band Arranged By Bill Holman
bright swing  = 184 Edited by Jeffrey Sultanof and Rob DuBoff

[5]
       
3

   
    
Alto Sax. 1  
                             
   

mf p f
3

     
3

                
           
  
         
     
Alto Sax. 2  
mf p f


3

                   
                
Tenor Sax. 1               

mf 3 p f


3

                   
           
Tenor Sax. 2                   

mf 3 p f 3

        
3

            
      
 
Baritone Sax.        
  
          
mf p f

             
Trumpet 1                  
                  

p
mf f

             
Trumpet 2                 
                 
  
mf p
f

            
Trumpet 3                 
                   
 
p f
mf

            
Trumpet 4                                   
   
  
mf p

    
f
       
          
   
Trombone 1

 
                    


mf p f

  
                
       
Trombone 2

 
                      


mf p f
 
              
        
Trombone 3

 
    
 

                
mf p f
{S`o`l`o`}
       3
             
 
        
Vibraphone                        
mf


 
      Û |        
mf

Piano
G b<7   
       

 
                         
   
 
      

Acoustic Bass  
    
 

     
 
 

        
  

mf
     
y y y y 
‘ ’
S S S S S  S

S S S S S 
  œœœ œœ  œ œ
œ
œ œ œœ œ œ œ œ œœ ˙ œ œ œ œœ œ œœ œ œ œ œ œ œ œœ  œœ œ œ
 œ
Drum Set     
              
2 3 4 5 6 7 8 9 10 11 12

© 1935 (Renewed) WB MUSIC CORP.

This Arrangement © 2011 WB MUSIC CORP.
All Rights Reserved Including Public Performance Used by Permission
Logos, Graphics, and Layout Copyright © 2011 The Jazz Lines Foundation Inc.
This Arrangement Has Been Authorized by Terry Gibbs
Published by the Jazz Lines Foundation Inc., a Not-for-Profit Jazz Research Organization Dedicated to Preserving and Promoting America's Musical Heritage.
Jazz Lines Publications begin the beguine jlp-8486
Score - Page 2
[13]
       
A. Sx. 1                  

 
      
  
      
A. Sx. 2                      
  

mf f mf fp


                 
                 
T. Sx. 1     
f mf fp
mf

          

    

           
 
  
 

T. Sx. 2     

mf f mf fp

   
    
       
B. Sx.              
     

 
  
f mf fp
mf


     
 

   
     
 
 
  
 

Tpt. 1        
mf f mf fp

           
Tpt. 2 

    
              
     
mf f mf fp

   
Tpt. 3 

    
       

           

               
Tpt. 4           
mf f mf fp

                
         

     
Tbn. 1  
mf f mf fp

  
          
               
Tbn. 2     
mf f mf fp

    
 
Tbn. 3
            

3      
        
Vib.                    
  

3

  
Û Û ’ ’ Û Û Û

          
  
Pno.
    D 7(b9) A b 13 G>7 F6
   
    
                  
      

 D 7(b9) A b 13 G>7
    


  
 
     
A.B.
             

   
3 3
y y y    y   y
‘
S S S   
D. S.  œ œ œ œ œ œ œ œ
/ œ œ œ œœ

œ œœ œ œ œ œ  œ œ

œ œ œ œœ  œœ œ œœ œ
/
œ
/
œ œ
          
13 14 15 16 17 18 19 20
jlp-8486 begin the beguine Jazz Lines Publications
Score - Page 3
[21]
          
3

A. Sx. 1                        
     

mf


 
 
   
      
A. Sx. 2                    
f mp mp f



 
      
T. Sx. 1
                   
  
f mp f


mp

   

      
T. Sx. 2                      

mp
f mp f

  
 
           
B. Sx.           

    
f mp f


mp

   

      
Tpt. 1                      

mp
f mp f

  

 

     

Tpt. 2                      
 
f mp
mp f

     3
 
               
Tpt. 3          
     
  
mf



    

  
Tpt. 4
             
             



f


mp mp f

       
        
   
Tbn. 1         


f mp mp f

 
       
Tbn. 2
  
             
 

f mp mp f

Tbn. 3
        

        
  
  
Vib.        
             
3

 
 Û ’ ’  Û Û  ’ Û Û  ’ ’ ’ ’ ’ ’ ’  Û Û  Û Û Û ’ ’ Û Û  Û ’ ’ ’ ’ ’ ’
  
D b9 A b9 B b6 A b>7
 
Pno.
G >9 C13 F6 G 7(b9) C9 F6 G7 F6 A>7 A>7 A 7 G>7 A>7
        
                
      
F6 G >9 D b9 C13 F6 A b9 G 7(b9) C9 F6 G
7
F6 A>7 B b6 A>7 A
7
G>7 A>7 A b>7
         
A.B.
              
       
  
y y y    y y y
D. S.  œ
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œ
 œ œ
œ
œ
œ
œ
œ œ
œ  œ
œ ’ ’ ’ ’ ’ œœ œ  œ
œ
œ 
œ
œ
œ œ œ
œ
œ
œ
œ
œ œ
œ  œ œ
œ ’ œ
œ ’ ’ ’
    
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