Clarinet (Harry Carney) begins playful, relaxed, 16-bar theme with reeds accompanying.
Carney moves to higher register and plays 8-bar Variation 1 on previous theme. Horns enter at 8:25 and make assertive 4-bar statement.
Carney returns for Variation 2. His final six notes are echoed by very low piano.
Reeds and horns play very, very soft turnaround.
Saxophones restate main theme, horns punctuating, until trombones and clarinets resurface at 9:23 and finish the theme.
Trombone and saxophone (?) play sotto voce duet on Variation 3 of main theme, horns playing obbligato.
Reeds join for modulation and turnaround, with return to theme signaled by muffled gong sound.
Full reed section plays Variation 4, in new key, fading down at 11:08.
Horns play upbeat, march-like statement that slows, crests again into
fanfare, then at 11:29 melts into modulating piano passage.
Alto saxophone (Johnny Hodges) recapitulates original “Come Sunday”
Rex Stewart, barely audible at first but then more forceful, with high-note
cornet embellishment over resolving piano—capped by bell at 12:16.
v. The Black, Brown, and Beige are Red, White, and Blue
Piano picks up speed, winding gradually up to
Charging theme led by horns, with upbeat military motifs, trumpets over
trombones for 28 bars.
Trombones play 10-note stepdown, trumpets sound a sennet, then at 13:29
full orchestra shifts into Glenn Miller-style swing, with solo piano interpolating at 13:34 and 13:42.
Orchestra re-enters and segues into uptempo, horn-driven variation on
“Come Sunday” (13:48); at 14:09, cornet (Rex Stewart) plays Armstrongian high-note statements whose peak marks the end of the piece.