(7:35)
Clarinet (Harry Carney) begins playful, relaxed, 16-bar theme with reeds accompanying.
(8:08)
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.
(8:32)
Carney returns for Variation 2. His final six notes are echoed by very low piano.
(8:52)
Reeds and horns play very, very soft turnaround.
(9:05)
Saxophones restate main theme, horns punctuating, until trombones and clarinets resurface at 9:23 and finish the theme.
(9:34)
Trombone and saxophone (?) play sotto voce duet on Variation 3 of main theme, horns playing obbligato.
(10:04)
Reeds join for modulation and turnaround, with return to theme signaled by muffled gong sound.
(10:30)
Full reed section plays Variation 4, in new key, fading down at 11:08.
(11:08)
Horns play upbeat, march-like statement that slows, crests again into
fanfare, then at 11:29 melts into modulating piano passage.
(11:40)
Alto saxophone (Johnny Hodges) recapitulates original “Come Sunday”
theme.
(12:06)
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
(12:23)
Piano picks up speed, winding gradually up to
(12:39)
Charging theme led by horns, with upbeat military motifs, trumpets over
trombones for 28 bars.
(13:24)
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.
(13:44)
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.
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