WOLKING ORCHESTRA CATALOG III NEW WORKS

Wolking Music Publications, 109 Vista Lago Ct., Boulder City, BV 89005 (801) 664-8147



GONE PLAYIN’ A Concerto for Clarinet and String Orchestra (16 min.)


CLICK HERE for a complete live performance video.

recorded on Cross Current CD http://www.navonarecords.com/catalog/nv5903/


Available from JW Pepper.

    

A three-movement concerto for clarinet and strings commissioned and recorded by Dr.
 Robert Walzel and the Moravian Philharmonic Orchestra. The new recording, “Cross
Connection” will be available on the Navona label in March 2013.


     Movt. 1, Gone Fishin’ has the imagery of whirling trout; think “I’m gonna go fishin’ and find me a trout”.
Beginning with a lovely and poignant slow introduction, it shifts to a jazzy rhythmic approach that requires
virtuosic solo melodies that sound as if they are being improvised (they are not) by the clarinet solo.


      Movt. II, Gone Sleepin’ is a jazz lullaby. It is delicate, dreamy, lyrical, and emotional, & not at all
influenced by Brahms.


      Movt.III, Gone Dancin’ is exactly what the title implies, a series of final frantic dances based upon
American and Latino (Puerto Rican, Dominican, Cuban) popular dances. The orchestra at one point taps and
claps authentic salsa and clave rhythms; everyone in the orchestra becomes a drummer.



Gone Playin’ Concerto for Clarinet and String orchestra performance history


●03/02/2006 premiere performance by Dr. Robert Walzel and the Utah Philharmonia, Libby Gardner
Concert Hall, Salt Lake City, Utah


●4 performances by Dr. Robert Walzel and the Utah Philharmonia Austria Tour: 03/12/06 Bad Ischl,
03/14/06 Graz, 03/16/06 & 03/17/06 Vienna


●Utah Arts Festival Chamber Orchestra and Robert Walzel, Clarinet, Utah Arts Festival, Festival Stage
 06/22/2006
 


●Sinfonia Salt Lake and Henry Caceres, Clarinet, 01/07/2019, Salt Lake City

SALT LAKE OVERTURE 2002 FOR ORCHESTRA (12 min.) view details


The 12 minute work was commissioned by the Salt Lake Symphony in July of 2001. It is based on the 19th century style of the overture as an independent orchestral composition. It
presents a variety of musical ideas including fanfares, and elements of jazz. Available for
rental or purchase. Similar in style to the themes I composed for the the 2002 Winter
Olympics which received world-wide broadcasts.
Available only for purchase $145 order from JW Pepper (click on view details)
 
 


THE OLD GYPSY STRING QUARTET (24 min.)
 

Available on the Navona label on the Cross Connection CD.
Four Movement String Quartet newly recorded by the Moravian Philharmonic Orchestra
String Quartet. 
Parts and Score, purchase only $75.


The following are liner notes from the recording:


The ingenuity of the harmonic vocabulary that is the hallmark of the Hungarian gypsy
 and folk music traditions and which stretches well beyond even the boldest
 conventions of music theory has captivated composers for more than 250 years. Yet, it
 is the exotic and uniquely unconventional and spontaneous aspect of performance that
 gives Hungarian gypsy music – notably its rendition on the violin – its extraordinary
 status as entertainment. Not intended to be enjoyed merely in the most polite,
 decorous venues of performance, this music projects its haunting vibrancy especially in
social celebrations, parties, and restaurants, fueled significantly by large platters of 
hearty food and equally generous amounts of Hungarian wine and libations.


In the late 1990s, as he approached his 50th birthday, Wolking was finally self-assured 
that he possessed the artistic maturity to write his first string quartet. And, the 
inspiration for the work came to him during a restaurant break in Budapest after an
orchestral recording session. A Hungarian folk tune “was played to me (quite literally) 
by a strolling gypsy violinist,” he recalls. “I was immediately taken by its beauty and
 passion, and asked some of the Hungarian classical musicians sitting with me if they
 knew the tune. One, the principal clarinetist with the Hungarian Symphony, told me it
 was a sort of classic folk song and proceeded to scribble it out in ink on a napkin and 
give it to me.” That tune became the basis for the fourth movement of the string
 quartet composition, titled “The Old Gypsy”. 
Wolking initially completed the fourth movement, and continuing to work in reverse 
order, penned the third movement, which is a series of four episodes based on a canon
 and is energized by competing atonal and tonal harmonic tensions. He went on to
 write the second movement that, in its premiere version, opened with a grand
 European-style waltz and then continued in the second half with a jazz lullaby. (Later,
he deleted the jazz lullaby and reconstructed it to become the slow movement of ‘Gone
 Playin,’ the concerto for clarinet and string orchestra). Finally, he completed the first 
movement that carries the earmarks of a celebratory fanfare.


The work was written for and premiered by the Utah-based Abramyan String Quartet at 
the request of Gerald Elias, a violinist and University of Utah music faculty colleague.
‘The Old Gypsy’ was performed at one of the celebration/dedication concerts held in
the spring of 2000 for the grand opening of the Libby Gardner Concert Hall and
reopening of the David P Gardner Hall on the University of Utah’s main campus in Salt 
Lake City.
 The work is a treasure trove of diverse musical inspirations with rich, dense harmonic
 structures that are as approachable as they are sophisticated in their permutations.
The moderato tempo marking in the opening movement’s fanfare fantasy belies the
 bracing visceral pulse evident in each string part. Staccato triplets, vigorous sustained
 trills, and fleeting episodes of subito loud-and-soft dynamics propel the movement’s 
intensity. A quiet rubato interlude lasts just five measures before the quartet resumes
 the fanfare’s pulsing dynamism. Later, the two violins offer yet another extremely brief 
rubato episode before the music erupts again to finish the movement in a stirring 
flourish.


NEW FOR 2024 from Cherry Classics

Bead For Three Tenor Trombones

The title says it all, four movements in four flat keys for three trombones. This work marks almost fifty years since my first trombone trio Three Movements was published in the mid 70's. It celebrates the unique sound of trombones in my favorite keys, and concludes my trombone trio writing. About 8 minutes, Enjoy!

Check This Out!

A video of the SWISS CROSS QUARTET performing ANOTHER TODAY at the 2023 International Trombone Festival in Salt Lake City. This spectacular student group won the ITA Quartet Competition. Click here for their Stellar Performance!

 

Please order these works directly from the listed publisher, not from Wolking Music Publications.
 

NEW FOR 2023 from HAL LEONARD

Two of my earliest published brass works, Dialogues for Trombone Quartet, and Three Movements for Trombone Trio have just been rereleased by Hal Leonard. These works, previously published by Southern Music in the 1970s, are available again after being out of print for many years. An excellent recording of Three Movements For Three Trombones (It’s original title) is included on the album, Drei Bones by trombonists Michael Davidson, J.Mark Thompson, and Timothy Howe.

NEW FOR 2022 from CHERRY CLASSICS

 Just Do It for Brass Quartet (2 Bb Trumpets, Trombone, Tuba) 

Click here for a superb 2023 New Recording by the Janacek Theater Brno Brass

Click here for new release of Brass Tacks 2 recording 

 NEW FOR 2021

Tuba Blues 2 for Tuba Quartet (2 Euphonium & 2 Tubas) and Drum Set

Prognosis for Brass Trio (trumpet, trombone, tuba)

Click here for an ITA journal review by Paul Overly

Another Today for Trombone Quartet    Required work for the 2023 International Trombone Association Conference, Quartet Competition.

NEW FOR 2020 

Forests for Ten Trombones  newly recorded (2022) on Hooked On Polyphony by Mike Hall. Click on this link to listen.

Forests ITAJ Review by Timothy Howe (Dec. 2020) "it could prove to be one of the most remarkable modern works for trombone choir".

NEW FOR 2019

The Best Dam Trombone Quintet Ever 

The Best Dam Trombone Quintet Ever ITAJ Review by Joe Murrell (Jan. 2020)

 PREVIOUSLY OFFERED BY CHERRY CLASSICS

Four Dances For Three Trombones


Bass Trombone Music for solo Bass Trombone & Piano

Mannequin Challenge For Brass Quintet Click Here for ITA journal Review by David Stern

Jazz Overture for Brass Quintet

 A Child's Garden of Jazz for Brass Quintet

 Sinfoniae Metamorphose for Brass Quintet

 Tuba Blues Medley for Euph/Tuba Quartet with optional Drum Kit

Click here for a fine recent recording by the Melton Tuba Quartett

 

 J W PEPPER

Trombone Tales Movt.s V&VI for Trombone Piano, Bass & Drums

 

WALRUS MUSIC/EJAZZLINES

                          ☛ TROMBONE QUARTET

●RUN MARIO RUN

New for 2017, This energetic 5 minute quartet was the inspiration for the big band chart of the same name. It could also could serve as a soundtrack for an imaginary Super Mario Run game or it could be a super fresh Reggae tinged unaccompanied trombone quartet featuring a written or improvised 1st trombone solo with an optional high D. An unusual feature is that it presents the trombones in several all glissandi sections. This is a new, robust, and highly original trombone quartet.


 

                        ☛ TROMBONE QUINTETS (4 tenor & bass trombone)
 


●AVALON Vincent Rose Arr. Henry Wolking  3:45 


This Vincent Rose (or Puccini, as some have claimed) classic, travels gradually through time from quarter note metronome marking 64 to 124. It is a clever theme and variations style arrangement that transforms the early 20th century melody in five different statements. It progresses from a slow funeral march to an up tempo jazz double time feel with a variety of interesting ensemble work in between. Ranges are moderate with lead briefly to a high C.

●BILL BAILEY WON'T YOU PLEASE COME HOME Hughie Cannon arranged by Henry Wolking 4 minutes 
 

This 1902 composition served as a transition tune from ragtime to traditional (trad) jazz. Originally written in 2/4 in the key of G, it became a trad standard, in F, most often played in up tempo 4/4. It also has a rarely performed verse as well as the well-known chorus. This arrangement includes both, and begins with the lesser known verse. It starts in the key of F and modulates to the original key of G for the final chorus. Hughie Cannon also wrote the lyrics, which undoubtedly contributed to this tune’s vast popularity. Lead bone to high C, other ranges are moderate. This inventive romp slides and glides from ragtime, to modern jazz and even a jazz waltz. It requires no improvisation.

●CARELESS LOVE W.C. Handy arranged by Henry Wolking 4:40                   (with Optional Bass and Drums) 
 

Inspired by the laid-back 2004 recording by Madeline Peyroux, this early 20th century classic is a simple 16 bar head originally penned by W. C. Handy. The arrangement works well as a concert piece for unaccompanied trombone quintet or with optional bass and drums for a jazzier setting. It is through composed (no open blowing space or improvisation) and the melody lays well in the keys of F, Bb and Db. Lead to High C. Love may be careless but this chart is hardly that as it travels through solo, duo, trio, quartet and full blown quintet orchestrations. It is also well suited for doubling parts for a ten trombone ensemble with or without bass and drums.

●CLAIRE DE LUNE Debussy arranged by Henry Wolking 3 minutes 


One of Debussy’s impressionist masterworks for solo piano, this arrangement/transcription remains faithful to the form and harmonic structure of the lofty dance in ¾ (Debussy notated it in 9/8). The challenge in writing this gorgeous, sonorous work for trombones was to present the melodies and harmonies in moderate ranges. This chart was able to do that with lead trombone to a brief high C, and bass trombone to a low C.

●GOD REST YE MERRY GENTLEMEN   arranged by Henry Wolking  3:45 minutes 


This is the tune an early theory teacher of mine used as an example of a minor key melody that doesn’t evoke “sadness” or “melancholy”. That may or may not be true. The quintet begins with a dark poignant adagio in ¾ that travels to the lively, more upbeat 4/4 tempo in which it is most often performed. Moderate ranges prevail with lead bone to Bb. Refreshing harmonies and clever phrasings give this Christmas standard a fresh outlook, great for a concert performance anytime of the year.

●PASSING TIME      4 minutes 


This reflective Barber like Adagio for five trombones offers lush, rich harmonies with expressive melodic development.

 

                            ☛BRASS QUINTETS (two trumpets, trombone, tuba)
 


●ADESTE FIDELES (O Come All Ye Faithful Anon arranged by Henry Wolking 4:10 
 

The popular yet ancient melody has been attributed to a variety of composers, yet it still remains anonymous. This arrangement explores the tune from times past to the present. The first verse is transcribed from a motet by Samuel Webbe published in 1795 for solo soprano and piano. The second is a precise transcription (including dynamics and articulations) of the first variation of a piano arrangement by Charles Grobe published in 1854. The third is in the original key of an 1892 hymnal arrangement by Mary Palmer and John Farmer. The fourth verse and coda are my own. Most all versions of the tune until the 20th century were known as Adeste Fideles. Two alternate trumpet parts in C are included.

●BABY WON'T YOU PLEASE COME HOME/SOME OF THESE DAYS Clarence Williams, Fats Waller Arr. Henry Wolking  3:30 
 

These two standards are cleverly arranged both independently and then together in their original key of F major. Not only do both share the same key, they share the same openeing notes, phrases and melodic range. Their complimentary alternating phrase structure of active and passive measures fit together perfectly for combining the two melodies together in counterpoint. The in the staff melodies make for moderate ranges and gorgeous harmonizations. This is a fresh approach to two often performed standards.

●GOD REST YE MERRY GENTLEMEN  arranged by Henry Wolking  4:10 minutes 


This medium level jazz influenced arrangement begins with a moderate waltz chorale that flows gently to a jazz waltz and then a moderate tempo bossa nova. Moderate ranges prevail with 1st Tpt. To concert Bb. Refreshing harmonies and clever phrasings give this Christmas standard a fresh outlook, great for a concert performance anytime of the year. Two alternate trumpet parts in C are included.

●HARK THE HERALD ANGELS SING Mendelsson arranged by Henry Wolking 3:25


This carol has been attributed to several different composers, and in fact several different versions of the popular Christmas tune have been published in the last two hundred years. This 4/4 arrangement, basically in Eb draws from versions commonly associated with the title, as well as a lesser known (and very different) version by Francis Barret published in 1879. Parts of the Barret tune appear in the introduction, interludes and ending. The orchestration features full rich ensemble passages supported with a blend of traditional and jazz influenced harmonization. 1st trumpet to written Bb. Two alternate trumpet parts in C are included.

●INDIAN SUMMER Victor Herbert arranged by Henry Wolking 3:45 


This classic early 20th century ballad, meets the 21st century with a clever blend of 20th century styles. This Indian Summer starts rather cool with a moderate 4/4 ballad that gradually heats up with a 12/8 chorus and then gets decidedly hotter with a full blown jazz swing section that leads to a surprise ending. Ranges are moderate but this excursion travels through four common tone key areas suggested by the first interval of the melody. It features primarily the full ensemble with gorgeous jazz harmonies.

●JOY TO THE WORLD Lowell Mason arranged by Henry Wolking 3:25 minutes $18 


The popular Christmas standard first appeared in 1839 in the key of Eb, the key of this arrangement in its entirety. It is a mixed meter Fantasy progressing through modulating colors and textures and calls for 2 Bb trumpets with Flugelhorn doubles. This festive, and inventive arrangement lies within moderate ranges of all instruments. First trumpet to a brief written Bb.

●ROSE ROOM Art Hickman arranged by Henry Wolking 4:15 
 

Though written in 1917 by Art Hickman in the ragtime era, it became immensly popular as a swing standard after the 1939 recording by Benny Goodman and his sextet which also featured (for the first time) guitarist Charlie Christian. This arrangement pays homage to that recording. The introduction and first chorus is a transcription of Goodman’ solo. It is incredibly lyric and exquisetly phrased , it also lays well for brass. The first few bars of the Charlie Christian solo are a natural for the trombone. After that the piece is developed from the preceding materials. The third chorus features a written tuba solo, and by the end, everyone has had a chance to earn a bow. Moderate ranges; trumpet 1 to written A above the staff, trombone to Ab.

●SILENT NIGHT Franz Gruber arranged by Henry Wolking 3:10 


First performed Christmas eve in a small Austrian village church by a few singers with guitar accompaniment (performed by the composer, Franz Gruber) in 1818, this song has become the most recorded Christmas tune of all time (according to a 2013 Time magazine survey of Christmas recordings). Joseph Mohr, assistant pastor and choir director, wrote the poem Gruber would set to music. The first half of this arrangement orchestrates two of the earliest known manuscripts researchers have discovered. Both are in 6/8 and the key of D. The first chorus (placed in C) is taken from a handwritten score by Gruber, probably in the mid 1820s, for small chamber orchestra. The horn part is exactly as Gruber wrote it. The second verse in D is from a copy of the first performance made by Mohr in 1820 for guitar and choir. In both of these authentic presentations the last two lines of the tune we now know as Silent Night, are repeated. The arrangement then takes off with more modern harmonies and ends in a brisk ¾. Early versions of this tune were undoubtedly peppier than most modern interpretations. Two alternate trumpet parts in C are included.


●THE FIRST NOEL Anon arranged by Henry Wolking 4:15 


This arrangement combines traditional form and chord structure with a more current harmonic language. It begins and ends in the traditional key of D with two modulations to F. The intro and interludes cleverly suggest a hint of another well known 18th century melody. Moderate ranges with trumpet 1 to written B. Two alternate C trumpet parts are included.



●THATS A' PLENTY arranged by Henry Wolking 3:30 


This 1914 ragtime standard undergoes a 21st century transformation with an Afro/Cuban 12/8 pattern competing and alternating with a tailgate two beat swing feel. The arrangement takes a familiar tune to less familiar but surprising places. You may never here this song the same again.

 
                                              ☛ TRUMPET QUARTETS


 
●WISP Henry Wolking 1:25 
 

“Wisp” is a brief “whisper” movement. With all trumpets in harmon mutes, the sound is that of a melody appearing vaguely in a dream-like state. It floats over the consciousness and then disappears without cadence or conclusion. It is a single strand or wisp of a sound that like a cloud, changes shape then disappears. Recorded on New Dimensions/Freiburg Trumpet Ensemble Summit # DCD 366 released 2003www.summitrecords.com   
 


●OLYFARES FOR TRUMPETS by Henry Wolking 2:00 


A fanfare for the Winter 2002 Olympics in Salt Lake City was commissioned by the International Sports Broadcasters for their 30” opening animation clip which preceded every televised Olympic event. I submitted four 30” fanfares and they selected one which I then orchestrated for full orchestra. Olyfares For Trumpets consists of the four 30” fanfares I wrote for the 2002 Winter Olympics. Trumpets 3 and 4 should be on Fluglehorns if possible.

                                                    ☛ TRUMPET OCTET


JAZZ SCENES (incorrectly titled as Jazz Suite on the New Dimensions recording)   Jazz Waltz Video


Commissioned by Tony Plog for New Dimensions/Freiburg Trumpet Ensemble CD www.summitrecords.com   
         


Jazz Scenes is a four movement composition written at the request of Tony Plog for his trumpet octet and this recording. As implied by the title, each movement describes a different and contrasting jazz scene. The term “jazz scene” however, is a double-entendre. In  jazz parlance, or vernacular, it would indicate “whats happening”, as in what is going on in (or with ) the jazz “scene”. It also refers to a visual scene (such as in a play) interpreted aurally. What is happening in each movement are musical quotes and references derived from classic jazz standards as performed by some of the world’s greatest jazz musicians.
Movement I, Spring For Joy, quotes and develops snippets from Clifford Brown’s classic standards, “Joy Spring” and “Daahoud”. Clifford Brown was one of the most significant jazz trumpet performers and composers of his time. His 1950’s recordings are all classics, and his untimely death in 1956 (at the age of 26) was a tragic loss for the jazz world. Movement II, Georgia Variations, is just that, a set of variations on the tune “Georgia on My Mind” as performed by the venerable Ray Charles (who at this writing is still performing and going strong). The first two movements were scored for choirs of four flugelhorns and four trumpets. Movement III, What Fantasy is scored for eight trumpets. It begins with a seven trumpet choir (in harmon mutes) playing the background for an open trumpet solo based on the Miles Davis improvisation of his 1959 composition “So What” (recorded on the all-time classic “Kind of Blue” album). It also employs (among other things) rhythmic motifs taken from the John Coltrane-Cannonball Adderly horn riffs on that recording. It evolves into a total “fantasy” which simply evaporates at the end.


 
 
 
 __________________________________________________________________________                       
 

MANDUCA MUSIC PUBLICATIONS





 
                          ☛BRASS TRIOS: Trumpet, Horn, and Trombone
 


SONICS FOR BRASS TRIO Click HERE for a 2020 Performance Video by the Del Mar College Faculty Brass Trio. Performance is the first piece at 1:57


AMERICANA 


HAT DANCE VARIATIONS Click HERE for a Live Performance.


 
 


INTERNATIONAL HORN SOCIETY

CHAMBER CONCERTO FOR HORN, VIOLIN AND BASSOON

1st place winner, trio category, 1987, International Horn Society Composition Contest.
 

 


ENSEMBLE PUBLICATIONS/TAP MUSIC SALES



                            ☛Brass Sextets (2 Tp / 1 Hn / 2 Tb / 1 Tu
)

DORIAN INTERLUDE

CONTRASTS

                            ☛Trombone 6tet & Rhythm

ANIMALS AT PLAY

Description: 5 tenor tb & 1 bass Tb w/changes Tb 1 & 2




                             ☛Brass Quintet

 

SILHOUETTES FOR BRASS QUINTET

                            

                              ☛Brass Duo for Trumpet and Trombone

 

CONVERSATIONS

 

                             ☛Duo for Horn and Organ

SINFONIA

 


                             ☛Unaccompanied Trombone

SEVEN VIGNETTES

Description: for Bass Trombone. The 7 tonal, jazz flavored movements of vignettes ask the performner to do many special effects. The first movement (Shadows Sherlocks and Seven Clues) requires a very few simple multiphonics. The second movement (52nd Street) asks the performer to be seated and play a ride cymbal as accompaniment. The third movement (Theoretical - Introduction and Grand Valse) begins with punctuated rhythm and the use of syllables (one-vee-eh-nn-ee-zz) in the introduction, giving us "one vienese." The Fourth movement (Pentatonic Paradise) makes no unusual demands on the player. The fifth movement (Wild Mouse) is performed standing so as to make lots of physical gestures while playing. A police whistle is also required. The sixth movement (Love Song) is straightforward, but the barlines do not represent any particular time signature. They are present only to help the performer keep his place in the music. The final movement (Ragtime) makes extensive use of a plunger and some pitches altered by a quarter tone. Very interesting work for a college level recital.        UTUBE VIDEO OF MOVT. 1 (Shadows, Sherlock and Seven Clues)

 

                                ☛Big Band

CHILD OF SATURN

Description: Ballad-Tenor Trombone feature w/changes


--------------------------------------------------------------------------------------------------------------------          

Newly Rereleased by HAL LEONARD (formerly Southern Music)

THREE MOVEMENTS FOR TROMBONE TRIO (Formerly THREE MOVEMENTS FOR THREE TROMBONES)

DIALOGUES FOR TROMBONE QUARTET (Formerly DIALOGUES FOR FOUR TROMBONES)

Questions or more information, feel free to contact me at:


Wolking Music Publications,  109 Vista Lago Ct., Boulder City, NV 89005
                                        (801)664-8147 or 702 854 9669

JAZZ TINGED COMPOSITIONS FOR ORCHESTRA


BLACK DRAGON CANYON (6 min.) Purchase only $95 JW Pepper


A jazz shuffle in the big band tradition. WMP’s most performed work.


“One of the highlights of the afternoon, a full-blown, big band treatment that built from a
melancholy shuffle to a rousing finish” – Salt Lake Tribune


Performances by: Utah Symphony, Phoenix, Colorado Springs, North Carolina, Cedar Rapids, Louisville,
Columbus, Milwaukee, Kalamazoo, Fresno, Springfield Mass. Minot, and Greenville Symphony Orchestras.


METHENYOLOGY (8 min.) Purchase only $145 JW Pepper


a Brazilian Fantasy in the style of Pat Metheny


“a wonderful and big-hearted work” – Salt Lake Tribune


“an immensely likable work” – Deseret News


Performances by: Utah Symphony, Rochester Philharmonic, Boise Philharmonic, Colorado Springs, North 
Carolina, Baltimore, Columbus and Louisville Symphony Orchestras


Recorded on VMM CD#3030

GONE PLAYIN’ A Concerto for Clarinet and String Orchestra (16 min.)
 Purchase only $95 JW Pepper

For a complete live performance video CLICK HERE.

Recorded on Cross Current CD http://www.navonarecords.com/catalog/nv5903/


FIDDLE TUNES (8 min.) $75 purchase only from JW Pepper view details
 for string orchestra.

It was commissioned for young orchestra and is a single movement work that
 derives its material from traditional Irish and American folk tunes traditionally played on the fiddle.
 It contains reels, jigs and lively original material. Very popular with college and high school orchestras.

 Study scores and recordings are available upon request. [No charge for perusal items that are returned]
 Shipping and Handling costs vary according to circumstances.
 Henry Wolking may be contacted personally at This email address is being protected from spambots. You need JavaScript enabled to view it. or 
Wolking Music Publications, 711 E 5th Ave Salt Lake City, Utah, 84103, (801) 664-8147

SALT LAKE OVERTURE 2002 FOR ORCHESTRA (12 min.) Purchase only $145 JW Pepper

The 12 minute work was commissioned by the Salt Lake Symphony in July of 2001. It is based on the 19th century style of the overture as an independent orchestral composition. It
presents a variety of musical ideas including fanfares, and elements of jazz. Available for
rental or purchase. Similar in style to the themes I composed for the the 2002 Winter
Olympics which received world-wide broadcasts.


TANGO FOR ORCHESTRA (6 min.) $80 $119 Wolking Music Publications

A lush, jazzy tango perfect for pops. Premier performance by the Utah Symphony, recorded by Gyor
Philharmonia (Hungary).
“suggests commercial roots, reminiscent at times of sophisticated pops concert arrangements”
– New Music Connoisseur Recorded on CRS CD#9971



NEW MILLENIUM FANFARE (3:30 min.)$75 $110
 Wolking Music Publications

a fanfare for orchestra


“rousing album closer...cleverly scored” – New Music Connossieur


Recorded on CRS CD#9971






LYRIC FOR A JAZZMAN (6 min.) $50 $99
 Wolking Music Publications

a lush ballad featuring fugelhorn and trombone solos, and chamber orchestra.


Premiered by the Boise Chamber Orchestra.



BLUES FANTASY FOR ORCHESTRA (8 min.) $85 $125 Wolking Music Publications


features trumpet and alto sax (or clarinet) in a bebop, jazz “blues” tradition.

Performances by: Utah, 
Fairbanks, Colorado Springs, North Carolina, Louisville, Columbus and Springfield Mass. Orchestras.


“Henry Wolking’s ‘Blues Fantasy’ was the highlight of the program. The sparkling
superlative orchestral writing prompted the highest respect from the Utah Symphony
players. This is some very interesting writing. Wolking is one of this country’s truly
great composers, and we are lucky to have him living in Utah.” – Salt Lake Tribune



GOBLIN VALLEY (8 min.) $90 $125 (full) $75 $100 (chamber)
 Wolking Music Publications

a fusion of jazz and rock styles. Also available for chamber orchestra.


“its energetic rhythms and semi-lush sonority are likely to ensure many performances,
a notion supported by the size of the ovation” – Deseret News


“the evenings jazziest work, an appealing concert closer” – Cedar Rapids Gazette


Performances by: Utah Symphony, Nashville Symphony, Boise Philharmonic, Ohio Chamber Orchestra,
Cedar Rapids, Milwaukee, Colorado Springs and North Carolina Symphony Orchestras

With the exception of a few earlier, previously published charts, most current big band works are published through Ejazzlines/Walrus Music and are available for purchase through their on-line catalog. Good recordings of each piece accompany the on-line description, so one may preview any work by listening to the full recorded performance. 


All of my earlier works  published by Kendor,, Southern, and Mission, are sadly out of print. As I have copies of most of those charts, if anyone is missing a part, score or whatever, I will be glad to either scan it and send a PDF, or duplicate it to hard copy and send it for the cost of postage and the duplication. Previous titles in the Barnhouse catalog are now available from Ejazzlines or Barnhouse and are listed below.   I encourage my customers to check EJazzlines catalog periodically for new releases of previous works, as well as new works. Every new release has been meticulously edited and adheres to the highest standards of professional print publication.
 


New for 2020 Tentet (alto, tenor, bari, 2 trumpets, trombone, gt, pno, bass drums) Series published by EJazzlines, arranged by Wolking.

What’ll I Do by Irving Berlin Instrumental

This is the first in a new series for Tentets (alto, tenor, bari, 2 trpt.s,. trombone, gt, pno., bass and drums). Each standard features two versions of the tune, one instrumental, the other vocal. This medium swing instrumental jazz waltz features solos by trombone, trumpet piano and guitar. Time is a little under 5 minutes.

What’ll I Do by Irving Berlin by Irving Berlin Vocal

This is the first in a new series for Tentets (alto, tenor, bari, 2 trpt.s trombone, gt, pno bass and drums) with voice. Each standard features two different versions of the tune, one instrumental, the other vocal. This medium swing vocal jazz waltz also features solos by trombone, trumpet piano and guitar. The key of Bb is the key used by Nat King Cole on his recording of this classic standard.

Who's Sorry Now? by Ted Snyder Instrumental

This classic standard for Tentet (alto, tenor, bari, 2 trpt.s trombone, gt, pno bass and drums) is given a medium tempo treatment with solos for drums and tenor sax. It swings hard at its mid tempo groove.

 Who's Sorry Now? by Ted Snyder, lyrics Bert Kalmer & Harry Ruby Vocal

This classic standard for Tentet (alto, tenor, bari, 2 trpt.s trombone, gt, pno bass and drums) and voice is given a medium tempo treatment. The vocal choruses are in Eb, the same key used by Connie Francis in her well known 1958 recording. Other solos feature drums and tenor sax. It times out at about 4:30.

Cantaloupes Aisle 1 for Tentet by Henry Wolking

This is a new Tentet (alto, tenor, bari, 2 trpt.s,. trombone, gt, pno., bass and drums) arrangement of my 2014 big band chart Cantaloupes, Aisle 1. The playback is the big band version, but this tentet chart follows the recording exactly, the only difference being 6 horns instead of 13 with solos still for trombone and tenor sax. On his maiden voyage in search of cantaloupes on an enchanted isle, Captain Herb visited a floating Costco where he discovered he needn’t find an island, he could instead find cantaloupes, aisle 1. This tune is clearly a tribute to the captain and the jazz rock style he developed in the mid 20th century." 

 

COMPLETE CATALOG OF JAZZ ENSEMBLE WORKS, WRITTEN AND/OR ARRANGED BY HENRY WOLKING

 EJAZZLINES/WALRUS

 ●A PIECE OF CAKE


Style:    Even 8ths Contemporary


Instrumentation: 5 Saxes (soprano on lead alto, tenor1/flute) 4 trumpets, 4 trombones, Gt, Pno, Bs, Dr.


Level:    Medium


This Piece Of Cake was inspired by two of Debussy's better known melodies from "The Children's Corner" (the clue is in the title). The major part of this chart is in a samba groove with solos for soprano sax and trumpet. The themes are presented with turn of the century (19th -20th) idiomatic rhythms modified for 21st century tastes. An imaginative and energetic walk through the past. Lead trumpet to written C#. 5:30 minutes

●AUTUMN DANCE 
 

Style:    Even 8ths Contemporary


Instrumentation:     Little Big Band (see below)


Level:    Medium


Inspired by "Flowers All Over" a wonderful tune by Dutch pianist Jasper Van't Hoff this even 8th medium tempo march/dance features two groups of three horns (soprano sax, trumpet, alto sax-trumpet, tenor sax, trombone) with piano, bass and drums. Solo changes are included on all parts and cued backgrounds work with any soloist in any combination. This is a refreshingly different, upbeat chart, that offers diversity in standard programming.

● BEAR RIVER VALLEY   


Style:    Medium Up Tempo Swing


Instrumentation:     5 Saxes no doubles, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         4:30 minutes


Soloists         Alto Sax


Level            Medium Difficult


The bear is back! From the count off, this chart drives hard. It features alto 1 in an energetic romp that leads to a shout chorus with 4-way counterpoint. Like a river with class 3 rapids, this chart flows through some twisting terrain with great scenery at the end.

● BLIND WILLIE'S SUNBIRD'S SONG 
 

Style:    Medium Swing Hard Bop


Instrumentation:     5 Saxes- Alto 1/Soprano, Tenor 1/Flute, Tenor 2/Clarinet, 5 trumpets, 5 Trombones (4 plus bass trb.) Guitar, Piano, Bass, Drums


Duration         5:40 minutes


Soloists         Trumpet, Trombone, Soprano sax (Alto 1)


Level            Difficult


Commissioned by Jim Boitos and the Illinois State University Jazz Ensemble, this hard blowing angular chart features the trombone section with a lot of powerful ensemble work. The inspiration comes from a poem. “Have you ever seen a sunbird? Have you heard its song? Blind Willie has, his ears are very long!” Lead trumpet to written F.

 

● CAMEO FOR TOVA

Style:           Ballad


Instrumentation:     5 Saxes + Flute doubles, 4 trumpets/Flugelhorns, 4 Trombones,  Guitar, Piano, Bass, Drums


Duration        5:10 minutes


Soloists         2 trombones (together)


Level            Medium

A Ballad featuring two trombones soloing together, and a brief flute solo in a double time section. Trombone soloists on the recording feature myself and former student, Kevin Stout. The piece was written for my daughter Tova.

● CANNONBALL ADDERLEY MEMORIAL BARBEQUE

Style             Ballad/Dbl X swing


Instrumentation: 5 Saxes- Alto 1/Soprano, 4 trumpets, 4 Trombones  Guitar, Piano, Bass, Drums


Duration         5:00 minutes


Soloists         Bass, Alto 1


Level            Medium Difficult


A moving and respectful tribute to Cannonball. This alto sax and bass feature reminisces on the ballad and medium swing aspects of Cannonball's playing. The piece begins with a free modal bass solo, the alto joins in, and time commences into a beautiful ballad. A laid-back double time section follows after which the alto has a chance to stretch out. The ensuing sections are based on my conception of some of Cannonball's more quirky stylistic mannerisms.

● CANTALOUPES AISLE 1

Style             Jazz Rock


Instrumentation: 5 Saxes, 4 trumpets, 4 Trombones  Guitar, Piano, Bass, Drums


Duration        5:50 minutes


Soloists         Trombone, Tenor Sax


Level            Medium


On his maiden voyage in search of cantaloupes on an enchanted isle, Captain Herb visited a floating Costco where he discovered he needn't find an island, he could instead find cantaloupes, aisle 1. This tune is clearly a tribute to the captain and the jazz rock style he developed in the mid 20th century. 5:30 minutes. Soloist: Trombone, Tenor Sax


● CANTALOUPES AISLE 1 for TENTET

This is a new Tentet (alto, tenor, bari, 2 trpt.s,. trombone, gt, pno., bass and drums) arrangement of my 2014 big band chart Cantaloupes, Aisle 1. The playback is the big band version, but this tentet chart follows the recording exactly, the only difference being 6 horns instead of 13 with solos still for trombone and tenor sax.  

 ● CASCARAMBA

Style:             Latin (Cascara/Samba)


Instrumentation: 5 Saxes, 4 trumpets, 4 Trombones  Guitar, Piano, Bass, Drums


Duration        5:30 minutes


Soloists         Tenor Sax, Trpt., Drums


Level            Medium Difficult 


A Latin big band composition that, as the title implies, combines an authentic cascara rhythm (a 3-2 clave) in the drums with a traditional samba line in the bass. This highly rhythmic piece features lots of interesting ensemble work with plenty of blowing space for tenor sax, trumpet and drums. No sax doubles. Duration 5:30 minutes. Soloists Tenor Sax, Trumpet, Drums.

● CHICK 

Style:             Latin/Jazz/Rock    Click here for a live 1975 UTube recording by the NTSU 1:00 O'Clock Lab Band conducted by Leon Breeden. The up tempo is a bit more than I intended, but the still shots of Mr. Breeden (as former students still address him to this day) and the band in  informal concert are quite nice. 

Instrumentation: Violin (opt.), 5 Saxes, 5 trumpets, 5 Trombones,  Guitar, Piano, Bass, Drums
, Aux. Perc. (opt.)

Duration        8:00 minutes


Soloists         Electric violin (opt.) Guitar, Piano


Level           Difficult 


This large ensemble work was inspired by Chick Corea and his group Return to Forever when they first appeared on the scene in the mid 1970s. This revision was completed in 2019, and features a solo amplified violin but may be performed with guitar soloist instead. This is a high intensity chart with lots of variety, not for the faint of heart. Kids, don't try this at home! Duration, about 8 minutes. 5 saxes (flute and soprano sax doubles) 10 brass, gt., pno. bass, drums and aux. perc. Lead trumpet to high E6. Though written for the large ensemble, it still works with the standard 8 brass and rhythm section without aux perc. As this revision is brand new, the recorded sample is an electronic playback of some of the highlights of the chart. Solos for guitar and or violin and piano.

● CHILD OF SATURN

Style:             Ballad with Dbl X Trombone feature

Instrumentation: 5 Saxes, 4 trumpets, 4 Trombones  Guitar, Piano, Bass, Drums


Duration        4:30 minutes


Soloists         tenor trombone


Level            Medium 

● CLAIRE DE LUNE   

 Style:            Waltz/Jazz Waltz


Instrumentation: 5 Saxes, 1st Alto doubles on Sop. sax or Clar., 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         5:00  


Soloists          Lead alto on sop. sax or cl.


Level             Medium


This arrangement takes its orchestration directly from Debussy’s 1890 solo piano masterpiece, Suite Bergamasque, third movement. Debussy’s impressionistic harmonies are well suited for jazz harmonizations and his waltz lends itself well to a jazz waltz interpretation. The chart starts as a stately waltz that proceeds to an medium tempo jazz waltz for the solo section featuring clarinet or soprano sax (Alto sax 1) then returns to the original tempo for conclusion. The developmental material following the solo, closely follows Debussy’s own, and features gorgeous and lush harmonies with non contrapuntal melodies. Lead trumpet to a brief written C.

● DEM BRINE SHRIMP THAT ATE SALT LAKE CITY BLUES


Style:    Medium tempo, minor blues


Instrumentation:  5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         6:30  


Soloists         Piano, Tenor Sax, Trumpet


Level             Medium-Difficult


The title is derived from a campy indie horror spoof flick about giant brine shrimp attacking Salt Lake City in the mid sixties. It was a Utah thing but I loved the imagery of bluesy brine shrimp on the march. This Ellington-ish medium blues chart marches to its own beat with a straight-ahead melody preceded and followed by solos with cool riffs and big shout choruses. Challenging, but basically melodic and straight-ahead, I grade this as a medium-advanced level chart. I featured this chart in 2010 at the Shanghai World Exposition with the University of Utah Jazz Band 1, and the Chinese audiences ate it up.


● EKHOES


Style:    Fusion


Instrumentation:     5 Saxes: 1 Soprano sax and Flute, 2 Alto Sax and Flute, 3 Tenor and Soprano sax, 4 Tenor and Flute, 5 Bari (no doubles), 5 trumpets (5th on Flugelhorn), 5 Trombones, Guitar, Piano, Bass, Drums


Duration         6 minutes


Soloists         Soprano sax (Tenor Sax 1 ) Guitar


Level             Medium-Difficult


Ekhoes was written in the early 70’s while I was a member of the famed NTSU 1:Oclock Band. It was one of the first fusion big band charts ever written and was recorded on the NTSU (now UNT) Lab 71 album with other genre bending charts; Liferaft Eath by Butch Nordal, Badi A Martyr by Jim Milne and my own Kenston, a reflection on the Kent State massacre. Ekhoes is as fresh and invigorating today as it was then. This Bitches Brew inspired chart has only minor orchestration changes from the original; 3 flute doubles instead of 5, and 5th trumpet on flugelhorn. This chart captures the essence of early fusion especially if you have a fender rhodes or equivalent keyboard.

● FOR THE ELF WITH CRYSTAL EARS

Style:    Disco-Samba


Instrumentation:     5 Saxes , 1st alto & tenor double on flute, 2nd alto on clarinet, 4 trumpets 4 Trombones 
Guitar, Piano, Bass, Drums, opt. Congas


Duration         5:30 minutes


Soloists         Trumpet, Tenor Sax, Guitar


Level            Medium Difficult


The style of this fresh and invigorating work is firmly based on Samba. Disco, a term coined in the 70’s- 80’s implies a constant repetitive rhythmic dance figure. The two combined create a cross culture rhythmic hybrid that propels the crystal clear melodies forward in non-stop motion. With lead trumpet to only written C# above the staff, this inventive chart stays well within playable boundaries for all sections.

●GOD REST YE MERRY GENTLEMEN  arranged by Henry Wolking 


Style:    Bossa Nova/Jazz Waltz


Instrumentation:     5 Saxes, 4 trumpets, 3&4 on Flugelhorns, 4 Trombones, Guitar, Piano, Bass, Drums


Duration       5:00 minutes


Soloist          2nd Trombone


Level            Medium 


Beginning with a moderate waltz chorale, this wonderful old tune finds its groove as a bossa nova alternating with a jazz waltz. The C minor changes for solo trombone is in the relaxed bossa style. The arrangement takes a highly melodic yet relaxed approach, as the merry old gents and the ladies both deserve a gentle rest. Moderate ranges for all with lead trumpet to a brief concert C.

● HIGH SOCIETY   


Style:    March/Swing/Samba


Instrumentation:     5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration        4:30 minutes

Soloists         Trumpet, Tenor Sax


Level            Medium


This traditional 1901 march has four sections, the third section trio is what was recorded by the early jazzers, and contains the melody most people are familiar with. This arrangement presents all four sections of the original march without the repeats and travels through the styles of march, swing, and finally samba, which is the feel for the main body (trio) of the arrangement. Relaxed tempo, moderate ranges and easy blowing changes make this an interesting yet accesible chart. Lead trumpet to written C above staff.

● HOME David Halliday, Arr. Wolking        


Style:    Ballad


Instrumentation:     5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration        6:30 minutes


Soloists         Piano, Tenor Sax


Level            Medium Difficult 


A lovely gospel tinged 21st century ballad by David Halliday and arranged by Henry Wolking. This very hip "hurts so good" tenor sax feature (tenor 1) is for standard big band (5,4,4, gt, pno, bs, dr) with flugelhorn doubles. It's a medium tempo even 8th composition, not in standard song form, with a beautiful melody that flows effortlessly from start to finish and is accompanied with rich, full ensemble work. A terrific new ballad for 2015 that weighs in at a little over 6 minutes.

● I AIN'T GOT NOBODY   Spencer Williams Arr. Wolking   


Style:    Medium Swing


Instrumentation:     5 Saxes, 4 Trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration       5:00 minutes


Soloist          Tenor Sax


Level            Medium 


Copyrighted in 1915, this popular tune was subsequently recorded by Louis Armstrong, Bing Crosby, Cab Calloway, and was a huge hit for Louis Prima in 1956. This laid back 2014 arrangement switches between its early 2 beat feel and straight ahead 4/4 swing. Trombones are featured at the start with wah wah plunger effects, and both trumpets and saxes have their cameos later on. The chart concludes with a big full ensemble shout chorus with late 20th century harmonies. Solo chorus (with backgrounds) for tenor sax. Lead trumpet to a brief written C.

● IN SEA                       Video of the making of the Album, "In Sea" 


Style:    Up tempo, joyous two beat “through composed” romp with half time and jazz waltz sections concluding with a hard driving backbeat 2 


Instrumentation:  5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         5 minutes


Soloists         Alto Sax, Trumpet


An up beat, joyous “through composed” romp written as a tribute to that master of jazz composition, Bob Brookmeyer. Brookmeyer’s works have highly influenced my concept of jazz composition technique and the possibilities for individualistic expression within the confines of the traditional jazz orchestra. This tribute was composed before the sad passing of this jazz titan. Bob Brookmeyer was a musician’s musician who left an indelible stamp on at least two generations of jazz composers and performers; I’m certain there will be many more.
In Sea uses “add 4” voicings, a tricky harmonic device used judiciously by Brookmeyer over many years. An add 4 voicing includes the normal avoid note 4th degree with the third in major chord configurations. Another device employed often by Brookmeyer is a sort of bubbling ostinato on unison notes with different rhythms. In Sea opens with this effect, and is followed by simple motivic snippets strung together to form miniature call and response phrases.The title is a wordplay as the piece is essentially in the key of C, but the ending coda paraphrases a few parts of the well known tune “By The Sea”.

● INTIMATE INTRUSION 


Style:    Ballad, solo trumpet feature


Instrumentation:     5 Saxes, 5 trumpets (4 + solo), 4Trombones, Guitar, Piano, Bass, Drums, opt. Vibes


Duration         6 minutes


Level             Medium-Difficult


In my early days a well-known jazz composer told me “When you write something pretty, make it very, very pretty” in other words, don’t hold back. This chart is a solo trumpet feature with a very, very pretty melody supported by rich harmonies and lush orchestration. Lead and solo trumpets have a high D maximum; trombones and saxes are primarily in mid range. Optional vibes adds a very pretty color to this exceptionally melodic chart.

● IXTLAN SUITE-LAST DANCE


Style:    Fusion


Instrumentation:     5 Saxes (Soprano on Alto 1)5 trumpets (4&5 flugelhorns)), 5 Trombones (5th on Tuba or bass trb.), Guitar, Piano, Bass, Drums, Congas


Duration         6:30minutes


Level             Difficult


This is not a conventional dance, it is the final dance of a warrior preceding death, and it is intense. "If a dying warrior has limited power, his dance is short; if his power is grandiose, his dance is magnificent. But regardless of whether his power is small or magnificent, death must stop to witness his last stand on earth. Death cannot overtake the warrior who is recounting the toil of his life for the last time until he has finished his dance." ---Journey To Ixtlan by Carlos Casatanada. 1st trumpet to high F#. Completed in 1973, recorded in 1982, this slightly edited revision, 2015.

● JIMBO'S LULLABY   Debussy Arr. Wolking

Style:    Bossa Nova Rock Ballad


Instrumentation:     5 Saxes, 5 trumpets, 5 Trombones, Guitar, Piano, Bass, Drums


Duration         4:35 minutes


Soloists         Trombone


Level            Medium 


This quirky 4/4 lullaby by Debussy is one of six movements from "Children's Corner" for solo piano. "Jimbo" was a misspelling of "Jumbo" which was a toy elephant owned by Debussy's daughter. The lullaby is for Jumbo the elephant doll. Unlike many of his piano works, this one lays well in its original tessitura and key of Bb for jazz band instrumentation. It is a medium tempo bossa rock ballad with written and improvised solos for trombone 1. The harmonization follows Debussy's own very forward thinking, as its based on fourths, fifths and seconds, a technique now know as ambichord harmonization. Lots of rich ensemble work interspersed with long melodic lines make for a lovely adaptation of this impressionistic gem.

● KING TERPOR STOMP


Style:    Medium Up Tempo Swing


Instrumentation:     5 Saxes, 5 trumpets, 5 Trombones, Guitar, Piano, Bass, Drums


Duration         5:45 minutes


Soloists         Trombone, Tenor Sax, Piano


Level            Medium Difficult


Other than sharing a common tempo and style, Jelly Roll Morton would hardly recognize this quirky piece. Harmonically the term “stomp” implies a chromatic dominant chord progression of eight bars or so, which is what the head of this tune is based on. Though it asks the pianist for a 12 bar chorus of stride piano, this is basically a hard driving bop chart featuring trombone, tenor and piano with lead trumpet to written E.

● LIMEHOUSE BLUES

Style:    "Super Sax" style, fast bop


Instrumentation:     5 Saxes: Soprano, 2 altos, 2 tenors, Optional trumpet or Trombone, Piano, Bass, Drums


Duration         6 minutes


Level             Medium-Difficult


This supersax style chart is based on the transcribed solo of John Coltrane in the classic performance from the “Cannonball Adderly Quintet In Chicago” recording. The form follows that of the recording except for the final two “trade four” choruses between Cannonball and Cotrane, which are not included. Coltrane’s two full choruses and the “trade eights” solos are harmonized for five saxes. As the original tenor solo is too low for a full section harmonization, the solo is taken up an octave and played on the soprano sax (which is supported by two altos and two tenors). The solo sections featuring Cannonball may be played by any one of the saxes or by the optional trumpet or trombone. This is a great chart, and outstanding showcase for an exceptional sax section.

● LYRIC FOR A JAZZMAN


Style:    Ballad, Solo Trumpet feature


Instrumentation:     5 Saxes, 5 trumpets (4 plus solo), 4 Trombones, Guitar, Piano, Bass, Drums


Duration          4:10 minutes


Soloists         solo trumpet


Level            Medium


This trumpet feature ballad is a jazz tone poem written in memory of Ashley Alexander and inspired by the last movement of Death and Transfiguration by Richard Strauss. An expressive meditation, the singing trumpet melody is through composed and requires no improvisation. A musical reflection celebrating the beauty of life.

● MOON GEMS

Style:    Chorale/Samba-Solo Trumpet Feature


Instrumentation:     5 Saxes 5 trumpets (4 plus solo), 4 Trombones, Guitar, Piano, Bass, Drums 


Duration         6:25 minutes


Soloists         Trumpet, Piano, Guitar ,Tenor Sax(Opt.)


Level             Medium-Difficult


This solo trumpet feature begins with a slow, spacy, zero gravity chorale that returns near the end with a high energy samba foundation. The main body is comprised of melodies supported by a 4/4 double time samba feel. The solo section may be opened up to include tenor sax and rhythm section. Originally penned for Rodney Booth, this chart orbits around energetic ensemble passages and a high gravity rhythm section.

● MY GRANNY'S HAND BLUES

Style:    Swing/Medium Blues


Instrumentation:     5 Saxes (flute on 1st alto and 1st tenor), 5 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         6:45  


Soloists         Trombone, Trumpet , Tenor Sax


Commissioned by Mack McGrannahan and the University of Nevada-Reno Big Band, this medium-up tempo blues swings hard with plenty of riffs, shouts and blowing space for granny to get a solid hand on hand the groove. This chart also offers surprises shakes, shuffles and a brief march all to make sure granny has a good time. Lead trumpet to written D. Thanks Mack!

● ODD ELEVEN

Style:    Swing/Medium Blues


Instrumentation:     Jazz Little Big Band


Duration         5:45  


Soloists         Trombone, Trumpet , Tenor Sax


A Mingus style of blues for eleven players: 2 flutes, alto sax/clarinet, tenor sax, trumpet, trombone, bass trombone, guitar, piano, bass, drums. Features plenty of blowing space with Mingus inspired ensemble passages.

● REVERIE               Debussy Arr. Wolking        Watch a Video


Style:    Bossa Nova


Instrumentation:     5 Saxes, 1st Tenor doubles on soprano sax or clarinet, 4 trumpets, 4 Trombone, Guitar, Piano, Bass, Drums


Duration         5:40 minutes


Soloist         1st Tenor on soprano sax (or clarinet)


Level            Medium 
 

This arrangement takes its orchestration directly from Debussy’s solo piano masterpiece, not the popular fake book lead sheet. Debussy’s impossibly difficult to forget melodies, transitions and interludes, forged in the 19th century, work exceedingly well with 20th and 21st century jazz sensibilities. Reverie, with its symetrical phrases and 8th note ostinati makes it a natural fit for a laid-back bossa nova interpretation; it finds its groove at mm 100.  Tenor 1 on soprano sax (or clarinet) introduces the melody which quickly transitions to a full ensemble presetation. The chart unfolds following Debussy’s own harmonic and melodic journey. Trumpets double on Flugels, with lead to a brief written D.

● RUN MARIO RUN

Style:    Contemporary/Reggae


Instrumentation:     5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums +optional vibes


Duration         6 minutes


Soloists         trumpet, trombone


Level             Medium-Difficult


New for 2017, This energetic 6 minute + chart could serve as a soundtrack for an imaginary Super Mario Run game or it could be a super fresh big band chart featuring trumpet and trombone solos in Reggae tinged blowing sections. An unusual feature is that it presents the trombones in several all glissandi sectional work. Lead trumpet to written D. Medium Difficult


● RUSH HOUR SHUFFLE 


Style:    Shuffle


Instrumentation:     5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums +optional vibes


Duration         6 minutes


Soloists         Tenor sax, trumpet, trombone, guitar


Level             Medium-Difficult


Rush Hour Shuffle was commissioned by the Cal State Northridge band for a premiere performance at the Pacific Coast Collegiate Jazz Festival at Berkely California. Director Joel Leach requested a sort of LA hip, laid-back, post Steely Dan chart that would also be strong enough for a centerpiece performance at a major festival. He got it. This 2013 revision is slightly different from the original in that the opening flute choral has been deleted, and the shout chorus has been somewhat simplified so the lead trumpet range doesn’t exceed a written high E. There are no sax doubles and an optional vibe part is included. This is an exceedingly hip shuffle full of surprises. 


● SAMBA ALEXANDER


Style:     Samba


Level:    Medium Difficult


Instrumentation:     5 Saxes, 4 Trumpets 5 Trombones (4 plus solo), Guitar, Piano, Bass, Drums


Duration         5 minutes 


Soloists         trombone feature


This Samba is the second chart I wrote for Ashley Alexander following Super Frank. Like Super Frank, it has a well-defined 32 bar head and inventive ensemble interactions with the trombone soloist. I’ve used this chart as a trombone section feature by doubling the melody with the whole section and opening up the blowing space. The chart floats buoyantly on a half note samba groove that takes a surprise turnto half time swing and a brief shuffle before returning home. The melody in Cmi lays well for the trombone, as do the ensemble passages for the sections; lead trumpet only goes to a written D above the staff.

● SHOULDER ROOM

Style:    Up tempo, hard swing groove alternates with Second Line New Orleans “street beat” feel


Instrumentation:     5 Saxes with Flute on Alto 1 and Clarinet on Alto 2 and Tenor 2, 4 trumpets with flugelhorn double on 4th, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         6-8 minutes depending on length of open solos


Soloists         trumpet, trombone, drums


An up tempo hard swing groove that alternates with a Second Line New Orleans “street beat” feel informs this very contemporary, unpredictable and hard blowing chart. Features trumpet and trombone with modal solos, and drums. Solos have long arcs supported by colorful and contrapuntal background lines that emerge to take over in episodic shout choruses. I wrote this while recovering from shoulder surgery in 2008, and it definitely has its spikey moments. I rate it as an advanced high-energy concert performance work.

● SNOWBIRD SAMBA


Style:    Samba


Instrumentation:     5 Saxes- Alto1 & Tenor1 on Soprano Sax, 5 trumpets, 4 Trombones, Gt,Pno,Bass, Drums


Duration         6 minutes


Soloists         Trombone, Piano or Guitar, Trpt 1&3 and  Alto1&Tenor 1     


Level             Difficult


Snowbird Samba is a frisky up tempo samba featuring a front line of two soprano saxes and two trumpets. It has a lot of open blowing space for soloists in all sections. The recording features this version, but the form of the tune and blowing spaces are the same. This big band version was originally written as a feature for Joe Henderson and the summer Snowbird Jazz camp big band. Trpt. 1 to written high D.5 Saxes - Alto 1 and Tenor 1 on soprano sax,5 trumpets, 4 bones, G/P/B/D. Soloists - trombone, piano or guitar, changes included fot trpt. 2 & 3 and alto 1 and tenor 1. Difficult.

● SOUR PINK SOUP


Style:    Medium-Up Jazz/Funk


Instrumentation:     5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration      5:00                                                                                                                    Difficulty:    Medium


Soloists       Tenor Sax, Trumpet (optional)


Sour Pink Soup is a jazz/funk work based on instrumental riffs in the “Motown” style of the golden age of soul and R&B in the 1970’s. This hard driving chart is driven by motor rhythms and active melodies and finds its groove in the classic funk tradition. This newly edited edition is updated and error free.

● SUMO MIX

Style:    Medium Up Tempo Hard Bop


Instrumentation: 5 Saxes with Soprano double on Alto 1, 5 Trumpets with Flugelhorn on 5th
5 Trombones or 4 Trombones with Tuba, Guitar, Piano, Bass, Drums


Duration         6-8 minutes depending on length of open solos                                                             

Level:            Difficult


Soloists         Tenor Sax, Soprano Sax, Drums


A  21st century hard bop romp into contemporary writing styles as exemplified by my favorite East coast composers such as Maria Schneider, James Argue, Jim McNeely, Mike Holober and John Hollenbeck (to name just a few). It is a joyous mix of open-ended motivic melodies accompanied with rhythmic/melodic ostinato. It goes into a half-time burlesque treatment alluding to a well-known standard before proceeding to an extended drum solo in tempo 1. A very cool chart for your extended full jazz ensemble using 10 brass. Tuba is optional for bass trombone 5.

● SUPER FRANK                    Watch A Video


Style:          Up Swing 


Instrumentation:     5 Saxes, 4 Trumpets with optinal 5th, 5 Trombones(4 plus solo), Gt,Piano,Bass, Drums


Duration      4:00                                                                                                                   Difficulty:    Medium Difficult


Soloists       Trombone Feature


A chart written for Ashley Alexander for his first album, Ashley Alexander and His Alumni Band. At Ashley’s request, the work was written as a tribute to the recently deceased Frank Rosolino, hence the title. I developed the melody by analyzing a lot of Rosolino’s lick’s and incorporating them into a virtuosic 32 bar head for Ashley. Though it is a straight ahead bebop tune, Ashley commented that it posed one of his biggest challenges for the album. For the record, he nailed it. This is a classic feature for a talented bebop trombonist and energetic big band.

● SWEET SUE JUST US 


Style:    Relaxed Swing


Instrumentation:     5 Saxes, 5 trumpets(4 plus solo), 4 Trombones, Guitar, Piano, Bass, Drums +optional vibes


Duration         6 minutes


Level             Medium                                                                                                                                   Soloist         Trumpet


This relaxed solo trumpet feature, originally commissioned by Rodney Booth, was inspired by the gentle melodies of Bill Evans, such as Watz For Debbie. Though not a waltz this lyrical medium tempo chart finds its groove in a mid tempo 4/4. The solo trumpet melody is simple yet elegant, and the chart swings. Lead trumpet to C above staff. Vibes are optional but add a lot of color.

● THATS A PLENTY


Style:          Afro-Cuban


Instrumentation:     5 Saxes, 4 Trumpets, 4 Trombones, Gt,Piano,Bass, Drums


Duration      5:45                                                                                                                  Difficulty:    Medium Difficult


Soloists       Trumpet, Tenor Sax


This 1914 ragtime standard undergoes a 21st century transformation with an Afro/Cuban 12/8 pattern competing and alternating with tailgate two beat, and straight ahead swing four, in other words, it offers A’ Plenty. Solos for trumpet (12/8) and tenor sax (Swing 4).This fresh, new arrangement takes a familiar tune to less familiar, but surprising places. You may never here this song the same again.

 

●THE MIDDAY SUN WILL ALWAYS SET

Style:            Ballad


Instrumentation:     5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         5:30                                                                                                                  Level             Medium


Soloist          lead alto


A ballad featuring lead alto sax, this lovely tune is based on the form and changes of the well known standard 'The Midnight Sun Will Never Set.' Written in 2016 for the Salt Lake City Phoenix Jazz Band, it has standard big band instrumentation with trumpets doubling on flugelhorns.

 

●TIME PASSING TIME 

VIDEO of the Premiere at the 2012 Utah Arts Festival

Style:            Multi Movement Concert Work

Instrumentation:     see below

Duration         10:30                                                                                                                              Level             Difficult

Soloists          trumpet, piano

Time Passing Time is a 10 minute (or so) concert jazz ensemble composition that was commissioned by the Utah Arts Festival for performance by the Salt Lake City Jazz Orchestra at the 2012 festival in Salt Lake City, Utah. The opening chorale is based on a short piece I wrote for the memorial gathering for my mother upon her passing, it was called passing time. The trombones, flugelhorns, clarinet and bass clarinet provide the instrumental colors, dark and warm. The main body of the work is constructed upon layers of melodies and melodic snippets that for me are joyous and uplifting. This is time that passes time, hence the title. Plenty of blowing space for flugelhorn and piano along with some collective improvisation in the sax section. Lead trumpet to high E. Standard instrumentation except the trumpet section uses three trumpets and two flugelhorns. 1st tenor sax doubles on clarinet, bari doubles on bass clarinet, and sax 1 is soprano sax throughout.

●THE QUADRAFRANTICS 


Style:    Medium swing/double time hard bop


Instrumentation:     5 Saxes, 5 trumpets, 5 Trombones, Guitar, Piano, Bass, Drums


Duration         6 minutes                                                                                                                  

Level     Difficult


Soloists         4 horn frontline; 1st Alto, 1st Tenor Sax, 2ndTrumpet, 2nd Trombone


A “tour de force” bop concerto grosso featuring a 4 horn front-line (concertino) with big band (ripieno). This group within a group chart features the front-line as a unit both separate from, and integrated within the full ensemble. Time alternates between medium and double time with plenty of blowing space for the 4 soloists. Written early in my teaching career, as composer in residence at the University of Utah, it has been revisited and slightly revised for this 21st century release. It includes contrapuntal and developmental activity based on the opening melodies presented by the frontline and builds to some intense and exciting high points.

● WAKE UP TO A MELODY

Style:             Ballad

Instrumentation:     5 Saxes, 4 trumpets, 4 Trombones, Guitar, Piano, Bass, Drums


Duration         4:30                                                                                                                             

Level             Medium Easy


Soloists         1st Tenor Sax


This is a gorgeous gospel styled ballad featuring tenor sax. The lyrical and gentle melody is supported with lush warm harmonies simply scored in moderate ranges for all instruments; the first trumpet only goes to written Bb above staff. This straightforward chart is simple yet effective, I would rate it easy to intermediate. It doesn’t frequently happen to me, but I did wake up one morning with this melody in my head and the chart was completed by the end of the day. The chart became a staple in the big band I was playing in, the Salt Lake Alternative Jazz Orchestra.

● WHAT'LL I DO Irving Berlin Instrumental

Style:             Medium Jazz waltz

Instrumentation:     Alto, Tenor, Bari saxes, 2 Trpt.s, Trb., Guitar, Piano, Bass, Drums


Duration         4:30                                                                                                                                    Soloists         Trombone, Trumpet

This is the first in a new series for Tentets (alto, tenor, bari, 2 trpt.s trombone, gt, pno bass and drums). Each standard features two versions of the tune, one instrumental, the other vocal. This medium swing instrumental jazz waltz features solos by trombone, trumpet piano and guitar. Time is a little under 5 minutes.

● WHAT'LL I DO Irving Berlin Vocal (male or female)

Style:             Medium Jazz waltz

Instrumentation:     Alto, Tenor, Bari saxes, 2 Trpt.s, Trb., Guitar, Piano, Bass, Drums


Duration         3:45                                                                                                                                 Soloists         Trombone, Trumpet

This is the first in a new series for Tentets (alto, tenor, bari, 2 trpt.s trombone, gt, pno bass and drums) with voice. Each standard features two different versions of the tune, one instrumental, the other vocal. This medium swing vocal jazz waltz also features solos by trombone, trumpet piano and guitar. The key of Bb is the key used by Nat King Cole on his recording of this classic standard.

●WHO'S SORRY NOW? by Ted Snyder Instrumental

This classic standard for Tentet (alto, tenor, bari, 2 trpt.s trombone, gt, pno bass and drums) is given a medium tempo treatment with solos for drums and tenor sax. It swings hard at its mid tempo groove.

 ●WHO'S SORRY NOW? by Ted Snyder, lyrics Bert Kalmer & Harry Ruby Vocal

This classic standard for Tentet (alto, tenor, bari, 2 trpt.s trombone, gt, pno bass and drums) and voice is given a medium tempo treatment. The vocal choruses are in Eb, the same key used by Connie Francis in her well known 1958 recording. Other solos feature drums and tenor sax. It times out at about 4:30.

Previously offered by BARNHOUSE   These charts are now available from Ejazzlines or Barnhouse

●SHADOW GOLD                       BARNHOUSE  
●READ IT AND WAIL.                 BARNHOUSE
●THE MOUNTAIN BAND MAN

      BARNHOUSE

UNC JAZZ PRESS
 


●BREEDEN an eclectic up tempo bop chart written for and dedicated to Leon Breeden. Performed in his honor by the NTSU 1 O Clock Band.
 


●DONNA LEE                                      Watch A Video   
Hard driving arrangement of the classic Miles Davis tune. Has been performed by leading bands everywhere, including the BBC jazz orchestra and Air Force Band of Liberty Jazz Band. Combines “Indiana” with the Donna Lee bop head. A very cool chart.
 


●THE GOODBYE LOOK

(8 Brass) (Level 4)

The Goodbye Look by Donald Fagen Arranged Henry Wolking

Style: Medium

Caribbean Feel

Instrumentation: 5 Saxes with 1st Alto on Soprano 4 trumpets with fllugelhorn doubles on 3 & 4 4 Trombones Guitar, Piano, Bass, Drums

Duration 5:30

Soloists Soprano sax, Guitar

Composer Notes: The Goodbye Look Donald Fagen’s laid back but quietly dangerous tune is arranged in a straightforward manner that follows the through composed form of the original recording. Moderate ranges with a relaxed Caribbean groove make this an accessible chart at an easy to moderate difficulty level. Soprano sax solos may be opened up for more space. Lead trumpet to high written D. 
 
 


WOLKING MUSIC PUBLICATIONS


As noted several of these works are out of print. Please inquire through the Contact Henry Wolking link about their availability. Many are in the preparation process for re-release through Walrus. Others may be available from Wolking Music Publications now or in the near future.


BIG BAND CHARTS  Previously offered by Walrus


Hello Pork Pie Hat


Travelers in Space
 


Previously offered by Southern Music Company 


Goober's New Dune Boogey


Home Brew  
 


Previously offered by Kendor Music


Year Blend


A Pleasant Time Past


4 AM In the Afternoon


Arnold in Wunderland


Heironymous and the Five Squad


Child of Saturn
 


Previously offered by Mission Music Company


Sky Blue


Two Shades of Day


Spirit of Things to Come
 


Previously offered by National Association of Jazz Educators' Press


The Real McCoy
 


Previously offered by Wolking Music Publications


Antelope Isle


Bone Breaker


Crystal Fog/Ixtlan Suite


Gorgeous George


Kenston


Nazera's Suite


Rushing The Growler


Suite for Alto Sax and Jazz Ensemble


Three Songs of Joy (For a small Young Boy)
 


SMALL BAND (COMB0) CHARTS


Octets   tpt.,trb.,alto,tenor, pno gt bass drums


Another Blues


Moon Gems


Waltz for the Worm Meat Master


Sextets  tpt.trb. ten.sax pno bass drums


Autumn Interlude


Honey Head


Sweet Sue Just Us


In a Wasatch Mist



Wolking Music Publications,109 Vista Lago Ct., Boulder City, NV 89005
801 664 8147