Please order these works directly from the listed publisher, not from Wolking Music Publications.
NEW FOR 2022
Just Do It for Brass Quartet (2 Bb Trumpets, Trombone, Tuba)
NEW FOR 2021
Tuba Blues 2 for Tuba Quartet (2 Euphonium & 2 Tubas) and Drum Set
Prognosis for Brass Trio (trumpet, trombone, tuba)
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 ITAJ Review by Joe Murrell (Jan. 2020)
Trombone Tales Movt.s V&VI for Trombone Piano, Bass & Drums
☛ TROMBONE QUARTET
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
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.
☛BRASS TRIOS: Trumpet, Horn, and Trombone
1st place winner, trio category, 1987, International Horn Society Composition Contest.
☛Brass Sextets (2 Tp / 1 Hn / 2 Tb / 1 Tu
☛Trombone 6tet & Rhythm
Description: 5 tenor tb & 1 bass Tb w/changes Tb 1 & 2
☛Brass Duo for Trumpet and Trombone
☛Duo for Horn and Organ
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)
Description: Ballad-Tenor Trombone feature w/changes
PLEASE ORDER MUSIC IN THIS SECTION FROM
Three Movements for Three Trombones $25 (formerly Southern)
Dialogues for Trombone Quartet $30 (formerly Southern)
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