Alec Wilder JAZZ SUITE for Horn Quartet and Rhythm Section Score MARGUN MUSIC INCAlec Wilder JAZZ SUITE for Horn Quartet, Harpsichord, Guitar, Bass and Drums 1. Horns O’Plenty II. Conversation Piece IIL. Serenade IV. Horn Belt Boogie AnwerrhA ABOUT THE COMPOSER lee Wilder was born in Rochester, New York on February 16, 1907 and died on December 24, 1980. His formal education in music was confined to two years of counterpoint at the Eastman School of Music, but he Was otherwise self-taught as a composer. wrote in every form of music, from the popular song—of which he has written a number to instrumental solos, chamber music, works for orchestra and wind ensemble, musical s, film music, even operas. Gunther Schuller has summed up one fellow musician’s reaction to Wilder's music thus: “What so many of us respect in Alec Wilder Was his absolute independence as anartist. For years Alec wrote muisic of taste and quality with that personal melodic touch that was all his own, undaunted by musical fashion or fads, And who else has been as devoted to the musician in providing a playable, functional literature for all those instrumental ensembles whom most compos- crs generally ignore? It was almost a mission in Alee’s life to assuage the thirst for good music of the so-called underdog instruments, much in the manner that composers did in the Baroque era, for example, In short, Alec was the musician’s friend and an American ‘original’. His death was a great loss to American music, Fortunately his music lives on,” ABOUT THE MUSIC Alec Wilder's Jazz Suite for horn quartet and rhythm section was composed in 1951 at the instigation of Mitch Miller, at that time Head of the Popular Music Division at Columbia Records. Miller and Wilder had known each other since their days as students at the Eastman School of Music in the 1930s and later worked together in numerous recordings (most notably Wilder's famous Octets), the former as an oboist/english hornist, the latter as composer or arranger, Miller also engaged Wilder to arrange various popular recording dates for Columbia Records, including those of singers Mildred Bailey and Frank Sinatra, Miller did more than anyone else to bring the horn into popular music, much of this through the splendid and unique talents of John Barrows, Barrows and James Buffington, both also Eastman alumni, were the horn team that could be heard on hundreds of popular recordings of the late 40s and 50s, particularly Sinatra, Frankie Lane, Guy Mitchell and Rosemary Clooney. It was almost inevitable that sooner or fater a purely instrumental recording featuring four horns in a jazz setting would come about, bringing together the talents of Miller, Wilder, Barrows and Buffington. Hom players Ray Alonge and Gunther Schuller were added to complete the quartet, as well as a rhythm section of harpsichord another “unusual” instrument Miller was featuring in pop and jazz settings—guitar, bass and drums (Stan Freeman, Frank Carroll, Mundell Lowe and Bunny Shawker respectively). The tart, tangy quality of the amplified harpsichord provided an ingenious foil to the rich colors of the multiple horns, ‘The Jazz Suite was recorded in August 1951 at the 30th Street Columbia Studios in New York and released later that year on two 10-inch 78s, PERFORMANCE NOTES Moderate amplification of the harpsichord is required. However, a piano may be substituted for the harpsichord, although obviously not without some significant loss in timbral contrast. The drum part should be more felt than heard, in the manner of some of the great discreet drummers of the swing e1 Brushes and a soft touch are much recommended. The drum set should be of modest size, and use of the sock cymbal should be generally avoided. In keeping with Wilder's flowing horn writing, the drummer should approach his accompaniments in a linear and strictly accompanimental manner, Tn the second movement, Conversation Piece, the notation indicates short first and third beats, Jong swishes on two and four. The second horn solos in movements I and IV have been transcribed from James Buffington’s solos on the original recording, They are notated in cue-size in the score, in normal size in the part. The player may, of course, improvise his or her own solo, Buffington’ versions being given optionally for players who may not improvise or be able to prepare an “extemporized” solo. The score is notated at actual pitch, with the exception of the guitar part, notated in the usual manner (i.e. sounding an octave lower). The individual horn parts are, of course, in F. The bass part was composed by Wilder, and it is suggested that it be played as written. However, occasional devia- tions and “fill-ins” may be considered by experienced bass players. ~ Gunther Schuller Henne EE EEEEEIEEEEEEEEEEEEE Publication No, MM 51 Performance Time: 10:00 Price: Complete set ScoreJAZZ SUITE Alec Wilder Up Tempo (2 =162) I Horns O’Plenty ‘TRO © Copyright 1962 (renewed) Ludlow Music, Inc., New York, NY et nil_"_=B(6) BT19) SSS er Pea itr EE3 isn Sumll 2 | | Tg emt] ws sil) g saa ails ff10B16) Bil)8 I Conversation Piece Horns Harpsichord . Guitar mene ase =S=5 wk Drums Fm) 596)———=— é as SE pe & Saasa iil, [ she oe S eee 3 to * i | 27h eG ened te inc ‘ ore = Pp arg = i a ae igthe | SSS ee Bk eeFmA%5)/D%)G%5)c7-5)Dm FH Baug® B® Aaug? £9C5) DmoDi Ba mee? | Baug? 2? 3915) Dm_ pi?Fn) A%5) p95) GAS) 75) ot) pm == SJml Serenade Creamily (« = 63) Drums Hpsed.peed. 8 BT) BB He? 95) amaiT 46 Bra) EB Gur, ee De. Hype Gur.== or 1%) ae2 = Sag Bei a #6 wt? Amal? 71-5) SSSIv Fa Horn Belt Boogie Fas d= 168) Wee = e Horne Harpsichordescolaeo (eee = 5 GS po Gi oe —S ge 3 95 a | STse SSS outed oa dt ded e | sed i eee tS pees ==r—| bt bp? op? JFEngraving: Horseth Misc Co .t eciee