Fever Sheet Music Preview

Fever: Jazz Ensemble Conductor Score & Parts

As performed by Peggy Lee / Arranged by Paul Murtha

Grade: 2

Item: 35-PK00285534

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Description
Recorded by Peggy Lee in 1958, this sultry swing tune went on to become her signature song and has remained a popular standard. Paul's version for young players definitely retains the "cool" factor with finger snaps, sax melody and brass punches. Brief solos are included for alto sax and trumpet.

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Additional Details
Publisher: Hal Leonard
SKU: 35-PK00285534

More about this title

About the Artist: Peggy Lee

Peggy Lee (1920–2002) was one of the most influential jazz vocalists of the 20th century, known for her sophisticated phrasing and distinctive contralto voice. Her 1958 recording of "Fever" became an iconic interpretation of the standard, showcasing her ability to command a song with restraint and cool elegance rather than vocal pyrotechnics. Her approach to interpreting popular songs influenced generations of singers and remains a masterclass in stylistic control.

Why we love this

Paul Murtha's arrangement brings "Fever" into the young jazz ensemble repertoire without sacrificing the song's irresistible swagger. The addition of finger snaps, focused sax melody, and well-placed brass hits keeps students engaged while the brief solo passages give section leaders meaningful moments to develop their improvisational voice.

What to expect

Smooth, confident, and playful. The arrangement captures the song's inherent cool factor: that feeling of effortless sophistication mixed with undeniable groove. There's swagger in the brass hits and swagger in the sax line, but nothing overwrought.

Who it's for

Grade 2 jazz ensembles looking for a standard that feels contemporary and fun without sacrificing musicality. Students new to jazz will find the straightforward groove approachable, while those with ensemble experience gain exposure to a timeless composition.

How to get the most out of it

  • Keep the finger snaps crisp and consistent; they anchor the groove and give the ensemble something tangible to lock onto beneath the melody.
  • Shape the alto sax and trumpet solos with space and breath, letting each player own their moment rather than rushing the phrasing.
  • Balance the brass punches so they land as punctuation, not distraction. They should feel like conversation, not interruption.

How to use it

This works beautifully as a concert closer or as part of a jazz standards showcase that bridges the gap between bebop and popular song. It's also an excellent choice early in the semester when you're teaching jazz fundamentals; the groove and form are clear enough that students can focus on tone and articulation.

Skills your students will build

  • Blues form and 12-bar structure
  • Jazz swing articulation and phrasing
  • Accompaniment groove maintenance with finger snaps and rhythm section
  • Solo construction and improvisation within a short form
  • Ensemble balance between melody and rhythmic punctuation

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