Fever (Key: G min): Jazz Ensemble Conductor Score & Parts
As performed by Peggy Lee / As performed by Eddie Cooley / As performed by John Davenport / Arranged by John Clayton
Grade: 5
Item: 35-PK00389118
$60.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Fever (Key: G min) - Conductor Score (Full Score) | $6.00 | |
| Fever (Key: G min) - Vocal Solo | $6.00 | |
| Fever (Key: G min) - Alto Sax 1 | $6.00 | |
| Fever (Key: G min) - Alto Sax 2 | $6.00 | |
| Fever (Key: G min) - Tenor Sax 1 | $6.00 | |
| Fever (Key: G min) - Tenor Sax 2 | $6.00 | |
| Fever (Key: G min) - Baritone Sax | $6.00 | |
| Fever (Key: G min) - Trumpet 1 | $6.00 | |
| Fever (Key: G min) - Trumpet 2 | $6.00 | |
| Fever (Key: G min) - Trumpet 3 | $6.00 | |
| Fever (Key: G min) - Trumpet 4 | $6.00 | |
| Fever (Key: G min) - Trumpet 5 | $6.00 | |
| Fever (Key: G min) - Trombone 1 | $6.00 | |
| Fever (Key: G min) - Trombone 2 | $6.00 | |
| Fever (Key: G min) - Trombone 3 | $6.00 | |
| Fever (Key: G min) - Trombone 4 | $6.00 | |
| Fever (Key: G min) - Guitar | $6.00 | |
| Fever (Key: G min) - Piano/Vocal | $6.00 | |
| Fever (Key: G min) - Bass | $6.00 | |
| Fever (Key: G min) - Drums | $6.00 |
Parts Added to Cart!
Description
Recorded by Barbara Morrison with the Clayton-Hamilton Jazz Orchestra for "The L.A. Treasures Project", this powerhouse arrangement is a study in contrasts. The sparse and quiet opening gradually builds to a feverish pitch with periodic wild intrusions from the full ensemble. Feel the burn!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00389118
More about this title
About the Artist: Peggy Lee
Peggy Lee was one of the most influential female jazz singers of the 20th century, known for her sophisticated phrasing, emotional depth, and ability to inhabit a lyric completely. Her interpretations of standards set a benchmark for generations of singers and arrangers, proving that a vocalist could command a room with subtlety as effectively as with volume.
Lee's legacy extends far beyond her vocal performances. She was a savvy bandleader, composer, and interpreter who understood orchestration deeply. Her version of "Fever" remains one of the definitive recordings of the song, and her influence on how this tune is arranged and performed persists among jazz educators and musicians today.
Why we love this
John Clayton's arrangement captures the essential architecture of Peggy Lee's recording while giving your ensemble room to develop dynamics and control. The Grade 5 writing lets musicians focus on the real challenge here: restraint in the quiet sections and execution when the full ensemble breaks loose, which are skills many young jazz players desperately need.
What to expect
The arrangement opens with barely-there sophistication, intimate and cool, before gradually igniting into something almost dangerous. There's sensuality in the quiet sections and raw energy in the full ensemble hits, creating a performance experience that demands your musicians stay connected to each other and to the song's emotional arc.
Who it's for
Jazz ensembles at the upper high school and early college level who have developed basic jazz language and want to explore how dynamics and arrangement serve a song. This works equally well for groups building a concert program and for ensembles preparing for jazz festivals.
How to get the most out of it
- Spend rehearsal time on the sparse opening passages. Intonation and blend matter more when fewer voices are playing, and students often rush quiet sections without realizing it.
- Mark the dynamic arrival points clearly in parts so the ensemble can anticipate when intensity builds. This arrangement lives on those contrasts.
- Listen together to Barbara Morrison's recording with the Clayton-Hamilton Jazz Orchestra. Hearing the professional reference will teach your students more about phrasing and ensemble balance than any verbal explanation.
How to use it
This arrangement pairs naturally with other Clayton-Hamilton Jazz Orchestra works if you're building a set around that orchestra's sound and approach. It also serves as an excellent closer for a jazz concert, since the energy and polish leave audiences satisfied. Consider programming it alongside a ballad to showcase your ensemble's range of expression.
Skills your students will build
- Dynamic control in sparse ensemble textures
- Recognizing and executing written dynamic contrast
- Jazz phrasing and interpretation of a standard
- Ensemble balance when only section of the band is playing
- Anticipation and coordination across rehearsal marks
- Playing with sophistication at piano and mezzo-piano dynamics