Dan Wheeler Studios

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Flexible Parts
This piece was written with maximum flexibility in mind. Four horn parts are provided with an optional 5th. That 5th part could meaningfully cover for a missing bass player (though during solos this part should play their part from any of the other lettered sections).
Each horn part is provided with a part written in C, Bb, Eb, F, and bass clef. Part 1 is the lead voice, and each subsequent part is intended to provide a lower harmony with part 4 being the bottom and 5 being a bass part. In order to serve individual skill level, ensemble need, and director taste, jumping up or down an octave at any point in any part is encouraged.
Rhythms
With the exceptions of the 5 horn part which provides bass -- and the beginning of section E -- all horn parts share the exact same rhythm. Most rhythms recur frequently throughout the piece making it easy for the group to learn rhythms together.
Chromatism
The tune is essentially the 12-bar blues in Bb with the V going chromatically up to the bVI similar to All Blues -- plus a 4 measure tag. The melody fully embraces this chromatism and is likely to be the biggest challenge for the least experienced players. Sections can be swapped, omitted or even mixed as needed. For example section C and/or E could be skipped, and some players could play B instead of A (as A is unison and B is harmonized).
Solos
Three optional solos are provided in each key in increasing difficulty. Using these solos as material for the players to do 4s is encouraged; mixing between the different solos would work fine. The solos are annotated in the score to provide insight and inspiration for aspiring soloists learning to improvise.
Rhythm Section
The piano and guitar parts provide the same function and share rhythms as written -- but aside from the solo sections these could be left out (though there is an optional brief piano solo written as a transition to the ending). The piano part embraces a couple of different standard 5-note voicings and a more experienced player should feel free to deviate. The guitar part is written with only two chord shapes, and like the piano, deviation is encouraged. The bass player, if needed, could play the simpler 5th horn part instead (playing their part from A, B, C, E, or F during solos).

Junk Drawer

Jazz Ensemble Score & Parts

Bended Wing  Shchedryk: The Swallow's Return
Music by Mykola Leontovych
Arranged by Dan Wheeler

"Shchedryk" (Ukrainian: , meaning "Bountiful Evening") is a traditional Ukrainian New Year's song, also known as a shchedrivka. It tells the tale of a swallow flying into a home, foretelling the abundance of spring. Ukrainian composer Mykola Leontovych (18771921) transformed this ancient four-note folk chant into a choral masterpiece. Drawing from a version in the Volyn region, he began work in 1910, crafting a layered polyphonic arrangement based on a repeating ostinato. Premiered in Kyiv in 1916, Shchedryk quickly became a cultural emblem.

As Ukraine fought for independence after World War I, Shchedryk became a symbol of national identity. It was performed across Europe by Oleksandr Koshyts's choir and celebrated as a beacon of Ukrainian resilience. Tragically, Leontovych was assassinated by a Soviet agent in 1921, never knowing the global acclaim his work would achieve.

Bended Wing is a meditation on endurance, inspired by this legacy. The image of a damaged wing evokes struggle, adaptation, and the ache of survival without full return. Its shifting meters echo the stumbles and strength of a spirit learning to move forward again. Through fractured rhythms and resilient motion, the piece reflects the Ukrainian will to risescarred, altered, but unbroken.

Bended Wing

Full Orchestra Score & Parts

This piece alternates between a funk groove and an Afro-Cuban Nanigo with a couple of additional time signature changes. Harmonically it leans into the idea of chord root motion down by a major third.  The A section of the head features sus7 chords highlighting the descending major third in the funk groove. A Nanigo groove drives the B section with an alternating maj7 descending a major 3rd to a min7 but in the Phrygian mode. In 4/4, the A section of the head is generally preceeded by a 3/4 measure. As part of the transition to Nanigo, a series of six 6/8 measures (eighth == eighth) lead to one last 4/4 measure before the Nanigo 6/8 (quarter == dotted quarter) kicks in with the B section. The form of the head is AAB.  After a solo section that mostly mirrors the form of the head, the shout section approximates the A portion of the head, then transitions to a full band restatement of the B section with a tag that trails off.

Big Shoes

Jazz Ensemble

<p>This piece was written with maximum flexibility in mind. Three horn parts are provided, each provided in C, Bb, Eb, F, and bass clef. Part 1 is the lead voice, and each subsequent part is intended to provide a lower harmony. In order to serve individual skill level, instrumentation, ensemble need, and director taste, jumping up or down an octave at any point in any part is encouraged. This piece is well-suited for a three- horn combo, but an ensemble of any size could join in on any part. With the heavy rhythmic emphasis on the e's and a's, this could be an excellent tool for teaching, learning, and practicing rhythms in unison. Rhythm Section A lot is expected out of the rhythm section, especially the drummer. There are extended opportunities for drum solos, not to mention the entire piece is an up-tempo samba. The bass player will have to keep up with a traditional samba pattern, but gets to double the rhythm of the melody a lot of the time. Piano doubles and extended the harmonies played by the horns, plus has a built-in 3 measure break with a suggested fill. The guitar part is written as a substitute for the piano, so if both are available the recommendation is for them to take turns or have one ad lib/comp. There is a repeated 8-measure rhythm section feature that can be played as-is, but is a good opportunity to showcase auxillary percussion if available. The second time through has a chill suggested horn solo intended to be layered over any rhythm section tastiness. Solos There is an 18-measure solo section with changes from the head. Two suggested solos are provided. Players are encouraged to use these written solos for ideas for their own improvisations.</p>

Don't Make Me

A mythological crab was sent to sabotage Hercules as he battled the Hydra, then raised into the heavens to be the constellation Cancer by Hera who summoned it in the first place. This unwanted saboteur, this crab named Karkinos, is the symbol for this work which is an echo of the composer's father's battle with cancer.
Karkinos was originally inspired by hours the composer spent with his dad during chemotherapy treatment. The waiting, the drone of the IV pumps, the somber mood of the patients and loved ones sitting with time to burn, but with the suppressed feeling of not enough time, and of time that should have been spent differently  all highlighted a sense that chemotherapy exists outside of normal time. The discomfort and disorientation of having undergone chemotherapy is present, along with a theme for the stoic determination and strength of cancer patients. Finally, after cycles of chemotherapy, disorientation, and strength, true heroism emerges. Remission is achieved, however briefly. Sadly, as was the case for the composer's father, cancer comes back until the patient is overcome.
The composer's father passed away December 3rd, 2017. Karkinos was written in December 2017  February 2018.

Karkinos

This latin/funk tune reflects what a frustrating commute can be like.  It features a groove played around 100 bpm. There is a chill solo section with suggested solos written out for the piano and trumpet. Brief alto and tenor saxophone solos add some punctuation before the bari sax and bass trombone have a chance to shine as well.  The drums and congas get to trade some solos before the chaotic traffic jam.  Finally, the guitar is featured on the melody before the finale.  An outstanding chart for any performance. (5:25). Copyright: 2020

Commute

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Vocal setting for the entirety of Psalm 143 KJV.  Minimal, simple organ accompaniment.  7'33"

Hear My Prayer O Lord

SATB

Ensemble

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Unveil the eerie elegance of "Spider Walk" by Dan Wheeler. This 21st-century composition is masterfully arranged by Wheeler himself, ensnaring listeners in a web of intricate melodies and haunting harmonies. Ideal for advanced ensembles seeking to captivate and challenge, this piece promises a thrilling musical journey. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Spider Walk

2 Violins, Viola, Cello Quartet

Instrument Type

"Running Late" by Dan Wheeler encapsulates the essence of 21st-century music through its dynamic arrangement. This piece, masterfully crafted with intricate melodies and compelling harmonies, offers a fresh, innovative approach to contemporary composition. Perfect for advancing ensembles eager to explore modern soundscapes with an energetic pulse. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Running Late

Saxophone Quartet-SATB Quartet

A choir setting for a prayer of supplication.  Four voices, SATB plus a simple organ part.  3'33"

Forgive My Soul

Test-driven by the Sickles High School Jazz Band, this tune features a driving funk-flavored groove played around 120 bpm. A fun solo section kicked-off by the saxes includes suggested solos written out for the lead tenor sax and trumpet.  There is space for drum solos near the beginning and end of the piece.  The bass part can be demanding for less experienced players, so an optional simplified bass part is supplied.  An outstanding chart for any performance. (4:18).

Copyright: 2019

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