Search results for: 'Aldo Forte'

4 Euphs and 4 Tubas Learn More

3 Euph and 5 Tbas Learn More

4 Euphs and 4 Tubas Learn More

2 Euphs, 3 Tubas and optional Percussion

TUBAS LATINAS (overture for tuba ensemble) is a one movement work commissioned by Earnest Walls for the Tennessee Tech Tuba Ensemble, R. Winston Morris, Director, and is dedicated to this outstanding and renown group of musicians. The work was composed between December 1991 and January 1992 on a request by Mr. Morris for a piece to be premiered at the 1992 National M.E.N.C. Convention in New Orleans (April 1992) and later to be performed at the International T.U.B.A. Conference in Lexington, Kentucky (May 1992). 

TUBAS LATINAS is scored for 2 Euphonium and 3 Tuba parts along with 2 optional percussion parts (Perc. 1: 2 claves and 2 cowbells, the latter to be mounted on a stand and played with snare drum sticks)(Perc. 2: 2 maracas and tambourine). The composition is approximately 6 minutes in length and contrasts Spanish and latin american musical elements. It consists of 4 sections in a slow-fast-slow-fast format. The first section opens with a slow introduction featuring Euph. 1. in a cantabile Spanish style melody. The second section, which begins at measure 18, consists of bullfight bravura type music which is occasionally interrupted by syncopated jazz rhythms. In section 3, which begins at measure 134, the opening melody of the introduction returns, this time dressed in different garb. A solo Tba. 1. cadenza leads to section 4. This section contrasts with the previous 3 spanish sections since it is in a latin style. This final section, which begins at measure 147, is as long as the previous 3 sections combined. A secondary theme from section 2 (meas. 68-83) is developed in latin style during the second part of section 4 (meas. 175-186 and 216-224). It is also in this section that the optional percussion parts are introduced. All players should ensure that the latin style rhythms are played effortlessly, never hurried or labored. 

Aldo Rafael Forte

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ITEC Day 4 2016 Recital Pieces

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TEP11089/11090 Hexagon - Anne McGinty (Mark Nelson and Matt Tropman)

6 Movements - Euph/Tuba Solo and Duet with Piano

TEP10034 Contrapunctus IX - Bach/Forbes (IN U of Purdue)

Tuba Quartet

TEP10788 Bacchanale from “Samson and Dalila” - Saint-Saens/Wilson (E Carolina U)

Tuba Quartet

TEP10733 A Little Monster Music - Elizabeth Raum (E Carolina U)

Tuba Ensemble

TEP11088 - Prelude in C# Minor - Rachmaninov/Renshaw (Ensemble Subsonique)

Tuba Ensemble

CM2594 White Keys - Zach Collins (Atlas)

Tuba Quartet

CM2860 Ascendance - Ben McMillan (Atlas)

Tuba Quartet

CM1775 Power Play - Frank Gulino (Atlas)

Tuba Quartet

TEP10438 Mars - Holst/Butler (Appalachian State U)

Tuba Ensemble

TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)

Tuba Ensemble and Percussion

CM1481 Night on Bald Mountain - Mussorgsky/Sutherland (Presidio Brass)

Brass Quintet

CM2925 Shenandoah - arr. Scott Sutherland (Presidio Brass)

Brass Quartet and Piano

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ITEC Day 3 2016 Recital Pieces

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CM2912 Prophecies - Barbara York (Mark Norman)

Tuba and Piano

CM2906 Snapshots - Barbara York (Mark Norman)

Tuba and Piano

CM2138 Every Day an Alleluia - Barbara York (Mark Norman and Joe Dollard)

Euph, Tuba and Piano

TEP10287 Tubas Latinas - Aldo Rafael Forte (U of MT)

Tuba Ensemble

CM2045 Tubas of the Apocalypse - Benjamin McMillan (U of MO at KC)

Tuba Quartet

TEP10598 Londonderry Air - Traditional/Mehlan (Baylor)

Tuba Quartet

CM1740 Color Code - Elizabeth Raum (Zach Collins)

French Horn, Tuba and Piano

CM2585 Big Sky - Frank Gulino (Zach Collins)

French Horn, Tuba and Piano

TEP11091 R.S.V.B. Hymn - Gail Robertson (R.S.V.B Quartet)

Tuba Quartet

CM1474 P.C. Tuba Quartet - Barbara York (R.S.V.B Quartet)

Tuba Quartet

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ITEC Day 1 2016 Recital Pieces

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CM2675 The Struggle Within - Jonathon Oliver (TN Tech)

Tuba Ensemble

CM0168 Quartet for Brass - Ramsoe/Buttery (The Alchemy Quartet)

Tuba Quartet

CM 0108 Twinkle, Twinkle Little Star - Mozart/Werden (The Alchemy Quartet)

Tuba Quartet

TEP10752 Procession of the Nobles - Rimsky-Korsakov/Butler (KS State U)

Tuba Quartet

CM2875 The Girl with the Flaxen Hair - Debussy/Maxwell (KS State U)

Tuba Quartet

OV1001 Cat Affairs - Anna Baadsvik (Beth Mitchell and Alex Lapins)

Tuba or Euphonium duet and Piano

TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)

Tuba Ensemble and Percussion

BW0494 Suite for Six Tubas - Barton Cummings (UCLA)

Tuba Ensemble

TEP10221 Quatre Chansons (UCLA)

Tuba Quartet

CM2117 Four Paintings by Grant Wood - Barbara York (John Manning)

Tuba and Piano

TEP10697 Concerto per Flicorno Basso - Amilcare Ponchielli (Benjamin Pierce)

Tuba and Piano

OV0713 Vise (Simple Song) - Skomsvoll (Oystein Baadsvik)

Tuba and Piano

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“St. Vincent is a short, somewhat wistful piece, with traces of struggle found in nearly every phrase. The outer form is crisp: four eight-bar phrases are followed by a ten-bar digression, which leads to a recapitulatory eight-bar phrase. All of these begin and end squarely, diatonically, in A. (Analysis transposed.) Inside the phrases, however, there is an element of chromaticism, D#, which seems to struggle to reach its goal, E. It gets frustrated at every turn, whether by enharmonic reinterpretation or by outright rejection.

Phrase 1 (mm. 1–8) is entirely diatonic, not only featuring an oscillation between IV and I6, but also cadencing on the subdominant itself, instead of the V or I. This emphasis on D, rather than E, foreshadows both the chromatic drama to come as well as the final cadence of the piece, which is not authentic but plagal. Phrase 2 (mm. 9–16) opens with a tonic pedal but retains the IV in the upper voices before carrying that upper structure through through theme in parallel motion over the pedal. The upper structure’s root-position voicing offers a contemporary flair. The phrase ends in a half cadence with a 4-3 suspension. Phrase 3 (mm. 17–24) opens with the theme now supported by the root-position IV. Again the subdominant is favored over the tonic or dominant. A half cadence soon follows, this time with a 6-5 suspension. Phrase 4 (mm. 25– 32) opens with the theme over a dominant pedal, which quickly retreats to the subdominant before leading to a more conventional authentic cadence, now combining the prior suspensions into one 6/4-5/3 suspension on the tonic. One might view this phrase as a consequent phrase finally answering three antecedents.

Phrase 5 (mm. 33–42) is a ten-measure diversion, sequentially leading to the parallel minor key, in which a half cadence unambiguously asserts A minor with a flourish of neighboring C-natural and F-natural. Phrase 6 (mm. 43–50) makes a final statement of the theme, closing squarely on tonic (without suspensions).

A struggling, chromatic D# is introduced in Phrase 2 (m. 14). Here, as part of a V of V, it may be expected to lead to the dominant, E. However, it leads directly to the root, D, of a IV7 chord. This sort of sublimation of a raised 4th scale degree is not uncommon in various moments in the repertoire, but in St. Vincent it is only the beginning of the story. The D# is relentlessly negated in this piece by D, multiple times in multiple ways. In Phrase 3 (m. 21) the D# is again driving toward E, this time supporting a V6 (“add 2”), of V but is immediately, though temporarily, deprived of its goal by the cross-related D-natural in another voice. This chord, enharmonically a iiø4/3 (F-B-D-A) does lead to the D#’s original goal, the E. Sitting atop this fifth scale degree, however is not the dominant chord. It is an unstable tonic major-seventh chord. It leads to the stable dominant in measure 24, but not without yet another D#/D cross relation. This time, the D# is a 9-8 suspension in a tonicized iii chord. It’s resolution to C# is followed by a strident, key confirming D-natural in the bass. This return of D-natural is made all the more prominent by its not being connected by slur to the E that follows.

In Phrase 4, the D# is again denied but in a surprising new way. The mezzo-forte chord in measure 28 is easily interpreted as a D# diminished-seventh chord with an unresolved 4-3 (G#- F#) suspension. After all, there is a precedent. The same chord and suspension are heard at the beginning of measure 21. In that case, however, the suspension (D-C#) is realized. In this case, the G# is left lingering in the most pregnant of mid-phrase pauses. The G# does not lead to F# to form a complete diminished seventh chord, acting as yet another V (or viio) of V. Instead the G# is held, while A reveals itself as a dissonant accented neighbor. When it resolves to G#, the listener is left with a pure G# major triad. The logic behind this enharmonic twist becomes clear when this G# triad (V of iii) leads, in descending-fifths fashion to a C# minor (iii), which leads smoothly and diatonically to the authentic cadence in measure 31.

Interestingly, it is in the ensuing digression, not in the expository sections, that the D# is allowed finally to attain its resolution to E. In m. 34, the D# participates in a conventional applied dominant leading to V. Soon enough, though, the original modus operandi returns. The passage leads to a confirmation of the parallel minor by way of an augmented sixth chord (m. 40, F-A-C-D#). This heightened dissonance more strongly demands resolution to E, but is yet again denied as the D# leads not to E but to D-natural, resulting in a reprise of the iiø4/3 (F-A-B-D) heard earlier. Previously, the chord was an example of modal mixture, suggesting A minor but leading ultimately to a V in A major. But here the minor mode is not merely suggested; it is realized.”

- Amir Zaheri

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unaccompanied: In 3 colorful, picturesque movements: The Far Side, Eclipse, and Panorama. In the first movement forte melodic flourishes contrast with quiet phrases as to suggest the dramatic moonscape of the mysterious part of the moon only visible from spacecraft. Eclipse is animated, rhythmically intriguing, and suspenseful. The final movement, Panorama,is characterized by exciting, fiery sections juxtaposed with two short cadenza-like passages. Lunar Vistas received its premier performance on on October 9, 2005 by Edward Palanker at An Die Musik in Baltimore, Maryland. Learn More

Dedicated to the McCormick Duo, this colorful, engaging work juxtaposes mystical, lyrical, and energetic sections in a manner analogous to the ebb and flow of emotions experienced by the composer during meditation on the awesome grandeur of a starry night. From mystical, quiet murmurings to intense and brilliant forte passages, the music showcases the great expressive range of the flute and marimba duo. Recorded on the CD "McDuo Works for Flute and Percussion" by the McCormick Duo (Ravello Records) Learn More

Grind was written for the UMKC tuba and euphonium ensemble in late 2018 and is meant to represent the constant moving and turning of clock gears. The piece begins with the first tuba introducing the rhythmic foundation with the rest of the ensemble joining in to create a driving composite rhythm. Brief moments of jarring interruptions slice through the otherwise subtle material. Euphonium and tuba features follow, with the lyricism of the two instruments being showcased. A powerful triple-forte segment then transitions into a tranquil, chorale section led by the tubas. Quick fragments of the original material lead into a recapitulation of the beginning that slowly diminishes until the clock ceases to tick. Learn More

‘In Spirit Jubilo’ is an exciting and energetic march for Brass Quintet that can be used as an opening piece for any concert or occasion. The melody moves throughout the ensemble accompanied by counter melodies, again by each section. The piece builds to a forte ending. Your audience will keep this melody in their memory. Learn More