Search results for: 'There's a wideness in God's mercy''

Widely accepted to fill the gap between basic low Horn info and the more difficult low Horn exercises; This book is written based on the author's teaching experience. Although referenced in the title as exercises, it is more complex than simple exercises and can be considered etudes. These etudes focus on the medium-low register and are written in treble and bass clefs using simple rhythms. Different styles are approached in small progressive etudes in staccato, legato, and marcato. Learn More

This edition of "60 Etudes for High Tuba or Euphonium" was engraved from the original files found on IMSLP and was originally for French Horn. It is the companion volume to more well-known "Second Horn" book. It is not an easy book and covers a very wide range. Mostly high. It is highly recommended for any aspiring High School student as well as any college or professional performer. It works great on F Tuba. Learn More

This edition of "60 Etudes for the Premier Horn" was engraved from the original files found on IMSLP. It is the companion volume to more well-known "Second Horn" book. It is not an easy book and covers a very wide range for the Horn. Mostly high. It is highly recommended for any aspiring High School student as well as any college or professional performer. Learn More

Flute duet and Piano

“In twelve tone music, all twelve chromatic pitches are arranged so that all twelve notes are played without repeating. The chromatic scale is a basic example of this concept. This technique was initially used to free composers from the dogmas of functional harmony. Many frown upon this technique because it often creates “ugly” music that is dissonant and atonal. There’s even a technique called “total” serialism where dynamics and articulations, along with pitches, are also serialized. I found that by harmonizing every note with consonant chords that plane well, such as “sus2” chords or “major 7th” chords, it’s possible to create very tonal and tuneful music– “tonal” serialism. Experimenting with this technique has led to music that sounds, at times, reminiscent of Eric Ewazen, hence the title “A Ways In…” – Josh Oxford

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ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Will work on Soprano and Tenor Saxophone. Learn More

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

ALIEN LOOP DE LOOPS for solo instrument and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she is playing unaccompanied, but then is joined by the recording which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes the sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. Learn More

from "The Occasional Oratorio" Learn More

This unique new resource from BrookWright Music will be an essential part of every band’s library! All Tuned Up is designed to cater for ensembles for occasions throughout the year. Tunes are drawn from genres including Classical, Hymns, Folk and Patriotic amongst many others to form a comprehensive book that will cover a wide variety of events such as Weddings, Funerals, Graduation Ceremonies, Parties, Proms, Remembrance, Street Playing and Thanksgiving.

Playable by as few as five players but also designed to work for full brass band or wind band, it features flexible parts in a wide variety of transpositions. These excellent arrangements have been expertly created by Andrew Wainwright, David E. Jones, Dean H. Jones and Steven Ponsford.

The general harmonic format of All Tuned Up is in five parts, although additional notes have been included to thicken the harmony where more players are available. Therefore, the book will work equally well with larger groups, including full brass bands and wind bands.

At the end of the Part 1 Bb book are four a capela tunes for Remembrance/Memorial occasions.

To view a promotional video please visit https://www.youtube.com/watch?v=nmodRrXQRRs

The full set includes:

Full Score

Part 1 Eb (optional) - Soprano Cornet/Trumpet Eb, Clarinet Eb

Part 1 Bb - Cornet/Trumpet Bb, Clarinet Bb, Flugel, Soprano Saxophone

Part 1 C - Piccolo, Flute, Oboe,

Part 2 Bb - Cornet/Trumpet, Clarinet Bb, Flugel

Part 2 Eb - Tenor Horn, Alto Saxophone, Alto Clarinet Eb

Part 2 F - Horn, Cor Anglais

Part 3 Bb - Baritone, Trombone, Euphonium, Tenor Saxophone,

Part 3 C (Bass clef) - Baritone, Trombone, Euphonium

Part 3 Eb - Tenor Horn, Alto Saxophone, Alto Clarinet Eb

Part 3 F - Horn, Cor Anglais

Part 4 Bb - Euphonium, Baritone, Tenor Saxophone

Part 4 C (Bass clef) - Euphonium, Baritone, Bassoon

Part 5 Eb - Bass Eb, Baritone Saxophone

Part 5 Bb - Bass Bb, Bass Clarinet

Part 5 C (Bass clef) - Tuba, Bassoon, String Bass

Percussion (optional) - Various

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Written for Stefan Sanders, then bass trombonist with the Buffalo Philharmonic, and the 30th Anniversary of the International Trombone Association. In 3 movements, this colorful work was composed immediately following the important world events of September 11, 2001. It was premiered by Mr. Sanders and members of the University of North Texas Percussion Ensemble at the 2002 International Trombone Festival in Denton, Texas. It is in 3 movements: In Remembrance 9/11/01, Repercussions, and Renewal. Percussion Distribution - Percussion 1: Xylophone, tubular bells (chimes), suspended cymbal, snare drum, police whistle, and Chinese bell tree; Percussion 2: Vibraphone, 2 suspended cymbals, 4 tom toms, bongos, and wood block; Percussion 3: Marimba, tam-tam, lion roar, ratchet, slapstick, wind chimes, and suspended cymbal; Percussion 4: Marimba (to low A), timpani (4), tambourine, 2 cowbells, and suspended cymbal. "Buss’ melodies vary. They are mystic, poignant, heroic, often modal, and at times reminiscent of folk songs. He writes for the percussion ensemble with mastery and features a wide range of instruments. The sound landscape is rich with many moods and timbres. American Phoenix is an attractive addition to a solo program or as a feature piece for a percussion recital. It is rewarding for both performer and audience.” - The ITA Journal, January 2005 Learn More

Anne of the Waves (2018) for solo flute by Howard J. Buss was commissioned by Paul McReynolds for Anne Marie McReynolds. The 3 movements, From the Waves, Dreaming, and Glistening, explore a wide array of moods and sonic atmospheres ranging from the mystical, to the contemplative, to soaring, vibrant passages. A common rhythmic thread in the musical tapestry is adaptation of “Anne of the Waves” as expressed in Morse Code. The use of code refers to the fact that both Anne and Paul McReynolds are airplane pilots. Morse Code is still used today in aviation. The rhythms in the music derived from code appear in a variety of contexts, such as sections in a lilting 6/8, a flowing waltz, and in a more abstract, sparkling way in the final movement. Musically, the rhythms resulting from its use serve as a unifying factor throughout. Learn More

3 Trombones and Tuba

6 movements

The vocalises of Marco Bordogni are a staple for trombonists and tubists world-wide, and this suite was borne from a desire to play them with my section in a format other than in octaves. To that end, I conceived the idea of arranging these exercises so that all the members of the section got the chance to play the melody as well as counter-melodies and harmonies. Similarly, the harmonies I have used are not really the ones that you might expect; rather, I have made them a little more interesting than the standard chords I and V. Thus, to perform this music well, the section must really work hard on sound, balance, intonation and rhythm – all of which will make your section sound awesome!

– Andrew Heading, arranger

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EETT and rhythm section

From the arranger:

Originally written for big band, Chickenyard Social is a funk interpretation of the sounds you might hear at, well…a chickenyard social. The rhythmic figures throughout the tune sound like musical chicken clucks and calls. Although it is not widely known in the big band world, this tune has turned into a cult standard at the University of North Texas where it continues to be performed by the numerous Lab Bands on a regular basis.

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with Piano

from "Nabucco"

First performance 9 March 1842, Milano (La Scala).  It is sung by the Israelite as they lament the loss of their homeland, It recollects the period of Babylonian captivity after the loss of the First Temple in Jerusalem. It was soon widely interpreted as a political gesture, becoming the anthem of Italian patriotism.  

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Herbert Lincoln Clarke was among the foremost cornet soloists and brass pedagogues of the latter 19th and early to mid-20th centuries and was, as well, a noted band conductor.  Born in Massachusetts in 1867, Clarke began his musical life as a violinist under the tutelage of his father.  He learned to play the cornet in his early teens and therein found his destiny.  He was soloist with numerous bands, but most notably with the famous bands of Patrick Gilmore and John Philip Sousa.  Clarke spent the last twenty years of his career as conductor of the Long Beach Municipal Band, one of the premier bands of that time period.  His students include the noted trumpet players and teachers Ernest Williams and Claude Gordon who themselves produced subsequent influential brass pedagogy materials.

The Technical Studies for Cornet (first published in 1912 and presented here as Technical Studies for Euphonium (Trombone) and Tuba) are but one of several pedagogical resources assembled by Mr. Clarke.  His elementary studies and characteristic studies are fine works, however, the technical studies are probably among the most widely used etudes of all time in brass pedagogy, perhaps second only to the method of the famous Jean Baptiste Arban.

For more information about Herbert L. Clarke, his life, performances, and pedagogy, visit the following website:

http://www.library.uiuc.edu/sousa

We also recommend a comprehensive doctoral dissertation on Clarke’s life written by Dr. James Madeja, titled “The Life and Work of Herbert L. Clarke.”  Consult your local librarian for information on obtaining this important research work.

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