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with Piano

…and sundry movements of the heart… for Tuba and Piano. The four movements of this work explore very diverse (“sundry”) musical territories: abstract and serious, songlike, humorous, pensive and transcendent. Many of the musical ideas were generated in spontaneous improvising sessions or by singing–hence, “movements of the heart.”

“Prelude” is anchored in its structure by a bold, serious gesture that is heard at the beginning, middle, and end of the movement, developed differently each time. The two intervening episodes are contrasting in tempo, and materials: the first is more abstract, the second a strong, focused melody.

“Song,” the second movement, is a warmly lyrical tune in a straightforward setting.

The third movement, “Vaudeville,” is light-hearted and witty.

“Standing Stones” is titled after numerous sites in the British Isles where ancient people erected huge stones in circles, singly, or even lining broad avenues. The incredible effort required to do so is mind-boggling, given the tools available to the people. And that they were able to make near-perfect circles, with stones aligned by the positions of sun and moon and seasons is further evidence of their intelligence and dedication to ideas and deep feelings far beyond the daily tasks of survival. The music begins very quietly, in deep tones, enigmatic harmonies, and introspective melodies. The music gradually takes on a brighter sound until it reaches an ecstatic climax.

I. Dance Mix

II. Dark Morning

III. Each Day I Love To Play My Tuba

IV. In The Forest

V. Pirate Song

VI. Read Your Music Carefully

VII. Running Music

VIII. Tubas On Parade

IX. Tuning Duet

X. Your Salmon Fell In The Pickle Juice Learn More

4th Avenue Suite is a composition set for three euphoniums and three tubas. Its inspiration comes from a vacation at North Carolina’s Outer Banks when we were staying in a rental house on 4th Avenue. The tunes are derived from a sequence of numbers used to open the digital door lock of the house for that week. The numbers, 3 6 8 2 4 3, are employed by their numerical placement in a musical scale. I thought: “What if; these numbers could be made into a tune (or several)?” The entire suite is not confined to these notes, but the tunes in the movements have grown out of this sequence. To construct several generations from a set of notes seemed enough, so no attempt has been made to relate the movements to events or situations. The movements are subtitled as follows: I. Intrada; II. Intermezzo; III. Minuet; and IV. Finale. The challenge level is Medium to Medium Difficult. All players are utilized in important roles and the composition offers various combinations of featured players, sections with just euphoniums or just tubas, and total ensemble. 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

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

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