Search results for: 'joshua fit the battle of Jericho tuba piano'

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Joshua Gardner arranged this virtuosic violin piece for clarinet and piano for clarinetist Robert Spring. Originally one of Heifetz’s signature works, this piece has been reinvented as a show-stopper for the clarinet by Robert Spring. It can be heard on his CD “Tarantelle,” and is guaranteed to wow any audience.

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This version of "Battle of Jericho" for Saxophone Trio is set in a swing style and is playable by any level group. Learn More

3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1 was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly”. Despite his perfectionism, only minor changes were made after the premier performance.

Compositionally, this work is best aligned with the string quartets of Mozart and Haydn – two of Beethoven’s largest influences; however, a seasoned listener can feel his strain against the established norms of the classical period. The opening motive of the first movement is a six-note turn that was originally heard over 130 times throughout the movement. The composer later scaled this number down to 109 in subsequent revisions. It follows closely to a sonata allegro form and, with the exception of his typical dramatic dynamic changes, follows the patterns established by his predecessors.

– Joshua Mietz (Arranger)

 

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3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1 was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly”. Despite his perfectionism, only minor changes were made after the premier performance.

The opening of this Allegro finale pays homage to Mozart with its wild swirls in the solo voices followed by a response of the whole ensemble. As the movement develops, the ensemble plays what we later discover as Beethoven’s true voice. Like the first movement, the last movement affords the ensemble dramatic dynamic changes and driving motor devices. The virtuosity required of the players makes this the most challenging of any of the movements in the quartet.

– Joshua Mietz (Arranger)

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3 Clarinets and Bass Clarinet

Dedicated to Prince Franz Joseph von Lobkowitz, String Quartet No. 1 in F Major, Op. 18, No. 1, was finished on June 25, 1799 with some revisions thereafter. Beethoven initially felt it to be a work in progress and commented that he had not yet “learned to write quartets properly.” Despite his perfectionism, only minor changes were made after the premier performance. The Adagio is impassioned, tragic, and dark. Karl Amenda, Beethoven’s violinist friend, revealed that the composer contemplated the tomb scene from Shakespeare’s Romeo and Juliet when composing this operatic second movement. Toward the end of the movement, the rhythms of the solo voices become faster and, as such, become more severe. The Scherzo third movement closely resembles the playful quality found in Haydn’s quartets and is most closely aligned with the harmonic structures of the first movement.

A clarinetist approaching this work faces many of the same challenges of his string-playing colleagues including: interpretation, note length, tempi, dynamics, and all other musical decisions. To further complicate matters, clarinetists must also discuss and agree upon breathing strategies and alternative fingerings. While this work is orchestrated for three B-flat soprano clarinets and a B-flat bass clarinet with a low C extension, it may be performed by a larger clarinet-choir as well. Throughout the original work, there are places where a string player performs double or even triple stops and those notes have been included in this transcription for two reasons: the first is to provide options to the players performing in a quartet to add a slight variance in color, the second is to further enhance the harmony when the work is performed by more than four clarinetists. It is remarkable to observe the subtle variances in flexibility and tone when performed by a four-person ensemble as opposed to a larger group. This edition does not vary from the original in key or, to the extent possible, range with the exception of a few octaves that have been transposed to better promote facility on the clarinet.

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4 Trumpets, 4 Horns, 3 Trombones, Euphonium, Tuba and Timpani Learn More

The Star of Liberty Learn More

EEETTT “The Battle at Daylight” was commissioned by S-Master Low Brass Ensemble and premiered on Feb. 16, 2019. This piece was composed for young Euphonium and Tuba players. The main theme is presented at the beginning by a solo Euphonium declaring the break of dawn. This piece consists of three parts after the prelude. The phrase of “Moderate” presents the main theme and gradually increases the texture entering into the second part which is “Con brio”. This represents the determination to fight for the daylight. The conclusion is the presentation once again of the prelude music and the first main theme, but in a more powerful fashion and concludes with majestic momentum. Learn More

The traditional tune "Jericho" has been arranged for Brass Quintet. This is an upbeat and jazzy version. A real crowd pleaser! Learn More

The Battle Hymn of the Republic" or also known as "Mine Eyes Have Seen the Glory", has been arranged by brass quintet by Paul Chauvin. This arrangement starts in the traditional 6/8, then goes into a tenuto cuttime section before returning to 6/8. Great for a recital or summer concert. Learn More

with Trumpet Ensemble: The Walls of Jericho for solo Bb trumpet and 6-part trumpet ensemble was inspired by the Biblical story of Joshua and the Battle of Jericho, the music is characterized by a juxtaposition of intense, energetic sections with subdued passages. A great deal of color interest is added by the sensitive use of mutes in the solo and ensemble parts, as well as by the players on parts one and four doubling on Flügelhorn. This composition makes a rousing and memorable feature number for the advanced ensemble. Learn More

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EEETTT

In Memory of our friend Tubabass Tzu-Ming Hsu Commissioned by EuTuba Euphonium and Tuba Ensemble.

This piece was commissioned by my close friend, Tubabass Tzu-Ming Hsu who was the member of EuTuba Euphonium and Tuba Ensemble and holds New Year's celebrations every year for Taiwanese bass and euphonium players. He told me that he would love to have a theme song for the New Year's event and we could play it every year. His enthusiasm for music and low brass group always touches me. Unfortunately, our friend left us before the premiere.

The first part of the piece begins with a powerful rhythm which means we have firm confidence and courage and ready to set off again. The opening section leads into a slow and touching melody which shows the charm of low brass.

I wrote this piece to encourage all the musicians and ensemble affected by the pandemic. Finally, I want to say to you in heaven, we will work hard to enforce your spirit and beliefs.

We will play this piece at New Year's events every year.

Wan-Yun Liang

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Robert Browne Hall, best known as R.B. Hall, was a prolific composer of marches having published 63 marches during his lifetime. Hall, a virtuoso cornetist in his own right, became the conductor of his local brass band at the young age of 19. ‘Officer of the Day’ (1903) is one of Hall’s most famous marches, the trio of which has been used on several occasions included as the Alma Mater of Carleton College. This is sure to be a favorite of your audience. Learn More

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