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E Suite is the result of a conversation with Chris Combest, who became aware of me as a composer after hearing "Pax Aeternam," a piece I wrote for Danny Rowland. Danny planned to commission Barbara York to write something reminiscent of "How Beautiful," but she had recently passed away. My friend Matt Brown pointed him in my direction, a huge vote of confidence since I had never written for the tuba before. It only seemed fitting to write "Pax Aeternam" in memory of Barbara, who wrote "How Beautiful" in memory of Matt's son, Eli.

A bit more backstory: Matt and I recorded all of Barbara's works for tuba and piano (at least, those written at the time of our recording) and collaborated regularly until he decided to become a woodworker. Through him, I had the pleasure of meeting Barbara, a warm, delightful person and a fellow Canadian. During our interaction, I learned that (like me) she started composing for low brass quite by accident, having received a request that led to another, and another. I'm not sure how much tuba literature is ahead of me, but I've enjoyed my first two forays into writing for this still under appreciated instrument. I am so grateful that my collaboration with Matt Brown showed me the range of possibilities a skilled player can achieve.

 Regarding E Suite, I love the sound of the marimba, a quintessentially African instrument, so when Chris specified that the ensemble would include percussion, I knew where I wanted to begin. "Enchantment" comes from the realm of fairy tales, evoking a far-away land full of wonder, mystery, struggle and danger, with a grumpy troll or witch thrown in.

In "Estrangement," the vibraphone is virtually unchanging and remains distant from the range of the tuba, which becomes more and more insistent, growling angrily on several occasions. I envisioned two people who are on completely different wavelengths: one is done, completely immovable, cold, while the other tries to break through but eventually gives up. I learned about the bowed vibraphone from a composition mentor who suggested including it in my short-form opera, The Place. In this case, I chose it for its icy, otherworldly character.

"Excitement" is kind of like a rap battle, for lack of a better word. The percussionist is free to improvise, if desired, for most of it. The inspiration was a thrilling moment in a jazz concert in which the trumpet and the saxophone traded riffs, backed only by the drums.

In addition to Matt, Danny and Chris, I'm extremely grateful to percussionist Brian Mueller for his suggestions, and to Bryan Doughty (Cimarron Music Press) for publishing this piece. I hope you enjoy it.

Maria Thompson Corley, July 2024

Bio

Maria Thompson Corley (B. Mus, piano, University of Alberta; MM, DMA, piano, The Juilliard School) is a native of Jamaica who moved to Alberta when she was three. She currently lives in Pennsylvania.

Her music has been commissioned, and/or recorded by numerous musicians and entities, including herself, Castle of our Skins, Canadian Art Song Project, Renaissance City Winds, Tacoma Orchestral Recital Series, Juventas New Music Ensemble, Musica Intima, Xavier University in New Orleans, tubists Daniel Rowland and Chris Combest, French hornist Bernhard Scully and pianist Casey Robards, countertenor Darryl Taylor, mezzo-soprano Raehann Bryce-Davis and sopranos Sequina Dubose, Louise Toppin and Randye Jones, among others. She is published by Gentry, Walton, NoteNova, and North Star. An Associate Composer of the Canadian Music Centre, she is known primarily for her vocal music, including two short form operas composed for The Decameron Opera Coalition. Her opera about John Lewis will be premiered by Cincinnati Opera in 2026.

To learn more about Maria, please visit her website: 

www.mariacorley.com

My sincere thanks to all the members of the Summer 2024 Consortium for "E-Suite". Our goals with this project were to create a new work that showcases the tuba and percussion in a way that is both fun to perform and enjoyable for audiences. Please send any performance programs to either Bryan Doughty (sales@cimarronmusic.com) or Maria Corley (maria_corley@hotmail.com) in order to assist with any ASCAP credit. We hope you enjoy performing "E-Suite", but also be sure to check out Maria's other works for tuba available from Cimarron Music Press!" –Chris Combest, July 2024

Consortium Members

Jeff Baker

Nick Beltchev

Douglas Black

Anna Bosgra

Nick Brown

James Cipriano

Zachary Corpus

Mark Cox

Austin Crumrine

Zach deVries

Steven Dixon

Mark Dundore

Martin Erickson

Caiden River Flowers

Todd French

Steph Frye-Clark

Jack Gardner

Nate Gay

Charles Guy

Brent Harvey

Andrew Hitz

Daniel Honaker

Kevin Ildefonso

Jack Kinsella

Craig Knox

David Kutz

Clayton Maddox

Tuba Bach/Edward Mallett

Sam McHenry

David McLemore

Alejandro Pasten

Sophia Rivera

Scott Roeder

Daniel Rowland

David Saltzman

Chris Schmidt

Braden Shaw

Ryan Sorenson

David Spies

Nick Sullivan

Danielle VanTuinen

Justin Weis

Micky Wrobleski

Stephanie Ycaza

with Piano

From the editor:

Bel Canto is an elusive term to define. While it literally translates to beautiful voice, it was a style of singing that emphasized beauty of tone, flexibility, and ease of execution. The music written in this style was characterized by florid lines and an emphasis of musical line over text. The term bel canto was, interestingly enough, not used until the style had faded somewhat. Rossini, at a dinner party in 1858 said, “Alas for us, we have lost our bel canto.”

The 12 Vocalizzi in this volume have depth and stand on their own merit amongst the more serious works of Rossini. I recommend these as recital pieces without reservation. They are the equal to-albeit in a different style than-Rachmaninov’s famous Vocalise Op. 34 No. 14 and are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lessons, juries, and solo recitals. I hope you will enjoy working on these pieces as much as I have. They breathe fresh life into the somewhat stale world of bel-canto-for-brass repertoire.

with Piano

Bel Canto is an elusive term to define. While it literally translates to beautiful voice, it was a style of singing that emphasized beauty of tone, flexibility, and ease of execution. The music written in this style was characterized by florid lines and an emphasis of musical line over text. The term bel canto was, interestingly enough, not used until the style had faded somewhat. Rossini, at a dinner party in 1858 said, “Alas for us, we have lost our bel canto.”

The 12 Vocalizzi in this volume have depth and stand on their own merit amongst the more serious works of Rossini. I recommend these as recital pieces without reservation. They are the equal to- albeit in a different style than- Rachmaninov’s famous Vocalise Op. 34 No. 14 and are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lessons, juries, and solo recitals. I hope you will enjoy working on these pieces as much as I have. They breathe fresh life into the somewhat stale world of bel-canto-for-brass repertoire.

- Dr. Robert Benton

2 tubas (or 2 bass trombones)

or tuba/bass trombone with downloadable backing tracks (downloads included for both parts 1 and 2) – recorded by Zach Collins

Concert Duets is a collection of 14 arrangements of works by prominent 18^th-century composers, mostly taken from Trio Sonatas. Duet 11 is a Jim Self original work in the Rococo style; and Duets 12, 13 and 14 are arrangements of the three-movements of the Bach Concerto for Two Violins. Included with this edition are play-along recorded tracks by tubist Zach Collins, who also served as editor of the current edition.

I created these duets as Christmas gifts for my tuba playing friends, with the first duet being arranged in 1976.  All 14 of the duets are challenging and fun to play and are especially effective as concert pieces.

As a young musician I had the privilege of playing duets with many of the world’s finest tubists including Harvey Phillips, John Fletcher, Bob Pallansch, Chester, Schmitz, Dan Perantoni, Toby Hanks, Ron Bishop, Winston Morris and Tommy Johnson. I learned more about playing music in these duo sessions than from any other musical activity I have ever experienced. Duets are powerful teaching tools for learning and mastering rhythm, phrasing and intonation and for developing overall musicianship.

Jim Self:

Self (b. 1943) is a Los Angeles free-lance musician, a veteran of thousands of Hollywood motion pictures, television shows and records, and tuba soloist on many prominent movies. His tuba was the “Voice of the Mothership” in Close Encounters of the Third Kind. He is Principal Tuba/Cimbasso with the Pacific and Pasadena Symphonies and the Los Angeles Opera and Hollywood Bowl Orchestras. Formerly he was in The U.S. Army Band and tuba / euphonium professor at the University of Tennessee. He holds a DMA from the USC Thornton School of Music where he is Adjunct Professor of Tuba and Chamber Music. His compositions and arrangements include works for solo tuba, brass quintet, other brass, string and woodwind chamber music, wind band and orchestra. Jim has produced many solo jazz and classical recordings. His music and recordings are available from Potenza Music and www.jimself.com. Jim Self is a Yamaha Performing Artist.

Zach Collins, editor:

Zach Collins is professor of Tuba and Euphonium at Indiana University of Pennsylvania. In 2019, he released his first solo album, Chronicle. It was recognized with the 2021 ITEA Roger Bobo Award for Excellence in Recording for the best Solo Tuba Album.

His interpretation of William Kraft’s Encounters II for Solo Tuba was released on Cambria Master Recordings. Zach performs with Eastern Standard, a horn, tuba, piano trio he formed with Heidi Lucas and Jacob Ertl. The ensemble has released two commercial albums, Eastern Standard and Wanderlust.

Zach regularly performs with the Keystone Chamber Winds, Altoona Symphony Orchestra, and West Virginia Symphony Orchestras. His compositions and arrangements for brass and for tuba and euphonium can be purchased from Cimarron Music and Eighth Note Publications. Zach earned degrees from Texas Christian University and the University of Southern California. His primary teachers have been Richard Murrow, Jim Self, Tommy Johnson, and Norm Pearson. Zach Collins is a Miraphone artist.

Antoine-Louis Clapisson (1808-66) was born in Italy, but the family returned to their native France when he was about seven years old. His father was a professional horn player, and in this musical environment, Antoine began studies on the violin, as well as composition (c. 1815). His talent on the violin eventually earned him a position in an orchestra in Bordeaux (where the family lived), and he was considered a professional when entering the Paris Conservatoire in 1830. In addition to being accepted there by the famous violin teacher Habeneck, he was able to study counterpoint and fugue with Antonin Reicha. Clapisson was best known as a composer of comic opera, vocalizes and art songs. Accolades included being conferred as a Chevalier of the Legion d'honneur (1847), and an appointment as professor of harmony at the Paris Conservatoire in 1862. Also of interest was his fascination with historic musical instruments. His personal collection of over 200 of these instruments provided the nucleus of a collection that helped found the first public instruments museum in 1861. He was subsequently appointed curator of the collection which opened shortly before his death in 1866. A significant number of his works had great success during his lifetime, but did not remain in the repertory.

Early publications of the Trios, op. 30 (three horns) and Op. 85 (two horns and trombone) were not without problems. Notes, accidentals and rhythms were frequently questionable as were articulations and dynamics. Therefore, what you have is my interpretation of what the composer (editor 8/or printer) provided. Parameters for metronome markings were suggested in op. 30, but discontinued in Op. 85.

20 Duets for Horn and Tuba is perfect for a get together with a friend or for a teacher and student. This set includes pieces from Bach, Beethoven, Chopin, etc.

20 Duets for Horn is perfect for a get together with a friend or for a teacher and student. This set includes pieces from Bach, Beethoven, Chopin, etc.

20 Duets for Low Brass is perfect for a get together with a friend or for a teacher and student. This set includes pieces from Bach, Beethoven, Chopin, etc.

20 Duets for Trumpets is perfect for a get together with a friend or for a teacher and student. This set includes pieces from Bach, Beethoven, Chopin, etc.

20 Duets for Trombone is perfect for a get together with a friend or for a teacher and student. This set includes:

1. Bist du bei mir - Bach

2. Allegro assai - Beethoven

3. Prelude No. 7 - Chopin

4. Drink to Me Only with Thine Eyes - trad.

5. Gavotte - Purcell

6. Honor and Arms - Handel

7. Serenade from String Quartet in F - Hoffstetter

8. Prelude from Cello Suite I - Bach

9. Rondeau - Mouret

10. The Liberty Bell - Sousa

11. Sarabande II - Handel

12. Largo - Vivaldi

13. Pastorale - Vivaldi

14. Bridal March - Wagner

15. Adagio - Handel

16. Andante - Handel

17. In the Hall of the Mountain King - Grieg

18. Für Elise - Beethoven

19 Sarabande - Handel

20. Turkish Rondo - Mozart

with Piano

  1.  Primavera

  2.  Nella notte d'aprile

  3.  Aprile

  4.  Vorrei

  5.  Io voglio amarti!

  6.  Rosa

  7.  Malia

  8.  Il pescatore canta!

  9.  Lamento d'amore

10.  La Serenata

11.  A Sera

12.  Preghiera

13.  Non t'amo più!

14.  Addio!

15.  Ricordati di me

16.  Ridonami la calma

17.  Tristezza

18.  Invano!

19.  Luna d'estate

20.  L'alba separa dalla luce l'ombra

21.  Dopo!

22.  Segreto

23.  Lungi

24.  Marechiare

25.  Ancora!

26.  L'ultima canzone

with Piano

From the editor:

The pieces in this volume came from a collection of 18 Gorgheggi, 4 Solfeggi and 12 Nuovi Vocalizzi by Gioachino Rossini (1702-1868). The Gorgheggi are scale patterns and exercises for learning, turns, ornaments and other embellishments. The 4 Solfeggi are training pieces that are much more musical than the Gorgheggi. They are melodic, have accompaniments, and are functionally wordless songs. I would put these in a similar category to several of the Kopprasch horn etudes; quite musical, but still primarily pedagogical in nature. While an effective performer can bring enough musicianship to these to make them viable exam jury or recital repertoire, they still have the feel of training pieces due to the limited ranges, simpler harmonic designs, repeated melodic figures, etc. The Vocalizzi (published separately by Potenza in versions for both euphonium and tuba) have much more depth than the Solfeggi, and stand on their own merit amongst the more serious works of Rossini. They are the equal to-albeit in a different style than- Rachmaninov’s famous Vocalise Op. 34 No. 14.

These Rossini etudes are another entry into the realm of performative-yet-pedagogical material. They are truly in the bel canto style, yet to my ear, have more depth than your average Bordogni etude. Each of these etudes requires-or develops-flexibility, beauty of sound, and the utmost lyricism possible for brass musicians.

These etudes are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lesson, juries, and solo recitals.