Search results for: 'sailor's solo'

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trumpet and piano Learn More

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with Piano; “The Haydn” Refashioned for Bb trumpet and piano by Allen Molineux is a theme and variations based on the “Andante” of Franz Joseph Haydn's Trumpet Concerto. The title implies that the composer has approached the variations in a more modern (well, not up-to-date modern, just more so than late 18th Century) and playful vein. It should also be noted that while each variation is based on the opening theme itself, other parts of the Concerto's second movement materialize, as do brief cameo appearances of themes from the outer movements. Learn More

This will be a great challenge for any college or professional Bass Trombone player and the audience will love it. Take on the challenge! Learn More

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.

 

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for 2 Tubas:

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

EETT

This collection of quartets is designed for players who may have had limited experience with small ensemble performance. The ranges are moderate and the rhythms are not complex. Each of the selections offer ensemble and solo or featured passages for all players. Styles, tempos and meters vary from one piece to another. Of course, more advanced players can certainly play and enjoy this set, but the less experienced can have some success with pieces that allow them to concentrate on the musical and ensemble aspects, rather than being slowed by technical elements. These are also designed for the listener’s enjoyment. Enjoy the quartets! Learn More

Perfect for students and teachers to play in lessons as well as in a recital. Learn More

Originally for French Horn, these duets have been edited by Bryan Doughty and will work for advnaced High School players as well as those in College.

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12 Easy Duets for Tuba is designed with young or inexperienced players in mind who may have limited or no previous experience with duets or chamber music. Rhythms, ranges and key signatures are limited in order to accommodate the player in adjusting to the concept of playing in harmony, as well as developing mutual cooperation necessary in playing a duet. The selections are in a variety of styles, while avoiding faster tempos that could add difficulty without benefit. While written to help instruct, the duets are intended to be performable. A young player can feel a great sense of accomplishment when performing a new (to the player) kind of music, and duets can feel more “safe” than a solo to a young performer. Enjoy the fun of playing duets! Learn More

Trombone or Euphonium BC Learn More

Trumpet or Euphonium TC Learn More

Bb/A Picc Tpt Learn More

12 Miniatures for Brass Quintet is a modern composition that would be perfect for a recital. It is a nice fit for a high school and or college brass quintet. Learn More

Piano Reduction Learn More

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.

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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

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