Search results for: 'song and dance pethel'

with Piano; perfect for a recital. Will work for HS and College level students. Learn More

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Euph, Tuba and Piano Learn More

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A contemporary composition for Brass Quintet by William Price. This was written for for Jim Zingara and the UAB Faculty Brass Quintet . It is up tempo and exciting. Perfect for a college ensemble and can be played by:

2 Trumpets, Horn, Euphonium and Tuba

or

2 Trumpets, Euphonium, Trombone, and Tuba

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Dance Suite is an original composition for Brass Quintet. Its five movements are a collection of dance styles from different areas and periods. The movements are titled as follows:

I. Tango

II. Waltz

III. Bossa Nova

IV. Pavane

V. Jig

This composition is of medium difficulty and can be performed in its entirety or by using selected movements. All the players are featured at different times, affording student players the opportunity to learn about dependence on one another in ensemble performance. Dance Suite also provides students with an exploration of some rather different styles of music. Learn More

This fast paced Dance arranged for Brass Quintet will get your audience cheering. Challenging and rewarding. Learn More

with Piano

The modern German lied, or art songs, dates back to the 1740s and consists of a German poem set to music for voice and piano. Mahler’s Lieder und Gesange aus der Jugendzeit, or Songs and Melodies From Youth, is a collection of fourteen songs for voice and piano. These late 19th century German lieder are set in a folksong style emphasizing rhythmic and metrical schemes over melodic line.

- Jeff Baker

Transcribed and arranged for Tuba or Euphonium

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This is a short piece for Clarinet, ALto Sax and Piano and is perfect for a college recital. It will challenge all three players as well as entertain the audience. Learn More

This is a short piece for Clarinet, Trumpet and Piano and is perfect for a college recital. It will challenge all three players as well as entertain the audience. Learn More

3 Euphs and 2 Tubas; for Keating Johnson Learn More

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with Piano

Dance King is a set of dances for piano and tuba formed into one continuous suite. The dances include, Rainmaking, Trance Anthem, Wanton Funeral, Lazy Ghost Chaconne, and 8-Bit Jig. The music is inspired by Native American dance (Rainmaking), Electronic Dance Music (Trance Anthem), video game music (8-Bit Jig), and includes unique twists on some classic dance styles (Wanton Funeral, an aleatoric funeral march, and Lazy Ghost Chaconne, where a repeated pattern of notes lazily drop out, disappear, or become veiled over time).

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Dances and Interludes for solo guitar by Howard J. Buss was commissioned by guitarist, Robert Phillips. It features three dance-like sections preceded by a soulful introduction and separated by developmental interludes. The composer was inspired by styles from 3 countries: the songo from Cuba, bossa nova from Brazil, and rumba flamenco from Spain. Traditionally, the songo combines elements of the folkloric rumba with popular Cuban dance music. The Latin beat of the songo is specifically designed for the drum set. Although drums are not used in this piece, the first dance, ala songo, captures the choppy, energetic flavor of the Cuban model. The interlude that follows transitions to the mood for the second dance, ala bossa nova. This section has the smoother, more relaxed quality of this popular Brazilian style. It gradually gives way to the final dance, ala rumba flamenco. The energetic strumming patterns, colorful effects with muted strings, percussive interjections with the palm of the hand and fingertips capture the spirit of this exciting Andalusian genre. Learn More

with Piano

Antonio Bazzini (1818-1897) was a virtuosic 19th century violinist. The violin scherzo “Dance of the Goblins,” or “La Ronde des Lutins,” op. 25, is his best known work. The piece has been transcribed and performed on a number of instruments, owing to its melodic appeal and virtuosic challenge. The version presented here, while omitting multiple stops and refining some non-translatable register demands, is fairly true to the original work. The performer should therein find an incentive to improve flexibility, double tonguing, range, and showmanship, while focusing on the melody throughout.

–Benjamin Pierce

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Although composed in 1974, these dances for Brass Quintet reflect the Renaissance Dance style. The Five Renaissance Dances are hardly at the cutting edge of 20th century compositional techniques, but I think of them simply as good clean fun, both for the composer and the players. Hopefully, audiences will enjoy them as well.

I was a cello student in the early seventies when my school, Miami University in Oxford, Ohio, acquired a set of seven viola da gambas. Along with most of the other cellists at the time, I suddenly found myself a charter member of the new Consort of Viols. In my studies as a composition major I had been working in a more-or-less non-tonal vein for a couple of years. I now came face to face with this Elizabethan consort literature which, although decidedly triadic, retained just enough modality to keep it from behaving according to the rules of functional harmony. Exposure to the music of Byrd, Gibbons, Susato and Praetorius was not without effect: many compositional possibilities suggested themselves in the understated sophistication of rhythms, textures and phrasing. These dances (which, incidentally, were first written in only three voices) were composed in 1974. In true Renaissance fashion, they were originally conceived without reference to a specific performing ensemble; when they were played at all, they were played by viols. In October of 1990 a trombonist friend pointed out that I seemed to have very little brass music to my name. Thinking that this suite would wear the sound of brasses well, I quickly arranged it for brass quintet, and so was able to fill this embarrassing gap in my output.

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with Piano

Antonio Bazzini (1818-1897) was a virtuosic 19th century violinist. The violin scherzo “Dance of the Goblins,” or “La Ronde des Lutins,” Op. 25, is his best known work. The piece has been transcribed and performed on a number of instruments, owing to its melodic appeal and virtuosic challenge. The version presented here, is fairly true to the original work. The performer should therein find an incentive to improve flexibility, double tonguing, range, and showmanship, while focusing on the melody throughout.

- Benjamin Pierce

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This one is not long or very difficult, but will allow the Brass Quintet and the audience to get their dancing shoes on. Everyone will know this traditional Jewish song from the first note. Learn More

with Piano; Harmonically, this was a gateway composition for me that expanded my horizons in terms of learning to work more with dissonance and finding what I like to hear. I can't tell you what mode or modes it's in—I frankly don't care. The harmonic language developed slowly and was guided by ear into its final form. The minor 2nd motion, initially between F and G-flat, and the tritone down to C served as the major reference points for the harmonic language.

The title is probably fairly self-explanatory. I haven't been a stranger to the use of multi-meter in my writing, but this one really takes the cake for the sheer amount of meter changes. Where I had used the term "kaleidoscopic" before to describe constantly-shifting meter, this time I went with nomadic—always on the move. This applies as much to the rhythm as it does the changing meters and key centers.

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