Search results for: 'joshua hauser sailor's song'

unaccompanied

This piece won Honorable Mention for unaccompanied tuba at the Leonard Falcone International Euphonium and Tuba Festival, 2020.

Whales sing but other than the clicks made by dolphins and other toothed whales, whale sounds remain mysterious.  It may be that whales use “echolocation” to identify potential prey and threats, or to find a mate.   Researchers believe that whale sounds can travel more than 10,000 miles in some levels of the ocean.

Although we don’t know exactly why or how they communicate,  imagining their lives and what they might say to each other is fascinating.

“Whale Songs” has five movements:

1. Calling the Pod

2. Cruising

3. Feeding Time

4. The Orca

5. Where Are You, My Love?

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with Piano

I. Angels We Have Heard in High - French Carol

II. Coventry Carol – traditional

III. Hark, The Herald Angels Sing – Mendelssohn

IV. O Come, O Come, Emmanuel - 12th century plainsong

V. Oh Tannenbaum - traditional Silesian folk song

VI. Silent Night - Gruber

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CURRENTS for 4 percussion is divided into 4 main sections and explores various perspectives of the principles of timbral and metric modulation. Timbral and metric “currents” in the music interact and blend in a manner analogous to currents in physical mediums. In addition, there is an element of implied theater. As the work begins, 3 percussionists are conducted in the traditional manner by the 4th. Next to the conductor, clearly visible in front of the main percussion battery, is a wooden board bridging two saw horses and a carpenter’s hand saw. These sit idly through much of the work, long enough to arouse curiosity in the audience as to the role of these prominently displayed construction objects. About midway through the composition the conductor lifts the saw overhead and strikes it. This serves as a cutoff gesture and also establishes that the saw is an “extension” of the conductor’s baton. The saw remains idle until the beginning of the fourth division of the work. During the final section it is used simultaneously as a “baton” and a percussion instrument by the director, who saws through wood, scrapes the saw’s teeth, slaps it on the board, strikes it with a mallet, and waves it in the air. At the very end of the work the conductor sets down the saw and walks behind the players to play the tam-tam. In doing so, he continues to direct the ensemble through the explosive conclusion. Percussion distribution: Perc. 1: 2 anvils (metal pipes may be substituted), 2 cow bells, snare drum, 2 suspended cymbals, tambourine, timpani (1), xylophone & wind chimes; Perc. 2: hi-hat, maracas, 2 suspended cymbals, triangle, large tam-tam, 4 tom toms, and vibraphone; Perc. 3: Bass drum, guiro, marimba, 2 suspended cymbals, temple blocks & triangle; Perc. 4 (conductor): Carpenter’s saw, a 2x2” wooden board & 2 saw horses. “A memorable combination of percussive artistry and theatrical class “ - The Washington Post. Learn More

unaccompanied

Five Greek Myths for Tuba

I. Icarus

II. Medusa

III. Orpheus

IV. Prometheus

V. Pandora

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Flute and Trumpet: The first movement, Daybreak, has a frolicking, optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the instruments. Learn More

with Piano or Concert Band; This composition was originally written with concert band accompaniment. This piano reduction of that accompaniment makes this flute solo available to the soloist for concert and contest without having to assemble a large group of musicians. Learn More