Search results for: 'joshua hobbs'
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String Quartet No. 1, Mvt. 1
Composer: Beethoven, Ludvig van Arranger: Mietz, Joshua
Instrumentation: Quartet Instruments: Bass Clarinet, Clarinet
Genre: Romantic3 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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String Quartet No. 1, Mvt. 4
Composer: Beethoven, Ludvig van Arranger: Mietz, Joshua
Instrumentation: Quartet Instruments: Bass Clarinet, Clarinet
Genre: Romantic3 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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Round of the Goblins
Composer: Bazzini, Antonio Arranger: Gardner, Joshua
Instrumentation: Solo and Piano Instruments: Clarinet, Piano
Genre: Romanticwith Piano
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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String Quartet No. 1, Mvts. 2 and 3
Composer: Beethoven, Ludvig van Arranger: Mietz, Joshua
Instrumentation: Quartet Instruments: Bass Clarinet, Clarinet
Genre: Romantic3 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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Sonate in G Major, Op. 78
Composer: Brahms, Johannes Arranger: Gardner, Joshua and Stefanie
Instrumentation: Solo and Piano Instruments: Clarinet, Piano
Genre: Romanticwith Piano
Joshua and Stefanie Gardner have arranged Johannes Brahms’ first violin sonata, op. 78 for clarinet and piano. As much as possible the work is unchanged from the original violin part, though there are several sections notated with an optional 8vb part when the violin’s range becomes prohibitively high. For the clarinetist who’s always wanted more Brahms to play, this arrangement is an excellent choice.
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Fury of Light
Composer: Hobbs, Joshua
Instrumentation: Brass Choir Instruments: Euphonium, French Horn, Percussion, Trombone, Trumpet, Tuba
Genre: Contemporary4 Trumpets, 2 Horns, 4 Trombones, Euphonium, Tuba and 3 Percussion Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.From $35.00
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Extreme Clarinet
Composer: Gardner, Joshua and Hansen, Eric
Instrumentation: Methods/Studies/Etudes Instruments: Clarinet
Genre: Etude/methodModern clarinetists have a large repertoire available that demands an immense skill set. These skills range from the fine technical control required for Mozart to the guitar-like effects in Scott McAllister’s music. Clarinetists must have these numerous skills ready at any moment, which can be a daunting task. Any student, young or old, is likely to ask, “What can I do to prepare for the technical demands of the clarinet’s vast literature?” We, the authors, created Extreme Clarinet to combine the instruction of basic fundamentals, extended range, precise finger motion, precise and rapid single and multiple articulation, and circular breathing into one guide. By merging traditional methods with extended techniques, we hope to narrow the gap between the two and foster what can be considered contemporary clarinet technique.
– Joshua Gardner and Eric Hansen
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Shedder's Corner
Composer: Britt, Joshua
Instrumentation: Solo and Piano Instruments: Bassoon, Piano
Genre: Contemporarywith Piano; Originally for Tuba, this piece was adapted for Bassoon. It is a nice recital piece for a High School or College student. It is fun and flashy. Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.As low as $18.00
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Shedder's Corner
Composer: Britt, Joshua
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: Contemporarywith Piano; Perfect for any College tuba player. It is fun and flashy. Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.As low as $18.00
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Juba Groove
Composer: Hauser, Joshua
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: ContemporaryWritten for a college or professional Brass Quintet, this one will pose a challenge for any group. Get your "groove" on and give it a shot! Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.From $18.00
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Road Rage
Composer: Hauser, Joshua
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: ContemporaryThis piece for brass quintet started life as a somewhat awkward mixed-meter groove. I began to layer different textures over the top and when I played some of it for my wife, she said it sounded like traffic. I took that idea and went with it.
Road Rage consists of several different scenes in a standard daily commute. Imagine you’re in a traffic helicopter watching from above, with each instrument featured as we focus attention on each vehicle before returning to the opening thematic material to end the work.
In order to help you visualize the scene: Tuba = a semi-truck, just moving along at its own pace, maybe a bit hopped up on No-Doz to make it to the end of the route; Horn = sports car, zooming through traffic just a bit too fast; Trombone = an emergency vehicle, moving quickly and confidently, hitting the siren every once in a while to warn the tuba and horn it’s coming through; Trumpets = commuters, annoyed at the confusion that others are creating and honking their horns in protest. In the fall of 2004, Road Rage was selected for performance at the Appalachian State University Brass Chamber Music Forum, honoring the 50th anniversary of the New York Brass Quintet, where it received an award for excellence in composition.
Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.As low as $25.00
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Suite
Composer: Stravinsky, Igor Arranger: Micklich, Albie
Instrumentation: Sextet Instruments: Alto Sax, Bass Clarinet, Bassoon, Clarinet, Flute, Oboe
Genre: ContemporaryFlute, Oboe, Alto Saxophone, Clarinet, Bass Clarinet and Bassoon
“I have been very fortunate and professionally blessed to have five wonderful woodwind colleagues at Arizona State University: Elizabeth Buck, flute; Christopher Creviston, saxophone; Joshua Gardner, clarinet; Martin Schuring, oboe; and, Robert Spring, clarinet. Together, we presented numerous woodwind recitals featuring all six of us in various combinations of duos, trios, quartets, and quintets. However, until now, we were never able to share the stage simultaneously. To remedy this, I arranged five movements of Stravinsky’s Suite No. 1 and Suite No. 2 for Small Orchestra for the instrumentation of the ASU woodwind faculty.
The source material is derived from Igor Stravinsky’s Three Easy Pieces (1915) and Five Easy Pieces (1917). These compositions were written as four-hand piano educational pieces for Stravinsky’s children. Stravinsky would play the more difficult accompaniments while his children played the simple melodies.
Stravinsky composed arrangements of several movements using these short eight pieces, but the best-known arrangements are Suite No. 1 (1921) and Suite No. 2 (1925) for Small Orchestra. The five dance movements in Suite for Woodwind Sextet are “true Stravinsky” in their wit, charm, and humor. “
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Negro Spiritual Medley
Composer: traditional Arranger: Robertson, Gail
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: HymnMedley of: Swing Low, Sweet Chariot; Heav'n, Heav'n (All God's Children); Deep River; Joshua Fought the Battle Of Jerico
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Mirages
Composer: McMillan, Benjamin
Instrumentation: Duet Instruments: Euphonium, Tuba
Genre: Contemporarywith Electronics
“You can’t fight the desert...you have to ride with it.” – Louis L’Amour
I’ve always been fascinated by deserts; the stark, almost alien landscapes, the extremely diverse and efficient ecosystems, the mystic, spiritual effect of being in the vast expanses of silent nature. Recently I travelled from the Pacific Northwest into the deserts of Nevada and Utah. While neither are the typical Hollywood deserts of endless sand dunes, they hold their own magic. Mirages are a part of that magic. I watched them rise and fall as I drove by, imagination blending with the illusions to create hidden cities. As with many of my works, I didn’t start out with a concrete concept, but as the scales and modes started to come through, desert imagery continually flowed through my mind’s eye.
The piece consists of three sections, each fading and evaporating like mirages. Stylistically there are heavy elements of rock and jazz, as well as the percussion flavors of the Middle East, India, and Central America.
I’d also like to thank everyone who contributed to the creation of this piece. You all help make it possible for composers to keep creating new music!
-Ben McMillan
Commissioned By:
Frank Meredith, Pat Stuckemeyer, Dan Davis, David Saltzman, Jesse Orth, Fernando Zuniga, SFA ITEA Chapter, Northern Lights DUO, Gail Robertson, Justin Gorodetzky, Richard Perry, William Hess, Scott Sutherland, Will GrayBeach, Joshua Hauser, Adam Frey, Erik Lundquist, Seth Fletcher
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