Search results for: 'tuba-euphonium quartet'

ITEC Day 3 2016 Recital Pieces

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CM2912 Prophecies - Barbara York (Mark Norman)

Tuba and Piano

CM2906 Snapshots - Barbara York (Mark Norman)

Tuba and Piano

CM2138 Every Day an Alleluia - Barbara York (Mark Norman and Joe Dollard)

Euph, Tuba and Piano

TEP10287 Tubas Latinas - Aldo Rafael Forte (U of MT)

Tuba Ensemble

CM2045 Tubas of the Apocalypse - Benjamin McMillan (U of MO at KC)

Tuba Quartet

TEP10598 Londonderry Air - Traditional/Mehlan (Baylor)

Tuba Quartet

CM1740 Color Code - Elizabeth Raum (Zach Collins)

French Horn, Tuba and Piano

CM2585 Big Sky - Frank Gulino (Zach Collins)

French Horn, Tuba and Piano

TEP11091 R.S.V.B. Hymn - Gail Robertson (R.S.V.B Quartet)

Tuba Quartet

CM1474 P.C. Tuba Quartet - Barbara York (R.S.V.B Quartet)

Tuba Quartet

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ITEC Day 2 2016 Recital Pieces

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CM1347 Suite for Euphonium, and Tuba - Barbara York (Ken Kroesche and Michael Taylor)

Euph., Tuba and Piano

TEP10340 Tubamobile - Thom Ritter George (Southern MS)

Tuba Quartet

CM2369 Evolutions - Ben McMillan (Southern MS)

Tuba Ensemble

CM1651 Sizzl’ - Robert Denham (Aubrey Foard)

Tuba and Piano

EU405 St. James Infirmary - Primrose/Forbes (U of N IA)

Tuba Quartet

CM2736 Convent Window - Joanna Ross Hersey (Joanna Ross Hersey)

Unaccompanied Tuba

EU402 Funeral March of a Marionette - Gounod/Forbes (U of AL)

Tuba Quartet

TEP10878 Nocturno, Op. 7 - Strauss/Fischer (Jeremy McBride)

Tuba and Piano

CM2140 Tubaphonium Overture - Zach Collins (Murray State)

Tuba Ensemble

CM1477 Gravity Dances - Anthony Zilincik (Murray State)

Tuba Quartet

CM1707 Runnin’ with Bydlo - Greg Danner (Murray State)

Tuba Ensemble

TEP10935 Declarations - David Uber (U of TN)

Tuba Ensemble

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Set includes score, orchestra parts and solo part. Learn More

2 Flutes, Alto Flute and Bass Flute; 4 mvts. Learn More

"Tubaisms" for unaccompanied tuba by Howard J. Buss is in three short movements: From the Depths, Joviality, and Oompah! Each displays a variety of the unique characteristics of the tuba without using extended techniques or extreme range. The accessible musical language, coupled with the soaring melodies and intriguing rhythms, make this an audience-friendly concert work as well as an impressive contest piece. Because of its modest technical demands, it is suitable for performance by advanced high school and college-level performers. Learn More

Unaccompanied; published 2006 for the first time. Perfect for a high school student or college level. Learn More

Set includes score, orchestra parts and solo part. Learn More

tuba/piano Learn More

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1. Ascendens christus 2. Panis angelicus 3. Pueri hebraeorum Learn More

1. Off to Jail 2. Dense Fog 3. Tumbling Down Learn More

Medley of: First Night - The Goose and the Gridiron - New Year's Day in the Morning Learn More

Two trumpets, Horn and Euphonium

UIL Prescribed Music List: 346-1-29921

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This 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. 

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"Trombone Graffiti" for trombone quartet or ensemble by Howard J. Buss was composed in the fall of 2016. While writing this work the composer envisioned trombonists creating graffiti, not in the usual manner with paint and chalk, but with sonic gestures. The composition is musically sophisticated, yet is designed to appeal to a wide range of audiences. At times the music is characterized by bold, colorful swoops of sound, often with idiomatic glissandi. In other sections, staccato passages suggest a pointillist approach to creating the graffiti. Throughout, an undercurrent of edginess and electrifying tension permeates the music, as if to suggest the graffiti artists face the risk of getting caught in the act of producing their art. Learn More

4 flutes or ensemble (3 C and 1 bass - or 2 C, alto, bass): This work showcases the agility and rich sonority of the instruments. It can be performed as a quartet with three C flutes and a bass flute; or with two C flutes, alto flute, and bass flute. (An alto flute in G is provided as and alternative to flute 3.) Multiple players may be used on the parts to expand the ensemble. The title refers to an imagined dream of Levi, the namesake of the Israelite Tribe. The Levites were known for their involvement in priestly duties and music. The music has a distinctly Middle-eastern quality. The soulful nature of the slower sections is enhanced by the expressive, luscious ambience of the flutes. The composition features 2 sections with original tunes in the style of Jewish folk songs. One is slow and contemplative, the other, jubilant. This is an audience-friendly work appropriate for the concert hall or a house of worship. Learn More

4 clarinets (2Bb, Eb alto or Bb, and Bb bass): This colorful work showcases the agility and rich sonority of the instruments. The title refers to an imagined dream of Levi, the namesake of the Israelite Tribe. The Levites were known for their involvement in priestly duties and music. Although the composition is loosely programmatic, much of the music has a distinctly Middle-eastern quality. The soulful nature of the slower sections is enhanced by the expressive, luscious ambience of the clarinets. The composition features two sections with original tunes in the style of Jewish folk songs. One is slow and contemplative, the other jubilant. Levi’s Dream an audience-friendly work appropriate for the concert hall or in a house of worship. Learn More

This colorful work showcases the agility and rich sonority of the instruments. The title refers to an imagined dream of Levi, the namesake of the Israelite Tribe. The Levites were known for their involvement in priestly duties and music. Although the composition is loosely programmatic, much of the music has a distinctly Middle-eastern quality. The soulful nature of the slower sections is enhanced by the expressive, luscious ambience of the ensemble. The composition features two sections with original tunes in the style of Jewish folk songs. One is slow and contemplative, the other jubilant. Levi’s Dream an audience-friendly work appropriate for the concert hall or in a house of worship. Multiple players may be used on each part to expand the ensemble. Learn More

This colorful work showcases the agility and rich sonority of the instruments. The title refers to an imagined dream of Levi, the namesake of the Israelite Tribe. The Levites were known for their involvement in priestly duties and music. Although the composition is loosely programmatic, much of the music has a distinctly Middle-eastern quality. The soulful nature of the slower sections is enhanced by the expressive, luscious ambience of the ensemble. The composition features two sections with original tunes in the style of Jewish folk songs. One is slow and contemplative, the other jubilant. Levi’s Dream an audience-friendly work appropriate for the concert hall or in a house of worship. Learn More