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Tuba Quartet, Op. 59
Composer: Gates, Crawford
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryEETT
Crawford Gates’ Tuba Quartet, Op. 59 was composed in 1981 for Prof. Mitchell Gershenfeld, former professor of tuba and euphonium at the University of Wisconsin – Madison. This nearly forgotten work has been brought back to life with the help of the Eufonix Quartet and Potenza Music working closely with Dr. Gates. This piece works great for either quartet or full tuba/euphonium ensemble.
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Tuba Quartet No. 2
Composer: Wilson, Kenyon
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryIn 1995, the Tennessee Tech Tuba Ensemble performed Wilson’s Tuba Quartet No. 1 at Carnegie Hall and recorded it for their “Unleash the Beast!” album. In 2013, the TTTE commissioned its sequel. Tuba Quartet No. 2 opens with a lively jig in 7/8 meter, followed by a lyrical elegy. Like the first quartet, the final movement is a lively, multi-metric dance. Learn MoreFrom $24.95
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10 Easy Tuba Quartets
Composer: Paff, John
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryEETTThis 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
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Twenty Characteristic Etudes for Tuba
Composer: Fritze, Gregory
Instrumentation: Tuba Methods/Studies/Etudes Instruments: Tuba
Genre: ContemporaryThe following twenty etudes were composed to help prepare the advanced tubist for the orchestral, chamber and solo repertoire. Each etude specifies distinct characteristics of a particular compositional style that the tubist may encounter in a professional performing situation.Performing these etudes requires the basics of technique such as flexibility, articulation, cantabile, intonation, slurring, intervals, tonguing, rhythm, scales and developed tessitura. Among the twenty etudes, at least one etude has been composed in each of the twelve tonal centers. Many of these etudes also contain exercises for the contemporary tubist in dimensions such as expanded tonality, ametrical rhythms, non vocal intervalic melody, metric-modulation, finger dexterity, abrupt dynamic contrasts and synthetic scales.
Some of the etudes have metronomic markings suggesting ranges of tempi; these are "goal" tempi. In many cases it is suggested that the performer start at a slower tempo and build up to these goals.
Many of these etudes include obvious quotations from the masterworks of the literature which will remind the performer what preparation is needed for a particular style. Within the twenty etudes, the composer has included over a dozen direct quotations to help the performer. Some of these quotations are very obvious while some have been hidden within the fabric of the composition. As an exercise, the performer may want to write in the names of these quotations as they appear in these etudes.
Although this set of etudes has been specifically composed for the advanced college and professional tubist, performers of intermediate ability may find some of the studies helpful at slower tempi. These etudes will work well for tubas in all keys, although a few of the etudes have been composed especially for the CC tuba.
Gregory Fritze Learn More
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Concerto
Composer: Peacock, Curtis
Instrumentation: Solo and Chamber group Instruments: Bass, Percussion, Piano, Tuba
Genre: Contemporaryreduction with Rhythm section (recording is with wind ensemble)
The Concerto for tuba and winds is in my usual Third-Stream style, but I utilized
many new techniques for the first time in this piece. Jazz, rock, hip-hop and many kinds
of classical styles come together in the Concerto. Polymeter, improvisation and intuitive
swing notation play important roles in this piece as well as traditional four-part
counterpoint and ancient Greek form. It is simply titled Concerto in a classical fashion
but each movement has a more descriptive title.
I. Swing Low
II. Adagio
III. Cutting Contest
I utilized a customized variation on the classical concerto form: a sonata-allegro
first movement, a slow second movement and a theme and variations finale.
Philosophically, this piece explores the traditional nature of a concerto from several
different angles. The first movement explores the cooperative side of a concerto. One
Latin root of the word concerto is conserere, which means to join. The soloist and wind
ensemble cooperate to produce many layers of polymeter in Swing Low. The Latin root
certamen, on the other hand, means to fight. So while the first movement is a
cooperative effort, the third movement, Cutting Contest, explores the idea of a musical
battle between the solo tuba and the wind ensemble on a familiar tune.
On March 6th, 2012, the Concerto was premiered in Seattle. Erin Bodnar led the
University of Washington Wind Ensemble with myself soloing. The Central Washington
University Wind Ensemble then recorded it with Dean Snavely conducting.This reduction of Concerto features two different versions of the third movement
to allow for players to navigate the virtuosic fingering acrobatics on an E-Flat or F tuba.
The solo lines at letter E were inspired by Arban’s Carnival of Venice.Curtis Peacock
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Quartetto Variato on Rigoletto
Composer: Cappelli, Giuseppe Arranger: Crawford, Elizabeth
Instrumentation: Solo and Piano Instruments: Eb Clarinet, Piano
Genre: Romanticwith Piano
Quartetto variato is Giuseppe Cappelli’s operatic fantasy for E-flat clarinet and piano based on Verdi’s (1813-1901) quartet from Act III of Rigoletto. Adapted from Victor Hugo’s (1802-1885) Le Roi S’amuse, the three-act lyric opera was set to a libretto by Franceso Maria Piave (1810-1876). Rigoletto’s first performance took place on March 11, 1851, at the Teatro La Fenice in Venice.
The opera, set in 16th-century Mantua, Italy, is the story of the court clown, Rigoletto, who is in service to the Duke of Mantua, a known womanizer. Act I opens with a party at the home of the Duke, who makes flirtatious advances towards the daughter of his guest, Count Monterone. Rigoletto’s mocking infuriates the Count, who swears a curse will befall him. This makes Rigoletto fearful, because unbeknownst to anyone, he has a daughter, Gilda. When Rigoletto finds out that his daughter has succumbed to the passes of the Duke, he hires Sparafucile, a tavern owner, to kill him. The famous quartet from which Cappelli wrote this variation occurs in Act III, where Verdi set the stage at Sparafucile’s tavern. Inside, the Duke, who has been lured there by Sparafucile’s sister, Maddalena, swears his love for her. The Duke is unaware that Rigoletto and Gilda are watching from outside. When Rigoletto feels his daughter has seen enough, he takes her home and makes her dress as a boy to safeguard her.
Even though Sparafucile has received half of Rigoletto’s money to kill the Duke, Maddalena has become fascinated with the Duke and pleads for his life. They strike a deal that the first man to enter the tavern will be Sparafucile’s victim. Drawn to the place where she believes her lover is, Gilda goes to the tavern and hears the siblings plotting. Determined to save the Duke, Gilda sacrifices herself and enters the tavern. There is a cry and then silence. Sparafucile puts Gilda’s body in a bag and takes it to Rigoletto to receive the rest of his payment. As Rigoletto prepares to toss the bag in the river, he hears the Duke singing La donna è mobile and realizes he has been duped. He opens the bag to see the body of his dying daughter. Count Monterone’s curse has been fulfilled.
Quartetto variato begins with music from the orchestral tutti of Act III, Scene 1, La donna è mobile, the opera?s most famous aria, sung by the Duke. At measure 11, the E-flat clarinet presents the Duke’s aria, Bella figlia dell’amor, which, in the opera, occurs at the Andante, half way through No. 12, marked Quartetto. Cappelli skillfully assigns the vocal lines of Verdi’s quartet to the E-flat clarinet and inner voices of the piano. For instance, in measures 28-34, the clarinet represents Gilda’s voice, while the piano embodies Magdalene’s role in measures 27-31. Rigoletto’s voice appears in the piano at measure 33, with Magdalene appearing again at measure 34. All the voices are together at measure 35, with the role of the Duke (played by the clarinet) taking over in measure 36. In measure 44, the clarinet and piano join forces to perform the famous quartet. A return to the Duke’s La donna è mobile, at the Allegretto ends the main part of the work. Cappelli borrows music of the violin solo from Verdi’s introduction to No. 12 before concluding the piece with original music at the Allegretto comodo (m. 96).
Tempo markings are taken from the original 1914 score (Ricordi, Milan), now published by Dover, and are for reference only. Cappelli’s composition is void of tempo indications.
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Quartet No. 1
Composer: Meador, James
Instrumentation: Quartet Instruments: Bass Trombone, Trombone
Genre: ContemporaryQuartet No. 1 by James Meador was written in the summer of 2004 and premiered in August of that same year by the UL Lafayette Trombone Quartet at a benefit concert for the Acadiana Symphony Orchestra in Lafayette, Louisiana. The piece consists of two movements, each designed to highlight the choral characteristics of the trombone quartet (or trombone choir), but with a strong emphasis on dissonance.
Novus Sonorous opens with a rhythmic and dissonant introduction before leading into a three way struggle for the melody. A singing line eventually emerges and leads us into a powerful chordal motive, then backs down to another closely scored and dissonant chorale. The opening statement returns briefly and carries us back to the mighty chordal section before a mournful and ponderous conclusion.
Ludus Tonalis begins with an intense and again closely scored, very dissonant chorale figure, then immediately jumps into a playful mixed meter section bouncing around from 7/8 to 2/4 to 6/8. This section leads into a sort of rhythmic fanfare where the melody is derived from entrances of the chord tones, then dies down into somewhat of a dark portrayal of the main theme in a choral style. Once again we encounter the playful section before closing out the piece on a forceful and energetic drive to the end.
- James Meador
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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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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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Suite for Euphonium and Tuba
Composer: York, Barbara
Instrumentation: Duet Instruments: Euphonium, Piano, Tuba
Genre: Contemporarywith Piano 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 $24.00
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Sonata
Composer: Prescott, J
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: ContemporaryFrom $18.00
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Tubacus Galacticus
Composer: Gates, Crawford
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryEETT with drum set
From the composer:
This piece was written for my friends and colleagues in “Off Bass Brass.” My inspiration behind this piece was to showcase the group’s versatility in a fun way. The overall sound of the piece is derived from a “rock” and “jazz” influence, showing techniques like pitch bends, and utilizing an extended range not commonly expected of low brass instruments. I added drum set to this piece because quite frankly…everything sounds better with drums. My biggest hope for this piece is that one day it will be performed by a tuba/euphonium quartet somehere in deep space. I am honored to be able to share with you my first original composition, Tubacus Galacticus.
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Collection of Works for Euphonium and Piano, A
Composer: Mantia, Simone Arranger: Renshaw and Mead
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Classical, Contemporary, Theme and Variationwith Piano
Simone Mantia is one of the most important euphonium virtuosi in the history of the instrument. His contributions to the euphonium repertoire are significant. A composer and arranger, Mantia recognized the need to expand the euphonium repertoire and was active in bringing the euphonium from the back of the band to the front of the stage as a solo instrument.
This solo collection presents modern editions of some of the most well-known pieces in Mantia’s repertoire. These editions are based on the materials found in the Simone Mantia Collection, a resource archived in 2009 by Gretchen Renshaw which contains many of Mantia’s musical possessions. Through collaboration with Steven Mead, Renshaw has aimed to correct the errors in the original versions of these pieces and provide editorial suggestions that will aid in exciting performances of these works.
The titles included in this collection are: Believe Me, If All Those Endearing Young Charms, Valse Caprice “Priscilla”, Rio Rita, The Southerner, Solvejg’s Song and Fantasie Originale.
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Hispanic Euphonium, The
Composer: Nogueroles, Eduardo
Instrumentation: Solo Instruments: Euphonium
Genre: Contemporaryunaccompanied
From the composer:
The Hispanic Euphonium is a work for solo Euphonium dedicated to my talented and great friend Eduardo Diz.
The music was composed for the Spanish Association of Tubas and Euphoniums (AETYB) 2018 Competition and premiered at the Royal Conservatory of Music of Madrid.
Containing avant-garde techniques such as slaps, double voices, and glissandos, The Hispanic Euphonium is Spanish in character and poses formidable technical and musical challenges for the instrumentalist.
The music begins with a beautiful melody offering the soloist the opportunity to display deep expression and lyricism. A second section is a furious and energetic Allegro full of chromatism that leads to a virtuosic Cadenza.
The central part of the piece is a delicate Waltz in the form of theme and variations. The melody is simple and gentle, and its transformation into each of the two variations requires virtuosity on the part of the interpreter.
After a Scherzando in binary form that builds tension, we ultimately arrive at the final Andalusian dance that includes flamenco winks, with kicks in the style of the dancers and hand pops that remind us of conventional flamenco guitar strokes.
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Practical Guide to Wind Band Excerpts for the Euphonium, A
Composer: Pendergast and McGeorge
Instrumentation: Euphonium Methods/Studies/Etudes Instruments: Euphonium
Genre: Etude/methodThis collection of annotated euphonium excerpts contains composed or arranged works for band that feature prominent solo passages or difficult technical and/or musical challenges for the euphonium. Excerpts were chosen not only based on the merits of the music, but for their recent use in military and civilian band auditions. Additionally, the authors have made efforts not to repeat excerpts found in Barbara Payne’s Euphonium Excerpts from the Standard Band and Orchestral Library (another excellent and proven resource).
This volume includes marches, transcriptions and original works with notations and practice/performance suggestions from the authors. Composers include Alford, Filmore, Heed, Jewell, King, Sousa, Panella, Chance, Grainger, Grantham, Holsinger, Holst, Jacob, Kozhevnikov, Nelson, Nixon, Smith, Sparke, Vaughan Williams, Auber, Berlioz, Chabrier, Gershwin, Glinka, Liszt, Makris, Respighi, Schuman, Smetana, Verdi, Weber and Walton.
A series of appendices include suggestions for how to practice excerpts, tips on how to choose a good recording, a list of well-known bands and recommended reading.
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Duh Suite (Euphoniums)
Composer: Self, Jim
Instrumentation: Duet Instruments: Euphonium
Genre: Contemporarywith Drums
From the composer:
Duh Intro, is a fast contrapuntal piece with declamatory fanfares and a four-octave range. Then comes Duh Odds, a fast, relentless series of odd-meter measures with a variety of tom-toms providing a driving beat (don’t be surprised if you hear some Stravinsky). Movement three is a slow, jazzy ballad named Duh Fool Professors. The percussion accompaniment is all spacey metallic sounds (cymbals, triangles and the like), over wide-interval melodies in the tubas. Duh Blooze calls for lots of laid-back slippin’ and slidin’ and much trading of blues melodies and bass lines–while the drummer plays brushes. In Duh Yaz the tubas are called upon for some super acrobatics. After a scary intro, the group moves into a jazz/rock and samba feel for “the tune”. The middle section is a kind of development section with each tuba taking the limelight, after which there is a return to the tune and a fade ending. The finale is, of course, called Duh KoDa (an acronym based on the initials of the soloists). The music of this movement returns some of the fast scales from the first movement and more wild, declamatory material for all. Like all the movements, it emphasizes interesting and varied rhythmic patterns. The drums are to be played at a drum set by a musician who has jazz and rock “chops” and is encouraged to be creative with the part.
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Euphonium Concerto No. 1
Composer: McKenzie, Kevin
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Contemporarywith Piano
Composer Kevin McKenzie says, “This piece was written in remembrance of my grandfather, Richard Moore. I am honored that I can pay tribute to such a great man, as he played a significant role in my life. This work was commissioned in 2012 by the Briarcrest High School Band under the direction of Michael Parsons. It is in three movements, and challenges the performers technically and lyrically.”
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Quartetto in Sib maggiore
Composer: Pugni, Cesare Arranger: Fraioli, Antonio
Instrumentation: Solo and String Trio Instruments: Cello, Clarinet, Viola, Violin
Genre: RomanticClarinet with String Trio (Violin, Viola and Cello)
Antonio Fraioli writes, “Quartetto in Sib maggiore is one of three quartets dedicated by Cesare Pugni (1802-1870) to Vincenzo Comoli. The composition, in four movements, is brilliant and gives the clarinet many places to showcase its agility.”
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Quartetto
Composer: Belloli, Agostino Arranger: Fraioli, Antonio
Instrumentation: Quartet Instruments: Bassoon, Clarinet, French Horn
Genre: Classical2 B-flat Clarinets, Horn and Basoon
Agostino Belloli (1778-1839) was an Italian horn player and composer. Quartetto for two clarinets, horn and bassoon has been reconstructed and re-envisioned by Olma Landri and Antonio Fraioli in the context of the research activities of the class “Music for Wind Ensemble” at the “G. Martucci” Conservatoire in Salerno (Italy).
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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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