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ITEC Day 6 June 4, 2016Starting at $15.00
ITEC Day 6 2016 Recital Pieces
If not marked download or shipped, the product is only available in the printed form.
TEP10890 Andante Cantablie from Sym. 5 - Tchaikovsky/Forbes (SE LA U)
Tuba Ensemble
CM2045 Tubas of the Apocalypse - Benjamin McMillan (U of IA)
Tuba Quartet
CM2924 Till Eulenspiegel’s Merry Pranks - Strauss/Cross (N TX Tuba Ensemble)
Tuba Ensemble (EEEETTTTTT)
TEP10741 Sweet Dances - Elizabeth Ram (David Saltzman)
Unaccompanied Tuba
TEP10750 Pines of the Appian Way - Respighi/Forbes (LA State U)
Low Brass Ensemble
EU401 Just a Closer Walk - Traditional/Forbes (Charlotte Tuba Ensemble)
Tuba Quartet
TEP10432 Centipede - Troy Helm (All-Star Ensemble)
Tuba Ensemble
TEP10209 Beast! - Greg Danner (TN Tech U)
Tuba Ensemble
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15 Chorale Studies for Tuba-Euphonium QuartetAs low as $23.00
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Tubas LatinasFrom $35.00
To $70.00
2 Euphs, 3 Tubas and optional Percussion
TUBAS LATINAS (overture for tuba ensemble) is a one movement work commissioned by Earnest Walls for the Tennessee Tech Tuba Ensemble, R. Winston Morris, Director, and is dedicated to this outstanding and renown group of musicians. The work was composed between December 1991 and January 1992 on a request by Mr. Morris for a piece to be premiered at the 1992 National M.E.N.C. Convention in New Orleans (April 1992) and later to be performed at the International T.U.B.A. Conference in Lexington, Kentucky (May 1992).
TUBAS LATINAS is scored for 2 Euphonium and 3 Tuba parts along with 2 optional percussion parts (Perc. 1: 2 claves and 2 cowbells, the latter to be mounted on a stand and played with snare drum sticks)(Perc. 2: 2 maracas and tambourine). The composition is approximately 6 minutes in length and contrasts Spanish and latin american musical elements. It consists of 4 sections in a slow-fast-slow-fast format. The first section opens with a slow introduction featuring Euph. 1. in a cantabile Spanish style melody. The second section, which begins at measure 18, consists of bullfight bravura type music which is occasionally interrupted by syncopated jazz rhythms. In section 3, which begins at measure 134, the opening melody of the introduction returns, this time dressed in different garb. A solo Tba. 1. cadenza leads to section 4. This section contrasts with the previous 3 spanish sections since it is in a latin style. This final section, which begins at measure 147, is as long as the previous 3 sections combined. A secondary theme from section 2 (meas. 68-83) is developed in latin style during the second part of section 4 (meas. 175-186 and 216-224). It is also in this section that the optional percussion parts are introduced. All players should ensure that the latin style rhythms are played effortlessly, never hurried or labored.
Aldo Rafael Forte
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