Search results for: 'Quartet for brass'

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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Out of the Forest: This is an original Brass Quintet composition by John Paff. What can come out of a forest? All kinds of natural things, which this piece is meant to represent. The four movements are entitled: 1. Wild Things, 2. Flora, 3. The Lake, and 4. The Eagle. The difficulty range is medium to medium difficult and is filled with moving parts to counter the melody. Using one’s imagination this can be a fun piece for players and listeners. Learn More

SATB:

Fort Worth Funk was written to provide a light-hearted, engaging selection for Saxophone Quartet.  It begins with a dramatic statement from the Baritone Saxophone, who lays down the opening groove.  The other members of the quartet enter one at a time, while the composition builds to a virtuostic moment for the full quartet.  The staggered entrances also provide an opportunity to stage theatrics as well.  Appropriate rhythms and articulations are meticulously notated to help players achieve an authentic “funk” style in their performance.  The piece is loosely based on the chord changes to the jazz standard “Well You Needn’t”, which appears briefly in swing style at the end of the piece.  Chord changes and written solos are provided during the improvised sections, to bring the piece within the grasp of a wide spectrum of players. 

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EETT; One of Verdi's most famous opera overture comes to life in this arrangement of Overture to "La Forza del Destino" for Tuba Quartet.

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Player doubles on: Flute/Piccolo and Clarinet/Bass Clarinet

Forest Sounds was composed in 2013 as a commission for the Inspirare Duo, clarinetist Gail Zugger and flutist Lisa Jelle and premiered by them in October of that year. The piece is one movement, divided into four sections, each focusing on a concept of sound within a forest. The first section is bird calls, featuring the robin and cardinal. Section two introduces waterfowl with conversations between the sandpiper, mallard duck, and loon. Section three features the small critters: squirrel, chipmunk and rabbit scurrying about on the forest floor. The final section is a portrait of all the animals on a sunny summer day enjoying a multitude of simultaneous conversations. Tempo markings and alterations should be viewed as guides. The performers should feel free to allow the music to push and pull as they wish. Enjoy! Learn More

EETT

This 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

In four movements, this is a solid recital piece for an advanced high school ensemble or college level group. Learn More

3 Clarinets and Bass Clarinet

This is a perfect piece for a high school quartet.

I. Chorale

II. The Chase

III. Song

IV. Waltz

V. March

 

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Originally in G major for recorder, oboe, violin and continuo; TWV 43:G2 Learn More

Medley of:

Hark! The Herald Angels Sing (F.Mendelssohn/D. Willcocks)

It Came Upon the Midnight Clear (E.H. Sears, R.S. Willis)

Come, Thou Long-Expected Jesus, HYFYRDOL (C. Wesley, R.H. Prichard)

Angels, from the Realms of Glory (J. Montgomery, H.T. Stuart)

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Christmas Brass is a great opener for a concert. It uses snippets from various Christmas songs that everyone will recognize. Learn More

with Piano

audio is with concert band accompaniement

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commissioned by SchoolOfBrass.com

4 Trumpets, 4 Horns, 4 Trombones,  2 Euphoniums and 2 Tubas

School Of Brass artists:

Trumpet

Louis Dowdeswell – Youtube Content Creator & Music Producer

Elisabeth Fessler – Harmonic Brass & Trossingen University (Germany)

Jennifer Marotta – USC Thornton School of Music

John Powlison – American Military Musician

Rex Richardson – International Soloist and Jazz Artist

Michael Sachs – Principal Trumpet, The Cleveland Orchestra

Isaac Winland – West Liberty & Mount Vernon Nazarene University (trumpet and music technology)

Horn

Elizabeth Freimuth – Principal Horn, Cincinnati Symphony Orchestra

Albert Houde – Principal Horn, West Virginia Symphony

Ben Jacks – Principal Horn, Sydney Symphony Orchestra

Hugo Valverde – Metropolitan Opera Orchestra

Larry Williams – Yamaha Performing Artist / Clinician

Trombone

Hakeem Bilal (Bass) – West Virginia University, River City Brass, C Street Brass, Beauty Slap

Gabriel Colby – Wellness Coach, River City Brass, C Street Brass, Beauty Slap, Nu Deco Ensemble

Cristian Ganicenco – Principal Trombone, Cincinnati Symphony Orchestra

Frank Gulino (Bass) – Composer in Residence, Edwards Artist/Clinician

Jim Nova – Pittsburgh Symphony Orchestra

Tim Smith (Tenor and Bass) - Buffalo Philharmonic Orchestra

Jessica Sneeringer – Athena Brass Band, Central Ohio Brass Band

Euphonium

Jason Casanova – Georgia Brass Band, Kennesaw & Jacksonville State Universities

David Childs – International Soloist, University of North Texas

Adam Frey – International Soloist, University of North Georgia, SchoolOfBrass.com Artistic Director

Mark Jenkins – American Military Musician, George Mason University

Michael Waddell – Hiram College, SchoolOfBrass.com Technical Director

Tuba

Øystein Baadsvik – International Soloist

Zach Collins – Indiana University of Pennsylvania

James Gourlay – River City Brass, Duquesne University

Carson McTeer – West Virginia University & Principal Tuba, West Virginia Symphony

Christopher Olka – Principal Tuba, Cincinnati Symphony Orchestra

Gene Pokorny – Principal Tuba, Chicago Symphony Orchestra

Chamber Groups

C Street Brass (Brass Quintet)

Keystone Quartet (Tuba-Euph Quartet)

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with Piano 

Serenade, Op.21, for Euphonium and Orchestra was composed in January 1979 as a work commissioned by Henry Charles Smith for the Minnesota Orchestra.   Smith, longtime principal trombonist with the Philadelphia Orchestra before assuming the resident conductor/trombone post with the Minnesota Orchestra, was the soloist on euphonium in the premiere subscription concert performances with the orchestra later that year.  

The Serenade is “an attractive, accessible but by no means insubstantial work” (Michael Anthony review, Minneapolis Star Tribune) for the instrument and orchestra.  The Serenade runs about 15 minutes, is cast in four sections, and there is much of a feeling of a serenade about it, especially in the first two sections.  Even the scherzo-like third section, after several pages of brassy, rhythmically vibrant activity, concludes with a series of slow, upward moving, yearning phrases in the solo instrument.  The work is tonal and in the orchestral version, there is a considerable amount of solo work from various instruments of the orchestra – like the dialogue between the euphonium and the oboe in the “Nocturne” second section.   Forsberg always keeps the solo instrument busy, especially in the festive finale.  But his concern seems to be less with virtuosic display  - or with exploring new techniques for the instrument – than with exploiting the instrument’s lyrical potential.  Although written especially for the euphonium, the work might be performed as well with the tenor trombone.  After editing and a few minor revisions from the 1979 manuscript score, the piece will now be available from Cimarron Music Press in piano, orchestra and wind ensemble accompaniment versions.

CWF, April 28, 2019

 

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Originally for string quartet, this lyrically piece fits perfectly for Tuba Quartet (EETT) Learn More

EETT

Among the Stately Pines was inspired by the campus of Interlochen Center for the Arts, where I worked part-time during the summer of 2021. Interlochen, both the town and the campus, has a rich history. One of the defining features of Interlochen has been the pines which dot the roadsides, and which help define the hiking trails scattered throughout the area.

This work for euphonium-tuba ensemble attempts to capture the pride, history, nostalgia, and progressive character of the institution of Interlochen Center for the Arts. Beyond its reflection on the campus of ICA, though, it is a reflection on the qualities of those places which lodge themselves in our memories. These places continue to pull us toward them, exerting their magnetism no matter how far we move beyond them.

One might imagine that our minds are forests filled with stately pines, that we continually hike trails which lead us to and from our most treasured memories. This work, then, provides a chance for audiences to lose themselves in the best of their pasts while looking hopefully toward the future. Learn More

unaccompanied

This work is intended to be a free expression of a life journey. Various changes are indicative of the challenges each person faces. The piece should be played as the performer faces individual challenges. It may never be performed the same way twice. Our feelings and attitudes are not in a rut to be followed in identical fashion day by day, month by month. Any performer should feel free to approach the piece as an expression of their inner self at a particular time. The value of the music is not merely notes, but resultant of a momentary response to a thought, an idea, or a grasping of concepts beyond the immediate. Music must be inherent in every life form as each seeks to touch true elements of existence. Enjoy! Learn More

Grind was written for the UMKC tuba and euphonium ensemble in late 2018 and is meant to represent the constant moving and turning of clock gears. The piece begins with the first tuba introducing the rhythmic foundation with the rest of the ensemble joining in to create a driving composite rhythm. Brief moments of jarring interruptions slice through the otherwise subtle material. Euphonium and tuba features follow, with the lyricism of the two instruments being showcased. A powerful triple-forte segment then transitions into a tranquil, chorale section led by the tubas. Quick fragments of the original material lead into a recapitulation of the beginning that slowly diminishes until the clock ceases to tick. Learn More

Psalm 130 (formerly attributed to W.A.Mozart) Learn More