Search results for: 'joshua hauser sailor's song'

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

Learn More

ITEC Day 2 2016 Recital Pieces

If not marked download or shipped, the product is only available in the printed form. 

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

Learn More

ITEC Day 4 2016 Recital Pieces

If not marked download or shipped, the product is only available in the printed form.

TEP11089/11090 Hexagon - Anne McGinty (Mark Nelson and Matt Tropman)

6 Movements - Euph/Tuba Solo and Duet with Piano

TEP10034 Contrapunctus IX - Bach/Forbes (IN U of Purdue)

Tuba Quartet

TEP10788 Bacchanale from “Samson and Dalila” - Saint-Saens/Wilson (E Carolina U)

Tuba Quartet

TEP10733 A Little Monster Music - Elizabeth Raum (E Carolina U)

Tuba Ensemble

TEP11088 - Prelude in C# Minor - Rachmaninov/Renshaw (Ensemble Subsonique)

Tuba Ensemble

CM2594 White Keys - Zach Collins (Atlas)

Tuba Quartet

CM2860 Ascendance - Ben McMillan (Atlas)

Tuba Quartet

CM1775 Power Play - Frank Gulino (Atlas)

Tuba Quartet

TEP10438 Mars - Holst/Butler (Appalachian State U)

Tuba Ensemble

TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)

Tuba Ensemble and Percussion

CM1481 Night on Bald Mountain - Mussorgsky/Sutherland (Presidio Brass)

Brass Quintet

CM2925 Shenandoah - arr. Scott Sutherland (Presidio Brass)

Brass Quartet and Piano

Learn More

ITEC Day 3 2016 Recital Pieces

If not marked download or shipped, the product is only available in the printed form.

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

Learn More

with 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

Learn More

with Piano

commissioned by Sérgio Carolino

Learn More

with Piano

This work was commissioned by Timothy Northcut in honor of Winston Morris, professor of tuba and euphonium at Tennessee Tech University since 1967. Among many others, his former students—both Tim and I included—call him a mentor, friend, and genuine hero to the tuba-euphonium world. Anyone who’s met Winston knows that he’s a larger-than-life character, and our goal was to capture a snapshot of that character within the piece.

The first movement, RWM, is constructed from a rhythmic motive that forms the basis of the entire work: 1/4 note followed by 4 1/8 notes

This motive, based on the name ‘R. Winston Morris’, becomes the driving force throughout the work, acting as a musical anchor point. The entrance of the solo tuba introduces the main musical theme that goes on to form much of the melodic material. Conceptually, the first movement represents a day in September of 1967 as Morris began his career at Tennessee Tech University. Beginning with a gentle, noble theme, the mood quickly builds and shifts into an energetic and sometimes whimsical whirlwind. The end of the movement relentlessly hammers out the motive—a tribute to Winston’s unrelenting musical drive. This abruptly shifts with the final note, moving seamlessly into the second movement.

The second movement, Sweet Steel, is dedicated in loving memory to Barbara “Bobbie” Morris. Although the tone is very dark and brooding, it’s ultimately a love song by the soloist, journeying through the stages of grief. From the darkness a second theme, hopeful and uplifting, rises to a heartfelt climax.

The final movement, Cookevegas, is a tongue-in-cheek reference to Cookeville, TN, home of Winston and Tennessee Tech University. His love of jazz is a major influence on this hectic, jazzy trip through the small Southern city. A return of the driving ‘RWM’ motive from the first movement brings the concerto to its finale.

Recording is from the premiere with the U.S. Army Band:

https://www.usarmyband.com/tuba/index.html

Learn More

with Piano; Written to be premiered on a graduate lecture recital featuring my music at Tennessee Tech University, I wanted something to contrast the other more intense and active works on the program. The result is a dark and beautiful lyrical melody with a somber tone, contrasted by a lighter, more playful middle section, and a return to the original melody. As the title suggests, I imagine a nameless gentle river flowing under the stars, its song carried by the current, sometimes deep and slow, sometimes more rocky and passionate, perhaps even broken by a waterfall. Learn More

with Wind Band (also available with Piano accompaniment)

This work was commissioned by Timothy Northcut in honor of Winston Morris, professor of tuba and euphonium at Tennessee Tech University since 1967. Among many others, his former students—both Tim and I included—call him a mentor, friend, and genuine hero to the tuba-euphonium world. Anyone who’s met Winston knows that he’s a larger-than-life character, and our goal was to capture a snapshot of that character within the piece.

The first movement, RWM, is constructed from a rhythmic motive that forms the basis of the entire work: 1/4 note followed by 4 1/8 notes

This motive, based on the name ‘R. Winston Morris’, becomes the driving force throughout the work, acting as a musical anchor point. The entrance of the solo tuba introduces the main musical theme that goes on to form much of the melodic material. Conceptually, the first movement represents a day in September of 1967 as Morris began his career at Tennessee Tech University. Beginning with a gentle, noble theme, the mood quickly builds and shifts into an energetic and sometimes whimsical whirlwind. The end of the movement relentlessly hammers out the motive—a tribute to Winston’s unrelenting musical drive. This abruptly shifts with the final note, moving seamlessly into the second movement.

The second movement, Sweet Steel, is dedicated in loving memory to Barbara “Bobbie” Morris. Although the tone is very dark and brooding, it’s ultimately a love song by the soloist, journeying through the stages of grief. From the darkness a second theme, hopeful and uplifting, rises to a heartfelt climax.

The final movement, Cookevegas, is a tongue-in-cheek reference to Cookeville, TN, home of Winston and Tennessee Tech University. His love of jazz is a major influence on this hectic, jazzy trip through the small Southern city. A return of the driving ‘RWM’ motive from the first movement brings the concerto to its finale.

Recording is from the premiere with the U.S. Army Band:

https://www.usarmyband.com/tuba/index.html

Learn More

Lurking At The Threshold is an unaccompanied work for tuba that highlights some of the capabilities and characteristics of the instrument. In particular, the low range and agility of the tuba is explored. The title is a nod to the works of author H. P. Lovecraft, and thus the tone of the piece strives to embody some of the elements and scale of cosmic horror. Mixed into the strange lines are recurring themes and lyrical melodies, making the work a well-rounded showcase for the unaccompanied tuba.

Commissioned by Dr. Preston Light for the 2020 Southeast (SERTEC) and Midwest (MWRTEC) Regional Tuba Euphonium Conferences. 

As with most unaccompanied works, exaggeration of dynamics, articulations, and other gestures is what makes them come to life. Think of these lines as collections of musical gestures rather than a single, connected melody, and play to the extremes of dynamics and articulation.

Time is free throughout to allow for greater freedom of expression. Where there are specific tempo markings, strict, mechanical time is not required. Breath marks are used to indicate lifts or slight pauses between phrases/gestures.

Learn More

with Piano; Harmonically, this was a gateway composition for me that expanded my horizons in terms of learning to work more with dissonance and finding what I like to hear. I can't tell you what mode or modes it's in—I frankly don't care. The harmonic language developed slowly and was guided by ear into its final form. The minor 2nd motion, initially between F and G-flat, and the tritone down to C served as the major reference points for the harmonic language.

The title is probably fairly self-explanatory. I haven't been a stranger to the use of multi-meter in my writing, but this one really takes the cake for the sheer amount of meter changes. Where I had used the term "kaleidoscopic" before to describe constantly-shifting meter, this time I went with nomadic—always on the move. This applies as much to the rhythm as it does the changing meters and key centers.

Learn More

EEEETTTT; At the time I wrote this, I was reading Frank Herbet's classic novel "Dune" for the first time, and decided to name the piece after a scene where the characters "ride a storm" to safety. It's a brisk and challenging workout for the ensemble. Learn More

with Piano

“The mind is a fertile garden – it will grow anything you wish to plant –

beautiful flowers or weeds.” – Bruce Lee

A Stroll Through Mind Gardens depicts an imaginary journey inwards to the

realm of imagination, where thoughts bloom and float by like flower petals on the wind.  Connected by variations on a dance-like ‘strolling’ rhythm, the listener is taken on a colorful and vibrant tour of a vast ‘aural mind garden.’

Written during the autumn of 2019, the work was commissioned by David Saltzman to be premiered at the Northeast Regional Tuba/Euphonium Conference (NERTEC) at Ithaca College. It’s intended to have stately-dance feel that acts as a

musical anchor point for the changing melodies and harmonies, although this rhythm itself also undergoes several variations throughout. The sectional structure of the piece and the transitions between them are written in a way that often flow in and out of one another, similar to a typical stream of thought.

The piece provides a moderate challenge for the performer, demanding an expressive, musical approach, and quick changes of style.

Learn More

For Flute/Piccolo, Tuba and Piano

From the composer:

“Where Leaves And Birds A Music Spin” consists of six short movements, each loosely depicting a scene in nature.

1. Borne On a Great Wind
2. And the River Flows Ever Onwards
3. Emerson’s Acorn
4. Through Dawn Mist, A Doe
5. Dauwtrappen
6. Lithic Engines

The first scene is a fantasy of being carried on the wind, rushing over the landscape below. The second follows the journey of a river, through winding meandering paths to rapids. The third movement is based on a quote from Ralph Waldo Emerson’s essay on History that reads, “The creation of a thousand forests is in one acorn.” In the fourth, a scene unfolds of a foggy morning and the appearance of a doe. The word Dauwtrappen comes from Dutch and describes the concept of walking barefoot in the morning grass when the grass is still covered in dew. The final movement imagines the inner workings of the planet, with lithic, or rock and magma, engines driving continents, creating new lands, mountain ranges, as well as the slow destruction and recycling of the old.

Although I have suggested scenes with each title, I don’t intend these to be concrete depictions, and the listener should let their minds wander freely and create their own scenes as the piece progresses.

Learn More

For four Euphoniums; For the North Texas Euphonium Quartet

Learn More

with Electronics

The music of "Tomes of Redemption" uses themes and leitmotifs from the previous two installments in the “Tomes” saga to tell the story envisioned by the composer. The hero from "Tomes of Hardened Steel" became king. He has let his kingdom slowly go to ruin because of several misfortunes. The kingdom’s allies have not contacted them for a long period, so he decides to go on one last quest. After sailing to the island kingdom and finding it deserted, he has a spiritual encounter with ghosts to learn a fierce dragon, Tugarin, has wiped out the kingdom. The hero knows he must fight Tugarin to make it right, resulting in an epic battle to the death.

"Tomes of Redemption" was a a project that came about when James M. Green spoke with Ben McMillan about his previous tuba and electronic pieces. Ben asked James to commission the third installment of "Tomes". James jumped at the opportunity, became the lead commissioner, and put together a consortium that was made up of:

Bo Atlas, David Bisson, Douglas Black, Phillip Black, Josh Calkin, Wiatt Cariveau, Chris Combest, David Earll, Bryan Gozdowski, Preston Light, Tracy Luna, Kevin Madden, Winston Morris, Robert Munson, Jesse Orth, Allen Parrish, Richard Perry, Patrick Rettger, Gabriel Sears, Andy Smith, Adam Stevens, Matthew Tatz, Chris Vivio, Randy Westmoreland and Jarrod Williams

Learn More

Inspired by the mundane ritual of practicing standard orchestral excerpt lists, these 15 etudes present a new twist for the auditioning tuba player. The etudes will promote orchestral audition success by allowing the performer to practice techniques (articulations, rhythm, breath support, etc.) needed for a successful audition without having to practice the actual excerpts. Of course to win that audition, one must practice the actual excerpts as well. Good luck!

Learn More

Benoit Mandelbrot was a mathematician known for his ideas about "the art of roughness," or chaos in nature. He is more widely known today for his fractal images, which have gone on to inspire many amazing works of math-art. I've personally been drawn to fractal imagery for a number of years, and as I listened to this nameless piece during the writing process, my inner-eye kept being drawn back to shifting, flowing fractals. Mandelbrot’s Dream is written in three continuous sections:

1. Catch You On The Flip Side

2. And Goodbye

3. Fractus Metallum

The first section is a chilled-out stroll through an urban, fractal cityscape, displaying the euphonium’s agility. The second section uses elements of jazz and rock in a slightly cinematic style, inspired by the works of composer Marty O’Donnell. In the final section (translating from Latin to ‘Fractal Metal’) features rhythmic and melodic elements of metal. In keeping with the celebration of Mandelbrot's work in chaos, the piece climaxes into aural chaos, the bass trailing off like the final spiraling wisp of some kaleidoscopic dream…

Commissioned By X Gail Robertson, Jesse Orth, Preston Light, Irving Ray, Anthony Achille, AJ Miller, James Green, Ian Lester, Pat Stuckemeyer, Micah Everett, Adam Frey, David Salomon Galan Jr., Erik Lundquist, Will Hess, Bo Atlas, Richard Concepcion, Bente Illevold, Jason Gilliam, Zach Eberle, Amanda Cardwell, Seth Fletcher, Chasse Duplantis, Fernando Zuniga, Phil Beatty, Aaron Tindall, Danny Helseth, Bryan Cole, Chris Buckley.

 

 

Learn More

with Piano; The title comes from the constantly-shifting meter and somewhat hectic feel, the melody bouncing back and forth between soloist and quintet, and the shifts between somewhat unconnected sections. The main melody was something that had been in my head for a while, one of the many musical seeds that I constantly find myself humming or whistling absentmindedly. This became the first piece I ever had published, and the second ever recorded. Learn More

Euphonium, Tuba and Piano

Notes fron the composer:

Dualities is written in three movements, each title reflecting the mood or structure of the movement. The first, Ebb and Flow, is a constant push and pull between exciting technical and lush lyrical material. The second movement, By Moonlight, By Candlelight, is a dramatic and moody interweave of melodies and countermelodies. The third movement, Pathways and Diversions, highlights the more technical side of each instrument through a series of musical tangents, bringing the piece to an exciting finale.

I thoroughly enjoyed working on Dualities, my first for this specific instrumentation. It presented several challenges for me as a composer in learning to balance lines and timbres. I chose the title not only as a nod to the two performers, but because of my interest in duality as a philosophical theme. Throughout the work are various references to duality or “two-ness”, such as the dual-wording of each movement title.

Learn More