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

Written for Stefan Sanders, then bass trombonist with the Buffalo Philharmonic, and the 30th Anniversary of the International Trombone Association. In 3 movements, this colorful work was composed immediately following the important world events of September 11, 2001. It was premiered by Mr. Sanders and members of the University of North Texas Percussion Ensemble at the 2002 International Trombone Festival in Denton, Texas. It is in 3 movements: In Remembrance 9/11/01, Repercussions, and Renewal. Percussion Distribution - Percussion 1: Xylophone, tubular bells (chimes), suspended cymbal, snare drum, police whistle, and Chinese bell tree; Percussion 2: Vibraphone, 2 suspended cymbals, 4 tom toms, bongos, and wood block; Percussion 3: Marimba, tam-tam, lion roar, ratchet, slapstick, wind chimes, and suspended cymbal; Percussion 4: Marimba (to low A), timpani (4), tambourine, 2 cowbells, and suspended cymbal. "Buss’ melodies vary. They are mystic, poignant, heroic, often modal, and at times reminiscent of folk songs. He writes for the percussion ensemble with mastery and features a wide range of instruments. The sound landscape is rich with many moods and timbres. American Phoenix is an attractive addition to a solo program or as a feature piece for a percussion recital. It is rewarding for both performer and audience.” - The ITA Journal, January 2005 Learn More

SOUNDSCAPES for sax (Eb alto doubling on Bb tenor) and drum set by Howard Buss was written for Barry McGinnis. It is in 4 movements: I. Urban Bustle, IIa. Blueish Serenity, IIb. In Transit, and III. Spiritosity. Movements I. and III. are scored for alto sax, and movements IIa. and IIb. are for tenor sax. The percussionist uses a standard drum set and wind chimes. Learn More

REFLECTIVE JOURNEY for horn and percussion quartet by Howard J. Buss is dedicated to hornist Andrew Pelletier and percussionist Roger Schupp. The musical thrust of this colorful work is analogous to a spiritual voyage one may experience while dealing with a major crisis. The sections of the composition exude much contrast and transverse a wide range of moods - from the hauntingly pensive, to tender lyricism, to jubilation. Learn More

Dedicated to Patrick Nyren, in three movements, Boldly, Introspective, and Go!, this colorful work demonstrates the incredible expressive range and technical capabilities of the instruments. The percussion instrument setup is designed so that it can be performed by one or two players. Ventures received its premiere performance on November 2, 2014 by Patrick Nyren, euphonium, and percussionists Daniel Lyons and Kenny Goss at New Mexico State University in Las Cruces. It is a "must" for all serious euphonium players! Learn More

"Concerto for Marimba and Percussion Ensemble" by Howard J. Buss was composed in 2017 and is dedicated to Robert McCormick. The percussion ensemble uses 4 players. This work is comprised of 3 continuous, unnamed movements that follow a haunting and somewhat mysterious introduction. References to the opening phrases of the introduction are made throughout the composition. The first movement is in two main parts: The first resembles a chain of joyous episodes, each flowing into the next as the musical narrative unfolds. This gives way to a series of passages that become increasingly developmental. Obvious references to the introduction are interspersed with elements of the first section as well as new material. The second movement is in a lively 6/8. It is in ternary form features a substantial marimba cadenza in the central section. The finale movement revives the joyful character of the first and includes a short intense passage influenced by jazz before building to a rousing finish. (15’) Grade V. Learn More

"Musically depicts the character and exploits of Washington Irving’s dashing prankster in The Legend of Sleepy Hollow. The musical ensemble consists of 4 Bb trumpets (an optional Eb part is included for trumpet 1), one French horn, 3 tenor trombones, one bass trombone and tuba. This entertaining composition is in 5 movements, the first 2 are interconnected: Overture, The Smoke Out, The Schoolhouse Caper, Ichabod’s Romance, and Night Encounter. Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of muted brass, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise." Learn More

"Brom Bones" for clarinet choir (1 Eb, 3 Bb, 2 Eb Alto, 2 Bb Bass, and 1 Bb Contrabass) musically depicts the character and exploits of Washington Irving’s dashing prankster in "The Legend of Sleepy Hollow." The work is in 5 movements: Following the energetic and heroic "Overture", in "The Smoke Out" tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, "The Schoolhouse Caper," combines very aggressive and topsy-turvy passages with humorous, plodding interjections. "Ichabod’s Romance" begins as an enchanting unaccompanied ballad, which is abruptly disturbed by a cacophony of raucous clarinets, suggesting the whining of Brom’s mocking dog. Reverent hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful bass clarinet solo. The intense final movement, "Night Encounter," depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. Learn More

"This riveting “tour de force” musically depicts the character and exploits of Washington Irving’s dashing prankster, Brom Bones, in The Legend of Sleepy Hollow. The musical ensemble consists of 2 trombone quartets, each comprised of three tenors and one bass. The work is cast in 5 movements, the first two are interconnected: I. Overture (2:00) II. The Smoke Out (2.40) III. The Schoolhouse Caper (2:00) IV. Ichabod’s Romance (3:40) V. Night Encounter (3:10) Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of brassy muted trombones, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful trombone solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. This is a “must” for the advanced college ensemble. Score & parts included." Learn More

Inspired by Glacier National Park in Montana. The 3 picturesque movements, Dawn, On the Trail, and In the Realm of Twin Falls, capture the awe-inspiring grandeur and beauty of the rugged landscape. Glacial Vistas was composed during the winter of 2011-12 and is dedicated to flutist John Bailey. It was premiered on January 24, 2013 in the Kimball Recital Hall on the campus of the University of Nebraska in Lincoln by John Bailey, flute; Diane Barger, clarinet; and Anthony Falcone, percussion. Learn More