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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

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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

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1. Ballade Op. 100, No. 15 2. La Chevaleresque Op. 100, No. 25 3. Arabesque Op. 100, No 2 Learn More

This piece for brass quintet started life as a somewhat awkward mixed-meter groove. I began to layer different textures over the top and when I played some of it for my wife, she said it sounded like traffic. I took that idea and went with it.

Road Rage consists of several different scenes in a standard daily commute. Imagine you’re in a traffic helicopter watching from above, with each instrument featured as we focus attention on each vehicle before returning to the opening thematic material to end the work.

In order to help you visualize the scene: Tuba = a semi-truck, just moving along at its own pace, maybe a bit hopped up on No-Doz to make it to the end of the route; Horn = sports car, zooming through traffic just a bit too fast; Trombone = an emergency vehicle, moving quickly and confidently, hitting the siren every once in a while to warn the tuba and horn it’s coming through; Trumpets = commuters, annoyed at the confusion that others are creating and honking their horns in protest. In the fall of 2004, Road Rage was selected for performance at the Appalachian State University Brass Chamber Music Forum, honoring the 50th anniversary of the New York Brass Quintet, where it received an award for excellence in composition. 

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with Piano; 3 movements; Cornet, Flugelhorn and Piccolo preferred

One of Mahler's favorite books was collection of German folk poetry entitle Das Knaben Wunderhorn.  He set a number of these poems to music for solo voice and piano, which he later scored for orchestra.  Inspired by these poems, he wrote his own poetry which formed the lyrics of "Songs of a Wayfarer", which he also set to music.  These two song cycles have become some of his most beloved compositions, and among his most frequently performed works.  This setting for trumpet and piano, soon to be scored for trumpet and band, captures the whimsical nature of German folk song, although the themes are original by Mahler.  The composer later incorporated some of these melodies into his orchestral works.  At the request of Dr. Mark Ponzo, my colleague from Northern Illinois University, I selected three leider from these two song cycles to be scored for trumpet.  As I reflected upon the beautiful melodies, I was inspired to utilize both the lyrical and technical nature of the trumpet to convey Mahler's ideas, while expanding upon them as well.  

I. Ging Heut Morgen Übers Feld

(Went This Morning Over the Field)

from "Songs of the Wayfarer" 

II. Die Zwei Blauen Augen

(The Two Blue Eyes of My Darling)

from "Songs of the Wayfarer"

III. Wer Hat Dies Liedel Erdacht

(Up there on the Hill)

from "Des Knaben Wunderhorn" 

Recording is of the Trumpet and Concert Band version

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with Piano

Commissioned by Li-Chun Hsiao Learn More

1. Ascendens christus 2. Panis angelicus 3. Pueri hebraeorum Learn More

with Piano

UIL Prescribed Music List: 212-1-30528

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A charming and colorful work inspired by the composer’s childhood memories of the village of Old Zionsville in Lehigh County, Pennsylvania. The music is sophisticated, yet accessible, and makes a wonderful recital feature. The 3 picturesque movements are titled: I. Playground Games, The Church By the Spring, and The Arrival of Winter. Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Harp: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Harp: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

with Piano: This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” ©Brixton Publications Learn More

A tribute to St. Francis of Assisi, the venerated Catholic friar, preacher, founder of several Orders, and lover of animals and the environment. Canticles is in 4 movements, Prelude, Worldly Pleasures, Meditation, and A Blessed Legacy. It showcases the sonic beauty and technically agility of the clarinet. The character of the music ranges from soulful introspection to worldly exuberance. At the opening of the first movement and near the close of the last, sounds a four-note melodic fragment, G, F, D, and B, which is derived from St. Francis’ name at birth, Giovanni Francesco di Bernadone. This device is used sparingly so that when it does appear, it is given special prominence. Canticles of Saint Francis was composed during the autumn of 2012 and was commissioned by clarinetist Kathleen Jones for ClarinetFest 2013 in Assisi, Italy. Learn More

with Harp; This beautiful work captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” Learn More

Koreana (2015) for flute, clarinet and piano by Randall Snyder is a suite of traditional Korean folk songs harmonized in various Western styles. The gentle T’aryong was originally a movement from the monumental Yongsan Hoesang, an orchestral suite first notated in the 15th century. It was later adapted as the graceful Dance of the Crane. Han o baeng nyon is a folk song from the eastern province of Kangwondo (now divided between North and South Korea). Its existential lyrics speak of the transience of existence; even five hundred years is not enough time to fully experience life. The bluesy melody is harmonized in the style of Ravel. Arirang is the most well known of Korean melodies and exist in several distinct versions. This one, from Kyonggi Province around Seoul, features a pentatonic melody in a setting influenced by Aaron Copland. Sarag Ga is love song from a P’ansori, the uniquely Korean opera-like form performed by just a vocalist and single drummer. Its essentially monophonic texture is embellished with Neo-Classic dissonances and rhythms suggestive of Stravinsky. Learn More

with Concert Band; 3 movements; Cornet, Flugelhorn and Piccolo preferred

One of Mahler's favorite books was collection of German folk poetry entitle Das Knaben Wunderhorn.  He set a number of these poems to music for solo voice and piano, which he later scored for orchestra.  Inspired by these poems, he wrote his own poetry which formed the lyrics of "Songs of a Wayfarer", which he also set to music.  These two song cycles have become some of his most beloved compositions, and among his most frequently performed works.  This setting for trumpet and piano, soon to be scored for trumpet and band, captures the whimsical nature of German folk song, although the themes are original by Mahler.  The composer later incorporated some of these melodies into his orchestral works.  At the request of Dr. Mark Ponzo, my colleague from Northern Illinois University, I selected three leider from these two song cycles to be scored for trumpet.  As I reflected upon the beautiful melodies, I was inspired to utilize both the lyrical and technical nature of the trumpet to convey Mahler's ideas, while expanding upon them as well.  

I. Ging Heut Morgen Übers Feld

(Went This Morning Over the Field)

from "Songs of the Wayfarer" 

II. Die Zwei Blauen Augen

(The Two Blue Eyes of My Darling)

from "Songs of the Wayfarer"

III. Wer Hat Dies Liedel Erdacht

(Up there on the Hill)

from "Des Knaben Wunderhorn" 

Recording is of the Trumpet and Concert Band version

Learn More

"The Three Sackbuteers Enter Valhalla" for trombone trio by Howard J. Buss was named winner of the 2018 American Trombone Workshop’s National Composition Competition sponsored by the U. S. Army Band “Pershing’s Own.” It is a fantasy piece in which the composer imagines the entrance of three sackbut players into the enormous hall of Valhalla. An improbable collage of specious ideas and historical anachronisms combine in dream-like manner and are embedded in the musical tapestry of this work. The sophisticated musical language of "The Three Sackbuteers Enter Valhalla" combines with the programmatic fantasy implications and audience participation to create a rousing concert feature. For trios doing outreach concerts in the schools, it affords the opportunity to discuss the history of the trombone in a way that is fun and sure to engage the students. (6’30”) Grade V. Learn More

SATB: This colorful work showcases the agility and rich sonority of the instruments. The title refers to an imagined dream of Levi, the namesake of the Israelite Tribe. The Levites were known for their involvement in priestly duties and music. Although the composition is loosely programmatic, much of the music has a distinctly Middle-eastern quality. The soulful nature of the slower sections is enhanced by the expressive, luscious ambience of the ensemble. The composition features two sections with original tunes in the style of Jewish folk songs. One is slow and contemplative, the other jubilant. Levi’s Dream an audience-friendly work appropriate for the concert hall or in a house of worship. Learn More