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ITEC Day 1 2016 Recital Pieces

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CM2675 The Struggle Within - Jonathon Oliver (TN Tech)

Tuba Ensemble

CM0168 Quartet for Brass - Ramsoe/Buttery (The Alchemy Quartet)

Tuba Quartet

CM 0108 Twinkle, Twinkle Little Star - Mozart/Werden (The Alchemy Quartet)

Tuba Quartet

TEP10752 Procession of the Nobles - Rimsky-Korsakov/Butler (KS State U)

Tuba Quartet

CM2875 The Girl with the Flaxen Hair - Debussy/Maxwell (KS State U)

Tuba Quartet

OV1001 Cat Affairs - Anna Baadsvik (Beth Mitchell and Alex Lapins)

Tuba or Euphonium duet and Piano

TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)

Tuba Ensemble and Percussion

BW0494 Suite for Six Tubas - Barton Cummings (UCLA)

Tuba Ensemble

TEP10221 Quatre Chansons (UCLA)

Tuba Quartet

CM2117 Four Paintings by Grant Wood - Barbara York (John Manning)

Tuba and Piano

TEP10697 Concerto per Flicorno Basso - Amilcare Ponchielli (Benjamin Pierce)

Tuba and Piano

OV0713 Vise (Simple Song) - Skomsvoll (Oystein Baadsvik)

Tuba and Piano

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unaccompanied

This piece won Honorable Mention for unaccompanied tuba at the Leonard Falcone International Euphonium and Tuba Festival, 2020.

Whales sing but other than the clicks made by dolphins and other toothed whales, whale sounds remain mysterious.  It may be that whales use “echolocation” to identify potential prey and threats, or to find a mate.   Researchers believe that whale sounds can travel more than 10,000 miles in some levels of the ocean.

Although we don’t know exactly why or how they communicate,  imagining their lives and what they might say to each other is fascinating.

“Whale Songs” has five movements:

1. Calling the Pod

2. Cruising

3. Feeding Time

4. The Orca

5. Where Are You, My Love?

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Flute/Alto Flute and Oboe/English Horn: Written for flutist Nora lee garcia and oboist Frances Colon. A charming, vivid duo for performers who like substantial, yet audience-friendly music. It is in 3 movements: Zephyrs. Whispers Amid the Pines, and Harbinger of the Storm. Learn More

Arranged for French Horn trio, this set includes:

1. How Merrily We Live - East

2. Gush Forth, My Tears - Holborne

3. Late in My Rash Accounting - Weelkes

4. If My Complaints - Dowland

5. Though Philomela Lost Her Love - Morley

6. As Fair as Morn - Wilbye

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with Piano

1. Care selve from "Atalanta"

2. Amor commanda from "Floridante"

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1. Strange Ones 2. Curious Story 3. Important Ev Learn More

I. Plains Song II. Corn Grinding III. Lullaby IV.Song of the Totem-Pole V. Rain Song Learn More

with Piano Learn More

4 Euph and 4 Tbas Learn More

3 Euphoniums and 3 Tubas; Featuring a good bit of syncopation, this is a fun piece to add to any program. Learn More

3 Euphoniums and 3 Tubas; An exciting piece for a larger group of Tubas and Euphoniums, this is sure to fit any spot in a concert program. Learn More

3 Euphoniums and 3 Tubas; An arrangement of a work by Erik Jansson, this fast-paced, syncopated work is sure to entertain any crowd. Learn More

In 2 movements evocative of nighttime inspired moods. The Turning Mind is a colorful chaconne that commences with ominous chords and builds to a brisk climax. Disquietude is up-tempo, fiercely rhythmic, and maintains a state of excitement and suspense throughout. Learn More

with Piano

This song is about a woman. Not a specific woman, but someone that you have memories of in your heart. The story is about the woman's life, from youth, love, the hecticness of life, and the end.

The opening theme is the leitmotif of the storyteller. This phrase happens in variation many times throughout the piece. This piece is very lyrical and will require the performer to extend their phrasing skills to the limit.

 

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with Piano

This work was composed largely during the summer of 2017, after a few attempts at writing shorter pieces for tuba and piano earlier in the year. It is not a programmatic work, as many of my works often are. Rather, it is my attempt at contributing to the tuba repertoire in terms “absolute music,” as Brahms so famously called it.

I. This movement is rather upbeat, and it is simple in terms of its harmonic content. There are a few moments of deviation, and interruptions of the melody, but performers and audiences should find it to be palatable overall. The beginning of this movement subjects a clear theme to a few harmonic shifts and brief developmental moments. The turbulent middle section of the movement was inspired by the Sturm und Drang style popularized by Haydn and Hozart in the Classical period. The end of the movement sees the return of the theme rather abruptly and confidently, and finishes triumphantly.

II. Bach has always been a large influence on me, as he has undoubtedly been to every other composer after him. This movement is somewhat of my homage to him. The melodic content is less theme-focused than the prior movement, allowing for longer stretches of melismatic writing in the solo part. The accompaniment in this movement is thicker than that of the first movement, and requires more pedaling, contributing a darker and heavier tone to the movement as a whole.

III. This final movement draws heavily on my love of French music, especially that of Bozza’s music for brass instruments. The movement begins with a dance like quality, and it is very jovial. The melodies then begin to stretch out, growing more dissonant as the movement progresses, until finally dissolving into a rather haunting section involving disparate notes in the piano and tone clusters. This section demands more of the soloist in terms of technique than any other movement of the piece. Eventually, after a brief cadenza, the main thematic material returns to finish out the movement “with a bang!”

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The 4 independent voices of the sax quartet weave together simple rhythmic gestures and lilting melodies in a tapestry of contrapuntal lines in this exciting work. This playful mood gives way momentarily to a more relaxed singing style, but the optimistic energy of the opening quickly resurfaces. The 4 instruments dance again in a crescendo of counterpoint, converging at the last moment in a richly harmonized, chorale-like statement of the original melody. Learn More

“The Ruby” is a medium easy quartet for two euphoniums and two tubas. It is based on a three-note motif, which I heard several times in a health facility with Ruby in its name. The three notes were sounded when and IV pump reached the end of a cycle and were the intervals of a major second followed by minor third. I could think of at least four tunes/ songs that began with these three notes and decided that they could be used to start other original melodies.

In “The Ruby,” the three movement titles refer to shades of red, as red is perhaps the most quickly noticed property of a ruby. The music in the movements is not attempting to personify these shades, but is a fast (relatively), slow, fast arrangement utilizing different approaches to the starting motif. It is designed to help less experienced players have success with ensemble performance. Everyone has important parts, but the ranges, key signatures and rhythms are fairly tame. Enjoy performing and listening to “The Ruby”. Learn More

A dramatic tribute to the composer’s grandfather who, like many ironworkers in his day, worked under brutal conditions with the dream of making life better for future generations. “A moving work touching our communal soul.” Percussion distribution: Perc. 1: Timpani (4), orchestra bells, tubular bells (shared with perc. 2) and finger cymbals; Perc. 2: two anvils (metal pipes may be substituted), and tubular bells (shared with perc. 1: Perc. 3: Xylophone, and suspended cymbal; Perc. 4: Vibes and suspended cymbal; Perc. 5: marimba; Perc. 6: two suspended cymbals, tam-tam, wind chimes and bell tree. Learn More