Search results for: 'bariton'

Cadenzas and Interludes #2 for brass quartet by Howard J. Buss may be performed by a standard brass quartet, or a quartet consisting of a Bb cornet, Eb tenor horn, Bb baritone (T.C.) and Bb euphonium (T.C.), or for a quartet derived from these two groups. The cornet player (or trumpet 1) has the option to double on the Flügelhorn between letters K and M.

During this composition each player performs a cadenza. Although the cadenzas are written out, the players may perform what is notated or may take liberties to personalize the music, keeping in mind that it is important that all of the cadenzas should have approximately the same duration.

Although the musical language is sophisticated, this concert work is constructed in a way to make it accessible to general audiences.

EETT

“Calypso is one of trumpet virtuoso Adam Rapa’s earliest compositions, appearing on Adam’s first album entitled “Life on the Road”, released in 2007. Many of Adam’s compositions and arrangements was put together for the River Bottom quartet, which is Baritone/Euphonium quartet made up of musicians from the Rier City Brass Band of Pittsburgh, PA. It is an acoustic take on the piece, incorporating on the fly percussion such as egg shakers and hand drumming on the horns.” – Ryan McGeorge

"Galop" from Orpheus in the Underworld (1858)

2 Altos, 2 Tenors and Baritone

Jacques Offenbach (1819-1880) composed dozens of operettas and presented them in the Bouffes-Parisiens, the theater he owned. The “Galop” from his operetta “Orpheus in the Underworld” has become the tune most often associated with the can-can, a bawdy high-kicking dance, popular in mid-19^th century Paris. The original lyrics of the final section encouraged audiences to sing along, consisting entirely of the syllable, “La!” This quintet transcription showcases the players' agility over an energetic beat.

Written for Baritone Saxophone and Piano, this is a challening work that is most suited for a college age student. 

Program notes from the composer:

Just as Chagall mixed landscapes, characters, and creatures into a surreal concoction in his paintings, Chagallian Scenes does so in music. So we might start with a march only to dissolve into a waltz with flashes of dissonance morphing into cacophony, or we might settle comfortably into a key when suddenly it veers into an unrelated other. The movements are named after the pictures that inspired them.

The first movement, Promenade, or  Der Spaziergang, opens with cheery walking music appropriate for a man and his lovely lady out for a stroll. But the mood soon  edges into whole tone surrealism reflecting that the pink frocked lady is floating, held down to earth only by the grasp of her companion.

The music for The Wandering Jew  is influenced by the diverse dwellings of the Jewish diaspora, ranging from the Moorish influence of the Andalusia to the Klesmer of New York. 

The third movement, Au Dessus de la Ville (Over the town) has drifting rhythm, like the drifting figures over the town. The scene is dreamy and surrealistic with the music moving in and out of sync.

I And the Village, considered Chagall's most famous painting, cuts from one scene to another as if remembering a lifetime. The man with the scythe  trudges along throughout, listening to the sounds of the village: a goat bleating, a Klesmer violinist, the bells of the Russian Orthodox Church… it is a tapestry of joy and tragedy, hard labor and festive dance.

with Piano (band version available soon)

Ms. Wan-Yun Liang is a young Taiwanese woman composer, whose works mostly focus on winds chamber music as well as ensemble works. The Euphonium Concerto, Ms. Liang’s latest composition, was commissioned by Shih-Yao Huang, a Taiwanese Baritone player, and the winds ensemble of National Chung Hsing University, Taiwan. This Concerto contains three movements. The first movement is in a sonata form with two contrasting style melodies. The second movement is titled “Rondo” and the main theme is played by the Alto Saxophone player. In the middle section of this movement, the music turns into a charming waltz and which leads goes back to the beginning section. The third movement is a fast dancing movement with a slow introduction. As a brass player herself, Ms. Liang is willing to give the solo part many fast tonguing passages as well lyrical melodies to demonstrate the specific characteristics of this instrument. This work was premiered in July 7^th, 2018, by Shih-Yao Huang and the winds ensemble of National Chung Hsing University, Taiwan, under the direction of Chwan-Yaw Foo.             

Constance is a piece composed for Nicholas Kevin Phillips, a saxophone player I met at the University of Central Florida, as a personal thank you for his generous donation to my “Get Matt to Maryland” Rally via rally.org. The inspiration for this work is the constant drive required to get where we want our lives to go. This is represented by the striving baritone saxophone melody. It evolves slowly, reflectively, aiming for the heights – a celebration of success and joy. The celebration is short-lived as we realize we have not yet arrived and that we are farther away than we initially thought… Learn More

I. Allegro Spiritoso

II. One-Minute Waltz

III. Yuletide Chorale

IV. Fughetta Learn More

Recording by:

“Danças Para Um Amigo” 2005  (Dances for a Special Friend) was commissioned by and written for the Portuguese Tuba virtuoso, Sergio Carolino. It is for Solo Tuba, Saxophone Quartet and Vibraphone (with percussion). There are four contrasting movements. Rapidinho is a fast, odd-meter romp. Much of the movement is in 5/8 with much rhythmic overlapping between the instruments. It ends in a vamp and fade. Vagaroso is in a slow 11/8 meter with much contrapuntal interaction between the tuba and vibraphone. The saxophones play a more accompaniment role. Brincadeiras (scherzo) is a jazzy alla breve with lots of syncopation. There is an optional improvised section for the solo tuba and tenor sax with modal and augmented chord changes. The “groove” for this movement was inspired by the theme music to the US PBS Charlie Rose Show. The finale movement, Correrias (chase), is a fast, driving virtuoso movement for all the instruments. The rhythm is a constantly changing 3/4- 6/8 feel propelling to a final double high Bbtuba note. “Danças….. was written with the special talents of Sr. Carolino in mind. His ability to play technicallychallenging and improvisational music is very unique.

Jim Self is a Los Angeles free-lance musician, a veteran of thousands of motion pictures, television shows and records, and tuba soloist on many prominent movies. He is Principal Tubist with the Pasadena and Pacific Symphonies, the Hollywood Bowl Orchestra and the Los Angeles Opera and Opera Pacific orchestras. His compositions and arrangements include works for solo tuba, brass quintet, and other brass and woodwind chamber music.

More about Jim and his recordings can be found here:

Basset Hound Music - http://www.bassethoundmusic.com 

In eleven movements, this work can for Saxophone Quartet be played by Soprano Sax, Alto Sax, Tenor Sax and Baritone Sax or 2 Alto Saxes, Tenor Sax and Baritone Sax.

Each works presents various challenges, but more than anything else the movements force the group to work together as a unit. It is highly recommended for a High School ensemble and beyond.