Search results for: 'Sailor's song'

with Piano

James Grant says, ” Slow jazz… What musical language could celebrate more appropriately the lyrical, sensuous, expressive character of the bassoon? The three Chocolates, in this version for bassoon and piano, are torch songs in the tradition of the passionate, tuneful ballads of the American 40s and 50s. The first two Chocolates, Valentine and Bittersweet, offer soulful narratives that speak to devotion, poignancy, romance, uncertainty, longing. The third Chocolate, Triple Mocha Indulgence, is slightly less soul-searching, more ebullient, and progressively becomes more animated (a sugar high, perhaps?) right up to its raucous close. Chocolates was commissioned and premiered in 1998 by violist Michelle LaCourse, to whom this music is dedicated.”

Chocolates can be heard on bassoonist Mary Stuckemeyer’s CD of the same title, published through Potenza Music.

with Piano

Slow jazz…. What musical language could celebrate more appropriately the lyrical, sensuous, expressive character of the clarinet? The three Chocolates, in this version for clarinet and piano, are torch songs in the tradition of the passionate, tuneful ballads of the American ‘40s and ‘50s.

Originally composed for viola, the first two Chocolates, “Valentine” and “Bittersweet,” offer soulful narratives that speak to devotion, poignancy, romance, uncertainty, longing. The third Chocolate, “Triple Mocha Indulgence,” is slightly less soul-searching, more ebullient, and progressively becomes animated (a sugar high, perhaps?) right up to its raucous close.

Chocolates was commissioned and premiered in 1998 by violist Michelle LaCourse, to whom this music is dedicated.

Perfect any Christmas setting and not very difficult. Will work for players in High School to the professional:

1. God Rest Ye Merry, Gentlemen

2. Good King Wenceslas

3. The First Noel

4. Angels From The Realms Of Glory

5. We Three Kings Of Orient Are

6. Wassail Song

Look for volume 1 as well!

*Lovely Sweet One Learn More

3 Clarinets and Bass Clarinet

One of the big reasons why I started working on this piece was to add another large-scale quartet into the rather limited repertoire. The main programmatic element was inspired by a work of fiction centering on a character’s travels from Ireland to America. The biggest focus of the work is leaving a place of comfort, arriving at a place of chaos, then finding comfort in that chaos. I used specific places as reference points to make the narrative feel more ‘real’ to myself and hopefully an audience as well.

1. On Raghtin More: Raghtin More is a mountain in northern Ireland which represents everything that the central figure of the story desires. Simplicity, tranquility, silence. However, in this instance, this perfect setting is merely a dream, which ends up being clouded by images of past inner-turmoil and negative experiences. The movement ends with the main character waking up, realizing he is on a flight to America, where he fears he won’t be able to experience the silence he once felt.

2. In New Jersey: the character finds himself thrust into a startling and completely foreign situation. The sounds of angry car horns and the chaos of rushing people are all new to him, and he has major issues trying to adjust. Coupled with frequent reminders of past memories, the character falls into a downward spiral that can only be terminated through the love and guidance of others.

3. And One With Me: In this movement, the character finds peace within himself, even though he is still confronted by chaos and negative thoughts. This movement is also reminiscent of a love song: either in the context of romantic love, as well as spiritual love and love of the self.

with Piano

Clear Lake was written for Tom McCaslin in the winter of 2010-11. It all started with a bass line from a song by indie rock band Geezer Lake from Greensboro, NC. While working in a music store, I found myself frequently playing a slightly altered version of this bass line on whatever instrument happened to be in my reach. The idea came to me one day to write a piece based on this altered line. I took the rhythmic figure of the bass line up into a higher register with the piano and, as a tuba player, I naturally enough made the tuba the solo voice. While there are many places and lakes that share the name of the title, this piece is not about any of them. It is, rather, about a place somewhere in the mind that is full of austere beauty and shimmering light.

–Stephen Oberheu

with Piano

Simone Mantia is one of the most important euphonium virtuosi in the history of the instrument. His contributions to the euphonium repertoire are significant. A composer and arranger, Mantia recognized the need to expand the euphonium repertoire and was active in bringing the euphonium from the back of the band to the front of the stage as a solo instrument.

This solo collection presents modern editions of some of the most well-known pieces in Mantia’s repertoire. These editions are based on the materials found in the Simone Mantia Collection, a resource archived in 2009 by Gretchen Renshaw which contains many of Mantia’s musical possessions. Through collaboration with Steven Mead, Renshaw has aimed to correct the errors in the original versions of these pieces and provide editorial suggestions that will aid in exciting performances of these works.

The titles included in this collection are: Believe Me, If All Those Endearing Young Charms, Valse Caprice “Priscilla”, Rio Rita, The Southerner, Solvejg’s Song and Fantasie Originale.

“Hakka “ are one of the main ethnic groups in Taiwan. This piece incorporates several Hakka folk songs and shows a leisurely pastoral style. It's an ingenuity piece and suitable for a recital program.

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

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