Search results for: 'Quartet horn trumpet trombone tuba'

Quartet No. 1 by James Meador was written in the summer of 2004 and premiered in August of that same year by the UL Lafayette Trombone Quartet at a benefit concert for the Acadiana Symphony Orchestra in Lafayette, Louisiana. The piece consists of two movements, each designed to highlight the choral characteristics of the trombone quartet (or trombone choir), but with a strong emphasis on dissonance.

Novus Sonorous opens with a rhythmic and dissonant introduction before leading into a three way struggle for the melody. A singing line eventually emerges and leads us into a powerful chordal motive, then backs down to another closely scored and dissonant chorale. The opening statement returns briefly and carries us back to the mighty chordal section before a mournful and ponderous conclusion.

Ludus Tonalis begins with an intense and again closely scored, very dissonant chorale figure, then immediately jumps into a playful mixed meter section bouncing around from 7/8 to 2/4 to 6/8. This section leads into a sort of rhythmic fanfare where the melody is derived from entrances of the chord tones, then dies down into somewhat of a dark portrayal of the main theme in a choral style. Once again we encounter the playful section before closing out the piece on a forceful and energetic drive to the end.

- James Meador

2 B-flat Clarinets, Horn and Basoon

Agostino Belloli (1778-1839) was an Italian horn player and composer. Quartetto for two clarinets, horn and bassoon has been reconstructed and re-envisioned by Olma Landri and Antonio Fraioli in the context of the research activities of the class “Music for Wind Ensemble” at the “G. Martucci” Conservatoire in Salerno (Italy).

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

Four arrangements for Christmas:

I. Good King Wenceslas

II. Masters in this Hall

III. O Tannenbaum

IV. Still, Still, Still

2 Trpts; 2 Tbns or 2Trpts, Horn and Tbn

For Tuba Quartet (EETT), "Quartetto Di Notte" is a one-movement work in the traditional sonata-allegro form with a slow introduction. I originally planned to make this a multi-movement work, but felt the first movement could stand very nicely on its own. The first three notes of the intro forms the motif on which the entire work is based. With the leading tone tendencies of the second note of the motif, this introduction, styled like a fugue, modulates constantly. Ever tonal in its construction, it travels through many keys, starting in C Minor, and at its most extreme point, B Major, before ending up in G Minor. A held G7 chord brings us to the exposition, which also begins in C Minor. The exposition begins with more development of the initial three-note motif, along with two new motifs, two eighth notes and a quarter note; and a quarter, four eights and another quarter note. These permeate the first theme until we change to the key of G Major where a new, more lyrical theme appears. This is played at first, with a simple bass line, but on its repeat, is accompanied by two countermelodies. The development section offers more motivic development, and then at letter G, we have a contrapuntal segment where all of the rhythmic themes are woven together. This brings us to a chorale-like portion where the second theme is developed more fully. The recap ensues, but now we are in the key of Eb Minor. The second theme reappears in the key of Bb Major and a new countermelody to this makes its appearance. After a short pause, we enter into the rousing coda where the piece finishes off in the sprightly key of Eb Major utilizing all of the pieces premier motifs.