Search results for: 'The d'epatite'

unaccompanied

This a varied set of emlodies that is sure to appeal all playing levels.

I. Gavotte from "French Suite No. 5" - J.S. Bach

II. Sarabande from "Cello Suite No. 5, BWV 1011" - J.S. Bach

III. Oh Were My Love Yon Lilac Fair! - Amy Beach

IV. Pathetique Sonata - Ludwig van Beethoven

V. Dance from "Prince Igor" - Aleksandr Borodin

(Stranger in Paradise)

VI. New York Light Guards Quickstep - Fancis H. Brown

(as performed by the Dodsworth's Brass Band)

VII. Chanson Espagnole - Cecile Chaminade

(Paroles françaises d'Armand Lafrique)

VIII. Fantaisie-impromptu - Frédéric Chopin

IX. Le Corso Blanc - Heinrich Tellam

X. Beautiful Dreamer - Stephen Foster

XI. Noivado - Francisca Gonzaga

(Valsa de Amor)

XII. Romany Life - Victor Herbert

XIII. Intermezzo - Gustav Holst

from "First Suite in E-flat for Military Band

XIV. Easy Winners - Scott Joplin

XV. Please Say You Will - Scott Joplin

Joplin's first publication 1895

XVI. Old Man River - Jerome Kern

From "Showboat"

XVII. The Last Rose of Summer - Thomas Moore

Based on John Hartmann's 1878 arrangement

XVIII. March - Ralph Vaughan-Williams

From "English Folk Song Suite"

XIX. Lonesome Road - Nathaniel Shilkret

XX. Dance of the Comedians - Bedřich Smetana

from "The Bartered Bride"

XXI. Tarantella

(orginally for Cello)

XXII. Ronde and Salterelle - Tielman Susato

XXIII. Neapolitan Dance - Peter Tchaikovsky

from "Swan Lake"

XXIV. La Vaillance - G. F. Telemann

(Valor)

XXV. Shenandoah- R.R. Terry

(Windlass and Capstan)

XXVI. All Things Bright and Beautiful - 1. Traditional/2. William H. Monk

XXVII. Londonderry Air - Irish Traditional

(Oh, Danny Boy)

XXVIII. The Kerry Dance - James Lyman Molloy

XXIX. The Lark in the Clear Air - Irish Traditional

XXX. Morning Has Broken - Gaelic Traditional

(Buenessan)

XXXI. Robin Adair - Irish Folk Song

XXXII. Skye Boat Song - Traditional Scottish Folk Song

with Percussion

James Grant writes:

When I received the message from the Moreau VanTuinen Duo (Danielle Moreau, percussion; Danielle VanTuinen, euphonium) and Deanna Swoboda, tuba, that they wanted to collaborate with me on creating a trio for their instruments, I immediately thought, “Well now, here comes some fun…!” In our initial skype meeting we decided that the new piece would be through-composed, ca. 10 minutes in duration, and would feature a blend of serious, crazy, and lyrical music; that I would fashion a separate version of the new piece to feature French horn in the same role as euphonium; and that we would invite a small group of adventurous colleagues to become co-commissioners of this new composition (see List of Commissioners page).

The result is 3D, music that touches on three distinct “mood dimensions.” A somber, evocative introduction leads to an explosive, rhythmically-charged, comically crazy joy ride, which yields to a rhapsodic duet between the two horns supported by any undulating moto perpetuo accompaniment in the marimba. That’s the piece, in a nutshell.

The three Lead Commissioners, Deanna, Danny (VanTuinen), and D (Moreau) could not have been more gracious and helpful during the composing of 3D, answering questions and offering feedback on sketches and ideas. Indeed, their fingerprints are all over this music.

The title, 3D, takes its name not only from the three distinct musical dimensions this music explores. It also represents a nod of respect to the three Lead Commissioners, whose excitement and support for this project captured my imagination from the very start. To Deanna, Danny and D, and to each of the stalwart participating co-commissioners, I offer my deepest gratitude.

Horn, Tuba and Percussion

Jim Grant writes:

When I received the message from the Moreau VanTuinen Duo (Danielle Moreau, percussion; Danielle VanTuinen, euphonium) and Deanna Swoboda, tuba, that they wanted to collaborate with me on creating a trio for thier instruments, I immediately thought, “Well now, here comes some fun…!” In our initial skype meeting we decided that the new piece would be through-composed, ca. 10 minutes in duration, and would feature a blend of serious, crazy, and lyrical music; that I would fashion a separate version of the new piece to feature French horn in the same role as euphonium; and that we would invite a small group of adventurous colleagues to become co-commissioners of this new composition (see List of Commissioners page).

The result is 3D, music that touches on three distinct “mood dimensions.” A somber, evocative introduction leads to an explosive, rhythmically-charged, comically crazy joy ride, which yields to a rhapsodic duet between the two horns supported by an undulating moto perpetuo accompaniment in the marimba. That’s the piece, in a nutshell.

The three Lead Commissioners, Deanna, Danny (VanTuinen), and D (Moreau) could not have been more gracious and helpful during the composing of 3D, answering questions and offering feedback on sketches and ideas. Indeed, their fingerprints are all over this music.

The title, 3D, takes its name not only from the three distinct musical dimensions this music explores. It also represents a nod of respect to the three Lead Commissioners, whose excitement and support for this project captured my imagination from the very start. To Deanna, Danny and D, and to each of the stalwart participating co-commissioners, I offer my deepest gratitude.

with Piano

From the editor:

The pieces in this volume came from a collection of 18 Gorgheggi, 4 Solfeggi and 12 Nuovi Vocalizzi by Gioachino Rossini (1702-1868). The Gorgheggi are scale patterns and exercises for learning, turns, ornaments and other embellishments. The 4 Solfeggi are training pieces that are much more musical than the Gorgheggi. They are melodic, have accompaniments, and are functionally wordless songs. I would put these in a similar category to several of the Kopprasch horn etudes; quite musical, but still primarily pedagogical in nature. While an effective performer can bring enough musicianship to these to make them viable exam jury or recital repertoire, they still have the feel of training pieces due to the limited ranges, simpler harmonic designs, repeated melodic figures, etc. The Vocalizzi (published separately by Potenza in versions for both euphonium and tuba) have much more depth than the Solfeggi, and stand on their own merit amongst the more serious works of Rossini. They are the equal to-albeit in a different style than- Rachmaninov’s famous Vocalise Op. 34 No. 14.

These Rossini etudes are another entry into the realm of performative-yet-pedagogical material. They are truly in the bel canto style, yet to my ear, have more depth than your average Bordogni etude. Each of these etudes requires-or develops-flexibility, beauty of sound, and the utmost lyricism possible for brass musicians.

These etudes are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lesson, juries, and solo recitals.

4th Avenue Suite is a composition set for three euphoniums and three tubas. Its inspiration comes from a vacation at North Carolina’s Outer Banks when we were staying in a rental house on 4th Avenue. The tunes are derived from a sequence of numbers used to open the digital door lock of the house for that week. The numbers, 3 6 8 2 4 3, are employed by their numerical placement in a musical scale. I thought: “What if; these numbers could be made into a tune (or several)?” The entire suite is not confined to these notes, but the tunes in the movements have grown out of this sequence. To construct several generations from a set of notes seemed enough, so no attempt has been made to relate the movements to events or situations. The movements are subtitled as follows: I. Intrada; II. Intermezzo; III. Minuet; and IV. Finale. The challenge level is Medium to Medium Difficult. All players are utilized in important roles and the composition offers various combinations of featured players, sections with just euphoniums or just tubas, and total ensemble. Learn More