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With the use of valves, the horn player was going to face a problem to which he was not accustomed: transposition. These duets are suggested as studies in transposition. Learn More

Needs trumpet players with good high chops. Learn More

A fun piece to help you practice your horn chords in preparation for "Weber Concertino" and other serious works. Learn More

Not just a study but exercises in playing the blues chord progressions. Chord symbols provided in the music.

One etude with 24 improvisations written on a Blues in F with included chord symbols. All improvisations are written in a 2 octave range without any tempo mark. It has a clear and simple notation with any key or bar changes.

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5 Horns; A very fun rag by the very clever Lew Songer.

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5 Horns; This piece really was written by Prince Louis, transcribed for horn choir by Jeurissen to be played at a surprise party for Prince Louis. Learn More

An addition to the horn trio repertoire, this gives everybody a chance to get around the horn.

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Liszt, Bruckner and Reger Learn More

A very short, very interesting, very pretty 22 measures for four horns.

Source - unremembered, composer - unknown. Could it be by Tchaikowski or just a study in transposition?

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I. Three Times Around A Lied

II. "Atonal Littly" A very light hearted, fun piece.

Finally, an atonal piece that is easy on your ears

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In three movements Learn More

A very lovely setting of this famous old work from “Impromptu” Op. 142 No. 2. Learn More

An ideal church piece for the high school or college quartet.

"Glory Be to God" opens with a Gloria Patri inspired shout of praise. This soon melts into overflowing adoration reminiscent of the Alleluias of monastic chant. In the end, the shouts of praise return reflecting faith reaffirmed.

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From an overture by Gaetano Donizetti (1817) originally for wind instruments, this quartet is suitable for advanced high school or college horn players. Learn More

A transcription for four horns of Beethoven's variation, originally for wind harmony ensemble, of Don Giovanni, Act I: La ci darem la mano. The "tour de role" shape of this piece allows all the opportunity to solo. Learn More

The following is the preface from Peacock’s Perfectly Complete Collection of All Possible Musical Scales:

This book is the product of three years of dedicated research and analysis of all known musical scales and theory of scales. For three years, I literally dreamed about scales every night! It is a “perfectly complete collection” because it contains every possible pentatonic (five-note), heptatonic (seven-note) and octatonic (eight-note) scale! The mathematics and matrices in Part Three prove, without a doubt, that I’ve included all four-hundred and sixty-two heptatonic, three-hundred and thirty pentatonic and three-hundred and thirty octatonic scales with no repeated scales. This is more than just a collection of scales, though . It’s also my arrangement of all possible scales. My arrangement includes technical analysis as well as historical context and my own personal organization from the perspective of a performer and a composer.

So what is this book? How does one use this book? This is a futuristic technique book for any instrument or voice:  a path to the mastery of the music of the past, the present and even the music of the future! This book is not just a technique a book.  But those who dwell in its pages will gain an advanced degree of mastery on any instrument as well as a sharper musical mind. For those with an open mind, it’s a book to inspire imagination and wonder too. For creative musicians, this book is full of strange new worlds to mine for rare musical metals: a kind of cookbook, prayer book, atlas and book of spells all-in-one.  It’s also a source of comfort and music therapy:  a place to meditate and appreciate logic; a place to get lost as well as a place to find yourself.  I use this book to warm up and meditate with my horn every time I pick it up.

I also use it as a form of escape, as though it can take me to exotic vacation spots whenever I please.  I even like to gaze into it like it is a crystal ball that shows me the future when I write.

More specifically, anyone using this book should start by studying the scales in Part One: Traditional Scales followed by Ferruccio Busoni’s kaleidoscopic variations on these traditional scales in Part Two. Then Part Three: Tetrachords is crucial for understanding the scales in the complete collections that follow.  Each complete collection starts with variations on traditional scales followed by “Deviant” scales which do not compare to traditional scales and “Radical” scales which barely resemble a scale.

In his book, Sketch of a N ew Esthetic of Music (1911), Ferruccio Busoni describes all the paths of the modern music of his time as “leading so far afield – but none lead upward” [emphasis in the original].  He also describes the intervals within a heptatonic scale as being differently arranged in isolated passages by the likes of Liszt and Debussy, but claims “it does not appear to me that a conscious and orderly conception of this intensified means of expression has been formed by these composers.”  From my perspective, over a century later, things have not changed. This book aims to change that with a systematic uncovering of all possible scales which offer a path upward to new and intensified means of musical expression.

While I can prove with mathematics that this book contains all possible pentatonic, heptatonic and octatonic scales, I did not use mathematics to generate these scales.  I only used mathematics at the very end of the process to verify my findings.  To uncover all possible scales, I developed my own unique system of tetrachord juxtaposition. With this system, every variation of each type of scale (pentatonic, heptatonic or octatonic) fits neatly into a matrix on only one page each! This is a testament to the simple elegance of my system. My matrices are included in this volume as well and I believe that with the use of my matrices, virtuosi of the future, including myself, could even play all these scales from memory simply by memorizing the order of tetrachords.

This book began when my wife, Lyndi, gave me a trumpet for Valentine’s Day 2019. With the addition of trumpet, I play every brass instrument as a multi-instrumentalist. My first thoughts about playing the trumpet were how easy and fun scales are on the trumpet. Without a doubt, the trumpet is the best brass instrument for scales. So as I began to play trumpet, I played all the common scales everyday. Then I started to write out these scales for my students and I thought it would be good to compile a more comprehensive book of scales for myself. When I began, I didn’t intend to write every possible scale. I merely intended to compile a more extensive book of scales for myself. But as I collected the scales, I put on a serious soundtrack of jazz and rock and went a little crazy. Then I added more and more until I exhausted all possible scales. So this book began as a scale book for trumpet, essentially. But it is now intended for serious musicians of any instrument or voice at any level and for creative musicians of any genre.

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This unique new resource from BrookWright Music will be an essential part of every band’s library! All Tuned Up is designed to cater for ensembles for occasions throughout the year. Tunes are drawn from genres including Classical, Hymns, Folk and Patriotic amongst many others to form a comprehensive book that will cover a wide variety of events such as Weddings, Funerals, Graduation Ceremonies, Parties, Proms, Remembrance, Street Playing and Thanksgiving.

Playable by as few as five players but also designed to work for full brass band or wind band, it features flexible parts in a wide variety of transpositions. These excellent arrangements have been expertly created by Andrew Wainwright, David E. Jones, Dean H. Jones and Steven Ponsford.

The general harmonic format of All Tuned Up is in five parts, although additional notes have been included to thicken the harmony where more players are available. Therefore, the book will work equally well with larger groups, including full brass bands and wind bands.

At the end of the Part 1 Bb book are four a capela tunes for Remembrance/Memorial occasions.

To view a promotional video please visit https://www.youtube.com/watch?v=nmodRrXQRRs

The full set includes:

Full Score

Part 1 Eb (optional) - Soprano Cornet/Trumpet Eb, Clarinet Eb

Part 1 Bb - Cornet/Trumpet Bb, Clarinet Bb, Flugel, Soprano Saxophone

Part 1 C - Piccolo, Flute, Oboe,

Part 2 Bb - Cornet/Trumpet, Clarinet Bb, Flugel

Part 2 Eb - Tenor Horn, Alto Saxophone, Alto Clarinet Eb

Part 2 F - Horn, Cor Anglais

Part 3 Bb - Baritone, Trombone, Euphonium, Tenor Saxophone,

Part 3 C (Bass clef) - Baritone, Trombone, Euphonium

Part 3 Eb - Tenor Horn, Alto Saxophone, Alto Clarinet Eb

Part 3 F - Horn, Cor Anglais

Part 4 Bb - Euphonium, Baritone, Tenor Saxophone

Part 4 C (Bass clef) - Euphonium, Baritone, Bassoon

Part 5 Eb - Bass Eb, Baritone Saxophone

Part 5 Bb - Bass Bb, Bass Clarinet

Part 5 C (Bass clef) - Tuba, Bassoon, String Bass

Percussion (optional) - Various

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This collection of annotated euphonium excerpts contains composed or arranged works for band that feature prominent solo passages or difficult technical and/or musical challenges for the euphonium. Excerpts were chosen not only based on the merits of the music, but for their recent use in military and civilian band auditions. Additionally, the authors have made efforts not to repeat excerpts found in Barbara Payne’s Euphonium Excerpts from the Standard Band and Orchestral Library (another excellent and proven resource).

This volume includes marches, transcriptions and original works with notations and practice/performance suggestions from the authors. Composers include Alford, Filmore, Heed, Jewell, King, Sousa, Panella, Chance, Grainger, Grantham, Holsinger, Holst, Jacob, Kozhevnikov, Nelson, Nixon, Smith, Sparke, Vaughan Williams, Auber, Berlioz, Chabrier, Gershwin, Glinka, Liszt, Makris, Respighi, Schuman, Smetana, Verdi, Weber and Walton.

A series of appendices include suggestions for how to practice excerpts, tips on how to choose a good recording, a list of well-known bands and recommended reading.

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3 Trombones and Bass Trombone

3 movements

This quartet was written to be enjoyable for performing.  It includes several points of contrasts: meters, dynamics, rhythms, both solo patterns and ensemble moments.  The slower sections allow flexibility of expression and can be approached with lyricism.  The two faster sections should move with energy and forward direction.  Forward motion is critical.  Avoid letting them become ‘heavy’; maintain exuberance and full of life buoyancy.  Each part includes moments of solo patterns with accompanying support.  The dynamic contrasts throughout are important and should be emphasized, providing increased musical substance; in fact, performers may choose some over-emphasis of dynamics to enhance expression and vitality.

The quartet contains several ‘germ’ musical ideas that provide an occasionally disguised cohesiveness.  These occur throughout the various sections.  Enjoy!

 

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Inspired by the work, life, and times of Jack Kerouac, “King of the Beat Generation.” Cast in 7 movements, this significant wprk is hugely influenced by jazz. In the preface to the score the composer writes: "Kerouac demonstrated the epic contradiction of America: on the one hand its wild energy, joy of life, and expansiveness; on the other, its tendency to self-destruct. Tribute to Kerouac is my musical response to, and commemoration of, this important American writer who liked to describe himself as a 'jazz.poet.'" This significant work is recorded on Ongaku Records CD#024-112. Learn More