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The trumpet quartet is scored for 4 Bb, or 3 Bb and one Bb bass (or baritone or trombone). A bass clef part is included for the 4th part in case a bass trumpet is not available. This sensitive rendition of one of Mozart’s most sublime works makes an outstanding feature number for a recital as well as a wonderful musical offering in church. Learn More

with Piano

Jonathan Russell’s Bass Clarinet Double Concerto for two solo bass clarinets, with piano reduction of the orchestra was composed and premiered in 2007 and features the instrument in many different capacities. The composer had the Weber Clarinet Concertos and Heavy Metal music in mind while composing this remarkable Double Concerto. He employs many different musical elements, including improvisation, asymetrical meters, and lyrical phrasing.

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These duos are designed to provide an enjoyable and pedagogically sound context in the study of orchestral excerpts for bassoon. By learning both parts of the duets, you should develop a better sense of the harmonies and rhythms that are present in other parts of the orchestra. Each piece is designed to have clear beginnings, endings, and transitions so that the arrangement feels like a short piece, rather than a collection of disjointed excerpts. In order to accomplish this, I have added and modified some material based on the original orchestral parts.

Volume 1 contains music that is fairly technically accessible, while Volume 2 is considerably more challenging. If your goal is to use these duos to help familiarize yourself with these excerpts before you have all the technical skills needed, then you may try starting with some of the easier accompaniments or try simplifying some of the solos by changing tempos, octaves, articulations, etc.

Duets included:

Giuseppe Verdi – Quid sum miser from Requiem                                                                 

Ludwig van Beethoven – Ode to Joy from Symphony No. 9                                                  

Peter Ilyich Tchaikovsky – Canzona from Symphony No. 4                                                    

Johannes Brahms – Violin Concerto Movement II                                                               

Paul Dukas – The Sorceror’s Apprentice                                                                              

Felix Mendelssohn – Symphony No. 4 Movement II                                                            

Peter Ilyich Tchaikovsky – Symphony No. 6                                                                        

Gustav Mahler – Symphony No. 1 Movement III                                                                 

Ludwig van Beethoven – Violin Concerto Movement II                                                       

Peter Ilyich Tchaikovsky – Waltz from Symphony No. 5                                                       

Johannes Brahms – Haydn Variations                                                                                

Georges Bizet – Les Dragons d’Alcala, Entr’acte from Carmen Act II                                   

Edvard Grieg – In the Hall of the Mountain King from Peer Gynt Suite #1, Op. 46                 

Jean Sibelius – Andante from Symphony No. 2                                                                  

Hector Berlioz – March to the Scaffold from Symphonie Fantastique                                   

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The titles of its 3 movements, "Basslets," "Moonstruck," and "Festoons," are derived in part from the spelling of the word “bassoon.” In addition to musically capturing qualities of the subjects of the titles, they also explore musical characteristics unique to the bassoon. Basslets are tiny, elegant and colorful tropical fish that when observed in large groups create a mesmerizing effect as they flit about. The word “moonstruck” refers to the condition of being out of character due to being in love. Festoons are decorative garlands of flowers, ribbons, lights, or other objects hung in a draped fashion. Score and parts are included. Learn More

3 Clarinets and Bass Clarinet (alternate Alto Clarinet included for Clarinet 3) Learn More

2 Trumpets, Horn (alternate Trombone part included) and Trombone Learn More

This work is a tribute to the prominent contemporary composer Barbara York. The work was commissioned by Cimarron Music Press and the instructions were it has to be fun, quirky, and also contain beautiful melodies.

The piece begins with a prelude which pays homage to the various styles in Barbara’s compositions. After the prelude, the music contains quotes from Barbara’s various works and includes “How Beautiful”, “Quirky” from “Personalities”, “Through the Tunnel”, “Arioso Gloria” and ends with “Every Day an Alleluia”.

I humbly hope that when the music is played it evokes the emotional character of Barbara’s music and allows us to celebrate her life and contributions to the low brass community.

Wan-Yun Liang (2020)

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This work clearly demonstrates Buss’ unique style of soaring lyricism and exciting contrasts with intriguing rhythms. The title refers to the complex of emotions a person may experience while reconciling conflicts between his/her internal world and public role (invisible mask).The percussion set-up includes: marimba, temple blocks, bongos, tam-tam, bass drum, maracas, tambourine, suspended cymbals and agogo bells. This is a memorable and captivating feature number for advanced players. Learn More

In Bessy’s Voyage to Space, Matthew Owen tells the story of a girl whose only mission in life is to craft her own means of leaving planet Earth, which is on the brink of becoming completely destroyed due to increasingly devastating nuclear warfare. Says Owen, “In this piece, the hi-hat symbolizes Bessy’s intense construction on her spaceship. The droning of the atmospheric pads and the tuba pedal tones symbolize the initial ignition of the engines and the increasing paranoia that Bessy begins to feel as the spacecraft warms in preparation for departure. The moment that the piercing synthesizer melody enters is the moment of liftoff from Earth.”

Electronics Needed: Microphone, Sizzling Hi-Hat, Synthesizer, Loop Pedal with two banks. Instructions and a setup diagram are included.

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with Piano: Written for Joe Lulloff and inspired by jazz saxophonist Rahsaan Roland Kirk’s composition Blacknuss. In the introduction to Blacknuss Kirk states "there are 52 white notes and 36 black notes on the piano. We're going to play the black notes only, if you don't mind." The opposition suggested between black and white notes is expanded to include static and dynamic elements, consonant and dissonant harmonies, and pattered and non-patterned events. The title also refers to the middle section's exclusive use of the black notes of the piano. Vigorous swing rhythms contrast with sections of haunting beauty. Learn More

An evocative, entertaining work in which both performers recite the text during performance. Cast in 4 movements: Boomers!, Thoughts of Grey, Trombone Magic, and Wild Nights, it addresses humankind’s relationship to technology in the modern world. The instrumentation includes tomtoms, cymbals, wood block, wind chimes, tam-tam, bell tree, triangle, bass drum, tambourine, hi-hat, whip, vibraslap, bells and vibraphone. Commissioned by and premiered at the 1998 International Trombone Festival. Learn More

with downloadable backing track

This Fusion jazz/rock work is a 21st century “ Pachebel’s Canon”. A five measure bass ostinato continues while added melodic lines evolve over the top. The bass line repeats for the first 1 ½ minutes as well as throughout the piece with developing jazz/rock counterpoint that creates a fun performing experience. Performance MP3 and accompaniment MP3 are included. Jerry Grant’s improvised solo is transcribed or create your own with the chords on top.

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BRASS MINIATURES for brass quintet by Howard J. Buss is in 4 short movements inspired by light and images reflected on polished brass: On the Edge, Refractions, Facets, and Illuminated Reflections. In November of 2018 the composer found a box labeled “1974” in a storage closet. It contained a collection of long-lost scores he had composed 4½ decades earlier. Upon examining the music it was apparent that in these works was a trove of youthful musical ideas that could be developed, polished, and edited into exciting “new” compositions. The musical content of first 3 movements of is close to that in the 1974 brass quintet. The final movement was rewritten to include elements of the original score, but updated to be closer to the composer’s current musical language. While On the Edge, Refractions, and Facets, have a decided edginess to them; Illuminated Reflections is more consonant and lyrical. It includes subtle references to material in the previous movements as well a buffed rendition of the opening melody of the first movement in its coda. Learn More

Trumpet (B-flat and C parts included), Trombone and Tuba

For Fabio Mann and Steve Pruitt Learn More

Trumpet (B-flat and C parts included), Trombone and Tuba

For Fabio Mann and Steve Pruitt Learn More

2 Trumpets, Horn (alternate Trombone part included) and Trombone Festive Brass Series Learn More

"This riveting “tour de force” musically depicts the character and exploits of Washington Irving’s dashing prankster, Brom Bones, in The Legend of Sleepy Hollow. The musical ensemble consists of 2 trombone quartets, each comprised of three tenors and one bass. The work is cast in 5 movements, the first two are interconnected: I. Overture (2:00) II. The Smoke Out (2.40) III. The Schoolhouse Caper (2:00) IV. Ichabod’s Romance (3:40) V. Night Encounter (3:10) Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of brassy muted trombones, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful trombone solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. This is a “must” for the advanced college ensemble. Score & parts included." Learn More

"Musically depicts the character and exploits of Washington Irving’s dashing prankster in The Legend of Sleepy Hollow. The musical ensemble consists of 4 Bb trumpets (an optional Eb part is included for trumpet 1), one French horn, 3 tenor trombones, one bass trombone and tuba. This entertaining composition is in 5 movements, the first 2 are interconnected: Overture, The Smoke Out, The Schoolhouse Caper, Ichabod’s Romance, and Night Encounter. Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of muted brass, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise." Learn More

Violin and Alto Saxophone

Cadenzas and Interludes #1 "Memories from the Isle of Mull" was composed by Howard J. Buss and dedicated to Drs. Rachael and Stephen Fischer. It was inspired by the composer’s visit to the picturesque Isle of Mull in Scotland’s Inner Hebrides. Particularly memorable was a Saturday night Cèilidh* in the island’s capital, Tobermory, which included traditional music from the area. The Scottish musical influences are not direct in Cadenzas and Interludes #1; rather, their spirit is blended with Buss’s style of soaring lyricism with a modern bent.

*Pronounced, Kay-lee. In Gaelic, a Cèilidh is a social gathering featuring music, storytelling, and dance.

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From the arranger:

The boisterous Can-Can is a highly energetic, physically demanding dance made popular in French cabarets in the mid to late 1800’s and continues to be popular today. Flashy, bawdy, and provocative, the dance can include such acrobatic movements as high kicks, splits, cartwheels, and even flying jumps. Many composers have written music for the can-can, but undoubtedly, the most famous example is the Infernal Galop from Jacques Offenbach’s Orpheus in the Underworld. Offenbach composed the opera bouffe, which is a form of French operetta, in 1858, and although it shocked some audiences early on, it quickly became extremely popular and spread outside Paris.

This version for trombone quartet was arranged for Bones Apart, the internationally acclaimed trombone quartet comprised of all females from the U.K. After hearing their inspirational second CD, Enigma, and writing a review of the recording for the ITA Journal, Meador was compelled to arrange a flashy, crowd-pleasing piece for the group to perform. In keeping with the flamboyant style of the piece, this arrangement goes high, low, soft, loud, fast, and faster. It challenges the extremes of register, technique, and flexibility, and is sure to evoke a standing ovation from the toughest of crowds. (And, there is no place to breathe. Enjoy!)

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