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with Piano

I. Lights far out at Sea - Gatty
II. Down Deep within the Cellar - Fischer
III. The Water Mill - Diehl
IV. Unforgiven Days - Roeckel
V. By the Sea - Schubert
VI. Romance - Rubinstein
VII. The Pilot - Nelson
VIII. Tom Bowling - Debdin
IX. Minstrel's Song - Nicolai
X. Come brave the sea - Bellini
XI. Oh, My home - Abt
XII. The Melodies of Many Lands - Glover
XIII. The Fairy Jane - Marzials
XIV. The Harmonious Blacksmith - Handel
XV - See, The Conquering Hero comes - Handel
XVI. Faith -Glover
XVII. The Hour of Prayer - Nelson
XVIII. Peace of Mind - Sponholtz
XIX. Dear old Songs of Home - Abt
XX. On Wings of Song - Mendelssohn

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

Michael Kibbe writes about his brass quintet, Metal Music:

This work is my second essay for brass quintet, composed in 1993 and revised in 2009. The four movements are named for differing types of metal from which, historically, the instruments have sometimes been made or veneered. But these movement titles, (Brass, Silver, Copper and Gold) are only points of inspiration. The music itself presents four movements of contrasting tempos and coloration.

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.

Ludwig van Beethoven – Finale from Symphony No. 4                                                         

Hector Berlioz – Witches’ Sabbath from Symphonie Fantastique                                           

Edward Elgar – Enigma Variations                                                                                       

Franz Joseph Haydn – Symphony No. 88                                                                           

W.A. Mozart – Finale from Symphony No. 41                                                                     

Richard Strauss – Till Eulenspiegel’s Merry Pranks                                                              

W.A. Mozart – Overture from The Marriage of Figaro                                                         

Igor Stravinsky – Gavotta from Pulcinella                                                                           

P.I. Tchaikovsky – Finale from Symphony No. 6                                                                  

Igor Stravinsky – The Rite of Spring                                                                                   

Bedrich Smetana – Overture from The Bartered Bride                                                        

Nikolai Rimsky-Korsakov – “Price Kalandar” from Scheherazade

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                                   

It’s fun to play, and audiences like it. The Savannah River Brassworks usually uses at least one of the movements in nearly all of our performances.

Greencastle 1967 was my first composition as a Masters student at DePauw University in January of that year. I had recently become enamored with quartal harmony and had a fantastic group of fellow-brass players for whom to write (“you write it, we’ll play it,” was their attitude).

The other chief influence on the piece is my love of counterpoint which is evident in all four movements.

The form follows a classical 19th-century sonata-allegro chamber piece with modern harmonies and is in four movements.

Arranged for Brass Trio, this is a medley of "Ta-Ra-Ra-Boom-Der- Aye, The Jolly Coppersmith, The Old Grey Mare"

Perfect for any outside summer concert or a recital

For Trumpet, Horn or Trombone and Tuba