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EEEETTTT Kidstuff Protocols was written in the spring of 2019 for the University of Montana Tuba and Euphonium Choir as part of their programing for their performance at the 2019 International Tuba and Euphonium Conference held in Iowa City, IA in May of that year. The music is a modern, yet mischievous mashup of 8 references to well known children’s songs - in keeping with that conference’s “Young At Heart Theme. The tunes are separated by connective material meant to provide cohesion to the composition. Each tune iteration has its own unique style and all of them except for The Muffin Man and the cadenza rendering of the “Villa Borghese” should have a sense of high energy regardless of dynamic. Their order of their appearance is as follows: 1) Mary Had a Little Lamb - in hot swing style (with the low tubas serving as percussionists with hi-hat special effects (beat-boxing the vocals into the tuba while crisply slapping the lower right side of the instrument) 2) Camptown Races - partially set as a 3 against 2 hemiola. 3) Nick Nack Paddywack (also known as This Old Man) - set as a brief march. 4) Twinkle, Twinkle Little Star - briefly set in the Lydian mode. 5) Children’s theme from I. Villa Borghese of Respighi’s Pines of Rome - set as a cadenza answer to the euphonium cadenza which precedes it. 6) The Muffin Man - harmonized in barbershop quartet (in this case octet!) style. 7) Row, Row Row Your Boat - set in a polyharmonic march style. 8) Mary Had a Little Lamb - recapitulation as in the beginning with more intensity. Learn More

Commissioned by the Elysian Trombone Consort and premiered at the International Women's Brass Conference (May 2019).  Generously funded by the University of Dayton Department of Music.

noc·turne (näktərn)

noun

1.1. – MUSIC - a short composition of a romantic or dreamy character suggestive of night, typically for piano.

2.2. – ART - a picture of a night scene.

In this case, I am not trying to replicate a dreamy piano piece but rather a piece of Art depicting a more contemporary night scene. I am seeing myself sitting on a front porch, balcony or back deck in the evening. All is calm as one struggles to get past the stresses of the day and relax into the growing night. Depending on one's whereabouts there is a rush of sound, a scurry and a scuttling. This could be animals in a rural setting or mischievous children, even thieves in the city. One then either watches a "woman of the night" walk down the street or imagines an amorous encounter with one's own partner. Perhaps both. The scurrying happens again and one settles back into a state of observance and even reverie. Throughout one can find occasional depictions of heartbeats, reminding us of how grateful we are to experience this night.

Barbara York, 2019

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A musical tribute to the countless musicians who have contributed to the art of trumpet playing over the centuries. The musical essence of this work is a synthesis of traditional and new trumpet performance techniques. This combination of the old and new is a musical representation of the debt contemporary trumpeters owe to their counterparts in past generations. In sections of Commemoration the trumpet is performed in the traditional manner, indeed, there are a number of quotes from famous trumpet masterpieces of the past. At one point the performer is asked to sing (using the syllable "ah") a portion of the well known Trumpet Voluntary by Jeremiah Clarke while simultaneously sustaining a note on the instrument and using a plunger mute. The effect is truly mystical and becomes a musical synthesis of the past and present. In other sections the trumpet is used as a synthesizer, capable of producing a wide array of timbres and effects. Short quotes from the literature are embedded in this intriguing work which also includes messages expressed by pitch serialism and Morse code. The score includes detailed performance directions as well as a helpful explanation of the coded (serial) sections. “A must for the advanced performer. “- ITG Journal Learn More

2 tubas (or 2 bass trombones)

or tuba/bass trombone with downloadable backing tracks (downloads included for both parts 1 and 2) – recorded by Zach Collins

Concert Duets is a collection of 14 arrangements of works by prominent 18^th-century composers, mostly taken from Trio Sonatas. Duet 11 is a Jim Self original work in the Rococo style; and Duets 12, 13 and 14 are arrangements of the three-movements of the Bach Concerto for Two Violins. Included with this edition are play-along recorded tracks by tubist Zach Collins, who also served as editor of the current edition.

I created these duets as Christmas gifts for my tuba playing friends, with the first duet being arranged in 1976.  All 14 of the duets are challenging and fun to play and are especially effective as concert pieces.

As a young musician I had the privilege of playing duets with many of the world’s finest tubists including Harvey Phillips, John Fletcher, Bob Pallansch, Chester, Schmitz, Dan Perantoni, Toby Hanks, Ron Bishop, Winston Morris and Tommy Johnson. I learned more about playing music in these duo sessions than from any other musical activity I have ever experienced. Duets are powerful teaching tools for learning and mastering rhythm, phrasing and intonation and for developing overall musicianship.

Jim Self:

Self (b. 1943) is a Los Angeles free-lance musician, a veteran of thousands of Hollywood motion pictures, television shows and records, and tuba soloist on many prominent movies. His tuba was the “Voice of the Mothership” in Close Encounters of the Third Kind. He is Principal Tuba/Cimbasso with the Pacific and Pasadena Symphonies and the Los Angeles Opera and Hollywood Bowl Orchestras. Formerly he was in The U.S. Army Band and tuba / euphonium professor at the University of Tennessee. He holds a DMA from the USC Thornton School of Music where he is Adjunct Professor of Tuba and Chamber Music. His compositions and arrangements include works for solo tuba, brass quintet, other brass, string and woodwind chamber music, wind band and orchestra. Jim has produced many solo jazz and classical recordings. His music and recordings are available from Potenza Music and www.jimself.com. Jim Self is a Yamaha Performing Artist.

Zach Collins, editor:

Zach Collins is professor of Tuba and Euphonium at Indiana University of Pennsylvania. In 2019, he released his first solo album, Chronicle. It was recognized with the 2021 ITEA Roger Bobo Award for Excellence in Recording for the best Solo Tuba Album.

His interpretation of William Kraft’s Encounters II for Solo Tuba was released on Cambria Master Recordings. Zach performs with Eastern Standard, a horn, tuba, piano trio he formed with Heidi Lucas and Jacob Ertl. The ensemble has released two commercial albums, Eastern Standard and Wanderlust.

Zach regularly performs with the Keystone Chamber Winds, Altoona Symphony Orchestra, and West Virginia Symphony Orchestras. His compositions and arrangements for brass and for tuba and euphonium can be purchased from Cimarron Music and Eighth Note Publications. Zach earned degrees from Texas Christian University and the University of Southern California. His primary teachers have been Richard Murrow, Jim Self, Tommy Johnson, and Norm Pearson. Zach Collins is a Miraphone artist.

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Bass Clarinet or Euphonium and Marimba

From the composer:

Duende is a commission from Duo Antwerp, formed by Daniel Bellovi (Bass Clarinet) and Adilia Yip (Marimba), to promote the growth of bass clarinet as a solo instrument, and include Spanish music in the repertoire of this wonderful instrument.

It has been performed in its concerts by the Duo Antwerp in various countries. The version for euphonium and marimba was premiered at the AETYB Festival Madrid 2019- Super Regional ITEA by the Moreau VanTuinen Duo.

After an initial introduction in the form of lament, Duende develops between the first theme marked by the rhythmic ostinato of the marimba (register to low E) and the second theme in the form of buleria in which the two instruments alternate the melodic role. Interspersed between the two themes appear the demanding and suggestive cadences for the bass clarinet or the euphonium and the marimba.

The marked Spanish character of the piece, a good dose of virtuosity in the solo cadenzas, and catchy melodies to the rhythm of buleria, make Duende an irresistible score for a recital of bass clarinet or euphonium with marimba, for the performers and for the public.

- Eduardo Nogueroles

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unaccompanied

From the composer:

“La mirada del Dragón” for solo tuba is dedicated to the memory of the great tuba player and teacher Mel Culbertson. It is inspired by Mel’s lessons on the passage from Wagner’s opera “Siegfried” when Fafner, the dragon guardian of the Nibelungen’s treasure, appears.

The piece, best played on contrabass tuba, was premiered by the composer in May 2019 at the University of Iowa during the International Tuba-Euphonium Conference (ITEC). This work poses significant technical challenges for the musician owing to its contemporary composition techniques combined with the traditional demands of sonority and phrasing.

“La mirada del Dragón” is structured in four sections:

The first section evokes the awakening of the dragon, in which the deep sounds of the tuba combine with air effects to create a lazy, dreary atmosphere.

In the second section, the dragon, hungry and furious, leaves his cave in search of food and does not hesitate to threaten all beings that stand in his way. Frulattos and glissandos, combined with large intervals and a rapid tempo, invoke the struggle for survival in the animal world.

The scherzando of the third section depicts a Fafner struggling to rid his mind of the greed that led him to kill his brother and steal the Nibelungen’s gold. But Fafner’s heart is cold and in the end he realized that he cannot fight against himself.

The fourth and final section of the piece show the angry dragon leaving the surrounding world and gradually returning to his refuge, where he locks himself back in his dreams.

I have never seen a real dragon, but if they ever have existed, I am certain that a dragon’s gaze would be as sincere, deep and penetrating as Mel Culbertson’s gaze. Perhaps I should call this piece “La mirada de Mel”, don’t you think?

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From the composer:

Canela Fina was premiered in the AETYB Valencia 2016 Festival by Juanjo Munera and Sergio Finca to whom the piece is dedicated. The piece begins with a cadenza in which the euphonium and the tuba dialogue briefly showing their full ranges. Then, a virtuous buleria begins, in which we can optionally include the accompaniment of a drum-set or a flamenco cajon to give the piece a characteristic Spanish atmosphere.

Canela Fina received the Harvey Phillips Award for Composition Excellence in the category of Tuba or Euphonium featured in Chamber Music granted in 2019 by the International Tuba Euphonium Association (ITEA).

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with piano

Written for IWBC anddedicated to Roger Bobo, premiered by Velvet Brown, May 25, 2019 at the International Woman's Brass Conference, Tempe, Arizona

"It's not the answers that are the important thing; it's the searching and growing we experience as we acquire more knowledge and information in this life." - Roger Bobo                                                                                                                                           

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EEETTT

Four Personalities was commissioned by David Saltzman and the Bowling Green State University tuba and euphonium ensemble in 2019. The work consists of four movements, each one representing a different personality or affection:

I. Empathetic – Lush and peaceful, this movement represents someone who always there to help and comfort others, even if it is at the expense of their own health and wellbeing. The first euphonium is featured with a plaintive introductory first melody and an emotion-driven second one that soars above the ensemble.

II. Twisted – A more cynical and maniacal section that blazes along with an aggressive main motive in mixed meter and winding rhythmic passages that snake throughout the ensemble. This movement represents the worst of humanity.

III. Pleasant – A meditative, Debussy-inspired tuba solo, this movement represents a thoughtful, kind, and patient individual. Lightly scored quintal and quartal accompaniment set the scene for the solo tuba, which provides easy-going and contemplative melodic lines that fluctuate between an introspective, quieter mindset and a more extroverted and welcoming one.

IV. Night Owl – Consisting of a rhythmically driven fast introduction, a rapid-fire dance featuring the first euphonium, a slower, reflective section with additive texture, and a return to the dance material, this final movement represents the hyper insomniac who goes for joyrides at 3:00 AM on the empty, misty city streets.

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Solo and EEETT

for Brian L. Bowman and the University of Central Arkansas Tuba-Euphonium Ensemble (Premiered at the 2019 "Pershing's Own" U.S. Army Tuba-Euphonium Workshop) Learn More

with Piano; Written for Austin Seybert

Holy Bible, New English Version: Matthew 2: 16-18

Herod Kills the Children

16 Then Herod, when he saw that he had been tricked by the wise men, became furious, and he sent and killed all the male children in Bethlehem and in all that region who were two years old or under, according to the time that he had ascertained from the wise men.

17 a Then was fulfilled what was spoken by the prophet Jeremiah:

18 b“A voice was heard in Ramah,

weeping and loud lamentation,

Rachel weeping for her children;

she refused to be comforted, because they care no more.”

USA version

Then the President became furious and worried about the potential challenges to his power and authority. He separated all the immigrant children from their parents, put them in cages, suppressed their documentation and allowed them to become malnourished and ill without proper food and care. Some died, many became despondent and cried repeatedly for their mothers. All suffered and their parents did not know where or how they were.

Barbara York, 2019

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From the composer:

Although there are approximately 60 arrangements and compositions for bass clarinet quartet from the Edmund Welles Library, there is currently (October 2011) only one piece from zeroth Law that departs from this four bass clarinet instrumentation, and that is the bass clarinet duo piece written in 2008 for Sqwonk (Jeff Anderle and Jonathan Russell, also members of Edmund Welles).

This was a chance to write more transparent textures, more sincere melodic gestures, and more blazingly virtuosic, high-speed material than appears in the quartet compositions: a piece that was both more concise and intimate while also being adventurous and ambitious. The result was 5 vignettes connected together to form a close-up and personal journey, hence, Sojourn of the Face.

Ideally the players will forge an intimate and precise renditions of each section that reflects, in some way, the part of the face to which it corresponds. The clues to which section goes with which part of the face are in the rehearsal letters: M = mouth; E = ears; H = head/frontal lobe/neo-cortex; I = eyes; N = nose. There is a correspondence to the moods of each section and the functions of these parts of the face, but each player/duo should explore that personally and interpret accordingly. That being said, the recording of “Sojourn of the Face” on the Sqwonk album “Black” is an excellent reference for how effectively this piece can be performed.

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with Piano

Arranger Kristy Rowe writes the following about Romanze:

“The idea of creating a baritone album of romantic pieces came about in 2011 while studying at the Royal Northern College of Music. I found the Schumann Romances in a pile of old music in the RNCM library during my first week of studies. A few months later, I prepared them for a lesson with my mentor, Steven Mead, and he immediately realized the suitability of this genre of music for the baritone. It was this inspiration that ignited the idea of creating an album of romantic pieces for the baritone. While some changes were necessary in the process of making the pieces “baritone friendly”, I have tried to stay as true to the original composers’ intent as possible. I have always been drawn to Romantic music and the musical freedom that it encourages. I hope others find the same sense of enjoyment from playing or listening to this music.”

Romanze is a collection of sheet music from the album “Romanze”. Titles include:

Romanze, Friedrich Diethe

Notturno, Robert Clerisse

Three Romances (op. 94), Robert Schumann

Arioso, Joseph Hector Fiocco

Six Nocturnes (op. 186), Johann Wenzel Kalliwoda

Adagio (op. 9), Vojtech Jirovec

Nocturne (op. 55, nr. 1), Josef Holbrooke

Romanze (op. 85), Max Bruch

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with downloadable backing track

Exit the Foundry was originally commissioned for euphonium by Matthew Turek, a University of Wisconsin-Eau Claire student completing a research project that explored the psychological experience of composition. Turek commissioned works from seven student composers, offering them very few guidelines save the inclusion of his instrument, euphonium. Hase’s contribution, Exit the Foundry, incorporates three contrasting sonic elements. The first element, recorded and sampled mechanical sounds, includes various metallic hits, blowtorches, saws, fans, and other industrial noises. The second element, synthetic electronic instruments, consists of synth pads, leads, arpeggios, and an electronic drum ket. The third element is a low/mid register acoustic instrument that offers a contrastingly natural tone and lyrical voice. Hase produced the accompaniment track for Exit the Foundry in a computer based digital audio workstation, and included a multiphonic passage in the live instrument line to offer an aural bridge between the smooth timbre of a live instrument and the sometimes rough and piercing wanderings of the synthetic and mechanical sounds. At the start of the piece, each element battles for its place in the foreground, but inevitably a compromise is reached and all three elements meld into one coherent musical voice.

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with Piano

Alison Stuart is the nom de plume (using their middle names) for the composing team of Debra Alexander and James Grant, both award-winning artists and dedicated teachers who have joined forces to compose melodically lyrical and harmonically rich new music specifically for, but not limited to, middle and high school bands, string orchestras and recitalists. Their music is available exclusively through Potenza Music Publishers.

With a memorable melody and a rich harmonic underpinning, this version of At Peace: Commemoration for clarinet and piano celebrates and honors the historical events and significant people who have passed from our lives. Originally composed for band, At Peace: Commemoration was commissioned by Lead Commissioner Dr. Josh Byrd and the University of West Georgia Wind Ensemble, with assistance from a consortium of participating commissioning ensembles.

This version of At Peace: Commemoration includes three separate clarinet parts to accommodate players of all levels: those who are in their early studies; those who are playing at the intermediate level; and those who are more advanced. The piano accompaniment remains the same in all three versions. The intermediate and advanced versions of the clarinet part simply extend the range and rhythmic palette.

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“Some of my favorite Christmas carols are used to create this concert arrangement for standard brass quintet.” – Michael Kibbe

Medley of: I Heard the Bells on Christmas Day; Bring a Torch Jeanette, Isabella; Good King Wenceslaus; Little Town of Bethlehem; Joy to the World

Michael Kibbe, composer, has a total creative output is over 220 concert works, including two string quartets, 13 wind quintets, a large variety of mixed chamber music for winds, strings, brass, harp, keyboards and percussion. His catalogue includes works for band, orchestra and concertos. Kibbe’s compositions have been performed throughout the United States, Mexico, Europe, Israel and China.

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unaccompanied

“These five variations are on an original tune of two contrasting parts. The work was composed for a horn player friend, Alan Grant, who performed the premiere. It is quite a challenging piece, I have been told! “- Michael Kibbe

Michael Kibbe, composer, has a total creative output is over 220 concert works, including two string quartets, 13 wind quintets, a large variety of mixed chamber music for winds, strings, brass, harp, keyboards and percussion. His catalogue includes works for band, orchestra and concertos. Kibbe’s compositions have been performed throughout the United States, Mexico, Europe, Israel and China.

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