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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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Three for Two (or One or Three) is a versatile composition for trombone(s) and/or euphonium(s) with optional percussion (bongos, snare drum) on any or all  movements.

A 6-8 minute work playable with a tenor-bass “trigger” trombone, challenging for but playable by a college senior. Three for Two teaches jazz stylistic characteristics that are not normally encountered in standard classical solos.

The three movements can be performed entirely or independently, and with variances in instrumentation from solo trombone or euphonium (TC euphonium parts included) to duos including bass trombone or percussion or trios including the same. All notes are playable without a trigger-horn, and the duo version is easier for the brass-performer than the solo version. An optional percussion part includes the highly portable instruments of bongos and snare drum so that staging is easily accomplished for a horn/percussion duo or trio.

The title of the piece refers to the three movements scored for duo, solo, or trio (ordered so within the title since it rhymes with the popular title “Tea for Two”). One can generate fourteen instrumentations of this composition, as indicated on the cover sheet of each part.

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2 Euphoniums and Tuba or 3 Tubas

From the arranger, “The complete two and three-part Inventions arranged for variable low-brass duet and trio by Benjamin Pierce. Includes score and three parts: 1st part for euphonium/tenor trombone, 2nd part for euphonium/tenor trombone, and 3rd part for tuba/bass trombone. Bottom part of the 2-part Inventions is provided in two octaves for use by tenor trombone/euphonium, or bass trombone/tuba.”

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unaccompanied

From the composer:

The Hispanic Euphonium is a work for solo Euphonium dedicated to my talented and great friend Eduardo Diz.

The music was composed for the Spanish Association of Tubas and Euphoniums (AETYB) 2018 Competition and premiered at the Royal Conservatory of Music of Madrid.

Containing avant-garde techniques such as slaps, double voices, and glissandos, The Hispanic Euphonium is Spanish in character and poses formidable technical and musical challenges for the instrumentalist.

The music begins with a beautiful melody offering the soloist the opportunity to display deep expression and lyricism. A second section is a furious and energetic Allegro full of chromatism that leads to a virtuosic Cadenza.

The central part of the piece is a delicate Waltz in the form of theme and variations. The melody is simple and gentle, and its transformation into each of the two variations requires virtuosity on the part of the interpreter.

After a Scherzando in binary form that builds tension, we ultimately arrive at the final Andalusian dance that includes flamenco winks, with kicks in the style of the dancers and hand pops that remind us of conventional flamenco guitar strokes.

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with downloadable elctronic back 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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From the composer:

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.

• Ben Hase

Backing track to downloaded via QR code

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with Piano

Dance King is a set of dances for piano and tuba formed into one continuous suite. The dances include, Rainmaking, Trance Anthem, Wanton Funeral, Lazy Ghost Chaconne, and 8-Bit Jig. The music is inspired by Native American dance (Rainmaking), Electronic Dance Music (Trance Anthem), video game music (8-Bit Jig), and includes unique twists on some classic dance styles (Wanton Funeral, an aleatoric funeral march, and Lazy Ghost Chaconne, where a repeated pattern of notes lazily drop out, disappear, or become veiled over time).

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includes B-flat and C Trumpet parts Learn More

includes optional Contrabassoon part Learn More

ENERGICO! for band or wind ensemble ( begins with a concise, stately section that presents harmonic and rhythmic material that is developed throughout. The festive main body of the work is in an episodic ABA-Coda format and mixes Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies. Energico! was originally written for flute ensemble during the summer of 2008: The Long Island Flute Club with support from The Brannen-Cooper Fund commissioned it in celebration of its 25th anniversary (1984-2009). It was premiered in 2009 by the Professional Flute Choir of the Long Island Flute Club at the National Flute Association Convention in New York City. The flute choir version of the work is available from Brixton Publications. Energico! for band intensifies the energy of the original version by utilizing the full resources of the concert band, including four percussion parts. The timbral palette is expanded accordingly and includes the use of mutes, stopped horn, and other colorful devices. Energico! for band is a sophisticated, yet audience-friendly work. Learn More

In 2018, Spanish bass and contrabass trombonist Javier Colomer will record a new album that includes works for trombone and organ as well as for unaccompanied bass and contrabass trombones. The music on this disc spans four centuries, from Palestrina and Gabrielli through Handel, Schubert, and Faure, among others. The newest piece on the album – a work for unaccompanied contrabass trombone by American composer Frank Gulino – had not been completed at the time

Javier Colomer is an internationally renowned bass and contrabass trombone soloist and teacher who has given recitals and master classes across the globe for more than 25 years. During that time, Javier has performed with orchestras and wind bands both as an ensemble musician and concerto soloist, and presented masterclasses to over a thousand students from some of the world's leading conservatories and universities. He is a past member of the ITA Board of Advisors and also authored “The World of The Contrabass Trombone,” the first comprehensive method book for that instrument. Javier's advocacy of the contrabass trombone as a solo instrument is a natural extension of his experience as a performer and pedagogue, and he continues to regularly commission and premiere new works for the bass and contrabass trombones. Please visit www.javicolomer.com to learn more.

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Arranged for Brass Quintet by Paul Chauvin and perfect for a children's concert, this medley includes: Blow the Man Down - Sailing, Sailing - Ta-Ra-Ra Boom-Der-Aye - Mexican Hat Dance - Camptown Races Learn More

For Woodwind Quintet and the Horn player has the solo. It is a perfect set to feature the Horn player!

Includes:

CONCERTO NO. 1, K. 412

CONCERTO NO. 2, K. 417

CONCERTO NO. 3, K. 447

CONCERTO NO. 4, K. 495

CONCERT RONDO, K. 371

 

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Arranged for Brass Quintet, this set includes two pieces:

O MIO BABBINO CARO - Giacomo Puccini

Lauretta's aria from "Gianni Schicchi"

INTERMEZZO - Pietro Mascagni

from Act III of "Cavalleria Rusticana"

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Arranged for Horn Quartet, this set includes:  

1. I Wander Up and Down

2. Weep, O Mine Eyes

3. Come Shepherds, Follow Me

4. The Elve's Dance

5. Lure, Falconers!

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Arranged for Brass Quintet, this set includes four pieces:

1. Hark, All Ye Lovely Saints - Thomas Weelkes

2. The Silver Swan - Orlando Gibbons

3. Now is the Month of Maying - Thomas Morley

4. Sing We and Chant It - Thomas Morley

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