Root Category Migrated - Shipped (printed) - Percussion - 5
Instrumentation: Octet Instruments: Euphonium, Percussion, Tuba
Genre: Contemporary4 Euphs, 4 Tubas and 3 Percussion; with special thanks to Mr James Barnes, Mr. Scott Watson, and the K.U. Tuba and Euphonium Ensemble Learn More
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: Contemporary5 Euphs, 5 Tubas, Timpani and Percussion; for Winston Morris and Symphonia; I. Fanfare II. The Clouds of Autumn III. Scherzo IV. Chorale V. Remembering Rich Learn More
Instrumentation: Brass Choir Instruments: Euphonium, French Horn, Percussion, Timpani, Trombone, Trumpet, Tuba
Genre: ChristmasChristmas Brass is a great opener for a concert. It uses snippets from various Christmas songs that everyone will recognize. Learn More
Instrumentation: Solo and Chamber group Instruments: Bass, Percussion, Piano, Tuba
reduction with Rhythm section (recording is with wind ensemble)
The Concerto for tuba and winds is in my usual Third-Stream style, but I utilized
many new techniques for the first time in this piece. Jazz, rock, hip-hop and many kinds
of classical styles come together in the Concerto. Polymeter, improvisation and intuitive
swing notation play important roles in this piece as well as traditional four-part
counterpoint and ancient Greek form. It is simply titled Concerto in a classical fashion
but each movement has a more descriptive title.
I. Swing Low
III. Cutting Contest
I utilized a customized variation on the classical concerto form: a sonata-allegro
first movement, a slow second movement and a theme and variations finale.
Philosophically, this piece explores the traditional nature of a concerto from several
different angles. The first movement explores the cooperative side of a concerto. One
Latin root of the word concerto is conserere, which means to join. The soloist and wind
ensemble cooperate to produce many layers of polymeter in Swing Low. The Latin root
certamen, on the other hand, means to fight. So while the first movement is a
cooperative effort, the third movement, Cutting Contest, explores the idea of a musical
battle between the solo tuba and the wind ensemble on a familiar tune.
On March 6th, 2012, the Concerto was premiered in Seattle. Erin Bodnar led the
University of Washington Wind Ensemble with myself soloing. The Central Washington
University Wind Ensemble then recorded it with Dean Snavely conducting.
This reduction of Concerto features two different versions of the third movement
to allow for players to navigate the virtuosic fingering acrobatics on an E-Flat or F tuba.
The solo lines at letter E were inspired by Arban’s Carnival of Venice.
Curtis PeacockLearn More
January 26, 2014
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: Classical4 Euphoniums, 4 Tubas and Percussion; should be performed with 2 players to each part; from Samson and Delila Learn More$25.00
Instrumentation: Sextet Instruments: Euphonium, Tuba
Genre: Contemporary2 Euphs, 2 F Tubas, 2 C Tubas and Percussion; Commissioned by Symphonia, conducted by Winston Morris, With assistance from the Sasktchewan Arts Board.
The ﬁrst movement, Jason and the Argonauts, represents the crew of heroes on the "Argo," the ship built to carry them in their quest for the Golden Fleece.
The Symplegades, or clashing islands, impeded the entrance to the Euxine Sea. These small rocky islands ﬂoated on the surface of the water, and in their tossings and heavings occasionally came together to crush anything caught between them. Jason, on the advice of Phineus, let a dove ﬂy through the islands ﬁrst, and when they clashed, just missing her, Jason passed safely through on the rebound.
Medea was the beautiful and seductive daughter of the Colchian king who owned the powerful sorceress and gives Jason a charm to help him complete the tasks her father demanded that Jason do to win the Fleece. One of those tasks, Sowing the Dragon's Teeth, required that Jason yoke two ﬁre-breathing bulls to a plow and sow the teeth of the dragon which Cadmus had slain and from which would grow a crop of armed men. When this belligerent army rose from the ground, Jason, using the charm Medea had given him, caused such confusion in the ranks of his assailants that they turned on each other until there were none left.
The ﬁnal movement, The Golden Fleece, comes as a tribute to the success of the group of heroes in their long and difﬁcult quest.Learn More
Instrumentation: Brass Choir Instruments: French Horn, Percussion, Timpani, Trombone, Trumpet, Tuba
Genre: Contemporary3 Trumpets, 4 Horns, 4 Trombones, Tuba, Timpani and Percussion Learn More
As low as $18.00
Instrumentation: Mixed Ensemble Instruments: Cello, Clarinet, Percussion, Tuba
Genre: ContemporaryTuba, Bb Clarinet, Cello and Percussion; Winner of a 2006 Harvey Phillips Award for Composition Excellence from the International Tuba-Euphonium Association Learn More
Instrumentation: Solo and Piano Instruments: Percussion, Piano, Trombone
Genre: ContemporaryWith Piano and Percussion, this solo is a beautiful jazz ballad. Works best with Electronic Keyboard. Learn More
Instrumentation: Quintet Instruments: Euphonium, Tuba
2 Euphs, 3 Tubas and optional Percussion
TUBAS LATINAS (overture for tuba ensemble) is a one movement work commissioned by Earnest Walls for the Tennessee Tech Tuba Ensemble, R. Winston Morris, Director, and is dedicated to this outstanding and renown group of musicians. The work was composed between December 1991 and January 1992 on a request by Mr. Morris for a piece to be premiered at the 1992 National M.E.N.C. Convention in New Orleans (April 1992) and later to be performed at the International T.U.B.A. Conference in Lexington, Kentucky (May 1992).
TUBAS LATINAS is scored for 2 Euphonium and 3 Tuba parts along with 2 optional percussion parts (Perc. 1: 2 claves and 2 cowbells, the latter to be mounted on a stand and played with snare drum sticks)(Perc. 2: 2 maracas and tambourine). The composition is approximately 6 minutes in length and contrasts Spanish and latin american musical elements. It consists of 4 sections in a slow-fast-slow-fast format. The first section opens with a slow introduction featuring Euph. 1. in a cantabile Spanish style melody. The second section, which begins at measure 18, consists of bullfight bravura type music which is occasionally interrupted by syncopated jazz rhythms. In section 3, which begins at measure 134, the opening melody of the introduction returns, this time dressed in different garb. A solo Tba. 1. cadenza leads to section 4. This section contrasts with the previous 3 spanish sections since it is in a latin style. This final section, which begins at measure 147, is as long as the previous 3 sections combined. A secondary theme from section 2 (meas. 68-83) is developed in latin style during the second part of section 4 (meas. 175-186 and 216-224). It is also in this section that the optional percussion parts are introduced. All players should ensure that the latin style rhythms are played effortlessly, never hurried or labored.
Aldo Rafael ForteLearn More