Solo Tuba

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  1. Into The Madhouse

    Composer: Lester, Ian
    Instrumentation: Solo Instruments: Tuba
    Genre: Contemporary
    unaccompanied; INTO THE MADHOUSE attempts to loosely reflect the sporadic spectrum of mood changes, manic episodes, despondent thoughts, and other struggles experienced by an individual with Bipolar 1 Disorder. Learn More

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  2. Mechanicals, The

    Composer: Joliffe, Edmund
    Instrumentation: Solo Instruments: Tuba
    Genre: Contemporary

    unaccompanied

    This piece is inspired by the Mechanicals from Shakespeare’s 'A Midsummer Night’s Dream'.

    Bottom is perhaps the most well-known of the Mechanicals and is a comic character whose head is turned into an ass in the play. Flute is a bellows maker. Quince is the director of the play within the play ‘Pyramus and Thisbe’ that the Mechanicals put on and often struggles to fit his lines into the correct meter and make rhymes. Snug plays 

    the lion in ‘Pyramus and Thisbe’. He is keen to assure the audience that he is not an actual lion in case they get scared. Snout plays the wall that the lovers speak through and has only two lines. Starveling plays the moonshine and is utterly derided by the audience. 

     

    The Mechanicals should be played with a brief pause between each movement, except for Snout, which should lead straight into Starveling.

     

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  3. Mini-Suite for Solo Tuba

    Composer: Ingram, Charles
    Instrumentation: Solo Instruments: Tuba
    Genre: Contemporary

    unaccompanied

    I. Praeludium

    II. Getting Around

    III. Simple Song

    IV. Off Waltz

    V. Pompous March

    VI. Faux Gigue

    The Mini Suite for Solo Tuba was composed in 2015 for my good friend Dr. Richard Perry who is the Tuba/Euphonium professor at the University of Southern Mississippi. Dr. Perry was preparing a recital of unaccompanied music for tuba, and he asked me for a new piece.

    The structure of the Mini Suite is very loosely based on the idea of the Baroque instrumental suite. While the Baroque suite is based on a series of dances, this one consists of six movements which are fleeting impressions found in the character pieces that are common in the Romantic period. The last movement is the only one that gives the nod to an actual dance found in the traditional Baroque suite.

    The first movement, Praeludium, has no programmatic title and serves the purpose of opening the suite.

    The second movement, Getting Around, gives the impression of someone who is far too busy to take time for himself until the last measure when he succumbs to exhaustion.

    The third movement, Simple Song, is just that; a simple melody that is delivered without any undue fussiness.

    The next movement, Off Waltz, is muted throughout and the steady rhythm that embodies the waltz is obscured on several occasions so that the beat is “off”.

    The Pompous March hints at a self-important individual strutting his stuff around town and unintentionally making a comical spectacle of himself.

    The final movement, Faux Gigue, goes back to the model of the Baroque suite which generally ended with a lively gigue in compound meter.  I decided to write this one in three-quarter time as opposed to one of the compound meters. The term faux is a nod to the fact that this piece does not have the contrapuntal texture that is characteristic of the gigue. It also has meter changes that occur here and there which throws the steadiness of the dance out of kilter.

     

     

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  4. Rock Hopper

    Composer: Robertson, Gail
    Instrumentation: Solo Instruments: Euphonium, Tuba
    Genre: Contemporary

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  5. Will There Be a Time

    Composer: Raum, Elizabeth
    Instrumentation: Solo Instruments: Tuba
    Genre: Contemporary

    for unaccompanied Tuba

    Will There Be a Time is a work for solo tuba that makes a statement against war. In the opening section, March and Battle, the tuba simulates the low rumble of the approaching tanks and gunshots of the fighting. The frantic cries of those trying to escape are mixed with the sounds of the battle in Fleeing Refugees while the hopelessness of the Aftermath asks the question, Will There Be a Time?

    This work was inspired by a news report I heard when a woman, driven from her home by war, was briefly interviewed. She and her neighbour had been friends, having coffee together while they talked about their children, and now, she and her neighbour were forced to be enemies against their will by the warring factions and she couldn't understand why this had to be.

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