Tuba and Piano

with Piano; premiered by Alan Baer (NY Philharmonic) Learn More

with Piano and Percussion (drum set, egg shaker, cowbell, suspended cymbal, castanets)

As its title implies, Concerto a la mode was composed both as a journey in exploring different styles and as a treat for the audience and performer. After a slow, lyrical introduction, the first movement, “Flan de Queso”, erupts into a Spanish march that pushes the performer to his or her limits. Percussion acts as a motor throughout the movement, which ends with a lyrical transition to “Crepe Suzette”. The solo tuba line sings throughout the second movement, backed by the lush harmonies of the accompaniment. Drum set kicks off the final movement, which features a driving rock/jazz style throughout. Influenced by its American popular music roots, “Apple Pie” has an improvisatory feel in the solo tuba line and a “tonality with bite” harmonic vocabulary.

– Ben Miles

Recording is from the Orchestral version

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with Piano; Solo parts for F Tuba, C Tuba, and Euphonium Learn More

with Piano

Concerto for Tuba is an easy level piece designed to introduce inexperienced tuba players to the world of accompanied solo performance. The ranges are moderate and the rhythms are not difficult. The format is that of a traditional three movement concerto, with movements labeled Moderato, Andante, and Allegro. For middle school or high school players, this piece can be a real confidence builder and help them reach a level of success, while being entertaining for the listener. Learn More

with Piano

3 Movements

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with Piano

This work was commissioned by Timothy Northcut in honor of Winston Morris, professor of tuba and euphonium at Tennessee Tech University since 1967. Among many others, his former students—both Tim and I included—call him a mentor, friend, and genuine hero to the tuba-euphonium world. Anyone who’s met Winston knows that he’s a larger-than-life character, and our goal was to capture a snapshot of that character within the piece.

The first movement, RWM, is constructed from a rhythmic motive that forms the basis of the entire work: 1/4 note followed by 4 1/8 notes

This motive, based on the name ‘R. Winston Morris’, becomes the driving force throughout the work, acting as a musical anchor point. The entrance of the solo tuba introduces the main musical theme that goes on to form much of the melodic material. Conceptually, the first movement represents a day in September of 1967 as Morris began his career at Tennessee Tech University. Beginning with a gentle, noble theme, the mood quickly builds and shifts into an energetic and sometimes whimsical whirlwind. The end of the movement relentlessly hammers out the motive—a tribute to Winston’s unrelenting musical drive. This abruptly shifts with the final note, moving seamlessly into the second movement.

The second movement, Sweet Steel, is dedicated in loving memory to Barbara “Bobbie” Morris. Although the tone is very dark and brooding, it’s ultimately a love song by the soloist, journeying through the stages of grief. From the darkness a second theme, hopeful and uplifting, rises to a heartfelt climax.

The final movement, Cookevegas, is a tongue-in-cheek reference to Cookeville, TN, home of Winston and Tennessee Tech University. His love of jazz is a major influence on this hectic, jazzy trip through the small Southern city. A return of the driving ‘RWM’ motive from the first movement brings the concerto to its finale.

Recording is from the premiere with the U.S. Army Band:

https://www.usarmyband.com/tuba/index.html

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with Piano; can be played by either Tuba or Bass Trombone

written for Steven Maxwell, Frank Tracz,

and the Kansas State University Wind Ensemble

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with Piano Learn More

with Piano;

I – Soaring

II – Romance

III – Riot!

The Concerto for Tuba and Wind Ensemble was written for Alan Baer in January of 2011. It was written for Mr. Baer’s appearance with the Emporia State University Wind Ensemble.

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This is Øystein Baadsvik's first major work for tuba and orchestra.
Adapted for tuba and piano by Barbara York. 

"Simply gorgeous"
Dan Morgan - Musicweb International

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This is Øystein Baadsvik's first major work for tuba and orchestra. Arrangement for tuba solo and British style brass band by the composer.

"Simply gorgeous"
Dan Morgan - Musicweb International

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This is Øystein Baadsvik's first major work for tuba and orchestra. Arrangement for tuba solo and symphonic wind orchestra & percussion by the composer.

"Simply gorgeous"
Dan Morgan - Musicweb International

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This is Øystein Baadsvik's first major work for tuba and orchestra. Arrangement for tuba solo and symphonic wind section & percussion by the composer.

"Simply gorgeous"
Dan Morgan - Musicweb International

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with Piano; Reduction/Commissioned by and respectfully dedicated to His Lowness Jay Hunsberger Learn More

with Piano

This Tuba Concerto was commissioned in 2004 by tubist, Michael Fischer, and the Boise State University Symphony Orchestra. It was my fourth piece for Dr. Fischer, and is subtitled “Wars and Rumors of War”. Since I do tend to write “concept pieces”, there is some programmatic content that proceeds through the development of its underlying musical and emotional structure. Contrary to what its subtitle might suggest, this is not intended to be a political statement about war, but is rather intended to be a philosophical and even rather intimate examination of the personal effect that this type of activity has on those who participate in it.

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with Piano

The Concerto for Tuba: Three Furies exists in versions for orchestra (1995) and band (2011). Both are large ensemble incarnations of the 1993 Three Furies for Solo Tuba. That original unaccompanied work was composed at the request of tubist Mark Nelson, and it spawned an ongoing series of commissioned works for low brass composed over the last two decades. All three versions of the Furies (unaccompanied, the concerto versions with wind ensemble or orchestra, and this version with piano accompaniment) celebrate the surprising — indeed, remarkable — flexibility possessed by the tuba, and offer a music that is immediate, good-natured and fun, requiring of the soloist both keen musicianship and physical stamina.

This version of the Furies with piano accompaniment is intended for concert use as well as to aid preparations for performance with orchestra or band.

Each of the Three Furies is virtuosic in its own right, offering a multiplicity of distinct rhythms, melodic figures and articulations:

Fury I is marked “decidedly jocular” and is a pleasant ramble through the registers of the tuba, featuring angular arpeggios and tonguing demands that one does not usually associate with the instrument.

Fury II, in form somewhat reminiscent of a minuet with trio, contrasts series of long, arching arpeggiated figures with a congenial central waltz marked “gently inebriated.”

Fury III is relentless and powerful, exploiting the full dynamic and articulative range of the tuba. Again, the performer is met with virtuoso demands not normally encountered in the tuba literature.

Recorded by tubist Aaron Tindall.

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With Piano; published in this form for the first time. This is ideal for any high school student as it is not too difficult. Learn More

Concerto for Tuba No. 1 for Tuba, Drum Set, and Piano was written for Thomas Stein, professor of tuba and euphonium at the University of Missouri-Kansas City. Each of the four movements is given a one-word title which sets the tone for the corresponding movement: Flowing, Dance, Smoke, and Festivities. The first movement sways between several themes including the main “flowing” material and a heavier, eighth note motive that morphs into a buoyant, jazzy groove. The second movement conveys a light-hearted dance, yet there is a stern, ominous undertone always lurking in the shadows. The third movement brings the listener to the 1920s with the performers creating a smooth atmosphere in an era full of intrigue and mystery. The final movement is a non-stop, chaotic ride that gains momentum through groovy syncopations and off-kilter beats. The tubist brings the piece to a rapid-fire close with a head-banging cadenza and the return of the original thematic material. Learn More

with Piano

Dedicated to Sam Pilafian

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