Brass

Brass
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  1. Dark Matter

    Composer: Kirby, Benedict
    Instrumentation: Solo and Piano Instruments: Piano, Tuba
    Genre: Contemporary

    with Piano

    Dark Matter - Petite Concertante for Tuba and Piano is a musical meditation on the metaphorical and literal connotations that can be derived from the title words.  The music does have three distinct sections which are woven together to form a sort of triple entendre of meaning.  They are book-ended by “home” thematic material.

    The first of the three sections, Moderato - bar 39, is meant to imply an “official” seriousness of tone with a developed and dialoguing theme between the soloist and accompaniment.  The second section, Doloroso - bar 89, is meant to be played out in quite a sombre context as if to amplify the intent of the previous section and go deeper into it.  This mood is eventually relieved as the piece opens up suggesting new possibilities to come.  The third section, Allegro - bar 153, sheds the sombre qualities and takes off to give us a more interstellar perspective.  The intent here is to celebrate the phenomenal astronomical research concerning the make-up of the universe - in particular that 70% of the material out there that we can’t see but nonetheless has quite a dramatic effect on how everything else (solar systems, galaxies, black holes, etc.) behave!  There is one quasi-literal illusion to throwing a switch on a super collider built into the music (bars 224-226) - though this composer confesses never actually having heard one! The music finally finds itself laced with minimalism garnished with coloristic effects and a soaring tuba part as it returns to a transformed version of the opening material.  The final flourish reminds us of the scope of this petite concertante. 

    This music was first performed on March 22, 2013 by the composer as soloist and the Washington State University Wind Ensemble directed by Dan Pham during the 2013 I.T.E.A. Northwest Regional Tuba & Euphonium Conference.

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  2. Kidstuff Protocols

    Composer: Kirby, Benedict
    Instrumentation: Octet Instruments: Euphonium, Tuba
    Genre: Contemporary
    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

    From $22.00

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  3. Overture

    Composer: Händel, Georg Friedrich Arranger: McIntyre, Jim
    Instrumentation: Quartet Instruments: Euphonium, Tuba
    Genre: Baroque
    from “Messiah” Learn More

    From $17.00

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  4. Salutations

    Composer: Kirby, Benedict
    Instrumentation: Sextet Instruments: Euphonium, Tuba
    Genre: Contemporary
    EEETTT Salutations was written in the fall of 2018 for the “Young At Heart” massed tuba & euphonium choir at the 2019 International Tuba & Euphonium Conference held in late May on the campus of the University of Iowa in Iowa City, IA. The music is in 6 parts and is intended for lots of players with numbers equally balanced among the parts. It will also work just fine with one on a part. Dynamics and articulations should be very literally observed as the music weaves its way from special “wind” effects into actual playing. The fact of the music being a concert fanfare is only actually musically revealed when we reach bar 56. All music before that should always be played with a leading/forecasting quality - especially beginning at bar 46 and the next 10 bars of music. Bar 56 is marked “Brassy!” and should contrast very much from the preceding music. Bar 60 opens up wide and should be played broadly. A tutti unison, more counterpoint and changes of key also need a terraced ramping up of energy as the music approaches a sort of awe-inspired “Young At Heart” theme (sing those words in your mind and you’ll know what I mean!) which is heard at bar 88 (we first hear it at bar 31). More fanfare gesturing and a brief recap of the introduction bring the piece to a grand conclusion! Learn More

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