Search results for: 'euphonium'

Winner of the 1995 TUBA Composition Contest fro Euphonium Etudes at the Elementary Level Learn More

ITEC Day 4 2016 Recital Pieces

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TEP11089/11090 Hexagon - Anne McGinty (Mark Nelson and Matt Tropman)

6 Movements - Euph/Tuba Solo and Duet with Piano

TEP10034 Contrapunctus IX - Bach/Forbes (IN U of Purdue)

Tuba Quartet

TEP10788 Bacchanale from “Samson and Dalila” - Saint-Saens/Wilson (E Carolina U)

Tuba Quartet

TEP10733 A Little Monster Music - Elizabeth Raum (E Carolina U)

Tuba Ensemble

TEP11088 - Prelude in C# Minor - Rachmaninov/Renshaw (Ensemble Subsonique)

Tuba Ensemble

CM2594 White Keys - Zach Collins (Atlas)

Tuba Quartet

CM2860 Ascendance - Ben McMillan (Atlas)

Tuba Quartet

CM1775 Power Play - Frank Gulino (Atlas)

Tuba Quartet

TEP10438 Mars - Holst/Butler (Appalachian State U)

Tuba Ensemble

TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)

Tuba Ensemble and Percussion

CM1481 Night on Bald Mountain - Mussorgsky/Sutherland (Presidio Brass)

Brass Quintet

CM2925 Shenandoah - arr. Scott Sutherland (Presidio Brass)

Brass Quartet and Piano

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ITEC Day 2 2016 Recital Pieces

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CM1347 Suite for Euphonium, and Tuba - Barbara York (Ken Kroesche and Michael Taylor)

Euph., Tuba and Piano

TEP10340 Tubamobile - Thom Ritter George (Southern MS)

Tuba Quartet

CM2369 Evolutions - Ben McMillan (Southern MS)

Tuba Ensemble

CM1651 Sizzl’ - Robert Denham (Aubrey Foard)

Tuba and Piano

EU405 St. James Infirmary - Primrose/Forbes (U of N IA)

Tuba Quartet

CM2736 Convent Window - Joanna Ross Hersey (Joanna Ross Hersey)

Unaccompanied Tuba

EU402 Funeral March of a Marionette - Gounod/Forbes (U of AL)

Tuba Quartet

TEP10878 Nocturno, Op. 7 - Strauss/Fischer (Jeremy McBride)

Tuba and Piano

CM2140 Tubaphonium Overture - Zach Collins (Murray State)

Tuba Ensemble

CM1477 Gravity Dances - Anthony Zilincik (Murray State)

Tuba Quartet

CM1707 Runnin’ with Bydlo - Greg Danner (Murray State)

Tuba Ensemble

TEP10935 Declarations - David Uber (U of TN)

Tuba Ensemble

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ITEC Day 1 2016 Recital Pieces

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CM2675 The Struggle Within - Jonathon Oliver (TN Tech)

Tuba Ensemble

CM0168 Quartet for Brass - Ramsoe/Buttery (The Alchemy Quartet)

Tuba Quartet

CM 0108 Twinkle, Twinkle Little Star - Mozart/Werden (The Alchemy Quartet)

Tuba Quartet

TEP10752 Procession of the Nobles - Rimsky-Korsakov/Butler (KS State U)

Tuba Quartet

CM2875 The Girl with the Flaxen Hair - Debussy/Maxwell (KS State U)

Tuba Quartet

OV1001 Cat Affairs - Anna Baadsvik (Beth Mitchell and Alex Lapins)

Tuba or Euphonium duet and Piano

TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)

Tuba Ensemble and Percussion

BW0494 Suite for Six Tubas - Barton Cummings (UCLA)

Tuba Ensemble

TEP10221 Quatre Chansons (UCLA)

Tuba Quartet

CM2117 Four Paintings by Grant Wood - Barbara York (John Manning)

Tuba and Piano

TEP10697 Concerto per Flicorno Basso - Amilcare Ponchielli (Benjamin Pierce)

Tuba and Piano

OV0713 Vise (Simple Song) - Skomsvoll (Oystein Baadsvik)

Tuba and Piano

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with Piano 

Serenade, Op.21, for Euphonium and Orchestra was composed in January 1979 as a work commissioned by Henry Charles Smith for the Minnesota Orchestra.   Smith, longtime principal trombonist with the Philadelphia Orchestra before assuming the resident conductor/trombone post with the Minnesota Orchestra, was the soloist on euphonium in the premiere subscription concert performances with the orchestra later that year.  

The Serenade is “an attractive, accessible but by no means insubstantial work” (Michael Anthony review, Minneapolis Star Tribune) for the instrument and orchestra.  The Serenade runs about 15 minutes, is cast in four sections, and there is much of a feeling of a serenade about it, especially in the first two sections.  Even the scherzo-like third section, after several pages of brassy, rhythmically vibrant activity, concludes with a series of slow, upward moving, yearning phrases in the solo instrument.  The work is tonal and in the orchestral version, there is a considerable amount of solo work from various instruments of the orchestra – like the dialogue between the euphonium and the oboe in the “Nocturne” second section.   Forsberg always keeps the solo instrument busy, especially in the festive finale.  But his concern seems to be less with virtuosic display  - or with exploring new techniques for the instrument – than with exploiting the instrument’s lyrical potential.  Although written especially for the euphonium, the work might be performed as well with the tenor trombone.  After editing and a few minor revisions from the 1979 manuscript score, the piece will now be available from Cimarron Music Press in piano, orchestra and wind ensemble accompaniment versions.

CWF, April 28, 2019

 

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with Piano

This Concerto for Euphonium and Wind Band was composed for one of my former teachers and fellow euphonist Dr. Gail Robertson. For this work I based the material around pitches corresponding to each letter of her first name: G = G natural; A = A natural; I = Ionian, or the current key’s tonic, C natural; L = Lydian, or the fourth degree of the current key, F natural. Each movement is derived in some way from this figure.

The work begins with an energetic fanfare and a taste of the second theme. The euphonium enters with similar pomp and dazzling virtuosity that settles into more heroic statements. Next, the euphonium soars over thick ensemble textures in a tender reflection. Finally, the soloist charges forth in a ferocious display of dexterity and power.

The Concerto premiered April 21^st, 2016 by Dr. Gail Robertson (euphonium) and the Little Rock Wind Symphony - Israel Getzov, conductor.

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An Advanced Tutor Learn More

A new look at fundamental practice presented by Adam Frey. The Game of Practice features extensive background and understanding into how to organize your practice around a player's strengths and weaknesses. The overall guidance, work sheets, and concepts on setting goals and monitoring progress will help create a greater sense of awareness, progress and achievement. This 100 page book features insightful approaches to building your skills of Breathing, Buzzing, Articulation, Flexibility, and Technique!

Another amazing aspect of The Game of Practice involves its use of videos with QR Codes, "Tech Tips" and "Tool Tips" that educate players about how to measure their progress with various technology and tools. Finally, scattered throughout are "Tips from the Top." These commentaries feature wisdom and humor from Adam Frey's 20 year career as a soloist and teacher.

A portion of all sales of The Game of Practice will be donated to help fund the Earle Louder Fellowships from the Euphonium Foundation.

 

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Solo Euphonium with Tuba Quartet (EETT) and Drums

Dracula for solo euphonium, tuba-euphonium quartet and drums was
commissioned by Benedict Kirby and the University of Montana for the 2014 Northern
Rockies Tuba Euphonium Festival. Demondrae Thurman was the guest artist of the
festival. So Dr. Kirby asked me to write a five-minute piece for the end of Demondrae’s
recital. I started with the idea that this would be a sort of finale or encore type of piece. I
wanted it to be a high energy closer. Early on, I envisioned something like The Edgar
Winter Group’s 1972 rock classic, Frankenstein. I did not do any sort of technical
analysis of Frankenstein, though, nor did I quote Frankenstein in any way. Rather, I tried
to capture the general character of Frankenstein. So this piece is like Frankenstein, but it
is not Frankenstein. That’s why it is DRACULA!

Dracula is in my usual Third-Stream style. Jazz, rock, hip-hop and many kinds
of classical styles come together in Dracula, but this particular composition draws most
heavily on the style of rock music. It contains some improvisation, but the improvisation
is largely limited to the drum part. The original composition did not include any
improvisation in the solo euphonium part, but Demondrae suggested that I add one. So I
added an optional improvised solo section for this edition. I utilized a few new techniques
in this piece, but the most notable new technique is an indication that calls for the
euphonium soloist to hype the audience. I envision the euphonium soloist playing the
role of the lead singer or front man for a heavy metal band of brass and drums. As the
front man, the solo euphonium soloist’s role involves more than just playing music. It
also involves making sure that everyone has a good time. Demondrae lit up the stage up
with his awesome dance moves at the premiere! I encourage other performers to wear
vampire costumes or rock star outfits and have fun with the theatrical aspect of this piece.

Curtis Peacock 

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"Concerto for Euphonium" for euphonium and piano by Howard J. Buss was composed during 2016 and 2017 and is dedicated to Patrick Nyren. This work was created in two versions – one for euphonium and piano, and the other for euphonium and orchestra. (The euphonium and orchestra version will be published at some point in the future.) Cast in two movements, Reminiscences and Excursions, the music spans a wide range of moods and timbral atmospheres, ranging from lyric tenderness to forceful, aggressive sections. The piano score and solo part is included. (19’) Grade V-VI. Learn More