Search results for: 'duet piano saxophone'
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Gretchen am Spinnrade
Composer: Schubert, Franz Arranger: Renshaw, Gretchen
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Classicalwith Piano
Written by Franz Schubert (1797-1828) in 1814, Gretchen am Spinnrade (Gretchen at the Spinning Wheel), D. 118, has become one of the most famous examples of German lieder from the Romantic era. This lied is a setting of text from Johann Wolfgang von Goethe’s tragic play “Faust.” Gretchen, a principal character in the play, sits at her spinning wheel and daydreams about Faust, who has managed to seduce her. As Schubert so often did in his lieder, he used the piano accompaniment to depict an important element of the lied. In Greten am Spinnrade, the right hand plays an undulating legato line reminiscent of a spinning wheel while the left hand staccato notes represent the treadle, which is the foot pedal used to make the wheel spin. These accompanimental figures are present throughout the entire piece, except at the climax, where Gretchen becomes distracted by the thought of Faust’s kiss and, without realizing it, stops spinning the wheel. A song filled with deep passion, Gretchen am Spinnrade presents an opportunity for the euphonium soloist to display intense musicality while conveying Gretchen’s infatuation with Faust.
–Gretchen Renshaw
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ITEC Day 4 June 2, 2016
Instruments: Euphonium, TubaITEC Day 4 2016 Recital Pieces
If not marked download or shipped, the product is only available in the printed form.
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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Souvenir de Porto Rico
Composer: Gottschalk, Louis Arranger: Renshaw, Gretchen
Instrumentation: Sextet Instruments: Euphonium, Tuba
Genre: ClassicalEEETTT
Arranger Gretchen Renshaw says, “Piano prodigy and composer Louis Gottschalk struggled to gain acceptance in Western music due to his American heritage. However, through extensive traveling and performing, he became the first North American to earn an international reputation as a pianist and composer. Gottschalk’s travels took him to Puerto Rico in 1857-58, where he became inspired by the music he heard there. This inspiration led to Souvenir de Porto Rico, a virtuosic character piece originally written for piano. The piece features two themes – one in march style, the other lyrical – and Gottschalk subjects these themes to a series of variations which he arranges in an arch form… Arranged here for tuba-euphonium ensemble, this exciting work will challenge players technically and stylistically as they work to find Gottschalk’s Puerto Rican groove.”
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Vallflickans Dans
Composer: Alfven, Hugo Arranger: Renshaw, Gretchen
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Romanticwith Piano
From the arranger:
Hugo Alfven (1872-1960) was a Swedish composer whose works feature a late-Romantic style. Although he is more well known for his choral works, Alfven wrote many pieces for orchestra and spent the years 1916-1923 composing the music for the pantomime ballet Bergakungen (The Mountain King). The story of this ballet focuses on the same figure depicted in Edvard Grieg’s “In the Hall of the Mountain King” from Peer Gynt. Vallflickans Dans, which translates to “Dance of the Herdmaiden,” is a showpiece for the first violin section in the original orchestral version. As a result, it translates easily to a virtuosic solo for instruments such as the euphonium, clarinet, flute, and others. The articulations provided in this edition’s solo part are not original to the orchestral version but rather facilitate the performance of this piece on a brass instrument. It would be ideal and would match the original violin articulation if the soloist could perform the fast sections without slurs, although this would be quite a feat given the great speed and relentless stream of sixteenth notes in these sections. This challenging piece is a great addition to any program in which the soloist wishes to display some euphonium fireworks.
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Sonata in G Minor
Composer: Marcello, Benedetto Arranger: Renshaw, Gretchen
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Baroquewith Piano
Benedetto Marcello’s Sonata in G minor is originally part of a set of six sonatas for cello. It is arranged here for euphonium or tuba by Gretchen Renshaw. The part contains recommended playing suggestions for the various Baroque ornamentations.
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Concerto in A Minor
Composer: Vivaldi, Antonio Arranger: Renshaw, Gretchen
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Baroquewith Piano
Antonio Vivaldi (1687-1741) wrote his “Concerto in A minor, Op. 3, No. 6, RV 365” in 1711 as a part of “L’estro Armonico” (Harmonic Inspiration), a set of twelve concertos for various combinations of instruments. One of the best known of this set is the sixth, which was originally written for solo violin, second violin, viola, and continuo. In this edition, the soloist will find throughout the score “solo” and “tutti” markings, which indicate the places where, in the original version, the principal violin plays as a soloist or together with the second violin part. The euphonium soloist should play with a light, agile sound in “solo” sections and a fuller sound in “tutti” sections. While negotiating the significant technical challenges involved in playing a piece originally written for the violin, the performer may enjoy the intensity and excitement of Vivaldi’s compositional style.
–Gretchen Renshaw
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