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Duh Suite (Tubas)
Composer: Self, Jim
Instrumentation: Duet Instruments: Drum Set, Tuba
Genre: Contemporarywith Drums
From the composer:
Duh Intro, is a fast contrapuntal piece with declamatory fanfares and a four-octave range. Then comes Duh Odds, a fast, relentless series of odd-meter measures with a variety of tom-toms providing a driving beat (don’t be surprised if you hear some Stravinsky). Movement three is a slow, jazzy ballad named Duh Fool Professors. The percussion accompaniment is all spacey metallic sounds (cymbals, triangles and the like), over wide-interval melodies in the tubas. Duh Blooze calls for lots of laid-back slippin’ and slidin’ and much trading of blues melodies and bass lines–while the drummer plays brushes. In Duh Yaz the tubas are called upon for some super acrobatics. After a scary intro, the group moves into a jazz/rock and samba feel for “the tune”. The middle section is a kind of development section with each tuba taking the limelight, after which there is a return to the tune and a fade ending. The finale is, of course, called Duh KoDa (an acronym based on the initials of the soloists). The music of this movement returns some of the fast scales from the first movement and more wild, declamatory material for all. Like all the movements, it emphasizes interesting and varied rhythmic patterns. The drums are to be played at a drum set by a musician who has jazz and rock “chops” and is encouraged to be creative with the part.
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14 Concert Duets for 2 Tubas or Bass Trombones
Composer: Various Arranger: Self, Jim
Instrumentation: Duet Instruments: Bass Trombone, Tuba
Genre: Classical2 tubas (or 2 bass trombones)
or tuba/bass trombone with downloadable backing tracks (downloads included for both parts 1 and 2) – recorded by Zach Collins
Concert Duets is a collection of 14 arrangements of works by prominent 18th-century composers, mostly taken from Trio Sonatas. Duet 11 is a Jim Self original work in the Rococo style; and Duets 12, 13 and 14 are arrangements of the three-movements of the Bach Concerto for Two Violins. Included with this edition are play-along recorded tracks by tubist Zach Collins, who also served as editor of the current edition.
I created these duets as Christmas gifts for my tuba playing friends, with the first duet being arranged in 1976. All 14 of the duets are challenging and fun to play and are especially effective as concert pieces.
As a young musician I had the privilege of playing duets with many of the world’s finest tubists including Harvey Phillips, John Fletcher, Bob Pallansch, Chester, Schmitz, Dan Perantoni, Toby Hanks, Ron Bishop, Winston Morris and Tommy Johnson. I learned more about playing music in these duo sessions than from any other musical activity I have ever experienced. Duets are powerful teaching tools for learning and mastering rhythm, phrasing and intonation and for developing overall musicianship.
Jim Self:
Self (b. 1943) is a Los Angeles free-lance musician, a veteran of thousands of Hollywood motion pictures, television shows and records, and tuba soloist on many prominent movies. His tuba was the “Voice of the Mothership” in Close Encounters of the Third Kind. He is Principal Tuba/Cimbasso with the Pacific and Pasadena Symphonies and the Los Angeles Opera and Hollywood Bowl Orchestras. Formerly he was in The U.S. Army Band and tuba / euphonium professor at the University of Tennessee. He holds a DMA from the USC Thornton School of Music where he is Adjunct Professor of Tuba and Chamber Music. His compositions and arrangements include works for solo tuba, brass quintet, other brass, string and woodwind chamber music, wind band and orchestra. Jim has produced many solo jazz and classical recordings. His music and recordings are available from Potenza Music and www.jimself.com. Jim Self is a Yamaha Performing Artist.
Zach Collins, editor:
Zach Collins is professor of Tuba and Euphonium at Indiana University of Pennsylvania. In 2019, he released his first solo album, Chronicle. It was recognized with the 2021 ITEA Roger Bobo Award for Excellence in Recording for the best Solo Tuba Album.
His interpretation of William Kraft’s Encounters II for Solo Tuba was released on Cambria Master Recordings. Zach performs with Eastern Standard, a horn, tuba, piano trio he formed with Heidi Lucas and Jacob Ertl. The ensemble has released two commercial albums, Eastern Standard and Wanderlust.
Zach regularly performs with the Keystone Chamber Winds, Altoona Symphony Orchestra, and West Virginia Symphony Orchestras. His compositions and arrangements for brass and for tuba and euphonium can be purchased from Cimarron Music and Eighth Note Publications. Zach earned degrees from Texas Christian University and the University of Southern California. His primary teachers have been Richard Murrow, Jim Self, Tommy Johnson, and Norm Pearson. Zach Collins is a Miraphone artist.
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Testimony
Composer: Johnson, Howard
Instrumentation: Solo and Tuba Ensemble Instruments: Bass, Drum Set, Piano, Tuba
Genre: JazzTuba solo, 6 Tubas, Piano, Bass and Drum Set
“Testimony” is part of a suite called Witness and Testimony, inspired by the tradition of the black church where interaction with the congregation is encouraged both as Witness and as Testimony.”
- Howard Johnson
Testimony was written in 1991 by Howard Johnson for Gravity. Witness and testimony was first conceived for big band by Johnson and later adapted for Gravity. He often uses this piece for teaching musical concepts at high school and college educational residencies.
Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir- with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made his arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make it fun and find the best jazz rhythm section!
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Evolution
Composer: Neloms, Bob Arranger: Johnson, Howard
Instrumentation: Solo and Tuba Ensemble Instruments: Bass, Drum Set, Piano, Tuba
Genre: JazzTuba solo, 5 Tubas, Piano, Bass and Drum Set
“I learned this tune from Bob Neloms when I was 18 and he was 16 years old. I’m still playing it although he barely remembers writing it.”
- Howard Johnson
Howard Johnson’s arrangement of Evolution was first performed in the early 1970s. Recordings of the arrangement with the original Gravity personnel have been lost. Bob Neloms is known for his active musical life as a post-bop jazz pianist in New York starting in the late 1960s. The story has it that many years later when Howard played Evolution for Bob Neloms, Bob did not recall the composition. The evolution is that learning and recreating Bob Neloms’ chart was monumental for Howard. He continued to use this composition to build his knowledge of jazz harmony and to develop and sharpen his improvisational skills.
Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir- with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made is arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make it fun and find the best jazz rhythm section!
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Fly With The Wind
Composer: Tyner, McCoy Arranger: Johnson, Howard
Instrumentation: Solo and Tuba Ensemble Instruments: Bass, Drum Set, Piano, Tuba
Genre: JazzTuba solo, 5 Tubas, Piano, Bass and Drum Set
“Fly with the Wind is what McCoy does better than anyone else. The soaring melodic and intense rhythmic nature of this composition carries me aloft.”
- Howard Johnson
Fly with the Wind was originally recorded in 1976. The album featuring this title track was McCoy Tyner’s first all-strings project with flute, oboe and his rhythm section featuring McCoy Tyner, piano, Ron Carter, bass, and Billy Cobham, drums. Later in 1992, The Turning Point album was released on the Birdology label with McCoy Tyner’s Big Band, featuring Howard as both a tubist and an arranger.
Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir- with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made his arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make it fun and find the best jazz rhythm section!
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Big Alice
Composer: Pullen, Don Arranger: Johnson, Howard
Instrumentation: Solo and Tuba Ensemble Instruments: Bass, Drum Set, Piano, Tuba
Genre: JazzTuba solo, 5 Tubas, Piano, Bass and Drum Set
“Big Alice goes from the Bo Diddly rhythm figure and gets more raucous as the piece goes on.”
- Howard Johnson
When Howard heard Don Pullen’s chart, he immediately wanted to arrange the piece for Gravity to play. During a rehearsal when he brought the arrangement to the band, he called Don Pullen and the ensemble played the arrangement on Pullen’s telephone answering machine. When Don Pullen heard the musical message, he immediately called Howard and exclaimed that “he loved it!”
Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir- with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made his arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make it fun and find the best jazz rhythm section!
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Workin' Hard for the Joneses
Composer: Johnson, Nedra Arranger: Johnson, Howard
Instrumentation: Quintet Instruments: Bass, Drum Set, Piano, Tuba
Genre: Jazz5 Tubas, Piano, Bass and Drum Set
“Working Hard for the Joneses is not about social status. It is about addictions.”
- Howard Johnson
Nedra Johnson, Howard’s daughter, is a singer, guitarist, tuba player, and composer. She speaks of the Jones as another word for addiction. It is not “keeping up” with the Joneses. The piece represents all of the Jones or addictions – drug, sugar, money, alcohol and more. Naming them the way that she has in her piece can make you see it for the tragedy that it is, or laugh with the addicted, that simply wish to be comfortably numb.
Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir- with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made his arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make it fun and find the best jazz rhythm section!
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Little Black Lucille
Composer: Johnson, Howard Arranger: Johnson and Brown
Instrumentation: Quintet Instruments: Bass, Drum Set, Flugelhorn, Piano, Tuba
Genre: JazzFlute, 5 Tubas, Piano, Bass and Drum Set
The name “Little Black Lucille” wasn’t used kindly at first, but in the end my Aunt Lucille, an unloved orphan, built a loving family against the odds.”
- Howard Johnson
This composition is certainly a tribute to the life and struggles of Howard Johnson’s Aunt Lucille. The penny whistle opening and appearance near the end is a great tribute to the textural disjunction of the arrangement and the juxtaposition of the story that unfolds. He has composed a piece that is soulful, powerful, and triumphal.
Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir-with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made his arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make if fun and find the best jazz rhythm section!
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High Priest
Composer: Tyner, McCoy Arranger: Johnson and Brown
Instrumentation: Sextet Instruments: Bass, Drum Set, Piano, Tuba
Genre: Jazz6 Tubas, Piano, Bass and Drum Set
“The High Priest is McCoy’s tribute to the high priest of Jazz- Thelonious Monk. The form is an eleven bar blues.”
- Howard Johnson
High Priest was recorded, with Howard Johnson playing tuba, in December 1967. This recorded album, Tender Moments, was subsequently released in 1968 on the Blue Note label. Later in 1992 on the Turning Point record album, High Priest was recorded again featuring McCoy Tyner’s big band, which included Howard Johnson on tuba and as an arranger.
Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir- with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made his arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make it fun and find the best jazz rhythm section!
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Inertia
Composer: Wilson, Kenyon
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryWritten to celebrate the 45th year of the Tennessee Tech Tuba Ensemble, Inertia has a brisk tempo that continues unchanging until acted upon by friction or gravity. Learn MoreFrom $22.95
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Songs My Mother Taught Me
Composer: Dvorak, Antonin Arranger: Caldarise, Joseph
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Classicalwith Piano
Originally written in 1880 for voice and piano, “Songs My Mother Taught Me” is the 4th song from a cycle of seven, titled “Gypsy Melodies” (op. 55, no. 4). The text of the song, originally written in German and Czech by Adolf Heyduk, is as follows:
Songs my mother taught me, in the days long vanished;
Seldom from her eyelids were the teardrops banished.
Now I teach my children each melodious measure.
Oft the tears are flowing, oft they flow from my memory’s treasure.
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4 Solfeggi
Composer: Rossini, Gioacchino Arranger: Benton, Robert
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: Classicalwith Piano
From the editor:
The pieces in this volume came from a collection of 18 Gorgheggi, 4 Solfeggi and 12 Nuovi Vocalizzi by Gioachino Rossini (1702-1868). The Gorgheggi are scale patterns and exercises for learning, turns, ornaments and other embellishments. The 4 Solfeggi are training pieces that are much more musical than the Gorgheggi. They are melodic, have accompaniments, and are functionally wordless songs. I would put these in a similar category to several of the Kopprasch horn etudes; quite musical, but still primarily pedagogical in nature. While an effective performer can bring enough musicianship to these to make them viable exam jury or recital repertoire, they still have the feel of training pieces due to the limited ranges, simpler harmonic designs, repeated melodic figures, etc. The Vocalizzi (published separately by Potenza in versions for both euphonium and tuba) have much more depth than the Solfeggi, and stand on their own merit amongst the more serious works of Rossini. They are the equal to-albeit in a different style than- Rachmaninov’s famous Vocalise Op. 34 No. 14.
These Rossini etudes are another entry into the realm of performative-yet-pedagogical material. They are truly in the bel canto style, yet to my ear, have more depth than your average Bordogni etude. Each of these etudes requires-or develops-flexibility, beauty of sound, and the utmost lyricism possible for brass musicians.
These etudes are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lesson, juries, and solo recitals.
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Noel, Noel
Composer: Self, Jim
Instrumentation: Ensemble Instruments: Euphonium, Tuba
Genre: ChristmasEEEEEETTTTTT
From the composer:
One of my favorite sounds is a men’s choir. Its rich overtones convey a lot of beauty and emotion. The closest instrumental equivalent is the modern tuba-euphonium choir–which expands those qualities with even wider dynamics and range. Christmas music played by this kind of ensemble is rich and glorious. For 35 years (from 1976 on) I organized TubaChristmas Los Angeles. As part of that I decided to have a 12 part professional ensemble (6 euphoniums/6 tubas) play special Christmas arrangement
s. The greatest LA players come out and each year I commissioned a new arrangement. Many talented writers wrote some of the hippest charts ever. In 2013 we recorded a CD of 20 of them. It is titles “Tis the Season “TUBA” Jolly, by the Hollywood Tuba 12 and has been reviewed as one of the greatest tuba ensemble recordings ever. Listening to this recording will put you in the holiday spirit and will be good for your nerves, winter colds and hangovers–kind of like a massage. Sit by the fire with a toddy and turn up the stereo. Surround yourself in the warmth of 12 tubas. You will sleep like a baby while visions of sugarplums dance in your head. This is Christmas music you can really “feel”. The CD is available on www.jimself.com, CD Baby and other on-line platforms.
Noel, Noel (based on the Fist Noel) is one of two arrangements on the CD by me. It is in a fast 3/4 with lots of technical challenges, solos, and arpeggiated figures by all. The chart ends with overlapping scales in all 12 parts and big octave pedal Bb’s. I owe homage to Tommy Pederson for this idea.
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Tis the Season "Tuba" Jolly
Composer: Self, Jim
Instrumentation: Ensemble Instruments: Euphonium, Tuba
Genre: ChristmasEEEEEETTTTTT
From the composer:
One of my favorite sounds is a men’s choir. Its rich overtones convey a lot of beauty and emotion. The closest instrumental equivalent is the modern tuba-euphonium choir–which expands those qualities with even wider dynamics and range. Christmas music played by this kind of ensemble is rich and glorious. For 35 years (from 1976 on) I organized TubaChristmas Los Angeles. As part of that I decided to have a 12 part professional ensemble (6 euphoniums/6 tubas) play special Christmas arrangements. The greatest LA players come out and each year I commissioned a new arrangement. Many talented writers wrote some of the hippest charts ever. In 2013 we recorded a CD of 20 of them. It is titled ‘Tis the Season “Tuba” Jolly, by the Hollywood Tuba 12 and has been reviewed as one of the greatest tuba ensemble recordings ever. Listening to this recording will put you in the holiday spirit and will be good for your nerves, winter colds and hangovers–kind of like a massage. Sit by the fire with a toddy and turn up the stereo. Surround yourself in the warmth of 12 Tubas. You will sleep like a baby while visions of sugarplums dance in your head. This is Christmas music you can really “feel”. The CD is available on www.jimself.com, CD Baby and other on-line platforms.
One of my two charts is the title tune, ‘Tis the Season TUBA Jolly (Deck the Hall in disguise). It begins with a lovely solo euphonium over a chorale-like slow intro and moves into a fast odd-meter romp – my Don Ellis influence. Modulations come and go with all 12 players having challenging parts. The odd meters return and the chart ends with a return of the chorale and a 5/4 finale.
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Divertimento
Composer: Adler-Mckean, Jack
Instrumentation: Septet Instruments: Euphonium, Tuba
Genre: ContemporaryEETTTTT
“Whilst programming a concert of tuba chamber music for the Hannover Tuba Class, works were found for almost every possible combination of instruments, except that there seemed to be none originally written for seven tubas. Spotting this obvious hole in the market, Divertimento was commissioned and first performed in Tubissimo V in June 2012 by the members of the class alongside Professor Jens Bjorn-Larsen, conducted by the composer. A very substantial, highly dramatic work, this piece really pushes the limits of what is musically and technically possible, challenging any preconceptions of audiences and tubists alike as to the genuine expressive potential of a group of tubas.”
– Jack Adler-McKean
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Born With A Hammer
Composer: Hansen, John
Instrumentation: Ensemble Instruments: Bass Trombone, Drum Set, Trombone, Tuba
Genre: Contemporary6 Trombones, 4 Bass Trombones, 2 Tubas and Drum SetI wrote this piece for Sergio Carolino’s group Mr. SC and the Wildbones Gang as one of the many new pieces being written for the group about myths and legends, and decided to base it upon the legend of John Henry, the American folk-hero. Having been moved by this story at multiple stages in life, I have understood it variously as an ode to the power of human determination, a cautionary tale about clinging too desperately to a particular practice in a constantly evolving world, and an allegorical demonstration of the prices and benefits of ambition. It was by this last reading that I was particularly inspired in the composition of the piece.
The program of the piece abstractly follows John Henry’s portent birth, the state of his occupation, the machine’s challenge against his livelihood, his race against said machine, and his victory, which ultimately leads to his death.
I feel that trombones, bass trombones, tubas, and drums, are uniquely suited for playing a piece based on this material, given both the kinetic power and mental imagery of the legend, and so I tried to bring out these qualities throughout the piece. I drew idiomatically upon African American musical traditions (since the story itself has African American origins), and melodically upon a traditional John Henry folk song.
– Jon Hansen
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Natural Woman
Composer: Felder, Wilton Arranger: Johnson, Howard
Instrumentation: Solo and Tuba Ensemble Instruments: Bass, Drum Set, Piano, Tuba
Genre: Jazz“Way Back Home is the Jazz Crusader’s Anthem and although we recently lost Wilton Felder, we shall not forget his major contributions as a composer.” Howard Johnson The Jazz Crusaders were signed by Pacific Jazz Records around 1960. Wilton Felder, composer/tenor saxophonist, and Wayne Henderson, trombone, fronted the group. The Jazz Crusaders style had a very heavy emphasis on the rhythm and blues genre as well as gospel and soul. Howard Johnson’s jazz tuba ensemble is envisioned as a tuba choir- with tubas in F, E flat, CC, and BB flat- that encourages tuba players to learn to play in the upper register. His charts were originally written for his tuba jazz ensemble, Gravity, formed in 1968 with Howard Johnson as solo lead tuba. The charts can in fact be performed with euphoniums; but he formed his group, made his arrangements and developed this specific instrumentation 50 years ago as a statement about tubas and prefers to hear his arrangements played in this configuration, encouraging tuba players to develop the range required. His most important advice is that whatever instrumentation is used, make it fun and find the best jazz rhythm section! Learn MoreFrom $22.95
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Sorcerer's Apprentice, The
Composer: Dukas, Paul Arranger: Adler-Mckean, Jack
Instrumentation: Septet Instruments: Euphonium, Tuba
Genre: Classical4 Tubas or Euphoniums and 6 Tubas
Based on Goethe’s poem of the same name, Dukas’s symphonic work from 1897 achieved wide fame through its appearance in Walt Disney’s Fantasia in 1940, and in 2010 received a film spin-off all of its own. The original orchestration sadly lacks a tuba part, so now tubists have an opportunity to discover the complete score for themselves!
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Overture to "The Marriage of Figaro"
Composer: Mozart, Wolfgang Amadeus Arranger: Adler-Mckean, Jack
Instrumentation: Septet Instruments: Euphonium, Tuba
Genre: Classical4 Tubas or Euphoniums and 6 Tubas
Forming the introduction to perhaps Mozart’s most beloved opera, the Overture to The Marriage of Figaro is today regarded as a masterpiece in its own right. Arrangements have been produced for all conceivable orchestrations over the years, and this version for advanced tuba-euphonium ensemble retains the Urtext score, allowing ensembles to shape their own interpretations.
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Duh Suite (Euphoniums)
Composer: Self, Jim
Instrumentation: Duet Instruments: Euphonium
Genre: Contemporarywith Drums
From the composer:
Duh Intro, is a fast contrapuntal piece with declamatory fanfares and a four-octave range. Then comes Duh Odds, a fast, relentless series of odd-meter measures with a variety of tom-toms providing a driving beat (don’t be surprised if you hear some Stravinsky). Movement three is a slow, jazzy ballad named Duh Fool Professors. The percussion accompaniment is all spacey metallic sounds (cymbals, triangles and the like), over wide-interval melodies in the tubas. Duh Blooze calls for lots of laid-back slippin’ and slidin’ and much trading of blues melodies and bass lines–while the drummer plays brushes. In Duh Yaz the tubas are called upon for some super acrobatics. After a scary intro, the group moves into a jazz/rock and samba feel for “the tune”. The middle section is a kind of development section with each tuba taking the limelight, after which there is a return to the tune and a fade ending. The finale is, of course, called Duh KoDa (an acronym based on the initials of the soloists). The music of this movement returns some of the fast scales from the first movement and more wild, declamatory material for all. Like all the movements, it emphasizes interesting and varied rhythmic patterns. The drums are to be played at a drum set by a musician who has jazz and rock “chops” and is encouraged to be creative with the part.
Learn MoreFrom $18.95
To $37.90