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Down in the River
Composer: traditional
Instrumentation: Sextet Instruments: Euphonium, Tuba
Genre: HymnEEETTT
For many of us, the beautifully simple African-American spiritual, ‘Down In The River’ reemerged in 2000 when it was featured in the soundtrack of the Coen Brothers film, O Brother, Where Art Thou? It was this version, sung so eloquently and soulfully by Alison Krauss that inspired me to do this arrangement for Charles Villarrubia. My concept was to have the low brass imitate the subtle
‘ebb and flow’ and vocal phrasing of an acappella choir singing in a traditional, spiritual setting. All aspects of articulation and phrasing are meant to capture the essence of the human voice.
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Down by the Salley Gardens
Composer: Hughes, Hubert Arranger: Tunnell, Meme and Michael
Instrumentation: Solo and Piano Instruments: Piano, Trumpet
Genre: Folk musicwith Piano
This arrangement of Down By the Salley Gardens for trumpet and piano is based on a melody first composed by Herbert Hughes, and later made famous in an arrangement by Benjamin Britten. The text is taken from a poem by W.B. Yeats.
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Three Grooves
Composer: Holtz, Tom
Instrumentation: Duet Instruments: Euphonium
Genre: ContemporaryThe idea for these duets came from programming a duet recital with my colleague and dear friend, Dr. Joanna Hersey, Associate Professor of Low Brass at the University of North Carolina at Pembroke. She had several new arrangements for us to perform, and she had set them specifically to be rehearsed and performed by her students. She suggested I write something jazzy for us to play that her students could also work on in lessons. What started out as a quick dose of pseudo-dixieland turned into something quite different.
“Tango” is built on a straight-eighth-note groove. It’s meant to be danceable without being too fast or too loud. Players should have fun with the style while being very strict about time and rhythm. “Bolero” challenges players to provide a steady, rhythmic bass line in the often unwieldy lower registers of the horn, and long, lyrical melodies in the upper register. “Jam” is all about having fun. It is built around basic harmonic and rhythmic patterns, and is meant to be played aggressively. My hope is that players build necessary skills while preparing these duets, and get a hefty round of applause for their efforts at the performance.
Thanks go to Walter Sear (1930-2010), whose books of tuba duets form a cornerstone of low brass chamber repertoire. Thanks also to my colleagues in “The President’s Own”, Chris Tiedeman and Paul Mergen, who often reminded me of how much fun duets can be every time they pulled out their well-loved, dog-eared copy of the Sear book. This work is dedicated to Dr. Joanna Hersey and her studio at the University of North Carolina at Pembroke for their inspiration, dedication, and spirit. My sincere thanks to all of you for making this project a reality.
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Three Grooves
Composer: Holtz, Tom
Instrumentation: Duet Instruments: Tuba
Genre: ContemporaryThe idea for these duets came from programming a duet recital with my colleague and dear friend, Dr. Joanna Hersey, Associate Professor of Low Brass at the University of North Carolina at Pembroke. She had several new arrangements for us to perform, and she had set them specifically to be rehearsed and performed by her students. She suggested I write something jazzy for us to play that her students could also work on in lessons. What started out as a quick dose of pseudo-dixieland turned into something quite different.
“Tango” is built on a straight-eighth-note groove. It’s meant to be danceable without being too fast or too loud. Players should have fun with the style while being very strict about time and rhythm. “Bolero” challenges players to provide a steady, rhythmic bass line in the often unwieldy lower registers of the horn, and long, lyrical melodies in the upper register. “Jam” is all about having fun. It is built around basic harmonic and rhythmic patterns, and is meant to be played aggressively. My hope is that players build necessary skills while preparing these duets, and get a hefty round of applause for their efforts at the performance.
Thanks go to Walter Sear (1930-2010), whose books of tuba duets form a cornerstone of low brass chamber repertoire. Thanks also to my colleagues in “The President’s Own”, Chris Tiedeman and Paul Mergen, who often reminded me of how much fun duets can be every time they pulled out their well-loved, dog-eared copy of the Sear book. This work is dedicated to Dr. Joanna Hersey and her studio a
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Pas Redouble
Composer: Saint-Saens, Camille Arranger: Oliver, Jonathan
Instrumentation: Octet Instruments: Euphonium, Percussion, Tuba
Genre: ClassicalEEEETTTT and Percussion
Pas Redouble was written in 1887 by Camille Saint-Saens as a four-hand piano work, but it gained its popularity by the famous concert band work by Arthur Frackenpohl. The tempo of the pas redouble usually varied with the ability of the performer, as well as the wishes of the composer and the customs of the time period. The tempo chosen here, and by Frackenpohl, was to be done between the military cadences of the quick march and the double-quick march. For this arrangement, percussion parts have been included, but they are not necessary for performance purposes.
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Something Old, Something New
Composer: Hadden, John
Instrumentation: Duet Instruments: Euphonium, Trombone
Genre: Classical, ContemporaryAs a member of the low brass family, I often find myself humming famous melodies that the “back row” does not ever get the chance to play. Ironically, the only thing missing from some of these melodies is the majestic sound of a of our gentle giants. As many of my low brass brothers and sisters would likely share this sentiment, it was time that these melodies were graciously set our stands! Something Old, Something New: Ten Duets for Trombone/Euphonium takes several of these legendary lines and alters them in all sorts of ways so that every low brass player may bellow out the classics. Of the set, half are completely original works and half are based on orchestral excerpts that musicians everywhere recognize and cherish.
I. Original
II. Original
III. Horn Concerto No. 1, Strauss
IV. An American in Paris, Gershwin
V. Original
VI. Symphony No. 5, Mahler
VII. Original
VIII. Symphony No. 4 in F Minor, Tchaikovsky IX. The Rite of Spring, Stravinsky
X. Original
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Kleinhammer Sonata, The
Composer: Stevens, John
Instrumentation: Solo and Piano Instruments: Bass Trombone, Piano
Genre: Contemporarywith Piano
When commissioned to compose The Kleinhammer Sonata for bass trombone and piano, the launch of the project coincided with the passing of one of the great icons of the low brass world, longtime Chicago Symphony Orchestra bass trombonist Edward Kleinhammer. The members of the consortium and I were in complete agreement that it would be most appropriate to dedicate this work to him. I only met Ed once, but like all low brass players of my generation, I grew up revering his playing and all he did to raise the profile of the bass trombone as an important instrument in its own right. I consider it to be a particularly special honor to be asked to compose a work in his memory.
As with my earlier sonatas, this work is in the classic fast-slow-fast, three movement form, and is very much a chamber work for bass trombone and piano, rather than being a solo with piano accompaniment. The goal of all my brass sonatas is to portray the capabilities of power, beauty, agility and musicality of the brass instrument in dialogue with a piano part that is interesting and meaningful to the mood of the work beyond just an accompanying role. Music for me is about color, texture, mood, motion, emotion, direction, and, above all, the energy created through the creation and release of tension. There is one particular element of writing for the bass trombone that separates this work from the others. While the other brass instruments, even the tuba, often create their most climactic moments by soaring into the upper register, a bass trombonist (like a bass vocalist) is anxious to show off the low end of the idiomatic range. I endeavored to keep that in mind as I created the moods and energies of this work.
The first movement has a slow introduction that serves to introduce the sound and color of the bass trombone in juxtaposition with the high end of the piano. This leads to an Allegro with a great deal of rhythmic drive (typical of my music) that features primarily the power and agility of the bass trombone. The energy continues to build until the pace slows to a solo trombone cadenza (like a monologue in a play) that precedes the most energetic (perhaps even manic) section of the movement. A return to some of the opening material brings the movement to a slow and soft conclusion that serves as a bridge to the next movement.
The second movement is the portion of the piece most directly associated with the dedication to Edward Kleinhammer. I was made aware that one of his very favorite orchestral works was Gustav Mahler’s Symphony No. 2 (The Resurrection), so I elected to use material from that work for this memorial part of the sonata. In the short, fourth movement of his symphony, Mahler employed an alto vocalist singing a beautiful song from Das Knaben Wunderhorn, the text of which illuminates the longing for relief from worldly woes. It seemed appropriate to use this vocal line, with a number of small rhythmic alterations, as the basis for this movement. I even kept it in the original, somber key of Db major. Using original keys is rarely a concern for me, but in this case it seemed ideally suited to the right sound and mood for the bass trombone. The piano “accompaniment” is completely different, and very unlike the Mahler, resulting in a kind of “fantasy” on the Wunderhorn song. It is my hope that the music is perceived as having a simple reverence and recollective nature with a solemn quality to honor Ed’s passing, yet a beauty to celebrate his life.
The third movement is intended to create an energetic, agile, fast-paced finale that relentlessly brings the work home in exciting fashion. Once again, there is a pause for a trombone cadenza prior to the last hurrah. This solo passage reiterates the opening material of the first movement. In addition to that being a structural component of the work, it is also intended as a reminder of the cyclical nature of life. Though Ed Kleinhammer is no longer with us, his personal and musical legacy lives on.
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Hero Suite
Composer: Davanzo , Isaac J.
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: Contemporarywith Piano
"Hero Suite" is a programmatic work with four movements depicting various moments in this fantasy journey. During the time of writing this piece, I was fascinated with orchestral tone poems and how the treatment of themes and elaborations of them could be used to tell musical stories. The work was premiered on my recital at Arizona State University, The Hero’s Journey, on November 10th, 2022.
Mvt. I - Thunderstorm & Departure
In the distance, a thunderstorm approaches with an ominous aura, and the low theme of the dragon appears. Chaos ensues with the arrival of the thunderstorm, and the hero’s theme is introduced. With an unstoppable swirling of the storm and the arrival of the dragon, his home is destroyed. The hero escapes, with only the thunderstorm now echoing far in the distance.
Mvt. II - The Willow Tree and The Waterfall
After his escape, the hero finds a place of rest and takes in the picturesque scene. A gorgeous willow tree droops down over a waterfall, flowing into a calm lake. After much deliberation and thoughts of the danger ahead, he regains inspiration and sets out for the journey ahead.
Mvt. III - The Descent of the Mountain Goblins
In a whimsical scherzo, the hero encounters three goblins birling down a mountain on wooden barrels. Through jagged rocks and various bumps, they fly through with dexterity. Just as quickly as they arrive at the base, they scurry off, vanishing from sight.
Mvt. IV - Battle with the Calamity Dragon
In the final movement, the hero arrives to the dragon with its massive shadow looming in the distance. He approaches, the dragon awakens, and their epic battle begins. The movement shifts through a variety of different textures and styles, shifting with the tides of battle. On the verge of death, the hero briefly remembers his inspiration from the willow tree and the waterfall, and triumphs anew with decisive energy. In one fell swoop, the hero emerges victorious at the end of the battle.
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Lauranod Trilogy
Composer: Oberheu, Stephen
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: Contemporary“Lauranod Trilogy” is a collection of tunes written for various ensembles while I was living in Lausanne Switzerland. The name “Lauranod” is actually a permutation of the name “Lausanne” in that it is the word that my cell phone would always try to autospell for me while text messaging.
“PCO Fanfare” was originally written for a mixed low brass ensemble and premiered in the foyer of the conservatory building. Originally conceived as kind of a joke of sorts, the opening fanfare figure contains a mini-quote from the traditional Irish song “The Rattlin’ Bog.” The piece quickly assumed a life of its own and wandered in its own direction.
“Chorale & Fugue” began its life as a simple exercise in writing a four-part fugue. The beginning chorale section was added later. After its first inception as a four-part piece, it was expanded to a brass octet and then reduced to the brass quintet version here.
“Rue du Midi” was originally written for Ensemble STUBA (Swiss Tuba Und Baritone Association) in 2001 and received its premiere in Ermatingen, Switzerland. A raucous piece with lots of energy, it is named after the street next to the conservatory where a few favorite hangouts were located.
–Stephen Oberheu
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Can-Can
Composer: Offenbach, Jacques Arranger: Meador, James
Instrumentation: Quartet Instruments: Bass Trombone, Trombone
Genre: Entertainment, RomanticFrom the arranger:
The boisterous Can-Can is a highly energetic, physically demanding dance made popular in French cabarets in the mid to late 1800’s and continues to be popular today. Flashy, bawdy, and provocative, the dance can include such acrobatic movements as high kicks, splits, cartwheels, and even flying jumps. Many composers have written music for the can-can, but undoubtedly, the most famous example is the Infernal Galop from Jacques Offenbach’s Orpheus in the Underworld. Offenbach composed the opera bouffe, which is a form of French operetta, in 1858, and although it shocked some audiences early on, it quickly became extremely popular and spread outside Paris.
This version for trombone quartet was arranged for Bones Apart, the internationally acclaimed trombone quartet comprised of all females from the U.K. After hearing their inspirational second CD, Enigma, and writing a review of the recording for the ITA Journal, Meador was compelled to arrange a flashy, crowd-pleasing piece for the group to perform. In keeping with the flamboyant style of the piece, this arrangement goes high, low, soft, loud, fast, and faster. It challenges the extremes of register, technique, and flexibility, and is sure to evoke a standing ovation from the toughest of crowds. (And, there is no place to breathe. Enjoy!)
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Serenade from "Eine Kleine Nachtmusik"
Composer: Mozart, Wolfgang Amadeus Arranger: Meador, James
Instrumentation: Quartet Instruments: Bass Trombone, Trombone
Genre: Classical“After hearing several particularly inspiring performances at the International Trombone Festival, James Meador felt compelled to produce this arrangement for trombone quartet of Serenade, the first movement from Eine Kleine Nachtmusik by Wolfgang Amadeus Mozart. Mozart composed Eine Kleine Nachtmusik in 1787 for string quartet with optional double bass, but the piece is often performed by full string orchestra.
Having been written for a small chamber ensemble, the piece lends itself well to the setting of trombone quartet, with the exception of the agility required on trombone to execute the piece in a style appropriate for the music of Mozart. It is for that very reason that Meador felt this would be an excellent addition to the trombone quartet repertoire, and upon hearing the musicianship and agile technique of the performers at the festival, he felt the piece would be a perfect fit for the trombone quartet.
This version features some difficult multiple tonguing passages, as well as some technically challenging ornamental figures that can be tricky for trombonists. The range is not particularly difficult, with the possible exception of the bass trombone player, who must tongue quickly in the lower and pedal registers. Style is of the utmost importance and should be as precise as possible.”
-James Meador
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Coalescence
Composer: Kline, Tyler
Instrumentation: Duet and Piano Instruments: Euphonium, Piano, Tuba
Genre: ContemporaryEuphonium and Tuba with Piano
Composed in 2014, Coalescence is the result of a commission by a consortium of individual tuba and euphonium players, ranging from collegiate students to professionals. The work represents the coming together of people and ideas, portrayed throughout the work musically as fragmented figures gravitate towards one another to form moments of unity. Though not necessarily programmatic, the piece could be considered a glimpse into a scene rather than the telling of a story from start to finish.
The work is in two parts: Part I is characterized by the soloists playing chant-like melodic lines while the piano is fragmented and, at times, outside of the pulse. Part II is more rhythmically driving and musically together. In this section, there is an exploration of various timbres and effects, including quick dynamic swells, low percussive effects in the solo part, and the muffling of the inside strings of the piano. The juxtaposition these two parts create represents an ongoing interest I have in creating contrasts within large- and small-scale structures.
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Six Sonatas
Composer: Marcello, Benedetto Arranger: Everett, Micah
Instrumentation: Solo and Piano Instruments: Bass Trombone, Piano
Genre: Baroquewith Piano
These settings for bass trombone of the Marcello sonatas for cello follow my similar arrangements of the bassoon sonatas by Johann Ernst Galliard (1687-1747), which were published by Potenza Music in 2014. The impetus for these projects was a perceived need for more "intermediate-early advanced" solo literature for the bass trombone, as well as more settings of Baroque-period works for that instrument. While the sonatas are playable on the bass trombone in their original keys, by setting them in lower keys I have endeavored to make them useful for developing tone quality and technique in the low and valve registers, while not going so low that clarity and facility might be compromised. The new keys for each of the sonatas are closely related to the original ones, in every case down a perfect fourth or perfect fifth, so something of the "sound" of the original keys is maintained. These new keys are also quite suitable for the bass tuba and might be especially useful for players just learning the F or E-flat instrument.
- Micah Everett
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Romantic Tuba, The
Composer: Various Arranger: Caldarise, Joseph
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: Romanticwith Piano
The Romantic Tuba is a compilation or works arranged for tuba by Joe Caldarise.
Melodie – Taken from Tchaikovsky’s Souvenir d’un lieu cher, this popular violin work fits in quite well with thick melodic low voice of the tuba. The original work began life as the second movement of the famous Violin Concerto, however the composer chose to discard and recast it in a more intimate setting for violin and piano. The lyrical melodic line, characteristic of Tchaikovsky, gives the performer a great opportunity to demonstrate how the tuba’s power and flow can be applied to truly sing on the instrument. And the more technical moments allow the player to show off just how deft and nuanced the instrument can be as well.
Allerseelen – Strauss composed this “All Soul’s Day” song to fit the poetry of the Austrian Hermann von Gilm. This popular art song has since been arranged for various settings, from orchestras to brass bands, but suits the tuba’s voice just beautifully. The held notes give time for the tuba’s sound to fill the room while the harmonies shift in that gorgeous late-Romantic style. And the climax provides the instrument with the great operatic moment that it so deserves.
Zueignung – Originating from the same Strauss song set as Allerseelen, this song takes a much more operatic turn. The opening rolling triplets give the piece a strong sense of forward momentum, carrying it as a performer might traverse across the stage. History has proven this to be one of Strauss’ best-known songs, and the climactic statement in the final measures certainly gives the tuba a great moment to take center-stage.
Abendlied – The ever-moody Schumann originally composed this piece for violin and piano. Its slow and halting accompaniment allows the soloist to demonstrate their skills with rubato and nuanced phrasing. As with most Romantic music, care should be taken to bring out the accidentals, so as to heighten the dramatic tension-release of this seemingly simple piece.
Liebestraume – As one of Liszt’s most popular pieces of all time, this piece is quintessential Romantic love song. No aspect of the tuba or tubist is left unexplored here. It begins with a simple, yet confined melody, taking advantage here of the tuba’s warm middle-low register. The brief quasi cadenza section gives the player a sparkling moment to give the listener a glimpse of the tuba’s technical capabilities. The accompaniment then gradually grows in intensity while the tuba elaborates on the main theme while ramping up the passion and strength of the instrument’s voice. By mm. 41 and 54, the player should be commanding the room with the full power of the instrument, poured into a sweeping melodic phrase. After a dazzling display of technical fluency with the cadenza, the piece shrinks back to its most intimate form. The final bars of the solo part afford the player the chance to display the instrument’s most delicate and poignant voice, before sliding back down into the lower register for final tonic note.
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Dance of the Comedians
Composer: Smetana, Bedrich Arranger: Stuckemeyer, Patrick
Instrumentation: Solo and Tuba Ensemble Instruments: Euphonium, Trumpet, Tuba
Genre: ClassicalThis versatile solo works great as a showpiece for either euphonium or trombone with a variety of accompaniments. The accompanying ensemble can be trombone quintet, tube/euphonium ensemble, or simply a mix of low brass instruments. Also a great piece for trumpet and low brass ensemble!
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Praxis
Composer: Deddos, Fernando
Instrumentation: Solo and Percussion Instruments: Euphonium, Percussion
Genre: Contemporarywith:
Mallet Percussion – Marimba/Vibraphone
Percussion A – Suspended Cymbal; Timpani (2 piece); Tam-Tam; Wood-Wood
Percussion B – 3 Tom-Toms; Low-Drum; Triangle; Gran Cassa; Wood Blocks
Percussion C – Low Tom; Gran Cassa; Snare Drum (Medium-High); Wood-Wood
PRAXIS is about existence in everyday life, its routine and the applying of experience.
The piece is divided in 3 parts, just like a day. A reflexive and constructive Recitativo awakes the spirited and intentioned organization of a sunrise. In the Allegretto Circular, the continuous movement of the rhythm and the texture between the mallet percussion and the euphonium comes in an effort to represent the development and flowing of an individual’s day. The subsequent Presto Agitato dialogues about the posterior reflection of a night, it may be a Beethovian revolution, a meditative conclusion, or a bohemian reflection. The work is mainly influenced by Brazilian folksongs from the coast of the Parana State in Brazil and the alternative element can be found in the “wood-shoes” sound, which is characteristic of that region’s traditional music.
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Concerto
Composer: Peacock, Curtis
Instrumentation: Solo and Chamber group Instruments: Bass, Percussion, Piano, Tuba
Genre: Contemporaryreduction with Rhythm section (recording is with wind ensemble)
The Concerto for tuba and winds is in my usual Third-Stream style, but I utilized
many new techniques for the first time in this piece. Jazz, rock, hip-hop and many kinds
of classical styles come together in the Concerto. Polymeter, improvisation and intuitive
swing notation play important roles in this piece as well as traditional four-part
counterpoint and ancient Greek form. It is simply titled Concerto in a classical fashion
but each movement has a more descriptive title.
I. Swing Low
II. Adagio
III. Cutting Contest
I utilized a customized variation on the classical concerto form: a sonata-allegro
first movement, a slow second movement and a theme and variations finale.
Philosophically, this piece explores the traditional nature of a concerto from several
different angles. The first movement explores the cooperative side of a concerto. One
Latin root of the word concerto is conserere, which means to join. The soloist and wind
ensemble cooperate to produce many layers of polymeter in Swing Low. The Latin root
certamen, on the other hand, means to fight. So while the first movement is a
cooperative effort, the third movement, Cutting Contest, explores the idea of a musical
battle between the solo tuba and the wind ensemble on a familiar tune.
On March 6th, 2012, the Concerto was premiered in Seattle. Erin Bodnar led the
University of Washington Wind Ensemble with myself soloing. The Central Washington
University Wind Ensemble then recorded it with Dean Snavely conducting.This reduction of Concerto features two different versions of the third movement
to allow for players to navigate the virtuosic fingering acrobatics on an E-Flat or F tuba.
The solo lines at letter E were inspired by Arban’s Carnival of Venice.Curtis Peacock
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Methods of Cooking
Composer: Kramer, Daniel
Instrumentation: Brass Quintet Instruments: 2 Trumpets, Horn, Trombone and Tuba
Genre: ContemporaryMethods of Cooking originated as a piece for brass septet that was later arranged for the brass quintet format. It is a multi-movement work that explores several variations of a main theme that is found throughout all four movements. Each movement seeks to evoke a certain style associated with a type of cooking. The first movement, Simmer , introduces the main thematic material of the piece from the beginning. Simmering indicates a temperature below boiling that generally is “softer” or “gentler” in food preparation. Hence, the movement is a bit more restrained, without breaking up the material a great deal. Boil follow as the second movement, and as the temperature rises, so too does the pace of the music! Boiling can sometimes lead to chaotic situations in the kitchen, and the movement looks to capture the energy of both the food as it boils, as well as the preparer as they make their way around the kitchen. This variation brings the thematic material into 6/8 time, as well as introducing new ideas that help make the music even more dynamic. The third movement slows things back down with Braise , which tends to be a longer method of cooking. The thematic material is surrounded with thicker harmonies and slowly announced throughout the movement? this mimics the richness of flavor often associated with braising foods, and signifies the amount of time this process often takes to complete. Sautee is the final movement and looks to stay true to its original meaning in French, to “jump” or “bounce.” The melody quickly bounces back and forth between various instruments and the entire movement is bright and playful throughout. It also serves as a high energy ending to bring the entire piece together.
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Zugzwang!
Composer: Dempsey, Ray
Instrumentation: Duet Instruments: Bassoon, French Horn
Genre: ContemporaryComposer Thomas Dempster says, “In the widely-known and respected game of chess, the Zugzwang is a forced move that a defending player has to move in order to, you know, not die. It’s a move a player has to make in order to avoid checkmate. This is one of the endgame scenarios in chess, with the player forcing the Zugzwang basically holding the upper hand… It’s a chase to the end. I envisioned the horn and bassoon as two figures engaged in a quick back and forth with a chase to the finish, each instrument showing off its own arsenal while occasionally borrowing pawns or bishops from the other side of the board to make a point.” Learn More$22.95 -
Three Piece Suit, A
Composer: Ballantine, Len
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Contemporarywith Piano
Casual dress has all but obliterated the once ubiquitous three-piece suit. Yet, in its day, a neatly tailored ensemble of trousers, vest and jacket was all a man needed to convey his essence to the world around him.
Scherzo: Linear patterns and diatonic harmonies are used to suggest ‘the suit trousers’ and carry the energy and motion of a man with a purpose. His quickstep path along a busy city sidewalk sometimes requires him to skip around a puddle. But his direction is singular and well measured. He knows where he’s headed and he travels with the confidence of one deserving a razor-sharp crease.
Espressivo: Resonant chords and chromatic harmonies are used to suggest ‘the vest’ and reveal the garment most close to the heart, the emotional centre of our man about town. Is he a philanthropist or a philosopher? Is he troubled, or simply richly-centered, choosing to keep his feelings and his thoughts to himself?
Allegro: Serial patterns and angular harmonies are used to suggest ‘the jacket’, the most visible part of the ensemble and the most capable of conveying personality. We immediately sense that our guy is a singular dude, happy with extremes and prone to flamboyance. He is proud of his threads and has the character to back up any illusion created by his dress.
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