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  1. 3D

    Composer: Grant, James
    Instrumentation: Mixed Ensemble Instruments: French Horn, Percussion, Tuba
    Genre: Contemporary

    Horn, Tuba and Percussion

    Jim Grant writes:

    When I received the message from the Moreau VanTuinen Duo (Danielle Moreau, percussion; Danielle VanTuinen, euphonium) and Deanna Swoboda, tuba, that they wanted to collaborate with me on creating a trio for thier instruments, I immediately thought, “Well now, here comes some fun…!” In our initial skype meeting we decided that the new piece would be through-composed, ca. 10 minutes in duration, and would feature a blend of serious, crazy, and lyrical music; that I would fashion a separate version of the new piece to feature French horn in the same role as euphonium; and that we would invite a small group of adventurous colleagues to become co-commissioners of this new composition (see List of Commissioners page).

    The result is 3D, music that touches on three distinct “mood dimensions.” A somber, evocative introduction leads to an explosive, rhythmically-charged, comically crazy joy ride, which yields to a rhapsodic duet between the two horns supported by an undulating moto perpetuo accompaniment in the marimba. That’s the piece, in a nutshell.

    The three Lead Commissioners, Deanna, Danny (VanTuinen), and D (Moreau) could not have been more gracious and helpful during the composing of 3D, answering questions and offering feedback on sketches and ideas. Indeed, their fingerprints are all over this music.

    The title, 3D, takes its name not only from the three distinct musical dimensions this music explores. It also represents a nod of respect to the three Lead Commissioners, whose excitement and support for this project captured my imagination from the very start. To Deanna, Danny and D, and to each of the stalwart participating co-commissioners, I offer my deepest gratitude.

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  2. Baron Piquant's Pas de Trois

    Composer: Grantham, Donald
    Instrumentation: Duet and Piano Instruments: Bassoon, Euphonium, Harpsicord, Piano
    Genre: Contemporary

    Bassoon, Euphonium and Harpsichord or Piano

    From composer Donald Grantham:

    “Baron Piquant’s Pas de Trois is one of a series of dance pieces based on characters drawn from voodoo lore; the previous ones are Baron Cimetiere’s Mambo, Son of Cimetiere, Baron Samedi’s Sarabande (and Soft Shoe), Baron La Croix’s Shuffle and Baron Piquant on Pointe. The four Barons are all members of the family Ghede, the spirits in charge of the intersection between the living and the dead. Despite this grim association, the Barons have a lighter side. All three are notorious tricksters with a marked fondness for brandy and tobacco. All dress alike – in black tailcoats and tall black hats, dark glasses with one lens missing, and carry canes and smoke cigars. The music depicts both their dark and light sides. Textures are primarily transparent and ethereal, but the atmosphere of all four works is a bit sinister, mordant and menacing.”

    This work was written for Pat and Mary Stuckemeyer.

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  3. Concerto

    Composer: Peacock, Curtis
    Instrumentation: Solo and Chamber group Instruments: Bass, Percussion, Piano, Tuba
    Genre: Contemporary

    reduction 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
    January 26, 2014

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  4. Concerto No. 1

    Composer: Lester, Ian
    Instrumentation: Solo and Piano Instruments: Drum Set, Piano, Tuba
    Genre: Ceremonial
    Concerto for Tuba No. 1 for Tuba, Drum Set, and Piano was written for Thomas Stein, professor of tuba and euphonium at the University of Missouri-Kansas City. Each of the four movements is given a one-word title which sets the tone for the corresponding movement: Flowing, Dance, Smoke, and Festivities. The first movement sways between several themes including the main “flowing” material and a heavier, eighth note motive that morphs into a buoyant, jazzy groove. The second movement conveys a light-hearted dance, yet there is a stern, ominous undertone always lurking in the shadows. The third movement brings the listener to the 1920s with the performers creating a smooth atmosphere in an era full of intrigue and mystery. The final movement is a non-stop, chaotic ride that gains momentum through groovy syncopations and off-kilter beats. The tubist brings the piece to a rapid-fire close with a head-banging cadenza and the return of the original thematic material. Learn More

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  5. Echoes of Tilden

    Composer: Denham, Robert
    Instrumentation: Wind Band
    Genre: Contemporary
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    As low as $140.00

  6. Faraway Nearby

    Composer: Chaffin, Lon
    Instrumentation: Duet and Piano Instruments: French Horn, Piano, Tuba
    Genre: Contemporary

    Horn, and Tuba with Piano

    Since the early 20th century, the art of Georgia O’Keefe has inspired, challenged and delighted us. Today, her connection to the Southwest is simply understood. The desert’s hills, sky, flowers and bones became a comfortable vocabulary with which she communicated. This music draws its creative breath from O’Keefe’s work. Each of the three movements (I. Bones, Blue and White, II. Hills, Red and Gray and III. Music, Pink and Blue) explores a subject common to her paintings. Each subject presents a dichotomy of color.

    – Lon W. Chaffin

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  7. Haunted America Suite

    Composer: Raines, Justin
    Instrumentation: Duet and Piano Instruments: French Horn, Piano, Tuba
    Genre: Contemporary

    Horn, and Tuba with Piano

    Haunted America Suite by Justin Raines is a set of four movements for horn, tuba, and piano that draw upon stories of supernatural occurrences throughout America. The first movement draw upon La Lloronoa, the second the Ghosts of Gettysburg, the third “spook lights,” and the final movement on the Bell Witch.

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  8. In(Out of)Sync

    Composer: Pongklad, Balee
    Instrumentation: Trio Instruments: Euphonium, Oboe, Piano
    Genre: Contemporary

    Oboe, Euphonium and Piano

    This is a piece that combines together the unlikely instruments in a fun way. Both instruments have an equal role in showing their virtuosity and natural characteristics with both personalities echoed and accentuated by the piano. They support each other at times and go on their own way at others. The pair works through thick and thin whether they are in sync or not.

    First recorded by Demondrae Thurman, euphonium; Shelly Meyers, oboe; Kevin Chance, piano on a commercial CD SNAPSHOTS by Demondrae Thurman.

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  9. Intrepideedoodah

    Composer: Self, Jim
    Instrumentation: Mixed Ensemble Instruments: Drum Set, Euphonium, Piano, Trumpet, Tuba
    Genre: Contemporary

    Trumpet, Euphonium, Tuba, Piano and Drum Set

    Intrepideedoodah was commissioned by the wonderful SymbiosisDuo of Gail Robertson and Stacy Baker and was premiered at the 2014 International Tuba Euphonium Conference at Indiana University. It is recorded on the SymbiosisDuo “Playground” CD. Trumpet and Piano (and optional Drums) are added to the Tuba and Euphonium of the group to give it more color and textures. The Euphonium part can optionally be played on Trombone. Much of the work is written like a jazz ensemble piece with themes over harmonic changes with development and written or improvised solos. 6/4 is the predominant meter. I love to write in this meter because of all the rhythmic permutations. It freely goes back and forth between 6/4/ and 12/8. But any groups of 2, 3, 4 or 6 can be used in hemiola fashion. After a rousing intro the main theme is played in the Trumpet over Piano chords with Euphonium and Tuba counter melodies. Then the Euphonium (Trombone) has an improvised solo over modal changes in the piano. A tutti interlude is followed by written Trumpet and Tuba solos. The theme (head) returns and the piece ends with a fast coda featuring short solos by all and a splashy ending. Intrepideedoodah is a high energy jazzy romp. (one movement-7 minutes). The title is another one of my silly puns.

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  10. Mile Marker 78

    Composer: Tanouye, Nathan
    Instrumentation: Mixed Ensemble Instruments: Piano, Soprano Sax, Tuba
    Genre: Contemporary

    Soprano Saxophone, Tuba and Piano

    Completed in early 2011, Mile Marker 78 was written for tuba player Stephen Kunzer, who currently serves as the adjuct Tuba/Euphonium instructor at the University of Nevada, Las Vegas. This piece was written in response to his father, who died tragically and suddently in a car accident just outside of Plains, Montana. The piece starts out in a peaceful mood, illustrating the loving relationship between Kunzer and his father. As the piece progresses, we start to hear the tension build, as if foreshadowing the tragic event to come. In the 5/8 section, the tempo picks up, and visions of a car driving down the deserted highway in the middle of the night come to mind. Ultimately, we hear the car screeching to its final demise in measure 164, just as the car reaches mile marker 78. The long melody played by the tuba at the end of the piece represents some of the emotions that Kunzer felt at the time that he lost his father. This piece was premiered in March, 2011 at the North America Saxophone Alliance Conference at the University of Nevada, Las Vegas, and has since been recorded by Mr. Kunzer.

    –Nathan Tanouye

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  11. Organica

    Composer: Batterham, Andrew
    Instrumentation: Trio Instruments: Guitar, Trombone, Trumpet
    Genre: Contemporary

    Trumpet, Trombone and Guitar

    From the composer:

    The term “organic” usually refers to something grown from a living organism. In this piece, all harmonic and melodic material grows from a single note. The opening passage expands the note into an organic scale unique to the piece, which is then used to underpin the rest of the work. Rhythmically the work grows from beginning to end. The slow, single and duple pulse of the opening passage is expanded to triple time at bar 22, and further to quadruple time from bar 133 onwards. From bar 186 both brass players improvise freely on material present earlier in the piece, almost in the manner of a jazz jam session.

    Organica was commissioned by Ensemble Three through the University of Melbourne in 2013, for premiere and recording by Don Immel, Joel Brennan and Ken Murray.

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  12. Unseen Colors

    Composer: Miller, Brett
    Instrumentation: Duet and Piano Instruments: French Horn, Piano, Tuba
    Genre: Contemporary

    Horn, and Tuba with Piano

    From the composer, Brett Miller:

    “Chris Quade, tubist in the United States Air Force Band, inspired and commissioned Unseen Colors. Each movement represents a hidden side, or mood of the colors we think we know so well: imagine orange lying flat, pick up a corner – peer underneath and see what is swirling about. Everyone assumes red is always feisty and bold, and so it is not hard to imagine it might make an enemy. However, what color would be so bold as to fight with red? Let’s find out together…”

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  13. Zugzwang!

    Composer: Dempsey, Ray
    Instrumentation: Duet Instruments: Bassoon, French Horn
    Genre: Contemporary
    Composer 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
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