Percussion music

Solo Percussion - unaccompanied
A DAY IN THE CITY “7 Vignettes” (1986) for solo marimba or xylophone by Howard J. Buss. These colorful musical scenes from the city are excellent study and recital pieces. Each movement is given a title which depicts an occurrence which the composer experienced one day in 1982 during a visit to New York City. The movements are Another Sunrise (based upon an early morning excursion to Central Park to witness the rising of the sun over the buildings); Off to a Busy Day (driving in heavy traffic, zigzagging around to avoid "crazy" drivers); The Lost Key Episode (the composer lost his car keys, but the key of the music is lost too); The Waitin' in Line Blues (an actual blues progression during which the performer alternates between playing with a straight tone and a heavy, obnoxious "corny" vibrato to show frustration at being stuck in a slow-moving line); Romantic Interlude (a beautiful, melodious and flowing waltz); Sudden Storm (getting caught up in a raging thunderstorm); and Out on the Town (has a cheerful Latin feel and breaks into swing as it reaches its climax). "Tonal, charming and imaginative! The low purchase price and the incisive approach of a skilled composer make this a piece worth seeking out.”- PMEA News (10’) Grade IV. B306 $4.95 To order

RITE OF PASSAGE (1995) for solo marimba by Howard J. Buss. This “tour de force” features flashy passages of driving intensity with a haunting, mystical central section. “A challenging solo that is worth consideration for the advanced recital program. - Percussive Notes. (5’45”) Grade V-V. B333 $6.95 Questions? To order

One Percussion with one other instrument

ATMOSPHERES (2005) for trumpet/flügelhorn and one percussion by Howard J. Buss is a colorful, dramatic, and captivating duo in three movements: The Wakening; One Sunday, Long Ago; and On-the-Edge. It was commissioned by the Double Take Duo. The first movement begins with a mysterious and turbulent section featuring dramatic contrasts of dynamics and mood. Eventually this gives way to passages with a hint of playfulness. The movement culminates in an intriguing dance-like section with a distinctively Latin flare. One Sunday, Long Ago is divided into two main parts: the first uses lyrical, soaring melodies played on the Flügelhorn over a delicate ostinato on the maracas. Notable about the percussion part in this section is that the percussionist also plays the bongos and tambourine (setting on a table) with the bodies of the maracas, and the suspended cymbals with the butts of the maraca handles. The movement ends with an intriguing interplay between the marimba and the Flügelhorn,creating a beautiful, and almost meditative, atmosphere. The final movement is energetic, highly dramatic, and is obviously influenced by jazz. The percussion instruments employed include marimba (to low A), two suspended cymbals, bongos, temple blocks, tambourine, maracas, wood block, tam-tam, cow bell, and triangle. The marimba part calls predominately for two-mallet technique.When four mallets are employed (in the third movement) sparingly, they are used in repeated chordal patterns. Atmospheres is a sophisticated work with audience appeal! (10’30”) Grade V-VI B398 $26.50 Questions? To order
Sample page: Percussion Set-up.pdf file (will open with Acrobat Reader) Atmospheres is recorded on the Double Take Duo CD ATMOSPHERES (available from Brixton Publications - CD110, see below).

New! BEHIND THE INVISIBLE MASK (2006) for bassoon and one percussion by Howard Buss is a beautiful and compelling duo that mixes Buss’ unique style of soaring lyricism and exciting contrasts with intriguing rhythms. The title refers to the complex of emotions a person may experience while reconciling conflicts between his/her internal world and public role (invisible mask).The percussion set-up includes: marimba, temple blocks, bongos, tam-tam, bass drum, maracas, tambourine, suspended cymbals and agogo bells. This is a memorable and captivating feature number for advanced players. (11’45”) B407 Grade VI. $16.50 To order

BOOM TIME for trombone and percussion,words and music by Howard Buss, is an evocative and entertaining work in which both performers recite the text during performance. Cast in four movements: Boomers!, Thoughts of Grey, Trombone Magic, and Wild Nights, it addresses humankind’s relationship to technology in the modern world. The instrumentation includes tomtoms, cymbals, wood block, wind chimes, tam-tam, bell tree, triangle, bass drum, tambourine, hi-hat, whip, vibraslap, bells and vibraphone. Commissioned by and premiered at the 1998 International Trombone Festival. (12’) Grade VI. B359 $20.00 Questions? To order
Score sample: Mvt. 1 “Boomers!” .pdf file (will open with Acrobat Reader)
Score sample: Mvt. 2 “Thoughts of Grey!” .pdf file (will open with Acrobat Reader)
Score sample: Mvt. 3 “Trombone Magic” .pdf file (will open with Acrobat Reader)
Score sample: Mvt. 4 “Wild Nights” .pdf file (will open with Acrobat Reader)
Sample page: Percussion Set-up .pdf file (will open with Acrobat Reader)
Sample page: Performance Notes .pdf file (will open with Acrobat Reader)
Boom Time Sound Samples:
Excerpt, Movement 1A.mp3 (1MB); Excerpt, Movement 1B.mp3 (1004KB);
Excerpt, Movement 2.mp3 (944KB); Excerpt, Movement 3.mp3 (1MB);
Excerpt, Movement 4.mp3 (1.2MB)

DE LA MADERA (2006) for oboe and marimba by Howard Buss. The Spanish title means “From the Wood” and refers not only to the material producing the tones, but also the alluring enchantment of the forest. This beautiful and compelling duo mixes Buss’ unique style of soaring lyricism and exciting contrasts with spicy,zesty Latin rhythms. The result is sure to please both the audience and performers! (10’15”) Grade V-VI. B406 $10.00 To order
Del La Madera samples: Score sample 1.pdf (2 pages, 244KB); Score sample 2.pdf (3 pages, 440KB)

IMPROMPTU (1994) for clarinet (or soprano saxophone) and marimba by Howard J. Buss is characterized by driving rhythms and ornate melodic lines. The opening motives in both parts undergo almost continuous development throughout the work, often giving the music a spontaneous, improvisatory feel. At times the music has a playful, almost frolicking quality. At other times mysterious and introspective passages contrast with aggressive, intense sections to create an atmosphere of moodiness. The lyrical melodies and interesting timbral contrasts between the instruments, combine with the tonal scheme of the music to make a sophisticated, yet audience-friendly, concert work. Two mallet technique is prominent in the marimba part during the more intricate solo passages and there is some use of three and four mallets in those sections where chordal writing occurs. It is frequently performed on recitals by college students and faculty. “A very accessible and enjoyable work.” - Percussive Notes. (6’) Grade V. B321 $10.00 To order
Impromptu Sound Samples (played on soprano sax):
Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (1MB)

   INCANTATION (1994) for Bb trumpet and one percussion by Howard J. Buss evokes the mystery and enchantment of the sorcerer's ritual. Tightly structured sections contrast with free-form passages in a manner analogous to the interaction of order and mysticism in an incantation. Printed in the preface to the score is the poem "Incantation" (see below) by the composer which may be narrated before the performance and/or used as written program notes. The instrumentation includes vibraphone, two suspended cymbals, tam-tam, bell tree, wind chimes, cowbell, hi-hat, and tambourine. “The audience was mesmerized as the two wizards cast their unforgettable musical spell.” - The Chicago Tribune. (8’) Grade V. B322 $12.00 To order
Recorded on the CD Double Take by Sheryl Linch and Don. N. Parker, percussion. The Double Take CD is available from Brixton Publications. It has also been recorded on the Equilibrium CD EQ58 "Old News" by Stephen Dunn, trumpet and John Pennington, percussion.
Incantation Sound Samples:
Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (1MB)
Text of "Incantation" (free verse by Howard J. Buss) that may be used as program notes):
The sorcerer's ritual -
     based upon science, cast in hope,
          ceremony of portent in a universe of laws,
Unseen enchantment empowered to move the unheard.
Mystical phrases, coldly calculated, yet obscured by sonic spells,
     altered perceptions of immutable reality.
Are not the senses willingly shaken for effect
     no less violated by the magician's design?
Perhaps all can be forgiven -
     for the allure and beauty of incantation
          transcends the cares of scheme and reason.

KALEIDOSCOPE (1988) for flute and one percussion by Howard J. Buss. This colorful “theme” and variations was written for the McCormick Duo. The theme is actually a distinctive rhythmic pattern which is varied in a manner similar to the transformation of images as seen through a kaleidoscope. Both performers have an equally important role in presenting themusical material - this is a true chamber work.The instrumentation includes marimba, bells, 2 suspended cymbals, temple blocks, bell tree, and tambourine. (8’) Grade IV-V. B323 $10.00 Questions? To order
Kaleidoscope Sound Samples: Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (929KB)

NIGHT TIDE (1995) for trombone and marimba by Howard J. Buss. An evocative interplay between aggressive and serene sections, this enchanting duo is an impression of the New England coastline at night. “The evening’s highlight, Night Tide was a stunning aural portrait of the sea’s ebb and flow.” - The Maine Sunday Telegram. (8’30”) Grade IV. B327 $12.00 To order
Sound Sample#1.mp3 (1.1MB) Sound Sample#2.mp3 (1.1MB)

SCENES FROM THE HOLY LAND (2002) for flute and one percussion by Howard J. Buss was inspired by the composer’s two trips to the Middle East. Cast in 5 colorful and picturesque movements:
I. Masada (3:05)
II. Storm on Mount Sinai (3:10)
III. The Flock by the Sea of Galilee (2:25)
IV. Jordan Valley Enchantment (2:30
V. The Road to Jerusalem (4:20)
This significant new work was commissioned for the McCormick Duo and the 30th Anniversary of the National Flute Association. Percussion instruments: Marimba, suspended cymbal, tambourine, bongos, wood block, wind chimes, and agogo bells. (15'30") Grade V. B377 $22.00 To order
Score sample: Mvt.1 Masada.pdf file (will open with Acrobat Reader)
Score sample: Mvt.2 Storm on Mt.Sinai.pdf file (will open with Acrobat Reader)
Score sample: Mvt.3 The Flock by the Sea of Galilee.pdf file (will open with Acrobat Reader)
Score sample: Mvt.4 Jordan Valley Enchantment.pdf file (will open with Acrobat Reader)
Score sample: Mvt.5 The Road to Jerusalem.pdf file (will open with Acrobat Reader)
“The opening section, ‘Masada’ presents angular solos against percussion accents, with ascending legato passages for the flute. The music turns more florid and Middle-Eastern in style before a peaceful coda. ‘Storm on Mount Sinai’ offers sharply rhythmic music accented with tambourine and a more febrile bazaar-like flute writing. ‘The Flock by the Sea of Galilee’ contains an oddly memorable five-note percussion motif under a lovely bucolic flute theme. ‘The Road to Jerusalem’ makes a haunting finale with elaborate passages against pulsating percussion. Scenes from the Holy Land is an effective and colorful work with deftly varied music and tackled by the musicians with skill and understated virtuosity Buss’ intimate style requires. It makes its effects with point and economy and would be a boon to flute and percussion duos searching for program material.” - The Gramophone, April 2005. Recorded on the Capstone Records CD HOWARD J. BUSS:MODERN TIMES available from Brixton. Questions? To order

   SKY BLOSSOMS (1998) for flute and one percussion by Howard J. Buss is a dramatic “tour de force” during which both performers are responsible for reciting the text during performance. Mystical and lyrical sections contrast with intense and explosive passages. The instrumentation includes vibes, bells, roto toms, bass drum, tambourine, cowbell, cymbals, wind chimes, bell tree, tam-tam, temple blocks, maracas and a lion roar. Commissioned for and premiered by Connie and Brandie Lane. (7’30”) Grade V-VI. B361 $16.50  To order
score sample.pdf file (will open with Acrobat Reader)
performance notes.pdf file (will open with Acrobat Reader)

   STELLAR VISIONS (2005) for flute and marimba by Howard J. Buss was written during the Winter of 2005 and is dedicated to the McCormick Duo: Kim McCormick, flute, and Robert McCormick, percussion. This colorful and engaging work juxtaposes mystical, lyrical, and energetic sections in a manner analogous to the ebb and flow of emotions experienced by the composer during meditation on the awesome grandeur of a starry night.
Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (960K) From mystical, quiet murmurings to intense and brilliant forte passages, the music showcases the great expressive range of the flute and marimba duo. (6’40”) Grade V-VI. B397 $12.00  To order

VOYAGES (1996) for trumpet and one percussion by Roger C. Vogel. This colorful work in three movements was commissioned by trumpeter Edward Sandor and is recorded on ACA Compact Disc Number CM 20042. The CD is available from Albany Music Distributors, Inc. (Phone: 1-800-752-1951). The approximate duration of the movements of Voyages are as follows: I. 5'45", II. 5'45", and III. 5'20". It is scored for C trumpet, B-flat piccolo trumpet, B-flat flügelhorn, vibraphone, snare drum, suspended cymbal, and steel drum. The composer writes in the performance notes in the preface to the score that "If a treble steel drum is not available, then the part may be played entirely on the vibraphone (without rolls.) The flügelhorn part may be played on a Bb trumpet with a bucket mute or felt hat." (17’) Grade V-VI. B909 $20.00 To order
Voyages Sound Samples: Sample Movement 1.mp3 (1.1MB)
Sample Movement 2.mp3 (1MB) Sample Movement 3.mp3 (1020K)

WAVE TRAIN (1990) by Howard J. Buss. The interaction of the lyrical melodies in this beautiful and frequently performed work is reminiscent of the patterns created by intermingling waves on the surface of water. Recorded on the CD "Premiers Plus One" by the McCormick Duo.This is an attractive feature number which also works well as a contest piece. Sound Sample#1.mp3 (1.1MB) Sound Sample#2.mp3 (1.1MB) (6’15”) Grade IV-V. version for flute and marimba B343 $10.00 To order

Percussion ensembles

AMERICAN PHOENIX (2001) for solo bass trombone (or tuba) and four percussion by Howard J. Buss was written for Stefan Sanders, bass trombonist with the Buffalo Philharmonic and the 30th Anniversary of the International Trombone Association. Cast in three movements, this colorful work was composed immediately following the important world events of September 11, 2001. It was premiered by Mr. Sanders and members of the University of North Texas Percussion Ensemble at the 2002 International Trombone Festival in Denton, Texas. this colorful work is cast In three movements: In Remembrance 9/11/01, Repercussions, and Renewal. Percussion Distribution - Percussion 1: Xylophone, tubular bells (chimes), suspended cymbal, snare drum, police whistle, and Chinese bell tree; Percussion 2: Vibraphone, 2 suspended cymbals, 4 tom toms, bongos, and wood block; Percussion 3: Marimba, tam-tam, lion roar, ratchet, slapstick, wind chimes, and suspended cymbal; Percussion 4: Marimba (to low A), timpani (4), tambourine, 2 cowbells, and suspended cymbal."Buss’ melodies vary. They are mystic, poignant, heroic, often modal, and at times reminiscent of folk songs. He writes for the percussion ensemble with mastery and features a wide range of instruments. The sound landscape is rich with many moods and timbres. American Phoenix is an attractive addition to a solo program or as a feature piece for a percussion recital. It is rewarding for both performer and audience.” - The ITA Journal, January 2005 (15’) Grade V. B375 $48.50 Questions? To order
Score sample: Mvt. 1 “In Remembrance” 9/11/01 .pdf file (will open with Acrobat Reader)
Score sample: Mvt. 2 “Repercussions” .pdf file (will open with Acrobat Reader)
Score sample: Mvt. 3 “Renewal” .pdf file (will open with Acrobat Reader)
American Phoenix Sound Samples:
Movement 1 (In Remembrance 9/11/01), Excerpt A.mp3 (1001KB);
Movement 1 (In Remembrance 9/11/01), Excerpt B.mp3 (1MB);
Movement 2 (Repercussions), Excerpt A.mp3 (1.1MB);
Movement 2 (Repercussions), Excerpt B (the ending).mp3 (1021KB);
Movement 3 (Renewal), Excerpt A.mp3 (1.1MB);
Movement 3 (Renewal), Excerpt B (the ending).mp3 (795KB)

THE BIG BANG (1992) for 6 percussion and piano by Howard J. Buss. This significant work in 2 movements is a musical representation of the “Big Bang” theory of the creation of the universe which contends that our ever-expanding universe began as a colossal explosion at a single point in space. During the first movement, The Creation, all musical development grows out of an initial blast of sound. Waves of sound mass gradually crystallize into definite pitches leading to the formation of the natural harmonic series. Twelve-tone fragments intertwine and gradually coalesce into perceptible melodies. This musical development is analogous to the formation of compounds, amino acids, etc. Midway through The Creation the “spark of life" is introduced in an abrupt shift of musical activity which undergoes continuous development to the end of the movement. The animated second movement, Dance of Life, is a joyous celebration of life. Percussion distribution: Percussion 1: 2 suspended cymbals, 3 brake drums, 2 cowbells, temple blocks, tam-tam, and sand blocks; Percussion 2: Orchestra bells, 5 roto toms, and triangle; Percussion 3: Flexitone, timpani (4), wind chimes, bongos, and a thunder sheet (or a large tam-tam); Percussion 4: Xylophone, suspended cymbal, bass drum, and chimes (tubular bells); Percussion 5: Marimba, 2 anvils metal pipes may be substituted), tambourine, finger cymbals, and a triangle; Percussion 6: Vibraphone, chimes (tubular bells) which are to be shared with player 4, snare drum, 2 suspended cymbals, and tam-tam.The piano is treated as an integral part of the percussion battery. This engaging work is appropriate for a college-level percussion ensemble. (18’) Grade V-VI. B308 $38.50 Questions? To order
The Big Bang Sound Samples from the First Movement:
Sample 1A.mp3 (1MB) Sample 1B.mp3 (1MB) Sample 1C.mp3 (742K)
The Big Bang Sound Samples from the Second Movement:
Sample 2A.mp3 (1.1MB) Sample 2B.mp3 (879K) Sample 2C.mp3 (839K)

COEXISTENCE (1979) for clarinet and four percussion by Howard J. Buss. Dramatic tension permeates this work as the solitary clarinet is pitted against the potentially explosive and overpowering might of the percussion ensemble.The state of fragile coexistence between the clarinetist and the percussionists at times requires the conductor to function as a “referee” in order to preserve the dynamic balance. The most theatrical example of this occurs about midway through the composition. At this point the music builds to a deafening, chaotic fury during which the clarinetist has no chance of being heard. The director restores order by “disciplining” the percussionists with a piercing blast on a police whistle. In contrast, Coexistence contains sections of relatively low intensity with delicate coloristic shadings and intricate ensemble coordination. Timbral modulations figure prominently throughout the work. Percussion distribution: Percussion 1: Xylophone, chimes (tubular bells), orchestra bells, 4 tom toms, sizzle cymbal, tam-tam, triangle and wind chimes; Percussion 2: Vibraphone, celesta (muted orchestra bells may by substituted), triangle, tambourine, temple blocks, maracas, and snare drum; Percussion 3: 2 suspended cymbals, triangle, cow bell, snare drum, bass drum, and tam tam; Percussion 4: Marimba, timpani (1), cow bell, large tam-tam (which may be shared with players 1 and 3), ratchet, whip, hi-hat, and wind chimes.“An exquisite concert piece that will keep listeners on the edges of their seats! “ - The Clarinet.”This is recommended literature.” - Percussive Notes (9’) Grade V. B311 $24.50 Questions? To order
Coexistence Sound Samples:
Excerpt 1.mp3 (922KB); Excerpt 2.mp3 (1023KB); Excerpt 3.mp3 (1MB)

CURRENTS (1976) for 4 percussion by Howard J. Buss is divided into four main sections and explores various perspectives of the principles of timbral and metric modulation. Timbral and metric “currents” in the music interact and blend in a manner analogous to currents in physical mediums. In addition, there is an element of implied theater. As the work begins, three percussionists are conducted in the traditional manner by the fourth. Next to the conductor, clearly visible in front of the main percussion battery, is a wooden board bridging two saw horses and a carpenter’s hand saw. These sit idly through much of the work, long enough to arouse curiosity in the audience as to the role of these prominently displayed construction objects. About midway through the composition the conductor lifts the saw overhead and strikes it. This serves as a cutoff gesture and also establishes that the saw is an “extension” of the conductor’s baton. The saw remains idle until the beginning of the fourth division of the work. During the final section it is used simultaneously as a “baton” and a percussion instrument by the director, who saws through wood, scrapes the saw’s teeth, slaps it on the board, strikes it with a mallet, and waves it in the air. At the very end of the work the conductor sets down the saw and walks behind the players to play the tam-tam. In doing so, he continues to direct the ensemble through the explosive conclusion. Percussion distribution: Percussion 1: 2 anvils (metal pipes may be substituted), 2 cow bells, snare drum, 2 suspended cymbals, tambourine, timpani (1), xylophone, and wind chimes; Percussion 2: hi-hat, maracas, 2 suspended cymbals, triangle, large tam-tam, 4 tom toms, and vibraphone; Percussion 3: Bass drum, guiro, marimba, 2 suspended cymbals, temple blocks, and triangle; Percussion 4 (conductor): Carpenter’s saw, a 2x2” wooden board, and 2 saw horses. “A memorable combination of percussive artistry and theatrical class “ - The Washington Post. (14’) Grade V-VI. B314 $38.50 Questions? To order Recorded on the Capstone Records CD HOWARD J. BUSS:MODERN TIMES available from Brixton.
CURRENTS Sound Sample#1.mp3 (1MB)
CURRENTS Sound Sample#2.mp3 (1MB)
CURRENTS Sound Sample#3.mp3 (1.1MB)
CURRENTS Sound Sample#4.mp3 (984K)

DREAM SEQUENCE (1987) for trombone and four percussion by Howard J. Buss was inspired by Carl Sagan’s poetic observation about dreams: “Late at night, when it is very still and the obligatory dreams have been dreamt, the gazelles and dragons begin to stir.” Subdued, mystical sections contrast with energetic and rhythmic episodes in a manner resembling a progression of dreams. Percussion distribution: Percussion 1: Marimba, celesta (muted orchestra bells may be substituted), suspended cymbal, claves, and 2 cow bells; Percussion 2: Vibraphone, maracas, bass drum and temple blocks; Percussion 3: Orchestra bells, guiro, and 2 suspended cymbals; Percussion 4: Chimes (tubular bells), bongos, wind chimes, tam-tam, triangle, and lion roar. “Worth programming and highly recommended.” - Percussive Notes. (10’) Grade IV. B316 $24.50 Questions? To order
Dream Sequence Sound Samples:
Excerpt 1.mp3 (1016KB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (964KB)

ESCAPADE (1991) for alto saxophone and four percussion by Howard J. Buss.This colorful and inventive composition explores a sequence of emotional states which develop over a talea, a fixed pattern of time values. Except during the extended saxophone cadenza, this repeating rhythmic pattern can be heard throughout the work in varying degrees of intensity. At times it is forcibly presented by the musicians moving in rhythmic unison. On other occasions the talea is fragmented and distributed among the players. Frequently this rhythmic pattern is embedded in the presentation of melodic material similar to the technique of isorhythm as it was employed by 14th-century masters such as Machaut and de Vitry. The continuous variation of the unifying talea coupled with the work’s intriguing melodies and exotic timbral contrasts, make this an accessible and enjoyable concert work. Percussion distribution: Percussion 1: Timpani (4), temple blocks, snare drum, and 2 suspended cymbals; Percussion 2: Orchestra bells, xylophone, maracas, triangle, 2 cow bells, suspended cymbal, and chime tree; Percussion 3: Vibraphone, tam-tam, roto toms, and claves; Percussion 4: Marimba, guiro, and 2 suspended cymbals. “By far the night’s most memorable piece.” - The Los Angeles Times. (11’30”) Grade IV-V. B317 $24.50 Questions? To order
Escapade Sound Samples: Excerpt 1.mp3 (1.1MB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (1.2MB)

   MODERN TIMES (1995) for narrator, flute, and four percussion (words and music by Howard J. Buss) is a powerful and dramatic depiction of life in our time. Provocative, at times mystical, and occasionally humorous, this work addresses an eclectic range of subjects such as taxes, neglected children, team mascots, and the information glut.
   “The tenor of Buss’ social commentary is somewhere between the witty jeering of Mark Twain and the pithy    insights of Sinclair Lewis. In his free verse one finds provocation without violence and intense anger    without profanity.” - The Tampa Tribune.
   The sophisticated music of MODERN TIMES transports the poetry into the dramatic and colorful sound world of the flute and percussion ensemble. The result is a unique and fresh view of the culture(s) in which we live.
   “The writing is mature and fresh, yet is within reach of a solid college ensemble.” - George Frock,    Percussive Notes Magazine
   “This work is well-paced, colorful and accessible to audiences not familiar with complex percussion    literature.This is truly one of the finest works in our idiom.” Robert McCormick, Florida Percussive News
The 8 movements of MODERN TIMES may be performed individually or in smaller groupings depending upon time limitations.
I. Info Glut (3:34) Sound Sample (996K)
II. Night Tide (2:49) Sound Sample (804K)
III. The Hunt (4:14) Sound Sample (872K)
IV. Five Question Interlude (3:01) Sound Sample (1MB)
V. The Asphalt Blanket (3:11) Sound Sample (1.1MB)
VI. To a Neglected Child (5:25) Sound Sample (1.1MB)
VII. Giggles!?! (1:57) Sound Sample (976K)
VIII. Modern Times (5:26) Sound Sample#1 (1000K) Sound Sample#2 (812K)
Percussion distribution: Percussion 1: Xylophone, lion roar, tam-tam, vibraslap, 2 suspended cymbals, Chinese bell tree, and bongos; Percussion 2: Marimba, snare drum, bass drum, 2 anvils (metal pipes may be substituted), glass jug or jars (to be broken for the sonic effect), conga drum, wind chimes, and triangle; Percussion 3: Vibraphone, roto toms, tambourine, tam-tam, police whistle, shaker, duck call; Percussion 4: Orchestra bells, timpani (4), agogo bells, 2 suspended cymbals, hi-hat, wind chimes, wood block, frog croak (may be imitated vocally), boing box effect (a flexitone may be substituted), triangle and guiro.This piece is a “must!” (30’) Grade V. B348 $48.50   Questions? To order
Recorded on the Capstone Records CD HOWARD J. BUSS:MODERN TIMES available from Brixton.

MYSTERIOUS EXIT (1993) for flute and 4 percussion by Howard J. Buss. The title refers to the inexplicable disappearance of the 14th Century Sinagua Indians who inhabited an area in what is now the State of Arizona. This composition was inspired by the composer’s visit to the Sinagua pueblo ruins and is a musical representation of how the Sinaguan culture graced the austere and forbidding landscape of the region. The central section of the piece exhibits some of the intriguing rhythmic asymmetry found in Hopi dance songs.
Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (1MB) Percussion distribution: Percussion 1: Orchestra bells, temple blocks, 2 suspended cymbals, rattle, and wind chimes; Percussion 2: Marimba, and suspended cymbal; Percussion 3: Xylophone, and suspended cymbal; Percussion 4: Vibraphone, tom tom, sleigh bells, rattle, 2 suspended cymbals, and a bell tree. (11’30”) Grade IV. B326 $24.50 Questions? To order
Recorded on the CD “Premiers Vol. I” available from Brixton.

OVERTURE FOR PERCUSSION (2003) by Howard J. Buss. This colorful and vibrant percussion quartet was composed for Juan Ponsoda and the OSA Quartet de Percussio’ of Spain. It is an exciting romp through vigorous, yet intricate passages. Each percussionist performs on several different instruments and all have significant solo passages. Percussion distribution: Percussion 1: Xylophone, 2 suspended cymbals, and bongos; Percussion 2: Vibraphone, tambourine, and tom toms (5); Percussion 3: Marimba, chimes (tubular bells), 2 suspended cymbals, tam-tam, and temple blocks; Percussion 4: Marimba, timpani (3), and 2 suspended cymbals. This is a great concert opener. “A traditionally oriented quartet with a lively Polynesian/Oriental flavor, its contrapuntal melodies overlap and dovetail beautifully, as gracious cymbal swells connect each phrase and change of instrument.”- Percussive Notes. (6’) Grade V. B384 $22.00 Questions? To order Recorded on the Capstone Records CD HOWARD J. BUSS:MODERN TIMES available from Brixton.
Score Sample.pdf file (will open with Acrobat Reader)
Percussion Set-up Chart.pdf file (will open with Acrobat Reader)
OVERTURE Sound Sample#1.mp3 (896K)
OVERTURE Sound Sample#2.mp3 (928K)
OVERTURE Sound Sample#3.mp3 (704K)

SCI-FI PERCUSSIVES for twelve percussion by Howard J. Buss. This exciting and entertaining addition to the repertoire is a riveting fantasy in three movements: Prelude to Contact, Alien Probes and Aggressions.“I have always been fascinated by the human ability to disregard the tangible in order to embrace the intangible. Whether the intangibility involves the belief in a Deity, the enthusiastic acceptance of a conspiracy theory, or being engrossed in a movie about something as implausible as a Martian invasion, a leap of faith is required to enter the magical realm of the imagination.” - Howard J. Buss
Percussion distribution: Percussion 1: Orchestra bells, conga drum, and 2 suspended cymbals; Percussion 2: Xylophone and wood block; Percussion 3: Marimba; Percussion 4: bongos, 2 suspended cymbals, slapstick, air raid siren; Percussion 5: Vibraphone; Percussion 6: Marimba; Percussion 7: Timpani (4), cowbell, and crotales (one octave); Percussion 8: Roto toms, tam-tam, lion roar, bass drum, maracas, 2 suspended cymbals, triangle, bell tree, snare drum, and hi-hat; Percussion 9: Orchestra bells, tubular bells (chimes), sleigh bells, guiro, temple blocks, and maracas, Percussion 10: Xylophone and snare drum; Percussion 11: Marimba; Percussion 12: Bongos, 2 suspended cymbals, and a ratchet.
Score sample: Mvt.1 “Prelude to Contact.pdf (will open with Acrobat Reader) Sound Sample Mov.#1.mp3 (800K)
Score sample: Mvt.2 “Alien Probes”.pdf (will open with Acrobat Reader) Sound Sample Mov.#2.mp3 (1.1MB)
Score sample: Mvt.3 “Aggressions”.pdf (will open with Acrobat Reader) Sound Sample A, Mov.#3.mp3 (1016K)
Sound Sample B, Mov.#3.mp3 (732K)
Percussion Set-up Chart.pdf (will open with Acrobat Reader)
On stage the percussionists are arranged into 3 quartets. Each group consists of a set of pitched and non-pitched instruments. For the most part, the positioning of the players is for the sake of balance; however, there are sections in the music where the parts are choreographed for special sonic and visual effects.This composition appeals to all types of audiences: the music is sophisticated , yet because of its programmatic nature and the dazzling and powerful musical imagery, it will speak to anyone who still has a pulse! If you are looking for a large-scale ensemble work (comprised approximately of 75% keyboard percussion) with some parts which will challenge your best players, and other parts that will accommodate your Freshmen - this is it! (18’) Grade V-VI. B368 $80.00 Questions? To order

SPANISH MEMOIRS (2004) for solo trumpet and percussion quartet by Howard J. Buss is an exciting new addition to the repertoire. It is characterized by spicy, zesty Latin rhythms juxtaposed with soaring lyrical melodies hugely influenced by jazz. The music is both accessible and sophisticated, audiences love it! Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (768K) Sound Sample#3.mp3 (480K) Percussion distribution: Percussion 1: Vibraphone, snare drum, conga drum, tambourine, and wood block; Percussion 2: Marimba, sand blocks, and claves; Percussion 3: Marimba and guiro; Percussion 4: Marimba, bass drum, 2 suspended cymbals, bongos, maracas, and tam-tam. (10’) Grade V. B392 $28.50 "...sure to be applauded by soloist, ensemble and audience alike. A melodious trumpet part, an animated accompaniment featuring toe-tapping rhythms, some flashy mallet playing, and the influences of the jazz and Latin idioms will go a long way to ensure the success of this piece." - John R. Raush, Percussive Notes - June 2005. Questions? To order
score sample.pdf file (will open with Acrobat Reader)
performance notes.pdf file (will open with Acrobat Reader)

THUNDER ROLL for three percussion and piano by Zack Browning in two movements: “Night Visions” is a slow and ethereal with much dramatic contrast. “Day Attack” is fast-paced in which rhythmic displacement and mixed meters create a compelling style reminiscent of the music of Bartok. Percussion distribution: Percussion 1: Vibraphone, snare drum, and suspended cymbal; Percussion 2: Triangle, tam-tam, bass drum, glockenspiel, xylophone, and roto toms; Percussion 3: Timpani (4). “This is a well-written piece with audience appeal.” - Percussive Notes Magazine (10’) Grade V-VI B205 $28.50 To order
Thunder Roll Sound Samples: Excerpt, Movement 1.mp3 (1.1MB); Excerpt, Movement 2.mp3 (1.1MB)

   WHERE NOW RUSTS THE IRON? (1994) by Howard J. Buss is a dramatic tribute to the composer’s grandfather who, like many ironworkers in his day, worked under brutal conditions with the dream of making life better for future generations. “A moving work touching our communal soul.” (8’) Grade IV-V.
Version for high voice & piano B346 $12.50 Questions? To order
Version for high voice, flute, cello, and six percussion B346E $42.50   Questions? To order
Percussion distribution: Percussion 1: Timpani (4), orchestra bells, tubular bells (shared with perc. 2), and finger cymbals; Percussion 2: two anvils (metal pipes may be substituted), and tubular bells (shared with perc. 1: Percussion 3: Xylophone, and suspended cymbal; Percussion 4: Vibraphone and suspended cymbal; Percussion 5: marimba; Percussion 6: two suspended cymbals, tam-tam, wind chimes, and bell tree.
Percussion Set-up Chart .pdf file (will open with Acrobat Reader)
Text:
“Where Now Rusts the Iron?”
Homes now stand where once the foundry coughed.
Countless tons of iron -
wheels and pans,
boilers and pipes,
latches and plates.
Countless train loads of hardware
shrieked from the pounding, grimy world within.

Iron converted from life itself,
energy given form.
Precious moments, days, and years
poured into molds and sealed
amid the ashes and dust,
always ashes and dust,
suspended in life-stealing air.

The graves of the workers overlook this place,
their fam’lies spread afar.
Season come and go, yet frozen in mem’ry
are the days of youth spent in toil, hope, and purpose.
Where now rusts the iron once cast by pounding hearts,
releasing the dreams, the souls,
invested in tough, cold metal?

The foundry still stands among the houses,
coughing on smoke-laden air.
Invisible as the iron once made,
its souls as mist remains. - Howard J. Buss
Copyright © 1994 by Brixton Publications

Percussion in chamber music

CAPRICCIO (1986) for clarinet, trombone and one percussion by Howard J. Buss is a rather whimsical composition. The overall structure of the work is related to sonata-rondo form. Following an introduction, the frolicking Exposition unfolds only to be interrupted by a chorale-like episode followed by a paraphrase of the opening “thematic” material. The development section consists primarily of cadenzas for the percussionist, trombonist, and clarinetist respectively. (The cadenzas are separated by colorful transitional passages.) The clarinet cadenza is abruptly interrupted by the percussionist and trombonist leading to a section in Dixieland style. The composition concludes with a Recapitulation and Coda.Capriccio subtly pokes fun at the pyrotechnical characteristics exhibited by many contemporary compositions and the same time hints at a parallel with similar elements in Dixieland and jazz. The work was premiered in at the University of South Florida in Tampa by the composer on trombone, clarinetist Judy E. Buss, and percussionist Robert McCormick on November 24, 1981. The instrumentation includes 5 tom-toms, snare drum, tambourine, suspended cymbals, cowbells, triangle, tam-tam, bell tree, one timpani, vibraphone and bells. Frolicking and freewheeling with 12-tone Dixieland to boot! - The London Times (13’) Grade V. B309 $22.00 Questions? To order
Capriccio Sound Samples:
Excerpt 1.mp3 (1.1MB); Excerpt 2.mp3 (1MB); Excerpt 3.mp3 (1.1MB);
Excerpt 4.mp3 (398KB); Excerpt 5.mp3 (the ending) (966KB)

DISTANT THUNDER (1977, renotated 2005) for flute, one percussion, and piano by Roger Vogel is an exciting programmatic work consisting of two main parts. A slow, mysterious opening segment is followed by a faster, rhythmic section which develops the opening ideas and builds to a strong and memorable climax. Percussion: Timpani (4), triangle, snare drum, glockenspiel, and temple blocks. (5’15”) Grade V. B924 $20.00 To order
Distant Thunder Sound Samples:
Excerpt 1(the opening).mp3 (977KB); Excerpt 2.mp3 (1MB)

DREAM SEQUENCE (1987) for trombone and four percussion by Howard J. Buss was inspired by Carl Sagan’s poetic observation about dreams: “Late at night, when it is very still and the obligatory dreams have been dreamt, the gazelles and dragons begin to stir.” Subdued, mystical sections contrast with energetic and rhythmic episodes in a manner resembling a progression of dreams. Percussion distribution: Percussion 1: Marimba, celesta (muted orchestra bells may be substituted), suspended cymbal, claves, and 2 cow bells; Percussion 2: Vibraphone, maracas, bass drum and temple blocks; Percussion 3: Orchestra bells, guiro, and 2 suspended cymbals; Percussion 4: Chimes (tubular bells), bongos, wind chimes, tam-tam, triangle, and lion roar. “Worth programming and highly recommended.” - Percussive Notes. (10’) Grade IV.B316 $24.50 Questions? To order
Dream Sequence Sound Samples:
Excerpt 1.mp3 (1016KB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (964KB)

FANTASY QUARTET (2003) for flute, clarinet, bassoon and marimba (plays also temple blocks) by Scott Jordan in 3 entertaining movements: Pixie Dance, Magic Forest, and Sprites. The first movement is a spirited, playful forest scene which employs contrasting metric feels simultaneously The Second evokes a mysterious nocturnal ambience with an overlapping of ethereal long tones and echoes. The third is quick and dance-like. Utilizing a 4-note scale, its colorful, rhythmic melodies are juggled among the 4 instruments. (11’) Grade V. B761 $34.50
Fantasy Quartet Sound Samples:
Excerpt, Movement 1.mp3 (924K), Excerpt movement 2.mp3 (950K), Excerpt, Movement 3.mp3 (984K)

INTO EACH LIFE (1997) for flute, cello, piano and one percussion by Howard J. Buss was commissioned by The Florida Flute Association and the Brannen-Cooper Fund as a tribute to the renown flutist Albert Tipton. This colorful work is cast in two main sections, the first of which juxtaposes lyrical and turbulent passages. The final section takes the form of a joyous fugue. The instrumentation includes vibes, orch. bells, cymbals, tam-tam, bongos, wood block and tambourine. (11’) Grade V. B358 $26.50 To order
Score Sample.pdf file (will open with Acrobat Reader)
Percussion Set-up Chart.pdf file (will open with Acrobat Reader)
Into Each Life Sound Samples:
Excerpt 1.mp3 (1.2MB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (1.1MB)

   MODERN TIMES (1995) for narrator, flute, and four percussion (words and music by Howard J. Buss) is a powerful and dramatic depiction of life in our time. Provocative, at times mystical, and occasionally humorous, this work addresses an eclectic range of subjects such as taxes, neglected children, team mascots, and the information glut.
   “The tenor of Buss’ social commentary is somewhere between the witty jeering of Mark Twain and the pithy insights of Sinclair Lewis. In his free verse one finds provocation without violence and intense anger without profanity.” - The Tampa Tribune.
   The sophisticated music of MODERN TIMES transports the poetry into the dramatic and colorful sound world of the flute and percussion ensemble. The result is a unique and fresh view of the culture(s) in which we live.
   “The writing is mature and fresh, yet is within reach of a solid college ensemble.” - George Frock, Percussive Notes Magazine
   “This work is well-paced, colorful and accessible to audiences not familiar with complex percussion literature.This is truly one of the finest works in our idiom.” Robert McCormick, Florida Percussive News
The 8 movements of MODERN TIMES may be performed individually or in smaller groupings depending upon time limitations.
I. Info Glut (3:34) Sound Sample (996K)
II. Night Tide (2:49) Sound Sample (804K)
III. The Hunt (4:14) Sound Sample (872K)
IV. Five Question Interlude (3:01) Sound Sample (1MB)
V. The Asphalt Blanket (3:11) Sound Sample (1.1MB)
VI. To a Neglected Child (5:25) Sound Sample (1.1MB)
VII. Giggles!?! (1:57) Sound Sample (976K)
VIII. Modern Times (5:26) Sound Sample#1 (1000K) Sound Sample#2 (812K)
Percussion distribution: Percussion 1: Xylophone, lion roar, tam-tam, vibraslap, 2 suspended cymbals, Chinese bell tree, and bongos; Percussion 2: Marimba, snare drum, bass drum, 2 anvils (metal pipes may be substituted), glass jug or jars (to be broken for the sonic effect), conga drum, wind chimes, and triangle; Percussion 3: Vibraphone, roto toms, tambourine, tam-tam, police whistle, shaker, duck call; Percussion 4: Orchestra bells, timpani (4), agogo bells, 2 suspended cymbals, hi-hat, wind chimes, wood block, frog croak (may be imitated vocally), boing box effect (a flexitone may be substituted), triangle and guiro.This piece is a “must!” (30’) Grade V. B348 $48.50   Questions? To order
Recorded on the Capstone Records CD HOWARD J. BUSS:MODERN TIMES available from Brixton.

PLANE DANCING (1984) for flute, trumpet, bass clarinet, bass trombone, and two percussion by Erik Lund makes an exciting and colorful contrast on any program. This is music with thrust, intensely alive. Percussion distribution - Percussion 1: Three cymbals, tom toms (5), vibraphone, temple blocks, iron frying pan, cow bell, and brake drum; Percussion 2: Maracas. “An excellent addition to the chamber music program.” - Percussive Notes (5’) Grade V. B402 $24.50 To order
Plane Dancing Sound Samples:
Excerpt 1 (the opening).mp3 (1.1MB); Excerpt 2 (the ending).mp3 (1.2MB)

RENDEZVOUS (1994) for four B-flat trumpets and one percussion by Howard J. Buss is a flashy showpiece composed for and premiered at the 1994 International Trumpet Guild Conference. The composition opens with a stirring fugue (the percussionist performs the subject on the xylophone). Following the opening section are an intriguing series of passages featuring contrapuntal writing and the use of ostinati. The work culminates in an intense and exciting finale. Rhythmically and harmonically, the music is influenced by jazz. Percussion: 2 suspended cymbals, temple blocks, tam tam, 5 tomtoms, and finger cymbals. The percussion writing employs primarily 2 mallet technique with some use of 4 mallets on the xylophone in a passage of repeated eighth note chords.Rendezvous was first performed on June 18, 1994 during the International Trumpet Guild Conference hosted by the University of Illinois in Urbana with percussionist David Collier and trumpeters James Ketch, Charles Gates, Roy C. Griffen, and Craig Hurst. (8’) Grade VI. B332 $24.50 To order
Rendezvous Sound Samples:
Excerpt 1.mp3 (908B);
Excerpt 2.mp3 (949KB);
Excerpt 3 (the ending).mp3 (1.1MB)

SONIC FABLES: “Lessons from Aesop” (1991) for brass quintet (2-1-1-1) and one percussion by Howard J. Buss. Entertaining musical representations of six of Aesop’s famous fables are presented between a Prelude and Postlude. The text of the fables is printed on a preliminary page to the score and may be used as written program notes. Each fable may also by recited by a member of the ensemble or a narrator prior to performing the accompanying movement. Because of the programmatic subject matter and the colorful spirit of the music, Sonic Fables works well with all types of audiences, including those of children. It is frequently used as a feature number by professional ensembles on school programs. Percussion: 2 suspended cymbals, temple blocks, snare drum, tomtom, triangle, tambourine, wind chimes, xylophone, and tam-tam. The percussionist has numerous solos during the composition as well as an extended cadenza. The total duration is about 17 minutes; however, the 8 movements may be performed in smaller groupings if so desired by the performers. Sonic Fables was first performed on December 15, 1991 at Florida Southern College in Lakeland by the Clarion Brass with Thomas Glaister on percussion. (18’) Grade V-VI. B339 $28.50 To order

SPANISH MEMOIRS (2004) for solo trumpet and percussion quartet by Howard J. Buss is an exciting new addition to the repertoire. It is characterized by spicy, zesty Latin rhythms juxtaposed with soaring lyrical melodies hugely influenced by jazz. The music is both accessible and sophisticated, audiences love it! Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (768K) Sound Sample#3.mp3 (480K) Percussion distribution: Percussion 1: Vibraphone, snare drum, conga drum, tambourine, and wood block; Percussion 2: Marimba, sand blocks, and claves; Percussion 3: Marimba and guiro; Percussion 4: Marimba, bass drum, 2 suspended cymbals, bongos, maracas, and tam-tam. (10’) Grade V. B392 $28.50 To order
"...sure to be applauded by soloist, ensemble and audience alike. A melodious trumpet part, an animated accompaniment featuring toe-tapping rhythms, some flashy mallet playing, and the influences of the jazz and Latin idioms will go a long way to ensure the success of this piece." - John R. Raush, Percussive Notes - June 2005.
score sample.pdf file (will open with Acrobat Reader)
performance notes.pdf file (will open with Acrobat Reader)

New! TWO CAPRICES (2007) for flute, oboe, and marimba by Howard Buss is a rousing showpiece in two engaging movements. Evocation moves from the mysterious opening to a beautiful extended section in a pensive mood. Romp features beautiful lyricism and spirited rhythms with a Latin flare. Two Caprices was composed for Amy Collins, oboe; Kim McCormick, flute; and Robert McCormick, marimba and was premiered by Ms. Collins and the McCormick Duo at the International Double Reed Society Conference hosted by Ithaca College (NY) in June 2007. (10:30) Grade VI. B411 $16.50 To order
Two Caprices Sound Samples: Movement 1, Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (908KB)
Movement 2, Excerpt 1.mp3 (860KB); Excerpt 2.mp3 (1.3MB)

WHERE NOW RUSTS THE IRON? (1994) by Howard J. Buss is a dramatic tribute to the composer’s grandfather who, like many ironworkers in his day, worked under brutal conditions with the dream of making life better for future generations. “A moving work touching our communal soul.” (8’) Grade IV-V.
Version for high voice & piano B346 $12.50 To order
Version for high voice, flute, cello, and six percussion B346E $42.50 Questions? To order
Percussion distribution: Percussion 1: Timpani (4), orchestra bells, tubular bells (shared with perc. 2), and finger cymbals; Percussion 2: two anvils (metal pipes may be substituted), and tubular bells (shared with perc. 1: Percussion 3: Xylophone, and suspended cymbal; Percussion 4: Vibraphone and suspended cymbal; Percussion 5: marimba; Percussion 6: two suspended cymbals, tam-tam, wind chimes, and bell tree.
Text:
“Where Now Rusts the Iron?”
Homes now stand where once the foundry coughed.
Countless tons of iron -
wheels and pans,
boilers and pipes,
latches and plates.
Countless train loads of hardware
shrieked from the pounding, grimy world within.

Iron converted from life itself,
energy given form.
Precious moments, days, and years
poured into molds and sealed
amid the ashes and dust,
always ashes and dust,
suspended in life-stealing air.

The graves of the workers overlook this place,
their fam’lies spread afar.
Season come and go, yet frozen in mem’ry
are the days of youth spent in toil, hope, and purpose.
Where now rusts the iron once cast by pounding hearts,
releasing the dreams, the souls,
invested in tough, cold metal?

The foundry still stands among the houses,
coughing on smoke-laden air.
Invisible as the iron once made,
its souls as mist remains. - Howard J. Buss
Copyright © 1994 by Brixton Publications

Percussion recordings

New! ATMOSPHERES - This significant and exciting new release by the Double Take Duo (Don N. Parker, percussion and Sheryl Linch-Parker, trumpet) is a "must". The CD takes its name from the first work on the recording, Atmospheres by Howard J. Buss (published by Brixton Publications). The CD includes:

Atmospheres (2005) for trumpet and percussion by Howard J. Buss
[1] I. The Wakening                     4:41
[2] II. One Sunday, Long Ago     4:03
[3] III. On-The-Edge                   3:52

[4] Where Sirens Dwell (2006) by William L. Cahn 12:46
for trumpet and percussion with prerecorded CD

Six Interlocutions for Trumpet and Percussion
[5] I. Opening Statement             3:02
[6] II. Light Banter                      3:00
[7] III. Call                                  1:15
[8] IV. Be Correct or Happy       5:32
[9] V. Response                           1:27
[10] VI. Conclusion                     6:23

Brixton CD-110 Our special price: $13.95 (Compare at ~~$16.95~~) To order

New! Capstone Records CD HOWARD J. BUSS: MODERN TIMES
Music for flute, percussion, and narrator

“Outstanding, brilliant...These works demonstrate that Buss is one of our more outstanding composers for percussion. The performances are of the highest quality.” - George Frock, Percussive Notes Magazine, October 2004
In its April 2005 issue, The Gramophone, a leading audiophile magazine based in England, selected the CD Howard J. Buss: Modern Times to be included among “The best new recordings from North America.”
“Composer Howard J. Buss has won a number of awards, and this varied survey offers a worthy overview of his music.” - The Gramophone, April 2005
And specifically about Scenes from the Holy Land:
“The opening section, ‘Masada’ presents angular solos against percussion accents, with ascending legato passages for the flute. The music turns more florid and Middle-Eastern in style before a peaceful coda. ‘Storm on Mount Sinai’ offers sharply rhythmic music accented with tambourine and a more febrile bazaar-like flute writing. ‘The Flock by the Sea of Galilee’ contains an oddly memorable five-note percussion motif under a lovely bucolic flute theme. ‘The Road to Jerusalem’ makes a haunting finale with elaborate passages against pulsating percussion. Scenes from the Holy Land is an effective and colorful work with deftly varied music and tackled by the musicians with skill and understated virtuosity Buss’ intimate style requires. It makes its effects with point and economy and would be a boon to flute and percussion duos searching for program material.” - The Gramophone, April 2005
Overture for Percussion for 4 percussion (6:00) Howard J. Buss
OVERTURE Sound Sample#1.mp3 (896K)
OVERTURE Sound Sample#2.mp3 (928K)
OVERTURE Sound Sample#3.mp3 (704K)
Scenes from the Holy Land for flute and percussion (15:30) Howard J. Buss
I. Masada (3:50)
II. Storm on Mount Sinai (3:06)
III. The Flock By the Sea of Galilee (2:24)
IV. Jordan Valley Enchantment (2:29)
V. The Road to Jerusalem (4:26)
Currents for four percussion (14:34) Howard J. Buss
CURRENTS Sound Sample#1.mp3 (1MB)
CURRENTS Sound Sample#2.mp3 (1MB)
CURRENTS Sound Sample#3.mp3 (1.1MB)
CURRENTS Sound Sample#4.mp3 (984K)
Modern Times for narrator, flute and four percussion (29:30) Howard J. Buss
I. Info Glut (3:34)
II. Night Tide (2:49)
III. The Hunt (4:14)
IV. Five Question Interlude (3:01)
V. The Asphalt Blanket (3:11)
VI. To a Neglected Child (5:25)
VII. Giggles!?! (1:57)
VIII. Modern Times (5:26)

Total Playing Time: (66:45) Brixton CD-107 Our special price: $13.95 (Compare at ~~$16.95~~) To order
All works published by Brixton Publications (ASCAP) - www.brixtonpublications.com/
Performers: Overture for Percussion: T. Hampton Dohrman, Emory Blake, Grant M. Beiner, Lee W. Hinkle and Robert McCormick, conductor. Scenes from the Holy Land: The McCormick Duo - Kim S. McCormick, flute; Robert McCormick, percussion. Performers for Currents: T. Hampton Dohrman, Emory Blake, Grant M. Beiner, Robert McCormick. Modern Times: Jerald Reynolds, narrator; Kim McCormick, flute; percussion: Greg Graves, Cara Ready, Brad Sharo, Ryan Thomas. Overture, Scenes and Currents recorded at the Springs Theatre, Tampa FL. Modern Times recorded at the Music Recital Hall at the University of South Florida, Tampa. Engineer John Stephan of the Springs Theatre (www.springstheatre.com). Cover art by Judy E. Buss.

New! Capstone Records CD - TWILIGHT REMEMBERED: The McCormick Duo Kim McCormick, flute and Robert McCormick, percussion.Works included are Archipelago by Paul Bissell, Esprit Rude II/Esprit Doux II by Elliot Carter, Pipeaubec by Andre Jolivet, Movement of Varied Movements by Ralph Shapey, Still Life With Fruit by David Heuser, Asymptotes by Henri Lazarof, Silver Set by Hilton Jones, Four Phases for Three by Wesley Fuller, Pipe Dream for solo flute by Howard Buss, Night Soliloquy by Kent Kennan, Twilight Remembered by Daniel Adams.“The McCormick Duo seems to have carved out a unique corner for intelligent modern music, and it’s good to spend an hour there, in such varied, sophisticated company.” - Paul Ingram, Fanfare Magazine (May/June 2004) Brixton CD-106 Our special price: $13.95 (Compare at ~~$16.95~~) Questions? To order

DOUBLE TAKE featuring Sheryl Linch, trumpet, and Don N. Parker, percussion. An exquisite recording which is a “must” for any serious trumpeter or percussionist. Included on the CD is Interplay for Trumpet and Percussion by Murray Houllif, Four Pieces for Trumpet and Marimba by Erwin Chandler, Sonata No. 2 by Anthony Cirone, Suite for Trumpet and Marimba by Alec Wilder, and Incantation for Trumpet and Percussion by Howard J. Buss. CD-105 Our special price: $13.95 (Compare at ~~$16.95~~) To order

Incantation Sound Samples:
Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (1MB)

PREMIERS PLUS ONE The McCormick Flute and Percussion Duo. This critically acclaimed CD includes Arthur Woodbury’s Variations on a Cadenza, Howard Buss’ Wave Train, Hilton Jones’ Silent Opera #6, Ingolf Dahl’s Duettino Concertante, Robert Helps’ Second Thoughts, and Robert Constable’s This Is No Sonata. - CD-101 Our special price: $13.95 (Compare at ~~$16.95~~) To order
Wave Train Sound Samples:
Sound Sample#1.mp3 (1.1MB) Sound Sample#2.mp3 (1.1MB)

PREMIERS, VOL. 1 features Kim McCormick on flute the extraordinary University of South Florida Percussion Ensemble. Included are Paul Reller’s Black Magic Flute, Robert Constable’s Crackhead, Hilton Jones’ Time Craft, James Lewis’ Dr. Time, Salty Fish Flesh by Brian Benscoter, and Howard Buss’ Mysterious Exit - CD-102 Our special price: $13.95 (Compare at ~~$18.95~~) To order
Mysterious Exit Sound Samples:
Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (1MB)

To order

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