concert music for student and professional musicians:
Solo Tuba, unaccompanied
New! OUTINGS (2013) for solo tuba or bass trombone by Roger C. Vogel was written for the British bass trombonist Jonathan Warburton, who premiered the work on March 1, 2013 at St. Martin's in the Bullring in Birmingham, England. This accessible work is in two short, contrasting movements: Stroll, and Jaunt. (4’) Grade IV-V. B937 $6.95
BALLAD (2004) for
tuba (or bass trombone) & piano by Howard
J. Buss received its world premier on May 9, 2004 at the Chetham School
of Music in Manchester, England by Jonathan Warburton, bass trombone and
Gilbert Cowlishaw, piano. This was commissioned by Mr. Warburton, and
is a beautiful piece which radiates a sensuous lyricism and and nostalgic
mood. The structure of the work is A-B-A-Coda, the A section is melodious, flowing, and expressive. The B section is more animated and has a playful nature. This is a must for your next recital or competition.
(600)This is a must for your next recital or competition.
(600) Grade IV-V.
FOR THE FUNK OF IT (1985) for tuba & piano by Zack Browning offers hard-driving funk and off-beat reggae passages which are then contrasted with lyrical lines derived from a twelve-tone set. This unusual combination of styles creates an energetic and volatile setting for the performers, who must switch from one style to another within the course of the composition. The result is an entertaining and memorable work which is fun to perform. For the Funk of It was written for and premiered by Fritz Kaenzig of the University of Michigan. (5) Grade V.
For the Funk of It Sound Sample: Excerpt.mp3 (1.1MB)
FOUR MINIATURES for trombone & tuba (or bass trombone) by Howard J. Buss is a vibrant and colorful sonatina. This picturesque composition is divided into four movements: Aggressive, Contemplative, Buoyant, and Energetic. The playful, yet sophisticated character of the music makes this an entertaining, audience-friendly work. (9’20”) Grade V.
New! STEPPING OUT (2013) for euphonium (or trombone) & tuba (or bass trombone) by Roger C. Vogel was premiered by Philippa Done, trombone, and Jonathan Warburton, bass trombone on March 1, 2013 at St. Martin's in the Bullring in Birmingham, England. This concert work is cast in 5 movements: Promenade, Organum, Song, Leapfrog, and Dance. The movements range in duration from 2’30” to 2’50” and may be played individually, or in any grouping. (13’) Grade V. B936 $16.50
THREE JAZZICALS (2009) by Howard J. Buss is dedicated to tubist Jay Hunsberger. This colorful composition is cast in 3 movements - To Bop or Not to Bop, Sounds from the Cool Smoke, and Hotish. The composer states, “ In Three Jazzicals it was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of Three Jazzicals is the resultant this procedure. It is understood that because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, Three Jazzicals will sound jazzy (in varying degrees) to most, and mostly classical to some.” The instruments employed have been traditionally used in jazz. However, stripped away is the rhythm section; traditional chord progressions; melodic, rhythmic and formal clichés; and improvisation. Among the elements kept is the allowance for personal expression through each player’s tone, inflections, and articulations. The players are specifically asked not to swing at any time. (12’) Grade VI.
TIME CAPSULE (2002) for tenor trombone & tuba by Howard J. Buss is an entertaining sonatina in 4 movements: Daybreak, Chorale, Rendezvous, and Homeward Bound, and is both fun to play and listen to. The first movement has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. The final movement, Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the two instruments. (7) Grade IV.
ZOOM (2011) for tuba (or bass trombone) & harp by Howard J. Buss was commissioned by Brandt Attema and Astrid Haring and written during the winter of 2010-11. The composition was inspired by the spectacular images as seen through a satellite camera as the composer zoomed in on the coastline of The Netherlands. The strong narrative quality of the music couples with Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies, makes this work accessible to a wide array of different types of audiences. (10'30") Grade VI.
Zoom sound samples: Excerpt 1 (1.2MB); Excerpt 2 (1.1MB); Excerpt 3 (1.2MB); Excerpt 4, the ending (1.1MB)
Tuba and percussion ensemble
AMERICAN PHOENIX (2001) for solo tuba (or bass trombone) and 4 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 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.
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)
BROM BONES for 10-part brass choir by Howard J. Buss musically depicts the character and exploits of Washington Irving’s dashing prankster in The Legend of Sleepy Hollow. The musical ensemble consists of 4 Bb trumpets (an optional Eb part is included for trumpet 1), one French horn, 3 tenor trombones, one bass trombone, and tuba. This entertaining composition is in five movements, the first two are interconnected:
CASCADES for brass quintet (2-1-1-1) by Roger C. Vogel. Musical “cascades” rush forth from one another throughout in this exciting new work. Cascades is divided into three main sections. A fast energetic opening eventually gives way to a slower section before the opening mood returns in increasing intensity to the rousing conclusion. This accessible composition makes an outstanding contest piece, feature number, or because of its character, a dashing encore. (4’) Grade IV-V.
Cascades sound sample: Excerpt.mp3 (1 MB)
CHROMATIC FANTASY (1997) for brass quintet (2-1-1-1) by Howard J. Buss was composed for the United States Air Force Brass Quintet. This exciting and engaging tour de force is a riveting excursion through driving ostinati and sparkling chromatic flourishes. Chromatic Fantasy was premiered by the U.S.A.F. Brass Quintet at the Eastern Trombone Workshop hosted by the U.S. Army Band in Ft. Meyer, VA. (8) Grade V-VI.
Chromatic Fantasy Sound Samples: Excerpt 1 (the opening).mp3 (1MB);
Excerpt 2.mp3 (984KB)
CONCORD (1990) for brass quintet (2-1-1-1) by Howard J. Buss teems with the vitality of youth. Lyrical passages are juxtaposed with fanfare-like sections to create a dramatic and festive atmosphere. Written for the opening of a performing arts high school in Florida, this exciting composition was winner of the 1991 Erik Satie Award of New York City. This significant addition to the repertoire makes a great contest piece or rousing feature number.(6) Grade V.
Concord Sound Samples: Sample 1.mp3 (1MB) Sample 2.mp3 (1.2MB) Sample 3.mp3 (412K)
JAZZICAL #4 (2012) for horn, trombone, tuba & piano by Howard J. Buss . The composer states, “It was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of this work is the resultant this procedure. Because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, the music will sound jazzy (in varying degrees) to most, and mostly classical to others. (12’45”) Grade VI.
Jazzical #4 Sound Samples: Excerpt_1.mp3 1.5MB); Excerpt_2.mp3 (1.8MB); Excerpt_3.mp3 (2.4MB); Excerpt_4.mp3 (2.3MB)
SONATA K. 380 by Scarlatti, Domenico for brass quintet (2-1-1-1), transcribed by Howard J. Buss. This delightful work was originally composed for keyboard by Domenico Scarlatti around the year 1754 and was entitled Sonata in E Major K. 380 (Longo 23). This transcription for brass quintet preserves the essential traits of the composers unique style, including his compositional use of register with florid treble parts and a strictly functional, supportive bass. (630) Grade IV.
SONIC FABLES: Lessons from Aesop (1991) for brass quintet (2-1-1-1) & one percussion by Howard J. Buss. Entertaining musical representations of six of Aesops 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 total duration is about 17 minutes; however, the 8 movements may be performed in smaller groupings if so desired by the performers. (18) Grade V-VI.
Sonic Fables Sound Samples:
Prelude.mp3 (excerpt with the beginning of narrator's lead-in to the first fable) 844KB
The Hawk and the Nightingale.mp3 (excerpt) 916KB
The Middle-Aged Man and His Two Mistresses.mp3 (excerpt) 1MB
The Cat and the Rooster.mp3 (excerpt) 1.2MB
The PipingFisherman.mp3 (excerpt, with the beginning of narrator's lead-in to the next movement) 940KB
The Fox and the Leopard.mp3 (excerpt) 1.1MB
The Lion and the Bear.mp3 (excerpt) 764KB
Postlude.mp3 (excerpt) 1.2MB
TRIGON (1989) for trumpet, trombone & tuba by Howard J. Buss. This riveting and energetic piece is characterized by lyrical passages juxtaposed with aggressive, angular sections. All three players are given substantial solo lines in this exciting tour de force. (10) Grade V.
WARP! (1994) for brass quintet (2-1-1-1) by Robert J. Frank. The title was inspired by the term from Star Trek where warp engines would bend time and space to propel the ship at incredible speeds. Exploring relationships between time and space in a musical sense, this work begins with motives and fragments free-floating in space. These gradually build in energy and motion until coming into phase with one another. After this cadence, a motor section expands and develops the previous free-floating motives over driving, repeated patterns. As the speed increases, these motives fade in and out of phase with each other until the motives come back into phase at "warp speed" in the exciting conclusion.Warp! is a fun and exciting concert feature! (3') Grade V.
Warp! sound sample: Excerpt.mp3 (966KB)
Music or CDs may only be returned if they are defective.