Online catalog of concert music: solos, duos, chamber music & more!
Welcome hornists! We publish a wide selection of concert music for professional, student, and amateur players. These works have been chosen because of their extraordinary artistic significance and audience appeal. Our graded online catalog
includes both original compositions and arrangements. Please use our secure shopping cart to make your purchases, shipping options available at checkout. Thank you for shopping with us
Horn with one other instrument
Horn in chamber music - quartets (includes standard woodwind quartets)
Horn in chamber music - quintets and larger
(includes standard wind quintets)
Horn and band
horn - unaccompanied Works are listed in alphabetical order, durations are in parenthesis:
ON THE STROKE OF MIDNIGHT for solo horn by Howard J. Buss traverses a wide variety of atmospheres, from ranging from gentle, mysterious passages, to intense and powerful exclamations. Throughout there is a sense of mysticism, as if an incantation is taking place around the arrival of midnight. Various extended techniques enhance the traditional horn sound, such as stopped effects, simultaneous singing and playing, flutter tonguing, growling, etc. It may be performed as traditional concert piece, a theatre piece or as an hour-specific piece actually performed at midnight for the fun of it by oneself, or with a group of people. Score included. (4’53”) Grade V-VI. Score samples: Excerpts.pdf
PARTITA FOR HORN for solo horn by Roger C. Vogel was written for David Pinkow in 1977 and revised and re-notated in 2011. In this composition the term “partita” is used in the sense of “suite” as it was used in the 6 partitas in Bach’s Clavier-Übung. This audience-friendly concert piece is in 5 short movements: Fanfare, Nocturne, Scherzo, Song and Toccata. (10’) Grade V-VI.
Sound Samples: Movement_1.mp3, Movement_2.mp3, Movement_3.mp3, Movement_4.mp3; Movement_5.mp3
SEASONS OF CHANGE for solo horn by Howard J. Buss was written for to Andrew Pelletier and the 2016 International Horn Symposium. This work musically addresses the inflection points within each of the 4 seasons where one may get the first hint that seasonal change is in the air. Four movements: Winter, Spring Summer, and Autumn. (9’30”) Grade V-VI. Score Samples: Excerpts.pdf
SOLOS FOR CELEBRATIONS AND REMEMBRANCES for solo horn by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all to have in their repertoire. Grade III-IV.
Score Samples: Excerpts.pdf
ALIEN LOOP DE LOOPS for horn and electronic recording by Howard J. Buss is a playful and capricious fantasy piece designed to appeal to a wide range of audiences. This work is suitable for low horn. The title refers to both programmatic and technical elements in the composition. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she plays unaccompanied, but then is joined by the recording, which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. Brixton also publishes this work in a version for trombone or bass trombone, which was winner of the 2015 American Trombone Workshop National Composition Competition sponsored by the U. S. Army Band “Pershing’s Own.” The publication includes sheet music and a CD that contains performance and accompaniment tracks.
BALLAD for horn and piano by Howard J. Buss. This beautiful piece radiates a sensuous lyricism and a 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. (6’) Grade IV-V.
Score sample: Excerpt.pdf - Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
DISCOURSE by Edward Troupin, version for flute and horn. Edward Troupin (1925-2004) enjoyed an international reputation as a composer of instrumental music. Throughout his long and illustrious career as a professor of music at Ithaca College and later the University of Florida, he inspired numerous young composers. Troupins sound-world is dramatic and full of vitality. This duo is in 5 short, movements: Assertion, Reflection, Eulogy, Fantasy, and Comedy. The colorful and contrasting sections combine in charming balance. (8') Grade V.
Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
DREAMS FROM THE SHADOWS for horn and vibraphone* by Howard explores a wide range of emotional states. From its mystical, contemplative opening, to majestic proclamations, to jubilant sections with a dance-like character, the music suggests a dream-like collage of sonic atmospheres. Soaring melodies and intriguing rhythms coupled with the beautiful sonority of the horn and vibraphone ensemble, make this an audience-friendly composition. *An electronic keyboard (emulating the sound of a vibraphone) may be used as a substitute for the vibes. The publication includes a score, vibraphone part, and horn part. (10’30”) Grade V.
Sound samples: Excerpt 1 (opening).mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4 (ending).mp3
FABLES FROM AESOP (2001) for violin and horn by Howard J. Buss in 5 movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The engaging music is idiomatic and sophisticated, yet accessible, because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly ) Grade V.
Score Samples (transposed score): Movement 1.pdf; Movement 2.pdf;
Movement 3.pdf; Movement 4.pdf; Movement 5.pdf
FOUR MINIATURES (2011) for two horns by Howard J. Buss is a vibrant, colorful sonatina in 4 movements: Aggressive, Contemplative, Buoyant, and Energetic. The playful, yet sophisticated character of the music makes this an audience-friendly work. (9’20”) Grade V.
Score samples: Excerpt 1.pdf ; Excerpt 2.pdf ; Excerpt 3.pdf
IN MEMORIAM (2006) for horn and piano by Howard Buss is a sonic tribute to the millions of soldiers who have made the ultimate sacrifice in time of war. The 2 movements of this captivating work are programmatic and reflect the sentiments poems penned in response to the war to end all wars (WWI): In Flanders Fields and In Flanders Fields (An Answer). The music covers a wide range of moods, from lyric nostalgia to aggressive forcefulness.
(11) Grade V-VI.
Sound Samples: Movement 1A.mp3; Movement 1B.mp3 (the ending);
Movement 2A.mp3 (the beginning); Movement 2B.mp3; Movement 2C.mp3 (the ending)
Score sample in C, Movement 1.pdf: Movement 2.pdf; Horn part sample (in F): Movement 1.pdf; Movement 2.pdf
INTERSTELLAR for horn, tuba and electronic recording by Howard J. Buss, in 3 movements, Reaching Beyond, Lonely and Turbulence, is part of a series of works by the composer inspired by space travel and exploration. The recording (CD included with the sheet music) contains the sounds of traditional instruments, electronic effects, and actual sounds from outer space indexed on the NASA website. (10’10”) Grade V. Sound samples: Movement 1: Excerpt 1.mp3; Excerpt 2.mp3;
Movement 2: Excerpt 1.mp3; Excerpt 2.mp3; Movement 3: Excerpt 1.mp3; Excerpt 2.mp3
(Click tracks for performance, if desired: Mvt 1.mp3, Mvt 2.mp3, Mvt 3.mp3)
INTO THE HALL OF VALOR for horn and piano by Howard J. Buss was composed during the winter of 2018 for the 50th Anniversary of the International Horn Society. It was written for hornist Frank Lloyd and The United States Army Field Band for their performance at the 50th IHS Conference.. This work is a tribute to soldiers recognized for great courage in the face of danger. The composer states, “About the time I learned that the U.S. Army Field Band would perform the premier, I was reading about the “Hall of Valor" located at the National Infantry Museum and was inspired to write this work as a salute to those who have been recognized therein, as well as soldiers honored at similar venues. The music is heroic, majestic, and the solo horn adds significantly to this.“ (7’55) Grade V. (score & part)
Sound samples: Excerpt 1 (the beginning).mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4 (the ending).mp3
This work is also published in a version for horn and band by Brixton Publications.
Video of the premier performance: https://youtu.be/N9amEKYcck8
NIGHT TIDE (1995, 2012) for horn and marimba by Howard J. Buss was inspired by the New England coastline at night and features an evocative interplay between turbulent and serene sections. ‘The Evening’s highlight, Night Tide was a stunning portrait of the sea’s ebb and flow.” - The Maine Sunday Telegram (8’30”) Grade V.
Score Sample.pdf - YouTube video
SIX DIALOGUES “Reflections on Plato” for flute and horn by Roger C. Vogel. Plato's dialogues have long been highly esteemed for their treatment of justice, virtue, and love, as well as political, religious, and other social concerns. Each of the Six Dialogues addresses one aspect of Plato’s dialogues: The Dialectic, Hymn to Love, Virtue, Rhetoric, Justice and The Sophists. Two scores are included. (16’) Grade V.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3, Excerpt 3.mp3; Excerpt 4.mp3
TIME CAPSULE for two horns by Howard J. Buss is a sonatina in 4 movements: Daybreak, Chorale, Rendezvous, and Homeward Bound. Daybreak has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer and the harmonies contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and "works up a lather" as it progresses to a climax. Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance with intriguing interplay between the instruments. Players read from score, two are provided. (7’) Grade IV-V. Score sample: Excerpts.pdf
TWO TO TANGO (2012) for clarinet and horn by Roger Vogel in 5 movements: Tango 1, Foxtrot, Quick Step, Waltz, and Tango 2. This charming suite of dances is written in an accessible modern style. The movements may be played individually, or any grouping. (18’) Grade V.
Videos on YouTube:
Movement 1, Movement 2, Movement 3, Movement 4, Movement 5
AQUARIUS (2013) for three horns by Howard J. Buss showcases both the agility and the beautiful, sonorous tone of instruments. The 2 movements At the Glow of Dawn, and Ocean Blue explore a variety of sonic atmospheres and moods. The sophisticated musical language coupled with soaring melodies and intriguing rhythms makes this composition an accessible concert work as well as an impressive contest piece. (7’) Grade V.
AVE VERUM CORPUS by Wolfgang Amadeus Mozart, arranged by Howard Buss for four horns was one of the last works composed by this Classical master. An exquisite addition to any recital, it is especially effective in a church setting. Each part may use multiple performers to create a larger ensemble. (3’30”) Grade II.
Sound sample: Excerpt.mp3
CANZONA by Florentio Maschera (1540-1584) arranged by Howard J. Buss. for four horns. This uplifting composition is written in the imitative style from the exciting period bridging the Renaissance and Baroque eras. It is a stirring addition to any recital, and is especially effective in a church setting. Multiple performers may be used on each part to create a larger ensemble. (2’15”) Grade II.
Score Sample: Excerpt.pdf, Sound Sample: Excerpt.mp3
DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is influenced by jazz. The composer wrote an extended two-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual and as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, as the work ends, there is a "tongue-in-cheek" plagal cadence. (230) Grade IV.
Dry Bones horn quartet score sample: Excerpt.pdf ; Sound Sample: Excerpt.mp3
Dry Bones brass quartet score sample: Excerpt.pdf ; Sound Sample: Excerpt.mp3
FANFARE FOR A GOLDEN ERA for 15 horns by Howard J. Buss was composed for the 50th Anniversary of the International Horn Society and the opening ceremony at its annual convention in 2018. This work uses 3 quintets which work independently and as a unit symbolizing the cooperation of different regions of horn players from across the world. The music is designed so that the attention of the audience is focused on the interactions of the individual groups in a spatial context. One short section in particular maximizes the effect as the notes are passed from one to another in wave-like fashion. (4’40”) Grade V. (score & parts)
Sound samples: Excerpt 1 (the beginning).mp3; Excerpt 2 (the ending).mp3
Video of the premier performance: https://youtu.be/4_F3gMI5GrI
LEVI'S DREAM (2015) for horn quartet (or ensemble) by Howard J. Buss showcases the agility and rich sonority of the instruments. Multiple players may be used on the parts to expand the ensemble. The title refers to an imagined dream of Levi, the namesake of the Israelite Tribe. The Levites were known for their involvement in priestly duties and music. This music has a distinctly Middle-eastern quality. The soulful nature of the slower sections is enhanced by the expressive, luscious ambience of the horns. The composition features two sections with original tunes in the style of Jewish folk songs. One is slow and contemplative, the other, jubilant. Levi’s Dream is an audience-friendly work appropriate for the concert hall or a house of worship. (7’40”) Grade IV-V.
Sound samples: Excerpt 1.mp3; Excerpt 2.mp3, Excerpt 3.mp3
PATHWAYS (2015) for horn quartet by Howard J. Buss. Without using extended techniques and difficult technical displays, this work showcases the horn quartet. Written in 4 connected movements, the music has a strong narrative quality. The general characteristics of the movements are: energetic, playful and marching, plaintive, and buoyantly joyous. Although the musical language is sophisticated, because of the work’s moderate tessitura and modest technical requirements, Pathways is accessible to horn quartets comprised of moderately advanced students and amateurs, yet, professional-level hornists will enjoy its energy, vitality and colorful scoring. (9’27”)
Grade IV-V. B449
Sound samples: Excerpt 1.mp3, Excerpt 2.mp3, Excerpt 3.mp3, Excerpt 4.mp3
PORTRAITS for horn quartet by Lee Heritage is in four movements, This and That, Waltz, Hymn, and Rip Romp. The first pulses with rhythmic energy and dramatic fanfares. The playful syncopations and percussive character of the opening serve as a cheerful prelude to a nostalgic slow waltz in the second movement. The rich harmonies of the waltz are followed in the third movement by a stately hymn that explores the full expressive power of the horn choir. Exuberant horn rips open the final romp, announcing a return to the rhythmic energy of the first movement. A melodic optimism permeates the romp, which closes with a final triumphant fanfare. Score and parts are included. (8’44”) Grade V.
Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4.mp3 Video on YouTube
PRAYER (2015) for 12-part horn ensemble by Howard J. Buss is a beautiful, meditative work designed to be performed in a concert venue or as a musical offering in a house of worship. Its reverent quality is enhanced by the rich sonority and organ-like quality of the large horn ensemble. The musical language is sophisticated, yet accessible to general audiences. It begins with a lyrical 12-tone melody that is symbolic of the Twelve Tribes of Israel. The dodecaphonic reference also relates to the instrumentation: In the concluding section, the twelve pitches of the opening melody are presented with each player assigned to one pitch. A reverent atmosphere permeates the musical tapestry throughout. Prayer is accessible to amateur and high school-level players. (5’10”) Grade III-IV.
Sound sample: Excerpt.mp3; Score Sample.pdf
PRELUDE AND INTRADA for 4 horns by Howard J. Buss features lyrical writing, and spirited rhythmic drive. The Prelude combines fanfare and lyrical sections as well as tonal and polytonal harmonies. The festive Intrada is in an ABA-Coda format and features crisp, energetic rhythms and lyrical contrapuntal writing. This is a memorable feature number or an impressive contest piece. Multiple players may be used on each part to expand the ensemble.
RICERCARE by Andrea Gabrieli (1510-1586) transcribed for 4 horns by Howard J. Buss. Written in the imitative style of the late Renaissance, this work makes an excellent concert feature or a stirring offering in church. Particularly memorable are the metric modulations, a feature common in the dance music of the day. Each part may use multiple performers to create a larger ensemble.
(2’30”) Grade III.
Sound sample: Excerpt.mp3 - Score Sample.pdf
Horn with percussion ensemble: (Top of Page)REFLECTIVE JOURNEY for horn and percussion quartet by Howard J. Buss is dedicated to hornist Andrew Pelletier and percussionist Roger Schupp. The musical thrust of this work is analogous to a spiritual voyage one may experience while dealing with a major crisis. The sections of the composition exude much contrast and transverse a wide range of moods - from the hauntingly pensive, to tender lyricism, to jubilation. (14’40”)
Grade V-VI. - Percussion Set-up.pdf; Score Sample.pdf; Solo part sample.pdf
Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4.mp3
Horn in chamber music - trios (Top of Page)
FESTIVITIES for flute, horn and piano by Roger C. Vogel was written in 2018 for The Kitchen Sync trio. Celebrations, amusements, festivals, and other joyful occasions are events that enrich our lives.This work is inspired by five such delightful occasions: the merrymaking of a Carnival, the pleasantrespite of an Interlude, the boisterous play of a Romp, the pleasure of a leisurely evening Promenade, and the capriciousness of an Escapade. Score and parts included.
(14’30”) Grade V. Score samples: Excerpts.pdf
IMAGINATIONS(2012) for horn, trombone and piano by Howard J. Buss showcases the agility and beautiful, sonorous tone of the horn, trombone, and piano ensemble. Ranging from lyric tenderness to powerful (and sometimes fiery) technical displays, the 2 movements, Contemplative and Auspicious, explore a wide range of sonic atmospheres and moods. The sophisticated musical language, coupled with the soaring melodies and intriguing rhythms, make this a significant, audience-friendly concert work. Imaginations was composed for Gene Berger, horn; John Seidel, trombone; and Elizabeth Seidel, piano. (13’) Grade V-VI.
Sound Samples: Movement 1: excerpt 1.mp3; excerpt 2.mp3; Movement 2, excerpt 1.mp3; excerpt 2.mp3
INTERSTELLAR for horn, tuba and electronic recording by Howard J. Buss, in 3 movements, Reaching Beyond, Lonely and Turbulence, is part of a series of works by the composer inspired by space travel and exploration. The recording (CD included with the sheet music) contains the sounds of traditional instruments, electronic effects, and actual sounds from space indexed on the NASA website. (10’10”) Grade V. Sound samples: Movement 1: Excerpt 1.mp3; Excerpt 2.mp3;
Movement 2: Excerpt 1.mp3; Excerpt 2.mp3; Movement 3: Excerpt 1.mp3; Excerpt 2.mp3
(Click tracks for performance, if desired: Mvt 1.mp3, Mvt 2.mp3, Mvt 3.mp3)
PASSAGE TO EDEN (2001) for clarinet, horn, and piano by Howard J. Buss is in 4 connected movements. The mood of the first is of ominous significance, as if one was preparing to embark on an arduous journey. The music is lyrical, yet contains an undercurrent of tension and anticipation. The second movement is features a contrapuntal dialogue between the clarinet and the horn over a driving ostinato in the piano. The lyrical and animated counterpoint sounding over the running bass line and chord punctuations in the keyboard gradually give way to a section of turbulence which serves as a transition to the relative calm of the following movement.The third movement, in 6/8 meter, has an easy flowing vitality. There is a silvery brilliance to the music with a hint of nostalgia. The interweaving melodic strands grow increasingly romantic in quality and then, quite suddenly, give way to a developmental passage which builds in intensity and expectation. The finale is spirited and jubilant in character. The atmosphere generated is one of a triumphant proclamation which grows increasingly exultant as the work culminates in a rousing coda.
(12') Grade V-VI. Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
TRIO LYRIQUE for horn, bassoon and piano by Howard J. Buss was composed for Gene Berger; horn; Keith Sweger, bassoon; and James Helton, piano for the 2013 International Horn Symposium. As the title implies, the overall character of the music is lyrical, and it gradually evolves from a contemplative and mystical opening to a spirited finale. Although written in one movement, this work is divided into several major, contrasting sections set off from one another with intriguing metric modulations. (10’) Grade V. View on YouTube - Score Sample.pdf
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
Horn in chamber music - quartets (Works are listed in alphabetivcal order.) (Top of Page)
CANZONA by Florentio Maschera (1540-1584) for brass quartet (2-1-1 or 2-0-2) part 3 of the music can be played by either a trombone or a horn, transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (230) Grade III.
Sound sample: Excerpt.mp3 - Score sample: Excerpt.pdf
FUGA VII from the Well-Tempered Clavier, Book 2, BWV 876, by Johann Sebastian Bach for brass quartet, [2 B-flat trumpets, horn (an optional trombone part is included as a substitute for the horn on part 3), and trombone] transcribed by Howard J. Buss. Rather than eliciting a strong emotional response from listeners, this elegant music is designed to showcase compositional craftmanship and stimulate the intellect. This makes a wonderful addition to a concert, and is appropriate for performance in church. (3)
Sound sample: Excerpt.mp3; Score_Sample.pdf
JAZZICAL #4 (2012) for horn, trombone, tuba and 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 V-VI. - Score Sample: Excerpt.pdf
Sound Samples: Excerpt_1.mp3; Excerpt_2.mp3; Excerpt_3.mp3; Excerpt_4.mp3
RICERCARE ON C by Andrea Gabrieli (1510-1586) for brass quartet (2-1-1 or 2-0-2) part 3 of the music can be played by either a trombone or a horn, transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. Particularly interesting are the meter changes involving metric modulations, a trait found in much of the dance music of the day. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church.
(230) Grade III.
Sound sample: Excerpt.mp3 - Score sample: Excerpt.pdf
Horn in chamber music - quintets and larger (Works are listed in alphabetical order.) (Top of Page)
BRASS MINIATURES for brass quintet by Howard J. Buss is in 4 short movements inspired by light and images reflected on polished brass: On the Edge, Refractions, Facets, and Illuminated Reflections. In 2018 the composer found a box labeled “1974” in a storage closet. It contained a collection of long-lost scores he had composed 4½ decades earlier. Upon examining the music it was apparent that in these works was a trove of youthful musical ideas that could be developed, polished, and edited into exciting “new” compositions. The musical content of first 3 movements of is close to that in the 1974 version. The final movement was rewritten to include elements of the original score, but updated to be closer to the composer’s current musical language. While On the Edge, Refractions, and Facets, have a decided edginess to them; Illuminated Reflections is more consonant and lyrical. It includes subtle references to material in the previous movements as well a buffed rendition of the opening melody of the first movement in its coda. Score and parts are included. (7’22”)
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 horn, 3 tenor trombones, one bass trombone, and tuba. This entertaining composition is in five movements, the first two are interconnected:
I. Overture (2:00); II. The Smoke Out (2.40); III. The Schoolhouse Caper (2:00)
IV. Ichabod’s Romance (3:40); V. Night Encounter (3:10)
Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The Schoolhouse Caper combines aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of muted brass, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. (14’30”) Grade V-VI.
Sound samples: Excerpt 1 (the opening).mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4.mp3
Score sample: Excerpts.pdf
CASCADES for brass quintet by Roger C. Vogel. Musical “cascades” rush forth from one another throughout in this exciting work.It is divided into 3 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. Sound sample: Excerpt.mp3
CHROMATIC FANTASY (1997) for brass quintet by Howard J. Buss was composed for the United States Air Force Brass Quintet. This engagingtour de force is a riveting excursion through driving ostinati and sparkling chromatic flourishes.It was premiered by the U.S.A.F. Brass Quintet at the Eastern Trombone Workshop hosted by the U.S. Army Band. (8) Grade V-VI.
Excerpt 1 (the opening).mp3; Excerpt 2.mp3 Score sample: Excerpt.pdf
CONCORD (1990) for brass quintet 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 rousing composition was winner of the 1991 Erik Satie Award. This makes a great contest piece or rousing feature number. (6) Grade V.
Sound Samples: Sample 1.mp3; Sample 2.mp3; Sample 3.mp3 Score sample: Excerpt.pdf
New! FANFARE `A LA STRAVINSKY for three small antiphonal brass choirs (a brass quintet and 2 brass trios) by David M. Sterrett.
The total number of instruments used is 4 trumpets, 3 horns, 3 trombones, and one tuba. This exciting antiphonal work features loud, brazen chords collectively sounding from groups of players spatially separated, fast melodic lines and gestures being passed around from group to group, different groups competing for attention, etc. The composer weaves in 3 brief quotes from 3 works by Stravinsky at the fanfare's 3 high points. This is a antiphonal brass fanfare with a modern twist, a fanfare 'a la Stravinsky. Score and parts are included. (2'15") Grade V. B124 $22.00 Score sample including a diagram of the setup: Excerpts.pdf - Recording.mp3
FIVE STARS (2004) for wind quintet (flute, oboe, clarinet, horn, and bassoon) by Howard J. Buss. Each of the five movements features a different member of the ensemble: Into the Maelstrom features the flute, A Distant Glow (horn), Orbits (oboe), The Message from the Cosmic Sea (bassoon), and Dance of the Stars (clarinet). This music is sophisticated, yet audience-friendly. It is well suited for school outreach concerts.
(1710") Grade V.
Sound Excerpts: Mov.#1.mp3; Mov.#2.mp3; Mov.#3.mp3; Mov.#4.mp3; Mov.#5.mp3.
Videos on YouTube: I. Into the Maelstrom, II. A Distant Glow, III. Orbits,
IV.The Message from the Cosmic Sea, V. Dance of the Stars
INTRODUCTION AND DANCE (1964) for wind quintet (flute, oboe, clarinet, bassoon, and horn) by Edward Troupin. Troupins sound-world is dramatic and full of vitality. Colorful and contrasting sections combine in charming balance to make athis memorable concert feature. Introduction and Dance also makes a rousing encore and an effective contest piece. (5) Grade IV.
Sound Sample: Excerpt.mp3
NIGHT WINDS (1994) for flute, clarinet, oboe, bassoon, horn & alto sax by Roger Vogel is suggestive of the dark and somber quality of the themes and textures used throughout. The alto sax has been added to the traditional wind quintet and is treated as an integral member of the group. This composition is cyclic in form and is cast in a multi-sectional single movement: there are three slow sections that alternate with two faster ones. Night Winds is dedicated to the musicians that premiered it: by Ronald Waln, flute; Dwight Manning, oboe; Theodore Jahn, clarinet; Jean Martin horn; William Davis, bassoon; and Ken Fischer, alto saxophone. (1230) Grade V.
Sound Samples: Excerpt 1 (the beginning).mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
SONATA K. 380 by Scarlatti, Domenico for brass quintet, transcribed by Howard J. Buss. This delightful work was originally composed for keyboard by Domenico Scarlatti circa 1754 and was titled 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.
New! TRIBUTE TO STEPHEN FOSTER “A Medley of Six Favorites” arranged for brass quintet by Howard J. Buss. Stephen Collins Foster (1826-1864) is often referred to as “the father of American music.” Many of his songs serve as a window into the spirit of America in his day. Others are exquisitely sentimental. Whether or not one approves of the lyrics of his minstrel songs, the enduring beauty and vitality of his melodies cannot be denied. In addition to the 6 Foster songs in this arrangement, Buss interjects 2 other well-known melodies. The “First Call” bugle call is woven into the tapestry of Camptown Races” and “The Girl I Left Behind Me” serves as a partner song to “Ring, Ring, the Banjo.”
TWO MODERN MOTETS (2005) for wind quintet by Peter Rothbart was written while he was intensively studying sixteenth century motets. Intrigued by the contrapuntal nature of the genre with its simultaneous interconnectedness and independence of the lines, the composer wrote the first movement, alla Stile Antico, with this in mind. The second movement, alla Stravinsky, was influenced by Rothbart’s long-time fascination with Igor Stravinsky’s neo-classical works. In particular, he was inspired by Stravinsky’s extraordinary sense of balanced form, combined with modern rhythms and melodies. The 2 movements complement one another beautifully. This is a brilliant concert feature as well as an impressive contest piece. (4’30”) Grade V.
Sound samples: Movement 1.mp3; Movement 2.mp3 - Score sample (transposed score) Excerpts.pdf
WARP! (1994) for brass quintet 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. (3') Grade V.
Sound sample: Excerpt.mp3 - Score sample: Excerpt.pdf
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