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Solo Tuba, unaccompanied
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. B937 $6.95
Tuba and one other instrument or recording (works in alphabetical order)
BALLAD (2004) for tuba (or bass trombone) & piano by Howard J. Buss radiates a sensuous lyricism and a nostalgic mood. It 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. Ballad was commissioned by Mr. Warburton. 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. (6 10) Grade IV-V.
Sound Samples: Excerpt 1 (the opening).mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
score sample .pdf file View on YouTube
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 work which is fun to perform. For the Funk of It was written for and premiered by Fritz Kaenzig. (5 ) Grade V.
Sound Sample: Excerpt.mp3
FOUR MINIATURES for trombone & tuba (or bass trombone) by Howard J. Buss is a vibrant 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”)
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. It is 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.
TIME CAPSULE (2002) for tenor trombone (or euphonium) & tuba by Howard J. Buss is a sonatina in 4 movements: Daybreak 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 "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 instruments. (7) Grade IV-V.
ZOOM (2011) for tuba (or bass trombone) & harp by Howard J. Buss was commissioned by Brandt Attema and Astrid Haring. It 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’ 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.
Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4 (the ending),mp3
View at ZOOM: YouTube Video
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 and the 30th Anniversary of the International Trombone Assn. It was composed immediately following the important world events of September 11, 2001 and was premiered by Mr. Sanders and members of the University of North Texas Percussion Ensemble at the 2002 International Trombone Festival. This work is in 3 movements: In Remembrance 9/11/01, Repercussions, and Renewal. Percussion - Percussion 1: Xylophone, tubular bells (chimes), suspended cymbal, snare drum, police whistle, and Chinese bell tree; Percussion 2: Vibes, 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 I.T.A. Journal (15) Grade V.
Score Samples: Score sample: Mvt. 1 In Remembrance 9/11/01.pdf;
Score sample: Mvt. 2 Repercussions.pdf; Score sample: Mvt. 3 Renewal.pdf
Movement 1 (In Remembrance 9/11/01), Excerpt A.mp3;
Movement 1 (In Remembrance 9/11/01), Excerpt B.mp3;
Movement 2 (Repercussions), Excerpt A.mp3;
Movement 2 (Repercussions), Excerpt B (the ending).mp3;
Movement 3 (Renewal), Excerpt A.mp3;
Movement 3 (Renewal), Excerpt B (the ending).mp3
Tuba and Band (This work is also available in a version for tuba and piano (see above).
ILLUMINATIONS for tuba (or bass trombone) and band by Howard
J. Buss, originally for bass trombone (or tuba) and piano, was composed for Charles Vernon, bass trombonist with the Chicago Symphony Orchestra, and the 30th Anniversary of the International Trombone Festival. This significant addition to the repertoire is written in an accessible modern style. The musical language is sophisticated, yet appealing to general audiences. Illuminations is cast in 2 contrasting movements: The first, Reverie, is contemplative and lyrical. Beautiful, expansive melodic lines are woven into a gentle, almost mystical, musical fabric. The second movement, Urban Lights, is an energetic rondo that is strongly influenced by jazz, and in one section, funk music. “Thoughtful, tuneful, and rewarding to perform.” – ITA Journal (19’) Grade V-VI.
New! 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 November of 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 brass quintet. 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 5 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 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. It is in five movements, the first 2 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 third movement, The Schoolhouse Caper, combines very 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 finale, 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
CASCADES for brass quintet by Roger C. Vogel. Musical “cascades” rush forth from one another throughout in this exciting work. Cascades is in 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 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, Virginia. (8) Grade V.
Sound Samples: Excerpt 1 (the opening).mp3; Excerpt 2.mp3
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 exciting composition was winner of the 1991 Erik Satie Award of New York City. This makes a great contest piece or rousing feature number.(6) Grade V.
Sound Samples: Sample 1.mp3; Sample 2.mp3; Sample 3.mp3
EMANATIONS for two euphoniums (or euphonium & tuba) and drum set by Howard J. Buss is in 3 movements: Variegated Anticipation, Serenity, and Faceted Radiance. It is dedicated to Patrick Nyren and was premiered by him and Chris Kaltenbach on euphonium, and Michael Serbantez on percussion on March 23, 2016 at New Mexico State Univ. in Las Cruces. The second euphonium part is easily played on a tuba. The percussionist uses a standard drum set. (17’) Grade V.
Sound Samples: Movement 1.mp3; Movement 2.mp3; Movement 3.mp3
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 V.
Sound Samples: Excerpt_1.mp3; Excerpt_2.mp3; Excerpt_3.mp3; Excerpt_4.mp3
JAZZICAL #5 for euphonium, tuba, and piano by Howard
J. Buss, was written for Gail Robertson and Stacy Baker for ITEC 2016. This engaging work juxtaposes technical and spiritual elements of jazz and classical music. (7’30”) Grade V.
SONATA K. 380 by Scarlatti, Domenico for brass quintet, transcribed by Howard J. Buss was originally composed for keyboard by Domenico Scarlatti around the year 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.
SONIC FABLES: Lessons from Aesop (1991) for brass quintet & one percussion by Howard J. Buss. Entertaining musical representations of 6 of Aesops famous fables are presented between a Prelude and Postlude. The text of the fables is printed in 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. (18) Grade V-VI.
Sound Samples: Prelude (excerpt with the beginning of narrator's lead-in to the first fable).mp3
The Hawk and the Nightingale (excerpt).mp3; The Middle-Aged Man and His Two Mistresses (excerpt).mp3;
The Cat and the Rooster (excerpt).mp3;
The PipingFisherman (excerpt, with the beginning of narrator's lead-in to the next movement).mp3;
The Fox and the Leopard (excerpt).mp3; The Lion and the Bear (excerpt).mp3; Postlude (excerpt).mp3
TRIGON (1989) for trumpet, trombone & tuba by Howard J. Buss. This riveting, energetic piece is characterized by lyrical passages juxtaposed with aggressive, angular sections. All 3 players are given substantial solo lines in this exciting tour de force. (10) Grade V.
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.Warp! is a fun and exciting concert feature!
Sound Sample: Excerpt.mp3
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