Online catalog of concert music: solos, duos, chamber music and more!
Welcome tuba players! 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 (shipping options aavailable at checkout.) Thank you for shopping with us
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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 in 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.
Score sample: Excerpts.pdf
TUBAISMS for solo tuba by Howard J. Buss is in three short movements: From the Depths, Joviality, and Oompah! Each displays a variety of the unique characteristics of the tuba without using extended techniques or extreme range. The accessible musical language, coupled with the soaring melodies and intriguing rhythms, make this an audience-friendly concert work as well as an impressive contest piece. Because of its modest technical demands, it is suitable for performance by advanced high school and college-level performers. (7’20”) Grade V.
Score sample: Excerpts.pdf - Sound samples: Movement 1.mp3; Movement 2.mp3; Movement 3.mp3
Tuba and one other instrument or recording (works in alphabetical order) Top of Page
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 in 2004 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 - 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. This work 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”)
Grade V. Score sample: Excerpts.pdf
Award Winner! REFLECTIONS ON THE "LAST POST" for tuba and piano by Howard J. Buss was winner of the Composition Competition of the U.S. Army Band’s 2019 Tuba-Euphonium Workshop. This work was used for the performers’ competition at the 2020 Workshop. The winning tuba player will solo the tuba/band version of the Reflections on the “Last Post” with the U.S. Army Band (Pershing’s Own) on the gala concert that concludes the workshop. Inspired by The Last Post Ceremony in Ypres, Belgium, it honors the thousands of soldiers who died to free Belgium from the Germans in WWI. The Last Post Ceremony was first held on July 1, 1928 and has been performed every night since November 11, 1929. Reflections on the “Last Post” develops the “Last Post” bugle call, which is performed near the beginning of the ceremony. The work also has stirring sections signifying the youthfulness and vitality of those who fought and died on the Ypres battlefields. Brixton Publications also published the version of Reflections on the “Last Post” for tuba and band (or wind ensemble) during 2019. (8'05") 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 Top of Page
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 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 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 powerful 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: Mvt. 1 In Remembrance 9/11/01.pdf; Mvt. 2 Repercussions.pdf; Mvt. 3 Renewal.pdf
Sound Samples: Movement 1 (In Remembrance 9/11/01), Excerpt A.mp3; Excerpt B.mp3;
Movement 2 (Repercussions), Excerpt A.mp3; Excerpt B (the ending).mp3;
Movement 3 (Renewal), Excerpt A.mp3; Excerpt B (the ending).mp3
Tuba and Band (These works are also available in versions 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.
REFLECTIONS ON THE LAST POST for tuba and band (or wind ensemble) by Howard J. Buss was inspired by The Last Post Ceremony at the Menin Gate Memorial in Ypres, Belgium. It honors the thousands of soldiers who died to free Belgium from the Germans in WWI. The Last Post Ceremony was first held on July 1928 and has been performed every night since November 11, 1929 at the Menin Gate Memorial, except during the years of the German occupation of Ypres from May 20, 1940 to September 6, 1944. During the occupation the ceremony was continued at the Brookwood Military Cemetery in Surrey, England. The composition develops the “Last Post” bugle call, which is performed near the beginning of the ceremony. The work also has stirring sections signifying the youthfulness and vitality of those who fought and died on the Ypres battlefields. This work was winner of the Composition Competition of the U.S. Army Band’s 2019 Tuba-Euphonium Workshop and was used for the workshop’s 2020 performers’ Competition.
(8’) Grade V. Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4.mp3 - Video
CONCERTANTE for euphonium, tuba and piano by Howard J. Buss. In this one movement composition the euphonium and tuba are treated as equal partners as they traverse a wide variety of sonic atmospheres. Energetic and sometimes fiery sections surround a beautiful and lyrical central part. Score and part is included. (9’) Grade V.
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 in 2016 at New Mexico State University, 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
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 IV-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)
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.
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
Tuba in chamber music - quartet Top of Page
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.
Tuba in chamber music - trios (works 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 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 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.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. This work 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 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. (8) Grade V.
Sound Samples: 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 exciting 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
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. Score sample including a diagram of the setup: Excerpts.pdf - Recording.mp3
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 performed as a feature number 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.
Sound Excerpts: Prelude.mp3 (with the beginning of narrator's lead-in to the first fable)
The Hawk and the Nightingale.mp3; The Middle-Aged Man and His Two Mistresses.mp3;
The Cat and the Rooster.mp3 (excerpt)
The PipingFisherman.mp3 (with the beginning of narrator's lead-in to the next movement)
The Fox and the Leopard.mp3; The Lion and the Bear.mp3; Postlude.mp3
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.”
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!
Music or CDs may only be returned if defective. Top of Page
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