Gunther Schuller's Music For Brass Ensemble

Despite that these three instruments are different in nature, they were all played in almost the same tone and create a harmony that introduces and extends each other. For example, the piano will strike one note as a start, introducing the string; then the horn will blend in with the string and enhance the thickness of the music. And when the horn strengthens the music texture, the lingering string prolongs every note and

White’s tenor is responsible for stating the theme's melody of “Three Wishes”, an epic tune of mystical resolve that concedes an opportunity for Neumann to express his rhythmic faculties in front of the drum kit.

Having joined the Eastman School of Music and the Juilliard School, Ewazen bear enough expertise and knowledge on music. At the two learning institutions, he studied under Joseph Schwantner, Eugine Kurtz, Samuel Adler and Milton Rabbit (Johnson, pp. 34). Ewazen has received numerous prizes and awards because of his compositions. Many of his songs have been performed by many orchestras and soloists in the US and other parts of the world (Miller, pp.73). Ewazen’s expertise in the composition has made him a popular music lecturer and is currently teaching at The Juilliard School.

The history of the American brass band is a subtle yet interesting one. Made up of cornets and saxhorns during the 1850’s the all brass band grew to a whole new level of popularity and has become a prominent feature of the brass bands of today. Leading with E flat horns is a prominent extraordinary feature of the early American brass bands. Creating a homogeneous mellow sound by mixing the timbres of these different instruments is one of the most if not the most important characteristics of the early American brass band. The changing times and the creations of different types of sound made many of the instrument in the band become obsolete which also played a huge part in the how much of the literature that can be performed in today’s traditional

Many of the musicians double as professors at different universities; therefore, their knowledge of the history of brass instruments is quite extensive. First, they played different sized conch shells, which is the first horns that formed into the song Happy Birthday.They then played many of the earliest models of the trumpet, which had no valves, and the trombone, that required one to move their whole body back and forth in order to hit different notes. Additionally, the Saint Louis Brass had a clear water hose with a funnel at the end of it as a horn. I was surprised that it made a beautiful sounds, even hitting different notes. After separately playing each peculiar instruments, they came together to play an adorable little diddy. As a future teach and lover of learning, I thoroughly enjoyed this section of their

Boschnak’s “Expositions” tears into a puissant rhythm and groove after an intriguing intro featuring the deep tones of the bass clarinet, which, together with bowed bass reinforces the foundation’s density with swaggering stance. Rather intelligible than sprinting, the trumpet solo that follows, momentarily complemented with clarinet punctuations, disembogues in a bridge that leads to a vocalized ostinato interlude, obsessively iterate by the guest

Charles Ives is the quintessential 20th century American composer. From his early organ music and music training to his later symphonic pieces and art songs, his music is drenched in early American nostalgia, quotes, and culture. Not only has Ives come to be known so well for his establishment of an American identity, but also his use of complex compositional techniques that fit so well in a post-Romantic era of music. Delving through the history of Ives requires a keen eye to see not only the use of complexity, but to understand the context his music was written in. Through analyzing one of his most notable orchestral works, Three Places in New England, one can see how Ives uses complex compositional devices to not only establish his own identity as a composer but provide an American context as well.

Brass bands survived and thrived by incorporating popular music. Contemporary brass bands are no exemption to this either. This chapter examines the particular pieces that have been a part of the repertoire since the turn of the twentieth century. It will concentrate on how the band members used popular music into their own style to fit the band's instrumentation, technique and style.

This notation means that these notes are to be played stopped. To play these notes stopped, the horn player must take the notes a half step down, so instead of fingering a E natural and a B natural, the horn player must use the fingerings for a Eb and a B. The dynamic marking for beat one of Measure 2 is an pianissimo which, when combined with stopped horn, creates a distant effect. In Measure 6, the written E, G, and F are stopped and all have accent marks directly underneath them. When played at a fortissimo, the stopped notes create a loud, brassy sound. Many composers only use stopped horn to create a loud, obnoxious brassy effect, however, Persichetti utilizes the stopped horn technique to produce many different

Edward was playing “the Jane Set” composed by Daniel Asia in Four moments adding seriouso as his last movement that’s is not mentioned in the program. Texture in his music as like Jessica Maxfield music selection. There was some dissonance but he there was more consonance to tonic notes to help the resolution of some of the pieces the other 3 movements he has played from this set was “Misteriso”, “murmuring, ghostly, flexibility”, “Vivace” as well as “Seriouso” that I had mention early. Edward piece also have out the mysterious and creepy emotion appeal. Has you could see once of the movement being “ghostly” so having different feel from a saxophone was a different to

When thinking of the 1920s, one imagines the sound of “celebrated tenor[s]… sung in Italian, and… contralto[s]... sung in jazz.” (49) However, Luhrmann's use of music was quite interesting. Although he maintains the use of strings and

On November 13, 2015 Dr. David Earll of the University of Wisconsin Platteville faculty performed a Tuba and Euphonium Recital. The program for the recital included various 20th century works and their composers along with pieces from Antonio Capuzzi from the classical era and Sebastian Bach during the Baroque Era, whom was discussed in class. Works that were played include: “T. Rex for Tuba and Piano” by Mark Schultz, “My Mountain Top for Tuba and Tape” by Andy Scott, “Double-Bass Concerto (adapted for Euphonium)” by Antonio Capuzzi, “Alarum” by Edward Gregson, “Silhouette for Tuba and Piano” by John Harmon, and “Flute Sonata in Eb Major” by Johann Sebastian Bach. My favorite piece was “T. Rex” by Mark Schultz. I believe that brass instruments

Then the lower of the brass section enter with low booming noise. The theme can be heard by the trombones and trumpets and begins to be tossed back and forth between the two as they are accompanied by the rest of the band in a polyphonic fashion. The theme is then transferred to the flutes for a brief moment before being handed back to the brass section. The influence of the fiddle is heard throughout the music as the instruments with the theme trill as a fiddle would while playing. The influence of war marches is also heavily heard in the rest of the band when they don’t have the theme as well as in the drums. The piece grows triumphantly and passes the theme from the flutes and back one last time, becoming more chaotic than any other time in the song. With a crash of the symbols and the chime of the tube bells playing triumphantly, the song is

The Schiffman is a mid-twentieth century work with three movements of varying tempo and character. Griffin is playing the timpani part for the first two movements of this composition, and the claves for the last movement. The timpani part requires a constant awareness of rhythmic placement, touch, and articulation.

There is a minor brass introduction followed by ascending and descending major scales played by the harp. The strings play a legato melody and there is a pedal note in the woodwind. The music modulates back to minor and there is a crescendo with a sequence and use of the timpani. There is a descending arpeggio played by the brass section, and then the string melody is repeated with brass repeated notes. The music has a ¾ rhythm and an adagio tempo. There is a quiet woodwind passage with a timpani roll and crescendo. The main melody is then played by brass. It is then repeated with cymbal crashes, brass fanfares and a timpani roll. There is a crescendo with discords and imperfect cadences. And the piece ends with a perfect cadence and timpani roll.