chamber music for winds & brass
To view the master list of winds & brass chamber music in the Store, go here. All scores are in concert pitch; parts are transposed where necessary. Any piano parts ordered from this section can be provided in plastic comb binding or in 3-hole punched pages for use in a 3-ring binder. Also, .pdf’s for reading on an iPad can be provided on request for any score or part in addition to the hard copy at no additional cost. If you would like to hear a complete recording to help consider a piece, write to me at newertunes@hotmail.com.
solos with piano
Shenandoah (transcribed 2016), for Alto Sax and Piano
A transcription of my arrangement for piano of the famous sea shanty. $5 for piano score, sax part, and beautiful recording by saxophonist Connie Frigo. Excerpt & demo here.
Marigold (transcribed 2014), for English Horn and Piano
A transcribed, written-out version of my jazz ballad from 1985. Could be easily transcribed yet again for instruments in the same tessitura… e.g., alto sax, clarinet, alto flute, etc. $5. Excerpt & demo with flügelhorn here.
Polka Diabolique (2001, rev. 2008), for Clarinet in Bb or Alto Sax in Eb, with Piano
Challenging. Rendered with all the kinetic enthusiasm of an ordinary polka, this piece inconspicuously incorporates several humorous quotations (The Rite of Spring, Beer Barrel Polka, Night on Bald Mountain, The Twilight Zone, The Chicken Dance). A couple of sips from a strategically-placed beer stein, before, during or after the performance, will help set the mood. The demo is of the version for clarinet, which is virtually identical. $10, including piano score, solo part, and demo disk. This is a transcription of the version for viola - more details & excerpt here.
Propagatia (1992), for Bass Trombone and Piano
Propagatia (propagations) derives most of its material from the opening gestures in the piano: melodic and harmonic structures are composed primarily of minor 2nds, perfect and augmented 4ths, and major 7ths; minor 3rds occur occasionally. Melodies tend toward clearly upward, downward, or arched contours. The "theme" is this overall consistency of the melodic content. The succession of pedal points (E-F-B-G#-G-A-E-B/Bb-E) is designed to reflect the melodic elements and to suggest E as the tonal center. Commercially available here. Details & excerpt here.
duos
Fantasias Latinos (2023), for Clarinet and Marimba
Four movements: Samba, Tango Peculiar, Canción de Lamentación, and Rhumba, all referencing latin jazz styles. Details & excerpts here.
Consensual Sax (2018), for 2 Saxophones - Soprano, Alto, or Tenor
Each of these 3 short pieces is based upon a brief series of notes generated from its title, something like the technique of sogetto cavato from the Renaissance. Some of the pitches come directly from the letters, others from the syllables of chromatic solfege. Though the 1st saxophone part is generally higher than the 2nd, the two parts are otherwise treated as equals. $15 for score, parts, demo recording. Details & excerpts here.
woodwind trios
Security Lapses (2016), for Trio d’Anches (Oboe, Clarinet, & Bassoon)
In each of these 4 short pieces – modeled on “ripped from the headlines” stories of modern espionage – a stable pattern of activity is disrupted by an uninvited intrusion, and disruption ensues. Professional level. Available commercially in the PEN Collection from TrevCo Music, here. Details & excerpts here.
Triple Dances (transcribed 2014), for Trio d’Anches (Oboe, Clarinet, & Bassoon)
This is a brief set of stylized dances - I. Minuet & Duos, II. Sarabande, after Händel, and III. A Freakin’ Gigue - that retain just enough character of their Baroque models to be recognizable as such. Moderately challenging. Available commercially in the PEN Collection from TrevCo Music, here. Details & excerpts here. A terrific video of a performance by the PEN Trio can be viewed here.
Triple Dances (2007), for Clarinet, Alto Sax, & Bassoon
This is the original version of the set described just above. Available from me… $25 for score, parts, demo. See above for details & excerpts. Order here.
Three Baroque Dances (2009), for Flute, Clarinet, and Bassoon
This is a little suite of short, practical transcriptions of 3 stylized dances originally for keyboard: a Bach gavotte, and Handel Sarabande, and a Richter bourrée. $10 for score, parts, & demo. Excerpts here.
clarinet trio
Times in a Place (2014, rev. 2021), for Clarinet in Bb, ’Cello, and Piano
This is a transcription of my 2nd piano trio, with the violin part substantially revised for clarinet; the transition from the 2nd movement to the 3rd has been changed, as well as a number of details in the ‘cello and piano. These sounds were loosely inspired by (mostly) fond reminiscences of my youth in rural Michigan, with the school year as the time scale. $25, including piano score, parts, and demo disk. $25, including piano score, parts, and demo disk. Details & excerpts here. You can check out the original piano trio version here.
mixed quartet
Composures (2000-2004), in Four Voices, for Flexible Instrumentation
This is a set of four short, contemporary pieces (fast-fast/slow/fast, slow, very fast) in four voices, with each voice designed to be playable by a variety of instruments. Moderately challenging. Details & excerpts here.
saxophone quartet
States of Play (2022)
8 brief movements can be thought of as character pieces on contrasting states of mind and/or reactions to circumstances, as suggested by the colloquial idioms of their titles. None of them are of overly deep significance, but are here rendered in the sorts of rich textures that suggest quirky conduct and an absorbed state of mind. Total playing time 20-22 minutes; challenging. $30 for score, parts, and demo recordings. Details and excerpts here.
woodwind quintet
Canonica (2021)
Canons are interesting puzzles to work out – both for the composer and for the listener. All of these brief pieces employ canon of one sort or another continuously: I. Fantasia, II. March, III. Nocturne, IV. Caccia, and V. Fantasia & Fughetta. Flute doubles piccolo, oboe doubles English horn, and clarinet doubles bass clarinet; there is also an option for bassoon to double contrabassoon. Total performance time 16-18 minutes; challenging. $20 for score, parts, and demo recordings. Details and excerpts here.
Cripple Creek Counterpoint (1992, arr. 1996)
Moderately advanced. This version, for woodwind quintet, transcribes the original 4 flute parts and adds a new contrapuntal part for bassoon. Named after a small stream of dubious purity that runs behind the original campus of the Fine Arts Center, in its 3-1/2 minutes the piece goes through sections of unison playing, tuttis, quasi-minimalism, and imitative polyphony. Commercially available here. Details and excerpts of the flute quartet version here.
brass quintets, double quintet
Hefty Trifles (2021), for Brass Quintet: 2 trumpets in C or Bb, horn, trombone, tuba
These brief movements can be thought of as character pieces on four contrasting modes of behavior. None of them are of overly deep significance, but are here rendered in the sorts of rich textures that suggest quirky conduct and an absorbed state of mind. Roughly described: I. Indecorous – with questionable manners, irreverently flouting formality; II. Languorous – contemplative and very mellow; III. Capricious – the opposite of II., flighty, without reflection, ADD; IV. Klezmerous – PAR-TEE!!! C and Bb parts provided for both trumpets; flügelhorns optional in “Languorous.” 14-15 minutes total. $25 for score, parts, demo recording. Details and excerpts here.
Hefty Trifles (2021), for Trombone Quintet: 2 altos, two tenors, bass
Version of the above for trombone ensemble. $25 for score, parts, demo recording. Details and excerpts here.
Whatever Was (2016), for Brass Quintet and Baritone voice
Scored for brass quintet, with 1st trumpet playing trumpet in D; about 5:00, professional level. This poem, by Keller Cushing Freeman, and its musical setting were written in memory of a beloved husband, father, attorney and philanthropist. The music is of a generally exultant, fanfare-like character, as befits a joyous occasion, and the words emphasize the permanence of all the good that came before. I will withhold this piece until the premiere has been performed under the auspices of the commissioner. Details and excerpts here.
Eurotänze (2006), for Double Brass Quintet
Professional level. About 20 minutes total; $40 for score, parts, & demo. Scored for double brass quintet: 4 trumpets in Bb, doubling flugelhorn, and trumpets I & II doubling Bb piccolo; 2 horns in F; 3 trombones, 1st trombone doubling alto; bass trombone; tuba. The title - in German - translates literally as “Europe-dances.” This is a suite of stylized dances: Prelude, Waltzer, Habanera, Reel (& Habanera reprise), Pavanne, and Tarantella. An excellent reading of movements I, III, IV, and VI can be viewed here. Details and excerpts here.
Five (1981), for Brass Quintet
5 short movements; about 10 minutes, challenging. Available from a number of commercial outlets, including here. Details and excerpts here.
miscellaneous larger mixed ensembles
In my years at the Fine Arts Center I engaged in many rewarding collaborations with my colleague Dr. Gary Robinson, Instructor of Winds, Brass, and Percussion, and Conductor of the Greenville County Youth Orchestra. I composed much music for his ensembles, often with the non-standard combinations of instruments that populated his classes. It’s unlikely that these instrumentations will fit exactly with other ensembles, but if you have an ensemble of roughly the correct size & ranges and might like one of the things listed below to be transcribed, let’s talk about it. I will not quote prices here… the price will depend upon how big a job it will be to do the transcription. However, as everything here is engraved with computer notation software, transcriptions are not usually a difficult task and the upcharge will likely be very moderate.
“Ballet des Coq,” from Dances of Terpsichore (arranged 2019), for winds & brass in 10 parts, plus percussion
Apparently named in honor of a very spirited rooster (a Renaissance chicken dance?), this rousing dance is among the more than 300 instrumental dances published in 1612 by the German composer Michael Praetorius. Moderately challenging, about 2:15. Scored for piccolo, 2 flutes, clarinet, bass clarinet, alto sax, 2 trumpets, trombone, baritone horn, and percussionist. Excerpt here.
Four Tones Four Ways (2018), for winds & brass in 10 parts, plus percussion
Each of these short movements seeks to capture a different mood using the same essential motive: C-Eb-Bb-A. Details & excerpts here.
Three Contraptions (2017), for winds & brass in 10 parts, plus percussion
Inspired by an improvisatory theater exercise I once observed in which a group of students - one by one - built a “machine,” each person adding a different repetitive motion and sound. Virtually every note is a solo, with instruments sounding one or two notes in the silences of the others most of the time. The titles - Whizgadoozler, Echopanalifter, and Invertapeater - are just whimsical names for some make-believe machines that I thought might sound like this. Details & excerpts here.
Museum Pieces (2012, transcribed 2016), for voice and mixed instruments in 15 parts
This is identical to the original for voice, alto sax, and string quartet, but expanded to a large group of winds and brass: 4 flutes, clarinet, bass clarinet, 2 bassoons, 2 trumpets, and 3 trombones. Transcriptions of this work using fewer instruments are possible. For details and excerpts of the original version, go here.
Morley Suite (arr. 2012), for mixed instruments in 5 parts
Arrangements of 3 ballets (a.k.a. “fa-las”) by Thomas Morley (1557?-1602) - My Bonny Lass She Smileth, Sing We and Chant It, and Now Is the Month of Maying. Scored for flute, clarinet, trumpet, horn, and trombone; easily adaptable for other ensembles. Optional continuo part available. Excerpts here.
Renaissance Suite (arr. 2012), for mixed instruments in 6 parts
Arrangements of Scaramella (Josquin des Prez, ca. 1450-1521); Baises moy (Josquin); Innsbruch, ich müß dich lassen (Heinrich Isaac,ca.1450-1517); and El Grillo (Josquin). Scored for flute, clarinet, trumpet, horn, bass clarinet, and trombone; quintet and quartet versions also exist. Excerpts here. These also exist in quintet versions.
Suite from Bartok: For Children (arr. 2011), for woodwinds in 6 parts
Scored for flute, clarinet, alto sax, horn, bass clarinet, and bassoon. 5 pieces arranged from Bela Bartok’s (1881-1945) folk song collection for piano, For Children, Sz.42: I. The Hidden House (Slovakia), II. Light the Way to My Love (Hungary), III. Evening Kiss (Hungary, attacca), IV. The Young Bride (Hungary), and V. High Spirits (Slovakia). Excerpts here. This also exists in a 5-part version for clarinet, trumpet, baritone, trombone, and tuba.
Baroque Suite (arr. 2011), for mixed instruments in 6 parts
5 stylized dances in practical arrangements - Richter: Bourree, Telemann: Minuet, Mattheson: Sarabande, Bach: Gavotte, and Handel: Gigue. Scored for flute, clarinet, alto sax, horn, bass clarinet, bassoon, and continuo (realized; an electronic keyboard with a harpsichord patch is suitable). $20 for score, parts, & demo. Excerpts here. This also exists in a version in 5 parts: flute, clarinet/trumpet, saxophones, baritone/trombone, tuba, and continuo.
Canonic Fanfare (2009), for Brass in 11 parts
This is a boisterous fanfare obsessed with the motive G-C-Ab-Eb. Advanced, about 1:45. In is its current form, it is scored for 3 trumpets, 4 horns, 3 trombones, and tuba. This is certainly transcribable, but it will require a large group for appropriate impact. Excerpt here.