Composed by Edvarg Grieg. Arranged by Daniel de la Rosa Oliva. Romantic Period. Score and parts. 65 pages. Daniel de la Rosa Oliva #4802957. Published by Daniel de la Rosa Oliva

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.746742 Composed by Charles W.A Ellerbrook, Daniel Adams Butterfield, Daniel Decatur Dan Emmett ( 1815 – 1904), and Valentine Vousden. Arranged by Keith Terrett. Contemporary,Multicultural,Patriotic,Traditional,World. 39 pages. Keith Terrett #2941995. Published by Keith Terrett (A0.746742). De facto Anthems of the Confederate States of America  ''I Wish I Was in Dixie & Taps''- ''God Save the South No. 1''  - The Bonnie Blue Flag, ''God Save the South No. 2'', arranged for Brass Quintet & Percussion.The Confederate States of America (also referred to as The Confederacy or simply The South) had, like the United States at the time, several patriotic songs in use which could have been considered anthems, like Dixie, The Bonnie Blue Flag, and God Save the South, none of which were officially declared (possibly because declaring an official anthem wasn’t as important to a new nation then as it is now). God Save the South does have more of an anthemaic quality in the music and lyrics, and several publications of the song refer to it as a (or the) anthem, and was also the first song to be published in the Confederacy (which was subsequently published in at least nine editions).God Save the South was written by George H. Miles under the pseudonym Earnest Halphin, soon after the war started. Miles was a Marylander, a state that did not officially secede and join the confederacy, but, being a border state, had several citizens with sympathies for the south. An interesting thing to note about the song is the reference to George Washington (the first president of the United States) in the song’s fifth verse. Apparently, the author of the song meant to tie in Washington’s stance as a rebel against the British in the American revolution with the South’s rebellion against the northern United States in the civil war.The music was written by C. W. A. Ellerbock, but another tune by C. T. De CÅ“niél was also popular at the time as well. (Ellerbock’s version, however, seems to be the original.)For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores:http://www.scoreexchange.com/profiles/keith_terrethttp://musicforalloccasions.org.ukhttp://www.sheetmusicplus.com/search?Ntt=keith+terrettNeed an anthem fast?  They are ALL in my store!All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.comIf you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.   

Brass Quintet - Level 4 - Digital Download SKU: A0.1489523 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Film/TV. 31 pages. Https://gildedmusicpress.com/ #1066386. Published by https://gildedmusicpress.com/ (A0.1489523). Dimension Traveler, Op. 150, for brass quintet was completed 26 Mar 2024.  When I wrote the first few distinctive notes into the computer, my ten-year-old son said that it sounded “futuristic.”  Somehow that sparked memories of a novel I had started years ago, titled “Dimension Traveler,” based on dimensional theories I had developed.  With that fresh inspiration in mind, the piece wrote itself with opening movie credits in mind.The form is thematically palindromic, the center point being m. 77.  The beginning to rehearsal letter A mirrors K to the end; A to B is parallel to J-K; B-C = I-J; C-D = H-I; D-E = G-H; and the central thematic sections E-F = F-G.  Concerning that central turning point, the thematic material shifts from the trumpets’ first statement at letter E to low brass with the trumpets taking on the pointillistic accompaniment at letter F.  Of interest is the parallel of C-D and H-I wherein the motivic material, including dynamics, is quite literally reversed note for note to a climax.For aural aesthetics in performance, there is an optional cut from letter K to m. 142.  Thematically, the structure remains chiastic, but taking the cut simply truncates the end for a motivic flavor rather than repeating the entire opening entrée.  There is nothing wrong with purists performing the work in its entirety—it is simply a matter of taste among the performing ensemble members.Stylistically, this piece strays far from my typical compositions.  Besides the pervasive echoing eighth-note motifs, the key never changes, and there is no chromaticism.  Inspired in that regard by the masterpiece “Quintet” by Michael Kamen, the diatonicism often flows in planed clusters mildly influenced by the choral works of Eric Whitacre.  Another deviation from my well-established compositional habits is the instrumentation including bass trombone instead of tuba.  Of course the part can be played by a tubist, though the bass trombone meshes more seamlessly with the timbres of the other instruments in passing along the pervasively echoing eighth-notes.The individual brass parts appear deceptively simple, and indeed, they are not technically demanding besides a couple high notes in the trumpets.  However, putting this piece together in an ensemble setting is rhythmically treacherous!The four-minute final product indeed sounds like it could be the opening to an epic movie of the same title, based on the novel-in-progress.

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158198 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical. 28 pages. Https://gildedmusicpress.com/ #758475. Published by https://gildedmusicpress.com/ (A0.1158198). An extremely artistic and challenging composition, fit to feature on any concert, both for the general public and academic circles, Airpower! is cleverly titled to honor MSgt Alex Serwatowski, an Air Force tuba player, upon his retirement. Overall, “Airpower!� is light-hearted with a comedic but dignified feel, intended to be happy and celebratory. There are moments of a more serious nature, such as the transitions in measures 19-22 and 74-77, and a slower contemplative section (51-68) with a particularly dramatic moment in measures 55-56, where the listener wants to rise up with honor and respect. There is a healthy spectrum of emotions in this work. One remarkable feature of this composition is that it does not end in the same key in which it starts. In fact, it ends in D major, a tritone away from its opening key of A-flat major—as distantly related as two keys can be. Throughout the entire piece, the harmonic rhythm is intense, primarily exploring chromatic mediants and relative keys, wandering from A-flat to C to F to D minor and then several rapid tonicizations leading to G major, then to E minor to E major to G, E-flat, C minor, C major, A minor, tonicizations again, finally ending in D major. Although it is highly unified thematically (with essentially one theme that varies and develops, symbolically), this unique harmonic feature symbolizes the change that a person undergoes through a 23-year career. “Airpower!� is about 4’30� in duration, which is a fairly substantial single-movement work for brass quintet. The tempo never varies through the entire work, though with rhythmic augmentation and mutation the effect of tempo changes is present. The technical demands are difficult for all the players. This piece works the tuba into the melody and technical passages as much as any other player.

Brass Quintet - Level 2 - Digital Download SKU: A0.1489486 Composed by Dr. Daniel N. Thrower. Chamber,Classical,Contest,Festival,Instructional. 45 pages. Https://gildedmusicpress.com/ #1066349. Published by https://gildedmusicpress.com/ (A0.1489486). This collection of short compositions for brass quintet was conceived specifically to supplement a dearth of appropriate and artistic original compositions for the young aspiring brass quintet.  These pieces are most fitting for a good high school quintet or a beginning college ensemble that wants a conquerable challenge.  With a variety of keys, styles, and tempos, they lend themselves well for deep work on the core ensemble skills of rhythmic accuracy, intonation, and dynamic balance.  These brief works are also quite enjoyable for the professional quintet to perform for ever-popular school shows, or simply to read as a warmup with the focus of improving ensemble skills.  Performance time for all five pieces is approximately five minutes.“Blackhawk” (duration 0:45) was originally composed in D-sharp minor as a melody to be used in Comprehensive Trumpet Skills, Book 9: Sightreading and Transposition (p. 39).  The quintet version is in concert D minor for more manageable execution.  This brisk four-four work is perhaps the most difficult in the collection, with demands of multiple tonguing for all the instruments as well as fairly advanced intervallic jumps.  “Lamb of God” (duration 1:00) is one of many hymn tunes originally composed by Dr. Thrower for use in Comprehensive Trumpet Skills, Book 7: Ensemble Skills (p. 54), intended to be used to tune unisons and octaves.  As a tuning study it was published in the key of F major for B-flat trumpet, or concert E-flat major.  The quintet version retained the original key of concert E-flat.  The reverently subdued four-four tempo makes this the easiest piece in the collection, technically, though the three core ensemble skills listed in the introductory paragraph (rhythm, intonation, and balance) must still be extensively addressed.  The horn part is perhaps the most demanding in “Lamb of God,” with arpeggiated discant lines toward the end.“Summer Solstice” (duration 1:10) was started on June 21, 2023, which was the summer solstice.  It is a bright, cheerful piece in concert F major with a lot of interest in all the parts.  One source of the title’s inspiration came from my family’s new situation living in Tokyo, Japan, where the dawn sky brightens around 4:00 AM on the longest days of the year, which obviously coincide with the summer solstice.  The 70-second piece was completed four days after conception while the long days started at their earliest.“Triumph: Children’s March” (duration 1:00) was the catalyst for this collection.  It started as a cute little brass quintet piece in the key of concert B-flat major, to be performed for children, such as for school concerts.  The cut-time tempo is very brisk for a march, but animated little legs (or a more manageable audience activity of clapping hands) can easily handle the task.  Although the first trumpet part ends up on a high C, there is an alternate note for a more comfortable ending.“Waltzing Puma” (duration 0:30) is an evocative title for an evocative piece.  Like “Blackhawk,” this melody was composed as a melody for Comprehensive Trumpet Skills, Book 9: Sightreading and Transposition (p. 36).  The melodies in that series took on titles of military aircraft, and this one was the helicopter “Puma.”  Since this tune is in a fast three-four, it became the “Waltzing Puma.”  The quintet version retains the original key of concert F minor.

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158392 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 19 pages. Https://gildedmusicpress.com/ #758673. Published by https://gildedmusicpress.com/ (A0.1158392). “Valor� offers a potent two-minute concert opener, or an attention grabber after intermission. It is also highly effective as an encore (depending on endurance, particularly of the first trumpeter and hornist), leaving the audience with a rush and energy typified by an effective encore. Besides some minor edits and formatting, the composition was completed the day I hit my ten-year anniversary of serving in the United States Air Force Bands—a fitting anthem to celebrate a decade of service to my wonderful country! The title settled the next day as I began my second decade as an Airman Musician: Valor. The best account is recorded in my personal journal on 27 April 2021: “[Valor] is the Thrower family motto from hundreds of years ago. It’s also a concept that helped get me into [Arizona State University] for my doctoral studies. [Professor] Hickman asked for a very difficult orchestral excerpt during my audition. [Béla Bartók’s “Concerto for Orchestra.�] I expressed some trepidation, but decided to give it a shot. I nailed it! Then Hickman turned to me with a big smile, ‘I give extra points for valor!’ So I’m pretty sure this little two-minute musical journal entry will keep the name ‘Valor’… as a motivational cheer for my next ten years in the Air Force. Valor! Great courage in the face of danger, especially in battle. Ok, in the face of life’s many battles, Valor it is! And on to the next ten years!� The music is in AA’BA’ form. The B section is heavily influenced by the thematic material of the A section, but with a strongly contrasting mood that could be dubbed quiet dignity. A finale section follows the last A with some motivic twists from throughout the piece, decisively ending with a power that could well be accompanied by a dazzling flurry of fireworks. None of the performers get much of a reprieve throughout the two minutes packed full of notes. The first trumpet part stays in the upper mid-range for most of it, which would absolutely sparkle on an E-flat trumpet (alternate part provided). Second trumpet is also demanding. The horn part demands a decent level of mastery in the high range as well as the low range, vehemently forsaking its traditional role of off beats. The trombone and tuba parts also present their challenges, and never really stop longer than to take a breath. Although this work could conceivably be performed without percussion, doing so is strongly discouraged. The power delivered by the snare, bass, and cymbals, and even the triangle in the B section, make the part arguably indispensable.