Piano,Tuba - Level 5 - Digital Download SKU: A0.969871 Composed by Amy Dunker. Concert,Contemporary. Score and part. 9 pages. Amy Dunker #6083291. Published by Amy Dunker (A0.969871). When There Are Nine is a fanfare of hope for the kind of equality that Justice Ruth Bader Ginsberg worked so diligently towards. When I'm sometimes asked when will there be enough [women on the Supreme Court] and I say, 'When there are nine,' people are shocked. But there'd been nine men, and nobody's ever raised a question about that. ― Ruth Bader GinsburgDuration:  3:15

Piano,Tuba - Level 5 - Digital Download SKU: A0.1252810 Composed by Maria Thompson Corley. 21st Century. Score and part. 10 pages. Maria Thompson Corley #846603. Published by Maria Thompson Corley (A0.1252810). “Pax Aeternam� was written in memory of renowned composer Barbara York, a fellow Canadian whom I was blessed enough to meet in person through my interaction with Matt Brown. Though we connected many years into my collaborative piano career, Matt is the first tubist I ever worked with, and Barbara’s music was my favorite part of getting introduced to the tuba literature. I was thrilled to learn how much she appreciated my playing of her work.“How Beautiful� was written in memory of Matt’s son Eli, who had a congenital condition that took his life a few hours after he was born. This flawless piece of music, poignant yet never maudlin, provided the title for a recording Matt and I did of all of Barbara’s tuba output. It also threw down the gauntlet when Danny Rowland approached me, at Matt’s suggestion, about composing a piece. Danny mentioned loving “How Beautiful,� and intending to commission Barbara, who’d recently passed on. I’d never written for the tuba before, but felt absolutely no pressure. That’s a lie.Like “How Beautiful,� “Pax Aeternam� is in a major key; in my case, I wanted to evoke wistfulness rather than despair. Barbara’s path was full of suffering, and having lost a brother to prolonged illness, I’ve come to embrace the idea that death can be a sweet relief from pain. I tried to capture some of Barbara’s spirit, particularly in the middle section, and chose triple meter to give the outer sections a bit of “swing.� I don’t recall Barbara as a somber person, and I wanted to paint a portrait of someone who moved through life with a smile. I didn’t know her as well as many, but I always found her kind, generous, and unpretentious. I hope that this musical portrait does her justice.

Piano,Tuba - Level 5 - Digital Download SKU: A0.1002836 Composed by Kyle Vanderburg. Contemporary. Score and part. 33 pages. NoteForge #6113517. Published by NoteForge (A0.1002836). I spent New Year's Eve 2018 in Nye, Montana, visiting family and friends. One of those friends is an imaging specialist who regaled us with an explanation of his most recent project, which he described as calibrating the moon. Specifically, he was talking about the NASA ARCSTONE mission to calibrate the moon's reflectance to use as an accurate reference, primarily in climate science. The idea is that we have all this data about global warming and atmospheric changes, and a lot of that data uses the brightness of the moon as a control variable, but we don't actually have a precise definition of how bright the moon is. Ever since I was a part of that conversation, I knew that I wanted calibrating the moon as a title, and everything that came after that plays with the idea of moon themes or of doing big impossible-sounding things. When Connor Challey approached me about writing for tuba, Calibrating the Moon was an obvious choice.The work opens with Syzygy, a term describing the straight line between the sun, moon, and Earth that occurs every new and full moon. The movement starts dark and brooding, moves to an energetic middle section, and returns to being mysterious, kind of like a lunar cycle. Fun fact: This movement's theme is actually a tuba setting of the phrase Calibrating the moon.The Second movement, Spectral Reflectance, is slow and shiny. NDSU was fortunate to have portfolio tubist (and Connor's mentor) Sam Pilafian as a visiting guest artist for several years, and I finished Syzygy around the time of his passing. I spent a lot of time thinking about Sam while putting the second movement together, and I quoted a couple of his favorite tuba concerti.The work ends with Libration. If you were to watch a time-lapse video of a lunar cycle, you'd notice that the moon not only transitions from new to full to new, but also sort of oscillates or wags. That's Libration. The movement is likewise off-kilter, playing with the listener's sense of time through alternating time signatures.https://kylevanderburg.com/music/calibrating-the-moon/

Piano,Tuba - Level 1 - Digital Download SKU: A0.548724 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411763. Published by jmsgu3 (A0.548724). Out of the Depths I Cry to You by Martin Luther. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.