Brass Ensemble - Level 5 - Digital Download

SKU: A0.767421

Composed by Mike Lyons. Concert,Contemporary,Standards. Score and parts. 73 pages. Lyons Music Services #3860115. Published by Lyons Music Services (A0.767421).

Titans:

 This is a piece inspired by the mythological Titans, who were deposed by the Greek God Zeus, who exiled them and founded the Olympian tradition. The titans were created by the mating of Uranus (Heaven) and Gaea (the Earth). Gaea and Uranus were themselves created from Chaos (the Void). There were many Titans. Cronus, often mistaken for the god of time, was their leader, their brother and the father of their children. Cronus mated with his sister Rhea to produce the gods Zeus, Hades and Poseidon.

 Cronus was given a prophecy that he would be deposed by his children, so he forced Rhea

to give her children to him when they were born whereupon he ate them. She managed to deceive him and hid Zeus, the youngest male child, away. Zeus eventually freed his siblings, by making Cronus vomit to bring them back to the world and thus he became the oldest. The other gods were persuaded to make Zeus their leader and together they deposed Cronus and defeated the Titans in a war (the Titanomachy) that lasted for many years. Zeus and the other gods were not able to kill Cronus, so he exiled him and all of the other Titans in a place called Tartarus, which was part of the underworld, where Cronus would have no access to power of any kind.

The music is based mostly on the opening chords, which recur again and again, representing Tartarus and also Cronus and all of his children in one form or another. Melodic material throughout is shaped by the chords and their progressions and I have applied simple transformations – for example, in the last section I have shaped the motifs by applying a snippet of a Fibonacci sequence and overlaying the result in different parts like a canon. I decided to use this because the Fibonacci sequence is representative of nature and the growth of life so it links to Gaea, who represents the creative force.

Obviously, Cronus, Gaea, Chaos, Zeus, Hades, Poseidon and Tartarus are all represented here, but so too are Oceanus, Phoebe, Mnemosyne and The Titanomachy (The war of the Olympians against the Titans). The piece finishes with a reprise of the opening chords, which have transformed into a less bleak soundscape, with Cronus and the other Titans safely locked away in Tartarus.

This is a difficult and challenging piece demanding a high level of skill from all players. it uses a number of dramatic effects and will stretch any ensemble.

I am looking into making a version of this piece for Brass Quintet.

Watch te score playing here https://www.youtube.com/watch?v=2w7dUmJh5k4

Brass Ensemble - Digital Download

SKU: A0.1006832

Composed by Eddie Hurt. 20th Century,Contemporary. Score and parts. 96 pages. Eddie Hurt #3006787. Published by Eddie Hurt (A0.1006832).

This composition was inspired by a cruise of the Mediterranean and visits to Italy, Croatia, and Greece.   I was struck by the age and endurance of the structures and the history of the region.  The hard work and thought that went into the construction of theses incredible buildings  that have survived 1000s of years was amazing. 

I describe my musical style as neo polyphonic.  I write each part as a spate melody or counter melody and the harmonization is what occurs naturally as they entwine.    They are usually impressionistic in nature reflecting  some action or scene. 

The First movement is my impression of walking on the ancient roman roads. I found them uneven and I I was wobbling all over the place. To me it sounds  like a old wagon with different sized wheels going down the road with other traffic. 

The second movement. Is  inspired by the great Cathedrals you find all through Europe.   They are huge open and full of history.  As you wonder through them you can feel the history and the devotion in them. 

The third movement  evokes the fast ride of a cavalry unit scouting enemy territory and
having a skirmish with and enemy then riding off..  It was inspired by all the history of conflict between the countries  of the Mediterranean.

Brass Ensemble - Level 3 - Digital Download

SKU: A0.773729

Arranged by Anthony Giamanco. Concert,Holiday,Jazz,Sacred. Score and parts. 13 pages. Whole Tone Press #3860297. Published by Whole Tone Press (A0.773729).

A regal arrangement for brass sextet and violin section. In lieu of a section, a violin soloist may be used, but would require amplification. Sprinkled with modern jazz harmonies, the familiar hymn sounds fresh, and may be used to accompany congregational singing of the hymn. Appropriate for worship services and concerts (especially around Thanksgiving).

Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper.

Anthony's music can be heard on his website, anthonygiamanco.com,
https://www.anthonygiamanco.com,
on SoundCloud
https://soundcloud.com/tony-giamanco,
and on his YouTube channel
https://www.youtube.com/channel/UC09EezLz7GUoMhNrc5Y8jBg.

Brass Ensemble - Level 3 - Digital Download

SKU: A0.808694

Composed by Alexander R. Reinagle (1799-1877). Arranged by F. Leslie Smith. Christian,Easter,Holiday,Sacred. Score and parts. 22 pages. Sweetwater Brass Press #4798569. Published by Sweetwater Brass Press (A0.808694).

    British composer Alexander Robert Reinagle wrote this melody about 1836 and named it after the church where he was organist, Oxford's St. Peter-in-the-East. First published as a musical setting for Psalm 118, it was adapted to John Newton’s How Sweet the Name of Jesus Sounds in 1861 and then to the hymn by John Oxenham (William A. Dunkerley), In Christ There Is No East or West, in the early 20th Century.
    While some sources specify that the St. Peter melody should be played without any festive fanfares, this brass quintet version does contain a few ceremonial flourishes.
    Most players will have little or no difficulty with this piece. The andante moderato tempo should be interpreted as somewhere in the vicinity of quarter note = 92. Most of the rhythm patterns involve quarter and eighth notes, with a few 16th-note passages scattered throughout. Trumpet 1’s highest note is its high A; tuba’s lowest is G below the staff. Otherwise, the music remains well within the normal playing range of all instruments.
    This arrangement was completed in 2019, and performance time runs about 4 minutes, 13 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.