• Antiphon – Brass Quintet

    Anton Bruckner (1824 – 1896) was an Austrian composer known for his monumental symphonies, masses and motets. He was a simple man with an intense devotion to the spiritual life.

    This motet was written in 1878 and scored for solo tenor, choir and organ. The complete title is Antiphon – Tota pulchra es Maria. It’s not known when he re-scored it for SATB. Both versions feature a dialog between a soloist and the full quintet. His use of sudden contrasts of timbre and dynamics as well as some unexpected harmonic choices make this piece a welcome addition to the repertoire.

    Composer: Anne McGinty
    Instrumentation: 2 Bb Trumpets, F Horn, Trombone & Tuba
    Duration/# of Pages: ca. 4:50 / 11 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $21.00
  • Ave Verum Corpus (Byrd) – Brass Quartet

    Ave verum corpus (Hail, true body) is based on a 14th century poem. This musical setting by William Byrd (1543 – 1623) is considered one of his finest works. A student of Thomas Tallis, William Byrd was the leading English composer of his time, a great master of the Renaissance along with Giovanni Palestrina and Orlando de Lassus, and left a huge legacy of printed music.

    The false relation, the E natural in the trumpet and the E flat in the tuba in measure 2 was Byrd's way of emphasizing the word verum.

    Excerpt graciously provided by members of the Tower Brass Quintet.

    Composer: Anne McGinty
    Instrumentation: Trumpet, Horn, Trombone & Tuba
    Duration/# of Pages: ca. 3:30 / 7 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $15.00
  • Die himmel erzählen die Ehre Gottes (Schütz) – Brass Quintet

    Heinrich Schütz (1585 – 1672) was a Renaissance composer and is generally considered the most important German composer prior to Johann Sebastian Bach. His compositions show the influence of his teacher, Gabrieli.

    One of the last composers to write in modal style, the text for this piece is from Psalm 19. The title translates to: The heavens are telling the glory of God.

    Originally written for six voices, the piece is ideal for brass quintet and will sound glorious in a church or recital setting.

    Thanks to the Vista Brass Quintet for sending a recording of this piece.

    The Vista Brass Quintet features Emily Lawyer and Tim Winfield – trumpet, Anne Marie Cherry – horn, Charles Lilly – trombone and Todd Eames – bass trombone.

    Composer: Anne McGinty
    Instrumentation: 2 Trumpets, Horn, Trombone & Tuba
    Duration/# of Pages: ca. 3:45 / 23 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $21.00
  • Drive-thru – Brass Quintet

    Hungry? This is an impatient trip through traffic on the way to the drive-thru. There are blaring horns, near collisions, a dump truck backing up (so obnoxious and so irritating), and finally there you are, waiting in line. The 1st trumpet asks “may I take your order” and finally the tuba gets to order a cheeseburger, fries and a chocolate milkshake. The order is, of course, repeated over the speaker, accomplished by trombone with a harmon. More waiting, more impatience, more car horns, and finally you are satisfied. Aaah

    This piece will be a great hit with your audience. And there are absolutely no calories!

    The mp3 excerpt is from the Tower Brass Quintet CD, Road Trip. (Used with permission.)

    Composer: Anne McGinty
    Instrumentation: 2 Trumpets, Horn, Trombone & Tuba
    Duration/# of Pages: ca. 3:25 / 21 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $21.00
  • Fugue in E-Flat Major (J.S. Bach) – Brass Quintet

    “The triple fugue … is a symbol of the Trinity. The same theme recurs in three connected fugues, but each time with another personality. The first fugue is calm and majestic, with an absolutely uniform movement throughout; in the second the theme seems to be disguised, and is only occasionally recognisable in its true shape, as if to suggest the divine assumption of an earthly form; in the third, it is transformed into rushing semiquavers as if the Pentacostal wind were coming roaring from heaven.” ~ Albert Schweitzer

    The Fugue in E-Flat Major (BWV 552) has become known in English-speaking countries as the “St. Anne” because of the first theme's resemblance to the St. Anne hymn O God, Our Help in Ages Past, a hymn that would have been unknown to Bach. A fugue in three sections of 36 bars, 45 bars and 36 bars, with each section a separate fugue on a different theme, it has been called a triple fugue, although only the first theme is combined with the second and third themes; for that reason the second and third sections are sometimes referred to as double fugues. The number three is pervasive and has been understood to represent the Trinity. The description of Albert Schweitzer follows the nineteenth century tradition of associating the three sections with the three different parts of the Trinity. The number three, however, occurs many other times: in the number of flats of the key signature; in the number of sections; and in the number of bars in each section, each a multiple of 3 x 3. Each of the three themes of the fugues seems to grow from the previous ones.

    Written for organ, the ranges of each of the five fugal voices works well for the five brass instruments. Articulations and minimal dynamic suggestions have been added to honor the music, to make it sound as it would have sounded if the fugue were conceived for these modern instruments. The tuba can play m. 114 to the end down an octave to sound more like an organ pedal.

    This fugue is available for brass ensemble as well as brass quintet There are Eb trumpet parts included with the brass quintet version. The brass ensemble version has the traditional brass quintet parts, Eb trumpet parts, Eb horn, Euphonium TC and Eb tuba.

    The mp3 excerpt is from the Tower Brass Quintet CD, Road Trip. (Used with permission.)

    Composer: Anne McGinty
    Instrumentation: 2 Bb and/or Eb Trumpets, F Horn, Trombone & Tuba
    Duration/# of Pages: ca. 5:30 / 28 pages, 8.5″ x 11″
    Key: Eb

    Score & Parts $21.00
  • Fugue in E-Flat Major (J.S. Bach) – Large Brass Ensemble

    “The triple fugue … is a symbol of the Trinity. The same theme recurs in three connected fugues, but each time with another personality. The first fugue is calm and majestic, with an absolutely uniform movement throughout; in the second the theme seems to be disguised, and is only occasionally recognisable in its true shape, as if to suggest the divine assumption of an earthly form; in the third, it is transformed into rushing semiquavers as if the Pentacostal wind were coming roaring from heaven.” ~ Albert Schweitzer

    The Fugue in E-Flat Major (BWV 552) has become known in English-speaking countries as the “St. Anne” because of the first theme's resemblance to the St. Anne hymn O God, Our Help in Ages Past, a hymn that would have been unknown to Bach. A fugue in three sections of 36 bars, 45 bars and 36 bars, with each section a separate fugue on a different theme, it has been called a triple fugue, although only the first theme is combined with the second and third themes; for that reason the second and third sections are sometimes referred to as double fugues. The number three is pervasive and has been understood to represent the Trinity. The description of Albert Schweitzer follows the nineteenth century tradition of associating the three sections with the three different parts of the Trinity. The number three, however, occurs many other times: in the number of flats of the key signature; in the number of sections; and in the number of bars in each section, each a multiple of 3 x 3. Each of the three themes of the fugues seems to grow from the previous ones.

    Written for organ, the ranges of each of the five fugal voices works well for the five brass instruments. Articulations and minimal dynamic suggestions have been added to honor the music, to make it sound as it would have sounded if the fugue were conceived for these modern instruments.

    This fugue is available for brass quintet as well as brass ensemble. There are Eb trumpet parts included with the brass quintet version. The brass ensemble version has the traditional brass quintet parts, Eb trumpet parts, Eb horn, Euphonium TC and Eb tuba.

    Composer: Anne McGinty
    Instrumentation: 2 Bb and/or Eb Trumpets, F and/or EbHorn, Trombone and/or Euphonium & Tuba
    Duration/# of Pages: ca. 5:30 / 38 pages, 8.5″ x 11″
    Key: Eb

    Score & Parts $25.00
  • No Strings Attached – Brass Quintet

    It is so easy to add special conditions, restrictions and expectations to almost anything — even music. Using this as extramusical inspiration, No Strings Attached first attaches each of the strings, followed by a spirited and rhythmic romp interspersed with unifying chorales. At the end, each of the strings are released, one by one.

    Music is one of the most valuable things we can share without asking for or expecting anything in return.

    Composer: Anne McGinty
    Instrumentation: 2 Bb Trumpets, F Horn, Trombone & Tuba
    Duration/# of Pages: ca. 3:00 / 21 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $21.00
  • Nymphes des Bois (Josquin) – Brass Quintet

    Nymphes des bois, also known as La Déploration de Johannes Ockeghem, is a lament by Josquin des Prez (ca. 1445 – 1521) on the death of his predecessor, Ockeghem. Josquin was one of the most influential Renaissance composers and was considered a great master of his time.

    The music is based on a poem (elegy) by Jean Molinet, a French poet and composer. The descending thirds in the chorus represent the names of the composers of that time: Josquin, Pierson, Brumel and Compére.

    The lyrics to the chorus are:

    Put on the clothes of mourning.
    Josquin, Pierson, Brumel, Compére.
    And weep great tears from your eyes,
    For you have lost your good father.
    May they rest in peace.
    Amen

    Excerpt graciously provided by the Tower Brass Quintet.

    Composer: Anne McGinty
    Instrumentation: 2 Trumpets, Horn, Trombone & Tuba
    Duration/# of Pages: ca. 3:15 / 10 pages, 8.5″ x 11″
    Key: N/A

    Score & Parts $21.00