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Equinox – Large Brass Ensemble
Equal day, equal night, represented by double brass quintet, conical vs. cylindrical. Seating should be in an inverted V, with tuba on the outside left. Going up the left side, next to tuba is horn 3, then horn 2, horn 1 and cornet at the top of the inverted V. Coming down the right side is trumpet 1 at the top, trumpet 2, trombone 1, trombone 2 and bass trombone, facing tuba.
Brilliantly crafted to maximize the different timbres, the wide ranges and varying instrumental combinations, this is an impressive achievement accomplished with great skill and a welcome addition to the brass repertoire.
The sample score and mp3 excerpt include all three movements.
Total duration: ca. 11:15
I – Autumn (3:47)
II – In-between (3:45)
III – Spring (3:40)
David Wailes – Cornet
Andrew Pelletier – Horn
Jenny Kim – Horn
Bruce Hudson – Horn
Doug Tornquist – Tuba
Marissa Benedict – Trumpet
Larry Hall – Trumpet
Alex Iles – Trombone
Philip Keen – Trombone
Bill Reichenbach – Bass Trombone
Composer: Anne McGinty
Instrumentation: Bb Cornet, 3 F Horns, Tuba, 2 Bb Trumpets, 2 Trombones & Bass Trombone
Duration/# of Pages: ca. 11:15 / 54 pages, 8.5″ x 11″
Fanfares, Questions & Answers – Large Brass Ensemble
Written for 4 trumpets, 4 trombones (1 bass) and solo bass trombone, this is a welcome addition to the brass ensemble literature as well as a very musical piece to feature your bass trombone soloist.
(This piece also works well with tuba as the soloist.)
Composer: Bill Reichenbach
Instrumentation: 4 Trumpets, 4 Trombones, Bass Trombone solo (or Tuba)
Duration/# of Pages: ca. 3:10 / 25 pages, 8.5″ x 11″
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″