Finally, an arrangement for CC tuba of the well-known “Carnival of Venice”. The piano part has been edited slightly to give the accompanist a break from the monotony of the original.
Finally, an arrangement for CC tuba of the well-known “Carnival of Venice”. The piano part has been edited slightly to give the accompanist a break from the monotony of the original.
Tuba players often can only dig into the music of J.S. Bach in brass quintets or some of the Stokowski or other transcriptions for orchestra or wind band. These 15 duets while advanced, make for excellent study materials that are every bit as musically rewarding as the Rochut/Bordogni etudes.
J.S. Bach's famous Arioso From Cantata No. 156 (Air on the G String) has been arranged for nearly every instrument. Finally Micky Wrobleski has arranged this for Tuba and Piano.
This setting was done for a chamber music concert of the Beijing Symphony Orchestra (BSO) Low Brass Ensemble at eh Forbidden City Concert Hall: Lu Jian Hua, Ye Zhen, Tenor Trombones; Zhang Jiang, Bass Trombone; and Micky Wrobleski, Tuba. Very challenging and highly rewarding.
As tuba (or low brass) players, we are all very familiar with the symphonies of Anton Bruckner. However, many of us never delve a little deeper to discover some of his wonderful choral music. As with the de Victoria, it works well with various combinations of instruments. This setting of Locus Iste, for four tubas, was commissioned by Mr. Blair Berger for a recital while a student at the University of Wisconsin-Eau Claire.
C.P.E. Bach's Sonata No VI has finally been arranged for Tuba and Piano by Micky Wrobleski.
Marcello's Six Sonatas have become a mainstay of brass literature and is finally transcribed for Tuba. This edition is a must for baroque literature available for the tuba.
Marcello's Six Sonatas have become a mainstay of brass literature and is finally transcribed for Tuba. This edition is a must for baroque literature available for the tuba.
These arrangements were done for and are dedicated to Gene Pokorny. Knowing Gene and Beth’s love of Russian composer Sergei Prokofiev, I thought of them when I happened to stumble upon these two works originally for solo piano
These arrangements were done for and are dedicated to Gene Pokorny. Knowing Gene and Beth’s love of Russian composer Sergei Prokofiev, I thought of them when I happened to stumble upon these two works originally for solo piano
The complete “Visions Fugitives” is a twenty movement work written early in Prokofiev’s career between 1915 and 1917. This printed edition is a compilation of his original music, the transcriber’s (Beth A. Lodal) and the performers’ further editing. Transcriptions, as noted by trombonist extraordinaire Ralph Sauer, should bring a new light to the original music which may further enhance the deeper intentions of the composer, perhaps even further than even the composer’s original choice of medium. An effective transcription is dependent on the capabilities, insight and imagination of transcriber, performer, and listener(s). In preparing for your own performances of this music, you are highly encouraged to consult the original music and listen to several recordings of that music played on the intended instrument (solo piano). Be very open to the idea of changing the transcription if it better satisfies your vision of what the composer’s desires.
This is a traditional turn-of-the-(twentieth)century, theme and variations, Sunday afternoon, concert-in-the-park solo. The one word that people should at least be mumbling if not shouting by the end of the performance is “amazing!” Basically, the Theme should show off your best cantabile sound and style with lots of rubati and espressivo. The Variations should be impressive with their increasing complexity as they move from triplets to sixteenths, but be sure that the speed is not too fast until you reach the third variation. The cadenza between Variation II and Variation III may be re-written but it should show off as much of the tessitura and other technical prowess abilities (yeah, and gimmicks) that you have.
This is a traditional turn-of-the-(twentieth)century, theme and variations, Sunday afternoon, concert-in-the-park solo. The one word that people should at least be mumbling if not shouting by the end of the performance is “amazing!” Basically, the Theme should show off your best cantabile sound and style with lots of rubati and espressivo. The Variations should be impressive with their increasing complexity as they move from triplets to sixteenths, but be sure that the speed is not too fast until you reach the third variation. The cadenza between Variation II and Variation III may be re-written but it should show off as much of the tessitura and other technical prowess abilities (yeah, and gimmicks) that you have.
This is a traditional turn-of-the-(twentieth)century, theme and variations, Sunday afternoon, concert-in-the-park solo. The one word that people should at least be mumbling if not shouting by the end of the performance is “amazing!” Basically, the Theme should show off your best cantabile sound and style with lots of rubati and espressivo. The Variations should be impressive with their increasing complexity as they move from triplets to sixteenths, but be sure that the speed is not too fast until you reach the third variation. The cadenza between Variation II and Variation III may be re-written but it should show off as much of the tessitura and other technical prowess abilities (yeah, and gimmicks) that you have. This version is for E Flat Tuba and has parts in both bass and treble clef.
William Rimmer - Hailstorm for Tuba and Band
William Rimmer - Hailstorm for Tuba and Piano
Soloist Folio for Tuba for use with the Original accompaniments (transcribed solo parts only, no accompaniments) Compiled and Transcribed by Micky Wrobleski - Debussy - Prelude to the Afternoon of a Faun; Finzi - Five Bagatelles for Clarinet; Handel - Aria con Variazioni "The Harmonius Blaclsmith"; Handel - Sonata No, III in G Major for Flute; Haydn - Concerto No 1 in D Major for French Horn; Ravel - Pavane for a Dead Princess; Saint-Saens - Romance, Op 36; Schumann - Adagio and Allegro, Op 70
A small set of dances for two tubas. These duets are quite easy, but good tuneful music that offers a nice foray for a beginner into the world of tuba duets/chamber music.
These 12 fantasies offer challenges for all levels of players. They have been transcribed and edited by Micky Wrobleski.
