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Home / Composers / Rose, William G.

Rose, William G.

(b. 1956) American trombonist, low-brass and music theory instructor, choir master, composer and arranger.

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Greensleeves for string orchestra with harp, arr. Rose
$38.00 Add to cart
Jingle Bells for string orchestra with sleigh bells, by Pierpont, arr. Rose
$34.00 Add to cart
Christmas in Brass Book Four for brass quintet, arr. Rose
$21.00 Add to cart
Gigue Fugue for brass quintet, by Buxtehude, arr. Rose
$12.00 Add to cart
Christmas in Brass Book Two for brass quintet, arr. Rose
$21.00 Add to cart

Showing all 5 results

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Capriccio for small orchestra
by Fisher Tull

Description
"The word capriccio means "according to the fancy (caprice) of the performer." In this case, several motives are freely woven together in a "capricious" fashion and held together by a driving rhythm. the tempo is marked Allegro giocoso throughout with the exception of a short section near the end of the piece. After a reflective and tranquil Lento, the opening motive returns to create and energetic close."
- Albany Records © 1997 (from liner notes from the CD Troy 223 "Fisher Tull"),
Used by permission, Unauthorized replication is not legal.

Reviews
"Tull's Capriccio for Small Orchestra proved a vigorous, well-knit work, cast in a single movement of classic design. It was tonal in harmonic idiom, engendering considerable momentum by its judicious use of irregular meters, and contained much straight-forward melody, boldly carved into the music. All in all, it was the work of a young, logical talent creating solidly within the reservoir of a tonal idiom well established in this country for several years."
- Carl Cunningham, Houston Post

"Tull fused excitement and strength of new sounds into a classic sonata-rondo form. His Capriccio has style, humor, and above all, vitality. The audience gave it, the composer and the orchestra one of the most enthusiastic receptions a new work has had here in several seasons."
- G. New, Houston Chronicle

Details
Composed in 1967 on a commission by the Houston Chamber Orchestra (comprised of members of the Houston Symphony). Premiered under the baton of Charles Rosekrans during the 1966-67 season.
Instrumentation: 2 fl. 1 ob. 2 cl. 1 bsn. - 2 hn. 2 tpt. 1 tbn. - timp. - perc. - pft. - strings
Length: 9 mins.
Publisher: Boosey & Hawkes Rental Library

© 2004 - 2022 Gulf Wind Music Press
last revised December 21, 2022

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Concertino for oboe and string orchestra
by Fisher Tull
also —
Concertino for oboe and piano
by Fisher Tull

Description
"Klaus-Cristhart Kratzenstein, the conductor at that time [1970] and part-time organ instructor at SHSU, wanted a modern work suitable for his Baroque-sized ensemble.."
- Fisher Tull (from liner notes from the CD "Music of Fisher Tull A Celebration!")

Details
Composed in 1970. Written for the Rice University Chamber Orchestra for their European tour in the summer of 1970, Klaus-Cristhart Kratzenstein, conductor.
Instrumentation: ob. strings, also ob. pft.
Length: 8 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 21, 2022

Concerto No. 1 for trumpet and orchestra
by Fisher Tull

Description
"The work is laid out in the classic mold, three movements of contrasting tempo. Throughout the entire piece the intervals of the second and fourth play a pivotal role both melodically and harmonically. A tight, rhythmic energy is evident from the first measures as the strings introduce a "germ motive" which figures in both the first and last movements. The soloist soon enters with the bravado first theme and the movement unfolds in sonata form. the second movement is in an arch form which opens with pizzicato strings and a recitative-like melody for the trumpet. Subtly shifting harmonies provide a lush background as the soloist overlays long, flowing melody lines. the movement ends, as it began, with pizzicato strings and solo trumpet. The last movement is a modified sonata-rondo featuring imitative contrapunctal textures. It opens with the same "germ" idea from the beginning, with each recurrence of the rondo idea subjected to variations."
- Albany Records © 1997 (from liner notes from the CD Troy 223 "Fisher Tull"),
Used by permission, Unauthorized replication is not legal.

Reviews
"Tull's piece is characteristically neat and well-composed, and it derives a good deal of energy from its structural tightness. As a whole, Concerto No. 1 for Trumpet and Orchestra showed him to be a highly skilled composer, evolving and developing musical kernels into lengthy and often dramatically charged orchestral conversations."
- Carl Cunningham, Houston Post

Details
Composed in 1964 and received its first complete performance by James Austin, trumpet, with the Houston Symphony in April 1973, Lawrence Foster conducting.
Instrumentation: solo tpt. 2 fl.(pic) 2 ob. 2 cl. bcl. 2 bsn. - 4 hn. 2 tpt. 3 tbn. 1 tb. - timp. - perc. - pft. - strings
Length: 20 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Concerto No. 2 for trumpet and orchestra
by Fisher Tull
also —
Concerto No. 2 for trumpet and band
by Fisher Tull
also —
Concerto No. 2 for trumpet and piano
by Fisher Tull

Reviews
"Severinsen laid waste the audience with a fantastic performance of Fisher Tull's Concerto No. 2. The tender lyric movement of the concerto was lovingly shaped and beautifully sung, and the acrobatic outer movements dazzled with brilliance, but made musical sense as well."
- L. Eureka, Fort Worth Star Telegram

See Review "Concerto No.2 for Trumpet and Piano" by Barrow ITG Journal, May 1982

Details
Composed in 1974. Commissioned by "Doc" Severinsen. Version for Trumpet and Band comissioned in 1974 by the Robert E. Lee High School Band (Baytown, TX), Charles Forque, director.
Instrumentation: solo tpt. 2 fl. pic. 2 ob. 2 cl. 2 bsn. - 4 hn. 3 tpt. 3 tbn. 1 tb. - timp. perc. - hp. - strings
Also for trumpet and band, trumpet and piano
Length: 17 mins.
Publisher: Boosey & Hawkes Rental Library (orchestra & band versions), Boosey & Hawkes (trumpet and piano version)

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

The Final Covenant for band
by Fisher Tull
also —
The Final Covenant for orchestra
by Fisher Tull

Description
"The Final Covenant was originally scored for wind ensemble in 1978 on commission from the New Jersey Music Educators Association. For several years Carol Smith has urged me to make an orchestral version of the work, and I finally acquiesced with support from a Faculty Research Grant for 1993-1994. The work has deep religious overtones expressed by continuous dynamic growth and development leading to a surging climax."
- Fisher Tull (from liner notes from the CD "Music of Fisher Tull A Celebration!")

Reviews
"[The Final Covenant] marks a new stage in his development as a composer. The entire piece of music has a harmonic and rhythmic intensity that is overwhelming in its emotional power."
- R. Strange, The School Musician

Details
Composed in 1978. Commissioned by the New Jersey Music educators Association.
Instrumentation: Concert Band, also Symphony Orchestra
Length: 8 mins.
Publisher: Boosey & Hawkes (version for band), unpublished manuscript (version for orchestra)

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Overture for a Legacy for orchestra
by Fisher Tull

Description
"[In Overture for a Legacy] the style is perhaps best labeled neo-classic due to a strict formal design, conservative harmonies and emotional restraint. The melodies are generally diatonic, often clearly in the Lydian mode, supported by pandiatonic harmonies. Although set in a single movement, the work has four distinct sections: introduction, scherzo, recitative, and finale, all of which are based on variants of the thematic material. Thus the form is a hybrid of overture, suite and variations.
The tripartite introduction reveals a simple setting of the modal theme first by the strings, then continued by the winds. A brief contrasting theme is presented by the solo clarinet after which both themes are combined antiphonally. The sprightly scherzo in rondo form is characterized by abrupt changes of meter and tonality. The principal theme is rendered by solo woodwinds, the subordinate theme by pizzicato strings and percussion. In the recitative section, impressionistic textures from the strings and percussion serve as a background for solos by the alto [low] flute, horn and off-stage trumpet. Here, the melodies are drawn from the inversion of the theme. The free nature of this section is enhanced by aleatoric notation for the strings. A forceful ostinato by the strings initiates the finale, a rhythmically charged allegro section featuring a gathering of the previous material into a complex interplay over which the solo trumpet recapitulates the original theme."
- Albany Records © 1997 (from liner notes from the CD Troy 223 "Fisher Tull"),
Used by permission, Unauthorized replication is not legal.

Details
Composed in 1981. Commissioned by the Houston Symphony. Premiered by the Houston Symphony Chamber Orchestra conducted by C. William Harwood, April 25, 1981, on the Stokowski Legacy Series of concerts.
Instrumentation: 2 fl. 1 ob. 2 cl. 1 bsn. - 2 hn. 1 tpt. - perc. - strings
Length: 11 mins.
Publisher: Boosey & Hawkes Rental Library

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Symphonic Treatise for orchestra
by Fisher Tull

Description
"The work is set in a rather free theme-and-variations structure within a single movement. A rousing and percussive introduction precedes the presentation of the two thematic germ motives which were borrowed from the composer's childhood memories of Waco. The first variation is in a rapid tempo and features an interplay of the motives among all sections of the orchestra. In contrast, the second variation is in the nature of a lament and stresses ambiguity through polytonality in the strings and coloristic dissonance interspersed by the percussion. The final variation, in rondo form, returns to a quick pace and develops the thematic material in imitative textures. The affirmative ending suggests optimism for the ongoing prosperity of the University and the City."
- Albany Records © 1997 (from liner notes from the CD Troy 223 "Fisher Tull"),
Used by permission, Unauthorized replication is not legal.

Details
Composed in 1986. Commissioned by Baylor University for the Waco Symphony to celebrate the 100-year alliance between the City of Waco and Baylor University and the Silver Anniversary of the Waco Symphony Orchestra. Premiered on October 20, 1986, by the Waco Symphony Orchestra conducted by Daniel Sternberg.
Instrumentation: 2 fl. pic. 2 ob. E.H. 2 cl. bcl. 2 bsn. - 4 hn. 3 tpt. 3 tbn. 1 tb - timp. perc. - pft. strings
Length: 15 mins.
Publisher: Boosey & Hawkes Rental Library

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Three Episodes for orchestra
by Fisher Tull

Reviews
"Tull's Three Episodes for Orchestra is a kaleidoscope work de force. The opening prelude has a fine dynamic arch to it, the ensuing scherzo with fast meter changes and syncopated rhythms, at moments reduced instrumentation vying with playful brass and percussion effects, is followed by a fugue, strict in form and turning into a complex texture of sound. the music itself has vigor to it, forging its own style in a predominantly tonal language where dissonances are used with excellent tast to spice up variants and developments."
- B. Nelson, Toledo Blade

"Fisher Tull's Three Episodes for Orchestra is a very accessible work whose prelude begins and ends in a quiet mood broken by a swelling, intensive climax. The scherzo, full of rapid meter changes and syncopated rhythms, playfulness, brass and percussion effects, and, at times sparse orchestration, has much of the appeal of Stravinsky's L'Histoire du Soldat. The fugue, begun quite traditionally, rapidly assumes a dramatic character and increased textural complexity to end dramatically ... Tull's work was warmly received by the concert hall audience."
- I. von Spakovsky, Huntsville Times

"Fisher Tull is a skilled craftsman, building these three movements out of but two melodic idesa with rarely any lapse of interest. It [Three Episodes for Orchestra] is thoroughly tonal, but with occassional splashes of vinegary dissonance that cleanse it of incipient banality ... clever orchestraion and creative use of contrapuntal techniques."
- O. Roosevelt, Birmingham News

"An original composition by Texas composer Fisher Tull was performed. His Three Episodes for Orchestra, which was premiered with the Huntsville Symphony ... is a structurally complete piece of music, meticulously integrated in its thematic and rhythmic fabric."
- E. Weaver, Birmingham Post-Herald

Details
Composed in 1979. Winner of the Arthur Fraser Memorial Award
Instrumentation: 2 fl. pic. 2 ob. EH 2 cl. bcl. 2 bsn. cbsn. - 4 hn. 3 tpt. 3 tbn. 1 tb. - timp. - perc. - hp. - strings
Length: 14 mins.
Publisher: Boosey & Hawkes Rental Library

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Cryptic Essay for band
by Fisher Tull

Description
"Cryptic Essay is based on a hymn by St. Thomas Aquinas, Pange lingue gloriosi corporis mysterium, written in 1263 for the Feast of Corpus Christi. The treatment of this borrowed melody is somewhat atypical in that the theme is not presented in its original form at the outset; rather, the work opens with a fanfare based on selected fragments of the theme. Without pause, the second section emerges in a slower tempo. Set against a transparent impressionistic texture in muted brass and woodwinds, phrases of the retrograde version of the hymn are introduced. The third section is initiated by the percussion in a rapid tempo. The motivic development of fragments continues under which the three phrases of the original melody finally emerge in the fashion of a cantus firmus. The subsequent development intensifies, leading to a coda which provides an affirmative conclusion."
- Golden Crest Records © 1981

Reviews
"Cryptic Essay is a worthy addition to the repertoire by one of this country's most able band composers. Tull's use of the percussion is again fresh and well conceived as is his characteristic use of mixed meter and dramatic dynamic inference."
- F. Wickes, Florida Music Educator

Details
Composed in 1975. Commissioned by Tennessee Tech University, Wayne Pegram, conductor. Premiered February 21, 1976 in Cookeville, TN with the composer conducting.
Instrumentation: Concert Band
Length: 8 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Jargon [after William Billings] for band
by Fisher Tull

Description
"The work, based on William Billings' Jargon published in 1778, relies heavily on Billings' affinity for the grotesque and dissonant. An unusually large battery of percussion instruments assumes a dominant role over the customary brass and woodwinds. Although the 200-year-old discords of Billings sound relatively tame to 20th century ears, Tull adds the element of rhythmic displacement and unusual timbres to recapture the essence of a juxtaposition of 18th century tradition with a modern variation treatment.
The work opens with Billings' original setting scored for brass followed by antiphonal chimes on a four-note motif from the opening phrase. the percussion instruments continue to "rive the nerves asunder" in preface of the bassoon solo which is based on fragments of the original tenor tune. A woodwind quartet of pairs of flutes and clarinets presents the theme in its original version but with considerable rhythmic variation. Subsequently, the brasses take Fuguing Tunes. Fragmentary development continues with antiphonal interaction between brass and woodwinds leading to a "belltone" setting of the tenor melody in which the harmony simulates the overtones of a typical cast bronze bell. The four-note motif of Billings' last phrase provides the material for the closing section."
- Golden Crest Records © 1981

Reviews
"The uncanny gift of this composer for writing significant music that is within the reach of advances school bands continues to be displayed in this excellent work [Jargon]. Program notes about William Billings and his short work entitled 'Jargon' including the poetry that accompanied Billings' 'manifesto' about dissonance, all enhance the publication. the piece is strong; and made even stronger by the bold, impressive, and fascinating source with its notes."
- J. Paynter, The Instrumentalist

Details
Composed in 1976. Commissioned in honor of the U. S. bicentennial year by the Sam Houston High School Band of Arlington, TX. It was first performed by this group in April, 1976 at Disney World (Orlando, FL) conducted by Robert W. Rober
Instrumentation: Concert band
Length: 7 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

A Passing Fantasy for band
by Fisher Tull

Description
"A Passing Fantasy was inspired by the book, "Life After Life" by Dr. Raymond A. Moody, Jr.. The music depicts some of the experiences reported by persons who were participants in "near-death experiences" and who reported these phenomena upon recovery. Set in a single movement, the work opens with expressions of pain and anxiety. This confused state eventually erupts into a constant release of tension signifying the out-of-body sensation of freedom from mortal constraints. As the person is swept away through a dark tunnel, portions of his life are depicted by a child-like melody. As the bright light at the end of the tunnel appears, the confident phrases of Kom Süsser Tod (Come Sweet Death) emerge from the confusion as a gesture of triumph over death. The work closes in a tranquil state of suspension and peace."
- Fisher Tull (from liner notes from the CD "Music of Fisher Tull A Celebration!")

Details
Composed in 1992. This work was sponsored by the Rhode Island Commissioning Project. Premiered by the American Band conducted by Francis Marciniak on May 2, 1992 in Providence, RI.
Instrumentation: concert band
Length: 8 mins.
Publisher: Southern Music Company

Analysis
A Passing Fantasy

© 2004 - 2023 Gulf Wind Music Press
last revised September 28, 2023

Prelude and Double Fugue for band
by Fisher Tull

Description
"This composition is based upon the organic development of two independent motifs which are presented in the opening measures of the Prelude. As the work evolves, the two motifs, in their original and inverted forms, gradually expand to encompass a larger intervallic range. Therefore, both movements are based entirely on bithematic material related to the original motifs.
The opening prelude employs a fairly tonal setting to introduce the thematic material. Following this presentation, a contrapuntal development of both motifs builds to a strident level of dissonance which eventually culminates on a unison "G" reiterated by all sections of the ensemble. The subsequent relaxation of tension leads to a recapitulation of the opening material and a quiet ending.
The FUGUE is comprised of two separate subjects; the first being an expansion of the "a" motif in inversion, and the second, an expansion of "b". The first subject is presented in a typical four-voice exposition complete with a recurring countersubject. Following a canonic episode, the development utilizes stretto, inversion, and diminution. A percussion ostinato accompanies the exposition of the second subject and its countersubject. Developmental and episodic sections follow, leading to the eventual combination of the two subjects in all of the various forms. The contrapuntal texture gradually builds to a coda bringing the work to an affirmative and dramatic close."
- Golden Crest Records © 1981

Reviews
"Prelude and Double Fugue may be one of Tull's strongest pieces; certainly from the standpoint of form, one of his most succinct offerings. The Prelude is characteristically slow, transparent, and motivic. It introduces most of the material that is developed in the Double Fugue, and provides a stunning vehicle for good solo wind playing. The Double Fugue is simple a 'dandy.' Tull's masterful handling of this difficult contrapuntal form makes rehearsing and performing it a sheer delight. Some of the best of every work this composer has done comes back in his Prelude and Double Fugue; and all participants, players, conductors, and listeners will applaud it."
- J. Paynter, The Instrumentalist

Details
Composed in 1978. Commissioned by Kappa Kappa Psi / Tau Beta Sigma. Premiered at the national convention on August 9, 1979 by the National Intercollegiate Band in Atlanta, GA with the composer conducting.
Instrumentation: Concert Band
Length: 9 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Reflections on Paris for band
by Fisher Tull

Reviews
"The result is a tonal fullness of sound a s dramatic and exciting as any original work in the band's repertory. Reflections on Paris is excellent, challenging, and interesting program material."
- J. Paynter, The Instrumentalist

Details
Composed in 1973.
Instrumentation: Concert band
Length: 15 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Sketches on a Tudor Psalm for band
by Fisher Tull

Description
This piece is dedicated to the Sam Houston State University Symphonic Band in Huntsville, Texas with Ralph L. Mills, conductor. Sketches is one of Fisher Tull's most performed and recorded works for Band.

Sketches on a Tudor Psalm, composed in 1971, is based on the sixteenth century setting of the Second Psalm by Thomas Tallis. The original melody is in the Phrygian mode with the melody in the tenor voice. A modern adaptation is still used today in Anglican services. This is the same tune used by Ralph Vaughan Williams in his Fantasia on a Theme of Thomas Tallis for string orchestra in 1910.
- Gulf Wind Music Press © 2005
Unauthorized replication is not legal.

Details
Composed in 1971.
Instrumentation: Concert Band
Length: 11 mins.
Publisher: Boosey & Hawkes

Analysis
Sketches on a Tudor Psalm

© 2005 - 2023 Gulf Wind Music Press
last revised September 28, 2023

Studies in Motion for band
by Fisher Tull

Description
"The work was designed to explore the spatial possibilities of a large ensemble of wind and percussion instruments. In this regard, the customary melodic and rhythmic elements are subjugated in favor of shifting textures and tonal colors. A unique feature of the composition is its quasi-aleatoric sections in which the conductor assumes control of the motion of the sounds."
- Golden Crest Records © 1981

Reviews
"Studies in Motion is perhaps Fisher Tull's most effective to date. the sounds flow around the band in a mixture of controlled and free sections. This piece should prove effective with audiences who are primed to listen for textures, traveling sound, and densities. It is likable contemporary music"
- H. R. Reynolds, The Instrumentalist

Details
Composed in 1975. Commissioned by the Bowling Green State University Wind Ensemble, Mark S. Kelly, conductor. Premiered May 7, 1975 in Bowling Green, OH with the composer conducting.
Instrumentation: Concert Band
Movements: I. Stasis - The appearance of sound in a stationary position, II. Rotation - Sounds and textures in linear motion, III. Alternation - The grouping of sound cells, IV. Oscillation - The culmination of motion and fluctuating timbres
Length: 13 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

A Floral Fancy for SATB chorus and piano
by Fisher Tull

Reviews
"Fisher Tull's A Floral Fancy provided the sole break from this concert's excessive sweetness. It is a spirited listing of spring and winter flowering things -- 'laurel, poison ivy' -- with a spiky piano accompaniment."
- M. Greenberg, San Antonio Express-News

Details
Composed in 1978. Commissioned by Pine Tree Jr. High School.
Instrumentation: SATB chorus, pft.
Length: 5 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Missa Brevis for chorus and percussion
by Fisher Tull

Description
"Missa Brevis is my largest work for chorus. Using the standard Latin text of the Ordinary of the Eucharist, the music employs some avant-garde techniques in stark contrast with passages set in traditional style. Among the modern devices utilized is the "Rotation" effect which allows for a movement of sound across the stage reminiscent of the popular "wave" at football games. This device was first used in Cyclorama for Flute Ensemble"
- Fisher Tull (from liner notes from the CD "Music of Fisher Tull A Celebration!")

Details
Composed in 1984. Written with support of a grant from the SHSU Faculty Research Council. Premiered by the SHSU Choirs conducted by B. R. Henson in 1984 [in Huntsville TX].
Instrumentation: SATB Chorus perc.
Length: 20 mins.
Publisher: Southern Music Company

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Colloquy for saxophone and percussion
by Fisher Tull

Description
"As the title implies, the composition is in the nature of a friendly dialogue between two instruments. The empathy is enhanced by the saxophonist occasionally producing percussive effects, and the percussionist participating in the melodic content. The composition utilizes a free treatment of the serial technique combined with aleatoric and jazz elements."
- Fisher Tull (from liner notes from the CD "Music of Fisher Tull A Celebration!")

Details
Composed in 1982. Commissioned by the Baylor University. Premiered in Germany, summer 1982.
Instrumentation: sax. perc.
Length: 10 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Coup de Brass for brass quintet
by Fisher Tull

Reviews
Coup de Brass is subtitled "Encore for Brass Quintet" and as the composer states, ". . . is a very short encore piece [whose] duration and variety of textures render the piece especially suitable for young audiences."

Lasting less that one minute, Coup de brass contains some interesting but extremely difficult measures. the individual parts are rhythmically independent but must be executed with precision and in exact relationship to the outer parts. Unusual effects include dynamic changes, fast mute changes, stopped horn, flutter tonguing and glissandi.

A short but demanding piece, Coup de Brass should be reserved for advanced brass quintets.
- Edward Malterer, ITA Journal, Vol. 11, No. 2, April 1983

Details
Written for Ralph Liese and the Houston Symphony Brass Quintet in 1964.
Instrumentation: 2 tpt. 1 hn. 1 tbn. 1 tb
Length: 1 min.
Publisher: Boosey & Hawkes

© 2005 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Cyclorama I for flute ensemble
by Fisher Tull

Reviews
"Cyclorama I is handsomely scored for a chorus of eleven flutes deployed around the audience in a way that gives the alluring music a special dimension. It is a piece well worth placing aonlgside Henry Brandt's Angels and Devils."
- P. Hume, Washington Post

Details
Composed in 1973.
Instrumentation: 2 pics. 6 fl. 2 al.fl. 1 bs. fl.
Length: 13 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Diversion for six trombones
by Fisher Tull

Reviews
Tull's Diversion is a one movement work which begins with a slow introduction and is followed by a fast main body and an agitated conclusion. Melodic content throughout is generally conservative, based primarily on diatonic or chromatic fragments. Rarely do intervals exceed a third. In fact, there is occasional use of repeated notes. Throughout the piece, rhythm is fairly regular but must be counted within the context of shifting meters. The harmony is chromatic in nature although not to the extent of harsh dissonance. A wide variety of textures including homophony, melodic layering, voice pairing, and accompanied solo, etc.represent but a few of Tull's compositional devices. In addition, many other elements seem to be ideally suited to the trombone.

Articulations run the gamut from smooth legato to heavily accented styles. Single, double, and triple tonguing techniques are also required. Idiomatic to the trombone are glissandi of both the portamento and the "across the grain" variety. Additionally, mutes and flutter tonguing are called for. The range is from high D-flat to low C-sharp; however, the tessitura is much less extreme. Tenor clef is used freely in the first trombone part.

Diversion requires six trombonists, although it may also be performed with impressive results by larger groups. The piece is fairly difficult and would challenge most college groups. A successful performance would, however, be musically rewarding to both performers and listeners alike. Diversion, which has previously circulated in manuscript form, is now likely to be considered among the standard trombone ensemble works. Highly recommended.
- A. C. Himes, ITA Journal, Vol. 10, No. 1, October 1982

Details
Composed in 1967.
Instrumentation: 6 tbn
Length: 5 mins.
Publisher: Boosey & Hawkes

© 2005 - 2022 Gulf Wind Music Press
last revised December 23, 2020

Eight Profiles for solo trumpet
by Fisher Tull

Reviews
See Review "Eight Profiles by Fisher Tull," by Squires ITG Journal, October 1981

Details
Composed in 1978.
Instrumentation: tpt
Length: 20 mins.
Publisher: Boosey & Hawkes

© 2004 - 2020 Gulf Wind Music Press
last revised December 23, 2020

Erato for flute and piano
by Fisher Tull

Description
"Erato, for Flute and Piano, ... employs music from a movement of an orchestral work Tull subsequently withdrew from his catalogue. His original commentary on the piece contains the reminder that it refers to the Greek muse of lyric poetry. That neatly matches the character of the music he composed. The very end of the flute's short opening cadenza emphasizes a thematic kernel that reappears in various ways at numerous points throughout the melodic line of this gentle piece."
- Albany Records, Notes © 2001 by Carl Cunningham, (from liner notes from the CD Troy 449 "Friends Play Fisher Tull")
Used by permission, Unauthorized replication is not legal.

Details
Composed in 1968.
Instrumentation: fl. pft
Length: 5 mins.
Publisher: Southern Music Company

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Exhibition for brass quintet
by Fisher Tull

Description
"This music was specifically written to display the instruments of the brass family. The movements may be performed continuously as a suite; or, for demonstration purposes, the director may introduce each instrument (and performer) immediately prior to its solo movement. Since the two trumpets are featured together, the use of the mute may be mentioned by the second trumpet player."
- Western International Music © 1964, Used by permission.

Reviews
"Exhibition for Brass Quintet stands out as the high point of the evening, both in composition and performance. Of the various compositions along this line that have been written to show off the instruments of the orchestra, none, in my memory, quite compares to this. Each movement is a little gem."
- T. Plass, Bryan Eagle

Details
Composed in 1961. Commissioned by the Houston Symphony Brass Quintet.
Instrumentation: 2 tpt. 1 hn. 1 tbn. 1 tb.
Movements: 1. Allegro (tutti), 2. Lament (hn. solo), 3. Frolic (tb. solo), 4. Waltz (tpts. feature), 5. Ballad (tbn. solo), 6. Finale (tutti)
Length: 8 mins.
Publisher: Western International Music

© 2004 - 2002 Gulf Wind Music Press
last revised December 23, 2022

Fantasia on a Sonata of D. Scarlatti for flute and harpsichord
by Fisher Tull

Reviews
"By far the strongest work on the program was the Fantasia after a Sonata by Scarlatti for Flute and Harpsichord ... in which Tull managed to evoke the spirits and energies of both 18th and 20th centuries without betraying either. Basically a set of variations, Fantasia closed with a brief but masterfully conceived fugue."
- W. L. Gay, Fort Worth Star-Telegram

Details
Composed in 1974.
Instrumentation: fl (or bs. fl.). hpscd. (or pft.)
Length: 9 mins.
Publisher: Southern Music Company

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Fantasy on L'Homme armé for oboe and piano
by Fisher Tull

Description
"Tull's jocular Fantasy on L'Homme armé for Oboe and Piano was published in 1976. It is based on the celebrated 15-century tune that recalls the bloody Hundred Years' War between France and England and speaks of the terrors of the armed man with his chain mail. In the century or so beyond its time, the tune became the basis of dozens of Latin mass settings by the most celebrated Renaissance composers of the 15th and 16th centuries.
Although this is a modern secular setting of the tune, Tull took his cue from the ancient settings and applied some contrapuntal devices to his Fantasy that were common in Renaissance music. Essentially the piece is a theme followed by three free, interconnected variations. The tune is stated quite briskly in the oboe, while the swiftly running piano accompaniment carries suggestions of its thematic motives. The tune is turned upside down in the slow, placid first variation, then shaped into snappy march rhythms for the second. Fragments of the tune are reworked and tossed between the oboe and piano during the third variation, which leads to a short coda where the tune briefly chases itself canonically in three different tonalities."
- Albany Records, Notes © 2001 by Carl Cunningham, (from liner notes from the CD Troy 449 "Friends Play Fisher Tull")
Used by permission, Unauthorized replication is not legal.

Details
Composed in 1966.
Instrumentation: ob. pft.
Length: 6 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Nonet for winds, percussion, and piano
by Fisher Tull

Description
"In a sense, the Nonet echoes some baroque concertos of Antonio Vivaldi, since the nine instruments serve collectively as an ensemble and individually as soloists. Tull has spaced solo passages for each of them throughout the work. He also included an exquisitely orchestrated duet for flute and muted trumpet toward the beginning of the concerto's Allegro section.
The concerto has a three-movement plan, but its slow-fast-slow sequence is the reverse of the customary fast-slow-fast plan of the baroque concerto. To some extent, its two outer movements might be considered a prelude and epilogue to the central Allegro, which is energized by a repeated four-note thematic motive that often serves as a basic rhythmic pulse and a ground bass. Harmonically, the concerto has nothing to do with baroque style, since it blends principles of 12-tone serial composition with the random adventures of chance music."
- Albany Records, Notes © 2001 by Carl Cunningham, (from liner notes from the CD Troy 449 "Friends Play Fisher Tull")
Used by permission, Unauthorized replication is not legal.

Details
Composed in 1981. Commissioned by the National Association of College Wind and Percussion Instructors. Premiered by the Southwest Chamber Players February 13, 1984 in San Antonio, TX at the meeting of the Texas Music Educators Association and the Music Educators National Conference.
Instrumentation: fl. cl. sax. bsn. tpt. tbn. tba. perc. pft
Length: 12 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Sarabande and Gigue for saxophone and piano
by Fisher Tull

Description
"The composer noted that the compass of the alto saxophone is extended to 3 1/2 octaves in the work and that its tonality centers about the Lydian modal scale. While the two pieces simulate the rhythms and the character of the two baroque dance forms they represent, the elliptical 5.8 and 7/8 meters he employed fall a hair short and long of the 3/4 and 6/8 meters associated with those respective dance forms.
the Sarabande exudes a finely sculpted image of almost Grecian restraint, highlighted by delicate ornamental flourishes in its central section. The Gigue is more piquant and, with consultation form Dean, Tull employed a slap-tongue technique to simulate a pizzicato effect at various points in the saxophone melody."
- Albany Records, Notes © 2001 by Carl Cunningham, (from liner notes from the CD Troy 449 "Friends Play Fisher Tull")
Used by permission, Unauthorized replication is not legal.

Reviews
"[In Sarabande and Gigue] Tull writes unrestricted by the decidedly tonal style of the work at hand, and his use of odd meters further contributes to this fresh and valid statement ... Tull's attention to the instrument's capabilities has resulted in an exceptionally fine work, which for me is the high point of the disc."
- B. Ayscue, The Saxophone Symposium

Details
Composed in 1974. Written for saxophonist Kenneth Deans. Premiered by Kenneth Deans, saxophone and Raymond Gotko, piano at the World Saxophone Congress in London July 1, 1976.
Instrumentation: alt. sax. pft
Movements: 1. Andante, II. Allegro
Length: 6 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2020

Segments for eight trumpets
by Fisher Tull

Reviews
See Review "Segments by Fisher Tull," by Amstutz, ITG Journal, May 1982

Details
Composed in 1978. Commissioned by Ohio State University.
Instrumentation: 8 tpt
Length: 6 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Sketches for five brass
by Fisher Tull

Reviews
Fisher Tull's Sketches for Five Brass offers an enjoyable musical challenge for the unusual quintet grouping.

The piece consists of a theme and variations designed to feature the trumpet and the tuba in principal solo roles. Opening with a slow moving, placid harmonic texture underneath a lyrical trumpet melodic line, the work quickly moves to a sprightly animated section. This is eventually followed by a return to the original slower opening material, this time with a different harmonic and rhythmic treatment, and then by a fast and rhythmic concluding section. The writing is well-conceived and idiomatic fro brasses. Among the compositional techniques used are frequently shifting meters, effective use of accents to create hemiola and mask bar lines, the use of mutes, fluttertongue, sudden dynamic contrasts, and sustained melodic lines over staccato ostinato patterns. Particularly evident is his use of stair-stepped entrances that tag together creating a sweeping movement either up or down through the five instruments. This effective device not only creates interesting spatial and rhythmic effects, but offers the musicians the challenge of split-second entrances that must be perfectly timed. This is not a piece for the rhythmically unsure.

The technical demands are considerable, consisting of rapid articulations, angular lines, rapid movement over wide ranges, and the rhythmic complexity.

Tull's music is first-rate and is highly recommended for mature players.
- Royce Lumpkin, ITA Journal, Vol. 12, No. 1, January 1984

Details
Composed in 1967. Dr. Tull was awarded First Prize by the Texas Composers Guild in 1968 for this work.
Instrumentation: 1 tpt. 2 hn. 1 tbn. 1 tb
Length: 8 mins.
Publisher: Boosey & Hawkes

© 2005 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Sonata for trumpet and piano
by Fisher Tull

Description
"The masterly Sonata for Trumpet and Piano testifies to a composer who knew instinctively how to write for the trumpet because he was also a performer on the instrument.
The work opens with a free recitative in which the trumpet and piano converse with each other, concluding in a long trumpet cadenza supported by a much-repeated cluster of figurations in the piano. The second movement is a neat, compact sonata form whose cocky opening theme is followed by a slow, quiet second theme, unobtrusicely stated by the muted trumpet over a repeated figure in the piano. After a compact development, the themes return in reverse order and a brief codetta concludes the movement.
A free interplay between the two instruments again pervades the third movement, ending in a gentle lament for the muted trumpet, as the composer observed in his own commentary on the piece. The finale is a brisk five-part rondo, contrasting a lightly skipping first theme with a lyrical second theme that begins with a fragment resembling the beginning of the Latin Dies Irae melody. A cadenza intervenes before the final statement of the two themes, providing much elaborate display for the trumpet.
- Albany Records, Notes © 2001 by Carl Cunningham, (from liner notes from the CD Troy 449 "Friends Play Fisher Tull")
Used by permission, Unauthorized replication is not legal.

Details
Composed in 1986. Commissioned by the International Trumpet Guild. Premiered by Häken Hardenberger, trumpet and Roland Pöntinen at the guild's annual conference in London, August 4, 1986.
Instrumentation: tpt. pft.
Movements: 1. Senza misura quasi recitative, 2. Allegro, 3. Andante, 4. Allegro giocoso
Length: 15 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Sonata for viola and piano
by Fisher Tull

Description
"The Sonata was composed during the beginning stages of Tull's doctoral studies, while he was spending a summer under the guidance of composer/flutist/violist George Morey. It received its premiere in 1962 on the Sam Houston State University campus and later won an award from the Texas Composers Guild. 'At that time I was influenced by Hindemith, so I took a neoclasical approach to this project,' Tull stated in a prefatory note to a performance of the work. that influence is reflected in the work's strong motor ryhthms, the purposeful direction of its melodic lines and a preference for harmonies that are at once open and abstract, but spiced with sturdy dissonance. the sonata is cast in the traditional three-movement fast-slow-fast design."
- Albany Records, Notes © 2001 by Carl Cunningham, (from liner notes from the CD Troy 449 "Friends Play Fisher Tull")
Used by permission, Unauthorized replication is not legal.

Reviews
"In his Sonata, Tull displays remarkable insight into idiomatic viola writing, particularly in the elegiac lyricism of the middle movement."
- W. L. Gay, Fort Worth Star-Telegram

Details
Composed in 1962.
Instrumentation: vla. pft.
Movements: 1. Allegro, 2. Slowly, with freedom, 3. Allegro
Length: 10 mins.
Publisher: Boosey & Hawkes

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2020

Trio Sonata for violin, clarinet and piano
by Fisher Tull

Description
"By its title and its four-movement, slow-fast-slow-fast design, the Trio Sonata for Violin, Clarinet and Piano openly acknowledged its instrumental forbear in the Baroque era. Like the sonata da chiesa of the 17th and 18th centuries, this work also contains a fugue as its second movement.
Each of the slow movements flows into its succeeding fast movement, prompting Tull to state that listeners might hear it as a two-movement work. But contrasts between the four movements are pronounced and the opening Prelude is a particularly mysterious, free-flowing, neo-Romantic moment in his music. the Fugue begins rather strictly as a four-voice fugue on a single subject, but it is soon joined by a florid accompaniment, two new themes that serve as contrapuntal associates and two episodes where a fragment of its theme is slowed down, altered and stacked atop itself in climactic stretto passages.
The slow interlude takes its thematic cue from the opening motive of the Prelude, filling its measures with exotic little cadenzas and mysterious yearnings. The concluding Scherzo is set forth in a lively 6/8 meter and its rapid, leaping opening theme contrasts with a quieter subsidiary them, first stated in linger note values by the violin."
- Albany Records, Notes © 2001 by Carl Cunningham, (from liner notes from the CD Troy 449 "Friends Play Fisher Tull")
Used by permission, Unauthorized replication is not legal.

Details
Composed in 1991. Composed for the Texas Music Teachers Association. Premiered by Mike Cavin, clarinet, James Gardner, violin, and Charlotte Tull, piano, at the annual meeting of TMTA June, 1991 in Austin, TX.
Instrumentation: vln. cl. pft.
Movements: 1. Prelude; slowly with freedom, 2. Fugue, allegro ritmato, 3. Interlude; rubato, 4. Scherzo
Length: 9 mins.
Publisher: Southern Music Company

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

The Binding for brass choir and percussion
by Fisher Tull

Description
"The Binding is on two hymn tunes arranged from Irish melodies: "St. Patrick's Breastplate" and "Deirdre," which are often combined (as in the [Episcopal] Hymnal 1982, No. 370) for use with the text "I bind unto myself today the strong name of the Trinity" (the text is attributed to St. Patrick).

The work begins with antiphonal fanfare motifs characterized by irregular and mixed meters; ideas from this opening section are re-used to accompany the "Breastplate" tune and to serve as separating interludes. The lyrical, folksong-like melody is presented straight-forwardly in successive two-phrase units by euphoniums and tubas, next by horns, and then by trombones, whereas the final two phrases are taken by solo trumpet in a rhapsodic, highly decorated version of the theme (marked "Freely, quasi cadenza"). The shorter "Deirdre," each phrase beginning with a dotted-note figure, is given out antiphonally, led by the horns, euphoniums, and tubas, and answered by the trumpets and trombones. an overlapped return of the "Breastplate" theme is introduced by the tubas, building cumulatively with the successive phrase-by-phrase addition of trombones, horns, and trumpets reaching a powerful tutti statement of the second half of the hymn melody. solo horns and euphonium form a transition to a brief, climactic recall of the "Deirdre" theme."
- Crystal Records © 1988 (from liner notes from the Crystal Records CD 433 "Millar Brass Ensemble" notes by Dr. Larry Cook, Northwestern University),
Used by permission, Unauthorized replication is not legal.

Details
Composed on commission from the Mount Union College Brass Choir. Premiere performance May 20, 1981.
Instrumentation: 4 tpts, 4 hns, 4 tbns, 2 bars, 2 tbas, timp, perc.
Length: 5 mins.
Publisher: Boosey & Hawkes Rental Library

© 2005 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Liturgical Symphony for brass choir and percussion
by Fisher Tull

Description
"The title reflects the symphonic treatment of musical themes derived from the liturgy of the church. The opening movement utilizes a 14th century plainsong by a solo trumpet as a slow introduction. This is followed by a dance-like setting of the medieval Martyr dei over which the first theme is later heard. The movement closes quietly with a complete statement of the introductory theme.
The 17th century traditional French melody Picardy is heard in fragments being interrupted by dissonant outbursts in the percussion to initiate the second movement. the second theme, the 13th century Benedictine plainsong Adoro devote, is then presented and a chaconne is developed utilizing both themes in combination.
The third movement opens with a rhythmic setting of a 12th century Kyrie plainsong utilizing antiphonal effects. Fragments of the Edsall chorale melody are then introduces and, after reaching a climactic surge, the complete chorale is heard. (This tune by George Henry Day is the only example of 20th century music among the borrowed material.) The work ends with a recapitulation of the opening theme concluded by a resounding percussion blow."
- Crystal Records © 2003 (from liner notes from the CD 121 "Philharmonic Brass"),
Used by permission, Unauthorized replication is not legal.

Reviews
"In Tull's bronze and golden three-movement opus [Liturgical Symphony] the expected modality and antiphony are utilized to excellent effect. This rich work ... proves again that worth repertoire, commanding performance, and A-plus sound are major distinctions often to found on a smaller company's [record] label. This is a stunning example"
- A. Cohn, Recorded Classical Music

Details
Composed in 1960.
Instrumentation: 6 tpt. 4 hn. 4 tbn. 2 bar. 2 tb. timp. perc.
Movements: 1. Lento; Allegretto, 2. Pesante, 3. Allegretto
Length: 13 mins.
Publisher: Western International Music

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Variations on an Advent Hymn for brass choir and percussion
by Fisher Tull

Description
"It stands as a sequel to the Liturgical Symphony in that the thematic material was drawn from early church music. The plainsong melody, Veni Emmanuel in the Dorian mode, serves as the theme upon which the four variations are based. After this melody is presented by the horns, Variation I reveals a cantus firmus treatment of thematic fragments punctuated by rhythmic episodes. This leads directly into a slow section featuring a trumpet solo in a melody derived from the inversion of the pitches of the theme set in a bi-tonal harmonic framework. Variation III features a virtuostic tuba solo in further development of the theme, in intricate rhythms and shifting meters. A passacaglia introduces the final variation in which the texture undergoes gradual complexity in preparation for the climactic statement of the theme by the horns."
- Crystal Records © 2003 (from liner notes from the CD 121 "Philharmonic Brass"),
Used by permission, Unauthorized replication is not legal.

Reviews
"Fisher Tull exhibits magnificent creative marksmanship when he utilizes early church material. Here the eloquence is all-pervading. The theme [of Variations on an Advent Hymn] is the plainsong Veni Emmanuel, the four variations displaying a mastery of vertical and horizontal devices."
- A. Cohn, Recorded Classical Music

Details
Composed in 1962. Premiered by the Sam Houston State University Brass Choir in 1962 with the composer conducting.
Instrumentation: 6 tpt. 4 hn. 4 tbn. 2 bar. 2 tb. timp. perc.
Movements: Theme and Variation I, Variation II, Variation III, Variation IV
Length: 8 mins.
Publisher: Western International Music

© 2004 - 2022 Gulf Wind Music Press
last revised December 23, 2022

Gulf Wind Music Press

profile on James B. Marks - composer, arranger

James Blackburn Marks was born in 1925 in Denver Colorado and died in Texas in 2009. He graduated from Caldwell, TX High School in 1942 and entered Texas A & M University. He served in the Army Air Corps from 1943-46. He received his Bachelor of Music degree in French horn with a piano minor in 1949. He earned his Master of Music in Composition from the Cincinnati Conservatory of Music in 1950 and his Ph. D. in Music Theory/Composition in 1969 from Indiana University. His teaching career took him to West Virginia University (1952-54), Shenandoah Conservatory of Music (1954-56), Tennessee Tech University (1958-65), and finally to Sam Houston State University (1965-98). Two of his early major compositions for brass choir, Introduction and Passacaglia and Music for Brass and Timpani won 1st and 3rd prizes respectively at the Thor Johnson Brass Composition competition in Cincinnati (both are published by Robert King Music Co.). His other compositions include three songs on e. e. cummings poems, works for piano, settings and arrangements for woodwinds and brasses, solo horn pieces, choral pieces, an early orchestral overture, and a movement for string quartet. He was married for over 50 years to his wife Nancy who is an accomplished singer, pianist, organist, church musician, and private teacher. His three children are Susan, a one-time oboist and pianist; Jimmy, a drummer, singer and Christian musician; and Elizabeth, a singer, pianist, organist, and school & church choral director.

Works published by Gulf Wind Music Press
More Works by James Marks

© 2004 - 2023 Gulf Wind Music Press

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profile on William G. Rose - arranger

William G. Rose (b. 1956) is presently Assistant Department Head for the Department of Music at McNeese State University in Lake Charles, Louisiana. He teaches the low brass studio and music theory, as well as holding the position of Director of the computer music lab. He holds degrees from the University of Wisconsin-Milwaukee and Michigan State University. He has served as principal trombonist / euphonium with the Milwaukee Civic Orchestra, and has performed with the Milwaukee Symphony, the Greater Lansing Symphony, and the Detroit Chamber Winds among others. He has performed with many distinguished musicians including Les Elgart, Slide Hampton, and Skitch Henderson. He currently serves as principal trombonist and pops arranger with the Lake Charles Symphony , and plays lead trombone with the Lake Charles Jazz Band. He is also Music Director at St. Luke-Simpson United Methodist Church in Lake Charles and has many choral works published by Treble C Music. As a member of the LATEX Trombones he has performed at many workshops and clinics around the country. As a composer and arranger, his catalog includes works for band, orchestra, jazz ensemble, choir, and brass ensembles. His works are licensed through BMI.

Works published by Gulf Wind Music Press
Works for Alphorns from Treble C Music

© 2003-2023 Gulf Wind Music Press

Gulf Wind Music Press

profile on Steve D. Matchett - composer; arranger

Steve D. Matchett (b. 1957) earned his Bachelor's degree in music from the University of Houston in tuba performance. He went on to earn his Master's degree in music composition from Sam Houston State University where he studied with composer Fisher Tull. His original compositions include chamber works for brass ensembles, orchestral works, and solo works for brass and winds. His music has been performed in Europe and Japan, as well as in the United States. He has been active in Houston as a low brass teacher and freelance musician for many years and has performed with the city's professional orchestras and many leading brass ensembles. He has also acted as a musician/ contractor for performances in Houston. Before retiring from performing, his positions included principal tuba with the Lake Charles Symphony and tubist with the Houston Lyric Brass. Steve is a member of ASCAP, the American Composers Forum, and the Houston Professional Musicians Association, A. F. of M. Local 65-699. Some of Steve's pieces appear on the Texas Prescribed Music List and other state competition lists. Some of Steve's interests include genealogy, as well as sharing some of his thoughts on music and some reviews on his blog Hearkening. He resides in Houston, Texas with his wife Teresa who is a cellist and cello teacher.

Works published by Gulf Wind Music Press
Works published by RBC Music

© 2004 - 2023 Gulf Wind Music Press

Gulf Wind Music Press

profile on Edgar E. Johnson III - arranger

Edgar E. Johnson III (b. 1961) earned his bachelor's degree in music from Henderson State University in music education and did graduate work in trumpet performance at the University of Arkansas. His trumpet teachers have included Don Kramer, Robert Bright, James Austin, and additional studies with Vincent Cichowicz. As a performer he has played with the Houston Grand Opera orchestra, the Baytown Symphony, and was principal trumpet with the Midland-Odessa Symphony. In addition to his free-lance performing he is a member of the Houston Lyric Brass quintet, and performs in duo recitals with his wife, pianist Katrinka Blystone as Wind and Ivory. Mr. Johnson maintains a large and active trumpet studio drawing students from the Houston area. He has done several arrangements and transcriptions for trumpet ensembles which are often played publicly by his students.

Works published by Gulf Wind Music Press

© 2006 - 2023 Gulf Wind Music Press

Introduction and Caprice for tuba and piano
by Steve D. Matchett
also —
Introduction and Caprice for solo tuba, strings and timpani
by Steve D. Matchett

Description

This work was composed in 1992 for Marilyn Llewellyn and the Klein Oak High School Symphony Orchestra and premiered by tubist Larry Porter, who was a private student of mine, four year Texas all-stater and former member of the Klein Oak orchestra. The performance took place at the Texas Music Educators Association convention in February 1993 on the Klein Oak Symphony's Honor Orchestra concert. The work is originally for solo tuba, strings and timpani**. The version for solo tuba and piano was revised and arranged by me in early 2022. It was first performed by another Klein Oak tuba student of mine, Nathan Cole, with his piano accompanist Laura Pedersen at his school’s solo competition finals in May 2022.

The Introduction section is smoothly lyrical and begins with music for strings alone. For the tuba and piano version I have designated an optional beginning for a more abbreviated performance when needed. In the transition before the Caprice section, the tuba part becomes more rhythmic and is joined by punctuations in the strings and timpani. The Caprice opens with a basic rhythmic motive in the pizzicato strings. The tuba part then joins and becomes quite active, playing double-tongued arpeggio figures as well as fast scalar runs. The tuba and strings play off of one another as they proceed forward in the through-composed freeform Caprice. Lyrical sections, which calm the action, allow the soloist and strings to join in a more basic soloist/accompanist fashion. Brief references to the Introduction can be heard, as well as references to the Caprice opening as the piece propels to its conclusion. ~ Steve D. Matchett, May 2022

Reviews
Coming Soon

Details
Composed in 1992. Written for Marilyn Llewellyn and the Klein Oak High School Symphony Orchestra and premiered by tubist Larry Porter. This version for tuba and piano was arranged and revised in early 2022 by the composer and premiered in May 2022 by tubist Nathan Cole with pianist Laura Pedersen.
Instrumentation: tba, pft
Sections: Introduction (Andante sostenuto), Caprice (Allegro ritmico)
Duration: 6'45"
Publisher: Gulf Wind Music Press
*included on the Texas Prescribed Music List , tuba solo with piano, for fall 2023
** version for solo tuba, strings and timpani available on rental from Gulf Wind Music Press

© 2023 Gulf Wind Music Press
last revised September 11, 2023

Solo Studies for Tuba: 21 Advanced Pieces
by Steve D. Matchett

Description

Range: advanced C1 - G4

Reviews

"Using a variety of styles, Steve Matchett offers a great collection of 21 studies that are both technical and musical. In these 21 studies, Matchett delivers both technical challenges and musical rewards. His treatment of form, style, and musical expression allow the player to use them for both weekly lesson material and recital literature. …
One thing that is more impressive than the technical demands placed on the player is the music of these studies. Far too many collections of exercises deliver good technical workouts without much thought to their musical value. Considering this value, these studies are highly recommended. Matchett's Solo Studies would be a welcome addition to the library of any college tubist, instructor, or practicing professional."
~ Daniel Johnson, TUBA Journal, Fall 1996, Vol. 24, no. 1

Details

Composed from 1983 - 1989
Instrumentation: tba
Publisher: Gulf Wind Music Press

© 2023 Gulf Wind Music Press
last revised September 19, 2023

RBC Publications
Works by Steve Matchett

Walkabout for tuba and piano (1989), cat. #60093 — listen on YouTube
* Texas Prescribed Music List class 2
* Ohio OMEA 506-Tuba Solo-class B

review
"Walkabout is a very attractive little piece and one that will serve the younger player well."
~ Barton Cummings, TUBA Journal, Summer 1992, Vol. 19, no. 4

Portrait for solo horn (1989), cat. #60092
A challenging work for recital or jury performance. This work was composed for William Jones, longtime friend of the composer.

review
"Matchett's five-section piece proved to be a well-constructed work with thoughtful re-use of its opening fanfare motive later in the music and rhythms that propelled the music forward nicely."
~ Carl Cunningham, Houston Post - January 29, 1991

Soundings for euphonium/tuba quartet (1990), cat. #60086 — listen on YouTube
In two movements - I. Andante sostenuto, II. Allegro con moto
(euph. parts in both t.c. and b.c.)
* Texas Prescribed Music List class 1
* Ohio OMEA 565-Low Brass Quartet-class A

review
"Steve Matchett has written a nice two-movement work for tuba/euphonium ensemble which combines accessible tonal and modal harmonies with drama and rhythmic diversity."
~ Mark Nelson, TUBA Journal, Fall 1992, Vol. 20, no. 1

**These titles are available through J.W. Pepper sheet music sales

© 2023 Gulf Wind Music Press
last revised September 20, 2023

More Works by James B. Marks

Introduction and Passacaglia for brass choir and timpani (1949)

details
First Prize Winner of the 1949 Thor Johnson Brass Ensemble Compositions Contest [inaugural event]
Judges: Thor Johnson, James G. Heller, Frank Biddle, Felix Labunski

comments
"Introduction and Passacaglia is a strong, vibrant piece of writing showing great skill in the gradual amassing of forces for the passacaglia section. It is a musician’s music with strong audience appeal as well”
~ L. E. Smith Jr., “Cincinnati Conservatory Brass Ensemble” (M.M. diss., The Cincinnati Conservatory of Music, 1952)¹

description
Instrumentation: 3 cnts/3 hns /3 tbns/1 bar/1 tba/timp.
Publisher: Robert King Music Co., North Easton, MA USA

Music for Brass and Timpani (1951)

details
Third Prize Winner of the 1951 Thor Johnson Brass Ensemble Compositions Contest
Judges: Vittorio Giannini, Roy Harris, Thor Johnson
composed while working on his PhD in Music Theory at Indiana University.

description
Instrumentation: 3 cnts/4 hns/3 tbns/1 bar/1 tba/timp.
Publisher: Robert King Music Co., North Easton, MA USA

Three Songs: poetry of e.e. cummings for voice and piano (1991)
I. come nothing to my comparable soul
II. what if a much of a which of a wind
III. somewhere i have never traveled

description
high voice/pno
Publisher: Recital Publications, Huntsville, TX USA

**All listed titles are available through J.W. Pepper sheet music sales

¹Cited in: Siler, Nathan. "A History of the CCM Brass Choir." Doctoral dissertation, University of Cincinnati, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1354550757

© 2023 Gulf Wind Music Press
last revised September 21, 2023

Dialogues for percussion soloist and orchestra
by Fisher Tull

Description
Work in four movements — I. Andante, II. Allegro molto, III. Lento, IV. Vivo

Reviews
"Fisher Tull's Dialogues did as intended, to serve as a showpiece for Houghton's considerable talents and to offer concerto-style the work of a percussion soloist with a full symphony orchestra. I would say on that score Dialogues is a fine demonstration of how to do new things in music with style, insight and intelligence. It was also enjoyable to watch and hear."
- D. Richelieu, San Antonio Express-News

"The audience was so enthusiastic that there were long gaps between movements because of the applause, and afterwards it was joined by an enthusiastic response from the orchestra, the highest compliment for a musician."
- R. Merritt, Richmond Times-Dispatch

Performance History
World Premiere: November 18, 1988 — Steve Houghton, percussion, performing with the San Antonio Symphony Orchestra, David Mairs, conductor , San Antonio, Texas USA
European Premier: 1990 — Dame Evelyn Glennie, percussion, performing with the Sønderjylland Symfoniorkester, Sønderborg DENMARK
University Symposium Concert and Discussion: October 22, 1990 — Rod Cannon, percussion, with the Sam Houston State University Symphony Orchestra, Carol Smith conductor, Huntsville, Texas USA

Details
Composed in 1988. Commissioned by Steve Houghton.
Instrumentation: solo perc. (multiple instruments - perc:vibes/crot/timp/gong/tpl.bl/dr.set/cym/cowbells/bells/
slapstick/flex/tom-t/BD/SD) [orchestra] 2 fl. 2 ob. 2 cl. 2 bsn. - 4 hn. 3 tpt. 3 tbn. 1 tb. - pft. - strings
Length: 18 mins.
Publisher: Boosey & Hawkes Rental Library

Program Notes
Dialogues for solo percussion and orchestra by Fisher Tull

© 2004 - 2023 Gulf Wind Music Press
revised September 28, 2023