Con-Tse-To ? a Concerto for Alto Saxophone and Concert Band was composed in 2013 at the request of Kenneth Tse. It is in three movements ? 1. Pasodoble Melanie, 2. Lamento and 3. Danza Jubiloso. First performance was July 14, 2013 for the Hong Kong International Saxophone Symposium at the Hong Kong Academy for Performing Arts. Hong Kong Chamber Wind Philharmonic; Victor Tam, Conductor; Kenneth Tse, Saxophone Soloist.

The first movement ? Pasodoble Melanie, is in the traditional form of the march in Spain knownas the Pasodoble. It has a beginning theme in traditional march style using Spanish flavor harmoniesand melodies. As the Spanish pasodoble is in the same form as American marches, the second theme isthe ?Trio? section. In the Spanish pasodoble, it is customary to have the first presentation of this secondtheme played extremely softly in the clarinets. It is also common during the repeat of the Trio to have a soloist such as a piccolo displaying an obligato of great virtuosic melodies in counterpoint to the clarinets. I felt this would be a very appropriate place for an alto saxophone obligato. In this pasodoble the thirdpresentation of the Trio is shortened to allow for the first cadenza. Since I met Kenneth Tse for the first time in Bu�ol (Valencia), Spain, I thought it would be very appropriate to use this traditional form for the firstmovement for his concerto. It is a Spanish custom for a composer to give a pasodoble composition as a gift such as to a musician or politician and the title of the piece often references the name of recipient?s wife. Kenneth Tse?s wife?s name is Melanie so this movement is dedicated to her.

The second movement ? Lamento was adapted from a melody of mine ?El a�o del Trumpetista? originally composed in 2010. I thought the beautiful sound of Dr. Tse?s saxophone playing would be very complimentary for this melody.

The third movement ? Danza Jubiloso is in allegro tempo with the first theme based on leaps of afourth and an octave in duple meter. The second theme is mostly in 7/8 meter. There is also a bit of a jazz element of harmonies and the added instruments of a drum set and jazz double bass in pizzicato.

Con-Tse-To was awarded Finalist category in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. The full band instrumentation is available on Musica Nova USA.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamberensembles and soloists. He has won over fifty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.

His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

The piano transcription was done by Derek Reme?.

Year of the Trumpeter (El A�o del Trompetista) is a piece for solo trumpet and band. Duration is 5 minutes, Grade for band and soloist is Grade 3. This is the piano reduction. It was composed in 2010 as an homage to four friends of mine who played trumpet and passed away in 2009.

Fred Mills played trumpet with the Canadian Brass for 24 years. I met him when I performed with Harvey Phillips and his Tuba Consort when we joined the Canadian Brass in a Christmas concert at Carnegie Hall. I arranged a piccolo descant trumpet part for Fred that he played with the tuba group. We also worked together in Cordoba Argentina in 2006.

Linares Rodriguez was a member of the La Armonica Band of Bu�ol. After he retired from playing, hebecame the manager for the society?s buildings. When I first lived in Bu�ol in 1996 we became goodfriends and sometimes took walking excursions together.

Bill Maloof was my first boss as he was Chair of Composition during my first ten years as a facultymember at Berklee College of Music in Boston.

Nedo Pandolfi was considered a great musical force in Rhode Island. His last concert with the Rhode Island Philharmonic Orchestra in 1983 was my first performance with the orchestra. At that time heplayed French Horn but his original instrument was trumpet.

Year of the Trumpeter was premiered March 8, 2014 by Antonio Cambres Rodriguez and the CIM La Armonica, David Fiuza, Conductor in Bu�ol (Valencia), Spain. The version for trumpet and piano was premiered in Magallon, Spain, July 2017 by Antonio Cambres with the composer playing piano. The band version was recorded by Cambres and the CIM La Armonica, David Fiuza, Conductor. It is on the CD Music for Wind Orchestraon La Armonica Records.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Rene� Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composici�n de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.

Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.

He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

An American in Valencia was commissioned by the United States Army Band ?Pershing?s Own? in Washington, DC in 1999. The Premiere Performance was May 22, 1999 at the Casa de Cultura in L?Alcudia (Valencia), Spain by Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English, Principal Trumpet the U. S. Army Band "Pershing's Own" as was the soloist.

The piece is in three movements in a Spanish style suggesting the grand gesture of Bull fighting.The trumpet soloist portrays a toreador with the splendor of the corrida. The first movement represents theentrance of the toreador with all of the fanfare and showmanship as he bows to the audience. The second movement is a love song in a waltz tempo. The third movement starts with the raging bull coming out ofit?s corral, ready for the fight. The trumpet soloist is able to contain the bull with dashing melodic figures and a cadenza leading to the final bow in victory.

An American in Valencia was awarded Finalist in the Band Composition Competition of the American Prize in 2017. One of only two Concertos with Band awarded that year. It is recorded on Mark Records with Rafael Sanz-Espirt conducting La Filharmonica Band. Woodrow English is the soloist.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over fifty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Rene� Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composici�n de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in 1991 TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), several awards from The American Prize, Composition Awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanish bands for Certamen competitions, with each band winning first prize.

He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Concertino for Tuba was written in 2016 as a piano transcription to both the versions for band and orchestra, composed in 2003 and 2005, respectively. The duration is 13 minutes. The band version is grade 4 with the solo tuba grade 5. The solo tuba and band orchestration was adapted from Concertino for Euphonium and Band commissioned by the United States Army Band ?Pershing?s Own? in 1995. In 2002 Gary Bird asked me to compose a piece for him with band that was to be premiered by the Volga Band of Saratov, Russia conducted by Mary Ann Craig in 2004. Gary knew several of my compositions and asked me to compose a piece similar my Concertino for Euphonium and Band that was composed for Bob Powers and the United States Army Band. In 2004 Gary told my that he would be playing a solo with the Johnstown Symphony Orchestra and asked me to do a version for symphony orchestra. It was premiered by the Johnstown Symphony Orchestra; Istvan Jaray, Conductor in 2006. The orchestral version was recorded by Gary Bird and the Oak Grove Symphony Orchestra; Jack Stamp, Conducting. It is on the CD Tuba Safari on Albany Records. The band version was recorded by Gary Bird and the IUP Wind Ensemble; Jack Stamp, Conducting. Concertino for Tuba and Orchestra was a Semi Finalist Winner in the American Prize Composition Competition ? Orchestra Division in 2017, the only concerto awarded a prize in the Orchestra Division that year.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. He recently retired from Berklee College of Music where he was Professor and Chair of Composition and tuba instructor, serving on the faculty from 1979 to 2016. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of the Rene� Fisher Composition Prize, First Prize Winner in the Concurso Bienal de Composici�n de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d?Onore (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the 1991 TUBA International Etude Composition Competition and several others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world.

Gregory Fritze is also a very active tubist. He was Principal Tubist with the Rhode Island Philharmonic for thirty-three years as well as performing with many other ensembles in New England and Florida.

He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanish composers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.

He has thirty-four compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Four Directional Fanfares for Brass Quintet and optional tympani) was arranged and compiled in 2020 expressly for the Spanish Brass. Each fanfare is named after the four directions of the compass with each having a different duration. I. North (70 seconds), II. South (50 seconds), III. East (20 seconds) and IV. West (2 Minuets and 30 seconds).

An optional timpani part has been added in the score and may be used to enhance the sound in ceremonial situations.

The composer has played and conducted in many brass ensembles over the years as well as composing many fanfares of different lengths to suit the occasion. A brass ensemble can always use new fanfares. These fanfares were recorded by the Spanish Brass in 2020 on the CD ?Music for Brass Quintet by Gregory Fritze? on the Spanish Brass label. These fanfares are also on YouTube and Soundcloud.

Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.

1. Cranium
This duet presents the cantabile ?singing? style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.

2. Stirrup
This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos ? a common choice for all of the duets.
3. Humerus
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.
4. Vertebra
This is in a ?rock? style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.
5. Axis
Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.
6. Tibia
This duet alternates in rock style and swing. Articulations and manipulation of ?swing? rhythms are important.
7. Clavicle
The key of A for this duet provides variation for the students.
8. Fibula nd
This duet uses the easiest of rhythms and range, especially for the 2
9. Scapula
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.
10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.

(student) part.

11. Radius
This duet is in a ?Medium Swing? jazz style. Each part has a chance to play a little bit of a ?walking? bass line. Articulations and manipulation of ?swing? rhythms are important in this duet.
12. Femur
This duet works on double time and half time tempo changes.
13. Patella
This is another duet that includes graphic notation. In this duet ?Free rapid legato lines? are used.
14. Anvil
This gallop displays different types of articulation.
15. Hammer
This duet is in the style of a fanfare.
16. Rib
This duet is a melody, ?Magallon Blues?, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.
17. Sacrum
This duet is a short arrangement of Mozart?s ?Eine Kleine Nachtmusic?.
18. Ulna
This duet is a short arrangement of the traditional Irish folk song ?Londonderry Air?, more commonly known as ?Danny Boy?.
19. Ilium
This duet is a short arrangement of the Beethoven?s song ?Ode to Joy? which represents the triumph of universal brotherhood against war and desperation.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Fifteen Safari Duets for Tubas was composed for playing duets with my tuba students. The fifteen duets are at different levels of difficulty and various styles so that we always had duets to play no matter what ability of student. There is something in each duet for students to learn from the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. They are all fun to play. Although for tubas, they may be played on any instrument.

In 1988 I spent a month in Kenya on safari and experiencing the African wildlife and culture, thus the inspiration for these duets that were composed soon after the trip in 1989 and 1990 and have been a regular part of my teaching ever since. Four of these duets are recorded on the compact disc ?Tuba Safari? (Troy 1173) on Albany Records.

1. Elephants at Stave

This duet presents the cantabile style studied for playing the tuba. I find that this duet helps the student much like the melodies of Borgodni etudes. There are more elephants in Tsavo than anywhere else in Kenya. It was not uncommon to see large families of thirty elephants at a time.

2. Gallop ? Thompson Gazelle at Amboseli

This duet provides an opportunity to read in a sharp key, D major, as well as basic rhythms and articulations. I find that the more advanced students can read in a faster tempo and other students can work in a slower tempo ? a common choice in all of the duets. Large herds of playful Thompson Gazelle were a usual occurrence in most of the game parks in Kenya.

3. Rhinos at Nairobi Game Park

This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase. The rhinoceros is a very noble animal that can grow to more that 1,000 pounds and is known for its horn. The Nairobi game park is located just outside the city, giving a sense of surrealism to the panorama.

4. Giraffes at Nairobi Twiga Park

This is in a ?rock? style with syncopated rhythms and cantabile melodies. The Nairobi Twiga park is just outside the city and is the only place where one can feed the giraffes. Along with their long necks they have very long tongues.

5. Warthogs at Ngulia

Legato scales and syncopated rhythms are the features of this duet. Warthogs have tails that are held upright when they run.

6. Baboons at Kiliguni

This duets alternates in rock style and swing. Baboons are sometimes a problem because they will try to steal food from the tourists? tables. They will work together where one causes a diversion while the others steal.

7. Pastoral ? Cape Buffalo at Samburu

The key of A for this duet gives variation for the students. Cape Buffalo are in large herds on the savanna. The Samburu Lodge dining area was built next to a watering hole. At the beginning of breakfast there were no animals, but in fifteen minutes more than 500 cape buffalo were at the water hole.

8. Song - Hippos at Mzima Springs

This is the easiest of rhythms and range of the duets, especially for the 2nd(student) part. Hippopotamuses can grow up to 4,000 pounds and spend most of their time sleeping in the water during the day. At night they go on land to hunt.

9. Leopards at Kimana Lodge

This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many have never experienced this notation before. The leopard is a large predatory cat that usually hunts at night.

10. Colobus Monkeys at the Ark

This is an Invention in the Bach style. The Ark is a building that was built in 1969 at a watering hole for tourists to watch wildlife. The colobus monkey is black with white on its forearms and chest.

11. Zebra Migration at Masai Mara

This duet is in a ?Medium Swing? jazz style. The great migration between the Masai Mara and Serengeti involves about two million wildebeest, zebras and other animals every year. It is considered one of the most impressive natural events worldwide.

12. Ostrich at Samburu

This duet works on double time and half time. The ostrich is the largest bird in the world. In Samburu there was an ostrich that hung around the lodge, her name was Margaret. She was very friendly with everybody but she would steal your hat.

13. Cheetah at Voi

This is another duet that includes graphic notation. The cheetah can run up to 80 miles an hour when chasing after prey. When not hunting prey it often walks very slowly.

14. Gallop ? Gerenuk at Buffalo Springs

This gallop displays different types of articulation. The gerenuk is an antelope with a slightly extended neck so it can eat higher leaves from trees.

15. Lions at Mara Sopa

This duet is in the style of a fanfare. The lion is considered the king of the savanna.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.

His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Euphonistic Dance is a short feature piece for euphonium with piano ? about 5 minutes. It is for recitals and includes some opportunities for improvisation. There is a written out option for those not wanting to improvise. It is at early intermediate level of difficulty for euphonium and piano with range up to Gb for the euphonium. It is often played by tubists who double on euphonium (I call them Bydlo level). Euphonistic Dance was premiered by myself (euphonium) with Michael Dewart (piano) at Mansfield State College in Pennsylvania March 19, 1983. It has been played by many times by high school and college players since.

There are two recordings - on Mark Records performed by Mary Ann Craig (youtube https://www.youtube.com/watch?v=Xit7xBP9szM) and on Albany records by Ed Morse (youtube https://www.youtube.com/watch?v=yMF0MayUgAo)