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.

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.

ISBN 9781619119550.

Johann Sebastian Bachas arrangements of the a69 Sacred Songsa from the Musical Hymnal by Georg Christian Schemelli (Leipzig, 1736) have long been part of the German language vocal concert repertoire and a mainstay in vocal pedagogy. Originally, only these 69 of the 954 hymns in the collection were published with a single bass line as the accompaniment. Bachas contribution was to specify harmonies to be played over those same bass lines by adding figured bass numbers and symbols beneath each note.A figured bass line can easily be turned into a relatively simple guitar accompaniment or a more elaborate setting, offering a range of possibilities that make working with this music both interesting and rewarding for the guitarist. While other period and modern editions of the a69 Sacred Songsa offer accompaniments for keyboard instruments, this Mel Bay publication features intermediate to advanced transcriptions exclusively for the guitar. Best suited to college-level players or advanced aficionados, this special Mel Bay Publications edition includes the vocal line with German lyrics and the guitar accompaniment transcribed from Bachas figured bass lines. Written in guitar-friendly keys, 29 of the transcriptions employ a capo to achieve the original key designed for high voices. Without the capo, these same arrangements would be suitable to be sung by lower voices. The remaining 40 hymns are in their original guitar-friendly keys and so do not require a capo.This volume contains accompaniment settings of all 69 of the sacred songs and arias for which Bach wrote figured bass annotation. For performance variety and convenience, this book includes aScores in their Original Keys,a and stand-alone aGuitar Accompaniment,a and aBass Parts.

The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Horn in F with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end.

Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott?s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy.

The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as ?Here Comes the Bride?. Queen Victoria?s daughter used the music for her marriage in 1858, and its popularity has endured ever since.

The Prince of Denmark?s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on the?trumpet stop?. Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul?s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard.

Felix Mendelssohn?s Wedding March was originally written in 1842 as incidental music to Shakespeare?s famousplay, Midsummer Night?s Dream. When Queen Victoria?s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.

Song List: Silent Night ((Franz Gruber) O God, Our Help in Ages Past (Bock) God Rest Ye Merry Gentlemen O the Deep, Deep Love of Jesus (S. Francis/T. Williams) Fairest Lord Jesus JESUS, THE VERY THOUGHT OF THEE (JOHN B DYKES) PRAISE TO THE LORD, THE ALMIGHTY (S GESANGBUCH)

Item Number: S0.703425

Jan Freidlin's lush and beautiful Romantic Concerto for Trombone and Piano (reduction) was composed in 2004 and is in the traditional three movements. The 15-minute work is appropriate for advanced performers.

Below is what the composer has written about his work:

"Written in 2004 , this composition combines three contrasting movements, however their style is not typical of a classical concerto, nor of a romantic work.

The 1st movement - Moderato has a long recitative-like introduction performed by the soloist over a background of aleatoric sounds. The tonality is indefinite with many harmonic changes.

The music gradually builds up more and more leading the listener to the 2nd movement - Vivace energico in which there is, added rhythmic complexity. In the 2nd movement the main motive from the 1st movement is reintroduced and the mood gains in intensity with various syncopated rhythmic phrases as the piano and solo Trombonist accelerate together into a major climax.

With the energy drained out of the music by the conclusion of the 2nd movement the listener is brought to the 3rd movement - Adagietto. This movement is absolutely lyrical, elegiac and unexpectedly tonal. Its main melody has an atmosphere of nostalgia leading to the emotional center of the whole work, the softest climax of the Concerto . The soloist plays it in many tonalities, then gradually this warm wave eases, leaving the listener in a cathartic condition.

The Concerto contains many virtuosic moments for the soloist that sound very expressive and heroic."

Jan Freidlin

The mp3 sample contains a segment of each movement from a live performance of the Concerto performed by the Odessa Philharmonic Chamber Orchestra, Conductor Igor Shavruk and Trombone solist Andrei Sokolov.