“Gebet für die Ukraine” (Молитва за Україну) ist eine nationale geistliche Hymne für die Ukraine. Das Arrangement wurde in Solidarität mit meinen lieben Freunden in der Ukraine während der russischen Invasion im Februar 2022 geschrieben.
Text: Oleksandr Konyskyj (1885)
Musik: Mykola Lysenko (1885)
Das Stück kombiniert den Choral “Herr, bleib bei mir” mit dem “Kanon in D-Dur” von Pachelbel.
“I Have Decided to Follow Jesus” wurde für den eurobrass Workshop 2012 von Chris Woods arrangiert.
“Intermezzo sinfonico” von Cavalleria rusticana wurde zuerst für das Blechbläser-Quintett Quintessenz Brass arrangiert. Danach wurde es für Posaunenchöre arrangiert und bei einem Bläserseminar in Gahlen (NRW) aufgeführt. Das Stück enthält eine anspruchsvolle Stimme für Piccolo-Trompete.
“Jesus, du allein bist genug” wurde für den eurobrass Workshop 2012 arrangiert.
“Jesus ist kommen, Grund ewiger Freude” wurde für den eurobrass Workshop 2015 von Chris Woods arrangiert.
“Jesus lebt, mit ihm auch ich” wurde für den eurobrass Workshop 2018 arrangiert. Das Stück kann man auch als Begleitsatz verwenden.
“Lobt Gott (Doxologie)” wurde für den eurobrass Workshop 2009 von Chris Woods arrangiert.
Lulajże Jezuniu („Schlafe, Jesulein, mein kleines Perlchen“) ist ein polnisches Weihnachtslied. Dieser einfache Choralsatz wurde für den Posaunenchor Rötenberg arrangiert. Continue Reading
“Nearer, My God, to Thee” wurde auf Arrangements von James Stevens und Steven Sharp Nelson basiert, wie jeweils für BYU Vocal Point und The Piano Guys aufgeführt. Der Satz is voller Schönheit und Energie, besonders in dem 7/8-Teil.
“Nobody Knows the Trouble I’ve Seen” wurde für den eurobrass Workshop 2018 von Chris Woods arrangiert.
“Soon and Very Soon” wurde für den eurobrass Workshop 2015 arrangiert. Das Arrangement wurde vom Brooklyn Tabernacle Chor in New York inspiriert.
“The Lord Bless You and Keep You” (Der Herr segne und behüte dich) wurde für die Bläserfreizeit am Forggensee 2019 von Ben Roundtree arrangiert.
“Welch ein Freund ist unser Jesus” wurde für den Posaunenchor Sielmingen arrangiert.
Das Stück kann man auch als Begleitsatz verwenden.
English title: “What a Friend We Have in Jesus”
Der Choral “Großer Gott, wir loben dich” ist für Posaunenchor und Blasorchester zusammen arrangiert. Die beide Ensembles können das Stück allein spieelen.
Der Satz wurde in 2022 zum 100. Jubiläum des Posaunenchors in Marschalkenzimmern aufgeführt.
Continue ReadingPrayer of Ukraine is arranged for wind ensemble (a.k.a. symphonic band/ concert band/ Blasorchester) by Ben Roundtree. It was arranged for the Landesblasorchester Baden-Württemberg and conductor Björn Bus.
Composer: Oleksandr Konysky, Mykola Lysenko | Arranger: Ben Roundtree
Continue Reading“Nearer, My God, to Thee” is based on arrangements by James Stevens und Steven Sharp Nelson, for BYU Vocal Point and The Piano Guys respectively.The setting is full of beauty and energy, especially in the 7/8 sections.
This opening fanfare to Monteverdi’s Vespers also appears as the Toccata from L’Orfeo. It is a showpiece for the two Tenor Trombones.
This beautiful chorale prelude by Brahms was originally written for piano.
This flashy Baroque showpiece features a duel between the Euphonium and Tuba.
This favorite Impressionist gem was originally written for Piano. It features a beautiful, flowing melody shared by the Euphonium and the soaring 1st Trombone. The rich textures of the accompaniment highlight the sonorities of the low brass ensemble.
This beloved movement of Dvorak’s Symphony “From the New World” is one of the most beautiful in the symphonic repertoire. This arrangement captures the essence of Dvorak’s masterpiece from the unmistakable opening chorale to the glorious climax and back to the gentle strains of the chorale.
The dramatic and haunting movement comes from “The Planets” by Gustav Holst. This arrangement requires strong brass players and features a virtuosic part for the percussionist.
This soprano or boy soprano solo from Faure’s Requiem is set for the beautiful timbre of the low brass instruments. The 1st Trombone and Euphonium share the lyrical melody.
I wrote this arrangement after hearing a performance by Roger McMurrin and the Kyiv Symphony Chorus. This is considered the national spiritual song of Ukraine and was written in the 19th century. My arrangement is done as a prayer for peace and a tribute to the people of Ukraine.
This piece features dancing Renaissance counterpoint including a duet, trio, quartet, and finally a quintet. A catchy refrain opens and closes the work and separates each section.
This familiar theme from Masterpiece Theatre ends with a flash of ornamentation in the Euphonium part.
This brilliant dance features Euphonium and optional Xylophone. It is the most famous movement from Khachaturian’s ballet Gayaneh and a standard orchestral showpiece.
This is a simple treatment of Silent with a beautiful counter-melody. The arrangement was inspired by a version I learned from Irish whistler Bob Pegritz.
This is a setting of the Doxology originally written for Organ. It features the well-known hymn tune OLD HUNDREDTH surrounded by Baroque counterpoint.
A jubilant closer to any Christmas concert, this arrangement was written for a low brass Christmas tour in Ukraine.
This arrangement features the Solo Trombone with the melody soaring above the “orchestra” of low brass. It is inspired by the recording made by trombonist Christian Lindberg.
This is a transcription of the setting by Haydn of the tune AUSTRIAN HYMN from his String Quartet, Op. 76, No. 3. It has been recorded by Tim Zimmerman and the King’s Brass on their Classic Hymns CD. It was also broadcast on “The Joy of Music” television series with organist Diane Bish (program #2301).
This beautiful hymn tune CANONBURY comes from Schumann’s Nachtstucke, Op. 23, written for piano in 1839. It has been recorded by Tim Zimmerman and the King’s Brass on their Classic Hymns CD.
This thoughtful piece by America’s great ragtime composer is a gentle, laid-back serenade with a soaring melody and nice moving lines in the inner voices.
This is a setting of the Doxology originally written for Organ. It has been recorded by Tim Zimmerman and the King’s Brass on their Classic Hymns CD. It was also broadcast on “The Joy of Music” television series with organist Diane Bish (program #2301).
This chorus from Handel’s Messiah is a light, bouncy Baroque piece with 16th note passages for everybody.
This flashy double-tonguing feature was originally written for trumpet trio and orchestra. This arrangement has been recorded on Debut by the 4 Star Brass, a tuba-euphonium quartet from the U.S. Air Force Band of Mid-America.
Gabrieli’s Canzona per sonare are some of the earliest music written especially for brass. This piece has been transformed to fit the sonority of the Tuba-Euphonium quartet.
Gabrieli’s Canzona per sonare are some of the earliest music written especially for brass. This piece has been transformed to fit the sonority of the Tuba-Euphonium quartet.
This energetic setting of the hymn “Leaning on the Everlasting Arms” is a showcase for a sacred or secular Tuba-Euphonium Quartet. From driving 7/8 rhythms to embellished slow melodies, this is fun to play and to hear.
This 12-minute composition was commissioned for the 2011 U.S. Army Tuba-Euphonium Conference. It was premiered by the Interservice Euphonium Choir under the direction of Dr. Brian Bowman and has been adapted for Tuba-Euphonium Quartet. (original title: Fantasy for Euphonium Choir)
The Finale from The Firebird (1910) is arranged for tuba-euphonium quartet or ensemble.
This sweet old hymn has been arranged here for Tuba-Euphonium Quartet in a beautiful, lilting fashion.
This majestic arrangement from the King’s Brass repertoire has been arranged here for Tuba-Euphonium Quartet. It also contains optional repeats for use as a processional.
This famous aria from Rigoletto is arranged for solo Tuba, with the 2 Euphoniums and Tuba 2 playing the orchestra accompaniment.
This showpiece features the Euphonium parts seamlessly passing the melody back and forth. Each Tuba part takes a melodic phrase in the middle section.
I wrote this arrangement after hearing a performance by Roger McMurrin and the Kyiv Symphony Chorus. This is considered the national spiritual song of Ukraine and was written in the 19th century. My arrangement is done as a prayer for peace and a tribute to the people of Ukraine.
This piece features dancing Renaissance counterpoint including a duet, trio, and finally a quartet. A catchy refrain opens and closes the work and separates each section.
This familiar theme from Masterpiece Theatre ends with a flash of ornamentation in the Euphonium 1 part.