SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: AP.48472
UPC: 038081552958. English.
Every voice part shines in this remarkable a cappella treatment of Josh Groban's smash hit. Fully arranged, with fresh musical ideas emerging throughout, it builds from verse to verse with smooth transitions, logical voice leading, and natural phrasing. An angelic treble trio takes the final chorus to new heights! Fitting for concert, show, or pop groups, this dramatic selection is especially appropriate for end-of-year events. Highly recommended.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: CF.BF134
ISBN 9781491158692. UPC: 680160917334.
The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The selections span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting.The 17 masterworks contained in this collection have been carefully arranged for any combination of string trio. The most standard instrumentation for voicing is violin, viola, and cello. However, three of the same instruments work well as do other groupings, given that the higher-pitched instrument plays the higher part.The selections have been arranged in chronological order. They span nearly 200 years and feature works from the baroque, classical, and romantic periods of music. The arrangements are drawn from a variety of sources, including piano solos, chamber works, and symphonies. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting.All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed at recitals, contests, weddings, and social events. The various moods created through these works will work for any setting. Some repeats are marked in the music, but any selection may be repeated for the appropriate amount of music needed. Bowings have been added as suggestions, while fingerings have been left to the individual performers to decide.
SKU: CF.BF133
ISBN 9781491158685. UPC: 680160917327.
SKU: CF.BF132
ISBN 9781491158678. UPC: 680160917310.
SKU: CF.BF135
ISBN 9781491158708. UPC: 680160917341.
SKU: CF.BF159
ISBN 9781491162163. UPC: 680160920914.
The 26 masterworks contained in this collection have been carefully arranged for any combination of string duet. The selections appear in chronological order. They span nearly 200 years with 22 composers and feature works from the Baroque, Classical and Romantic periods of music. The arrangements are drawn from a variety of sources, including piano and chamber works. However, the majority of works were taken from actual duets originally written for two instruments by the composers themselves. Each work was selected for its quality, musical interest, and appropriateness. Arranged specifically for a chamber setting, the duets may be performed at recitals, adjudications, weddings, and social events. The various moods created through these works will compliment any occasion.
SKU: UT.QC-4
ISBN 9788881094783. 6.5 x 9.5 inches.
Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner LottThe career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys. The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition. This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.
SKU: CF.BF160
ISBN 9781491162170. UPC: 680160920921.
SKU: HL.49015500
ISBN 9783795703790.
Invaluable for amateurs and professionals alike. Information, contacts and addresses for musicians, teachers and students. Events are listed in chronological order.
SKU: CF.BF161
ISBN 9781491162187. UPC: 680160920938.
The 26 masterworks contained in this collection have been carefully arranged for any combination of string duet. The selections appear in chronological order. They span nearly 200 years with 22 composers and feature works from the Baroque, Classical, and Romantic periods. The arrangements are drawn from a variety of sources, including piano and chamber works. However, the majority of works were taken from actual duets originally written for two instruments by the composers themselves. Each work was selected for its quality, musical interest, and appropriateness. Arranged specifically for a chamber setting, the duets may be performed at recitals, adjudications, weddings, and social events. The various moods created through these works will compliment any occasion.
SKU: BR.EB-9099
ISBN 9790004179697. 10 x 12.5 inches.
What gave rise to this piece was my work on a scientific study about the signals emitted by bees. It was fascinating to learn that these signals are based on a finely graded micro-periodicity. My work has 15 stages designated as honeycombs. Every honeycomb focuses on about six similar events which have identical dynamics and almost identical playing techniques, tone colors and pitches, but which never create a chronologically exact periodicity. (Adriana Holszky) Bibliography : Kostakeva , Maria: Metamorphose und Eruption. Annaherung an die Klangwelten Adriana Holszkys, Hofheim: wolke 2013 (p. 56f).World premiere: Stuttgart, June 25, 1993.
SKU: GI.G-10368
ISBN 9781622776276.
This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell   The Wind Music Research Quarterly: Mitteilungsblatt der IGEB   (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor   Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis   The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner   Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist†Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)  Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.
SKU: PR.114414290
UPC: 680160594030.
Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/2009/03/18/arts/music/18conc.html?_r=1&adxnnl=1&partner=rssnyt&emc=rss&adxnnlx=1286200920-wRrt7MJ416+FpOYAUe/IOQ For advanced performers.Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players.This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity. The cell’s “soulâ€, so naturally combining passion and lyricism, has always touched me in a special way.As sometimes happens, naming the piece was the final act in the process of creation. Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events. Of course, the music was written with no such tale (or any tale, for that matter) in mind. But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes. Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell… Love regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning…Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing. The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes.This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.
SKU: HL.50601002
11.75x8.25x0.33 inches.
“I admire in Frank Cox a musician who has three gifts at a high, virtuoso level all at the same time. Firstly, he is composer, secondly, he plays the cello, specialising in extremely complicated works and finally, he is a brilliant thinker and author. Thus my 'Hommage à Frank Cox' is written as a trio. The vibraphone functions like a typewriter being typed on, the piano represents the place where the composer looks for his sounds and the electric guitar represents the 'performance' of a soloist. Throughout large sections, the three musicians play independently of each other although temporally coordinated. The work is therefore not written in score form. Each player plays a part in the given tempi independently of the other two players. The piano, which plays all the time, gives the vibraphone and guitar their entrances. The course of events is interrupted by three cadenzas, and a finale concludes the work. The players play together here in score form. Morphologically speaking, my point of departure was the (very simple) sinus wave whose mathematical function I continually enriched through additives, so that the formal sections of all three instruments can be shaped like a large network of variations. They play the same music, even when striving for stubborn independence.†(Claus-Steffen Mahnkopf).
SKU: PR.11441429S
UPC: 680160594054. 9.5 x 13 inches.
Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/2009/03/18/arts/music/18conc.html?_r=1&adxnnl=1&partner=rssnyt&emc=rss&adxnnlx=1286200920-wRrt7MJ416+FpOYAUe/IOQ For advanced performers.Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players. This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity. The cell’s “soulâ€, so naturally combining passion and lyricism, has always touched me in a special way. As sometimes happens, naming the piece was the final act in the process of creation. Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events. Of course, the music was written with no such tale (or any tale, for that matter) in mind. But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes. Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell… Love regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning… Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing. The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes. This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.—Shulamit Ran.
SKU: CF.BF162
ISBN 9781491162194. UPC: 680160920945.
The 26 masterworks contained in this collection have been carefully arranged for any combination of string duet. The selections appear in chronological order. They span nearly 200 years with 22 composers and feature works from the Baroque, Classical, and Romantic periods. The arrangements are drawn from a variety of sources, including piano and chamber works. However, the majority of works were taken from actual duets originally written for two instruments by the composers themselves. Each work was selected for its quality, musical interest, and appropriateness. Arranged specifically for a chamber setting, the duets may be performed at recitals, adjudications, weddings, and social events. The various moods created through these works will compliment any occasion.
SKU: AP.43147
UPC: 038081507378. English.
Representing a variety of crucial events chronologically leading up to the Revolutionary War, the musical canvas is vivid with the imagery of a new nation with each event staged. Perfect for a historical presentation with representative images projected on a screen. (5:30).
SKU: AP.43147S
UPC: 038081507385. English.
Representing a variety of crucial events chronologically leading up the Revolutionary War, the musical canvas is vivid with the imagery of a new nation with each event staged. Perfect for a historical presentation with representative images projected on a screen. (5:30).
SKU: PE.EP68748
ISBN 9790300762289.
Shawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties.
The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song:
Ekine leleyea do obhimen la doeki nalo.(My investment in you is paid off. Because of your hard work, your future is bright)
Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian.
Orchestration:
1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe 1, 1 Oboe 2, 1 Clarinet in E-flat, 3 Clarinet 1 in B-flat, 3 Clarinet 2 in B-flat, 3 Clarinet 3 in B-flat, 2 Bass Clarinet 1 and 2, 1 Bassoon 1, 1 Bassoon 2, 1 Alto Saxophone 1, 1 Alto Saxophone 2, 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Trumpet 1 in B-flat, 1 Trumpet 2 in B-flat, 1 Trumpet 3 in B-flat, 1 Trumpet 4 in B-flat, 1 Horn 1 in F, 1 Horn 2 in F, 1 Horn 3 in F, 1 Horn 4 in F, 1 Trombone 1, 1 Trombone 2, 1 Bass Trombone, 1 Euphonium 1, 1 Euphonium 2, 2 Tuba 1 and 2, 1 String Bass, 1 Percussion 1, 1 Percussion 2, 1 Drum Kit, 1 Bongos, 1 Congas, 1 Horn 1 in E-flat, 1 Horn 2 in E-flat, 1 Horn 3 in E-flat, 1 Horn 4 in E-flat, 1 Trombone 1 (B-flat treble clef), 1 Trombone 2 (B-flat treble clef), 1 Bass Trombone (B-flat treble clef), 1 Euphonium 1 (B-flat treble clef), 1 Euphonium 2 (B-flat treble clef), 2 Tuba 1 and 2 (B-flat treble clef), 2 Tuba 1 and 2 (E-flat treb.
