Composer Sy Brandon, professor emeritus of music from Millersville University, Millersville, PA, has received numerous commissions and honors including 1st place in WITF-FM\'s 25th Anniversary Composition Contest, the El Dorado Sacred Music Composition Contest, Franklin and Marshall College's Wind Ensemble Composition Contest, and the New England String Ensemble Composition Contest. His music has been recorded by the Czech National Symphony Orchestra, the Philharmonia Bulgarica, the Kiev Philharmonic and has been performed both throughout the United States and abroad including performances by the United States Army, Navy, and Air Force Bands and on NPR's Performance Today. A complete bio, discography, and catalog is available at
http://cooppress.net
Born and raised in Houston, Texas, Mark Scott graduated high school cum laude in 2003 and began collegiate music studies later that year. Fall 2006 is Mark's seventh semester at the University of North Texas where he studies Trombone Performance with Jan Kagarice and Music Composition with Cindy McTee. As a trombonist, Mark has performed with the Concert Band, Five O'Clock Lab Band, Basketball Band,
Trombone Choir, and with several trombone quartets. Currently, Mark plays trombone and piano in the UNT Symphonic Band. As a composer, Mark has recently focused on writing large ensemble music, having heard works performed by the UNT Symphony Orchestra and Marching Band in concert and outdoors. Mark holds membership in the International Trombone Association, Texas Music Educator's Association, and the American Music Center. More information on Mark and his music is available at
http://www.dominantshadow.com
Echoes (2005) (8 part Double Euphonium or Trombone Choir) - This work was commissioned by Adam Frey for the 2005 International Euphonium Institute. The work is in one movement with four sections. The first and last sections are Allegro and explore antiphonal choir echoes and pyramids. The second section is Adagio and continues the antiphonal echoes between choirs and adds a fading echo in several measures. The third section explores echoes in a scherzo style. The harmonic language is tonal. Published by Co-op Press. Recorded live at the 2005 International Euphonium Institute with Dr. Robert Ambrose conducting.
In Remembrance, September 11, 2001 - (2001) (3 euphs., 1 tuba) - This work was commissioned by the Euphouria Quartet. The composition reflects the composer's feelings about the tragic events of that fateful day. The first movement, "Fanfares To Fallen Heroes", is a tribute to the brave firemen, policemen and rescue workers who tirelessly and fearlessly risked and sacrificed their lives in order to save the lives of others. The movement is permeated with fanfare motives that reflect both the bravery displayed and the danger that these people faced. The second movement, "Elegy To The Innocent", is a tribute to all the innocent victims and their loved ones who have suffered at the hands of the terrorists. The outer sections have a dirge-like rhythm underpinning a sorrowful melody. The middle section contrasts the dirge by giving a sense of comfort to all that have suffered. The third movement, "Justice", represents the struggle and resolve of the United States of America and its allies to eliminate terrorism. Battle motives alternate with a heroic theme throughout the movement. The last movement, "Prayer For Peace", represents a hope that all the people of the world can achieve the tolerance and understanding we need to live in harmony and in a civilized manner. The chaconne form is used to represent the uniting of voices as the prayer grows in intensity from beginning to end. Published by Tuba-Euphonium Press. Recorded live at the 2002 ITEA Conference.
Suite Francaise Moderne (2004) ( 4 euphs., 2 tubas) - This composition, composed for the University of Arkansas Tuba-Euphonium Ensemble, uses movements that are typically found in the Baroque French Suite but are cast in a 21st century style. The first movement is in the style of a French Overture with a moderate first section with dotted rhythm figures and a contrapuntal second half in a faster tempo. The second movement is a Rigaudon with its lively 2/2 tempo. It provides a nice contrast to the stately first movement with its lightness and more chromatic melodic material. The third movement is a Loure in 3/4. The characteristic dotted quarter, eighth, quarter rhythm is present, though it is often disguised. This is a very lyrical movement with lush harmony. The last movement is a Gigue with its 6/8 meter, wide intervals and contrapuntal writing. Published by Co-op Press. Recorded live in 2004 at the University of Arkansas.
Delights and Dangers (euphonium quartet) (2005) - This composition was inspired by Leonard Bernstein's Harvard University Lecture called "The Delights and Dangers of Ambiguity", in which Bernstein discussed ways that composers had made sounds "ambiguous". Bernstein cited Debussy's Prelude to the Afternoon of a Faun and Wagner's Preulde to Tristan and Isolde, two pieces which have very special places in Mark Scott's heart. Reflecting upon these pieces and Bernstein's notions, Scott became interested in using half-steps and minor thirds to create musical ambiguities of his own. Adapting his title from Bernstein and some harmonic motions from Ravel, Scott created a series of musical ambiguities that sound both delightful and dangerous. The work is in two sections, a slow section followed immediately by a fast section. The music is available from the composer's web site at
www.dominantshadow.com. Recorded live in 2006 at the University of North Texas.
Recital Duets (2 Tubas) (1981) - This seven movement work ranges in expressiveness from fanfares to love duets and is in a modal language that is based in shifting tonality. Published by Tuba-Euphonium Press. Benjamin Pierce performs both parts on this recording.
Quartet for Tubas (1982) (2 euphs., 2 tubas) - This one movement work begins with a lyrical andante section that leads into a rhythmic allegro in 3/4. At the end of the allegro, the andante material returns but in a faster tempo. This leads into a short fugue that is followed by a recapitulation of the andante material and a short coda of the allegro material. Published by Tuba-Euphonium Press. Recorded live in 2003 at the University of Arkansas.
