Justin Gruber

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<p>"Beneath the Crypt" for Wind Ensemble is a musical response to the shooting that took place at Marjory Stoneman Douglas High School on 2/14/2018. As a student who attended the school and experienced that day, there was a depth of emotion that couldn't be expressed with words. Beneath the Crypt depicts not just the event itself but also the movement in the world that commenced proceeding with it. It mournfully begins with the central motif introduced in the bass voices. As the motif shifts throughout the ensemble, it portrays the impact the shooting had not only on the school and families but on places around the world. It develops into this glorious statement striving for meaningful change but is inevitably smothered as time passes. The grandiose climax presents the idea of a brighter tomorrow yet is forgotten and set aside. It leads to the notion that history tends to repeat itself because even as human beings evolve, jealousy and contemptual feelings arise frequently in society. This deceptively challenging work requires extreme sensitivity in its execution to communicate this message.</p>

Beneath the Crypt

Concert Band Score & Parts

Ensemble

Instrument Family

"Goodnight Lenny," for Quartet, was inspired by my crate training experience with my new puppy, Lenny. I sang lullabies and wished him a good night each night in his crate. One night, after a hard day, I sang again, focusing on how I felt that day, envisioning the journey in my serenade to Lenny. Throughout this time expressing myself, Lenny's interest in what was occurring shifted drastically from nodding off, adjusting his position, barking, panting, and many other everyday dog habits. In this case, these changes in his behavior were synchronous with how I felt about my day, validating my experience of a struggle. When I concluded my serenade, he was silent, sitting, waiting with his eyes wide open for what was to come next.

Goodnight Lenny

Flexible Instrumentation Quartet

Instrument Type

"Insomnia Suite" for Trombone Quartet is a journey through the restless minda late-night meditation on character, forged in the quiet hours before dawn. As someone who often wrestles with sleep, I find these moments filled with reflection, questioning the intricacies of human morality and my own motivations. This suite captures that inner dialogue, moving seamlessly from one movement to the next, each a chapter in the evolution of the self. The order unfolds as Dignifying, Humbling, Expanding, Struggling, Resurrecting, and Endowinga cycle of introspection and transformation, where the music breathes, struggles, and ultimately ascends.

Insomnia Suite

Trombone Quartet

"Fumage" for Trio is inspired by the art form and technique that is surreal in its impressions. It was popularized by Wolfgang Paalen, who made various impressions using kerosene lamps and other heat sources. This piece is mainly inspired by his candle smoke on paper impression illustrated in 1938. The winds enrapture a surreal version with significant variance in color and timbre, demonstrating the depth and nuance that the smoke and candle cannot on their own.

Fumage

Flexible Instrumentation Trio

“Lettuce Play” takes its inspiration from the multi-layered joy of biting into a Taco Bell Crunchwrap. Just as each ingredient reveals itself in turn, the piece unfolds in sections, with textures and sonorities crafted to mirror the experience of a single, satisfying bite. The opening represents the tortilla and tostada shell that first crisp snap—the crunch that frames and holds everything together. The second section introduces the vegetables with playful off-beat gestures, suggesting tomato and other bright, refreshing flavors. This portion is the most agile and airy, a burst of freshness that lifts the ear. The third section brings the cheese, binding the previous textures together. Like cheese in the wrap, this music softens the edges and smooths the bite. The music then returns to the crunch, but now it collapses downward into the protein layer. The cellos and basses drive heavy, grounded rhythms, anchoring the sound in depth and substance. This darker texture provides the heart of the experience—the filling that sustains. From here, another wave of cheese seeps back in, thicker and more harmonically rich than before, wrapping around the protein and elevating it. Finally, the piece closes with a reprise of the crunch and tortilla. The orchestra circles back to the opening, sealing the form and completing the musical “bite.” The work ends in a satisfying cadence, the aftertaste of sound lingering as long as flavor might. At once playful and deliberate, Lettuce Play asks listeners to savor music like food: to enjoy contrasts of texture, relish unexpected juxtapositions, and find delight in how layers combine into a single, cohesive experience.

Lettuce Play

String Orchestra Score & Parts

"Swan Lake Suite" includes selections from the themes of love and deception following the tragic tale of Odette, a princess turned into a swan by an evil sorcerer's curse, and Prince Siegfried, who falls in love with her. It was Pyotr Ilyich Tchaikovsky's Opus 20 and was composed in 1875-76. The ballet premiered on March 4, 1877, at the Bolshoi Theatre in Moscow. It has become one of the most popular and frequently performed ballets in the world, cherished for its beautiful music and timeless story. The selections include: Introduction, Valse, Pas De Deux, Scene (3), Scene (4), Danse Hongroise Czardas.

Swan Lake Suite

Tuba Solo with Piano

"Ballet Medley" for Brass Quintet was commissioned by the STAMPS Brass Quintet of the University of Miami. This medley encompasses the music from Tchaikovsky's Swan Lake, Prokoev's Cinderella, Bizet's Carmen, Stravinsky's Rite of Spring, Tchaikovsky's Sleeping Beauty, and Stravinsky's Firebird. Terri Rauschenbach (Trumpet) Ethan Revere (Trumpet) Xinrae Cardozo (French Horn) Ian Wol (Trombone) Antony Hook (Tuba) Sarah Nachbauer (Guest Artist) Jon Eden (Guest Artist) Mary Reed (Dancer) Nicole Kujas (Dancer) Taylor Shirk (Dancer) Chisom Alumba (Dancer) Maya Armster (Dancer) Sophia Stokes Wong (Dancer) Molly Radice (Dancer) Nadia Chan (Dancer) Antonio Diaz Fernandez (Dancer)

Ballet Medley

Flexible Instrumentation Quintet

In Hebrew, "Taglit" means discovery. This piece is both a tribute to and a product of personal revelationof identity, heritage, and voice. Written during a time of spiritual and artistic reconnection, Taglit draws inspiration from the rhythms of introspection and the unpredictable momentum of growth. The piece follows the arc of my Birthright trip to Israelone that began in the quiet intimacy of kibbutz life, where getting to know everyone meant embracing both camaraderie and the occasional tension (including some memorable roommate skirmishes and an unfortunately-timed incident on the bus). From there, we moved into the depth and complexity of Jerusalem. I fell in love with the architecture, the layers of history, and the weight of sacred groundespecially in the aftermath of the October 7th attacks, whose echoes were still present at the site we visited. The journey continued to Masada, where a sunrise hike offered a moment of reflection and awe, high above the sprawling desert below. That was followed by the surreal stillness of the Dead Seaits texture like Purell, its calm almost otherworldlyand evenings around the kibbutz campfire, singing songs that bridged continents and generations. The final chapter: Tel Aviv. Purim in full swing. Markets buzzing. A whirlwind bar crawl. Laughter. Color. Joy. This last section of the piece dances with that energyunapologetically vibrant and full of life.

Taglit

Quintet

Voice

Voice Category

“Esküszünk” for Sextet turns its gaze inward, speaking in a language of doubt and fragility. At its core lies Sándor Petőfi’s Nemzeti dal (National Song), the 1848 poem that helped ignite the Hungarian Revolution with its ringing refrain, “Esküszünk, hogy rabok tovább nem leszünk!” (“We swear that we shall no longer be slaves!”). Once a rallying cry of defiance and collective strength, the words here are stripped of their public bravado and refracted through a private, inward lens. What begins with searching intensity gradually unravels, as phrases falter and harmonies dissolve into shadows. The text itself echoes this inward turn, colored by a pessimism that resists resolution, its final words lingering like an unanswered thought. In its last moments, the music recedes into silence not with closure but with a question—an unresolved gesture that hangs in the air, leaving the listener suspended in uncertainty.

This work is supplied as a complete package (Full Score + 6 parts). The “minimum order of 5 copies” shown here is a system requirement, but each order represents one complete set of materials, not individual octavos.

Eskuszunk

Multiple Voicings Full Score

"Petrichor" navigates the change of the environment around oneself. The idea begins in the warm, inviting state of Fall, cascading and accepting. The sound of leaves dropping and the wind blowing morphs into snowakes falling and movement ceasing in the icy winter. Nature is cold and closed off, dwelling on the change that occurred. Eventually, it moves on and stops ghting change because nature is blooming. In Spring, the beauty allows life to blossom all around. Birds chirping, owers blooming, frolicking in the meadow. Nature's growth and sustainability allow summer to prance. This carefree state is yet a brief icker as fall is forthcoming. The beginning of the end, yet there is no end. To have an ending would mean there is a story, but nature is cyclical. One can choose to accept or ght the ow of life, and this piece captures it through nature.

Petrichor

"Grand Beach" for Brass Quintet encapsulates a beautiful view in the heart of Manitoba, Canada. The push and pull of the waves brush the lives on the shore. The rocks emerging from the water rest in their natural space. Fish perk up, gasping for air at the water's surface. The piece is for a performance at the Aspen Music Festival in the summer of 2023. The members of the quintet include: Katie Hillstrom (Trumpet), Luke Fox (Trumpet), Sebastian Villegas (Horn), Ken Kagawa (Trombone), and Justin Gruber (Tuba).

Grand Beach

Brass Quintet

"Whispers of a Sunflower" for wind quintet is a brief yet evocative piece, painting the serene and vibrant imagery of a sunflower swaying in the gentle breeze. With a duration of around four minutes, the composition explores nature's subtle beauty and rhythmic dance, blending lyrical lines and intricate textures to create a fluid musical landscape. The work opens with a solo flute, introducing a rhythmic motor reminiscent of a soft gust stirring the petals. This motor is soon passed to the oboe, which takes on a slightly warmer tone, adding depth to the initial idea. As the rest of the group joins, the quintet collectively paints the image of a sunflower turning slowly towards the sun, each instrument representing a different aspect of the flower's elegance. The horn provides a grounding element, evoking the strength of the stem that supports the sunflower's movements. Rhythmic fluidity is a central feature throughout the piece, with lines weaving in and out of each other, creating a sense of ebb and flow. The tempo subtly shifts, reflecting the changing nature of the wind, from calm, almost static moments to gentle accelerations. Phrases are elongated or clipped to add a touch of unpredictability, mirroring the irregular yet harmonious patterns found in nature. The music's harmonic language emphasizes modal shifts, with lush tonal colors that evoke the golden yellows and deep greens of the sunflower. Occasionally, the instruments create a shimmering effect, simulating the sunlight dancing on the petals. As the piece draws to a close, the motifs fade, leaving a quiet, lingering resonance, as if the sunflower has settled once more, awaiting the next breeze.

Whispers of a Sunflower

"Cinderella Suite" includes selections from a beloved work that brings the classic fairy tale to life through music and dance. The original ballet, During World War II, between 1940 and 1944, was composed by Sergei Prokofiev, and it is based on a scenario by Nikolai Volkov. The ballet stands out not only for its beautiful music but also for its deep emotional content and humor, which Prokofiev infused into the familiar story of the downtrodden girl who wins the heart of a prince. The sections include: Introduction, Pas de Shawl, Cinderella, Departure of the Stepmother, Fairy Godmother and Fairy Winter, Cinderella's Departure, Grand Waltz, Duet of the Prince, and Amoroso.

Cinderella Suite

"Font Del Maestro Serrano" for Chamber Orchestra is based on a unique monument nestled in the vibrant heart of Valencia, Spain, and is a captivating blend of the region's rich history and cultural essence. Crafted to honor the legendary composer Jose Serrano, this fountain stands as a unique testament to his contributions to Spanish music and the city's artistic heritage. Jose Serrano, born in Sueca, Valencia, in 1873, was a prolific composer known for his zarzuelas, a unique Spanish operetta. His works, characterized by their melodious charm and lyrical depth, captured the spirit of Valencian life and resonated deeply with audiences. Font Del Maestro Serrano was unveiled in the early 20th century amidst a cultural renaissance in Valencia. Water cascades gracefully from the central structure, symbolizing the flow of creativity and inspiration that Serrano brought to the world. Surrounded by lush gardens and cobblestone pathways, the fountain is a beloved gathering spot for locals and tourists alike. Font Del Maestro Serrano is more than a monument; it is a living homage to a maestro whose legacy continues to inspire and resonate in Valencia's heart.

Font del Maestro Serrano

Chamber Orchestra Score & Parts

"Fanfare for the Winners" for YYPA 2023 Ensemble utilizes an unfamiliar instrumentation, exploring many timbres and possibilities. The piece is for a collaborative weekend event celebrating young performers across the United States. The members of the 2023 Ensemble include: Subin Cho (Flute), Yunze Shao (Clarinet), Brian Kachur (Saxophone), Simon Hwang (Saxophone), Jonathan Salcedo (Trombone), Justin Gruber (Tuba), Christian Snedeker (Drum Set), David Wang (Percussion), Jory Lane (Violin), and Meihui An (Piano).

Fanfare for the Winners

Flexible Instrumentation Ensemble

<p>"Coming Home," for Solo Piano, is dedicated to my father, Cary Gruber. This piece is inspired by the adjustment to life back home after returning from Winnipeg, CA. After so much had been thrown at me, I had forgotten what it felt like to feel safe in my living space. I forgot the comfort of doing what I do with the people I do it with. My family is so special to me, and I am so grateful to feel their loving support through thick and thin. To my one and only father, Happy Father's Day!</p>

Coming Home

Piano Solo

In “Materia Vidanta Sonora,” the harp is treated as a resonant object rather than a lyrical instrument. Isolated extended techniques, often separated by silence, draw attention to texture, decay, and the physical act of sound production. While the surface may appear fragmented or unstable, the work unfolds according to a carefully balanced distribution of register, density, and pacing. The piece is inspired by a painted hat created at Vidanta World, whose irregular yet cohesive visual surface informed the music’s approach to form: a field shaped by contrast, restraint, and the accumulation of material rather than linear development.

Materia Vidanta Sonora

Harp Solo Unaccompanied

“Just Mercy” was originally composed for solo piano in the years following the shooting at Marjory Stoneman Douglas High School, emerging as a quiet reflection on what remains after collective trauma rather than a direct response to the event itself. In 2020, the piano version was featured during National YoungArts Week in Miami as part of a collaborative concert uniting instrumentalists and writers, where a poem was read alongside the music, allowing sound and language to coexist in shared reflection. Six years later, on Valentine’s Day and the eighth anniversary of the massacre, this piece reemerged in a new form for concert band, not through commission or request, but through an internal and unprompted return to something that had never fully left. Expanded in instrumentation yet restrained in voice, the work preserves the inward stillness of the original while allowing collective breath and resonance to carry memory forward, standing as an act of remembrance that is unresolved, enduring, and quietly human.

Just Mercy

“One Stop Shop – for the Orchestral Tubist” is a comprehensive collection of essential orchestral excerpts for tuba, compiled by Derek Fenstermacher. Covering masterworks from Adams to Wagner, it provides complete parts for audition and study use—an indispensable reference for students, educators, and professionals preparing orchestral repertoire.

One Stop Shop

Low Book

"Echoes of a Distant Path" is a sonata for saxophone and piano that unfolds like a journey through memory, choice, and transformation. Each movement captures a distinct emotional landscape, painting a narrative of introspection, urgency, and uncertainty. The first movement, "Echoes" (Adagio), opens in the shadowed hues of E minor, where the saxophone whispers a solitary, expressive melody, like a voice calling out across time. The sparse and contemplative piano offers a fragile foundation—its chords like distant ripples in a quiet lake. As the music drifts unexpectedly into B major, a warm light breaks through as if nostalgia briefly lifts the weight of longing. Yet, this brightness is fleeting. G# minor clouds the scene with tension and mystery, a question unanswered, before the return to E minor—a home now forever changed by the harmonic journey. This movement breathes with memory; each phrase echoes what it once was. The second movement, "Crossroads" (Allegro), launches into F# minor with restless energy. The saxophone and piano engage in a dialogue of urgency—intertwining, clashing, pulling apartmirroring the turbulence of choices yet to be made. Rhythmic shifts jolt the listener forward like uncertain steps on an unknown road. Themes emerge and dissolve, moments of clarity lost in hesitation, only to be reclaimed in a relentless drive forward. This is the sound of decision-making, the weight of action, the thrill and fear of leaping into the unknown. The final movement, "Parting Reflection" (Andante Moderato), begins with a deceptive sense of return in A major, a homecoming that feels familiar yet somehow distant. But the ground beneath shifts; harmonies darken, and an unease takes hold. As the tempo quickens, the conversation between the saxophone and piano becomes more insistent—questions asked but never fully answered. The final cadence lingers, unresolved as if the path ahead remains obscured by mist. It is not an ending but a moment suspended in time—an acceptance that some journeys leave us with more questions than answers. Echoes of a Distant Path is not just a sonata—it reflects the moments that shape us, the decisions that define us, and the lingering uncertainty of what lies ahead. The intimate dialogue of saxophone and piano captures the ebb and flow of memory, conflict, and transformation, leaving the listener poised at the edge of something just out of reach.

Echoes of a Distant Path

Alto Sax Solo with Piano

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