Michael D Blostein

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For solo piano, this work challenges the performer to create their own emotional content within a semi-traditional musical language.

Interpreted Sentiment

Piano Solo

A challenging work for marimba with 4 mallets. Designed to musically depict a stroll on an Autumn day, this work pushes the marimba player in terms of technique and musicality.

Stroll

Marimba Solo Unaccompanied

This challenging trombone octet, with additional (necessary) solo parts for both a tenor and bass trombone player, pits serious performance style against a more jazzy feel. As the piece continues, the two styles battle for supremacy. This piece lends itself nicely to a movement-style performance, as well as a more traditional setting. It's a lot of fun for your trombone choir!

Battle of the 'Bones

Brass Octet

The traditional folk character John Henry and the original story of how he competed against a steam powered shovel and won. With far more meaning, the story really talks about the struggle between man and technology. Here, the tuba solo takes the story to a new level, and the original string and anvil parts are condensed into the piano. The result is a setting which truly brings the story truly to life. A challenging work, which is wonderfully satisfying to both perform and listen to.

The Legend of John Henry

Tuba Solo with Piano with Narrator

Format

A wonderful and fun addition to your next beginning orchestra concert!  With technique requirements appropriate to younger players, everyone has an  equal opportunity to shine in this exciting work. Opportunities for ensemble  unison chords, as well as interaction between the various voices, provides  ample learning opportunities for students in a refreshing texture.

Spring Dance

String Orchestra Score & Parts

Written in four movements - each with a different character, technical  demands and structure  this work is well suited to demonstrate the  versatility of the instrument and player alike. With suitable opportunities  for artistic expression, this work will be well received by audience and  performer alike, and is sure to be a winner in your next recital or solo  performance!

Solo for Unaccompanied Bass Trombone

Bass Trombone Solo Unaccompanied

This challenging duet requires performers to imitate the natural conversational style of two different voices. Performers need not only technical skills, but the duet is designed for each voice to respond to the other. Identical versions available to troumpet and tuba in the appropriate range.

Just A Little Conversation

Trumpet Duet

The title refers to a lightness of style as well as a lightness of bow
  weight, combined with an ever-changing balance. The piece begins with unison
  ideas (pitch, rhythm and bowing), then begins to expand, encouraging each
  section to gain some independence. We reset, and expand further. This process
  continues until the contrapuntal lines create complex harmonic textures that
  travel in unexpected directions, yet make musical sense. Much like an
  individuals own journey, the path taken is not always direct and clear, but
  the end result is musically satisfying.
    
    
    
    Significant attention music be placed on dynamics throughout.
    
    
    
    
    
    From a technique standpoint, this work asks the most of the bass section.
  The shifting requests in the other sections are minimal, although there are
  sufficient opportunities to shift should student and/or teacher choose. Bow
  placement and control, tone production and ensemble balance are where much of
  the focused work will be required from students.

Lumenebula

A truly emotional work for string orchestra, with optional percussion. This piece will make you reflect, and require your ensemble to play with not only great technique, but tremendous balance, tone, and style.

12 Days

This is a collection of 3 works by Thomas Weelkes, taken from his collection "Madrigals to three, four, five or six voices" published in 1597. Each individual work - "Lo! Country Sport", "Our Country Swains" and "Now Every Tree" is used her to form a musical imagery of a renaissance triptych, hence the title. As such, although the individual movements may be performed separately, they are envisioned to be performed as a collection.

As with most madrigals, this collection relies heavily on counterpoint, and the concept that all voices are essentially equal. While the madrigal was original for voice without instrumental accompaniment, this collection replaces this concept with flexible instrumentation, allowing the string players to mix and match parts without the traditional balance demands of a string orchestra.

Renaissance Madrigal Triptych

The perfect addition to your next beginning orchestra concert! With  technique requirements appropriate to younger players, everyone has an equal  opportunity to shine in this exciting work.

Scary Things

Beethoven's Six Landler for Two Violins and Bass, WoO 15 - the basis for
  this work - constitute his second and final set of these forms of German
  dance, written as a commission for the annual dances at the Vienna
  Redoutensaal. Both sets were apparently intended for actual events of social
  dancing.
    
    
    
    This set likely date from early 1802, when Beethoven was working intensely
  on his second symphony.
    
    
    
    This arrangement for string orchestra requires shifting into 2nd position
  for the first violins in one section, and the viola (as well as 3rd violin if
  used) and 2nd violins are required to go into half position for two sections.
  Cellos need to extend. The requirements for the bass are minimal, but the
  bass players can play the cello part (with appropriate fingering and position
  alterations) and the piece works. The second violins do not need to shift,
  but some of the string crossing (shared with the first violins) can be a bit
  tricky.
    
    
    
    This piece works best at a faster tempo (in 1), but can work at a slower
  tempo (a fast 3.

Country Dances

These solos are designed for the beginning trombone player, and all are designed to use only the first four positions. In addition, solos incorporate common rhythmic, range or other performance issues appropriate to this level of development. Each solo also has performance hints, specific to that solo.

Early Position Solos for Trombone

Trombone Solo Collection with Piano

Designed for advancing string ensembles, this work makes extensive use of  basic shifting and the melodic minor scale. Written in 3/8 time, there are  ample teaching opportunities, as well as technique-building skills through  repetition in slight variations throughout. Plenty to keep all parts busy and  focused throughout.

To Dance In The Moonlight

This work was written in response to a general call (and immediate need)
  for flexible ensemble works in the midst of the Covid19 Global Pandemic.
  "Thrumming" is designed to focus on elements of aleatoric music,
  and to allow for a virtual ensemble if so desired (with any instrumentation
  available). It is entirely based on the key center of A, with multiple
  contrapuntal lines (and minimal harmonic movement).

Thrumming

Flexible Instrumentation Score & Parts

These etudes are designed to assist the progressing brass player in the  major areas of performance, which traditionally cause issues. Careful  attention has been paid to endurance, range, and modern performance  requirements.                As such, these etudes can be used as a primary teaching source, or as  supplemental material.                Depending on the intended use of these etudes, they may be learned and  performed in chronological order, or in a different order as suggested by a  private instructor.                Additionally, these etudes are also offered in identical versions for small  group instruction purposes, transposed and minimally adjusted as necessary,  for tuba, euphonium, trombone, horn and trumpet. Etudes appear in the same  order, with the same markings, in each book. Bass trombonists are recommended  to use the trombone book for slide technique, and the tuba book for trigger  technique.

Etudes for the Developing Tuba Player

Tuba Book

Better known as The Coventry Carol, this work dates back at least as
  far as the late 16th century, although it may well be older. The story comes
  from the Gospel of Matthew, and tells of the prediction of Harods murder of
  innocent children, for fear of losing his reign. This is the song that
  mothers used to soothe their children, as told in the depiction from
  Coventry, England.
    
    
    
    While there are multiple versions of this carol in existence , this version
  takes some liberties. First, the use of the Picardy Third, perhaps the most
  recognizable portion of the cadential pattern, is not used until the final
  statement  rather, the cadential pattern remains in the minor mode for
  earlier statements.  Additionally,
  there are four verses, each in a different texture. Finally, the variations
  used incorporate staggered entrances (the initial statement is solo violin,
  and this concept is seen more in the second variation), a fiddling sequence
  with the melodic material in the lower voices, and extended phrases with more
  polyphonic ideas.

The Children's Carol

Voice

Voice Category

With text drawn from the famous 1865 Walt Whitmann, the music works to  evoke the Civil War-era themes of the famous poem. With colors designed to  enhance the dark nature of the text, this piece will emotionally challenge  the listener and performer alike.

O Captain My Captain

SATB Octavo

The Hebrew translation of Dreidel, the word origins can be traced back to
  a Hindu game. With the four sides of the box each having a different meaning,
  the concept has been translated here musically.
    
    
    
    
    
    
    
    The traditional melody is initially stated by all voices except bass in
  unison. From here, the bass enters with a moving line that borrows heavily
  from western jazz influence, above which we hear the other voices of the
  ensemble in turn. As each enters, it has a unique take on the basic structure
  of the original tune, but with an improvisational influence that continues as
  the next voice enters. When the final voice 
  (cello) enters with the original tune restated, the upper voices join
  forces to in a final counter-statement.

S'vivon

An original story, based upon the folk hero. Originally written for a challenging trombone solo with string ensemble, arranged here for trombone solo, narrator, and piano.

A Legend of Paul Bunyan

Trombone Solo with Piano

Global Sections - CORE [DO NOT TOUCH]*

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