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Catapult your audiences into the holiday spirit! Exciting brass and percussion fanfares are intermixed with teasers of classic holiday melodies like Angels We Have Heard on High; Deck the Halls; Jingle Bells; O Holy Night; Joy to the World; Away in the Manger and more!

Let's Celebrate Christmas

Full Orchestra Score & Parts

"Some Assembly Required is a great musical work for educational concerts! It is very effective, easy to rehearse and perform, has superb narration, and engages kids! It is a creative, interesting and, most of all, fun piece and story!" -aNicholas Palmer, music directoraAltoona Symphony Orchestra  Parts are available for rental through Wrong Note Media, Inc. (www.WrongNoteMedia.com)

Some Assembly Required

Full Orchestra Full Score Parts Rental Only Through Publisher

Ensemble

Instrument Family

Let's Celebrate Christmas is an exciting fanfare guaranteed to catapult your audiences into the holiday spirit. Exciting brass and percussion fanfares are intermixed with teasers of classical holiday melodies like "Angels We Have Heard on High," "Deck the Halls," "Jingle Bells," "O Holy Night," "Joy to the World," "Away in the Manger," and others!

Written for the River City Brass Band.

Brass Choir

Todd Goodman's Sketches of Home is a string orchestra piece in three movements.  Inspired by the work of artist Kevin Kutz, the piece was commissioned by the Altoona Symphony Orchestra in 2005 and later selected by the Pittsburgh Symphony Orchestra as part of their new works presentation concert.  The three movements of the work are I. The Narrows Bridge; II. Pitt Street in the Winter; and III. The Coffee Pot.  Parts are available for rental through Wrong Note Media, Inc. (www.WrongNoteMedia.com)

Sketches of Home

River of Sorrows was commissioned byDr. James Latten and the Juniata College Wind Symphony.aaBased on the award-winning bookaJuanita: River of Sorrowsaby Dennis McIlnay.

River of Sorrows

Concert Band Score & Parts

Instrument Type

"Todd Goodman's Tuba Concerto is an astonishing work that showcases the many abilities of the modern day solo tubist. From sweeping lyrical lines, to the athletic leaps and bounds presented, this Concerto is packed full of the essential elements needed for a work of this stature to stand the test of time." -Aaron Tindall

Todd Goodman's Tuba Concerto was commissioned by the 2012 Tuba Repertoire Initiative and was premiered by Aaron Tindall in June 2012, at the International Tuba Euphonium Convention in Linz, Austria. The work, in three movements, explores the wide range and versatility of the tuba. From its incredible virtuosic athleticism to its lush gorgeous tone, the tuba has the ability to evoke many different unique characters and emotions. This work explores those characteristics through three distinct movements, each showcasing a specific idiosyncrasy of the tuba.

MOVEMENT ONE begins with a wave-like pulse in the accompaniment that flows throughout the entire movement, being accented and even interrupted by the lush sweeping lines of the tuba. As the movement develops, the accompaniment and soloist become more intertwined and even clash through character and harmony to the first climax. The pulse is then completely interrupted, as if leaping from the page and followed by a brief pause. The pulse regains its momentum, however with much shorter articulations. A fleeting glimpse at a foreshadowing of the second movement then quickly returning to the opening gesture triumphantly closing the movement.

The second movement is played with very little pause from the first.

MOVEMENT TWO is a lyric aria sung by the tuba, accompanied by a simple shifting chord progression. From the opening moment, this movement is a celebration of the beauty of simplicity. Rooted around a pedal A in the bass, the movement explores the upward motion of two sets of parallel sixths around a constantly varied three note theme in the tuba. Set in a simple A-BA form, the opening steps aside as a more rhythmic, yet floating variation of the opening material winds throughout the piece. A short recapitulation ends the movement.

MOVEMENT THREE is an aggressive, athletic sprint through constantly shifting meters, fierce runs, and vigorous leaps. The opening of the movement introduces another three note theme that winds throughout the entire movement. The tuba quickly joins the piano and moves through variations of the motif interrupting itself with long lyrical lines. The middle of the work is a development of the lyricism previously heard in the movement with a series of shifting harmonies reminiscent of the second movement. The opening section of this movement then recapitulates to a vibrant and electrifying coda giving the soloist the final word.

Tuba Concerto

Tuba Solo with Piano Reduction

Soar! is an orchestral tone poem commissioned by Julie Morris, host of the 2015 District 2, 3, and 5 Orchestra Festival of the Pennsylvania Music Educators' Association.  This work was inspired by two very different, yet remarkably similar experiencesthe creative process and flight.  For me as a composer, the creative process is one of extreme ups and downs, peaks and valleys, and the piece that I was composing before writing Soar! had, what felt like at the time, the most extremes of these emotions.  When what I was thinking worked, it felt so unbelievably freeinglike I could fly; but, when things did not work, it felt very heavyalmost grounding.  During this time I was traveling a lot, most of which was flying.  I remember getting on a plane right after I had written something that felt amazing and thinking as we took off, that these two feelings are so similar and that I felt like I was soaring from both experiences.  I wanted to try to capture that in the orchestra and Soar! was born.

Soar!

Departure: an act of leaving, especially to start a journey. This work is a continuation of an earlier work, Wanderlust, for horn, tuba, and piano. Departure starts with an exciting, bouncy rhythm that works its way throughout the whole piece. Nervous energy skips around the ensemble; a fragmented melody is passed through each member of the group as excitement for the trip grows. Then,  a period of rest as if sleeping the night before the trip. Although the music calms, it is a manipulation of the opening thematic material. A constant pulse is heard in the percussion like the second hand of a clock, ticking in anticipation. Finally the moment of departure arrives when our feet hit the dirt, the wheels lift off the ground, or the train leaves the station.

Departure

Todd Goodman's Fanfare for a New Era was commissioned by Nick Palmer and the Altoona Symphony Orchestra for the opening of their 75th Anniversary Season.  Parts are available for rental through Wrong Note Media, Inc. (www.WrongNoteMedia.com)

Fanfare for a New Era

When I was commissioned to write a new work to open the Altoona Symphony Orchestra's 2004 season, they asked for a piece that was full of energy and had an "Americana" flavor.  I have always had a fascination for the grandeur, mystery, and respect of the Office of the President of the United States, so I decided to use that as my topic for this work.  I was trying to figure out which of the past President's stories to tell and how to tell it and I just could not narrow down a single President nor a single event in history. I wanted to instead survey the last 50 years or so of extremely memorable moments and put those to music.  Again the problem arouse of how to do such a thing.  I had used a narrator in the past for works like my Symphony No. 1 "Fields of Crimson" and "Some Assembly Required," which is a work for children and the narrator, and a narrator worked extremely well in those situations; however, I did not feel that was the right answer for this work.  I decided instead to use actual audio clips of the President's themselves to tell their own story.  The work starts with the same speech every President starts with--the oath.  The work then progresses to the idea of "getting America moving again," a speech given by Senator John F. Kennedy as he debated Vice President Richard Nixon in his triumphant road to the White House.  As this vibrant music edges forward, it turns dark as we think of the hardship of defending this country.  A meloncholy set of four notes starts to move throughout the orchestra as we hear of the bombing of Pearl Harbor, the strikes of the first gulf war, the dropping of the atomic bomb on Hiroshima, and the terrorist attacks of September 11, 2001.  The work ends with the same energy with which it began as each President ends the oath with "So Help Me God."  Parts are available for rental through Wrong Note Media, Inc. (www.WrongNoteMedia.com)

American Rhetoric

Invictus is an orchestral setting of William Ernest Henley's poem of the same title and was commissioned by Charlie Doherty and the Damascus High School Music Department. Mr. Henley's text beautifully portrays the trials and tribulations experienced by man. The work opens with a dark shimmering pulse which accompanies the slow wave-like unfolding of the opening lines of the text. As the menacing colors subtly shift through the choir and the orchestra, long lyrical soloistic lines emerge over the darkness. The opening builds to a dramatic explosion of energy and quickly shifts to a slightly more optimistic outlook. The piece then struggles, trying to decide if pessimism or optimism wins as it travels through many different types of energy.  Finally choosing optimism, the piece explodes to a triumphant closing. Parts are available for rental through Wrong Note Media, Inc. (www.WrongNoteMedia.com)

Invictus

"My trio, Eastern Standard, asked Todd to write a piece for us. The piece he produced, WANDERLUST is one of the most well-crafted works in our repertoire. His music is tuneful and unique. It is both profound and accessible, and is as enjoyable for the audience to hear as it is for the performer to play." - Zach Collins, Eastern Standard Trio

Traveling has always been a very important aspect of my life. The ability to experience new, wonderful places, try new foods, and to get the chance to meet people who look, sound, act, and think differently than me has become not just a passion but a need. Wanderlust is a piece that tells the story of a group of travelers who embark on a long-awaited journey. The piece, in three main sections, starts with very fun, whimsical music which depicts the excitement and jovial beginning to most anticipated trips. A jarring chord at the opening gives one a sense of unease, although it is quickly interrupted by a short, rhythmic motif heard in the piano. This motif then travels throughout the trio, being passed from player to player quickly and often fragmented. As the piece develops and the journey continues, the trio takes time to reflect on their surroundings. After each stop, they begin a new, yet similar journey, reminiscing on the music from the opening. The piece ends with a beautiful reflection of the entire journey before finally, yet peacefully returning home.

Todd Goodman's Wanderlust for horn, tuba, and piano was commissioned by Eastern StandardHeidi Lucas, horn; Zach Collins, tuba; and Jacob Ertl, piano

Wanderlust

Mixed Trio Horn, Tuba & Piano

Artists often create works based on their memorable experiences. Some of those experiences are joyous, while others are unfortunately tragic. For me, one of my most enjoyable and memorable experiences is traveling with my family. I love seeing new things, meeting new people, trying new foods, and, most importantly, sharing those experiences with my loved ones. This work, Departure, is a continuation of the environment I created in one of my other works, Wanderlustwritten for horn, tuba, and piano. Unlike Wanderlust, this work is not about the journey, but the anticipation of the departure itself. The anxiety and excitement that one feels before we leave to travel someplace new.

The piece starts with an exciting, bouncy rhythm that works its way throughout the whole piece. As this nervous energy almost skips around the ensemble, a fragmented melody is passed through each member of the group. These melodic and rhythmic motifs take many twists and turns as the excitement for the trip grows. This excitement is interrupted by a moment of rest, almost as if the piece is sleeping the night before the trip. Although the music calms, it is a manipulation of the opening thematic material. As we hear this subdued development, a constant pulse is heard in the piano as if where the second hand of a clock ticking away and reminding us of the slow passage of time. Finally, the moment of departure arrives and the opening music returns but fragmented, almost schizophrenic, leading us to that triumphant moment when our feet leave us, the wheels lift off the ground, or the train leaves the station.

Todd Goodman's Departure for trombone, tuba, and piano quartet was commissioned by Sergio Carolino and Hugo Assuncao.

Mixed Sextet Trombone, Tuba, Violin, Viola, Cello & Piano

Todd Goodman'saConcerto for Bass Clarinet and Orchestraawas commissioned by Bruce Lauffer and the Beaver Valley Philharmonic to conclude their 2008-09 season. The work, in two movements, takes the orchestra and soloist through a passionate journey of the relationship between a child and a parent. The first movement, Promenade Comique, translated as funny walk, is an argument between the orchestra, acting as the parent and the soloist, representing the child. The orchestra begins the movement with a strict and serious march, which is constantly interrupted by a jocular bass clarinet. As the march progresses, both the bass clarinet and the orchestra get more and more frustrated with one another leading to an explosion of tempers. A repetitious figure is heard pulsing in the orchestra as the soloist sings a subdued lyrical aria in its attempts to calm the angered parent. As the frustration level slowly abates, a variation of the march comes back, yet this time the roles are reversed. The bass clarinet is trying to be serious and the orchestra interrupts with funny gestures from the opening. This culminates with a return to the opening march with the characters playing their appropriate roles.  The second movement, A Berceuse et Rve, translated as A Lullaby and Dream reverses the roles of the two characters and tells the story of a parent, this time represented by the bass clarinet who is trying to put their child, the orchestra, to sleep. The orchestra begins with unrest and mystery and bursts into an extremely energetic figure, which is repeated throughout this movement as a sign of the child's procrastination. In-between these energy bursts, the soloist tries to calm the child by singing to it a simple lyric lullaby. Each time the parent is interrupted, the lullaby becomes more prominent and overcomes the tired orchestra. As the lullaby comes to a close, the child starts to dream wild images of various dances. These dances move throughout the ensemble as its principal members dance with the bass clarinet in soloistic duets, trios and quartets. Hints of the lullaby, that are fresh in the head of the child, return throughout the dream which ends with an abrupt simultaneous eruption of all the dances, waking the child. The parent in one last effort sings a fraction of the lullaby, ending the piece.  Parts are available for rental through Wrong Note Media, Inc. (www.WrongNoteMedia.com)

Concerto for Bass Clarinet and Orchestra

A jubilant celebration of the friendship and camaraderie provided by regional community, educational, and professional bands around the world. Through bold and triumphant brass figures, excitement and anticipation unfold as the music seamlessly weaves intricate melodic lines interjected with the opening fanfare and soaring woodwind accents. This intrepid work weaves for audiences a rich tapestry of sound that reflects the diversity and uniqueness of each individual in the group.

Fanfare for Friends

Unleash the rich, resonant sounds of the "Trombone Concerto" by Todd Goodman. Perfect for both concert and contest settings, this piece challenges performers while captivating audiences with its dynamic intensity and lyrical beauty. Elevate your trombone repertoire and showcase musical craftsmanship with this compelling composition. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Trombone Concerto

Trombone Solo with Piano Reduction

A high-energy opener - effective syncopation and fresh tone colors create a perfect opener to showcase your advanced concert band's ability!

Incandescent

The year 2020 was one of unique challenges. Together the world was in the midst of a global pandemic, fighting as one people to subdue and eradicate a microscopic enemy that none of us could actually see. Yet by ourselves we were all struggling in our own individualized way with an enemy that we could all very much feel. While one enemy could make us physically sick, the other made us feel as if the world had indeed come crashing down around us. Many of us went from having robust schedules of performances, commissions, and recordings, to a schedule of nothing in a matter of days. When the reality of the long-term effects of those lockdowns, quarantines, and mandated shut downs hit, the emotional effect was devastatingat least to me. Everything was cancelled. Everything that I was working toward as a composer was no longer, or, so it seemed at the time. It was extremely depressing and it put me into the longest dry period of my compositional career.It seemed like there wasn't much worth writing about, so I didn't.

After ten months of not putting a single dot onto paper, I got a message from Klemens Vetter. About two years prior to that message, I had reached out to Klemens because he came across my social media feed as a possible friend. I immediately got excited because I had recently discovered that my eighth great-grandfather was the German Baroque composer Nicolas Vetter, student of Johann Pachelbel, and I thought I had found a musical relative! We still do not know for sure if we are related, but it connected us as colleagues none-the-less. Klemens asked me to write a new work for him for a recording project happening in the summer of 2021, and that was all it tooka tangible project to get me to "splat" ink onto paper again. So as quickly as the dry spell hit, it vanished.

Dear Tomorrow is a musical letter that I wrote to my isolated pandemic self. It is in three parts. First, it opens with an energetic, uneven pulse. It is the nervous excitement I felt in starting to write again. I was excited, but I was also totally unsure if I still was able to do it anymore. Did my creative energy dissipate as had my other excitement during our long, arduous spell in lockdown? This nervous energy is interrupted by a lyrical melody, reminding myself that things are going to get better. The uneven pulse is then stated again, slower, but this time with an even pulse over it. As the two groove together, the euphonium continues to sing and develop its melody of hope. In part two, the marriage of uneven and even continues as a beautiful aria unfolds throughout both the soloist and the accompaniment. Eventually the uneven pulse takes over and washes over the piece. Lastly, the piece closes with a return to the opening idea, but this time with optimism, reminding me that with hope, all things are possible.

Todd Goodman's Dear Tomorrow was commissioned by Klemens Vetter.

Dear Tomorrow

Euphonium Solo with Piano

Todd Goodman'saConcerto for Alto Saxophone and Orchestraais a substantial three movement work scored for solo alto saxophone and orchestra. The work is a traditional three movement concerto yet with the second and third reversed. The first movement is a slow agitated march that creates an argument between the orchestra and soloist. As the conversation progresses and the tension between the two entities escalates, the soloist in an acrobatic tour of the instrument finally wins the last word in a cadenza summarizing what was just heard and foreshadowing what is to come. The cadenza moves right into the second movement, a jovial fanfare. This fun movement again gives the soloist an aerobic workout while continuing a more civilized conversation with the orchestra.  Parts are available for rental through Wrong Note Media, Inc. (www.WrongNoteMedia.com)

Concerto for Saxophone

An exciting fanfare guaranteed to catapult your audiences into the holiday spirit! Exciting brass and percussion fanfares are intermixed with teasers of classical holiday melodies like Angels We Have Heard on High; Deck the Halls; Jingle Bells; O Holy Night; Joy to the World; Away in a Manger and more!

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