The Percussion Music of Howard J. Buss

Last updated: 22 March 2008
The program notes on this page were taken (with permission) from the scores of Howard Buss.
All the music of Howard J. Buss is available thru:
Brixton Publications
4311 Braemar Ave.
Lakeland, FL 33813
USA
Phone/Fax: (863) 646-0961
WWW: Howard Buss
e-mail: hbuss@brixtonpublications.com

ATMOSPHERES (2005) for trumpet/flügelhorn and one percussion by Howard J. Buss, a colorful and captivating duo in three movements: The Wakening, One Sunday, Long Ago, and On-the-Edge. The percussion instruments employed include marimba (to low A), two suspended cymbals, bongos, temple blocks, tambourine, maracas, wood block, tam-tam, cow bell, and triangle. Commissioned by the Double Take Duo. Duration: 10’30”

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SPANISH MEMOIRS (2004) for solo trumpet and percussion quartet by Howard J. Buss is an exciting new addition to the repertoire. It is characterized by spicy, zesty Latin rhythms juxtaposed with soaring lyrical melodies hugely influenced by jazz. The music is both accessible and sophisticated, audiences love it! Percussion distribution: Percussion 1: Vibraphone, snare drum, conga drum, tambourine, and wood block; Percussion 2: Marimba, sand blocks, and claves; Percussion 3: Marimba and guiro; Percussion 4: Marimba, bass drum, 2 suspended cymbals, bongos, maracas, and tam-tam. Duration: @10 minutes "...sure to be applauded by soloist, ensemble and audience alike. A melodious trumpet part, an animated accompaniment featuring toe-tapping rhythms, some flashy mallet playing, and the influences of the jazz and Latin idioms will go a long way to ensure the success of this piece." - John R. Raush, Percussive Notes - June 2005

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STELLAR VISIONS (2005) for flute and marimba by Howard J. Buss was written during the Winter of 2005 and is dedicated to the McCormick Duo: Kim McCormick, flute, and Robert McCormick, percussion. This colorful and engaging work juxtaposes mystical, lyrical, and energetic sections in a manner analogous to the ebb and flow of emotions experienced by the composer during meditation on the awesome grandeur of a starry night. From mystical, quiet murmurings to intense and brilliant forte passages, the music showcases the great expressive range of the flute and marimba duo. Duration: 8 minutes

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AMERICAN PHOENIX (2001) for solo bass trombone (or tuba) and four percussion by Howard J. Buss was written for Stefan Sanders, bass trombonist with the Buffalo Philharmonic and the 30th Anniversary of the International Trombone Association. Cast in three movements, this colorful work was composed immediately following the important world events of September 11, 2001. It was premiered by Mr. Sanders and members of the University of North Texas Percussion Ensemble at the 2002 International Trombone Festival in Denton, Texas.

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OVERTURE FOR PERCUSSION (2003) by Howard J. Buss. This colorful and vibrant percussion quartet was composed for Juan Ponsoda and the OSA Quartet de Percussio. It was premiered by this ensemble under the baton of Angel Lluis Ferrando on June 12, 2003 in Alcoi, Spain. It is an exciting 6-minute romp through vigorous, yet intricate passages. Each percussionist performs on several different instruments and all have significant solo passages.
Overture for Percussion is recorded on the Capstone Records CPS-8735 CD - HOWARD J. BUSS: MODERN TIMES Available from Brixton Publications CD-107 http://www.brixtonpublications.com/cd-7.html

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SCENES FROM THE HOLY LAND (2002) for flute and one percussion by Howard J. Buss was inspired by the composer's two trips to the Middle East. Cast in five contrasting and picturesque movements, this work was composed for the McCormick Duo and the 30th Anniversary of the National Flute Association. It was premiered by Kim and Robert McCormick at the National Flute Association Convention on August 17, 2002 in Washington, D.C.
Scenes from the Holy Land is recorded on the Capstone Records CPS-8735 CD - HOWARD J. BUSS: MODERN TIMES Available from Brixton Publications CD-107 http://www.brixtonpublications.com/cd-7.html

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THE BIG BANG for six percussion and piano was composed during the Fall of 1992. This work is a musical representation of the "Big Bang'' theory of the creation of the universe which contends that our continually expanding universe began as a colossal explosion at a single point in space.

THE BIG BANG consists of two movements entitled "The Creation" and "Dance of Life". During the first movement all musical development grows out of the initial blast of sound. Waves of sound mass gradually crystallize into definite pitches leading to the formation of the natural harmonic series. Twelvetone fragments intertwine and gradually coalesce into perceptible melodies. This musical development is analogous to the formulation of compounds, amino acids, etc. Midway through "The Creation" the "spark of life" is introduced in an abrupt shift of musical activity which undergoes continuous development to the end of the movement. The animated final movement is a joyous celebration of life.

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CURRENTS (1976) for percussion quartet by Howard J. Buss was premiered in February 1977 at the Krannert Center for the Performing Arts in Urbana, Illinois by the University of Illinois Percussion Ensemble. Currents is divided into four main sections and explores various perspectives of the principles of timbral and metric modulation. Timbral and metric "currents" in the music interact and blend in a manner analogous to currents in physical mediums.
In addition, there is an element of implied theater. As the work begins, three percussionists are conducted in the traditional manner by the fourth. Next to the conductor, clearly visible in front of the main percussion battery, is a wooden board bridging two saw horses and a carpenter's hand saw. These sit idly through much of the work, long enough to arouse curiosity in the audience as to the role of these prominently displayed construction objects. About midway through the composition the conductor lifts the saw overhead and strikes it. This serves as a cutoff gesture and also establishes that the saw is an "extension" of the conductor's baton. The saw remains idle until the beginning of the fourth division of the work. During the final section it is used simultaneously as a "baton" and a percussion instrument by the director, who saws through wood, scrapes the saw's teeth, slaps it on the board, strikes it with a mallet, and waves it in the air. At the very end of the work the conductor sets down the saw and walks behind the players to play the tam-tam. In doing so, he continues to direct the ensemble through the explosive conclusion.
CURRENTS is recorded on the Capstone Records CPS-8735 CD - HOWARD J. BUSS: MODERN TIMES Available from Brixton Publications CD-107 http://www.brixtonpublications.com/cd-7.html

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RITE OF PASSAGE
For centuries composers have written works in a free style intended to exhibit the capabilities of a particular instrument and/or performer. Frequently given titles such as fantasia, toccata, prelude, and capriccio, these compositions often have a rhapsodic, improvisatory character. Rite of Passage for solo marimba by Howard J. Buss is very much a modern toccata cast in three contrasting sections.

The opening and closing segments of this colorful composition contain frequent changes of themes, irregular phase construction, and the occasional insertion of dance like passages. The result is music which is capricious, exuberant, and improvisatory in nature. The haunting, slow central section features sustained tremolos and four-part harmony. The angelic atmosphere is created in part by harmonics resulting when mallets of the specified hardness are played in the lower register of the instrument at a low dynamic level.

Rite of Passage provides a variety of technical challenges for the percussionist. The musical texture frequently shifts among one, two, three, and four-part writing. Wide melodic register shifts at times force the performer into cross-stick patterns. Extended tremolos and ostinati occur in both hands requiring considerable dexterity and stamina.

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COEXISTENCE (1979) for solo clarinet and percussion quartet is a dodecaphonic composition in one movement. There is a dramatic tension inherent to much of the piece as the solitary clarinet is pitted against the potentially explosive and overpowering might of a large percussion battery.

The state of fragile coexistence between the clarinetist and the percussionists at times requires the conductor to function as a "referee" in order to preserve the dynamic balance. The most theatrical example of this occurs about midway through the composition. At this point the music builds to a deafening, chaotic fury during which the clarinetist has no chance of being heard. The director restores order by "disciplining" the percussionists with a piercing blast on a police whistle. In contrast, Coexistence contains sections of relatively low intensity with delicate coloristic shadings and intricate ensemble coordination. Timbral modulations figure prominently throughout the work.

Coexistence is the first of a series of compositions by Howard J. Buss for a solo wind instrument with percussion quartet. Also in the series are Dream Sequence for trombone and four percussion, Escapade for alto saxophone and four percussion, Mysterious Exit for flute and four percussion, and Modern IYmes for narrator, flute and percussion quartet. All of these compositions as well as other percussion works by this composer are published by Brixton Publications.

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CAPRICCIO is a dodecaphonic composition for clarinet, trombone, and percussion. A rather whimsical work, the overall structure of CAPRICCIO is related to classical sonata-rondo form. Following an introduction, the Exposition unfolds only to be interrupted by a chorale-like episode followed by a paraphrase of the opening "thematic" material. The Development section consists primarily of cadenzas for the percussionist, trombonist' and clarinetist respectively. (The cadenzas are separated-by coloristic transitions). The clarinet cadenza is interrupted by the percussion and trombone leading to a section in pseudo-Dixieland style. The composition concludes with a Recapitulation and Coda.

CAPRICCIO subtly pokes fun at the pyrotechnical characteristics exhibited by many contemporary compositions and at the same time hints at a parallel with similar elements in Dixieland and Jazz.

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ESCAPADE for alto saxophone and percussion quartet.

This colorful and inventive composition explores a sequence of emotional states which develope over a "talea" (a fixed pattern of time values). Except during the extended saxophone cadenza, this repeating rhythmic pattern can be heard throughout the work in varying degrees of intensity. At times it is forcibly presented by the musicians moving in rhythmic unison. On other occasions the talea is fragmented and distributed among the individual performers. Frequently this rhythmic pattern is embedded in the presentation of melodic material similar to the technique of isorhythm as it was employed by 14th-Century motet composers such as Machaut and de Vitry. The continuous variation of the unifying talea coupled with the work's intriguing melodies and exotic timbral combinations make Escapade an accessible and enjoyable concert piece.

In determining the appropriate dynamic balance between the solo saxophone and the percussion quartet please note the following:

  1. At no time is it intended that the percussion ensemble cover up the sax part.
  2. The dynamics indicated in the percussion parts are meant to be a composite of the total percussion sound volume at any given moment. For example, if all five parts are marked forte it is intended that at that point the total volume of sound of the combined percussion parts is to be equal to the volume of sound emitted by the saxophone.
  3. The saxophone may be amplified at the director's discretion.

The approximate duration of this composition is 11 minutes.

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IMPROMPTU for clarinet (or soprano saxophone) and marimba is a flashy and colorful composition written in one movement approximately 6 minutes in duration. The music is characterized by driving rhythms and ornate melodic lines. Two mallet technique is prominent in the marimba part during the more intricate solo passages and there is some use of three and four mallets in those sections where chordal writing occurs. A review in "Percussive Notes" magazine called IMPROMPTU "A very accessible and enjoyable work."

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DREAM SEQUENCE for trombone and four percussion was composed during the Summer of 1987 and was inspired by scientist Carl Sagan's poetic observation about dreams: "Late at night, when all is very still and the obligatory daily dreams have been dreamt, the gazelles and dragons begin to stir." The overall structure of this colorful 10-minute work involves the gradual crystallization and subsequent dissolution of a 12-tone row. Subdued, mystical sections contrast with energetic and rhythmic episodes in a manner resembling a progression of dreams. A review of DREAM SEQUENCE in "Percussive Notes" magazine concluded that the composition was "Worth programming and highly recommended." DREAM SEQUENCE is the second in a series of works by Howard Buss scored for a solo instrument with a percussion quartet. Also in this series are COEXISTENCE (clarinet and 4 percussion), ESCAPADE (alto sax and 4 percussion), MYSTERIOUS EXIT (flute and 4 percussion) and MODERN TIMES (flute, narrator, and 4 percussion).

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INCANTATION for trumpet and one percussion evokes the mystery and enchantment of the sorcerer's ritual. Tightly structured sections contrast with free-form passages in a manner analogous to the interaction of order and mysticism in an incantation. The instrumentation includes vibraphone, suspended cymbals, bell tree, tam-tam, wind chimes, cowbell, hi-hat, and tambourine. This 8 minute duo is accessible to general audiences and is frequently performed on recitals in colleges and universities.

This work has been recorded on the CD "Double Take"

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Kaleidoscope
was composed during 1988 for the McCormick Duo. The instrumentation includes marimba, orchestra bells, 2 suspended cymbals, temple blocks, bell tree and tambourine. This colorful composition takes the form of a "theme" and variations with a slow, quasi-canonic section interpolated between variations one and two. These divisions of the work are separated by transitory passages of varying length and colon The theme is a succession of tightly controlled rhythmic punctuations which are boldly state at the beginning of the work. The duration is approximately 8 minutes.

During variation one the rhythmic punctuations are apparent in the suspended cymbal part as well as in subtle changes in the harmonies in the marimba accompaniment. In variation two the rhythmic "theme" is embedded in the glissandi in the marimba part. During the rhapsodic third variation the theme is represented by accented chords on the marimba. KALEIDOSCOPE concludes with an energetic variation which presents the rhythmic theme in retrograde.

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Wave Train was written for the McCormick Duo in 1990. The interaction of melodies in this beautiful work is reminiscent of the pattern created by intermingling waves on the surface of water. The character of this composition is succinctly stated in its poetic preface: "Images of glistening crests, infinite reflections. Churning power unseen in darkness, patterns so fleeting, so timeless..." Two mallet techniques is employed in the more intricate solo passages and four mallets are used in those sections emphasizing chordal writing. The duration is approximately 6 minutes.

This work has been recorded on the CD "Premiers Plus One"

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A Day in the City
These colorful musical scenes for solo marimba or xylophone from the city are intriguing study and recital pieces. Each movement is given a title which depicts an occurrence that might happen during the day. The movements are: Another Sunrise, Off to a Busy Day, Lost Key Episode, The Waitin' in Line Blues, Romantic Interlude,Sudden Storm, and Out on the the Town. Because of the colorful programmatic nature of the music and the fact that only two mallet technique is employed, this composition is playable by intermediate-level students. Private instructors frequently use this as a teaching piece because of its wide rhythmic vocabulary and broad range of musical styles (jazzy, Iyrical, disjunct, etc.) and expressions. A review in the PMEA News called A DAY IN THE CITY "Tonal, charming, and imaginative." The total duration of the composition is 10 minutes; however, the movements may be performed individually or in various groupings depending on the performer's time constraints.

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Boom Time
was written for and premiered at the 1998 International Trombone Festival hosted by the University of Colorado in Boulder. During the performance of Boom Time both performers read from score and are responsible for reciting the text.

This composition addresses the escalation of noise in our world and the relationship of the human soul and technology. The movements are entitled: Boomers, Thoughts, of Grey, Trombone Magic, and Wild Nights.

The percussion set-up includes 5 tom toms, 2 suspended cymbals, wind chimes, wood block, tamtam, bell tree, triangle, bass drum (with foot pedal), tambourine, hi-hat, whip, vibraslap, agogo bells, vibraphone, and orchestra bells. Also needed are a police whistle and a small, silent electric fan to stimulate the wind chimes throughout the second movement.

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Night Tide for trombone and marimba was composed during the Autumn of 1994. 8 1/2 minutes in duration, Night Tide is characterized by an evocative interplay between aggressive and serene sections. It is a musical impression of the New England coastline at night. A review of the premiere performance of this work in The Maine Sunday Telegram newspaper stated: "The evening's highlight, Night Tide was a stunning aural portrait of the sea's ebb and flow."

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Modern Times(1995)
for narrator, flute and percussion ensemble.

"Any point in time was, is, and will be a modern time. This work is really about all modern times"

Whether they be the subject of books, editorials, political discourse, or reflected in the lyrics of popular music, social commentaries appear in numerous forms. Modern Times is a frequently provocative, at times mystical, and occasional humorous work of modern classical music. it addresses an eclectic range of subjects such as the tyranny of popular opinion, taxes, neglected children, team mascots, hope born from despair, the information glut and "culture-laden technoglaze."

The tenor of Buss' social commentary is somewhere between that of the witty jeering of Mark Twain and the pithy insights of Sinclair Lewis. In his free verse one finds provocation without violence and intense anger without profanity. The American Medical Association, Bible-thumpers, and bureaucrats are not bashed; nevertheless, it is doubtful that all such "professionals" will be pleased. On the lighter side, humor is mixed with profundity in exploring such mundane daily experiences as grocery shopping and the sound of a giggling child. The juxtaposition of levity and gravity in MODERN TIMES is intended to be in itself symbolic. Buss explains, "I am simultaneously amused and troubled by the persistence, and in some cases the magnification, of human foibles in a culture which is increasingly relying on technological advances, in an effort to solve its problems."

The music of MODERN TIMES transports the poetry into the dramatic and colorful sound-world of the flute and percussion ensemble. The result is a fresh and unique view of the culture(s) in which we live.
Modern Times is recorded on the Capstone Records CPS-8735 CD - HOWARD J. BUSS: MODERN TIMES Available from Brixton Publications CD-107 http://www.brixtonpublications.com/cd-7.html

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Mysterious Exit
For centuries the Sinagua Indians lived in the rugged terrain near the San Francisco Peaks north of Flagstaff, Arizona. During the late 14th Century they mysteriously abandoned their villages. All that remains of this once thriving civilization are the pueblo ruins and assorted artifacts.

Experts have not been able to determine why the Sinagua and other area prehistoric tribes suddenly disappeared. There is no evidence of warfare, pestilence, or famine. Equally puzzling to geologists and archeologists is the fact that they did not rebuild their villages elsewhere. Some conjecture that the Sinagua may have blended in with nearby tribes such as the Navajo and Hopi.

Shortly after visiting the Sinagua pueblo ruins at the Wapatki National Monument in 1991 composer Howard J. Buss decided to write a work embodying the flood of thoughts and emotions he experienced at the site. Mysterious Exit is a musical representation of how the presence of the Sinaguan culture graced the austere and forbidding landscape of the region.

Most of the melodies in Mysterious Exit are based upon hexachords is a fashion similar to the existing native American music of the area. Two complementary hexachords are employed which when played one after the other form a 12-tone row. The central portion of the work features a dance-like section which exhibits some of the intriguing rhythmic asymmetry found in Hopi dance songs.

This work has been recorded on the CD "Premiers, Vol. 1"

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RENDEZVOUS
for 4 B-flat trumpets and one percussion is a flashy showpiece composed for and premiered at the 1994 International Trumpet Guild Conference. The composition opens with a stirring fugue (the percussionist performs the subject on the xylophone). Following the opening section are a series of passages featuring contrapuntal writing and the use of ostinati. The work culminates in an intense and exciting finale. Rhythmically and harmonically, the music is influenced by jazz.

The instrumentation of this colorful 8-minute composition includes xylophone, 2 suspended cymbals, temple blocks, tam tam, 5 tomtoms, and finger cymbals. The percussion writing employs primarily 2 mallet technique with some use of 4 mallets on the xylophone in a passage of repeated eighth note chords.

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SONIC FABLES:
"Lessons from Aesop" for brass quintet and one percussion. Entertaining musical representations of six of Aesop's famous fables are presented between a Prelude and Postiude. The text of the fables is printed on a preliminary page to the score and may be used as written program notes. Each fable may also by recited by a member of the ensemble or a narrator prior to performing the accompanying movement. Because of the programmatic subject matter and the colorful spirit of the music, Sonic Fables works well with all types of audiences, including those of children. It is frequently used as a feature number by professional ensembles on school programs.

The instrumentation includes 2 suspended cymbals, temple blocks, snare drum, tomtom, triangle, tambourine, wind chimes, xylophone, and tam-tam. The percussionist has numerous solos during the composition as well as an extended cadenza. The total duration of Sonic Fables is about 17 minutes; however, the 8 movements may be performed in smaller groupings if so desired by the performers.

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INTO EACH LIFE
for flute, cello, piano, and one percussion (1979). This engaging, 13-minute work is cast in two main sections, the first of which juxtaposes Iyrical and turbulent passages. The final section takes the form of a joyous fugue.

The instrumentation includes orchestra bells, vibraphone, bongos, 2 suspended cymbals, tam-tam, tambourine, wood block, and wind chimes. The following mallets are called for: 3 medium-hard yarn, tam-tam beater, 2 wire brushes, and 2 brass, as well as a coin to scrape on the cymbals, and a bass or cello bow.

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SKY BLOSSOMS (1999)
for flute and one percussion is a dramatic concert piece during which both performers recite the text. Mystical and lyrical sections contrast with intense, explosive passages. Duration: 8 minutes.

The percussion instrumentation includes vibraphone, orchestra bells, five roto toms, bass drum, tambourine, cowbell, two suspended cymbals, metal wind chimes, Chinese bell tree, large tam-tam, temple blocks, maracas, and lion roar. Also required is a quiet electric fan to stimulate the wind chimes and a foot pedal to operate the bass drum. In two places the flutist is asked to perform easy parts on the maracas and lion roar.

Both performers are responsible for reciting text during performance. Directions in the score indicate that unless otherwise accompanied by notated rhythms, all text is to be recited in a flowing manner with the rhythm of the words not synchronized with that of the accompanying music. In passages where specific rhythms are notated with the text, the performers must avoid a rigid or mechanical feel to the recitation. The text delivery should be dramatic, but not exaggerated.

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WHERE NOW RUSTS THE IRON? (1994, 99)
for high voice, flute, cello, and six percussion. The score of this highly dramatic and captivating composition includes the following personal statement from the composer which is helpful in understanding the thrust of the words and music:

"This composition is dedicated to my grandfather, Howard J. Buss, Sr., who for 35 years labored in an iron foundry which stood on Mill Street under the 8th Street Bridge in Allentown, Pennsylvania. He worked at a time when occupational safety standards were virtually nonexistent. Workers labored for meager pay at their own risk in an environment of fire, heavy castings, smoke and dust. Yet, my grandfather approached his job with dignity and dedication: he was proud of the useful items he manufactured and the family he supported. Although he received his share of burns and broken bones, it was the 35 years of breathing polluted foundry air which prompted his premature death. This composition is a tribute to him and the countless other workers who sacrificed so much of themselves while providing for others."
  • Percussion 1: 4 timpani, orchestra bells, tubular bells (shared with percussion 2) and finger cymbals.
  • Percussion 2: 2 anvils, tubular bells (shared with percussion 1).
  • Percussion 3: xylophone, medium suspended cymbal
  • Percussion 4: large suspended cymbal, vibraphone.
  • Percussion 5: marimba.
  • Percussion 6: 2 suspended cymbals (large and medium), large tam-tam, metal wind chimes, Chinese bell tree.
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SCI-FI PERCUSSIVES (2001) for twelve percussion
This exciting and entertaining new addition to the repertoire is a riveting fantasy in three movements:

  1. Prelude to Contact
  2. Alien Probes
  3. Aggressions

On stage the percussionists are arranged into 3 quartets. Each group consists of a set of pitched and non-pitched instruments. For the most part, the positioning of the players is for the sake of balance; however, there are sections in the music where the parts are choreographed for special sonic and visual effects. This composition is designed to appeal to all types of audiences: the music is sophisticated , yet because of its programmatic nature and the dazzling and powerful musical imagery, it can be enjoyed by almost anyone. SCI-FI PERCUSSIVES is a large-scale ensemble work (comprised approximately of 75% keyboard percussion) with some parts which will challenge accomplished players, and other parts that will accommodate those of intermediate ability. SCI-FI PERCUSSIVES received its premiere performance on April 6, 2001 in Tampa Florida by the University of South Florida Percussion Ensemble.
Duration: 18 minutes

The ensemble is divided into 3 groups of 4 players, the instrumentation is:
Group 1
  • Percussion 1: orchestra bells, conga drum, 2 suspended cymbals
  • Percussion 2: xylophone, wood block
  • Percussion 3: marimba
  • Percussion 4: bongos, 2 suspended cymbals (medium and large), slapstick, air raid siren
Group 2
  • Percussion 5: vibraphone
  • Percussion 6: marimba (5 octave)
  • Percussion 7: 4 timpani tuned C, D, E-flat and F, one cowbell (large), crotales (1 octave)
  • Percussion 8: roto toms (5), large tam tam, lion roar, bass drum, maracas, 2 suspended cymbals (medium), triangle (medium), bell tree, snare drum, hi-hat
Group 3
  • Percussion 9: orchestra bells, tubular bells, sleigh bells, guiro, temple blocks, maracas
  • Percussion 10: xylophone, snare drum
  • Percussion 11: marimba
  • Percussion 12: bongos, 2 suspended cymbals (medium and large), ratchet
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Howard J. Buss (b. 1951) is recognized internationally as an outstanding composer of contemporary classical music. His compositions have received critical acclaim and have been performed in more than 50 countries. His music is widely performed and frequently featured at national and international music conventions and festivals. They have been performed by faculty musicians from major universities as well as current and former members of prestigious organizations such as The Boston Symphony Orchestra, Minnesota Orchestra, Buffalo Philharmonic, Israel Philharmonic, Berlin Philharmonic, Vancouver Symphony, Atlanta Symphony, the New York Philharmonic, the Chicago Symphony, etc. A copy of his patriotic composition FANFARES is included in the Presidential Collection of Ronald Reagan.

Buss more than 100 published works include instrumental solos, chamber music, symphonic, choral, and band works. They are fast becoming part of the standard repertoire in concert halls. The legendary Leon Russianoff described Dr. Buss style as "imaginative, sincere, rewarding to both performers and audiences, and without the gimmickry which is so prevalent in contemporary music today." Upon hearing his music critics have written: "By far the nights most memorable piece" - The Los Angeles Times, "This is truly one of the finest works in our idiom" - Robert McCormick in the Florida Percussive News, and "The evenings highlight - The Maine Sunday Telegram.

Buss has received numerous awards and his commissioned works include original compositions as well as arrangements. He is a sought after guest composer, clinician, and contest adjudicator. His works are frequently selected to be included and analyzed in doctoral dissertations, lectures, professional music journals, and music literature bibliographies, and a number of his compositions have been commercially recorded. Howard J. Buss received his B.A. in Applied Music from West Chester University, M.M. in Performance and M.M. in Composition from Michigan State University, and D.M.A. in Composition from the University of Illinois. He is the founder and editor of Brixton Publications (ASCAP) and Buss Publications (BMI) which publish contemporary American concert music. His wife, Judy Buss, is an accomplished musician/teacher who serves as woodwind editor for Brixton Publications.

Howard J. Buss can be contacted at:
Phone/Fax: (863) 646-0961
e-mail: hbuss@brixtonpublications.com