Astortango
SKU:
CB0038
$80.00
$80.00
per item
By Jason K. Nitsch
Give your band something that they'll love this season! With its strong countermelodies and light syncopation, Astortango brings Latin rhythm and percussion to the concert hall in a new and exciting way that is sure to please!
Medium
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Flute
Oboe
Clarinet in Bb 1
Clarinet in Bb 2
Clarinet in Bb 3
Bass Clarinet
Bassoon
Alto Sax
Tenor Sax
Baritone Sax
Horn in F 1/2
Horn in F 3/4
Trumpet in Bb 1
Trumpet in Bb 2/3
Trombone 1
Trombone 2/3
Euphonium (T.C.)
Euphonium (B.C.)
Tuba
Percussion 1:
Cymbals
Snare Drum
Percussion 2:
Triangle
Cymbals
Percussion 3:
Cabasa
Cymbals
Percussion 4:
Castanets
Percussion 5:
Bass Drum
Marimba
Oboe
Clarinet in Bb 1
Clarinet in Bb 2
Clarinet in Bb 3
Bass Clarinet
Bassoon
Alto Sax
Tenor Sax
Baritone Sax
Horn in F 1/2
Horn in F 3/4
Trumpet in Bb 1
Trumpet in Bb 2/3
Trombone 1
Trombone 2/3
Euphonium (T.C.)
Euphonium (B.C.)
Tuba
Percussion 1:
Cymbals
Snare Drum
Percussion 2:
Triangle
Cymbals
Percussion 3:
Cabasa
Cymbals
Percussion 4:
Castanets
Percussion 5:
Bass Drum
Marimba
The Astortango was written in the spring of 2019 for the Memorial High School Band (Frisco, TX). It is my own musical homage to Argentine Tango master composer Astor Piazzolla, as I have been a fan of the “Libertango” for many years. Initially, I considered producing a concert band arrangement of the “Libertango”, but abandoned that idea to focus on writing an original work in that style.
Included in this work is a featured trumpet solo, both a reflection of the wonderful abilities of the personnel in the ensemble for which it was composed and my fondness for Tine Thing Helseth’s several amazing versions of the “Libertango.” It seemed a fitting choice!
The percussion parts were constructed to allow for multiple levels of experienced performers to achieve success, while allowing directors and performers some degree of latitude for additions and subtractions…please feel free to expand or contract at the discretion of the conductor. At measure 76, although my preference is for the trumpet scoring to be performed as presented, it is also acceptable and equally effective to perform one or more of the following phrases down the octave.
Take care in all musical phrases to consider how this piece might be approached from an articulation standpoint, particularly in terms of musical weight, as though you were a string performer. The staccato notes should be approached much more like a pluck in terms of length and tonal energy.
In 2020 a new version of this piece was written for solo Bb Trumpet and String Quartet.
I hope that you enjoy!
Included in this work is a featured trumpet solo, both a reflection of the wonderful abilities of the personnel in the ensemble for which it was composed and my fondness for Tine Thing Helseth’s several amazing versions of the “Libertango.” It seemed a fitting choice!
The percussion parts were constructed to allow for multiple levels of experienced performers to achieve success, while allowing directors and performers some degree of latitude for additions and subtractions…please feel free to expand or contract at the discretion of the conductor. At measure 76, although my preference is for the trumpet scoring to be performed as presented, it is also acceptable and equally effective to perform one or more of the following phrases down the octave.
Take care in all musical phrases to consider how this piece might be approached from an articulation standpoint, particularly in terms of musical weight, as though you were a string performer. The staccato notes should be approached much more like a pluck in terms of length and tonal energy.
In 2020 a new version of this piece was written for solo Bb Trumpet and String Quartet.
I hope that you enjoy!
