Diversify the Stand | Resilient Roots (Tuba)

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C PIANO SCORE (TUBA)

A Collaboration Between Diversify the Stand & Meredith Q. Fuller

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Resilient R�ts 13 Progressive Solos for Beginning to Intermediate Tuba and Piano

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With music by Kevin Day, Jose Flores, Meredith Q. Fuller, Charlie Drew Johnson, Gabriel L. Newvine, Jennifer Oliverio, and Jasmine Pigott

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C PIANO SCORE (TUBA)

A Collaboration Between Diversify the Stand & Meredith Q. Fuller

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Resilient R�ts 13 Progressive Solos for Beginning to Intermediate Tuba and Piano

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With music by Kevin Day, Jose Flores, Meredith Q. Fuller, Charlie Drew Johnson, Gabriel L. Newvine, Jennifer Oliverio, and Jasmine Pigott

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C PIANO SCORE (TUBA)

Resilient R�ts

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13 Progressive Solos for Beginning to Intermediate Tuba and Piano

Table of Contents

Notes from the Editors...........................................................................................................................................i Project Sponsors .................................................................................................................................................... ii

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Composer Bios and Program Notes .............................................................................................................. iii Rex, Jennifer Oliverio ............................................................................................................................................2 The Flower is Blooming, Jose Flores .................................................................................................................4 Tuba in the Spotlight, Jasmine Pigott ..............................................................................................................6 Skipping Rocks, Charlie Drew Johnson ..........................................................................................................9 Following the Gentle Stream, Meredith Q. Fuller ................................................................................... 12

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Undercurrent, Gabriel L. Newvine ............................................................................................................... 14 Lilypad Song, Kevin Day ................................................................................................................................... 18 The Flower Has Bloomed, Jose Flores .......................................................................................................... 20 Overcurrent, Gabriel L. Newvine .................................................................................................................. 23 Two-Step, Kevin Day .......................................................................................................................................... 27 Desired Paths, Charlie Drew Johnson ......................................................................................................... 30 Wisteria Willows, Jennifer Oliverio.............................................................................................................. 36 The Introspective Introvert, Jasmine Pigott ................................................................................................ 40

© 2026 Diversify the Stand Inc. Printed and Distributed by Just a Theory Press Published by Diversify the Stand Inc. www.diversifythestand.org

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Notes from the Editors

Over the past six years, Diversify the Stand has launched three collections of educational solo repertoire: Winds of Change, reSounding Progress, and The Chroma Collection. What began as two trumpet players wanting to make change has turned into partnerships with other performers and educators who also want to fill gaps within solo instrument repertoire. We are thrilled to be working with Dr. Meredith Q. Fuller to expand this area for beginning and intermediate tuba and euphonium players and educators.

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We are working with seven (!) incredible composers who each have written a few solos for either beginner or intermediate soloist and piano. Similar to Winds of Change, the book is meant to be progressive, increasing in difficulty as you grow with the book. We hope you enjoy these new pieces as a way to diversify your own repertoire and/or the music you share with your students!

We always like to share additional ways performers and educators can support the composers in this project:

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Purchase this book! Proceeds from each book sale go back to each composer, so buying the book and sharing this project with your friends, colleagues, and students can go a long way!

Report Performances: If you program any of these pieces, email the composer(s) a copy of your program! Composers receive money for every performance of their music from performance royalty organizations. They also just love to know when their music is being played! This is a small thing that makes a huge difference for composers, and so we’ve included ways to get ahold of each composer at the bottom of each work.

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This book could not have been possible without the incredible low brass community which came together to support this newest collection. We will forever be grateful to the amazing composers who said yes to this project. We are so thrilled to have you as part of our Diversify the Stand team and cannot wait to share your music with our community. It has been an absolute joy to work with you, and we hope everyone enjoys your musical works as much as we do!

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– Dr. Carrie Blosser & Ashley Killam

Resilient Roots was a dream of mine that stemmed from a passion to give beginner tuba and euphonium students a quality music education with quality music. With the help of Ashley and Carrie at Diversify the Stand, this project has become reality.

My doctoral research focused on the apparent gaps in skill level of low brass students (specifically tuba and euphonium) compared to their other instrumental counterparts. Some factors included band music that did not challenge students, a lack of clear solo music for beginning levels, and a lack of understanding and awareness to the solo repertoire options for beginning low brass instruments.

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In a survey conducted during that research, many teachers view beginning levels as the hardest level to teach, while also valuing solo literature the least in these stages (compared to method books and etudes). A significant barrier to closing these skill gaps is the lack of solo repertoire that is readily accessible to band directors/private teachers and is appropriately sequenced for beginning students' technical and musical development. Additionally, there is a need for more repertoire that showcases the breadth of today's living composers.

We now have Resilient Roots that includes 13 new solo works of progressive levels! The collection encompasses 7 different living and underrepresented composers that have shared their talents. All composers have a strong understanding of brass pedagogy, and many are low brass musicians themselves!

Thank you to Diversify the Stand, my DMA advisor, Dr. Jenine Brown, my mentor, Ms. Velvet Brown, and my first tuba teacher, the late Mr. Randy Marks.

I hope this book becomes a valuable resource to teachers and students alike.

With gratitude, Dr. Meredith Q. Fuller

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Project Sponsors

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Payne Akins Samuel Ambrose Baltimore Brass Company, Christopher Greco Nick Beltchev Amy Schumaker Bliss Christopher Bloom Adam B. Crowe Cimarron Music Press Michael Fleming Full-Blown Trombone Sara Fuller Ramon Garavito Jr. Tom and Denise Hedlund Cameron Hornberger International Tuba Euphonium Association (ITEA) Adrian Montero Natalie Mundis Peabody Institute Nathan Shook Serena Smith Scott Sutherland

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Praised for his “sweeping” and “lush” orchestrations (Wall Street Journal), Dr. Kevin Day (b. 1996) is an award-winning, multidisciplinary composer, jazz pianist, and conductor based in San Diego, California. Internationally acclaimed as one of the world’s leading musical voices, Dr. Day’s work is known as a vibrant exploration of diverse musical traditions from contemporary classical, cinematic, jazz, R&B, Soul and more. A unique voice in the world of classical music, Dr. Day takes inspiration from a broad range of sources, including romanticism, late 20th century music, jazz fusion and gospel. Across all areas, his work explores the complex interplay of rhythm, texture and melody across genres.

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Dr. Day burst onto the musical scene in 2018 with his Concerto for Euphonium, which has since gone on to become a Classic FM sensation. Since then, he has been commissioned and performed by ensembles including the Cincinnati Opera, Cincinnati Symphony Orchestra, Houston Symphony Orchestra, Fort Worth Symphony Orchestra, New Jersey Symphony, Las Vegas Philharmonic, Tokyo Kosei Wind Orchestra, Dallas Winds, Nu Deco Ensemble, U.S. Coast Guard Band, “Pershing’s Own” U.S. Army Band, “e President’s Own” U.S. Marine Band, U.S. Navy Band, U.S. Air Force Band, e Boston Brass, Latitude 49, Lincoln Trio, Capitol Quartet, Tesla Quartet, Castle of Our Skins, Puerto Rican Trombone Ensemble, Sheffield Chamber Players, and many others throughout the United States, Canada, Austria, Taiwan, South Africa, Australia and Japan. His music has also been streamed over a million times across platforms worldwide.

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Dr. Day is the recipient of numerous awards including the MacDowell Fellowship for Music Composition, the BMI Composer Award, 3rd Prize of the Alexander Zemlinsky Prize in Chamber Music Composition, the ITEA Harvey Phillips Award for Excellence in Composition, a Copland House Residency Award, the TCU Alumni Outstanding Young Professional Award, a three-time ASCAP Morton Gould Finalist, a nalist for the ABA Sousa-Oswald Award, a nalist twice for the NBA Revelli Award, and many more. He was also selected as the 3rd Prize Winner of the New Classics International Competition for Young Composers at the Moscow Conservatory. In 2025, Dr. Day was inducted into the TCU Band of Fame.

Dr. Day’s rst opera, Lalovavi, was premiered in July 2026 to much acclaim from audiences and critics alike. Featured on PBS’ e Art Show, this work is the rst of three commissioned works by the Cincinnati Opera to engage Black creators to tell Black stories. is monumental grand opera marks Dr. Day’s largest musical work to date, while also being recognized as the rst grand opera to have an Afrofuturist theme, to incorporate the Black American language known as Tut, and to feature the euphonium as part of its orchestral orchestration. His second opera, For e Love Of Uvalde (based on the acclaimed play by librettist Dr. Ayvaunn Penn), is a chamber opera commissioned by the TCU College of Fine Arts and Urban Arts Initiative, and will be premiering in 2027.

Lilypad Song Two-Step

iv Jose Flores is a band director, composer, and educator from San Antonio, Texas. He earned his Bachelor of Music in Music Studies with an Instrumental Emphasis from e University of Texas at Austin in 2020, where he studied Euphonium under Mr. Charles Villarrubia, and composition under Dr. Bruce Pennycook.

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Since 2021, Flores has served as the Director of Bands at Akins Early College High School in Austin, Texas. Under his leadership, the Akins band program has earned consistent Superior ratings at UIL Concert and Sightreading evaluations and was recognized as a Commended Winner in the Mark of Excellence National Wind Band Honors in both 2024 and 2025.

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As a composer, Flores has received national and international recognition for his work, including the U.S. Army Band “Pershing’s Own” Euphonium Solo Composition Contest Winner, Finalist in the When Tuba Comes One Composition Contest, Honorable Mention in the Rodrigo Landa Romero Composition Contest, Finalist for the 2019 ITEC Winston Winston Morris Composition Award, Finalist for the 2023 ITEA Winston Morris Award for Tuba Ensemble Composition, and Winner of the 2023 ITEA Harvey Phillips Award for Excellence in Composition.

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Flores is passionate about developing well-rounded musicians through high musical standards, creative expression, and meaningful educational experiences. He remains actively engaged in composing, teaching, and mentoring young musicians while contributing to the continued growth of music education in Texas and beyond.

e Flower is Blooming e Flower Has Bloomed

v Dr. Meredith Q. Fuller (she/her) is a tubist and low brass educator based in the Baltimore area. She holds a Doctor of Musical Arts degree from e Peabody Institute of the Johns Hopkins University. Originally from Pennsylvania, she is an alumna of the Penn State School of Music, where she earned her B.M.E. and M.M. degrees.

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Meredith’s passion for the tuba began in elementary school when she volunteered to try the instrument during a Music in Our Schools Month demonstration. Initially chosen because she was a small girl, she quickly developed a love for the tuba, which set her on a path to pursue a professional career in music. She realizes that not every young student has as much support and opportunities as she did in public school, and advocates for music education, outreach, and advocacy for marginalized groups in the brass and tuba community.

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Meredith is a low brass teaching artist with the Baltimore Symphony Orchestra’s OrchKids program and teaches privately around the area. She was recently appointed as a faculty member with the Baltimore School for the Arts and its Twigs program, where she serves as the tuba and euphonium

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instructor. From 2022-2024, she was the adjunct professor of tuba and euphonium at Penn State University. As an active performer, she is an inaugural member of the Chrysalis Orchestra, and has performed with ensembles such as Seraph Brass, Monarch Brass, York Symphony Orchestra, and Altoona Symphony Orchestra. In 2025, she was a Featured Artist for the 2025 International Women’s Brass Conference in Hartford, CT.

Following the Gentle Stream Following the Gentle Stream was written for Resilient Roots. As a collaborator with Diversify the Stand, this project stems from my steadfast belief that beginning and intermediate low brass musicians should have access to fun and attainable solo music. is inspired me to create this project and contribute my own piece to the collection.

Following the Gentle Stream evokes a calm energy with a few playful interjections – like a leaf following a stream’s gentle current, but on occasion, nding a ripple. is piece encourages the dramatic contrast between the relaxed and owing style versus the accented and lively measures. is piece also serves as a reminder to enjoy the journey, AND the little dips on the way!

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Charlie Drew Johnson (b. 2002 in Minneapolis, MN) is a composer, performer, and educator based in Eugene, OR. eir music explores an eclectic range of styles for a variety of ensembles and solo instruments, as well as electroacoustic music. eir musical inspirations often range from topics like nature and science to fantasy and video games. In 2025, Johnson was the winner of the International Women’s Brass Conference Composition Competition and the Colorado Wind Ensemble Inclusive Repertoire Award. ey hold a bachelor’s degree in music education from the University of Nebraska-Lincoln, and they are currently pursuing a master’s degree in music composition under Dr. Robert Kyr and Dr. David Crumb at the University of Oregon. eir primary teachers also include Bo Atlas and Dr. Benjamin Dean Taylor.

Skipping Rocks

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In Skipping Rocks, I wanted the melody to feel both light and bouncy, so I chose to feature slurred legato lines throughout the etude, interrupted by brief staccato gures. To add to the bounciness of the etude, I also included grace note gures in the piano accompaniment that symbolize a rock skipping across water and eventually plummeting.

Desired Paths

In Desired Paths, my goal was to create something a bit more contemplative. A desired path is an unplanned path that forms naturally over time, and despite diverting from a planned path, leads to the same place. I imagine the progression of the etude similarly to the formation of a desired path. A theme is established at the beginning and expanded on and reharmonized in the middle to create a sense of divergence from the original theme before returning to it in the nal section.

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Gabriel L. Newvine (b. 2000) is an award winning composer, educator, and performer based in Columbia, South Carolina.

With a focus on theatricality and the intricacies of living, Gabe’s works have been performed domestically and abroad, by ensembles and soloists such as Loadbang, CAMP, VICE quartet, Lee Hinkle, Velvet Brown, and many more. Gabe completed his MM at e Pennsylvania State University with Dr. Baljinder Sekhon and Dr. Sarah Genevieve Burghart Rice in 2025, and is currently pursuing a DMA at the University of South Carolina with Dr. Fang Man and Dr. John Fitz Rogers.

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Gabe is an active member of the composition community and has been invited to multiple new music festivals, such as New Music on the Point, e Cortona Sessions, Longy’s Divergent Studio, Mostly Modern Festival: e Netherlands, Valencia International Performing Arts Composition Workshop, the Iceberg New Music Institute and more.

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Gabe has been selected for a variety of awards for his compositional and academic research, such as the e Whittaker Commission, 15 Minutes of Fame featuring Eunice Koh, e Penn State Creative Achievement Award, the Sparrough Award for Excellence, the International Tuba and Euphonium Tuba Solo competition, and the Penn State Call for Scores.

Gabe has had the privilege of working on multiple full length and short lms, including lms like Good Company, Frail Grounds, A Girl in Frame, and A Fictional Affair. ese scores ranged widely in genre, including cinematic orchestral music, ambient electronic music, and everything in between.

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Among his most recognized and performed works are those for the tuba and euphonium community, including compositions like his award winning piece 12-Tonal for Tuba and Piano, Time is a thief. for Tuba and Piano, It gets better. for Tuba and Piano, and many more. ese works stem from Gabe’s belief that we need a little more tuba and euphonium in new music spaces.

Gabe also has extensive experience in arts administration. He served as an officer for the Penn State Blue Band, e Lion’s Paw Senior Society, Empow(h)er, Penn State’s Living Music, the Penn State chapter of the International Tuba and Euphonium, the Center for the Performing Arts Student Council, and many others.

Undercurrent and Overcurrent Undercurrent and Overcurrent are works for beginner and intermediate tuba. ese pieces, commissioned by Diversify the Stand and the phenomenal tubist Meredith Fuller, act as a diptych, exploring the movement of energy and growth.

Undercurrent, as in the interesting gestures of water under the surface, explores this idea by presenting long and owing gestures in the tuba underneath a babbling stream of notes in the piano. Overcurrent, as in the degradation of a wire from receiving too much energy, presents a chaotic and electrifying sound world which dances and jumps all over the place.

When paired together, these pieces aim to present an interesting and novel playing experience for young performers, and show them what one can do with the right drive and energy.

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Dr. Jennifer Oliverio is an award-winning cornet and ugelhorn player based in Dallas, Texas. She is a passionate performer, dedicated educator, and enthusiastic composer who works as the Senior Lecturer in trumpet at the University of North Texas. Jen currently holds positions with the Fountain City Brass Band, Athena Brass Band, and Calypsus Brass. Alongside internationally recognized pianist, Kristy Mezines, she performs in a cornet/piano duo under the stage name Mother Chaos that focuses on premiering and performing original pieces and works by living composers. Her previously held faculty positions include Missouri Western State University and Oakland University.

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Jen has enjoyed recent appearances as a featured performer and clinician at the International Trumpet Guild Conference, RNCM Brass Festival, and the Eastman Summer Trumpet Institute.

Additionally, she has been a substitute musician with Seraph Brass, the Kansas City Symphony, the Kansas City Ballet, and the Rochester Philharmonic Orchestra.

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Since the start of her composing career in late 2024, Jen has received an incredible amount of support with documented performances taking place in 25 states and 3 countries. Her works have premiered at prestigious events like the International Women’s Brass Conference, Brass Institutes of America, Interlochen Trumpet Intensive, Colorado Music Educators Conference, Big-12 Trombone Conference, and the Rafael Mendez Brass Institute.

Current projects include commissions for the Athena Brass Band at the Midwest Band and Orchestra Clinic, Mary Elizabeth Bowden and the Montgomery Symphony Orchestra, and Dr. Jason Bergman.

REX

REX was commissioned by Dr. Meredith Fuller and Diversify the Stand for their newest collection, Resilient Roots. REX encapsulates the character and fear of the leading land predator from the Cretaceous Period. e themes of this piece are found in the heavy quarter notes (the T-Rex’s thundering footsteps), the left hand piano ostinato (the panicked scurrying of potential prey), and the right hand piano interjections (the warning calls from potential prey that danger is coming).

Wisteria Willows Wisteria Willows was commissioned by Dr. Meredith Fuller and Diversify the Stand for their newest collection, Resilient Roots. It sounds like a summer breeze running through the trees. With a sense of calm and freedom that ows through each phrase, the listener is welcomed into a space of serenity. Both Wisteria and Willow trees feature cascading branches and rustling leaves, their presence emanates a true sense of peace.

ix Dr. Jasmine “Jazzie” Pigott is an interdisciplinary storyteller and truth-teller whose work lives in the West African griotte tradition.

She uses tuba, voice, spoken word, composition, novel-writing, and acting to tell truth about liberation, identity, reclamation, and selfauthorship.

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As a composer, Dr. Pigott’s music always tells a story to be received by all audiences. She writes for a variety of instrumentations: solo instrumental, brass ensemble, chamber ensemble, and other large ensemble pieces. Her largest work is Roots Torn, Routes Chosen: A Story of Black Migration for griotte and wind ensemble, the rst piece in a genre she named a narrative symphony.

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As a performer, Dr. Pigott is known for her artistry, virtuosity, and ease on the tuba. She regularly tours across the United States and Latin America as a soloist and clinician, using the tuba as an extension of her voice to tell stories through recitals, concerti, and masterclasses. She has been an adjudicator for various national and international brass competitions.

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Beyond music, Dr. Pigott is a published novelist of and the author of eleven completed novels, including De Solars (2011) and Siren. Her novel Siren is currently being adapted into a prequel play called Caged. Her ction and her music share the same thesis of self-

liberation being the key for systemic liberation. In 2026, in recognition of her interdisciplinary artistry, she was selected to be a national panelist for the music and lm division of Detroit’s Kresge Arts Fellowship.

Dr. Pigott attended Ithaca College (B.M.), Michigan State University (M.M.), and the Peabody Conservatory at Johns Hopkins University (D.M.A.). Dr. Pigott is currently the Adjunct Professor of Tuba at Rowan University. She is a Meinl Weston Performing Artist and member of ASCAP.

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You can learn more about Dr. Pigott at her website jasminepigott.com.

Tuba in the Spotlight

For many young tuba players, their musical experience begins in the back of the band, playing whole notes, background parts, and the foundation everyone else gets to build on. I myself remember being in the back of the ensemble falling asleep playing whole notes while the other instruments got to have the melody, dreaming about the day I could be asked to do more. Tuba in the Spotlight is the answer to that, giving the young tubist a chance to step out front. With an accessible melody-driven solo, this piece lets students experience what it feels like to be the voice the audience is listening to rather than just the foundation underneath everyone else. It’s a rst taste of solo playing, and a reminder that the tuba has far more to offer the world than whole notes in the back of the band.

e Introspective Introvert e Introspective Introvert is that moment when something as small as a request to hang out sets off a whole decision spiral, trying to decide whether it’s worth it to leave the house and be social. e opening Maestoso captures the weight of that hesitation, enjoying the comfort of staying in the familiar safety of home. e Moderato middle section shifts into racing thoughts, cycling between the pull of comfort and the possibility of something more beyond it. As the piece develops, those thoughts eventually begin to imagine what could go right as the theme returns transformed in major. And in the nal Maestoso, the decision is made: they step outside to take on the world. It’s a piece about the quiet courage it takes to leave what’s comfortable, written for players ready to step out of their comfort zone and explore the full expressive range of the tuba.

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Jennifer Oliverio

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Copyright ©2026 Jennifer Oliverio. All Rights Reserved.

For performances, please email a copy of your program to Jennifer at jennifer.fox29@gmail.com.

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e Flower is Blooming for tuba and piano

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  









 

  



 



 





     



  





A





















    









 











 













    

       

Copyright ©2026 Jose Flores. All Rights Reserved.

For performances, please email a copy of your program to Jose at jm or97@gmail.com.

 

  

 











R E

   

PE R



 

4





SC O

Piano

  

Tranquillamente  = 72

U SA L

Tuba

Jose Flores



 

 







 

 

    

      

 

14



    





 

18



    



   

    

 

  





















 





   

 



   

 

  



    

 



     

     

      

    

    



    

     

    







 



 

 

    

   





R E



PE R



  



5

U SA L



   B

Piano Score (Tuba)

SC O

Flores: e Flower is Blooming





 





  









  





Piano Score (Tuba)

written for Resilient Roots

6

Tuba in the Spotlight for tuba and piano



















                              

    































A













  







  



U SA L

                                          



PE R



 

4





R E

Piano

   

SC O

Tuba

Jasmine "Jazzie" Pigott

 

8





  

































                                          





















Copyright ©2026 Jasmine Pigott. All Rights Reserved.

For performances, please email a copy of your program to Jasmine at info@jasminepigott.com.











Pigott: Tuba in the Spotlight











       



















































        





R E

  B











 





                                  

  

 

17







 



























                               

PE R





            

7

SC O





12

U SA L



 

Piano Score (Tuba)

  

19









       

                                    







Piano Score (Tuba)

8















                                 



 



  

































R E

  C





  









                                 

 

25







  





  

    











                                         

  







PE R



 









SC O





U SA L



 

21

Pigott: Tuba in the Spotlight



   

29





 



 









                          

  















 

 



Piano Score (Tuba)

written for Resilient Roots

9

Skipping Rocks for tuba and piano



 





  A



    



 



     

    











                                      

   

       



 



   

  

   





  

U SA L





     

 

       

PE R



 

4



 



R E

Piano



 = 112

SC O

Tuba

    

Charlie Drew Johnson













 

        

   





 





  

  

    





 

  

  

   

 

  

       



 



 



     

 



                                                                    

Copyright ©2026 Charlie Drew Johnson. All Rights Reserved.

For performances, please email a copy of your program to Charlie at charliedjohnsonmusic@gmail.com.

Piano Score (Tuba)

10

    



       

 

14





    

  

      

 

17



       





     

 











 



 

20





    

  

 

 

 



 







 







            

 



          

 



 

    









C

 



      

    

 

 



               











 







                                  



          

 

 



R E









PE R





SC O





B

U SA L



 

11

Johnson: Skipping Rocks



  

  



                 



 





 

                 

 



 

               

 

 



 

   

 

 

 

 



     D





             

  







 



 





 



 

          

32





    





   



             



 







     

 





 

 

 

               





   

  

   

       





  

    



  



 



 





  

    



 







     

    

 

29





 

           

26

 









SC O

 









PE R





11









U SA L



 

23

Piano Score (Tuba)

R E

Johnson: Skipping Rocks



 

sub.









 

 

                

 





     

                  



Piano Score (Tuba)

written for Resilient Roots

12

Following the Gentle Stream for tuba and piano





  

   















  

9

  

   







  





    

 







    

  





 

 



  







 

 

 



  

     





 











       







R E



   

        

PE R



  A



     



SC O

Piano

   

U SA L

Tuba

Moderato

Meredith Q. Fuller





       

Copyright ©2026 Meredith Q. Fuller. All Rights Reserved.

For performances, please email a copy of your program to Meredith at meredith.qiang@gmail.com.

    





  







  







  







  





    

 



 



  



 





 

  

  



       

23



 

 

    

18













 

     

28





 

    







 

 

  

   





     

PE R



  

    

 

 

 



  





   



 

 



C

 









 











  

     





   











  









   

   







     













  

     









 







 

13

   

  

  





R E



  



U SA L



  B

Piano Score (Tuba)

SC O

Fuller: Following the Gentle Stream



 





  

 

 









  







      





   

     

 



Piano Score (Tuba)

written for Resilient Roots

14

Undercurrent for tuba and piano





   

   



   





  

 

5





                      

  



R E

     

   

PE R



 

3





SC O

Piano

   

Adagietto,  = 72

   

U SA L

Tuba

Gabriel L. Newvine



    







     



 





   



 

       



                                     

                                   

Copyright ©2026 Gabriel L. Newvine. All Rights Reserved.

For performances, please email a copy of your program to Gabriel at gabriellnewvine@gmail.com.

Newvine: Undercurrent



 









                                    

9







  











 



 

 













  



R E

   

 

















                                     

11





 

 

















   





 





         

                                  

PE R





A

SC O



 

7

15

U SA L



Piano Score (Tuba)

 

13













          



  

 













  



                       

                                  

 

Piano Score (Tuba)

16



 

 

 







                                    

18







 















R E

   





                                    

   

 

20

 

 















  

 

                                                               

PE R







SC O





U SA L



  B

Newvine: Undercurrent

 

22





 

















       



    



  



 





 



  





  





  

PE R U SA L SC O

R E

Piano Score (Tuba)

written for Resilient Roots

18

Lilypad Song for tuba and piano



         



 



 

    



  

  







 









    









 







  







  

 











  

    



 



  

  

  





  





Copyright ©2026 Kevin Day Music (BMI). All Rights Reserved.

For performances, please email a copy of your program to Kevin at contact@kevindaymusic.com.





   















     

    









  

  

  









   



 







       





     

  





U SA L









  A

  



 

 

  

        

      

 

PE R



 

5





R E

Piano

   

Bouncing like a frog, moderate tempo  = 86

SC O

Tuba

Kevin Day













      



   







 

  









 

21





 

   





 

  







 

        

 



 









 

     

 









  











  







   

 



       

  

















  

     









         

  

   





   

 





U SA L

 

 

    

  

  



 

B





19

SC O

  



PE R



     





 

13

Piano Score (Tuba)

       

R E

Day: Lilypad Song

      



  



    

 



   













     



    





  

   

  

Piano Score (Tuba)

written for Resilient Roots

20

e Flower Has Bloomed for tuba and piano

       

          

    

  







         

 

 

     

 









     



  

   



        

11



  



U SA L

A



PE R







   

  



















  

        



  

   



       



   

    

 

  

     



Copyright ©2026 Jose Flores. All Rights Reserved.

For performances, please email a copy of your program to Jose at jm or97@gmail.com.













  

        

      

 





  









R E

Piano

   

SC O

Tuba

Grazioso  = 108

Jose Flores

    



      





    



   

21

     

       

 

27

 





  



  





     

    

   

  

  



33

     

   

  

         





  







  



    



   



  

  





  

  



      



  

       



    

  

  

     



   

        

        

PE R



 



      



      

     

     

     

      

       

21

SC O



B

U SA L





 

16

Piano Score (Tuba)

R E

Flores: e Flower Has Bloomed

  

 

       









   

   

C

   

             



  

  

  

 

       







  

    





  

 



    



   

    



 

    

Piano Score (Tuba)

  D





    





           



 

  

49

    

  







  E



 

 

  

    

      



    

      





  

  



     

       



      

  



  

  



   



 



  



  

    

 



      



   



      



  

     



  

 

  



  

        

PE R



       



  

    

     

SC O





U SA L



 

39

Flores: e Flower Has Bloomed





  

 



  

       

 

    





       



    

R E

22

  





 





  

  



     

 

   

        

 







  

   



  

  

 

Piano Score (Tuba)

written for Resilient Roots

23

Overcurrent for tuba and piano



    

 

 





       



6



  









            

 









            

 

                         

 









 



           

           

           







   







   



R E



PE R



 

3



    





SC O

Piano



Moderato  = 108

U SA L

Tuba

    

Gabriel L. Newvine

  

 







       



       





    

    sub.            

Copyright ©2026 Gabriel L. Newvine. All Rights Reserved.

For performances, please email a copy of your program to Gabriel at gabriellnewvine@gmail.com.

Piano Score (Tuba)

24



               

      





     

 

A

13

     

 



 

 



 

19





 

 



 



  







                                                    

     

16



 

 



R E

                                                                                                          





PE R



              

SC O





              

U SA L



 

9

Newvine: Overcurrent







  

 









   

  









 

  



   





  



 



    



  

  

   



  













   





   

25







 





  

       

28



   

 

 

 

  



  

 



   

 



 

31

   

 





  



   

B

    



 



 





 

 

  

  

  



    

   

   

      



              

 

 

  

 

  

PE R



 



25



   



 

  



    

   

 

 



SC O





U SA L



 

22

Piano Score (Tuba)

 

R E

Newvine: Overcurrent

      



 

 



  

 



 

 

 

  

  

 



 

   



  



 



 

 



Piano Score (Tuba)

 

38



 



 



 

   

41

   





 

 











   



   

44

   

       



 

  



 









 



















  

PE R



 







 



 











 

  

   







  







 



    

 





 



   





















 









 





 







 





        

          

 

     

SC O









U SA L



 

35

Newvine: Overcurrent

R E

26

   

       

   





 

    



 



 











 

   

Piano Score (Tuba)

written for Resilient Roots

27

Two-Step for tuba and piano

 

  

    



 





   



    

  

  

    

 

 



    

12

   

 





         







    

 





 



    

A



       

 





 

 



 







 



       

  



 

 



       





  

 



 

U SA L



 

 



PE R



  

6



 

    





 







  

  



    

 



 

 

 





R E

Piano



In a Groove  = 104

SC O

Tuba

  

Kevin Day

 





Copyright ©2026 Kevin Day Music (BMI). All Rights Reserved.

For performances, please email a copy of your program to Kevin at contact@kevindaymusic.com.

    





 



 

 

  

 



 









 



 



 



 



 

  



    

Piano Score (Tuba)

    



  

  

22

   

 

27

 



    



 



    

 





     



 

  

 





     

 

 



 

32



 

 



      

 



 

 



 





 

  







 

  





    

  

PE R













 



    



 



    

 

D





  



 





  









   

 

 



 

 

  

 

C







SC O



 







 



  

  







    

U SA L



  B

Day: Two-Step



  



 

  

 

 



 



  

  

 

 

 

  



 



      

  







  

   

 

 

 



 



 

     



 



 

  

R E

28

    





 

 





 

 



 



    

  

 



 

  

    

 

    

     

47

 

  

 

 

   

 



  

52

     

  

 



  

 

  

 

 





  





  

42





  







 



 



  

PE R









 

 

 

 



 



       



 

    

 

      

 



 

  

  

 



 

F

 

 

  



    

 

 





 

      



  

 

  

E





  



 





      



    

 





 





  





 

   



 

 



  

      



 sub.

 

 

  

 

          

  

             

 

 





29

SC O



    



 

U SA L



   

37

Piano Score (Tuba)



 



 

R E

Day: Two-Step

 

            sub.         

 



    

 



  

 

 



  

    

     



   



   

       

Piano Score (Tuba)

written for Resilient Roots

30

Desired Paths

   







R E



       











                               



PE R



  

3



    



SC O

Piano

  

Charlie Drew Johnson

U SA L

Tuba

 = 104

for tuba and piano

  

5

  







                  





 

        

Copyright ©2026 Charlie Drew Johnson. All Rights Reserved.

For performances, please email a copy of your program to Charlie at charliedjohnsonmusic@gmail.com.



Johnson: Desired Paths



 











        



 

   

 

   



   

R E

 

10





                                               

                                   

 

   B

  













 

  



 

17



  

  







      

PE R







 



31

SC O







U SA L



   A

Piano Score (Tuba)





 

 

  



              



 









  



 





  





           

  



    

                                                             

Piano Score (Tuba)

32

    

25

  

  D

 

  







 



 

33



  

  



 



  

          

 



   

   

  

 

 



 





      







 

 





 

    





 















      

   



  

 



  



              

     

  

  

  

      

  

 

R E



PE R





         



SC O



  

  

 

U SA L



   C

Johnson: Desired Paths





 

      

  

 

  

 

  

 









  

      









  

  





     

  





 

      

  

  

 

     

  





  F

 

  

        

  



      

  



  

45







  

        



  



  



rit.



  





  



  





 



    





  







 

 





  

a tempo

 

 

  



  







                

  

   



G







    

R E

   

 

33

SC O

  





PE R



  E

Piano Score (Tuba)

U SA L



Johnson: Desired Paths



  



  









  

 









 















Piano Score (Tuba)

34



 









                                 

 

50



   



poco rit.





















R E









SC O











   



     



 

   



PE R





 

53



U SA L



  

48

Johnson: Desired Paths



   

















   

 

 



                                     

 

















   

PE R U SA L SC O

R E

Piano Score (Tuba)

written for Resilient Roots

36

Wisteria Willows for tuba and piano



 



  

  



  

10







R E

                                                     

    

   



PE R



 

5





SC O

Piano

  

Gioioso   = 68



A

   

     

  



   





   

                 

U SA L

Tuba

Jennifer Oliverio

          

   

           

 

   

     



 

   

 



            

             

   

Copyright ©2026 Jennifer Oliverio. All Rights Reserved.

For performances, please email a copy of your program to Jennifer at jennifer.fox29@gmail.com.

   



 







 

      

 

18

 

 

  C

 

 

 

 







 

  







     





 

26



 



  

   



 



      

   



 





    

   





 



  



 

  

  

 



 



 

 



    







    



 

 





    

 

        







 

   

  



                        

  



  



  

                    

                

PE R







37

SC O







 

U SA L



  B

Piano Score (Tuba)

R E

Oliverio: Wisteria Willows

D





      

    

          

      

   

 

    



    

Piano Score (Tuba)

38







                

 

34







 

38



     

   





 

      

E

   

 

              

 

42





 



  

  



 





  









     

    

  





  

    

 





 

 







  

 









     



 

  





   



  







  



    





   

     



    

R E



PE R





SC O





U SA L



 

30

Oliverio: Wisteria Willows











     





  







  

















  















 







 



           

53







 

 

 



 

  





  

57





  



  



  



  

       



 

    

F Grazioso   = 52

  









  



 

   







  



    



     

    

      

   

rit.







    

            

     

  



  

  

     



 

    



      

  



    

    

      



    

 



    



 

49

  



PE R



 







39

SC O





 

U SA L



 

46

Piano Score (Tuba)

R E

Oliverio: Wisteria Willows

  

Piano Score (Tuba)

written for Resilient Roots

40

e Introspective Introvert for tuba and piano





        







A



 

9









 





  

dolce, molto rubato

  





 



  



   











  



  

  

PE R



 

5



    





 

   



SC O

Piano

        



  

U SA L

Tuba













  

  

  



  

 

R E



     

Freely, Maestoso

Jasmine "Jazzie" Pigott



          

Copyright ©2026 Jasmine Pigott. All Rights Reserved.

For performances, please email a copy of your program to Jasmine at info@jasminepigott.com.

  



 

  



    



  

  







 

   

Pigott: e Introspective Introvert



        

        





        

                                                   

     

 

17











        

        









R E





        

        

                                                     sub.

 sub.

   

 

21









    





    















 





   



 

                    

                                                 

PE R



        

41

SC O



Moderato  = 80–92

B

U SA L



    

Piano Score (Tuba)

       C













 



 





 







 



 





 









 



                                          

    

 











Piano Score (Tuba)

42







    



 







 

 









 

 



 





 





 



  



 







 







 











   



 











 







                             

 

30



 

 

33





 sub.





D poco accel.

     







 





    

 



 

                 

 

35

 

 sub.

  

   





 



 

 

 



  

E A Tempo



            



 

   

     



      

 



 



 

           

  

  

    

                          



R E





PE R







SC O





U SA L



 

27

Pigott: e Introspective Introvert

 



  



  

  

  

    

            





  

Pigott: e Introspective Introvert

        



        

        

        







                                         

  F



  

   





    







          

 

45











    

       







  

 



 



                                   







    





                         



R E





SC O

   

PE R





43

U SA L



 

38

Piano Score (Tuba)







    





        





                                        

Piano Score (Tuba)

  

        

   

 

51





    



  







  

    

                    

  





  



    



  

  

 sub.

  

  H



Maestoso



  

molto espressivo

    

  

        

  

 sub.



 



 

    

 







  







  





    

  









    



 

  

  



        



 

  

  

  



    

  





    

  



 



  

     







 

    

 







  

SC O



PE R





U SA L



  G

Pigott: e Introspective Introvert

R E

44

   

R E

Diversify the Stand

U SA L

Winds of Change

SC O

Diversify the Stand is a Colorado-based non-profit dedicated to working with diverse musical voices to create accessible educational music. We commission works by composers marginalized by race, ethnicity, gender, and orientation. If you would like to help contribute to the creation of future collections, visit our website.

12 Progressive Solos for Tuba and Piano (2024) 12 Progressive Solos for Euphonium and Piano (2023) 12 Progressive Solos for Horn and Piano (2023) 12 Progressive Solos for Trombone and Piano (2022) 12 Progressive Solos for Trumpet and Piano (2021)

PE R

reSounding Progress

12 Solos for Trumpet, Cornet, or Flugel Horn and Piano (2023)

The Chroma Collection

12 Solos for Two Flex Instruments and Piano (2025)

Available at diversifythestand.org and justatheorypress.com