Pneumatic Funk

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Michael Goodman

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Pneumatic Funk

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Tuba

©2020 Unanimous Productions

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© 2020 Unanimous Productions (ASCAP)

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Contact Information

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Michael Goodman 2732 Trappers Cove Trl. Apt. 2A Lansing, MI 48910 (517) 256-3197 michaelgoodman9@gmail.com

michaelgoodmanmusic.com

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Michael Goodman Composer

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The composition faculty of Michigan State University has described Michael Goodman’s music as dramatic, humorous, and energetic. He views composition as a communicative tool that enhances his ideas both musical and philosophical. His music stems from personal experiences of his own or close friends. He creates music that is organic by including acting, speech, humor, and drama. He is also known to combine various genres such as rock, jazz, and classical music to create a musical space that is uniquely expressive and authentic.

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Goodman’s compositions have been performed throughout North America, U.K., Portugal, Hong Kong, and Croatia by musicians, ensembles and festivals such as Sarah Lewis - 2nd oboist at Detroit Symphony Orchestra, Edward Goodman - assistant professor of saxophone at University of Arizona, Cacophonie, the Jackson Symphony Orchestra (MI), Musique 21, University of the Pacific, The Great Noise Ensemble, ensemble mise-en, Mise-en Festival, and Charlotte New Music Festival. Goodman’s Test Drive was the winner of the New Music Ensemble Category in the Michigan State University Honors Composition Competition and his piece Piano was nominated as a finalist for the Keene State College Call for Scores event.

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Goodman received his Master of Music degree and his Bachelor of Music degree in music composition at Michigan State University while studying under Ricardo Lorenz, Jere Hutcheson, Charles Ruggiero, and Mark Sullivan. Goodman has also studied under Joel Hoffman, Armando Bayolo, William Bolcom, Michael Daugherty, David Dzubay, Kieran MacMillan, and Marc Mellits. In addition, Goodman received his Master of Arts degree in Arts Administration at Florida State University.

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Goodman currently resides in Lansing, MI as a composer/arts administration freelancer.

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Dr. Brian McBride Commissioner - Tubist

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Dr. Brian McBride is currently on the faculty at Coastal Carolina Community College, Lenoir Community College, and Craven Community College in Eastern, North Carolina. As a professional tubist, his performance experience covers a wide range as a soloist, chamber musician, and performer with many orchestras throughout the nation including the Canton Symphony Orchestra, Westmoreland Symphony, Riverside Orchestra, Johnstown Symphony, and the Lansing Symphony Orchestra. McBride maintains an active performing schedule presenting recitals and masterclasses at numerous colleges, universities and conferences across the country. Recent solo performances include the Strauss Horn Concerto with the Riverside Orchestra, Rolf Wilhelm’s Concertino with the 440th U.S. Army Band, the International Tuba Euphonium Conference at Indiana University, the Midwest Regional Tuba Euphonium Conference at Illinois State University, Rutgers University (NJ), Carnegie Mellon University (PA), Kent State University (OH), and Wright State University (OH).

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McBride has been a prizewinner of many national and international competitions including the 2002 Leonard Falcone International Tuba and Euphonium Competition, the 2009 South East Regional Tuba Euphonium Artist Solo Competition, 2011 Midwest Regional Tuba Euphonium Artist Solo Competition, 2011 Leonard Falcone International Tuba and Euphonium Competition, as well as the 2012 International Tuba and Euphonium Competition in Linz, Austria. McBride was the recipient of the prestigious Cecil Collins Brass Award from The Manhattan School of Music in 2010 and has been honored for performances with The Manhattan Brass Quintet winning The Lillian Fuchs Chamber Music Competition in both 2009 and 2010.

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McBride received his Doctor of Musical Arts from Rutgers University (2018), Artist Diploma in Orchestral Performance from The Manhattan School of Music (2010), Master of Music from Carnegie Mellon University (2008), and Bachelor of Music from East Carolina University (2006). Principal teachers include Alan Baer, Craig Knox, Dr. Jeff Jarvis, and Tom McCaslin.

Instrumentation

Performance Notes:

Mute* From measure 1 to measure 22, the performer is requested to use a custom straight mute that contains a coiled steel strip inside the mute as shown below.

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Eb/F Tuba

From nothing to nothing.

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o If the performer does not have one in possession, then the performer can use a straight mute as an alternative.

Duration ca. 4:30

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Commissioned by Dr. Brian McBride

Pneumatic Funk Michael Goodman

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Bold  = 75

Mute* (see performance notes)

     

4

 



     



   

    

       

  



15





rP

 



   

   

   



Fo 

  

A Bold, with movement  = 75 - 90

       

 

  

3  rall.     3     

Open



   

  





22

 

      

       

er

    

        

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    

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   

     

        

rit.

12



 

U

      

 

se

 

8

18

      



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        

  o ©2020 Unanimous Productions

 

2 B Funky Groove  = 126



 

     

 

(dim.)

3

    

30

  



3

dim.

3

3

      

       

          3 o 

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27

  

    

y.

          3 

 



36

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                    33                               3   3 3    3                           3          3 39                                      sub.  

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3

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41

           



                    

Fo



43

            3



3



Like a Bass

loco

  

             

   



5

3 45

      

 





        

 

     



3

3



y.

3



5

47

          

            



3 

 

er 



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



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57

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  3

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3

                      sub.  sub.



                   sub.



    

                    

 

 



    sub. sub.

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   

     

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sub.

3

55

 3

53

sub.

    



          

     



3

D

sub.

 

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    3 

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49

                         3 3 sub.

           

  3

sub.

3

  

sub.

  

59

  3

   

           3 sub.



       

3a

        sub.

   



      



   

3

      

3

 3

y.

3

61

E 63

   65     





3



67

     



                           3 3  3

   

69

er

rit.



3





 3

3

3

3



3



rP

   



 sub.

  

F Cadenza



     

Fo





 

3

 

  

                      

3

  





us

          

          

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3

71

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 

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

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    

3

 

3

 

rit.

           

  

  

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4a

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Blank page. Turn page.

4 accel.



       

       

        

y.

cresc. (accel.)

Bold  = 75

rit.

         

O nl

                         (cresc.)

 

accel.



      

     

(accel.)

    

 

rit.

    

al



     3 3                    Funky Groove  = 126                             

    

U



accel.

us



er

       G                   

rP

3



Fo

 



       

sub. accel.

    





 3



76

78

  

se

    

     

                    

(accel.)

  





3





          





       

3



 sub.

cresc.

5 (accel.)

80

                                  Home Stretch  = 140-155 3

3



    

              



             







  

84

3

3

  

 

 

86

   

                 

U

  

se

   

O nl

H

y.

(cresc.)

3



al

 88

3

     

us

                sub. 



er 

       

rP  

             

Fo

  

 3

 



  

     

3



95

 





    



  



sub.         





92

3



3

90





3

                   