Concerto Grosso for Tubas and Band: Concert Band, Score and parts

Here's a piece that takes your tuba section seriously without making them sit silent for minutes at a time. Nelhybel gives every tuba player something substantial to do across three full movements, and the concerto grosso design means the soloists interact with the ensemble rather than sitting apart from it. This is the kind of commission that solves a real programming need: how to feature your best brass players in a context that serves the whole band.

Nelhybel's three-movement concerto grosso sits comfortably in the European concert music tradition, treating the tuba section like the classical composers treated solo instruments: as vehicles for melody, technical display, and collaborative musicianship. The piece has dignity without pretension, and the contrast between movements keeps both the soloists and the ensemble engaged throughout.

Directors with a strong tuba section who want to give those players a showcase that feels substantial and musical, not gimmicky. Grade 4 ensembles with solid intonation and the musicianship to support a full three-movement work. This works best in programs where the tuba section has rehearsed together enough to lock into ensemble texture quickly.

• Balance the tuba soloists carefully during tuttis; they need projection without drowning out the ensemble's harmonic foundation. A walk-through with just the soloists and the inner voices of the band often reveals where blend needs adjustment.
• Establish a consistent tuba sound across all featured players before rehearsing the concerto sections. Intonation differences become obvious when multiple tubas carry a melodic line together.
• The three-movement structure gives you natural stopping points in rehearsal; work each movement separately before building connections between them, especially tempo relationships in contrasting sections.
• Have your tuba players mark their individual parts with breath points that work for all of them when they're in unison, rather than letting each player breathe independently.

This works beautifully as a feature piece in a winter or spring concert where you want to highlight ensemble growth and highlight particular players. You might pair it with a traditional overture and a chorale arrangement to create a program that showcases different voices in your band. Because it spans three movements, it gives your concert programming weight without feeling like a single, oversized work.

• Blending and balancing as a small ensemble within a large ensemble
• Sustaining long melodic lines with consistent tone and intonation
• Reading and performing three connected movements with contrasting tempos and textures
• Listening actively to harmonic context while carrying a solo line