Conroy, Evan (DM Trombone) Repertoire PDF
Conroy, Evan (DM Trombone) Repertoire PDF
GUIDE
by
Evan J. Conroy
Doctoral Committee:
__________________________________________
Richard Seraphinoff, Research Director
__________________________________________
Peter Ellefson, Chair
__________________________________________
Carl Lenthe
__________________________________________
Peter Miksza
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To Tatiana; I could have never done this without you.
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Acknowledgements
I’d like to thank all of those who have encouraged me to finish this degree in a timely
manner. To my wife, Tatiana, who has been a constant source of strength and support. To my
family and friends who have held a constant interest in my progress and have made numerous
suggestions throughout my journey through higher education. To Alex Lowe, who has graciously
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The Modern Bass Trombone Repertoire: An Annotated List
and Pedagogical Guide
Since the last edition of Thomas Everett’s book, An Annotated Guide to the Bass
Trombone, the bass trombone literature has gone largely undocumented in one source for
professionals, teachers, and students as a reference for the expanding repertoire. While this
document does not fully update the repertoire list, it does provide a representative sampling of the
works written for the instrument since 1985. In addition to the annotated list, this document will
provide students and teachers with five pedagogical guides to begin their study of the works.
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Table of Contents
Acknowledgements ......................................................................................................................... iv
Abstract ............................................................................................................................................ v
Introduction ...................................................................................................................................... 1
Definitions ....................................................................................................................................... 9
Annotations .................................................................................................................................... 11
Pedagogical Guides........................................................................................................................ 72
Conclusion ..................................................................................................................................... 98
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List of Examples
Musical Example 2. Gillingham, Sonata for Bass Trombone and Piano 1 .................................. 75
Musical Example 3. Gillingham, Sonata for Bass Trombone and Piano 2 .................................. 76
Musical Example 4. Gillingham, Sonata for Bass Trombone and Piano 3 .................................. 76
Musical Example 5. Gillingham, Sonata for Bass Trombone and Piano 4 .................................. 77
Musical Example 6. Gillingham, Sonata for Bass Trombone and Piano 5 .................................. 78
Musical Example 7. Gillingham, Sonata for Bass Trombone and Piano 6 .................................. 79
Musical Example 8. Gillingham, Sonata for Bass Trombone and Piano 7 .................................. 79
Musical Example 9. Gillingham, Sonata for Bass Trombone and Piano 8 .................................. 79
Musical Example 14. Edwards, 4 Impromptus for Low Bone Alone, “Senseless Rejoicing” 1 .... 87
Musical Example 15. Edwards, 4 Impromptus for Low Bone Alone, “Senseless Rejoicing” 2 .... 88
Musical Example 16. Edwards, 4 Impromptus for Low Bone Alone, “Senseless Rejoicing” 3 .... 89
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List of Figures
Figure 1. Edwards, 4 Impromptus for Low Bone Alone “Senseless Rejoicing” Beat Hierarchy ... 87
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List of Appendices
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Introduction
As the bass trombone continues its transition from mainly an orchestral instrument, to a
prominent solo instrument capable of technical and musical excellence, the repertoire for the
instrument has grown considerably over the last several decades. Since the creation and
application of the modern bass trombone with two valves by Allen Ostrander, Edward
Kleinhammer, and Kauko Kahila of the New York Philharmonic, Chicago Symphony, and
Boston Symphony; the instrument has experienced a modern-day renaissance that has led it to be
considered a viable solo instrument which demands a quality repertoire. Due to the pedagogical
and technical advancements made to the bass trombone and brass instruments in general in the
mid to late 20th century, the capabilities of both the bass trombone and the players have
influenced composers to push the limits of style and technique to create a new identity for the
instrument. It is estimated by prominent scholar and trombonist Douglas Yeo, that over the last
30 years, the amassed literature that has been written runs to roughly 10,000 works with new
compositions being added to the literature monthly.1 Because of this growth of repertoire for bass
trombone, the academic community has had a difficult time documenting and annotating works
that are now considered mainstream and part of the essential canon of the bass trombone
literature. This project aims to provide a basis for not only documenting and annotating these
works as several have done in the past, but to also serve as a resource for teaching a specific
One of the main proponents of documenting and furthering the dissemination of original
works for the bass trombone was Thomas Everett, former professor of music at Harvard
University and one of the founders of the International Trombone Association. Everett’s life and
1
Douglas Yeo, e-mail message to author, September 29, 2016.
1
contributions to the trombone world have been documented wonderfully in the terminal project of
Christopher J. Gassler. Gassler states that between the years 1969-1989, Everett was responsible
for the commission or composition of close to 60 works for the bass trombone2. Everett also
documented these works in his book, An Annotated Guide to the Bass Trombone Repertoire, first
published in 1973 and revised in 1981 and 19853 to add new repertoire to the guides. Since this
publication, however, an annotated list and guide for the bass trombone repertoire has largely
been absent from the scholarly materials. Through the efforts of Everett, and the technical and
musical advancement of the instrument from such players as Edward Kleinhammer, David Taylor
and Douglas Yeo among many others, the repertoire for the instrument has increased tenfold in
The original intention of this project was to “update” Thomas Everett’s guide, and fully
document and annotate the published bass trombone repertoire from 1985 to the present day. In
consultation with my advisors, and talking with prominent artists and scholars about the
repertoire since that time, it became clear that finding and documenting the whole repertoire
would pose some serious challenges, some of which would potentially cause this project to be a
lifelong endeavor. It was decided that the scope of the project would have to shift from finding
and annotating the entire repertoire since 1985, to choosing prominent pieces in the repertoire
since that time and providing teachers and students information and tangible information on how
to study these works. My goal for this project was to create a document that serves teachers and
students by providing historical and pedagogical basis for the study of these works. This
document could also serve as a useful reference for those who are looking for program or liner
notes.
2
Christopher J. Gassler. The Contributions of Thomas G. Everett to Bass Trombone Repertoire, Literature
and Research. PhD diss., 2002.
3
Thomas Everett, An Annotated Guide to Bass Trombone Literature. Nashville, TN: Brass Press, 1985.
2
Description of Project
This project is aimed at helping students and teachers become more acquainted with the
current bass trombone repertoire. As it stands, a clear majority of college professors teaching in
the United States are primarily tenor trombonists. Academic institutions often have tenor
trombonists on faculty because most colleges will require their trombone instructor to play in the
faculty brass quintet. While a shift has been made in recent years to emphasis doubling on both
tenor and bass trombone, a gap in the knowledge of many of the current pieces of repertoire for
the bass trombone exists for most tenor trombone faculty. As a result of my own extensive study
of the bass trombone repertoire and my interactions with trombonists in academia, it has become
clear that scholarship is needed that will aid in explaining and teaching the bass trombone
repertoire. Students of the bass trombone repertoire will similarly benefit from this guide as it
will help to outline several pitfalls and trouble spots to focus on while practicing for performance.
This project consists of two main sections. The first section consists of annotations of 30
works for the bass trombone that provide historical background and catalogue information on the
composer, duration, range, publisher, and difficulty level. The analyses also include information
regarding recordings of said work. Each annotation provides information regarding certain
trouble spots in each work and methods to practice and best perform these spots.
The second section of the document will accompany a lecture recital and serve as
pedagogical guides for each of the five works included in the recital. This outlines more in-depth
practice techniques and models for improved performance and a greater understanding of how to
achieve technical and musical improvement on the bass trombone, providing a clear path to
3
Sample Annotation
Publisher information
4
Choice of Repertoire and Research Methods
determine how works would be chosen to be included in this study. Throughout the entire
process of this project, one set of criteria has not changed; the works must not be in Thomas
Everett’s guide, and must be published after 1985. Other than that, qualifying works as “the most
played”, or the “most recorded” works written since 1985 seemed to be a bit of a misnomer and
slightly misleading if the project were based on this criterion. “Most played” in the United
States? Canada? The Netherlands? Collecting the information necessary to determine this would
rely on information that would take years to collect, and currently may not exist.
The idea of creating a questionnaire with 100 or so works and distributing it to college
professors and soloists to choose the 30 they perform and teach the most also seemed like a
roadblock in collecting data. Basing the collected materials for this project on a survey which
creates more work for busy colleagues and professionals in the field seemed to be just as
arbitrary, not to mention that this type of data collection is based off the research of others, not
my own.
These choices led the project in the direction of contemplating the instrument itself, its
history and pedagogy, and how composers are now writing for it. This resulted in choosing pieces
which correspond to several different aspects of bass trombone playing and history that are
deemed necessary for mastery of both the technical and the musical sides of playing. Included in
this study will be pieces that showcase, but are not limited to the following:
● Solos that demonstrate the ability of the bass trombone to play a wide range (high and
low register).
● Music that comes from French bass trombone tradition inspired by Paul Bernard and the
French Conservatory.
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● Solos that demonstrate technical playing on the bass trombone.
● Solos that include non-traditional accompaniment (music with tape or electronic media).
● Solos that display a wide variety of styles and world music (Jazz, afro-Cuban, etc.).
After determining this set of criteria, a thorough search through publisher websites
(Editions BIM, Warwick Music, International Trombone Association Press, Alphonse Leduc,
etc.), International Trombone Association journals and recordings to find solos that fit into these
categories. After determining a pool of over 100 candidates for the repertoire list, the list was
whittled down to include a representative list of 30 works that will give a good basis for study.
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Review of Related Material
A review of related material also guided my process while preparing this document.
Many writers before me have felt the need to update the vast repertoire of the bass trombone
since the last edition of Thomas Everett’s guide, but it was also clear through their efforts that
many of them pivoted into more specific directions. While these doctoral documents have added
to the scholarship and visibility of certain works, only a few of have provided tangible material
for study, which is one of the aims of this project. Erik Shinn, in his capstone project An
Annotated Bibliography of Works for Solo Bass Trombone and Wind Band4 lists and annotates all
the works written for solo bass trombone and wind band. While this document does a fine job
listing instrumentation, publisher information, and other tangibles such as duration and range, it
only offers brief annotations and little to no information on how to approach the work in terms of
pedagogical practice and teaching techniques. As mentioned above, Christopher Gassler5 has a
fine dissertation on the life and contributions of Thomas Everett to the bass trombone community
and lists the works that were both written and influenced by Everett. However, Gassler’s work
differs from this project in that most of these works were written prior to 1985; and there is no
annotated section in which the works are described in depth. Beyond dissertations, there are
several published documents that relate to the topic of this project. Clayton W. Lehman has
published several guides for the trombone literature that include both tenor and bass trombone
solos as well as pieces for larger low brass ensembles. In his A Practical Guide to Selected Solos
for Tenor and Bass Trombone,6 Lehman outlines and gives a few short sentences about 75
different works for the bass and tenor trombone. This previous research, although covering a vast
4
Erik Shinn. An Annotated Bibliography of Works for Solo Bass Trombone and Wind Band. PhD diss.,
Florida State University, 2015.
5
Gassler, 2002.
6
Clayton W. Lehman. A Practical Guide to Selected Solos for the Tenor and Bass Trombone. Texas:
Harmonies for Life, 2011.
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amount of material, does not provide a serious student or teacher with a comprehensive view of
the challenges and pitfalls of each work. Possibly the most similar document to this project
would be the newly published book by former Philadelphia Orchestra librarian, Clinton F.
Nieweg in collaboration with Douglas Yeo entitled, Music for Bass Trombone: Compositions for
Solo Bass Trombone with Orchestra or Band. This work, as described by the publisher is: “A
first of its kind reference book cataloging more than 600 compositions from 400 composers
comprising works for solo bass trombone with orchestra, string orchestra, concert band, brass
band, and chamber ensemble. Its 200+ pages include detailed publisher sources, instrumentation,
recording information, timings, links to performances online, composer dates, and reference
sources.”7 Nieweg’s work aims at updating the annotated literature guide, but currently only has
two volumes for bass trombone solos with orchestra and bass trombone solos with band. It also
lacks the pedagogical knowledge and perspective of an experienced bass trombonist to navigate
through what has become very challenging repertoire. As the bass trombone continues its rise as
a solo instrument, I hope to help mitigate the unfortunate lack of material relating to performing,
7
Clinton F. Nieweg and Douglas Yeo. Music for Bass Trombone: Compositions for Solo Bass Trombone
with Orchestra or Band. Vancouver, British Columbia: Clinton F. Nieweg, 2017.
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Definitions
Year of Publication
Defined as the year in which the work was published by either the composer or publishing
Range
Difficulty Level
students
Approx Length
Accompaniment(s)
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Repertoire Catalogue
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Annotations
An entirely self-taught composer, trombonist Wim Bex has provided a masterwork for
the bass trombone in Vademecum that has consistently been programmed on recitals and
competitions since its publication in 2008. Bex, a freelance trombonist who completed his
studies in Belgium, performs with various ensembles around Europe and has contributed several
pieces to the trombone repertoire. Bex writes mostly in the brass band idiom and along with
Vademecum, has contributed a tenor trombone concerto entitled Wandering Spirit. Vademecum
was commissioned by Geert De Vos, principal bass trombonist of the national opera in Belgium
and the Metropole Brass Band. Set in three movements, Vademecum explores three specific
aspects of the bass trombone sound and technical capabilities in each of the movements. The first
movement, entitled “School Life”, explores the dark sonorities and sometimes harsh nature that
the bass trombone is capable of. Beginning with a long, brooding piano introduction which is
marked “8AM”, Bex is asking the performer to contemplate a typical day for a music student,
which generally starts with a warm-up. The bass trombone enters at rehearsal C with a five-note
motif that is heard consistently throughout the movement, in different ranges and dynamics.
Within the first two measures, the performer is challenged with extreme low register playing at a
loud dynamic. To tackle this competently, the performer should focus on improving facility in the
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low range with the use of loud relaxed long-tones, consistent repeated pedal tones, and low etude
playing. It is suggested that the performer seek out Phil Teele’s book Advanced Embouchure
Studies as well as Phil Snedecor’s Low Etudes for Tuba. Over the course of “School Life”, the
tempo continues to increase, and the character of the bass trombone continues to gain
aggressiveness, culminating in the most aggressive playing at letter N. The second movement,
“Love Life” displays the lyrical and technical capabilities of the bass trombone. “Love Life”
begins with a beautiful theme to measure 20, in which the performer should strive to play as
expressively as possible to contrast with the aggressiveness of the first movement. It should be
noted that if performing the piano reduction of this work, a very capable collaborator is needed
due to the difficult interludes and the particularly technical reduction that Bex has provided,
especially between letters B and E. As “Love Life” continues, and technique becomes more
prevalent, the performer should be concerned with approaching the technical aspects of the work
within the lyrical framework of the overall movement, working for ease and connection. The
third movement, entitled “Cafe Life” focuses on technical agility and employs some fireworks,
including a large section between rehearsal letters E and J. In this section, the performer should
practice the more technical aspects slowly, and gradually increase the tempo to meet the
requirements of the movement. Working on tongue and slide coordination separately will also
aid in achieving a more consistent approach to playing this movement. Vademecum has become a
favorite recital and contest piece and is rightfully earning a place among the standards of the
repertoire.
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Liquid Architecture Year of Publication: 1999
David Biedenbender Range: Eb1 - Ab4
Level of Difficulty: Most Advanced
Approx Length: 12:00”
Accompaniment(s): Piano
Liquid Architecture was written for bass trombonist Randall Hawes and pianist Kathryn
Biedenbender’s oeuvre includes two other pieces that involve the trombone, one for San
Francisco Symphony principal trombonist, Timothy Higgins; and another written for the
inspired by the architect Frank Gehry, whose buildings are among the most contemporary and
visually stunning in the world. The two movements, which describe the different surfaces in
which the architect works, are vastly different in their compositional approach. The first
movement, “hard”, has an ABA like structure. The bass trombone starts the A section with long
crescendos that are contrasted in the piano by accented eighth notes in which the composer has
notated to be “sharp”. This section gives way to a series of alternating eighth and sixteenth notes
between the piano and bass trombone which create a pointillistic texture and continues to drive
the motion forward. Pervasive in both A sections are wide interval leaps and dynamic contrasts,
whose extreme contrasts make this movement particularly difficult for the bass trombone. The
performer should work to make these leaps smooth, trying to keep the lower intervals from
popping out of the texture. Equally important for the performer is making the extreme dynamic
contrasts consistent and even. The B section of “hard” requires the performer to play with a
Harmon mute with the stem pulled slightly out, which creates a metallic sound. Long phrases in
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the bass trombone are contrasted by the almost constant sixteenth note motion of the piano.
Glissandi are used extensively throughout this middle section, which creates forward motion to
the return of the A section, this time in the key of G minor. In the second movement, “smooth”,
Biedenbender creates an ethereal ambiance with delicate and expressive chords in the piano
which he notates to be played with “an unbroken wash of sound”. Presented in an ABA type
format, the movement progresses with the bass trombone taking up the melodic line, again
making use of glissandi and triplet figures which slightly mask the rhythmic stability felt by the
performers. The B section, starting at rehearsal letter G, continues to spiral the rhythmic and
melodic motion which switches the key signature to three flats and brings back the large interval
leaps from “hard”, eventually resulting in a boiling over of the unbroken wash of sound into the
climax at letter K on a pedal A. The last surge of melodic material at letter P gives way to the last
dying pedal notes of the piece, creating a nice end to the movement. Liquid Architecture is a
virtuosic work which, as noted here, causes several problems for the performers. Range and
interval leaps, dynamic contrast, internal rhythmic stability and general stylistic character of the
work are the most difficult to manage. Liquid Architecture provides a fun avenue to work on
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Sagittarius2 Year of Publication: 2002
Norman Bolter Range: Eb1 - Ab4 (opt. C5)
Level of Difficulty: Advanced
Approx Length: 9:00”
Accompaniment(s): Piano
Published by Air-Ev Productions
Commissioned by the Zellmer Competition
Former Boston Symphony trombonist, Norman Bolter, was commissioned to write two
pieces for the Zellmer-Minnesota Orchestra competition in 2002. Written to be performed during
the final round of the competition, which centers around the performance of orchestral excerpts,
both Sagittarius2 (for bass trombone) and Morning Walk (for tenor trombone) were composed in
memory of Steven Zellmer, former principal trombonist of the Minnesota Orchestra. Norman
Bolter, who was a student of Zellmer explains that Sagittarius2 was inspired by Zellmer’s interest
in astrology and in mathematics. Bolter, who is now retired from the Boston Symphony, has
composed over 100 works for various ensembles, and continues to teach at New England
Conservatory. Sagittarius2, which takes its character from astrological signs, starts with a piano
introduction that as Bolter says, “represents the full bodied, orange coloured gas giant and largest
planet in our solar system, Jupiter.”8 Throughout the first section, a Jupiterian spirit prevails, and
a large opening statement on the bass trombone continues with ferocity throughout the opening
statement, owing much of its energy to the technical virtuosity employed in the piano part.
Throughout the first section to rehearsal E, special attention should be paid to the difficult
rhythmic relationships between the bass trombone and the piano. Each performer must practice
the astrological background of the piece changes from Jupiter to what Bolter calls the Archer
Centaur who has a fiery and agile nature. Throughout the piece, the performer is challenged to
8
Norman Bolter. Sagittarius2. Boston, MA: Air-Ev Productions, 2007.
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connect with the characteristics of each symbol being represented in each section, some research
into astrological symbols and mythological figures would surely aid in a more convincing and
cohesive performance. Technically challenging throughout the entire piece, Archer Centaur
section from G to I is particularly difficult. With triplet and sixteenth note rhythms that ascend
and descend through the gamut of the bass trombone range, the performer would be best served to
practice the technical aspects of this section subdivided and slowly to gain facility and rhythmic
independence throughout the sections. Sagittarius2 generally exploits the tenor trombone range
of the bass trombone, only occasionally entering the pedal range. The performer should focus
their attention on getting a strong core to their upper register sound, acting like a third trombone
rather than a bass trombone, which is especially true of a characteristic orchestral bass trombone
sound in the modern era. After the Archer Centaur section comes to a rest, a transition to a
restatement of the original Jupiterian theme comes back in an augmented form, a softer dynamic
level, and in a lower register than before, creating a sense of rest and finality. Sagittarius2 is a
technical and cosmic addition to the repertoire as only Norman Bolter could contribute, and one
that pushes both the bass trombonist and the pianist to their technical limits. This piece forces the
performer to achieve rhythmic fluency, upper range stability, and an understanding of the stylistic
differences it takes to play different characters and to make that accessible to the audience.
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Concerto for Bass Trombone and Band Year of Publication: 2006
Derek Bourgeois Range: E1 - C5
Level of Difficulty: Most Advanced
Approx Length: 15:00”
Accompaniment(s): Wind Ensemble
Published by Hafabra Music Piano
Reduction
Commissioned by Jos Jansen
The late English composer Derek Bourgeois has gained quite a following for his music
by writing music that is technical and tuneful for the performer and inherently enjoyable for the
audience. Composing for most major genres in the 20th century, Bourgeois’ music for brass and
especially his instrumental concertos with brass band accompaniment stand out as his most
accomplished works. Bourgeois’ works for the trombone are numerous, of note is his Concerto
for Trombone which is has one of the most difficult and musically interesting last movements in
the trombone solo repertoire. Bourgeois has also contributed several significant pieces to the
trombone choir repertoire including Scherzo Funebre and the impressively difficult Osteoblast,
both of which have been featured pieces for competitions all over the world. Written in 2006 for
Dutch virtuoso bass trombonist Jos Jansen, the Concerto for Bass Trombone and Band provides a
large scale, comprehensive concerto for the more advanced performer. Set in a standard three
movement structure, the piece starts with several heroic statements in the bass trombone
combining fast scales with larger diatonic leaps that span a wide range. A sense of rhythmic
freedom can be achieved from the beginning to rehearsal two by using some rubato at the end of
each statement of the bass trombone. From rehearsal three to four, specifically in measures 25 to
27, the technical difficulties that Bourgeois is known for emerge as three straight measures of
solid sixteenth-notes. The performer should work to try and play all of the sixteenth-note runs in
this work as legato as possible, striving for a more horizontal line and avoiding a more staccato
approach. These three measures however, are just the start of the pyrotechnics that await the bass
trombonist throughout the rest of the movement. Essentially non-stop playing from rehearsal
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seven to eleven includes a run with 64th notes and several meter changes. Working on this large
section in chunks with a slow approach will ultimately help the performer achieve fluidity in
performance. The most challenging section of the first movement however, is the cadenza as it
extends the range to a high C, followed immediately by a pedal F. The equally demanding
second movement features the bass trombone’s beautiful sonorous low register at a slow tempo.
The performer should strive to make the connections between notes in the pedal register as
smooth as possible and work to make the phrases last as long as possible before taking a breath.
Long-tones in the extreme pedal register in the warm-up will help to solidify this. Set in a
compound meter, the allegro molto vivace third movement creates a moto perpetuo feel and
forces the bass trombonist to choose between triple-tonguing and an extremely fast single tongue.
Preference should be given to the triple-tonguing to keep from dragging the phrase and tiring out
the tongue. Bourgeois’ Concerto for Bass Trombone and Band is one of the most difficult
additions to the repertoire, requiring the performer to have exceptional technique, mastery over
the high and low range, and a keen sense of musicianship. A suitable choice for a potential
concerto competition piece, a good performance of this work would stand up against any
instrument.
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Concerto for Bass Trombone and Orchestra Year of Publication: 2000
Chris Brubeck Range: E1 - Db5
Level of Difficulty: Most Advanced
Approx Length: 14:00”
Accompaniment(s): Orchestra
Piano
The son of famed jazz musician Dave Brubeck, Chris Brubeck has done quite well for
himself over the last few decades as both a performer and a composer. His prowess as a multi-
instrumentalist on piano, guitar, bass, and the bass trombone has led him to be a soloist and
featured artist in many different genres of music. Being from a musical family, Brubeck has been
heavily involved in both performing and composing for the last five decades. Along with his
brother Dan, they form the Brubeck Brothers Quintet, a jazz combo which regularly tours Europe
and residencies across the United States. They’ve performed at many venues such as the
Schermerhorn Symphony Center in Nashville, the Caz Jazz Festival in New York, and countless
others over the years. As a composer, Brubeck’s music frequently gets programed by high
school, college, and professional orchestras across the world. Brubeck is naturally suited to
composing for the trombone and as such, has two frequently performed trombone concertos in his
oeuvre. In 2013, the Brubeck brothers co-composed the work Ansel Adams: America for full
orchestra accompanied by over 100 images of Adams work. This piece has been programmed on
many professional orchestra programs and was a 2013 finalist for a Grammy for best instrumental
composition. Chris Brubeck’s Concerto for Bass Trombone and Orchestra was commissioned by
the Greater Bridgeport Youth Orchestra in 1991 to write a work that utilized their high school
students. Brubeck obliged and composed a concerto for the bass trombone and orchestra that in
his words was a “challenging work that would keep all sections of' the orchestra on their toes,
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expose them to odd time signatures, polytonality and above all, remind them that music was
Brubeck did just that and recorded the work with the London Symphony on the album
“Bach to Brubeck”. In 1999 the piece was performed by Douglas Yeo and the Boston Pops at the
International Trombone Festival. This work is set in three movements, all heavily influenced by
jazz and as Brubeck mentions in his program notes to accompany this work, a large portion of the
bass trombone part is meant to be improvised10. The first movement, “Paradise Utopia” calls for
a nimble approach from the soloist which insists on consistent interval placement and a well-
defined pitch center. Throughout the first movement, the performer should focus on rhythmic
clarity and tempo, not allowing the feeling of the solo line to be bogged down by the tongue or
stylistic approach. Etudes useful for practicing in this style and establishing a feeling of being “in
the pocket” are Tommy Pederson’s Advanced Etudes for Bass Trombone. The player will find it
is not always necessary in this style to play every note with the same consistent, classical sound.
The other pervasive issue throughout the movement and throughout the entire concerto is the high
tessitura of the bass trombone part. The player is encouraged to incorporate a daily routine of
long-tones that span the entire range of the solo to create and maintaining strength and stamina
for this type of playing. The player must remember that this type of progress is gradual, and to
not “over-do” with practicing in the high register. The second movement, “Sorrow Floats” is a
heartfelt ballade that must be performed with expressivity. The soloist should experiment with
rhythms and should not feel constrained to what is written on the page. The last movement,
“James Brown in the Twilight Zone” starts with a long cadenza in the bass trombone and blends
together an eclectic mix of a James Brown tune, theme music from the television show the
Twilight Zone, and traditional Middle Eastern harmonies. Brubeck advises the soloist that they
are free to improvise from G to two bars before K. Those looking for an introduction to
9
Chris Brubeck. Concerto for Bass Trombone and Orchestra. New York, NY: Carl Fischer, 2000.
10
Brubeck, 2000.
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improvisation should attempt to write their own lines based on Brubeck’s written out
composition. The Concerto for Bass Trombone and Orchestra is a tour de force for a well-
developed player that poses challenges that many classically trained musicians usually don't face.
This work is well suited to concerto competitions, graduate recitals, and professional
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Stereograms (6, 7, 19) Year of Publication: 1999
David W. Brubeck Range: C2 - Bb4
Level of Difficulty: Intermediate
Approx Length: 9:00”
Accompaniment(s): None
David W. Brubeck is a celebrated Bass Trombonist and composer in the Miami area
where he serves on faculty at the Miami Dade College, teaching trombone as well as courses in
jazz and music theory. A versatile musician, Brubeck is largely known for his commercial
performance careers, having played with musical giants such as Ray Charles and Stevie Wonder
as well as being heavily involved in the Miami musical scene in general. His compositions
entitled Stereograms have started to gain notoriety for their varied musical approach and
nontraditional styles. Stereograms were originally written for solo bass trombone, although they
have been adapted for both the baritone saxophone and the tuba. Conceived as solo pieces for the
bass trombone in a wide variety of styles, Brubeck dedicates each Stereogram to either a player
or composer that has been influential to both his playing and composing. Published in two sets
(1-20, 21-30) by the International Trombone Association Press, these solo pieces evoke a spirit of
melody and accompaniment that force the performer to fuse the two together for a complete
performance. Of the thirty works, several have been recorded and performed more frequently
than others. These include Stereograms 6, 7, 11, 12, and 19. I will focus on stereograms 6, 7, and
19 in this document. Since these works were dedicated to a famous musician who has influenced
musical style for the trombone in some way, the performer should listen intently to each of the
dedicatees to absorb the musical style of each Stereogram. Stereogram no. 6, dedicated to
Maurice White and Louis Satterfield of the popular 1970’s funk band, Earth Wind and Fire,
challenges the performer to establish a funk style in both rhythm and melody while in an
awkward 7/8 meter. As Louis Satterfield was both a bassist and a trombonist, Brubeck gives the
performer both the bass line and the melody notes, an effect that becomes especially prominent at
22
rehearsal A. The performer should consider practicing this stereogram with a drum machine or
with an application like iReal Pro to reinforce the unusual 7/8 rhythm and the improvised solo at
rehearsal C. Stereogram no. 7 is dedicated to Bob Mintzer and David Taylor, who have both
been influential contributors to the bass trombone big band repertoire themselves. This
Stereogram demands a type of sound that a classically trained bass trombonist may be unfamiliar
with. A more compact and nimble approach will be necessary, especially from measures 21-30,
since this section functions like a soli section from a typical big band chart. Stereogram no. 19 is
dedicated to a legendary trombonist of the Duke Ellington band, Lawrence Brown. Lawrence
Brown was one of the most lyrical and beautiful soloists of his generation, prompting Brubeck to
compose a ballad style solo. As such, this work takes a completely different approach than the
previous two Stereograms. The performer should concentrate on a vocal style with a beautiful
sound throughout with the emphasis being on producing long, lyrical phrases. These three
Stereograms are a small sample of a fantastic contribution to the unaccompanied bass trombone
repertoire that allows the performer to experiment with different styles they might not be familiar
with.
23
Alien Loop de Loops Year of Publication: 2015
Howard Buss Range: C2 - C5
Difficulty Level: Advanced
Approx Length: 7:00”
Accompaniment(s): Electronic Media
The founder and editor of Brixton Publications, composer Howard Buss, has compiled
over 160 works for a wide variety of instrumentations and genres, with the majority of his work
being for the brass instruments. Buss’s works have been recorded on over ten different recording
labels and many of his instrumental concertos have been performed and premiered by musicians
in the top orchestras around the world such as the Berlin Philharmonic, The New York
Philharmonic, and the Boston Symphony among others. Buss’s compositions are well
represented in the bass trombone community. His Illuminations for Bass Trombone and Piano,
written for Charles Vernon of the Chicago Symphony Orchestra, was premiered at the 2001
International Trombone Festival. Buss has composed several works with unusual
accompaniments that are nice additions to the bass trombone solo repertoire. His American
Phoenix for bass trombone and percussion ensemble pairs the bass trombonist with four
percussionists and was written in memory of 9/11. His ZOOM for bass trombone and harp is a
great piece with unusual instrumentation as well. The winner of the 2015 solo composition
contest at the American Trombone Workshop, Alien Loop De Loops is a new work that utilizes
electronic media as an accompaniment for the bass trombone. The work is one movement, with
the bass trombonist playing ostinato like “funk” bass lines throughout. As Buss comments in the
preface to the work, “The composer envisioned a trombonist performing outside in an open area
during an air show by an alien craft.”11 The performer begins the work solo, without the recording
for the first 24 bars. Technically, this work challenges the performer to keep a consistent rhythm
11
Howard J. Buss. Alien Loop De Loops. Lakeland, FL: Brixton Publications, 2015.
24
and groove throughout the opening in order to establish a good pulse before the recording comes
in. The performer is encouraged to practice this opening section with a drum machine to simulate
the dynamism of a rhythm section playing behind the soloist. The accompanying recording, as
Buss states, “contains sounds generated by traditional instruments as well as an “alien” voice, the
spacecraft, and various electronic effects.”12 Lining up the recording with the performer in
measure 24 is challenging. It is suggested that the performer has a copy of the score for the audio
engineer or stagehand handling the sound, so the entrances can be more likely to line up correctly.
Throughout this work, technique by the performer is exploited and challenged. Use of multiple
tonguing and syncopation over a wide range makes this work especially tiring and difficult to
perform. The passage from measures 78 through 105 present the performer with a myriad of
challenges. The most prevalent of these being awkward interval leaps throughout the 7:00’ work
and the syncopated rhythms that must be played with strict time in order to remain in sync with
the recorded backing track. Although the intended style is much different, the performer is
encouraged to seek out the Marcel Bitsch Rhythmical Studies for Trombone for its interval leaps,
difficult rhythms, and challenging range. Transferring the technical aspects gained from working
through Bitsch’s etudes will help solidify the difficult sections in this work. When performing
with electronics, it is paramount that the performer check the balance of the instrument to the
speakers. It is suggested that the performer position themselves in front of the speakers. If the
balance is dominated by either the recording or the performer, the performance of this work could
be compromised. Alien Loop de Loops is a fun, non-traditional work that shows off style and
technique and can be an extremely impressive and engaging work for the audience if performed
well.
12
Buss, 2015.
25
Extremely Close Year of Publication: 2016
Daniela Candillari Range: C2 - F4
Difficulty Level: Intermediate Advanced
Approx Length: 16:00”
Accompaniment(s): Piano
Daniela Candillari’s Extremely Close has made an immediate impact on the trombone
community since its premiere in March of 2016. Candillari is an active pianist, conductor and
collaborator who has worked with many trombonists as the staff pianist of the Third Coast
Candillari has led top groups around the world, including the Chicago Lyric Opera, the Minnesota
Opera, and Opera Philadelphia. Her compositions for trombone display her intellect and
musicianship as well as her Slovenian background. Her duet for bass trombone and tenor
trombone entitled Balkanika is a beautiful Slavic setting for two trombones that is becoming a
favorite concert duet on recitals across the country. Her solo composition for bass trombone and
piano, Extremely Close is a set of five songs based off lines from the novel Extremely Loud and
Incredibly Close by Jonathan Shafran Foer. This work is said to have been inspired by the long-
distance marriage she shares with her husband, Nick Schwartz as well as their shared love of the
novel. Candillari states in the program notes that she “envisioned this piece as a conversation
between two instruments and found it more natural to base this conversation on smaller,
individual movements.”13 This is seen throughout the first movement, “We Will Not Stop
Looking” as the dialogue and interplay between the two instruments is intricately woven. The
performer is suggested to play with a contemplative and expressive style, elongating the phrases
13
Daniela Candillari. Extremely Close. Ithaca, NY: Ensemble Publications, 2016.
26
and keeping a legato approach throughout the musical line. “Walking Over Bridges Also Makes
Me Panicky” is set in an aggressive 5/8 with two main themes repeating; a constant eighth note
pattern that is clearly articulated and a dotted quarter and quarter note line that should be played
in a much different dynamic and style than the eighth note pattern. The challenge here is
consistently switching between each style. “Why I’m Not Where You Are 5/21/63” makes use of
the cup mute for the bass trombone and is set at a soft dynamic throughout. Particularly
challenging in this movement is the use of unusual compound meters and rhythms throughout.
The accompaniment is set rhythmically with the soloist for most of the movement, so close
collaboration with the pianist will help solidify the ensemble feel for this work. “The Sixth
Borough” is a slow, dream-like waltz in the key of E-flat minor that contains several places where
the music builds in intensity. The key and pacing of this movement are the most difficult aspects
of this movement. It is suggested that the performer practice this movement consistently with a
drone to center all the pitches and record themselves frequently with their collaborator to listen to
the dynamic pacing between the two instruments. The last song, “The Falling Man” depicts a
grueling scene from the 9/11/01 attacks in which a man is seen falling from the building. The use
of unusual meters as well as a consistent accelerando to the end of the work make this song the
most challenging of the bunch. Candillari uses fantastic tone-painting to establish the scenes
throughout this work. A piece that is on the rise, this work is suitable for undergraduate students
as far as technique and facility is concerned, but it will require some study and intellectual
27
Blackhawk Year of Publication: 1995
Michael Davis Range: G1 - F4
Level of Difficulty: Intermediate Advanced
Approx length: 8:00”
Accompaniment(s): Electronic Media/CD
Michael Davis has been a force in the trombone world for many years, providing the
trombone community with top quality performances, compositions, and a wide variety of other
publications and educational materials. Equally at home in multiple styles, Davis is widely
known for his jazz and commercial work, having served as trombonist with the Rolling Stones,
Frank Sinatra, and Michael Jackson among others. As a composer, Davis has provided the
trombone world with a number of high compositions and warm-up studies. His 10, 15, and 20
warm-ups provide trombonists with comprehensive daily routines that incorporate an electronic
accompaniment is a big aspect of Davis’s solo and ensemble compositions as well. Davis’s tenor
trombone work with electronic accompaniment, Mission Red is a favorite on student and
professional recitals. He expanded upon his approach in Mission Red in his bass trombone work
with electronic accompaniment, Blackhawk. Davis explains that Blackhawk is the big brother of
Mission Red. Blackhawk is a bold composition that challenges the performer in a variety of ways.
Set in one movement with a repeat and a coda at the end, the work starts with a fast, rhythmic
accompaniment in the electronics that feeds into the bass trombone entrance in measure 17. The
performer should work towards playing the opening material in a commercial, almost swung style
without much separation between the notes. Legato and connected playing is a challenge for the
performer throughout this work, especially with respect to the low register. To gain fluidity in
linking the valve register to the pedal register, the performer should seek out Charles Vernon’s
book, A Singing Approach to the Trombone. Davis makes use of frequently changing meters in
this work, which makes the feel somewhat difficult for the performer. This is especially evident
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from measures 67-85, where Davis makes frequent use of syncopation. The performer should be
careful in this section to listen to the accompaniment to fit their playing into the rhythmic
structure. It is advised that the performer sing their part with the accompaniment in this section to
achieve an effortless feel. Throughout the middle section from measures 91-174, the legato style
is consistent, even as the melodic lines get more difficult and start to incorporate a wider range.
The performer should seek to find alternate positions to keep the slide moving in one direction as
much as possible. A return to the beginning material after a Da capo, Davis sends the performer
to a coda in which the material presented is the most technically challenging in the piece. The
performer should work to either naturally slur, or lightly tongue the sections of eighth notes
between measures 251 and 269 to keep the legato style. Davis clearly marks the articulations in
the coda, challenging the performer to stay within the style present throughout the work. Without
a traditional acoustic accompaniment, this work can be performed in many different situations
and could be considered when the performer cannot find an adequate accompanist. Blackhawk is
a solid addition to a slowly developing repertoire that presents an acoustic instrument with non-
acoustic accompaniment, this work shows insight into where the repertoire could go into the 21st
century. This work would be appropriate for students who are younger in their technical
development but are looking for a fun piece that incorporates non-traditional styles and
techniques.
29
The Felix Variations Date of Publication: 2010
David Del Tredici Range: E1 - A4
Level of Difficulty: Most Advanced
Approx. Length: 15:00”
Accompaniment(s): None
composer, whose work has been well received and touted by the likes of Aaron Copland and
Leonard Slatkin among others. His work, Final Alice, has become a masterwork of the neo-
romantic era and his In Memory of A Summer Day won him a Pulitzer prize in music. Del Tredici
was the New York Philharmonic’s composer in residence from 1988-1990 and is on faculty at the
City College of New York. Del Tredici decided to write his Felix Variations in 2010 after
hearing his nephew Felix Del Tredici, a virtuoso bass trombonist, play at a family gathering. The
work is based on Paganini’s famous 24th caprice and is set as a theme and variations for solo,
unaccompanied bass trombone. This famous melody, which can be heard unvaried in the theme,
challenges the performer from the start with its fast, slurred sixteenth-note runs, sometimes
slurring down into the pedal register. Into the first variation, Del Tredici increases the tempo,
expands the range downward, and the theme is treated with half-step relationships to which the
performer should pay particular attention to make sure that the half-steps avoid becoming too
wide. The third variation repeats the fast, technical playing, requiring the performer to double-
tongue consistently throughout the variation. To solidify this technique, Jean-Baptiste Arban’s
Famous Method for Trombone has progressive double-tonguing exercises starting that the
performer should perfect. This piece is full of extended techniques that Felix Del Tredici is
known for having mastered. This is clear in variation four, where extensive use of the glissandi is
employed. The performer should work to make the difficult range transitions smooth and the
length of glissandi as consistent as possible. In variations five, six, eight, nine, ten, and the finale,
30
the performer is required to use three different mutes; straight, Harmon without stem, and
plunger. Variation six is particularly difficult to play with a mute because of the fast tempo
marking as well as the low writing for the bass trombone. The performer should practice this
variation consistently with, and without the mute to feel the difference in resistance before
performing. The difficulty in variation eight lies in the interval leaps of sometimes more than an
octave. Practicing these jumps both slurred and tongued will provide stability, especially for those
that reach into the high register. Variation ten indicates that the performer plays with a plunger
and “growl”, another extended technique that can be used judiciously throughout the variation.
To understand what Del Tredici means by “growl”, the performer should seek to find Stuart
Dempster’s book The Modern Trombone: A Definition of Its Idioms which includes audio
recordings of Dempster performing several extended techniques. The finale, which is by far the
longest variation in the work, synthesizes the work’s use of techniques and technical agility. This
consistent driving eighth-notes with alternating marcatos, a fast, cantabile section transitions back
into the main theme at measure 375. The length, tempo changes, and stylistic differences in the
finale make this variation more substantial, allowing it to stand on its own as a single piece of
music if the performer chooses. The performer is charged with creating drama, emotion, and
musicality without the aid of a collaborator. The Felix Variations pushes the performer’s limits
of creativity, sound creation, and technical capacity and can be an interesting addition to any
31
Canticles for Bass Trombone and Wind Orchestra Year of Publication: 2007
Johann de Meij Range: E1 - Bb4
Difficulty Level: Most Advanced
Approx. Length: 18:00”
Accompaniment(s): Wind Orchestra
Piano
Reduction
Published by Amstel Music
Written for and premiered by Ben Van Dijk
Dutch composer Johan de Meij is well known for his work in many different genres from
concertos to movie scoring. Originally trained as a trombonist and conductor at the Royal
Conservatory of the Hague, de Meij had a busy freelance career as a trombonist before he turned
to full-time composing and conducting. De Meij’s style is largely neo-romantic and his sonic
concept places his work among the more popular works in the late 20th, and early 21st century.
His first symphony, entitled Lord of The Rings and based on the novel by J.R.R. Tolkien was
awarded the prestigious Sudler composition prize. De Meij’s T-Bone Concerto with its three
movements entitled “Rare”, “Medium”, and “Well-Done” has become a favorite for tenor
trombonists to put on recitals and competitions. His bass trombone concerto, Canticles for Bass
Trombone and Wind Orchestra was written in 2007 for bass trombonist of the Rotterdam
Philharmonic, Ben Van Dijk in celebration of their 35 years of friendship. De Meij set out to
create a work that highlights the vocal qualities of the bass trombone and put forth a largely
lyrical work with many technical sections interspersed. The work, originally for bass trombone
and wind orchestra but with a piano reduction, starts with an extended ensemble introduction that
culminates in the first statement of the bass trombone on a low C2. The theme is introduced in
the bass trombone at measure 111 and is continued in this first section to measure 156 in which
the performer must play with bold and regal sensitivity as well as impeccable intonation
throughout. The performer should strive to play this section with long, lyrical phrases which will
challenge the breath support but will provide the player with a more cohesive musical statement.
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A restatement of the theme at measure 175 gives way to a B section at measure 188 that expands
the intensity and technical capacities of the performer until the peak of the phrase at measure 216
on a Bb4. This section is especially difficult for the performer in terms of stamina and endurance.
To help with this, the performer should practice ascending scales at an increasing dynamic to
work on the sound quality and consistency of articulation while ascending into the extreme upper
register of the bass trombone. The lyrical start to this one movement work gives way to an
allegro con spirito section at measure 216, where the bass trombone is challenged to faster, more
elongated scalar phrases that spans the instrument’s range. The performer should approach the
section from measure 216 to 283 with a more articulated and placed style. The more difficult
aspects of this section involve the ascending scales and then the immediate leaps of more than an
octave as seen in measure 254 and measure 258. The performer should practice these sections
slowly and slurred and systematically increase the tempo. It is also suggested that the performer
harden the articulation to gain connectivity throughout the entire phrase. There are two more
sections of this work that will cause problems for the performer, from measure 382-388 and from
the coda to the end. In both sections, the bass trombone is charged with either playing ascending
or descending technical notes into extremes of the register. The performer should work to
crescendo through the phrase and not shy away from the more extreme registers. To competently
achieve a quality sound and fluidity throughout the ranges, one might require an embouchure
shift, which can be researched more in Donald Reinhardt A Comprehensive Guide to the Pivot
System, in which the embouchure shifts the air in different directions for different ranges.
Canticles for Bass Trombone and Wind Orchestra is a lyrical, and relatively technical addition to
the bass trombone repertoire. While this work would be well suited for an advanced performer, it
would also be a good choice for a musically advanced undergraduate looking to work on range
and endurance.
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Trilogy for Bass Trombone Year of Publication: 1988
Tom Dossett Range: F1 - Ab4
Level of Difficulty: Advanced
Approx Length: 12:00”
Accompaniment(s): Piano
Tom Dossett has produced many pieces for the trombone over the last 30 years of his
with Thomas Streeter, Dossett went on to earn a Master of Composition degree at Illinois State
University. Dossett’s music has been performed on recitals and competitions all over the world
by many of the leading bass trombonists, including Steve Norrell, Matt Guilford, and Randy
Campora among others. Commissioned by Dr. Thomas Streeter in 1988, Trilogy for Bass
Trombone has quickly become a favorite for bass trombonists across the globe. Set in three
movements, “Caprice”, “Chanson”, and “Galliarde”, this work has many different challenges
which the performer must overcome in order for a quality performance. In “Caprice”, Dossett
makes consistent use of triplet figures, using both eighth-note triplets and quarter-note triplets
which challenges the performer to keep the rhythm even. The performer should consider
practicing the section between measures 10-16 by adding notes in the rests to keep the rhythm as
even and consistent as possible. When the rhythm feels secure, gradually remove the added
notes. When Dossett employs quarter-note triplets, practicing by subdividing the quarter-note
triplets into eighth-notes can be helpful. This will help keep evenness and consistency in the
performance. In the “Chanson”, Dossett gives the bass trombone a lyrical opening statement that
is immediately followed by a brief piano interlude. The opening material is exactly restated at
measure 8, but now with a light piano accompaniment. This opening theme is restated several
times throughout the movement, often in an augmented state as in measures 13, 39, and 44. The
34
performer should approach all the instances of this theme with a lyrical, vocal approach, trying to
connect the notes through the slurs that Dossett has provided. The second theme that is worthy of
mentioning, comes in at measure 22 in the bass trombone. The performer should pay particular
attention to intonation concerns that come from this theme, as it is comprised of alternating
fourths and fifths. It can be painfully obvious if this theme is out of tune, the performer should
isolate each instance of this theme and work to fit it into a drone pitch. The last movement,
“Gaillarde”, is influenced by an old Renaissance dance. Dossett sets this movement in 3/4, but
the performer should definitely feel this as one beat per bar. This movement isn't necessarily
challenging technically, but the difficulty lies in the rhythmic relationship between the piano and
the bass trombone. These rhythmic relationships are prevalent between measures 15-18 and
again from measures 35-41. The cadenza in this movement extends the performer’s range, both
into the high register as well as the low register. Within seven measures, the performer must play
a high A-flat and descend all the way to a pedal F. The form for this movement must be
considered as well, as it contains a Da capo and accompanying coda. Among all the other
challenges implicit in Dossett’s Trilogy for Bass Trombone, the performer must consider the
varied styles contained within the work. This piece would be a great work for a more advanced
player who wants to work on rhythm and improving their stylistic oeuvre.
35
Four Impromptus for Low Bone Alone Date of Publication: 2011
Brad Edwards Range: Eb 1(opt. C1) - G4
Difficulty Level: Advanced
Approx Length: 12:30”
Accompaniment(s): Amplified Metronome
(mvmt. 2)
stalwart in the trombone community has produced several trombone solos and pedagogical works
that have come into the mainstream of the repertoire in recent years. His book, Lip Slurs has
become a must-have for any aspiring trombonist looking to improve their fluidity of technique
and tone production. His more recent pedagogical works, Trombone Craft and Bass Trombone
Craft provide a comprehensive method for cultivating all the required skills of a professional
trombonist. His solo compositions for both tenor and bass trombone are published from the
International Trombone Association Press, which are readily available from Warwick Music. A
devoted advocate of new and engaging, idiomatic music for the trombone, Edwards composed
Blue Wolf for unaccompanied trombone which takes its inspiration from two very different
sources; Joni Mitchell’s song “The Wolf That Live in Lindsey” and the popular Nickelodeon
children's television show, Blues Clues. His bass trombone work is written in a similar fashion,
taking inspiration from a wide variety of styles and genres. Four Impromptus for Low Bone Alone
is set in four movements, each with an accompanying poem written by Edwards, and meant to be
spoken before the movement to set the mood for each piece. “Hazy Meandering” beseeches the
performer to create the ambience of a hot, late summer afternoon stroll in which the performer is
tempted to stop by a blues club and a parade but ultimately returns home. The very first slur of
“Hazy Meandering” is problematic for even the most talented trombonist. Negotiating a slur of
more than octave several times in a 5/8 meter, while keeping the musical line fluid is indeed very
challenging. The emphasis in the first 29 bars should be on musical line and shape, keeping the
36
bottom notes from sticking out. This same thematic material is revisited several times throughout
the movement, and the same approach should be applied. As the performer passes by the blues
club in measure 30, an immediate style change occurs and executing dynamic and articulation
contrast is a must. As the trombone is the only instrument involved, it is imperative that the
rhythm be extremely steady, as if the performer were playing all the instruments in a jazz combo.
In measure 66, another sudden character change from meandering to a march style is necessary.
accompany the trombonist almost throughout. Between measures 15-29 however, the performer
is faced with negotiating rhythms that are offset from the metronome, forcing the performer to
rely on their internal pulse and subdivision. “Wistful Dancing (Winter’s Night)” should paint a
picture of melancholy and as Edwards writes, “a bad breakup”. The dream-like introduction
gives way to a more aggressive flare-up in measure 12. The performer should strive for a large
dynamic contrast to highlight the mood swings evident in the poem. The last movement,
“Senseless Rejoicing”, is challenging because of the constant meter shifts and interval leaps. The
performer must keep a steady eighth note pulse throughout and would be advised to pulse the
beginning of each measure to make sure the meter changes are heard throughout. Starting at
measure 37, Edwards composes a large dynamic build that metrically modulates until measure
70. The performer should attempt to accent the lower notes within the context of the dynamic,
keeping the crescendo continuous until measure 70. For his acclaim as a pedagogical text writer,
Brad Edwards has produced an extremely diverse and special piece for unaccompanied bass
trombone; one which should become a mainstay for students and professionals.
A more in-depth analysis on the fourth movement of this work will included in the
37
Concerto for Bass Trombone and Orchestra Year of Publication: 1996
Eric Ewazen Range: E1 - F4 (opt. Ab4)
Level of Difficulty: Intermediate Advanced
Approx Length: 20:00”
Accompaniment(s): Orchestra
Wind Ensemble
Piano
Published by Southern Music Company
Requested by the Warren Deck for Juilliard low brass competition.
Eric Ewazen has been one of the most prolific composers for brass music over the last
two decades. His music has been a repertoire staple of collegiate studios and has been recorded
many times on no less than ten different recording labels. Along with the Concerto for Bass
Trombone, Ewazen has several different pieces for the bass trombone which include the Ballade
for Bass Trombone, the Rhapsody for Bass Trombone, the Concertino for Bass Trombone and
Trombone Choir, and many chamber works written for both bass and tenor trombones. The
Concerto for Bass Trombone was originally conceived as a sonata and premiered by John Rojak
at the International Trombone Festival in 1997. At the request of Warren Deck, it was further
orchestrated into a concerto and was used as a competition piece for the low brass at The Juilliard
School with Stefan Sanders emerging as the winner. The concerto was premiered by Sanders and
the Juilliard Orchestra in 1998. The three-movement work opens with a grand introduction which
centers itself around a D. The performer should work to connect the sound between the phrases
and strive for ease and beauty in the production of tone. Similarly, playing the introduction with
a drone on a D will help to solidify the intonation. Following this introduction, an allegro vivace
section moves forward with driving rhythmic motion in the piano while the bass trombone
compliments the rhythmic tension with a melodic material that is very idiomatic to the
instrument. The performance concern between measures 34-151 is keeping the energy in the
music without losing control of the pace, or on the opposite side of the spectrum, dragging behind
the motion created by the piano. This same concern is present from measure 180 to the end. The
38
second movement has a slow, lyrical quality which allows the bass trombone to trade melodic
material with the piano. The performer should allow themselves to be free and expressive with
the ascending eighth note and quarter-note triplet figures as in measures 48-60 and again from
measures 67-83. This allows the performer to show their musicianship and challenges the
performer to think outside of the boundaries that the written rhythms imply. The consistent meter
changes in the third movement challenges the performer to be rhythmically independent and agile
with their technique. The movement starts in 5/8 time and throughout the first 128 bars, the
subdivision fluctuates between triple and duple meters. Similar to the first movement, agility and
technique is needed to effectively communicate the rhythms written by Ewazen. The cadenza
from measures 234-271 extends the range of the bass trombone and can be very effective if the
performer’s low facility is adequately developed. Practicing long tones in this register along with
repeated accented notes in the extreme low registers can quickly develop the breath support and
embouchure strength needed for consistency. Ewazen’s Concerto for Bass Trombone is one of
the most commonly played and taught pieces in the repertoire, one that can challenge and excite a
developing player.
More about techniques younger students can use for developing facility and musicality in
the first movement will be added in the pedagogical guide that accompanies this document.
39
Bass Lines - “Spain” Year of Publication: 1993
David Fetter Range: F#1 - Ab4
Level of Difficulty: Advanced
Approx Length: 5:00”
Accompaniment(s): None
Published by David Fetter Music for Brass
Commissioned by Blair Bollinger
Trombonist and composer David Fetter has had a varied and long ranging career as a
performer, composer and teacher. As a trombonist, Fetter was employed in both the Cleveland
Symphony. As a composer, Fetter’s works have become staples in the trombone and brass
repertoire. Many of his works are for unaccompanied trombone such as his Variations on
Palestrina’s Dona Nobis Pacem, and his Bass Lines for unaccompanied bass trombone. In Bass
Lines, Fetter puts forth four etude-like solo pieces that challenge the performer to play in a variety
of styles and with a variety of different technical challenges. The second piece, from Fetter’s
Bass Lines, “Spain”, has become a favorite among bass trombonists to play on recitals and for
competitions. Fetter starts “Spain” with a strong statement where the bass trombone plays dotted
quarter notes with Fetter instructing the meter to feel “in one”. This strong opening in 3/8 gives
way to a more playful sixteenth-note rhythm where the bass trombonist is challenged to play
fluidly and quickly at a soft dynamic level. This section is particularly difficult because of the
need for solid facility with the valves and flexibility in the low register. The performer should
work slowly through this section (measures 20-50) to make sure the sixteenth-note passages are
as slurred and continuous as possible. If the performer has an independent valve bass trombone,
thought should be given to using the second valve independently of the first for C’s and F’s. This
can help the performer keep the slide motion going in the same direction, allowing for easier and
cleaner runs. Another concern for the performer is the pervasive octave jumps throughout the
first 90 bars. To work on this, playing the interval study down an octave from Jean-Baptiste
Arban’s Famous Method for Trombone is an effective way to create consistency and facility in
40
the extreme pedal register. As the fiery nature of the first section ends with the fermata in
measure 87, Fetter starts section two with a slower more lyrical nature that is a nice contrast to
the style of the first section. The performer must change styles from more aggressive to more
lyrical in a way that grabs the attention of the audience and creates a sense of brand new material
being presented. The performer should approach this lyrical section from measures 87-115 with a
sense of rhythmic freedom. Throughout this section and the piece in general, the performer
should strive to push and pull the tempo slightly and create places in the music that draw the
audience’s ear to melodic and rhythmic tension. It is difficult when playing an unaccompanied
work but doing so can help push a performance of this work over the top. Fetter closes the work
from measure 116 with an allegro section that changes the meter from 3/8 to 4/4 and creates an
urgency by employing accelerando and ritardando markings judiciously. Again, Fetter creates
difficulty in the last section by forcing the performer to play in the extreme low register with
great facility, as is evidenced in measures 121-127 and again from measure 146 to the end. This
work is particularly challenging due to the variety of styles that it employs, and the facility
needed in the extreme low range. Given the challenges and idiomatic nature of this work, it is no
41
Romance Concertante Year of Publication: 1998
Juraj Filas Range: F#1 - B4
Level of Difficulty: Advanced
Approx Length: 10:10”
Accompaniment(s): Organ
Piano
Published by Editions BIM
composers, Slovak composer and teacher Juraj Filas has contributed over 100 works since
graduating from the Prague Conservatory in 1981. Filas had original intentions of pursuing a
career in Opera performance, having won several competitions for voice but soon turned to
composition and found himself back at his alma mater as an assistant professor of composition.
Filas has won several awards for his compositions which have been described to “reflect his sense
of melody and strong emotional expression. His works stem from the European tradition in
music, which is the basis of his composition, his philosophy and aesthetic.”14 Filas has
contributed several works to the standard trombone repertoire. His Sonata for Trombone “At the
end of the century” is dedicated to and recorded by Joseph Alessi and has become one of the most
performed pieces of the tenor trombone repertoire in the 21st century. Filas seems to feel quite
comfortable composing for brass, as he has subsequently composed concertos for the euphonium,
tuba, and horn as well as a concerto grosso for brass quintet and wind ensemble. Written in 1998,
Romance Concertante for bass trombone and orchestra can also be found with reductions for both
the piano or organ, allowing the performer a wide range of accompaniment colors while
programing this work. Romance Concertante is one movement that is largely through composed
with a variety of potential for instrumental color, allowing for the soloist to create interesting and
dynamic performances. Filas starts the work with the bass trombone in an expressive and
lamenting lyrical melody in mute. The performer should be aware of balance when muted,
14
"Juraj Filas," Editions Bim, August 09, 2017, accessed August 24, 2018, https://www.editions-
bim.com/composers/juraj-filas.
42
especially if playing with a large ensemble. Emphasis should be placed on long, flowing musical
lines, paying close attention to the clear crescendo and decrescendo marks that Filas has supplied.
Into measure 34, the mute is removed and as the pace quickens, the range extends downward with
force. From the piu mosso section at measure 35, the performer should focus on creating
downward motion with the musical line and must be careful not to allow the double valve register
to explode out of control, as the line ascends back to the upper register immediately. Throughout
the piu mosso section, the performer must continuously subdivide as the rhythm is quite disjunct
at times. When practicing these sections, the performer should take away ties and fill in rests to
start with a constant pulse. Once the performer becomes more comfortable with the rhythms they
can replace the ties and remove the extra notes. As the work moves into another section of molto
tranquillo from rehearsal 5 to 6, the performer should understand that this material is
accompanimental by nature. Throughout this work the performer needs to understand when the
style is “molto espressivo”, or “molto furioso”15 and would be advised to label each section as
such since the character and tempo of the work change on a dime. This is evidenced by the
change between the doppio movimento section at measure 113, marked forte and ferocious at
quarter note equals 192 to the immediate change in measure 140 where the music is marked
piano, appassionato, and eighth note equals 69. These dramatic changes in dynamic, tempo, and
character allow the performer to exploit variety and draw the audience into an emotional and
expressive performance. This is a work that allows the performer to experiment with expressivity
in a way that other compositions have yet to tap into. This work is suitable for those looking to
15
These terms are not in Filas’s score, they are my estimation of character of the work.
43
Variations on Barnacle Bill the Sailor Year of Publication: 1993
Steven Frank Range: C1 - F5
Difficulty Level: Most Advanced
Approx Length: 6:00”
Accompaniment(s): Piano
Wind Ensemble
Published by Kagarice Brass Editions
A tour de force for the bass trombone, the theme and variations that Steven Frank has put
forth in Variations on Barnacle Bill, the Sailor has become a flashy showpiece that pushes the
limits of bass trombone technical capacity. Steven Frank, a retired high school band director
from New York has also served as a lecturer in the music education department of Syracuse
University. Frank’s expertise lies in the area of instrumental music education and brass pedagogy
and as such has works and methods for beginning concert bands and jazz ensembles as well as his
composition for the trombone. As a trombonist, Frank completed doctoral work at the Eastman
School and has performed as a freelance artist around New York state, frequently subbing with
the former Syracuse Symphony. His composition for the bass trombone, Variations on Barnacle
Bill, the Sailor is a theme and variations in the style of Arthur Pryor for the bass trombone and
has been performed and recorded by top artists in the field, including Charlie Vernon of the
Chicago Symphony and Denson Paul Pollard of the Metropolitan Opera and Indiana University.
This work sets a popular and humorous sea shanty theme through a series of difficult and
virtuosic variations, thoroughly putting the trombonist through their paces both technically and
musically. Right from the very start of the work, prior to the theme, the bass trombonist is asked
to show off some technical fireworks, starting forcefully on a low C with subsequent sixteenth
notes ascending to a G4. The performer should treat this opening phrase as a cadenza as it is
unmetered, and not rush through this phrase. At rehearsal B the theme enters. As mentioned
before, this work is meant to be a humorous depiction of a drunken sailor, so it is advised that the
performer use portamento and glissandi to portray an ad lib style. Sections of increasingly
44
difficult technique begin with variations I. When working through variations I, III, and IV, it is
imperative that the performer approach these sections in very small chunks with many repetitions.
As the player becomes more comfortable with each bar, start connecting bars to create fluidity
among the phrases. Multiple tonguing is a considerable challenge throughout the work. As such,
referring to the Arban's Famous Method for Trombone and the sections dedicated to both double
tonguing and triple tonguing will aid in cleanly producing several of the more difficult lines.
Working through Variation II, the performer should also seek out the Arban’s Famous Method
for Trombone and the sections on interval studies to negotiate the two octave jumps into the pedal
register. It is suggested that the performer work on the interval studies both in the written octave
and down an octave striving for consistent, centered pitches and minimal movement from the
embouchure. When performing this work, the performer should become something of an actor on
the stage when transitioning between each variation to convincingly translate the stylistic changes
to the audience. It has even been played while the performer is in a pirate costume. Variations on
Barnacle Bill, the Sailor is one of the few theme and variations works in the bass trombone
catalogue, and in the same vein as the Arthur Pryor works, is worthy of being a showpiece for a
45
Sonata for Bass Trombone and Piano Year of Publication: 1989
David Gillingham Range: F#1 - Ab4
Level of Difficulty: Most Advanced
Approx Length: 12:00”
Accompaniment(s): Piano
Sonata for Bass Trombone and Piano is a musical and technical tour de force for the bass
trombone. The piece has three movements and is in sonata form. David Gillingham, professor of
composition at Central Michigan University wrote this piece at the request of Curtis Olson, bass
trombonist and professor of trombone at Michigan State University. Gillingham is mostly known
for his large ensemble music that is often played by wind ensembles and professional bands
across the country. He has also written several other solo works, including one recently for
George Curran of the New York Philharmonic, entitled Vital Signs of Planet Earth for Bass
Trombone and Wind Ensemble. Sonata for Bass Trombone and Piano was published by the
International Trombone Association Press in 1989 and has become a staple in the repertoire for
advanced bass trombonists. Gillingham opens the first movement with a fortissimo rhythmic
statement from the piano which gives way to fast chromatic playing in the solo bass trombone
part. Tempo changes abound in the first movement; thus, the player must have a solid sense of
internal rhythm and must have a good collaborator. Range is also a consideration in the first
movement, the piece encompasses the range from a pedal F# to a high Ab. The second
movement is a theme and variations that sets the theme in the bass trombone against a steady
rhythmic pattern in the piano. This theme is based on the octatonic scale and does well to show
off the performer’s expressive and lyrical capabilities. As the variations progress, the cantabile
playing gives way to a compound meter, calling back to the first movement’s virtuosity.
Depending on the edition of this piece, pay attention to the errata that Gillingham himself has
46
released as this piece was originally published with several note errors. The third movement is a
fugue which is stated first in the piano and copied immediately by the bass trombone. A second,
legato theme is introduced as a way to contrast the rigid structure of the first fugue theme and
turns into, as David Gillingham himself wrote in his program notes, a “ rondo-like structure … at
the simple alternation of these themes with the first theme (fugue) being developed each time,
taking on the appearance of an episode.”16 Reserved for the more advanced player, this piece is
as rewarding as it is challenging. The performer must possess solid slide and tongue technique as
well as an established high and low register. This piece has proven to be a favorite among many
trombonists, having been recorded several times by prominent professional players and seems to
A more detailed look at trouble spots and subsequent practice techniques the first
movement of the Gillingham Sonata will be presented in the accompanying pedagogical guide
(see below).
16
David Gillingham. Sonata for Bass Trombone and Piano. Denton, TX: International Trombone
Association Press, 1989.
47
Worlds Apart Year of Publication: 2010
Frank Gulino Range: Eb1 - F4
Difficulty Level: Intermediate
Approx Length: 6:00”
Accompaniment(s): Piano
A true “up and comer” in both the composition and performing worlds, Frank Gulino has
been active since 2008. A graduate of the Peabody Conservatory, Gulino leads an active
performing career in the Washington D.C. area. Because of Gulino’s close association with the
bass trombone, he is very well suited to write idiomatically for the instrument and intimately
knows its lyrical and technical capabilities. A fantastic writer of melodies, Gulino pens solo lines
that force the performer to think about musical line and phrasing while incorporating technical
flare. Gulino’s 2010 work, Capriccio features all of these aspects and has been a staple on
recitals as well as featured as several major trombone festivals. Gulino’s more recent works
include several for the unaccompanied bass trombone and contrabass trombone entitled, First
Things First and Low Blow, respectively. Worlds Apart, written in 2010 features all of the
melodic and lyrical aspects Gulino has portrayed in his other compositions and does so as he
explores the extreme low register of the instrument. After a heroic introduction in the piano,
Gulino sets the melody well within the valve register for the bass trombonist. To practice fluidity
of musical line throughout the work, the performer is advised to practice two to three octave
scales, paying close attention to the valve and pedal register. The performer should also attempt
to vary the articulation from slurred legato to marcato, being advised that into the pedal register,
there is a shift of embouchure. Negotiating this shift smoothly will aid in keeping a consistent
sound throughout the ranges which is problematic between rehearsal letters A and D. At
rehearsal E, Gulino varies the tempo and the time signature which forces the style to be abruptly
changed. The performer is kept on their toes as the meter shifts between rehearsal G and H are
frequent. Throughout this section at both rehearsal E and again at G, the performer should work
48
towards consistency of articulation, erring on the side of longer notes with presence and breadth.
Into rehearsal H, Gulino introduces a new melody that implores the performer to continue the
long phrases that have been asked for previously in the composition while also expanding the
range upwards. The performer should try for a bold, regal style that mimics the early melody.
The dichotomy between sixteenth notes and quarter note triplets throughout this section can cause
the performer to compress and rush the rhythm. Make sure when practicing rehearsal H, that the
rhythmic relationships are even and consistent throughout and each note is placed carefully. This
can be exploited by the octave leaps and difficult intervals throughout the melody, but the
performer is urged to keep the sound as consistent as possible, not allowing the bottom register to
pop out of the context. This same melody gets repeated at letter J to the end in a slightly
augmented manner. Gulino gets slightly more technical, adding several sixteenth note runs to
augment the original melody, and as he does this, Gulino varies the dynamic, eventually ending
the piece at a pianissimo. The performer should make sure they pay careful attention to all the
dynamic markings and incorporate their musical interpretation and phrasing in an exaggerated
manner. Frank Gulino has provided a work that is rare in the trombone community: a work that
advanced high school student with a developed low register or an early undergrad looking to
More information with be provided on this work in the pedagogical guide accompanying
49
Allegro Maestoso Year of Publication: 1992
Jan Koetsier Range: F1 - Ab4
Level of Difficulty: Advanced
Approx Length: 5:00”
Accompaniment(s): Piano
One of many composers included on this list of Dutch descent, Jan Koetsier has long
been a champion of brass music through his conducting, composing and teaching. After a
productive career conducting orchestras such as the Concertgebouw Orchestra in Amsterdam and
the Bavarian Radio Orchestra, Koetsier made his biggest mark by becoming professor of
conducting at the Hochschule fur Musik in Munich from 1966 until his retirement upon which he
focused mainly on composition. In 1992, Koetsier founded the Jan Koetsier Foundation, which
supports new compositions for brass instruments as well as students who wish to study brass
chamber music in Germany. Koetsier’s library of works spans a wide variety of different
instrumentations from organ pieces to fully staged works. His works have been commissioned by
such ensembles as the Philadelphia Orchestra and the Philip Jones Brass Ensemble. Although the
Allegro Maestoso was composed in 1972. according to Jan Koetsier’s website, the first
performance of the work was not until 198917. Considering how frequently it is performed and
that it is not included in Thomas Everett’s original annotated guide, the piece is a prime candidate
for inclusion in this document. The work was published in 1992 by Editions Marc Reift and has
since become a standard work in the repertoire, being featured on no less than four albums of
prominent bass trombone soloists. The work starts with a bold introduction by the bass trombone
that shifts the meter from 6/4 to cut time. The challenge for the performer until measure 21 is to
play aggressively, but not overly heavy as to drag the tempo. After a short piano interlude, the
mood of the music changes from aggressive to nimble and more technical, forcing the performer
17
Jan Koetsier’s website states that the work was written in 1972 but published in 1992, thus making it a
candidate for this study.
50
to show their technique across the ranges of the instrument. The performer should practice the
figures at measure 23 in six note figures, perfecting each grouping before linking them together.
The performer can also experiment with different valve combinations, specifically using the
second valve, to try and keep the slide moving in a similar direction as much as possible. Moving
away from the technical aspects of Allegro Maestoso, Koetsier calls for the bass trombone to play
with a lyrical, sensitive style in the next section. The performer should approach the tranquillo
sections with a lyrical, legato approach and not allow the tempo to suffer because of this change
of style. Koetsier repeats both the technical and lyrical figures later in the piece but switches the
key to the dominant before moving along to a coda that exploits the lower ends of the bass
trombone. As the range extends downward, especially from measures 86-90, the performer
should take care to try and lengthen the lower notes as they will likely sound shorter the lower
they get. Into the coda, Koetsier asks for the performer to use a glissando. The performer should
place the emphasis on the latter part of the glissando as the intensity builds. The final phrase of
the piece asks the performer to combine the top and the bottom part of the range in one line,
ascending to an Ab4 and then descending to a pedal F1. A work roughly 5 minutes in duration,
Allegro Maestoso is an extremely effective piece to use as an opener or closer on a recital. This
piece is approachable for undergraduate or talented high school players and can be an exciting
51
Etoile Des Profondeurs Year of Publication: 1999
Jerome Naulais Range: D1 - A4
Level of Difficulty: Most Advanced
Approx Length: 15:40”
Accompaniment(s): Wind Ensemble
Piano
Published by Editions Robert Martin
Commissioned by Yves Bauer
Following the footsteps of many of the French composers writing for trombone in the
early to mid-20th century, Jerome Naulais offers an enjoyable and tuneful addition to the
repertoire in Etoile Des Profondeurs. Naulais was first a trombonist of the National Orchestra of
Île-de-France before moving into composing full-time. He has written and arranged for
Intercontemporain and has added several pieces to the trombone repertoire. Etoile Des
Profondeurs, which translates to “Star of the deep” is a three movement work full of tuneful
melodies as well as virtuosic technique. The first movement Etoile Des Profondeurs has a basic
A-B-A’ structure. The movement starts with a 16-measure introduction that puts the performer
through technical paces with a series of eighth-note triplet runs that sets up a light, bouncy
melody that then recurs throughout the movement. Performers should pay special attention to the
unusual placement of articulation and slurs that give momentum to ascending and descending
lines throughout the solo part. Moving from the jaunty melody of the first section to a cadenza
and dance section that expands the performers range downward, this section provides for a show
of stylistic command and dynamic sensitivity before moving back to a restatement of the A
section with a few more difficult triplet passages and ending the movement on a pedal Eb. The
second movement continues the tunefulness of the first movement by introducing a beautiful
flowing melody marked “Ballade” first in the piano and followed by the bass trombone and again
expanding the range downward, this time to a pedal G. Following this statement of the melody
and following the form of the first movement, Naulais begins to develop the theme of the second
52
movement into a more technical dance which challenges the performer’s rhythmic independence
and interval accuracy. The middle section of the second movement, which is a completely
different character than the rest of the movement, is especially challenging because of its quick
tempo, triple meter, and ensemble concerns with the piano particularly in measures 72-92.
Closing the second movement with the originally stated theme, the performer is challenged to
execute the restatement with a different type of warmth and introspection than when the theme
was first presented. The third movement is reminiscent of an Italian tarantella; a fast, fiery dance.
This movement is particularly challenging for its constant eighth-note scale patterns in the bass
trombone and the frequent interval jumps in the melodic line. The performer should pay
particularly technical and if practiced slowly and methodically, can be extremely gratifying to the
performer and impressive the audience. A restatement of the A theme from the beginning
continues after the cadenza and continues to its tarantella to the end. For the advanced player and
for the player who wants to improve all facets of their playing, Jerome Naulais’s Etoile Des
Profondeurs is an extremely fun and impressive new piece in the repertoire, one that is likely to
More detailed information on potential problem spots in the second movement with
accompanying practice techniques will be provided in the pedagogical guide section of this
53
Postcards IV Year of Publication: 2010
Anthony Plog Range: C2 - C4
Level of Difficulty: Intermediate Advanced
Approx Length: 7:00”
Accompaniment(s): None
Composer and conductor Anthony Plog was originally trained as an orchestral trumpet
player. He has provided the brass world with myriad number of comprehensive works for all the
brass instruments, mostly in a solo or chamber setting. In addition to his work for brass, Plog is
an avid educator whose comprehensive, seven book method for trumpet, The Plog Program, has
gained a reputation as a valuable resource for trumpet players everywhere. Plog has provided the
trombone repertoire with several pieces, including a piece for trombone in his set of three
miniatures for every instrument as well as his Postcards III for tenor trombone and Postcards IV
for bass trombone. Written in 2010 for Randall Hawes, bass trombonist of the Detroit Symphony
Orchestra and world class soloist, Postcards IV is the fourth piece in a series of work for
unaccompanied brass instruments. This 7:00’ work is set in four movements and challenges the
performer with non-traditional, non-classical styles in three of the four movements. The
relatively quick first movement indicates to the performer to be played with a “jazz feel” and
starts with a soft, eight measure groove that employs syncopation and creates a basis for rhythmic
stability throughout the movement. The challenge in the first movement is to create a feeling of
ease within the groove and a consistency of pulse in the swung eighth notes to help drive the
rhythmic energy forward. The performer should be careful not to turn the swung rhythms into
disjunct dotted eighth, sixteenth notes. This is especially difficult if the performer is not familiar
with playing within a jazz idiom. To work on achieving this style, it is suggested that the
performer seek out Jamey Aebersold and David Baker’s work and listen to jazz instrumentalists
who have mastered the art of swing, such as trombonists of the bebop era, J.J. Johnson and Kai
54
Winding. The second movement continues with the jazz style and makes florid use of
syncopation. This is a challenge throughout the movement as the unaccompanied bass trombone
must create a solid pulse from which to draw the syncopation out of. The performer should
practice these two movements with a metronome at different levels of subdivision (i.e. whole bar
different divisions of the beat allows the performer to check the syncopation against a larger
duration of time. The third movement charges the performer to show their lyrical and cantabile
playing while keeping the dynamic at a soft level. From measure 8 to 19, consistent triplet
figures create a sense of rhythmic freedom that should be considered by the performer. The
emphasis between measure 8 and 19 should be to play these measures with a push and pull feel,
keeping the triplets from feeling completely metronomic. The third movement provides the
performer with an opportunity to contrast the rigid pulse of the other three movements with
flowing phrases that need not be completely in time but must have consistent durational
relationships between them. The last movement of the work returns the piece to the jazz idiom.
Between measures 29-42, Plog creates the feeling of a “shout” chorus by employing the use of
syncopated glissandi and marcato accents. The performer should pay careful attention to these
glissandi, especially the note that they end on, as some of them lay awkwardly on the instrument.
Anthony Plog has created a fun, non-traditional work for the unaccompanied bass trombone in
which the performer gets to explore styles that might be foreign to them. This work is not terribly
difficult, especially to the performer that is more familiar with a variety of styles and would be a
55
Sonata for Bass Trombone and Piano Year of Publication: 1996
Daniel Schnyder Range D1 - G4
Level of Difficulty: Most Advanced
Approx. Length: 13:00”
Accompaniment(s): Piano
As the bass trombone and its solo music moves into a golden age for the instrument,
several composers have been on the forefront of changing the image of the bass trombone as a
purely orchestral instrument into a solo force. Daniel Schnyder and his collaborations with David
Taylor and other prominent trombonists have pushed the envelope with their spirited
performances in both solo settings and with their duo album and book, Art of the Duo.
Schnyder’s music for the bass trombone has been so frequently performed and recorded in the
last decade that both his subZERO: Concerto for Bass Trombone and now his Sonata for Bass
Trombone and Piano must be included in this study. The Sonata for Bass Trombone and Piano
was composed in 1996, as a part of a series of pieces called Music for Brass Instruments which
received first place in the International Trumpet Guild composition contest. The sonata is
dedicated to David Taylor and will challenge even the most advanced player. Composed in three
movements and pushing the limits of technical and rhythmic ability, the first movement entitled
“Blues” begins much in the same way that his concerto does, with a flurry of notes concentrated
in the valve register. The performer should approach the first page of the sonata with a very slow,
subdivided, measure by measure technique. By breaking down the rhythms between rehearsal A
and B into a sixteenth note subdivision and slowly speeding up the metronome, the performer will
solidify the difficult interval shifts and the shifting rhythms that are prevalent throughout the
introduction. As the performer becomes more comfortable at the smallest subdivision, switching
to an eighth note subdivision and practicing in larger sections will help fluidity and transitions.
This type of methodical approach will solidify both the rhythmic and technical aspects of this
difficult beginning. One of the more challenging aspects in the first movement is the usage of
56
mutes in both the cadenza (plunger, even though Schnyder asks for this to be done “vocally”) and
in the triplet section from measures 178-190. Schnyder does not indicate in the triplet section
which mute to use but based on his other compositions that use mute and the players who have
recorded this work, the suggestion would be to use a bucket mute (a mute is also asked for in the
second movement). The second movement, entitled “An American Ballad” should be approached
much of the same way that the beginning of the first movement is approached. Playing the
rhythms slowly and subdividing them into the smallest possible duration will help keep the
rhythm consistent throughout the movement. It is suggested that the performer become
acquainted with and play along with James Markey’s recording of this movement from his album
On Base, it will help with the difficult interplay between trombone and piano and will help
prepare the player to collaborate with a pianist. The closing movement, “Below the Surface”,
implores the player to play with a spirited and fiery style, while still incorporating a light and
nimble touch to the consistent eighth notes. The mordents indicated by Schnyder present an
interesting challenge to the performer, as well as the transition from dotted quarter subdivision of
measure 15 to the quarter note subdivision in measure 16. Overall, this is one of the most
impressive contributions to the solo repertoire that will challenge the performer and excite the
audience.
57
subZERO: Concerto for Bass Trombone Year of Publication: 1999
and Orchestra Range: D1 - G4
Daniel Schnyder Level of Difficulty: Most Advanced
Approx Length: 16:00
Accompaniment(s): Chamber Orchestra
Small Ensemble
Piano
One of the more prolific composers for the bass trombone in the late 20th and early 21st
century, Daniel Schnyder collaborations with bass trombonists have been fruitful for the soloist
over the last 20 years. Schnyder, a Swiss-American composer living in New York has produced a
wide catalogue of repertoire for the Bass Trombone during his work with both Stefan Schulz
(Berlin Philharmonic) and David Taylor (New York Freelancer). Both his Sonata and subZERO:
Concerto for Bass Trombone are constants on recitals by professionals and students and provide
Concerto for Bass Trombone is set in three movements entitled “subZERO”, “Sama’i Thaquil”,
and “Zoom Out” and was commissioned by David Taylor and the Absolute Ensemble. The work
was recorded by the same ensemble and received a Grammy nomination for “Best Classical
Small Ensemble Recording” in 2002. This concerto is available in several different iterations: for
solo bass trombone and piano, solo bass trombone, two percussion and piano, or solo bass
trombone and small orchestra. Technically, this concerto is a lot to handle right from the very
start with wide interval leaps extending into the extreme low register at a fast tempo. The
performer needs to have a solid grasp of their pedal register as the first movement frequently
exploits this register with an unrelenting rhythmic drive. A keen sense of rhythm and a mastery
of style is necessary for the frequent meter shifts and syncopation that is particularly prevalent in
the work of Schnyder, especially in the extended first movement cadenza from measures 154-
58
194. The second movement, “Sama’i Thaqil”, is an Arab instrumental form based on a pattern of
ten beats. It requires the performer to play with several different mutes including a bucket and a
Harmon without a stem. This movement contains beautiful expressive content of a contemplative
nature that contrasts with the outer movements. The third movement; “Zoom Out”, is a fast and
energetic finale which makes use of the performer’s ability to multiple tongue and again tests the
rhythmic stability of the ensemble through syncopation and meter changes. Slow and methodical
practice of the sixteenth-note runs, along with a subdivided metronome will help solidify the first
forty measures of “Zoom Out”. Continued practice this way will help build speed and accuracy.
The performer should take care to have an extremely talented collaborator and should schedule a
fair amount of rehearsal time as the piano reduction is complicated and at times not easy to sync
with the bass trombone. Schnyder’s fusion of classical, jazz, and non-western musical styles
along with his ability to write music that pushes the limits of the performer’s technical and
musical ability has made subZERO: Concerto for Bass Trombone one of the most played and
59
The “Arch” Sonata Year of Publication: 2010
James Stephenson Range: E1 - A4
Level of Difficulty: Most Advanced
Approx Length: 16:00”
Accompaniment(s): Piano
Stephenson decided to venture full-time into the world of composition in 2007. Stephenson’s
compositional catalogue contains a sonata or concerto for almost every single symphonic
instrument. Stephenson’s other trombone work, his tenor trombone concerto, Concerto
Braziliano, was written for Nitzan Haroz and performed at the St. Barth’s festival in 2007. The
“Arch” Sonata, his work for bass trombone and piano, was written at the bequest of St. Louis
Symphony bass trombonist Gerry Pagano. Pagano wanted a work that represented where he lived
and worked, thus The “Arch” Sonata was born. Stephenson, who has explained that he enjoys
using symbolism in many of his works, does so in this work. Almost every single phrase in The
“Arch” Sonata is itself a miniature arch. The symbolism doesn't stop there. The piece itself is 630
measures long, which is the outer width of the arch, and the pervasive use the notes E and A is
inspired by the designer of the arch, Eero Saarinen. Several of these instances of symbolism can
be seen in the first six notes, in which the phrase itself looks like an arch, and the notes that
Stephenson uses are only E and A. The extreme pedal register is employed at the opening and
throughout the entire piece at various dynamic levels, making for an extremely demanding aspect
for the performer to overcome. A particularly difficult cadenza from rehearsal A to B pushes the
limits of range for the performer. To help with the fluidity throughout the ranges, the performer
is encouraged to practice descending, two octave major scales starting at p and building to
fortissimo. This will help with tackling the technical aspects that abound in this work, but
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especially at rehearsal letters M, Q, and AA. This work (16 minutes) is one movement, through-
composed, in sonata form. This adds to its already extremely difficult nature. The performer of
this piece should practice for endurance and longevity. Practicing Joannes Rochut’s version of
Marco Bordogni’s Melodious Etudes in several different clefs will help with creating and
maintaining the sort of strength needed to perform the work. From AA to KK, Stephenson
challenges the performer with a barrage of technical acrobatics, especially at DD and FF. The
performer should consider practicing these sections by isolating each measure and slowing it
down to a comfortable tempo in which perfection can be achieved, and gradually speeding it up
for a performance ready tempo. Of concern at FF, is the choice of key that Stephenson decides
on: B major. Although not an unfamiliar key for trombonists (Wagner writes in B-Major
frequently), B major does not necessarily lie well on the instrument. The performer should make
sure they acquaint themselves with this key by playing scales and scales in thirds before
practicing the section at FF. To put this piece together, the performer must have a good
collaborator who has a keen sense of rhythm and good following abilities. This piece also
requires a large amount of rehearsal time. The “Arch” Sonata is one of the more difficult works
that has been written in the last several years due to its length, technical demands and fluidity of
range. This is an enjoyable work that should be performed by the most advanced graduate
61
The Kleinhammer Sonata Year of Publication: 2016
John Stevens Range: E1 - F#4
Level of Difficulty: Most Advanced
Approx Length: 17:30”
Accompaniment(s): Piano
A distinguished tubist and composer, John Stevens has concentrated on writing music for
brass instruments even while teaching tuba full time at the University of Wisconsin-Madison. A
Yale educated tubist and composer who has a penchant for tunefulness and creativity, Stevens’
work has been featured all over the globe and by the most accomplished musicians the 20th
century has to offer. Stevens writes for all instruments; however it is clear his knowledge of
idiomatic brass writing makes his solo work for brass instruments his most successful pieces. His
Tuba concerto, Journey, was premiered by Gene Pokorny and the Chicago Symphony in June of
2000 and since then, a variety of Stevens’ compositions can be heard on no less than 50
recordings. This sonata was composed at the request of a consortium of trombonists who wanted
to engage Stevens in a project. This request coincided with the passing of trombone legend,
to the instrument and his incredible talent with a piece dedicated to him. Stevens fully admits in
the score that the Kleinhammer Sonata is a true piece of chamber music for bass trombone and
piano. This piece of information is key in conveying to the performer to choose a very strong
collaborator. One of Stevens’ self-stated goals was for his music to, “...portray the capabilities of
power, beauty, agility and musicality in dialogue with a piano part that is interesting and
meaningful to the mood of the work beyond just an accompanying role.”18. Another stated goal
of this work for Stevens was to exploit the lower registers of the bass trombone in a lyrical,
18
John Stevens. The Kleinhammer Sonata for Bass Trombone and Piano. Cedartown, GA: Potenza Music,
2015.
62
singing fashion that would have been typical of a Kleinhammer performance. This is evident in
much of the traditional fast first movement, as most of the melodic material is lying either within
the staff or well below the staff. It is suggested that the performer work on breath support to
lengthen phrases and to keep a relaxed, melodic sound for maximum warmth and color.
Consulting Sam Pilafian and Patrick Sheridan’s Breathing Gym, or David Vining’s The Breathing
Book could aid in increased comfort with longer, lower melodies. Of considerable trouble in the
first movement are the time changes and syncopated rhythms that should be worked out by
subdividing slowly. Stevens adapts Kleinhammer’s favorite orchestral work; the “Urlicht” from
Mahler’s Resurrection Symphony in the slow movement, the performer can really work on long
phrases and a hauntingly beautiful expressive mindset. The performer should become very
familiar with the vocal lines and words of the “Urlicht”, as well Mahler’s original phrasing to
give a curated representation of this movement. Stevens suggests that the performer familiarize
themselves with the piano part, most notably from measures 29-46, before rehearsing this
movement as to promote an organic dialogue quickly. Score study from rehearsal E to the end
will similarly aid the performer with intonation. The third movement allows the performer to
unleash the technique slightly more so than in the succeeding movements. Stevens marking of
half note equals 80 seems to be malleable based on the desired degree of difficulty, keeping in
mind that the running eighth notes at rehearsal A, B, and C should be performed with ease. For a
fast, smooth performance of these passages, practice them double-tongued at half speed and
gradually speed up. The performer should practice at a slow tempo and results will be expedited.
The piece ends with a large bass trombone cadenza over a four-measure repeated figure in the
piano before racing to the finish. The performer should be as declamatory and operatic as
possible throughout the end of this movement, showing the full capabilities of the bass trombone.
This is a work that is worthy of being an anchor piece on a recital and one that will test the
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Skylines Publication Year: 1992
David Uber Range: G1 - A4
Level of Difficulty: Advanced
Approx Length: 12:00”
Accompaniment(s): Brass Band
Piano Reduction with Timpani and Drum Set
A prolific composer and a celebrated trombonist, David Uber had a musical career that
spanned just short of six decades. A graduate of the Curtis Institute of Music and Columbia
University (NY), Uber’s performing credits include the New York City Ballet, the New York
City Opera and as solo trombone of the NBC Television Orchestra. As a composer, his more
than 400 works have been commissioned by leading artists, universities, and corporations around
the world and have won several awards such as the 1990 T.U.B.A. composition contest for his 22
Etudes for Euphonium and the prestigious ASCAP composers award a staggering 49 times. His
work for low brass instruments has largely dominated his oeuvre, as Uber has been commissioned
by such low brass and musical greats as Harvey Phillips, Don Butterfield, Frank Meredith, John
Swallow, and Gerard Schwarz. Skylines was written for the bass trombonist of the Boston
Symphony, Douglas Yeo, in 1992 and depicts the three cosmopolitan skylines of Manhattan
(New York), Chicago (Illinois), and Boston (Massachusetts). In Douglas Yeo’s program notes to
his album Proclamation in which Yeo plays Skylines with brass band, he says this about Skylines:
It came, then, as a complete surprise when, in 1991, David called me and said he was
writing a piece for me for bass trombone and brass ensemble. It was to be, he said, a musical
representation of three cities that figured prominently in my professional development:
Manhattan (New York City), where I moved after completing my undergraduate degree and
began my freelance career; Chicago, the city where I studied with Edward Kleinhammer while a
student a Wheaton College; and Boston, where I play today. David asked me if I would accept the
dedication of the piece and if I would perform it with his Trenton State College brass ensemble at
the New York Brass Conference. Through a remarkable series of events, it turned out that the
Conference was being held during a week that the Boston Symphony was on tour in New York
(January 1992), so the premiere was a happy event.19
19
David Uber, writer, "Skylines," in Proclamation. Douglas Yeo, Bass Trombone, 1995, CD.
64
The first movement, “Manhattan”, is as fast-paced and frantic as its namesake. Marked
at allegro assai, Uber challenges the trombonist with a flurry of notes in the upper register for the
bass trombone. The performer should focus on clarity of articulation and a light tongue to best
tackle these measures. Throughout the movement, the trombonist should consider a smaller
sound to tackle the fast pace of the allegro assai movement. From rehearsal F to G, the
trombonist needs to display good double tonguing and excellent slide coordination. The second
movement, “Chicago”, features more lyrical and song-like qualities of the bass trombone. This
movement is a reminder of the song and wind approach of the famous Chicago Symphony low
brass section. The performer should approach this movement much as one would approach one
of Joannes Rochut’s version of Marco Bordogni’s Melodious Etudes. Practicing the first eight
etudes in the Melodious Etudes book and focusing on connections will aid in a consistent full
sound. Throughout this movement, the trombonist must pay careful attention to matching the
sounds of the natural slur and the legato tongue. Several resources will aid in a player’s
development of this, including Reginald Fink’s Studies in Legato and David Vining’s Daily
Routines for Tenor Trombone. The last movement, “Boston”, makes constant use of meter
changes from 6/8 to 5/8, keeping the player constantly subdividing without falling behind the
beat. The player is recommended to listen to Douglas Yeo’s recording from the album
Proclamation to gain an understanding of sound concept and style. The challenge in this
movement, and throughout the work is to keep the sound from becoming uncharacteristically
brash and heavy. Skylines is a work that incorporates non-traditional accompaniment including
piano, drum-set, and timpani, as well as a version with brass band accompaniment. Less difficult
than many works included in this list, Uber has provided a piece that seems suitable for a wide
65
Bass Trombone Music Year of Publication: 2007
Henry Wolking Range: G1 - Ab4
Level of Difficulty: Advanced
Approx Length: 10:00”
Accompaniment(s): Piano
Premiered at the 2007 Eastern Trombone Workshop in Ft. Myer, Virginia, Henry
Wolking’s Bass Trombone Music is a work that is worthy of becoming a staple in the bass
trombone repertoire. Recently retired after a 39-year career as the head of the jazz department at
the University of Utah to further concentrate on his composing and arranging, Henry Wolking has
had provided several pieces for the trombone that fuses the classical and jazz genres. Among
Wolking’s many pieces for brass, his trombone works stand out. Wolking’s Trombone Tales, a
30-minute concerto for trombone and orchestra, was premiered by Larry Zalkind and the Utah
Symphony Orchestra in 1995 and taken on tour to wide acclaim. Through his compositions for
the trombone, Wolking demonstrates his knowledge and skill on the trombone and his
considerable ability to compose for the instrument idiomatically. In his Bass Trombone Music,
which was dedicated to professor of trombone at University of Utah, Donn Schaeffer, Wolking
sets a brilliant work in four different movements inspired by influential figures in Wolking’s life.
In the first movement, inspired by and based on a song by 1960’s pop artist Roger Miller,
Wolking presents a considerable challenge for the performer in both style and technique. The
performer should approach the first movement with a light and nimble approach, especially when
the range descends. It’s important to work against the tendency that most bass trombonists have
to “muscle out” the low register. Articulation should be scrutinized and played with the utmost
care, as the composer himself comments that the “articulations are quite important”.20 The
20
Henry Wolking. Bass Trombone Music. Vancouver, BC: Cherry Classics Music, 2007.
66
second movement is inspired by Lou Harrison, a composer who exploited the limits of rhythm
and melody in something he calls "melodicles", short motifs which are exploited to create a
musical mode for the rest of the work. In Wolking’s version, he chooses intervals to expand,
moving from a minor third at the beginning of the movement to octaves at the end. The
performer should work through this movement slowly and concentrate on centering each pitch as
the intervals expand. Practicing from Jean-Baptiste Arban’s Famous Method for Trombone
interval studies in multiple octaves will help solidify this technique. The third movement, entitled
“Simon”, calls for the performer to showcase their expressive sensibilities. This movement
should be practiced and performed with a delicate, beautiful legato that constantly connects the
melodic line, especially as the line gets more disjunct from measures 30 through 34. The last
movement of the set, dedicated to Thelonious Monk, asks the performer to expand their rhythmic
and technical facility within a jazz style. Performing this movement successfully would cause the
soloist to mimic a fluent improvised jazz style while keeping the rhythmic integrity of the written
music. Measures 30 to 48 are potentially the most challenging of this work. The performer
should work on a stylistic double tongue and should consider “ghosting” certain notes. Listening
to, and becoming familiar with Thelonious Monk, Roger Miller, and Lou Harrison’s music will
go a long way to stylizing the music the intended way. Overall, Henry Wolking’s Bass Trombone
Music is a work that deserves to be recognized for its idiomatic and interesting writing for both
the bass trombone and the piano. Bass Trombone Music can be played by an advanced
undergraduate player who is looking to increase their understanding of a wide variety of musical
67
Capriccio Year of Publication: 2006
Steven Verhelst Range: D1 - Bb4
Level of Difficulty: Most Advanced
Approx Length: 8:00”
Accompaniment(s): Trombone Sextet
Piano Reduction
Brass Band
Wind Ensemble
Published by BVD Music
Written for Ben Van Dijk
Steven Verhelst is a Belgian composer whose music is gaining quite a following on both
social media as well as in more traditional musical circles. A bass trombonist himself, Verhelst
has studied with and subsequently written music for several of the most prominent trombonists,
including Ben Van Dijk, Jorgen Van Rijen, and Ben Haemhouts. A featured artist at the Slide
Factory 2017 in the Netherlands and the composer in residence at Sliderasia, Hong Kong in 2015,
Verhelst has made his mark on the 21st century brass community with a large repertoire of works
for trombone and brass. Verhelst became a YouTube sensation with his work, A Song for Japan
which featured trombonists from all over the world performing the quartet for charity after the
horrible earthquake and tsunami hit Japan in 2011. To date, this video has over 440,000 views
and has inspired many trombonists to perform this work. Verhelst’s World Concerto written for
and premiered by Ben Van Dijk in 2014 displays Verhelst’s melodic and tonally-driven
compositional style. Many of Verhelst’s works could have easily been included in this document,
including World Concerto, Hymn for Planet Earth commissioned by George Curran and the
Columbus State (GA) Trombone Choir, and the recently commissioned On Your Own Now for
solo bass trombone. The work that is included in this list is Verhelst’s Capriccio for Bass
Trombone and multiple accompanying (i.e., piano, brass band, trombone sextet, wind ensemble).
A virtuosic addition to the repertoire, Capriccio starts with a fanfare like introduction in the
accompaniment which is immediately echoed by a heroic statement from the bass trombone.
Within the first ten bars of Capriccio, the performer should focus on making an immediate
statement with a full sound and clear articulation focusing on centering each pitch to get full
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resonance. Two measures after rehearsal A, the melody is stated in the bass trombone, which will
be restated twice more throughout the piece in different keys. The performer should approach
this melody with a declamatory style focusing on full note lengths and steady and consistent tone
throughout. At rehearsal B, the bass trombone takes on the role of accompaniment with a figure
that dances around the melody. The performer should focus on executing a light and crisp
articulation style, paying close attention to the printed articulation as well as the dynamic
markings. From rehearsal F to G, the technical prowess of the performer can be exploited. In
this section, the performer could explore alternate positions and make use of both valves of the
bass trombone to keep the slide from moving too much, or to keep it moving in opposite
directions too frequently. Either a strong single tongue or a consistent triple tongue will be needed
to effectively conquer the G chromatic scale. To work on this, consult Jean-Baptiste Arban’s
Famous Method for Trombone for the section on multiple tonguing. Into the B section, the lyrical
nature of the andante theme must be connected and stand in stark contrast to the style of the
previous section. Paramount to the success of this section, is a clear sense of musical line and
phrase. It is suggested that the performer analyze and sing through this section to get a clear
understanding of the musical phrase structure. Approaching the music with clear phrasing
intentions will lead to a much more emotive and captivating performance. From rehearsal N to
the end of the work, the performer must be intimately acquainted with ascending and descending
arpeggios. To better achieve clarity through these, the performer is suggested to refer to exercise
27, 29 and 34 of Max Schlossberg’s Daily Drills and Technical Studies to establish clear pitch
center and develop clarity. Glissandi from F to D, down into the pedal range end the work with
finality. Capriccio is a fun and engaging work for the bass trombone and a variety of different
ensembles that is suited to an advanced player looking to improve and show off technique.
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Concerto for Bass Trombone, Strings, Year of Publication: 1993
Timpani and Cymbals Range: Db1 - F5
Ellen Taaffe Zwillich Difficulty Level: Most Advanced
Approx Length: 18:00”
Accompaniment(s): Orchestra
One of two Pulitzer prize winning composers included in this document (the other being
David Del Tredici), Ellen Taaffe Zwilich has paved quite a path to success as she was the first
woman composer to win the award as well as being the first woman to receive a doctorate from
the Juilliard School. An extremely decorated composer, she has been awarded the prestigious
Guggenheim fellowship, four Grammy nominations, and an Academy Award among others.
Zwilich has been called "one of America’s most frequently played and genuinely popular living
composers."21 Zwilich has close to 100 works ranging from instrumental concertos to vocal
ensemble pieces in a variety of styles from post-modern to post-romantic. In 1986, the Chicago
Symphony Orchestra approached Zwilich with the idea of composing two trombone concertos,
one for tenor trombone and orchestra and the other for bass trombone and orchestra. These works
were to be specifically for Jay Friedman, principal trombonist, and Charles Vernon, bass
trombonist of the orchestra, both of whom are virtuosos. Zwilich mentions that it took her a
Although I had long wanted to write a large-scale work for trombone and orchestra and
jumped at the chance to do so for the Chicago Symphony, I gave a great deal of thought to the
subject before I said "yes" to two! After a long discussion in New York with Jay Friedman and
Charles Vernon, which ended with each of them playing for me on the stage of Carnegie Hall, I
became excited about the challenge of writing two dramatically different pieces.22
21
K. Robert Schwartz, "Ellen Taaffe Zwilich," Grove Dictionary of Music, January 20, 2001, accessed
August 08, 2018.
22
Zwilich, Ellen Taaffe. Concerto for Bass Trombone, Strings, Timpani and Cymbals. King of Prussia, PA:
Theodore Presser, 1993.
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The Concerto for Bass Trombone, Strings, Timpani and Cymbals was completed in 1989
and premiered in 1991 by Charles Vernon and the Chicago Symphony Orchestra conducted by
Daniel Barenboim. Written specifically for Vernon, this concerto poses a great deal of challenge
to anyone who attempts it. The range of the concerto spans more than 4 octaves from Db 1 to
F#5 and uses both the high and low tessitura for extended durations throughout each movement.
In the first movement, Zwilich makes consistent use of intervals of fourths and fifths as well as
chromatic lines to establish the solo part. Although not overly technical throughout the first 67
bars, the player must exhibit extreme facility and a well-established range. Measure 68 begins an
extended cadenza in the bass trombone that extends the range from a high E at the top of the
treble clef staff to a pedal F at the bottom of the bass clef. The performer who is looking to
successfully perform this should build into their daily routine, Joseph Alessi’s arpeggio exercise
from his warm-up and maintenance sessions which were compiled at the 2007 Alessi Seminar.
The second movement is a testament to Vernon’s flexibility in the lowest register of the
instrument. Marked legato and molto legato, the performer should approach this movement with
the intention of providing a sustained and warm sound. To work on this movement, it is
suggested that the performer practice Joannes Rochut’s version of Marco Bordogni’s Melodious
Etudes down an octave and in tenor clef down an octave and down two octaves to work on
musical phrasing and breath control in the lowest tessitura. The third movement draws from what
was written in the previous movements as far as range and sustained playing is concerned and
adds an added component of technical virtuosity to the mix, including the highest note in the
piece, an F#, in the last four bars. This work should be approached as a long-term project for
those looking to master their skills and perform at the highest level. The Concerto for Bass
Trombone, Strings, Timpani and Cymbals is one of the most difficult works in the repertoire and
should be a capstone project for those whose skills are at the absolute highest level
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Pedagogical Guides
spots and present additional practice solutions in five of the works included in the repertoire
catalogue. Often, when musicians are presented with a difficult passage of repertoire, either
technical or musical, the performer is sometimes at a loss for how to approach said passage to
effectively improve and eventually master the trouble spot. The practice tips presented here will
be a combination of tried and true methods as well as things that I have encountered in studies or
method books that have helped me improve both musically and technically. These guides will
Often as instrumental performers, we are forced to spend long hours practicing these
compositions in a room by ourselves, only allowing for time with a collaborator on occasions
when the performer is preparing for a performance. Because of this, instrumentalists spend a lot
of time studying their own parts, but rarely the part of the collaborator. It is suggested that the
performer practice frequently from the full score to fully understand how the parts line up. To go
even further than this, the performer should write into their part important lines that dominate the
musical structure. This is a great way to open the eyes and the ears of each person involved in the
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Works to be examined
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David Gillingham - Sonata for Bass Trombone and Piano, Movement 1
Easily one of the most frequently played works in the post-1985 era of bass trombone
repertoire, the Gillingham Sonata is a tour de force for the instrument and presents several
Measures 6 through 31
Gillingham provides a very difficult intervallic passage in the bass trombone right from
the start with dotted quarter notes and two sixteenth notes to each bar in 2/4 time. For the first
eight bars the range is set in the middle of the staff and subsequently jumps into the higher
tessitura before descending back down. After a three-measure rest, Gillingham continues this
same theme but augments the rhythm and calls for a completely different style. On the surface,
this appears to be a simple line that lies well on the instrument, however to adequately perform
and master this section the following problems need to be dealt with:
The performer should pay close attention to the follow issues throughout this section.
● Short changing note lengths and compressing the sixteenth notes is common. The
● Awkward interval leaps throughout the passage can cause the performer to miss the
● The first section calls for a very legato approach, the second section at 24 calls for a
secco approach.
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It is suggested that the performer begin to practice this section at a tempo well below the
suggested quarter note equals 144, and progressively speed up to a tempo that feels exciting but
not frantic and out of control. To approach the dotted quarter and two sixteenth note introduction,
it is suggested that the player start at the slow tempo and use glissandi to connect the sixteenth
notes. Practicing musical example 2 will help with fluidity and a consistent musical line that is
legato as Gillingham wishes. This will also help with the awkward interval leaps if the sound is
kept consistent via the glissandi. Musical example 2 also forces the player to use consistent air
The next step is to subdivide the dotted quarter note even further and practice a slow,
legato double tongue as in musical example 3. If the player can work out a slow, legato double
tongue and eventually speed it up, the passage will sound all that much better at a faster speed.
This will also work with the passage at rehearsal 24 if the player works towards a slow, secco
double tongue as in musical example 4. As the player becomes more comfortable with the slow
double tongue, it is recommended to speed up the tempo incrementally while attempting to keep a
consistent articulation.
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Musical Example 3. Gillingham, Sonata for Bass Trombone and Piano 2.
After a cadenza that begins in measure 69, the piano rejoins the bass trombone with an
iteration of the opening theme which transitions into a metric shift that begins in measure 91 and
The performer should pay close attention to the following issues throughout this section:
● A light and bouncy approach is required throughout this section while maintaining the
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● Changing style into measure 99 and keeping a legato and consistent tongue throughout
● Properly feeling the correct pulse throughout the section and placing emphasis in the
right places.
In measure 83, a similar approach to that of the beginning of the movement will aid in
achieving pitch and interval accuracy. The performer must remember that in measure 91, a
pointed and spirited accent on each downbeat is necessary. Doing so, in measures 96-98 will aid
in keeping the momentum before slowing with an unwritten ritardando in measure 98 into 99.
Adding this ritardando and elongating the quarter note triplets will allow the player to transition
Feeling the correct pulse is a challenge to contend with throughout the entire piece. This
is particularly the case in measure 99. The performer is urged to feel the 6/8 bar similarly in 2/4
with the eighth note getting the pulse. The performer is also urged to make use of the second
valve throughout the section at 105, with special emphasis given to measure 106. One of the
harder sections of this movement to align correctly with the pianist occurs right after measure 108
and continues into measure 111. The performer should notice that each beat lands on C and that
77
the pianist uses the pedal in each bar. The performer might want to skip right to this spot when
first collaborating with their pianist. Many of the meters throughout the work are unusual and not
frequently seen, so rethinking the meters that present confusion is something that the performer
should consider. A re-written version of the bass trombone part with suggested slide positions and
The last section of note in the first movement of the Gillingham is the coda starting at
measure 163. This is possibly the most virtuosic section of the work and spans almost three
octaves in range.
The performer should pay close attention to the following issues throughout this section:
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It is suggested that the performer approach the line by “peeling away the layers” when
working on these overly technical passages. Starting in measure 180, the performer is advised to
play the first note of each beat only, from G4 to Ab1 as in musical example 7.
After these pitches have been stabilized through repetition, musical example 8 advises the
Finally, the performer can add the third note, and each time they repeat the passage the
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David Gillingham’s Sonata for Bass Trombone and Piano is a work that is frequently
performed and often taught. The opportunities for effective practice techniques can provide a
wealth of knowledge for those that choose to study it. This guide provides suggestions that the
author has seen to be effective to helping best prepare this movement. Many of these suggestions
have been passed down from generations of expert teachers and pedagogues.
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Jerome Naulais - Etoile Des Profondeurs for Bass Trombone and Piano, “Ballade”
Following the French conservatory tradition, Jerome Naulais wrote this work for
Premiere Prix winner Yves Bauer. This tonal and melodic work will be a welcomed addition to
any recital or recording but does offer several challenges to the performer in terms of technique,
Measure 8 through 27
Naulais offers up a beautiful and haunting melody that allows the bass trombonist to
make use of their extensive lyrical abilities. Negotiating this passage with ease of tone and
consistent intonation is a must, but if the performer pays attention to musical line and tension and
The performer should pay close attention to the following throughout this section:
● Beauty and consistency of sound in the low register while doing a decrescendo.
It is suggested that the slurs be rewritten as in musical example 9 so that they adhere to a
more lyrical and overall sense of phrase structure. Doing so will allow the performer to rethink
the phrases in a way that elongates the line. Musical example 9 contains the suggested rewrite.
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Musical Example 9. Naulais, Etoile Des Profondeurs “Ballade” 1.
Similarly, in the last four bars of this section, the performer must negotiate a dive into the
low register while maintaining a beauty and core to the sound. Working on crescendi and
Measure 31 through 53
Marked plus allant, meaning “a little more spirited”, Naulais varies the theme at the
beginning with a much more playful and dance-like section. This allows the performer to show
off a more technical side to their playing, but also adds several challenges to the overall
performance of this movement. Differing articulation, complex rhythms, an expanded range, and
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The performer should pay close attention to the following issues throughout this section:
● Increasingly complex rhythms throughout, forcing the player to subdivide for greater
internal pulse.
● An expanded range that offers wide interval leaps causing accuracy problems.
Right from the beginning of the plus allant, Naulais increases the technical challenges
from the opening lyrical statement. These increased technical challenges can wreak havoc on the
coordination between the slide and the tongue. To help improve this, it is suggested that the
performer make use of “alternate” positions to keep the slide from frequently having to move in
opposing directions. These are suggested in musical example 11 are my suggested positions for
the phrase from measure 31-53. Making use of the second valve independently of the first will
help keep consistent motion of the slide and can avoid jerky movements that breakup the phrase.
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Naulais begins to vary the rhythmic language of the piece quite a bit in the plus allant
section. The performer must constantly shift the subdivision in their mind from big beats to
sixteenth note sextuplets depending on the phrase. Measures 35, 43-45, and 47 are the most
challenging to play with consistent accuracy. To work on this, it is suggested that the player
practice away from the horn first, subdividing each measure with the corresponding beat audible
from a metronome. Working away from the horn on rhythmic problems can help break the
monotony of long practice sessions. Once this has been mastered, add the instrument back, but
play the rhythms on one note with the metronome. Ultimately, the player will add all the notes
Lastly, the wide interval leaps throughout this section pose a considerable challenge to
both rhythmic and pitch accuracy. To work on these intervals, the player should seek out two
different method books. Practicing musical example 12, from Jean-Baptiste Arban’s Famous
Method for Trombone in all octaves and articulations will help wide intervals, and consistent
practice from Brad Edwards Lip Slurs will aid in establishing a comfort level with intervals that
can be naturally slurred as well as building strength and facility throughout the ranges.
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Similar issues arise throughout the rest of the movement as they pertain to rhythm,
accuracy, wide intervals, and range. Working through sections like measures 95-108 while
applying all the techniques mentioned above will help the performer achieve success throughout
the movement.
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Brad Edwards - 4 Impromptus for Low Bone Alone - “Senseless Rejoicing”
4 Impromptus for Low Bone Alone has become a great recital piece for both students and
professionals. This clever and enjoyable work has a wealth of musical content within and
contains many spots throughout that require solid technique. In addition to the technical and
musical challenges present, all of the movements start with a poem that is to be spoken clearly
and energetically before playing. The performer is encouraged to practice their speaking voice in
the dress rehearsal in the hall to determine the appropriate diction. This guide will focus on the
fourth and last movement, “Senseless Rejoicing”. This short movement is only 2:30” long but
Measure 1 through 26
The performer should pay close attention to the following issues throughout this section:
Edwards switches meters frequently throughout the movement. Alternating 5/8 and 6/8
passages are interspersed with occasional 7/8 measures. This occurs between measures 1-26 and
again from measures 71-87. To consistently feel the rhythms, the performer is encouraged to
practice these sections by playing the first note of each note grouping so as to make sure that the
pulse of each measure has the right feel to it. Special attention must be paid in musical example
13 to the 6/8 bars that have a rest on beat four to avoid making these measures into 5/8 bars.
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Musical Example 13. Edwards 4 Impromptus for Low Bone Alone “Senseless
Rejoicing” 1.
Measure 37 through 70
The second major issue throughout this movement is the establishment of a beat
hierarchy so that the leggiero section from measure 37-70 contains some musical line rather than
having each eighth-note receive the same emphasis. To implement this, the performer must
Strongest: Beat 1
Beat 3
Beat 4
Beat 2
Weakest: Upbeats
Figure 1. Edwards, 4 Impromptus for Low Bone Alone, “Senseless Rejoicing” Beat
Hierarchy.
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Understanding that each eighth note is not created equal in this scenario is important for
the developing musician. The effort must be placed on making a musical line instead of giving
melodies between measures 45-63. The performer must present a clear bass line ostinato on beat
4 that accompanies a more leggiero melodic line on beats 1 and 2. As the bass line ascends by
half steps, the melodic line shifts to meet the new pitch center. To practice this relationship, it is
suggested that the performer separate the lines and practice them as is recommended in musical
Bass line:
Musical Example 14. Edwards, 4 Impromptus for Low Bone Alone, “Senseless Rejoicing” 2.
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Melodic line:
Musical Example 15. Edwards, 4 Impromptus for Low Bone Alone, “Senseless Rejoicing” 3.
Keeping the bass line figure from sticking out of the texture is an important aspect of
creating a convincing compound melody. The performer is reminded that the bass line notes
As is true with many of the works contained in the pedagogical guides, wide interval
leaps present a challenge for most performers. The performer is urged to contemplate the use of
vowel sounds as the range ascends and descends. The use of different vowels such as “AHH” or
“OH” can dramatically affect the sound if applied in an incorrect fashion. It is suggested that in
any work with difficult interval leaps, the performer sing through each passage with
A daily routine of lip-slurs, long-tones, scales, and arpeggios in different octaves and
with different articulations along with a healthy diet of an assortment of method books will help
in raising the level of facility throughout the ranges. It is suggested that the developing bass
trombonist practice their fundamentals and basics religiously and transfer these successes over to
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Frank Gulino - Worlds Apart
As mentioned in the annotation about this work above, Gulino’s penchant for writing
beautiful flowing lines and establishing lush harmonies underneath is present in his work Worlds
Apart for Bass Trombone and Piano. Including this work in the pedagogical guides can help
students to develop practice techniques and processes that might be helpful for them in preparing
this work and in establishing consistent and thoughtful approaches to any music that is set in front
of them. Worlds Apart contains issues pertaining to phrasing structure, rhythmic consistency,
The performer should pay close attention to the following issues throughout Worlds Apart:
● The subdivision of a wide variety of note values and rhythms. In particular the
● Intonation issues in the extreme low register when collaborating with pianist.
Gulino uses a wide variety of note lengths throughout the work that need to be precise
and differentiated from other, similar note values. Gulino uses 32nd notes pervasively throughout
the work and these should be considerably different than the sixteenth notes offered previously.
The performer is urged to play from the piano score to determine how to fit these 32nd notes into
the piano part. In the first and second measures of A, the dichotomy between the piano and the
bass trombone parts needs to be exploited and cleanly executed as the bass trombone has 32nd
notes juxtaposed with the piano often having sixteenth notes. Treating the 32nd note pickups as a
legato extension of the bar after it will help with the concept of musical phrase.
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Exacerbating the rhythmic problems evident within Worlds Apart, Gulino offers the
quarter note triplet frequently. This particular rhythm is problematic for many students, as the
triplets are often played incorrectly. To work on this rhythm, musical example 16 suggests that
the performer subdivide the pattern into even eighth notes and work towards combining each set
of two eighth notes into equal quarter notes over two beats. It is suggested that the player
subdivide the entire phrase to the smallest subdivision of each beat. The performer must strive to
syncopate their triplets evenly over the steady quarter note rhythm put forth by the collaborator.
Gulino varies the metric motion throughout the middle of Worlds Apart by employing a
large section of alternating 5/8 and 6/8 time signatures from rehearsal letter E to H. To keep the
pulse secure, the performer is urged to practice the 5/8 section at E by rebarring the groupings to
correspond to the groupings in the piano part as is demonstrated in musical example 17.
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Musical Example 17. Gulino, Worlds Apart 2.
After rebarring these measures, the performer should practice musical example 18,
working towards keeping the pulse steady by playing only the first note of each grouping with a
steady eighth note pulse, giving emphasis to each downbeat. When the pulse is steady, the
performer should add all of the beats, still placing emphasis on the downbeat.
The last issue that permeates this work is that of tuning in the extreme low register.
Worlds Apart exploits the valve and pedal register of the bass trombone and as such, many
performers have issues tuning notes in such a low tessitura. The material from rehearsal A to B,
six bars to two bars before D, and the last four bars of the piece are particularly challenging. The
performer is urged to practice these sections with their pianist often and diligently. Asking the
pianist to take out any extended chords and move extreme register chords into the middle part of
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the piano range will help the performer hear the intonation. If the performer is unable to practice
frequently with a pianist, they are urged to practice these parts with the sustain pedal of the piano
down, allowing for the strings of the piano to resonate the pitch if in tune. Practicing this way
will allow the performer to learn their intonation tendencies and will help develop their ear for
minute pitch differences. Frank Gulino has provided the bass trombone with a great intermediate
work with challenges that will develop several different skills of the burgeoning musician.
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Eric Ewazen - Concerto for Bass Trombone, Movement 1
Eric Ewazen has been one of the most prolific composers for brass music in general, and
the trombone in particular, across the last 30 years. Ewazen’s music is accessible, engaging, and
can be used by teachers and students to develop many technical and musical skills. The first
movement from Ewazen’s Concerto for Bass Trombone is a fantastic work that can be used for
auditions, recitals, and competitions. It has several spots that challenge the player to come up
Throughout the movement, the player should focus their attention on the following issues:
Measure 1 through 33
The Andante con moto section of this movement gives the bass trombone a flowing,
cantabile melody that allows the player to showcase their sound and phrase length. The issue that
presents itself is that of the breath. Musical example 19 gives an example of potential breaths that
will help the phrase structure and elongate the musical line.
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Musical Example 19. Ewazen, Concerto for Bass Trombone 1.
Along with planning the breathing accordingly, it will be necessary to practice both quick
breaths and tapering the note before the breath (in this case the dotted quarter note) to prepare the
phrase so that the breath does not come abruptly and interrupt the flow of the music.
Throughout the Andante con moto, the player has an opportunity to showcase a big,
established and applied to the beginning D major chords. The player should work on sound by
first conceptualizing an ideal tone quality and imagining the tone of their favorite player. Then
the player should record the beginning seven measures and compare the tone to determine the
qualities that differentiate between the two. To practice intonation, the player should establish a
routine of practicing scales and arpeggios with the corresponding major and minor tonality drones
(mostly centered around a D) and working extensively with a tuner. Holding the sustain pedal on
the piano while practicing this section will help solidify each pitch center and will ultimately help
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Measure 34 through 151
From the Andante con moto section, Ewazen leads the player into a lively Allegro Vivace
section that can exploit the agility and accuracy of the performer. Throughout this section there
are eighth note runs that dip into the valve register, most of which are set on the upbeats and must
be rhythmically accurate.
Throughout this section, the performer should pay attention to the following issues:
● Keeping length through the eighth note runs, avoiding a secco, compressed style.
● Switching styles quickly between eighth note and quarter note phrases.
The first issue that the player must contend with is the tendency to play the eighth note
runs starting at measure 38 with a short, segmented style as demonstrated in musical example 20.
These lines must be played with an arching phrase that elongates the notes and drives the musical
line towards the next measure. The player should be aware that the eighth notes need to have a
little space between them. Musical example 20 is what the player should strive to avoid.
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It will be easier for the performer to demonstrate consistent rhythmical symmetry if they
perform these lines with length and phrase direction. Often, when playing consecutive eighth
notes, the tendency of many is to wait longer through the rests and then compress the eighth notes
to catch up to the musical line. This makes the rhythm feel completely disjunct and totally
uneven which is demonstrated in a written out version of this in musical example 21. The player
must contend with similar issues when playing sixteenth notes at the end of the measure, as in
The last issue the player must contend with in this section of the movement is that of
style differences between the eighth notes and quarter notes which changes between consistent,
driving eighth notes to flowing and legato quarter notes. Attention to this change of style must be
paid from measures 50-55, while the player has eighth notes to measures 59-69 in which the style
and length of notes is completely different. Paying close attention to these minute differences in
style and note length will help the player to learn how to be discerning in their musical choices
and will ultimately take each performance of this movement as well as their musical development
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Conclusion
As the quantity and the quality of the repertoire for the bass trombone has increased over
the last 30 years, the instrument itself has made impressive strides in becoming a viable solo
instrument. This incredible rise in the repertoire has only been made possible because of the
contributions of players and teachers such as Thomas Everett, David Taylor, Douglas Yeo, Ben
van Dijk and others who have advanced the instrument both technically and musically and have
challenged composers to write material that is suitable to their talents. These players have seen
the need for an expanded repertoire and have acted on it. This document is in no means meant to
be a comprehensive list of all of the repertoire that has been written over the last 30 years, but it
does provide the trombone community a guide for a sampling of the pieces that are available to
Through the study of the available repertoire and the trends in composition over the last
30 years, there have been several realizations I have made that could make the repertoire even
more accessible for a larger population of trombone players. The first is that a large majority of
the new repertoire is extremely demanding and is primarily meant for very advanced players.
Many of the pieces commissioned by professionals are for professionals, not offering much in the
way for the developing or intermediate player. Developing a repertoire that offers quality and
engaging music for the developing student would be a welcomed addition to the teaching
repertoire and would help in keeping students interested in developing their skills. Secondly,
while the catalogue tries to be inclusive of musical styles and accompaniments, there is an
absence of composers representing ethnic or gender diversity. There are two women composers
on this list, and little to no composers representative of racial and ethnic diversity. Sadly, this
problem mimics the greater classical music community and needs to be addressed. Future
projects will include commissioning works from a wide range of persons from all genders and
backgrounds that incorporate their perspective and musical cultures. Hopefully this document
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will serve as a starting point for teachers and students to begin teaching and documenting the
expanding repertoire and will aid those looking for a quick reference to studying any of the works
included.
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Appendix: Suggested Materials for Additional Study
Suggested study materials for practice included in the repertoire catalogue. Full citations
included in bibliography.
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David Fetter - Bass Lines “Spain”
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Max Schlossberg - Daily Drills and Technical Studies
Ellen Taaffe Zwillich - Concerto for Bass Trombone, Strings, Timpani and Cymbals
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Bibliography
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Jazz, 1992.
Arban, J. B. Arban’s Famous Method for the Trombone. New York, NY: C. Fischer.
Bitsch, Marcel. Quinze Études De Rythme Pour Trombone. Paris: Alphonse Leduc, 1956.
Baker, David. Contemporary Techniques for the Trombone: A Revolutionary Approach to the
Problems of Music in the Twentieth Century. New York, NY: C. Colin, 1974.
Brubeck, Chris. Concerto for Bass Trombone and Orchestra. New York, NY: Carl Fischer, 2000.
Buss, Howard J. Alien Loop De Loops. Lakeland, FL: Brixton Publications, 2015.
Dempster, Stuart. The Modern Trombone: A Definition of Its Idioms. Athens, OH: Accura Music,
1994.
Edwards, Brad. Lip Slurs: Progressive Exercises for Building Tone and Technique. Ithaca, NY:
Ensemble Publications, 2006.
Edwards, Brad. Bass Trombone Craft: A Musical Approach to Building Tone and Technique.
Ithaca, NY: Ensemble Publications, 2012.
Everett, Thomas G. An Annotated Guide to Bass Trombone Literature. Nashville, TN: Brass
Press, 1985.
Fink, Reginald H. Studies in Legato for Trombone. New York: C. Fischer, 1967.
Gillingham, David. Sonata for Bass Trombone and Piano. Denton, TX: International Trombone
Association Press, 1989.
Harrison, Lou, Robert Hughes, Beverly Bellows, Lou Harrison, William Bouton, and Wilfrid
Mellers, writers. The Music of Lou Harrison. Phoenix, 1991, CD.
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Johnson, J.J., Tommy Flanagan, Paul Chambers, and Max Roach, performers. Blue Trombone.
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McCreary.
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Carl Fischer, 1928.
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1947.
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Accessed August 08, 2018.
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Sheridan, Patrick, and Sam Pilafian. The Breathing Gym. Mesa, AZ: Focus-on-music, 2007.
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Snedecor, Phil. Low Etudes for Tuba. North Easton, MA: Robert King Music, 1996.
Stevens, John. The Kleinhammer Sonata for Bass Trombone and Piano. Cedartown, GA: Potenza
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Teele, Philip. Advanced Embouchure Studies for the Bass Trombone. Ferguson Music, 2001.
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Vernon, Charles. A Singing Approach to the Trombone. Atlanta, GA: Atlanta Brass Society,
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Vining, David, and Patrick Sheridan. The Breathing Book. Flagstaff: Mountain Peak Music, 2009.
Vining, David. Daily Routines - Bass Trombone. Denton, TX: Kagarice Publications, 2008.
Winding, Kai. Jay and Kai plus 6. Performed by J.J. Johnson. 1956, CD.
Wolking, Henry. Bass Trombone Music. Vancouver, BC: Cherry Classics Music, 2007.
Zwilich, Ellen Taaffe. Concerto for Bass Trombone, Strings, Timpani and Cymbals. King of
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