Us, composed by Thad Jones in 1970 and originally recorded that same year, is one of the pieces which defined the new sound of the Thad Jones/Mel Lewis Jazz Orchestra. While being one of the most successful, early melding of big band instrumentation with rock rhythms and rhythm section instruments, it also includes an a cappella chorus for the ?band? (for this version, read: ?trombones?) and intricate saxophone lines which are challenging but very rewardingly playable.

David Fletcher has done a magnificent job of translating the richness of Thad?s voicings and the exuberance and spirit of this piece to the Trombone quintet plus rhythm section instrumentation of the University of Illinois Jazz Trombone Ensemble, who have performed it at both American Trombone Workshops and International Trombone Festivals.

David Fletcher, a member of the award winning University of Illinois Jazz Trombone Ensemble under the direction of Jim Pugh arranged this great chart for Trombone Quintet and rhythm section. It is about 4 minutes in length and includes improvised jazz solos for Trombone 2 and Electric Guitar.

Petros Shoujounian, an Armenian/Canadian composer has written Twelve Duos for Trombones based on the folksong collection of the Armenian priest Komitas, known as the founder of the Armenian national school of music and one of the pioneers of ethnomusicology. Below are comments from the composer about his inspiration in writing these Twelve Duos for Trombones.

My interest in the collected works of Komitas's ethnographical songs was aroused when I was introduced to Bela Bartok's similar works followed by Alan Hovhaness's huge creative world. Bartok completed his project having at his disposal a large collection of ethnographic music, while Hovhannes studied the wealth of Komitas's music with great interest. It is difficult to say to what extent the Armenian underpinning of Hovhannes's works is nurtured by Komitas's musical world, but his classical interpretation of the Armenian ethnographical music created a huge interest in the listener. Needless to say, there is also Aram Katchaturian's legacy, which at its core has the ardent presence of the Armenian spirit, nurtured by Komitas's very existence.

Komitas has left a collection of about 3,000 cleaned versions of the ethnographic song and dance pieces, of which 1,700 have reaches us, about 400 of which have been activated. I believe that in those beautiful musical fragments reside the power to be revived, once we enrich them with colorful musical instruments and unbounded polyphonic imagination.

This is the motivation behind my own work and these Twelve Duos for Trombones: to make the essence of our ethnographic music accessible through Komitas.

These Twelve Duos are appropriate for advanced performers and may be performed on Alto, Tenor, and Bass Trombones.

Here is what the arranger, Ross Holcombe says about his great scoring of this wonderful and unique work by Ives.

Ives finished the majority of his Concord Sonata, from which this movement is excerpted, in 1915. According to Ives, the piece reflects on the old Alcott house in Concord, MA, but I feel a greater struggle in this work than a mere journal about a piece of architecture. The fact that Ives quotes Beethoven?s 5th Symphony so extensively makes me wonder about his views on destiny, fate, the future, and the creative process.

The piece starts serenely but quickly devolves into uncertainty, doubt, and anger. A floating interlude brings us back to distant memories where we remember that we are shaped by our past, but have control of the direction of our future. Building on that realization and quickly gaining steam, the piece ends with a powerful and joyful climax. The angry Beethoven theme is transformed into one of power, hope, and light. A feeling of calm and contentment ends the piece, finally coming to rest on one simple C major chord.

This work is scored for 10 trombones: 1 alto, 7 tenor, and 2 bass trombones and is appropriate for advanced performers.

I've included two versions of this arrangement for trombone quartet. Both versions are the same in structure and rhythm but have different ranges. The intermediate version is more suitable for experienced high school students. Scores and parts for each version are included.

You can listen to it here: https://youtu.be/nJnynH46Pyw

Epic famous film music STAR TREK theme "To Boldly Go and End Credits" arranged for single trombone solo performance (or any instrument notated in bass clef in C).
A symphonic suite arranged for slide-trombone instrumentation. Originally I started to play the trombone because of Commander William T. Riker.

This piece by Michael Giacchino contains portions of the TV Theme by Alexander Courage and Gene Roddenberry. Therefore it is like an epic medley of many familiar symphonic Star Trek tunes as we all love them.
It has been adapted specifically for trombone / t-bone brass players. Breething signs and spaces are included. Special slide positions and slide effects are notated as well.

Total play time is approximately 7 minutes and 43 seconds
but there is an option to end the piece in front of the interlude at time 2 min 42 sec at the same bar where the official HalLeonard piano arrangement of "to boldly go" ends:
https://www.sheetmusicplus.com/title/to-boldly-go-digital-sheet-music/19455787
After that, the music gets a little bit darker and string-dominated. These parts have been changed or excluded to make it a solid brasswind only Star Trek performance.

Score is available in C in bass clef with 5 pages in DIN-A4 format.

Major high notes that are the climax of a tension bow sometimes end on a high: ringing Ab''
There is even a High Db''' for the very ambitious trombone player (but the higher notes are also notated one octave lower).

Thanks!