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.

Samuel Scheidt's Galliard Battaglia composed around 1621, has become one of the most recognized works in the brass quintet repertoire. This secular work was originally written for five viols. The Galliard dance style, very popular at the time serves as a perfect "foil" for the music's echoing back-and-forth fanfares and brilliant scales.

Neal Bennett of iTromboni has done a great job of arranging this music for Trombone quintet of 2 altos (possible on tenor also), 2 tenors & bass, playable by advanced performers. Length is about 2 minutes.

The brilliant sound track sample is taken from a live performance by iTromboni.

"The Ecstasy of Gold" (Italian: L'estasi dell'oro) is a musical composition by Ennio Morricone, part of his score for the 1966 Sergio Leone film The Good, the Bad and the Ugly. It is played while Tuco (Eli Wallach) is frantically searching a cemetery for the grave that holds $200,000 in gold coins. Sung by Edda Dell'Orso, it stands as one of the most well known of Morricone's themes. American metal band Metallica has used "The Ecstasy of Gold" as the introductory music for its concerts since 1984. New York City-based punk rock band Ramones used this theme as the outro music for their concerts since 1991.

This arrangement for sax quartet includes the following parts: Bb Soprano, Eb Alto, Bb Tenor, Eb Baritone.
It is suitable for classroom, repertoire and recital.

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.

A creative and thorough way to warm-up and keep your chops in shape in less than 30 minutes daily!

Description
The Warm Up is an integral component of every brass player?s daily practice. Brass teachers have always been at odds as to what a good warm-up should consist of. My teacher Claude Gordon believed that there should be no prescribed warm-up, as the first notes of the day would fill that need. Others believe in a set warm-up that is done the same every day and never changes. And then there are those teachers who believe a warm-up should cover every aspect of playing, sometimes lasting two hours or more. I end up in the middle of all this with The Progressive Warm-Up.

Richard Galliano is a French accordionist of Italian heritage. After a long and intense period of study, at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. The second decisive meeting took place in 1980, with the Argentinean composer and bandoneonist Astor Piazzolla.
Astor strongly encouraged Richard to create the French ?New Musette?, as he himself had previously invented the Argentinean ?New Tango?.
Some later collaboration include Chet Baker, Eddy Louiss, Ron Carter, Wynton Marsalis, Charlie Haden,
Gary Burton, Michel Portal, Toots Thielemans and Kurt Elling.

This arrangement for alto sax with piano of one of his most famous and performed pieces (with clear rhythmic references to the Piazzolla's "Libertango") is suitable for classroom, repertoire and recital.

My first season with the Oregon Symphony was 1962-1963. I was so excited when I was told that I was accepted into the Portland Symphony (now Oregon Symphony), I danced and jumped up and down. I can still see myself. Its was like winning the Powerball. I was only 17 years old. What is equally amazing is that 45 years later I retired from a career that very few people can ever experience. I was bass trombonist my first year in the Oregon Symphony and was principal trombonist my third year. I also traveled with the New York Metropolitan Opera National company for 84 weeks as principal trombonist and was bass trombonist of the Portland Opera for 18 years. I played in the Peter Britt Orchestra for two seasons and also in the Anchorage, AK. music festival. I was a scholarship winner to Tanglewood in Lenox, Mass. and the National Music Camp in Interlochen, Michigan. I was privileged to perform with Leopold Stowkowski and Erik Leinsdorf. None of this would have been possible without my early training with the Portland, Youth Philharmonic under the leadership of maestro Jacob Avshalomov.

I have met many famous people and have played the world's greatest music. The Oregon Symphony music directors and conductors have been magnificent and have each brought many special talents to the orchestra. I remember special concerts featuring Jack Benny, Danny Kaye, Isaac Stern, Leonard Rose, and many others.

During my time in the Oregon Symphony I developed a hobby of making batons for some of the conductors who visited our orchestra. Most recently, I made batons for Itzhak Perlman, James DePreist, Carlos Kalmar, Riccardo Mutti, Murry Sidlin, Hannu Lintu, Karel Mark Chichon,

Andre Watts, and many others.

Since establishing the Alan Pierce Piano Service in 1976, I have tuned pianos for the Oregon Symphony, Andre Watts, Lawrence Leighton Smith, James DePreist, Murry Sidlin, Norman Leyden as well as for many churches, schools and prominent piano teachers. Most recently I tuned the piano in the home of world famous Janet Guggenheim. One of my most special memories was an all expense paid trip to Scottsdale, Arizona to tune the piano of a prominent surgeon. While in Arizona, I had the chance to spend time with the late James DePreist who had a home in the area. For two summers, I also served as piano technician for the Sunriver Music Festival I am currently the president of the Reno chapter of the Piano Technicians Guild.

Most recently I got to meet Geoge Curran, bass trombonist of the New York Philharmonic. My wife and I traveled two times to hear him perform my Romanza and Scherzo for bass trombone and piano. What a thrill to hear a world famous trombonist perform my music. I am very honored that George Curran recorded my music on his latest CD. (Vital Signs)

La Peri is a ballet in one act by Paul Dukas, written in 1912 and first performed in Paris. The Fanfare was originally scored for full brass ensemble, however this great arrangement for Trombone Quintet by Andrew Poirier is one of the favorites of the Canadian Trombone Ensemble iTromboni.

For advanced performers, the work is about 2 minutes in length.

Right after James Horner wrote the gigantic hit charting Titanic soundtrack he started composing his eponymous The Mask of Zorro. Clocking around the 74 minutes its one of the longer productions from his side. You will recognize his motifs, but in this case these are combined with Hispanic folklore and flamenco. He also composed a song for Marc Anthony and Australian singer Tina Arena called ?I Want to Spend My Lifetime Loving You?, charting both in the French and Dutch hit lists. James? elegant music and wonderful themes bringing the storyline of the movie to higher regions.
The instrumental creativity combined with his typical sounds resulting in one if his finest soundtracks from the ?90s.
The Mask of Zorro is a 1998 American film based on the character of the masked vigilante Zorro, portrayed in this movie by Antonio Banderas. The film also stars Anthony Hopkins, Catherine Zeta-Jones, and Stuart Wilson. The Mask of Zorro was released to critical and commercial success.

Arranged for Trombone Quartet "Tico-Tico no fub�" ("sparrow in the cornmeal", or, literally, "rufous-collared sparrow in the cornmeal") is a Brazilian choro song written by Zequinha de Abreu in 1917. A great arrangement for your next performance, sure to be a big hit with your audience!

Its original title was "Tico-Tico no farelo" ("sparrow in the bran"), but since Brazilian guitarist Am�rico Jacomino "Canhoto" (1889?1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to "Tico-Tico" in 1942 Rio Rita. Ethel Smith performed "Tico-Tico" onscreen in Bathing Beauty (1944). Carmen Miranda performed "Tico-Tico" onscreen in Copacabana (1947); It was also featured in the "Aquarela do Brasil" segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode "An Ill Wind," an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 ("El Padrino?), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fub� was produced in 1952 by the Brazilian film studio Companhia Cinematogr�fica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song "O Pato" made famous by Jo�o Gilberto.

Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), also popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chor�es.

Sergei Rachmaninoff's Prelude Op. 3, No. 2 is one of the composer's most famous compositions and is also known as The Bells of Moscow since the introduction seems to reproduce the Kremlin's most solemn carillon chimes. (Wikipedia).

This fantastic arrangement in C minor (the original is in C#) by Kevin Dombrowski for 8-part Trombone Ensemble certainly retains the immense gravity and solemnity of the piano version if not more, with the rich and dramatic sounds of the trombones.

The 4-minute arrangement is appropriate for advanced performers.

One of the most widely used traditional English Christmas carols of all time has now been freshly arranged with jazz harmonies and also utilizes Johann Pachelbel's "Canon In D" and scored as a duet for Trombone with Piano accompaniment. Accessible and appropriate for any church or concert setting. An accompaniment track is also available.