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Concerto for Bass Trombone
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Vous avez sélectionné:
Concerto for Bass Trombone
Partitions à imprimer
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151
Concerto for Trombone and Piano accompaniment (piano reduction)
Concerto for Trombone and Piano accompaniment (piano reduction)
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Trombone et Piano
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AVANCÉ
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Cherry Classics Music
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John, W
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Concerto for Trombone and Pian
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Gordon Cherry
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SheetMusicPlus
Piano,Trombone - Level 5 - SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. ...
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Piano,Trombone - Level 5 - SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
$35.00 ≈
32.23€
Concerto for Bass Trombone with Piano accompaniment
Concerto for Bass Trombone with Piano accompaniment
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Trombone et Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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Wade Goodwin
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Concerto for Bass Trombone wit
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Gordon Cherry
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SheetMusicPlus
Piano,Trombone - Level 5 - SKU: A0.920761 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Wade Goodwin. Romantic Period. Score and part. 26...
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Piano,Trombone - Level 5 - SKU: A0.920761 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by Wade Goodwin. Romantic Period. Score and part. 26 pages. Gordon Cherry #526642. Published by Gordon Cherry (A0.920761). Cherry Classics is proud to present a great new arrangement by Dr. Wade Goodwin. The Concerto for Bass Trombone with Piano accompaniment. Based on the original classic for Tenor Trombone, Dr. Goodwin has transposed the work down a fourth to make his arrangement work out perfectly for the range of the Bass Trombone. He has extended the cadenza in the final movement, adding some of his own ideas as an optional test for those who dare to go low. This work of about 10 minutes in length is appropriate for performers from advanced intermediate to advanced depending on the cadenza option chosen and would be perfect for recitals, juries, and competitions.
$25.00 ≈
23.02€
Concerto for Bass Trombone
Concerto for Bass Trombone
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Trombone basse
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Don Bowyer
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Concerto for Bass Trombone
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Cimarron Music Press
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SheetMusicPlus
By Don Bowyer. For Bass Trombone Solo With Piano. Solo music. Solo part and piano score. Published by Cimarron Music Press ...
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By Don Bowyer. For Bass Trombone Solo With Piano. Solo music. Solo part and piano score. Published by Cimarron Music Press
$17.00 ≈
15.65€
The Secret of Ben Søgen for Bass Trombone and Piano
The Secret of Ben Søgen for Bass Trombone and Piano
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Trombone basse et Piano
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AVANCÉ
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Contemporain
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Elizabeth Raum
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The Secret of Ben Søgen
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Gordon Cherry
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SheetMusicPlus
Bass Trombone,Instrumental Solo,Piano - Level 5 - SKU: A0.1130164 Composed by Elizabeth Raum. Contemporary. Score and individual part. 17 pages. Gordon ...
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Bass Trombone,Instrumental Solo,Piano - Level 5 - SKU: A0.1130164 Composed by Elizabeth Raum. Contemporary. Score and individual part. 17 pages. Gordon Cherry #730529. Published by Gordon Cherry (A0.1130164). Here is a brief description of this very fine new work, The Secret of Ben Søgen for Bass Trombone and Piano by the composer, Elizabeth Raum: I’ve always been fascinated by the Nordic heroes that appear in comic books and video games like Thor or Odin. Years ago, I wrote a concerto for tuba called The Legend of Heimdall inspired by Scandinavian folklore, and for this new work for bass trombone, I found myself drawn to the Danish mythical character, Ben Søgen. My concept was to conjure up a video game champion who goes through various adventures to achieve his final quest. However, the Secret of Ben Søgen is that he doesn’t exist. I made him up. My original title was Bone Quest, a pun on the word, trombone, combined with Quest but that didn’t evoke the image I wanted so I decided to create a character from the Danish translation of Bone Quest. Thus Ben Søgen. The Hero Bass Trombonist has a theme stated in the beginning, and this motif continues through a variety of backgrounds (or adventures) before the final major key of his goal being achieved. The work is about 7 minutes in length and appropriate for advanced performers. This work has been edited for bass trombone by Gordon Cherry.
$25.00 ≈
23.02€
Valor (for Brass Quintet & Percussion)
Valor (for Brass Quintet & Percussion)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Dr
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Valor
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https://gildedmusicpress.com/
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158392 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 19 pages. Https://gi...
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Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1158392 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Patriotic. 19 pages. Https://gildedmusicpress.com/ #758673. Published by https://gildedmusicpress.com/ (A0.1158392). “Valor†offers a potent two-minute concert opener, or an attention grabber after intermission. It is also highly effective as an encore (depending on endurance, particularly of the first trumpeter and hornist), leaving the audience with a rush and energy typified by an effective encore. Besides some minor edits and formatting, the composition was completed the day I hit my ten-year anniversary of serving in the United States Air Force Bands—a fitting anthem to celebrate a decade of service to my wonderful country! The title settled the next day as I began my second decade as an Airman Musician: Valor. The best account is recorded in my personal journal on 27 April 2021: “[Valor] is the Thrower family motto from hundreds of years ago. It’s also a concept that helped get me into [Arizona State University] for my doctoral studies. [Professor] Hickman asked for a very difficult orchestral excerpt during my audition. [Béla Bartók’s “Concerto for Orchestra.â€] I expressed some trepidation, but decided to give it a shot. I nailed it! Then Hickman turned to me with a big smile, ‘I give extra points for valor!’ So I’m pretty sure this little two-minute musical journal entry will keep the name ‘Valor’… as a motivational cheer for my next ten years in the Air Force. Valor! Great courage in the face of danger, especially in battle. Ok, in the face of life’s many battles, Valor it is! And on to the next ten years!†The music is in AA’BA’ form. The B section is heavily influenced by the thematic material of the A section, but with a strongly contrasting mood that could be dubbed quiet dignity. A finale section follows the last A with some motivic twists from throughout the piece, decisively ending with a power that could well be accompanied by a dazzling flurry of fireworks. None of the performers get much of a reprieve throughout the two minutes packed full of notes. The first trumpet part stays in the upper mid-range for most of it, which would absolutely sparkle on an E-flat trumpet (alternate part provided). Second trumpet is also demanding. The horn part demands a decent level of mastery in the high range as well as the low range, vehemently forsaking its traditional role of off beats. The trombone and tuba parts also present their challenges, and never really stop longer than to take a breath. Although this work could conceivably be performed without percussion, doing so is strongly discouraged. The power delivered by the snare, bass, and cymbals, and even the triangle in the B section, make the part arguably indispensable.
$19.95 ≈
18.37€
Concerto No. 1 in D-Minor, Op. 11a
Concerto No. 1 in D-Minor, Op. 11a
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Clarinette Basse, Piano
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AVANCÉ
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Classique
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Ian Deterling
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Concerto No. 1 in D-Minor, Op.
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Ian Deterling
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SheetMusicPlus
Bass Clarinet,Piano - Level 5 - SKU: A0.1197446 Composed by Ian Deterling. Classical. Score and part. 35 pages. Ian Deterling #796618. Published by Ian ...
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Bass Clarinet,Piano - Level 5 - SKU: A0.1197446 Composed by Ian Deterling. Classical. Score and part. 35 pages. Ian Deterling #796618. Published by Ian Deterling (A0.1197446). Concerto No. 1 in D-Minor is a dark and magical journey through mystical lands that ends in a fiery dance. Originally for bass trombone, this concerto has been adapted for solo bass clarinet with piano accompaniment.
$25.00 ≈
23.02€
Fantasy Sonata, Op. 40 for Trombone and Piano
Fantasy Sonata, Op. 40 for Trombone and Piano
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Trombone et Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Benjamin Schroen
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Keith Davies Jones
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Fantasy Sonata, Op. 40 for Tro
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Cherry Classics Music
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SheetMusicPlus
Piano Accompaniment, Trombone - Advanced Intermediate - Composed by Benjamin Schroen. Arranged by Keith Davies Jones. 20th Century, Romantic Period....
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Piano Accompaniment, Trombone - Advanced Intermediate - Composed by Benjamin Schroen. Arranged by Keith Davies Jones. 20th Century, Romantic Period. Score, Solo Part. 21 pages. Published by Cherry Classics Music
Fantasy Sonata, Op. 40 for Trombone and Piano by Benjamin Schroen is a work composed in 1900 which was forgotten and now rediscovered by musicologist and conductor, Dr. Keith Davies Jones.
Fantasy Sonata is written in the same virtuoso style as compositions of that period by Joseph Serafin Alschausky, and though quite challenging, it is fully idiomatic for the trombone. There is a passing ?reference? to the Concerto by Rimsky-Korsakov, and it is just possible that Schroen might have been familiar with that work as a trombonist himself. There are also some stylistic similarities to the Fantasia for trombone and organ Op.58 composed in the mid-19th century by Friedrich August Belcke (1795 ? 1874).
The 6.5-minute work featuring several short cadenzas, contrasting dramatic and expressive sections is in Romantic style, in bass and tenor clef and appropriate for intermediate to advanced performers.
$15.00 ≈
13.81€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.09€
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
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Orchestre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Pittsburgh Conc
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Pu...
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Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95 ≈
23.90€
Bass Trombone Concerto No. 1
Bass Trombone Concerto No. 1
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Trombone basse et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Nicola Morello
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Bass Trombone Concerto No. 1
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SheetMusicPlus
Composed by Nicola Morello. Exciting with a jazz feel at times. Classical. Score and Parts. 23 pages. Forton Music - Digital #FM1048. Published by For...
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Composed by Nicola Morello. Exciting with a jazz feel at times. Classical. Score and Parts. 23 pages. Forton Music - Digital #FM1048. Published by Forton Music - Digital
$12.95 ≈
11.92€
Concerto
Concerto
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Trombone basse et Piano
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Bernhard Henrik Crusell
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Ifor James
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Concerto
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Editions Marc Reift - Digital
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SheetMusicPlus
Bass Trombone & Piano - Grade 5 - SKU: R0.53144 Composed by Bernhard Henrik Crusell. Arranged by Ifor James. Bass Trombone & Piano. Score and parts. 19 ...
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Bass Trombone & Piano - Grade 5 - SKU: R0.53144 Composed by Bernhard Henrik Crusell. Arranged by Ifor James. Bass Trombone & Piano. Score and parts. 19 pages. Duration 8'58. Editions Marc Reift - Digital #53144. Published by Editions Marc Reift - Digital (R0.53144).
$22.95 ≈
21.13€
Concerto No. 3
Concerto No. 3
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Trombone basse et Piano
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Classique
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Wolfgang Amadeus Mozart
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Ifor James
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Concerto No. 3
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Editions Marc Reift - Digital
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SheetMusicPlus
Bass Trombone & Piano - Grade 4+ - SKU: R0.50805 K447. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score ...
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Bass Trombone & Piano - Grade 4+ - SKU: R0.50805 K447. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score and parts. 27 pages. Duration 14'23. Editions Marc Reift - Digital #50805. Published by Editions Marc Reift - Digital (R0.50805).
$18.95 ≈
17.45€
Concerto No. 1
Concerto No. 1
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Trombone basse et Piano
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Classique
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Wolfgang Amadeus Mozart
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Ifor James
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Concerto No. 1
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Editions Marc Reift - Digital
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SheetMusicPlus
Bass Trombone & Piano - Grade 4+ - SKU: R0.50766 K412. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score ...
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Bass Trombone & Piano - Grade 4+ - SKU: R0.50766 K412. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score and parts. 20 pages. Duration 8'43. Editions Marc Reift - Digital #50766. Published by Editions Marc Reift - Digital (R0.50766).
$18.95 ≈
17.45€
Concerto No. 4
Concerto No. 4
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Trombone basse et Piano
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Classique
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Wolfgang Amadeus Mozart
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Ifor James
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Concerto No. 4
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Editions Marc Reift - Digital
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SheetMusicPlus
Bass Trombone & Piano - Grade 4+ - SKU: R0.50825 K495. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score ...
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Bass Trombone & Piano - Grade 4+ - SKU: R0.50825 K495. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score and parts. 29 pages. Duration 14'22. Editions Marc Reift - Digital #50825. Published by Editions Marc Reift - Digital (R0.50825).
$18.95 ≈
17.45€
Concerto No. 2
Concerto No. 2
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Trombone basse et Piano
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Classique
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Wolfgang Amadeus Mozart
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Ifor James
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Concerto No. 2
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Editions Marc Reift - Digital
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SheetMusicPlus
Bass Trombone & Piano - Grade 4+ - SKU: R0.50786 K417. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score ...
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Bass Trombone & Piano - Grade 4+ - SKU: R0.50786 K417. Composed by Wolfgang Amadeus Mozart. Arranged by Ifor James. Bass Trombone & Piano. Score and parts. 24 pages. Duration 12'44. Editions Marc Reift - Digital #50786. Published by Editions Marc Reift - Digital (R0.50786).
$18.95 ≈
17.45€
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score and parts
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score and parts
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Carson Cooman
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Carson Cooman: Concerto for Ba
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Musik Fabrik Music Publishing
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SheetMusicPlus
Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - SKU: A0.533689 Composed by Carson Cooman. Concert,Contemporary,S...
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Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - SKU: A0.533689 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 64 pages. Musik Fabrik Music Publishing #3038607. Published by Musik Fabrik Music Publishing (A0.533689). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score and parts. The score is also available for sale as a seperate item.
$32.95 ≈
30.34€
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score only
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score only
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Musik Fabrik Music Publishing
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Carson Cooman: Concerto for Ba
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Musik Fabrik Music Publishing
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SheetMusicPlus
Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 - SKU: A0.533688 Composed by Musik Fabrik Music Publishing. Co...
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Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 - SKU: A0.533688 Composed by Musik Fabrik Music Publishing. Concert,Contemporary,Standards. Score and parts. 26 pages. Musik Fabrik Music Publishing #3038603. Published by Musik Fabrik Music Publishing (A0.533688). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score only. The score and parts are sold as another item
$19.95 ≈
18.37€
CHRISTMAS CONCERTO, ADAGIO AND ALLEGRO, Concerto VIII Op. 6 No. 8, Fatto per la notte di natale, by
CHRISTMAS CONCERTO, ADAGIO AND ALLEGRO, Concerto VIII Op. 6 No. 8, Fatto per la notte di natale, by
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Noël
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Arcangelo Corelli
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Sherry Lewis
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CHRISTMAS CONCERTO, ADAGIO AND
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Sherry Lewis Publishing
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.521662 Composed by Arcangelo Corelli. Arranged by Sherry Lewis. Baroque,Christmas,Sacred. 17 pages. Sherr...
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Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.521662 Composed by Arcangelo Corelli. Arranged by Sherry Lewis. Baroque,Christmas,Sacred. 17 pages. Sherry Lewis Publishing #6303715. Published by Sherry Lewis Publishing (A0.521662). Christmas Concerto, Adagio and Allegro movements, Corelli, Brass Quintet of 2 trumpets in Bb, horn in F(optional trombone substitution), trombone, tuba/bass trombone Score: 5 pages parts: 9 pages time: 2'50 Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through stringquartet@hotmail.com and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Thank you for your purchase!
$6.50 ≈
5.99€
CHRISTMAS CONCERTO, PASTORALE, Concerto VIII Op. 6 No. 8, Fatto per la notte di natale, by Corelli,
CHRISTMAS CONCERTO, PASTORALE, Concerto VIII Op. 6 No. 8, Fatto per la notte di natale, by Corelli,
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE
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Noël
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A
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Sherry Lewis
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CHRISTMAS CONCERTO, PASTORALE,
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Sherry Lewis Publishing
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SheetMusicPlus
Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.521663 Composed by A. Corellii. Arranged by Sherry Lewis. Baroque,Christmas,Sacred. 21 pages. Sherry Lewi...
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Horn,Trombone,Trumpet,Tuba - Level 3 - SKU: A0.521663 Composed by A. Corellii. Arranged by Sherry Lewis. Baroque,Christmas,Sacred. 21 pages. Sherry Lewis Publishing #6303743. Published by Sherry Lewis Publishing (A0.521663). Christmas Concerto, Pastorale, Corelli, Brass Quintet of 2 trumpets in Bb, horn in F (and optional trombone substitute), trombone, tuba or bass trombone Score: 7 pages parts: 11 pages time: 2'50 Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through stringquartet@hotmail.com and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Thank you for your purchase!
$6.50 ≈
5.99€
five Divertimenti K. 439b for Trombone Trio
five Divertimenti K. 439b for Trombone Trio
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3 Trombones (trio)
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AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Sauer, Ralph
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five Divertimenti K. 439b for
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble - Level 5 - SKU: A0.810913 Composed by Wolfgang Amadeus Mozart. Arranged by Sauer, Ralph. Classical. Score and parts. 120 pages. Gordon C...
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Brass Ensemble - Level 5 - SKU: A0.810913 Composed by Wolfgang Amadeus Mozart. Arranged by Sauer, Ralph. Classical. Score and parts. 120 pages. Gordon Cherry #3684305. Published by Gordon Cherry (A0.810913). The Five Divertimenti K. 439b consists of 25 pieces originally scored for two clarinets or basset horns and bassoon. It is assumed that Mozart wrote these works for the Stadler brothers, Anton (famous for the Clarinet Concerto) and Johann. Originally scored in C major (Mr. Sauer has arranged them in keys that are more suitable for the Trombone), the 25 pieces were grouped into five movements each. The styles of the movements include Sonata-allegro, Minuet and Trio, Larghetto, Adagio, Rondo and even a Polonaise. This collection of the Five Divertimenti is an immense amount of very entertaining music, all beautifully arranged by Ralph Sauer for three advanced Trombonists.
$30.00 ≈
27.62€
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
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Contemporain
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Carson Cooman
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Carson Cooman: Enchanted Traci
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Musik Fabrik Music Publishing
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533710 Composed by Cars...
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533710 Composed by Carson Cooman. Contemporary. Score and parts. 83 pages. Musik Fabrik Music Publishing #3041105. Published by Musik Fabrik Music Publishing (A0.533710). I. Murky WatersII. The ForgottenIII. Casting InfinityEnchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.†Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention. The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, and as a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious. The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement. The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass. The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)This is the full score and the solo part. The complete parts and seperate parts are available for sale on this site.
$29.95 ≈
27.58€
Concerto for Bass Trombone with Wind Ensemble Accompaniment
Concerto for Bass Trombone with Wind Ensemble Accompaniment
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Contemporain
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Elizabeth Raum
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expressive
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Concerto for Bass Trombone wit
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Gordon Cherry
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.792146 Composed by Elizabeth Raum. Contemporary. Score and parts. 162 pages. Gordon Cherry #3676429. Published by Gor...
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Small Ensemble - Level 5 - SKU: A0.792146 Composed by Elizabeth Raum. Contemporary. Score and parts. 162 pages. Gordon Cherry #3676429. Published by Gordon Cherry (A0.792146). A brilliant new Concerto in 3 movements for Bass Trombone with Wind Ensemble by leading Canadian composer Elizabeth Raum. Elizabeth has delivered several new compositions for low brass over the past several years. First for Tuba, followed by Euphonium and now Bass Trombone.The 1st movement is bold & expressive. The 2nd movement, titled, Romance for Nada is lyrical followed by the 3rd and final movement which is rhythmic & dramatic.This Concerto was commissioned by colleagues and friends in honor of Douglas Sparkes. Mr. Sparkes was Bass Trombonist of the Vancouver Symphony from 1974-2016.This work is suitable for advanced performers & is about 12 minutes in length.Ms. Raum's concerto has become a major new addition to the Bass Trombone repertoire.
$130.00 ≈
119.71€
Concerto for Bass Trombone with Wind Ensemble Accompaniment
Concerto for Bass Trombone with Wind Ensemble Accompaniment
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Contemporain
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Elizabeth Raum
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Concerto for Bass Trombone wit
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Gordon Cherry
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.792409 Composed by Elizabeth Raum. 20th Century,Contemporary. Score and parts. 164 pages. Gordon Cherry #4821535. Pub...
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Small Ensemble - Level 5 - SKU: A0.792409 Composed by Elizabeth Raum. 20th Century,Contemporary. Score and parts. 164 pages. Gordon Cherry #4821535. Published by Gordon Cherry (A0.792409). A brilliant new Concerto in 3 movements for Bass Trombone with Wind Ensemble by leading Canadian composer Elizabeth Raum. Elizabeth has delivered several new compositions for low brass over the past several years. First for Tuba, followed by Euphonium and now Bass Trombone. The 1st movement is bold & expressive. The 2nd movement, titled, Romance for Nada is lyrical followed by the 3rd and final movement which is rhythmic & dramatic. This Concerto was commissioned by colleagues and friends in honor of Douglas Sparkes. Mr. Sparkes is Bass Trombonist of the Vancouver Symphony. This work is suitable for advanced performers & is about 12 minutes in length. Ms. Raum's concerto has become a major new addition to the Bass Trombone repertoire.
$130.00 ≈
119.71€
Concerto for Bass Trombone with String Orchestra & Percussion
Concerto for Bass Trombone with String Orchestra & Percussion
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Orchestre
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AVANCÉ
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Contemporain
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Elizabeth Raum
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Concerto for Bass Trombone wit
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Gordon Cherry
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.792246 Composed by Elizabeth Raum. 20th Century,Contemporary. Score and parts. 78 pages. Gordon Cherry #4764423. Publ...
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Full Orchestra - Level 5 - SKU: A0.792246 Composed by Elizabeth Raum. 20th Century,Contemporary. Score and parts. 78 pages. Gordon Cherry #4764423. Published by Gordon Cherry (A0.792246). A brilliant new Concerto in 3 movements for Bass Trombone with Strings and Percussion by leading Canadian composer Elizabeth Raum. Elizabeth has delivered several new compositions for low brass over the past several years. First for Tuba, followed by Euphonium and now Bass Trombone.<BR> The 1st movement is bold & expressive. The 2nd movement, titled, Romance for Nada is lyrical followed by the 3rd and final movement which is rhythmic & dramatic. This Concerto was commissioned by colleagues and friends in honor of Douglas Sparkes. Mr. Sparkes is Bass Trombonist of the Vancouver Symphony. This work is suitable for advanced performers & is about 12 minutes in length.Ms. Raum's concerto has become a major new addition to the Bass Trombone repertoire.
$91.50 ≈
84.25€
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Concerto for Bass Trombone
