SKU: CY.CC3136

ISBN 9790530111055. 8.5 x 11 in inches.

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.

SKU: MA.EMR-33095

Possible instrumentations:

Trombone & CD Play Back / Play Along
Trombone & Piano (+ CD Play Back / Play Along optional)
Trombone & Piano or CD Play Back / Play Along.

SKU: MA.EMR-4410

The Rivers Of Babylon / Scarborough Fair / Oh When The Saints / Londonderry Air / The House Of The Rising Sun.

SKU: MA.EMR-4412

Little Brown Jug / Clementine / Swing Low / Shenandoah / Home On The Range.

SKU: MA.EMR-4409

Red River Valley / Go Down Moses / Glory Hallelujah / Aura Lee / Oh Happy Day.

SKU: HL.48181984

UPC: 888680846497. 9x12 inches.

“French composer, Pierre Max Dubois (1930-1995) significantly contributed to the wind repertoire. Procession for Trombone and Piano was published in 1959 and remains prominent in the advanced trombonist's repertoire. Dubois' music is characteristically light-hearted with unusual harmonic and melodic textures. Procession for Trombone and Piano reflects Dubois' compositional characteristics as well as elements of grandeur, reflecting the title. A typical performance lasts about four minutes and fifteen seconds. Procession is essential to the advanced trombonist's repertoire. Dubois' work makes for an exciting and enjoyable performance for players and audiences alike.&rdquo.

SKU: M7.DUX-944

ISBN 9783868493931.

Primal Forces is a composition for trombone and piano by Martin Gasselsberger. A very powerful and effective work in the medium-advanced difficulty level, located in the wide field between blues & funk. It is a popular piece for competitions (e.g. prima la musica in Austria) and is also ideally suited for the contemporary contribution to a transitional or final examination at music schools. Audio stream of full version and play-along version included. The edition contains a 3-page insert for solo trombone.

SKU: PR.114414450

ISBN 9781598064087. UPC: 680160597635. 9x12 inches.

Inspired by the tale of a legendary folk hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine. This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry. For advanced players. Duration: 13’__________________________________________Text on the scanned back cover:JOHN HENRY'S BIG(MAN vs. MACHINE)FOR TROMBONE AND PIANOInspired by the tale of the legendary hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine.
PROGRAM NOTES by the ComposerJohn Henry was born a slave in the 1840’s or 1850’s. It is important to remember that no one knows for sure if John Henry existed or is a tall tale created by writers. That is one of the things that makes the legend so intriguing.According to the legend, he grew to stand 6 feet tall, 200 pounds – a giant in that day.Though the story of John Henry sounds like the quintessential tall tale, it is certainly based, at least in part, on historical circumstance. There are disputes as to where the legend originates. Some place John Henry in West Virginia, while recent research suggests Alabama. Still, all share a similar back-story.In order to construct the railroads, companies hired thousands of men to smooth out terrain and cut through obstacles that stood in the way of the proposed tracks. One such chore that figures heavily into some of the earliest John Henry ballads is the blasting of the Big Bend Tunnel, more than a mile straight through a mountain in West Virginia.Steel-drivin’ men like John Henry used large hammers and stakes to pound holes into the rock, which were were then filled with explosives that would blast a cavity deeper and deeper into the mountain. In the folk ballads, the central event took place under such conditions. Eager to reduce costs and speed up progress, some tunnel engineers were using steam drills to power their way into the rock. According to the great American tall tales, on hearing of the machine, John Henry challenged the steam drill to a contest. He won, but died of exhaustion, his life cut short by his own superhuman effort.This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry.JOHN HENRY’S BIG was composed for trombonist David Jackson.

SKU: HL.48184566

UPC: 888680853778. 9.0x12.0x0.069 inches.

“French pianist, arranger, composer and conductor, Jean-Michel Defaye (b. 1932) entered the Paris Conservatoire at the mere age of ten years old. His successful compositions and arrangements were mainly for brass, In the Style of Bach, composed in 1990 for Trombone and Piano being no exception. With a typical performance lasting about 3 and a half minutes, Defaye's In the Style of Bach reflects the compositional techniques of J. S. Bach by use of contrapuntal textures, modulations to related keys, long, even quaver and semiquaver melodic passages and contrasts in dynamics. For all aspiring trombonists wishing to vary and expand their repertoire, In the Style of Bach by Jean-Michel Defaye is essential.”.

SKU: FL.FX072490

Here are a few pieces for trombone and piano. I wrote them following the progression of my son Valentin (to whom I dedicate them) who started the trombone in September 2011. I thank Yann Sevin, Professor at Evry and Yves Demarle, for their help. I hope pianists will also enjoy playing the accompaniment. Good luck to all! - Denis LELOUP.

SKU: FL.FX073766

This piece for trombone with keyboard accompaniement (church organ, piano or synthesizer) is a beautiful and very intimate melody. Not very challenging in terms of rhythm and ambitus, it is suited from 4 years of instrument practice. ; Instruments: 1 Trombone 1 Piano; Difficuly Level: Grade 3.