Horsley, Nathan Chad - An Annotated Database of 52 Selected Original Tenor Trombone Duets Published...

UNIVERSITY OF CINCINNATI Date:___________________

I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of:

in:

It is entitled:

This work and its defense approved by:

Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________

AN ANNOTATED DATABASE OF 52 SELECTED ORIGINAL TENOR TROMBONE DUETS PUBLISHED FROM 1928 – 2006

A document submitted to the

Division of Graduate Studies and Research of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Division of Performance Studies of the College-Conservatory of Music

April 2008

by

Nathan Chad Horsley B.M. Ed., Jacksonville State University, 2000

M.M., University of Cincinnati College-Conservatory of Music, 2003

Committee Chair: Timothy Northcut, M.M.

ABSTRACT

The purpose of this document is to provide college and private trombone instructors

with an annotated database of 52 selected original tenor trombone duets published from

1928 – 2006. This database consists of composer, title, copyright date, publisher, level of

difficulty, availability, range of both parts, clefs used, mutes used, and trombone type

required for performance as “tenor” or “tenor-bass” (tenor trombone fitted with an F-

attachment). It also includes any required extended techniques, such as multiphonics,

flutter tonguing, lip trills, etc. Each entry concludes with a description of the work

summarizing the overall composition.

This resource will allow instructors to have a graded database from which to choose a

piece or collection of works that supports the development of the student, including

lesser–known compositions that have academic and musical value.

ii

ACKNOWLEDGMENTS

I would like to express my gratitude to my document committee, Professor

Timothy Northcut, Professor Randy Gardner, and Dr. bruce mcclung for their support

during my candidacy. I would like to thank my trombone instructor Professor David

Vining for convincing me to pursue this assignment. I would like to thank the University

of Cincinnati’s College-Conservatory of Music faculty for their dedication, expertise, and

guidance during my graduate studies.

Additionally, I would like to recognize the influence of Cristian Ganicenco,

principal trombonist of the Cincinnati Symphony Orchestra, my undergraduate instructor,

Dr. James Roberts, and my high school band director, Mr. Hal Murphy, for instilling in

me the work ethic necessary to accomplish this task. I am thankful for the many friends

that bring laughter and joy to my life. I am blessed to have my wonderful mother, Joan

Horsley, and my big brother, Chip, who have always believed in me. Finally, I am

eternally grateful for my beautiful wife, Kate, who encouraged me during the long hours

it took to finish this paper. Her love and caring made this final endeavor possible.

This work is dedicated to my father, Roy Horsley, for his endless support and

sacrifices, both financial and personal, which have allowed me to pursue my dreams.

iv

Table of Contents

Page Abstract ……………………………………………………………........ ii

Acknowledgments …..…………………………………………….…..… iv

List of Musical Examples from Annotated Compositions …………….. vii

List of Figures ………………………………………………………..... viii

CHAPTERS 1 Explanation of Importance …………………………………………….… 1

2 Methods of Data Collection …………………………………..……….… 5 3 Database Field Explanation ...………………….…………………….…... 6 4 Database Entries: Duets …………………………………………………. 8

5 Conclusion ...…………………………………………………………....100

APPENDIX

A Works Indexed Alphabetically by Composer’s Last Name …………… 103

B Works Indexed Alphabetically by Title …………………………….…. 105 C Works Indexed by Difficulty ………………………………………….. 107 D Works Indexed by Trombone Type Necessary for Performance ......…. 109 E Works Indexed by Trombone One Lower and Upper Range ….….…... 111 F Works Indexed by Trombone Two Lower and Upper Range ……….... 114 G Works Indexed by Clefs ................................................................…..... 117 H Works Indexed by Trombone One Clefs ……………………………... 119 I Works Indexed by Trombone Two Clefs …………………………..… 119 J Works Indexed by Mutes Necessary for Performance …………..…… 120

v

K Works Indexed by Extended Techniques ….…......……….………….. 121 L Publisher Contact Information ………………………….........…...…... 122

Bibliography ……………………………………………...…... 127

vi

List of Musical Examples from Annotated Compositions Bassett, Leslie. 12 Duos for Trombones, C. F. Peters, Glendale, New York. “Used by permission.”

Example 1, page 9.

Bolter, Norman. Occurrence, Air-Ev Productions, Chestnut Hill, Massachusetts. “Used by permission.” Example 2, page 16. Lesley, Simon. The Two Terrible Trombones, Warwick Music, Coventry, England. “Used by permission.”

Example 3, page 47. McCulloh, Byron. Slide Show, Accura Music, North Greece, New York. “Used by permission.”

Example 4, page 52.

Stockhausen, Gabriel. Five Interludes, Kagarice Brass Editions, Denton, Texas. “Used by permission.”

Example 5, page 75. Stout, David G. 10-4-2 (Trombone Duets), Leemaur Music by Walrus Music Publishing, Pismo Beach, California. “Used by permission.”

Example 6, page 77.

vii

viii

List of Figures Page

A. Pitch Name Designation System, from the New Harvard Dictionary of Music …....... 7 B. Database arranged in order from easiest to most difficult ...…................................. 100

Chapter One

Motive for Research

The use of trombone duets as an instructional tool in applied lessons has become

the focus of research in recent years.1 “Duets in the Applied Lesson,” a survey by

Richard Human, investigated the use of trombone duets in improving solo and ensemble

skill.2 In his discussion, Human used a quote from Himie Voxman’s “Selected Duets,”

which states:

Duet playing affords the student the most intimate form of ensemble experience. The problems of technique, tone quality, intonation, and ensemble balance are brought into the sharpest relief. Careful attention must be given to style as indicated by the printed page and as demanded by the intangibles of good taste. Mastery of the art of duet playing leads easily and naturally to competent performance in the larger ensembles. The numerous works included in this volume have been selected for the purpose of introducing the instrumentalist to the finest in two-part ensemble literature and acquainting him with a diversity of musical forms and expressions.3

For his survey, Human contacted seventeen college trombone teachers across the country

requesting feedback on a series of questions, which focused on the following areas:

intonation, rhythmic accuracy, sight-reading, dynamics, giving/following physical cues,

tone, style, range, recognizing melodic vs. accompanying figures, alternate positions,

setting/following tempo and tempo changes, articulation, vibrato, breath support, slide

technique, instrument position, clef reading, embouchure, use of F-attachment, and

intervals. Topics that received the highest scores in the survey were intonation,

1 Donn Schaefer “Using Duet Literature in the Applied Trombone Studio: A Method and

Annotated Guide” (DMA doc., University of Iowa, 2003). 2 Richard Human, “Survey of the Use of Duets in the Applied Trombone Lesson,” Online

Trombone Journal, http://www.trombone.org/articles/library/duetsurvey.asp; Internet: accessed 11 May 2006.

3 Himie Voxman, “Selected Duets Volume 1 & 2” (Chicago, IL: Rubank. 1973), preface.

1

http://www.trombone.org/articles/library/duetsurvey.asp

giving/following cues, sight-reading, rhythmic accuracy, style, articulation, and tone.4 In

the appendices, Human discussed the top five suggested duet collections, which included

12 Two-Part Inventions by J. S. Bach/Donald Miller, Twenty Counterparts by Tom

Ervin, Six Canonic Sonatas by Georg Philipp Telemann/Keith Brown, the previously

mentioned Voxman “Selected Duets,” and placed Vladislav Blazhevich’s Concert Duets

as the most recommended.5

Composed in the 1920s and first published in 1928, Blazhevich’s Concert Duets

are one of the best known examples of pedagogical writing for two trombones,

written/compiled by arguably the foremost trombone pedagogue in the early twentieth

century.6 These idiomatic duets were designed as an aid in trombone instruction and to

provide new chamber music for public performances.7

Human’s survey notes that the pedagogical benefits of using duets in private lessons

are enormous and help the teacher evaluate specific areas of a student’s playing in a

performance situation.8 Teachers use duets in the applied lesson area for many reasons

including conducting, phrasing, articulation, flexibility, slide technique, clef reading,

breath support, intonation, tone quality, style and range.9 Additional uses of duets include

the assessment of the student’s consistency, level of concentration, and chamber music

performance capabilities.

4 Human, “Survey of the Use of Duets in the Applied Trombone Lesson, 1” 5 Ibid. 6 Andrey G Kharlamov, “Vladislav Blazhevich: A History of His Life, Career, and Compositions.”

(DMA doc., Northwestern University, 2005), 68. 7 Ibid. 8 Human, “Survey of the Use of Duets in the Applied Trombone Lesson, 1” 9 Ibid.

2

Donn Schaefer has presented his research in the form of an instructional guide.10

References of this project include specific examples of literature to address different

aspects of playing, but incorporate only a small number of original duets. While the

effectiveness of using duets has been well documented, no published guide to the tenor

trombone literature currently exists.

Publications that include duets are plentiful, but they are in the form of lists as in The

Trombone: The Instrument and Its Music by Robin Gregory,11 The Trombonist’s

Handbook: A Complete Guide to Playing and Teaching by Reginald Fink,12 The Art of

Trombone Playing by Edward Kleinhammer,13 and Literature for the Bb Tenor

Trombone by Grant B. Jenkins,14 which give only composer, title, and perhaps a level of

difficulty. Notably, these works are out of date. Other publications take duets into

account, but only mention their presence as a peripheral venture in the overview of

pedagogical materials.15 Reviews of specific pieces have appeared in brass instrum

journals such as the International Trombone Association Journal

ent

16 and the Online

10 Schaefer, “Using Duet Literature in the Applied Trombone Studio: A Method and Annotated

Guide,” 1.

11 Robin Gregory, The Trombone: The Instrument and Its Music (New York: Praeger Publishers, 1973), 180–81.

12 Reginald Fink, The Trombonist’s Handbook: A Complete Guide to Playing and Teaching (Athens, OH: Accura Music, 1970), 136.

13 Edward Kleinhammer, The Art of Trombone Playing (Evanston, Illinois: Summy Birchard, 1963), 105.

14 Grant B. Jenkins, Literature for the Bb Tenor Trombone (Glen Ellyn, IL: The Instrumentalist, 1949), 52–58.

15 Jeffrey J. Lemke and Mark J. Thompson, French Music for Low Brass Instruments (Bloomington, IN: Indiana University Press, 1994), 59.

16 Mike Halverson, “33 Trombone Duets by Ernest R. Miller: A Review,” International Trombone Association Journal 24 (April 2004): 58.

3

Trombone Journal17 but are few and narrow in scope. These materials rarely contain

information concerning the use of mutes, range, rhythmic complexity, or extended

techniques, which prevents the instructor from adequately assessing their merit for a

cur

the student, including lesser known compositions that have academic

nd musical value.

rent application.

In closing, the pedagogical benefit of this database is that it will allow instructors to

have a graded database from which to choose a piece or collection of works that supports

the development of

a

17 Richard Human, “Eight Preludes, Op. 34: A Review,” Online Trombone Journal,

http://www.trombone.org/articles/library/viewarticles.asp?ArtID=42; Internet: accessed 11 May 2006.

4

http://www.trombone.org/articles/library/viewarticles.asp?ArtID=42

Chapter Two

Methods of Data Collection

Because the current project involves only published tenor trombone duets,

collection of the works began with contacting all known publishers of trombone duet

literature. Primarily, the majority of literature was acquired from Hickey’s Music Center,

TAP Music Sales, Sheet Music Service, and Robert King Music. Various internet search

engines, using the words “trombone duet” and “two trombones,” were used to attempt to

locate other independent publishing companies that sell trombone duets. The inquiry

continued by referencing the Music Publishers’ Association directory, which contains the

largest database of publisher information on the Internet.18 Additionally, the online

resources WorldCat and OhioLINK Inter-library loan at the University of Cincinnati

were used to locate possible out of print works. The author has made every attempt to

acquire the required literature either through OhioLINK Inter-library loan or retail

purchase.

Upon obtaining the corpus of works, the next difficulty for this research project

was to determine if it was an original work for two trombones. The investigation began

with a background check on each piece to determine its originality and authenticity.

Several works were found to be arrangements or transcriptions, which will not be

included in this document. Additionally, the author was confronted with various obstacles

such as works for trombone, baritone, and bassoon. The author has concluded that the

works included in this document were conceived for trombone originally, and published

for other instruments later.

18 Music Publishers’ Association. www.mpa.org; Internet: accessed 19 May 2007.

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http://www.mpa.org/

Chapter Three

Database Field Explanation

Based on the annotations presented in French Music for Low Brass Instruments

by J. Mark Thompson and Jeffrey Jon Lemke,19 and “An Annotated Database of 102

Selected Published Works for Trombone Requiring Multiphonics” by Michael

Davidson,20 each piece listed in the database will contain the following information:

1. Composer

2. Title

3. Publisher

4. Copyright Date

5. Availability

6. Difficulty: The levels listed are as follows:

• Medium - playable by a competent high school trombonist

• Medium-advanced - playable by a competent first or second year

undergraduate trombonist

• Advanced - playable by a competent upper level undergraduate student or

master’s level graduate student

• Professional - extremely difficult, playable by only the most advanced

performers

19 John Mark Thompson and Jeffrey John Lemke, French Music for Low Brass Instruments

(Bloomington, Indiana: Indiana University Press, 1994), 9.

20 Michael McKenney Davidson, “An Annotated Database of 102 Selected Published Works for Trombone Requiring Multiphonics” (DMA doc., University of Cincinnati, 2005).

6

7. Trombones required: Indicates what type of trombone is required for

performance. Entries listed shall be “tenor,” or “tenor-bass” (a tenor trombone

fitted with an F-attachment).

8. Overall Range: Lists the lowest and highest notes required in the composition,

and are listed according to the pitch name designation system in the New Harvard

Dictionary of Music, as seen below:

C2 — B2 C1 — B1 C — B c — b c' — b' c" — b"

Figure A. Pitch Name Designation System, From the New Harvard

Dictionary of Music21

9. Clefs: Lists all clefs included in the trombone parts.

10. Mutes: Lists all the mutes required for performance.

11. Extended techniques: Lists all the extended techniques required for performance,

including multiphonics, flutter tonguing, trills, etc.

12. Dedication.

13. Overview: Provides a brief overview of the work, including compositional

techniques, a description of the formal structure of the piece, and biographical

material on the composer (when appropriate).

21 Don Michael Randel, ed. The New Harvard Dictionary of Music (Cambridge, MA: The Belknap

Press of the Harvard University Press, 1986), 640.

7

Chapter Four

Database Entries: Duets

Composer: Bassett, Leslie

Title: 12 Duos for Trombones

Publisher: C. F. Peters, Glendale, New York

Copyright Date: 1978

Availability: currently in print

Difficulty: Professional

Trombone Required: 1) tenor

Trombone Required: 2) tenor-bass22

Trombone One Range: B-flat1 – b'

Trombone Two Range: G1 – b-flat'

Trombone One Clefs: bass

Trombone Two Clefs: bass

Trombone One Mute(s): straight

Trombone Two Mute(s): straight

Extended techniques: trills

Dedication: “For the International Trombone Association and trombonists Thomas Everett and

Glenn Smith”

Overview: Leslie Bassett is a highly celebrated twentieth-century American composer.23

Bassett’s collection of twelve duets, composed in 1974, is intended for performance,

lasting approximately sixteen minutes. The titles include “The Chase,” “Tremoli,”

“Point-Counterpoint,” “Doubles,” “Waltz,” “Rag,” “Accompanied Aria,” “Chorale with

22 Bassett specifies “Trombone 2 with F Valve” in the score.

23 Joseph Martin, “Leslie Bassett: A Biography and Study of Selected Works for Trombone” (DMA doc., University of Northern Colorado, 2004), 1.

8

Pedal,” “Slow March,” Juxtapositions,” “Background-Foreground,” and “Mad Dash.” It

was first performed in 1975 by Thomas Everett and Douglas Wauchope in Boston,

Massachusetts.24 Bassett’s 12 Duos for Trombones was performed at the 1979

International Trombone Workshop in Nashville, Tennessee in part of a celebration

concert following his honorary charter lifetime membership.25

The work includes trills, double tonguing, strong dissonances, measures without

bar lines, mixed meter, falls, dynamic contrasts, and measured “tremolos.” Additionally,

Bassett uses cross-harmonic glissandos to create the “accompaniment” for the seventh

duet, “Accompanied Aria,” as shown below.

Composition Example 1

Leslie Bassett, 12 Duos for Trombones (Glendale, NY: C.F. Peters, 1978), Mvt. VII, mm. 1–2. Copyright 1978 by C. F. Peters. Used by permission.

The composer indicates that duets no. 10, 11, and 12 are “Double Duos” or quartets.26

Bassett calls for the two performers to play the third and fourth parts “against a tape

recording previously made of the two upper lines of music.” Straight mutes are required

for the eleventh duet, “Background-Foreground.” Leslie Bassett’s 12 Duos for

Trombones contains wonderful, idiomatic writing for the instrument.

24 Ibid., 170. 25 Ibid, 13.

26 Leslie Bassett, 12 Duos for Trombones (Glendale, NY: C.F. Peters, 1978), preface.

9

Composer: Baxley, Wayne

Title: Reflections Publisher: Clark-Baxley Productions, Sacramento, California; sold by TAP Music Sales,

Newton, Iowa



Difficulty: Medium



Trombone One Range: c – g'

Trombone Two Range: F – g'



Trombone One Mute(s): cup


Extended techniques: N/A

Dedication: N/A

Overview: Baxley’s concert duet is two minutes in duration and requires the participants

to use contrasting mutes. Primarily at mf, Reflections has a narrow dynamic range with

simple rhythms that are easily accomplished at the Larghetto tempo. The theme is

tonal in nature, while the accompanying part tends to be more adventurous, creating an

atmosphere appropriate to the work’s title, with the beginning and ending notes in unison.

Different mutes present a moderate challenge considering the issues of tone color,

balance, and pitch adjustment. This work would be a good performance piece for

undergraduate students working on mute intonation.

10

Composer: Blazhevich, Vladislav

Title: Concert Duets

Publisher: Muzgiz, Moscow, Russia; re-released by Briar Music Press, Chicago, Illinois

Copyright Date: 1928 / 2006



Trombone Required: 1) tenor-bass


Trombone One Range: C – d''

Trombone Two Range: G1 – c''

Trombone One Clefs: bass, tenor, alto

Trombone Two Clefs: bass, tenor, alto

Trombone One Mute(s): N/A

Trombone Two Mute(s): N/A


Dedication: N/A

Overview: Composed in the 1920s and first published in 1928, Blazhevich’s Concert

Duets are one of the best known examples of pedagogical writing for two trombones,

written/compiled by arguably the foremost trombone pedagogue in the early twentieth

century.27 These idiomatic duets were designed as an aid in trombone instruction and to

provide new chamber music for public performances.28 The preface to this edition

describes how Blazhevich’s compositions arrived in the United States through the efforts

27 Kharlamov, “Vladislav Blazhevich: A History of His Life, Career, and Compositions,” 68. 28 Ibid.

11

of Jacob Raichman and William Cramer.

Concert Duets include thirty-eight advanced level duets. Blazhevich incorporates

in each duet fermatas, syncopation, changes in tempo, mixed meter, and sudden dynamic

changes.29 These technically complex pieces are difficult to sight-read,30 requiring a

strong sense of pulse and rhythmic accuracy. It has been suggested that duets No. 3031

and 33,32 considering their “quasi recitative” and “cadenza ad libitum” section, are

appropriate material for teaching physical cues. Additionally, Blazhevich writes other

stringendo and recitative passages which demand acute ensemble skills. Tenor-bass

trombones (with F-attachment) and a proficient level of reading tenor and alto clef are

necessary for both performers. The work is published in score form.

A landmark in trombone literature, this collection of duets serves as an essential

resource for both students and professionals. Blazhevich’s Concert Duets is one of the

most recommended collections of trombone duets available,33 providing teachers with a

plethora of instructional material and chamber music.

29 Human, “Survey of the Use of Duets in the Applied Trombone Lesson,” 1. 30 Ibid. 31 Schaefer, “Using Duet Literature in the Applied Trombone Studio: A Method and Annotated

Guide,” 26. 32 Human, “Survey of the Use of Duets in the Applied Trombone Lesson,” 1. 33 Ibid.

12

Composer: Blumenthal, Fred

Title: It Don’t Matter If You Win or Lose Publisher: TAP Music Sales, Newton, Iowa



Difficulty: Medium-Advanced



Trombone One Range: F-sharp – f '

Trombone Two Range: B-flat1 – e-flat'






Dedication: N/A

Overview: This short twentieth-century piece is broken into three small sections

separated with fermatas, making it similar to ABA form. A tempo marking of a quarter

note equals 60 beats per minute or faster is printed in the score. The opening measure

incorporates a hemiola effect with the use of triplet glissandos against duple eighth notes.

This effect returns and alternates several times during the duration of the piece. Common

dissonances of a minor second, along with intervallic motives of a major and minor third

recur and alternate throughout the piece. Blumenthal requires the performer on Part 1 to

play air attacks on the “untongued” and “untongued quasi glissando” notes. Conceived

13

more as an accompaniment part, Part 2 also requires several soft pedal B-flats. For Part 2,

a tenor-bass is not required, but would aid in certain low passages between a-sharp and b.

This piece does not have any extreme challenges, but does have contrasting dynamics and

requires rhythmic independence for proper performance. It would be a piece to program

for a twentieth-century showcase or studio performance.

14

Composer: Bolter, Norman

Title: Occurrence

Publisher: Air-Ev Productions, Chestnut Hill, Massachusetts






Trombone One Range: F-sharp – d-flat''

Trombone Two Range: B-flat1 – e-flat''

Trombone One Clefs: bass, tenor

Trombone Two Clefs: bass, tenor

Trombone One Mute(s): Harmon

Trombone Two Mute(s): Harmon

Extended techniques: multiphonics, flutter tongue, trills

Dedication: N/A Overview: Norman Bolter, retired second trombonist for the Boston Symphony Orchestra, has been a very prolific composer of brass music in recent years. Composed in May 1995, this programmatic work “tells the story, from the composer’s childhood, of a strange and curious experience which happened in August 1966 in St. Paul, Minnesota.” Based on his UFO sighting, Bolter has composed a very demanding work, which challenges the performers on many levels including dynamic contrast, range extension, various articulations, and sudden tempo changes. A Harmon mute is required along with multiphonics. Diamond-shaped note heads indicate vocalized pitches. An example of

15

Bolter’s use of multiphonics is shown below.


Norman Bolter, Occurrence (Chestnut Hill, MA: Air-Ev Productions, 1997), mm. 119–122. Copyright 1997 by Air-Ev Productions. Used by permission.

Each part is balanced in these aspects, and Bolter suggests that each player “should look

over the parts and decide which part suits which player best.” Several non-traditional

markings are used including calm but strange, frantic, haunting, not strict time, longing,

agitated, pushed, soar with wonder, and slowly with question.

This work is a great example of Bolter’s “atmospheric” style with its

programmatic subject, demanding melodies, and expressive use of the instrument. The

various extended techniques required, combined with wide range, make this duet suitable

for professional players.

16

Composer: Bolter, Norman

Title: The Archer

Publisher: Air-Ev Productions, Chestnut Hill, Massachusetts



Difficulty: Advanced



Trombone One Range: B-flat – c''

Trombone Two Range: B – b'

Trombone One Clefs: tenor

Trombone Two Clefs: tenor




Dedication: N/A Overview: A programmatic work, The Archer is through-composed and intended for

public performance. The preface reads “Written in June 2002, The Archer was inspired

by Sir Arthur Conan Doyle’s book, The White Company. This engaging story takes us

back in time to the age of knights and chivalry, a time where certain men and women of

honour stood strong and firm by their principles, bravely upholding that which they

believed to be right and true.” Bolter requests that each player get into character by

reading The White Company prior to performance. All parts are of equal importance,

composed entirely in the tenor clef, and labeled Archer One and Archer Two. Several

17

non-traditional markings are used including Always moving, Intent Building, Searching,

A moment of ease…, Purpose calls, “In the field,” Vigor!, and Charging. The Archer,

with its contrasting elements, makes the piece a challenge well-suited for advanced

undergraduate performers.

18

Composer: Culver, Eric

Title: Ten Duets

Publisher: TAP Music Sales, Newton, Iowa






Trombone One Range: F-sharp – a'







Dedication: “To a favorite friend, Lynne Morrison”

Overview: From the post-face, “The collection of ten contemporary duets included in

this book were written for a beautiful woman who plays trombone. That is why they are

‘romantic duets.’ To be performed successfully your partner for these duets should also

be a beautiful woman who plays trombone. This will enable you to read the titles of the

duets out loud, without sounding foolish to a lot of your friends.” Culver has been

credited with his “Contemporary Baroque” style and ability to compose enjoyable

34 The published work lacks a specific date of composition. On 26 May 2007, the author contacted

the composer by email and received the actual year of its original publication.

19

idiomatic material.35 This work contains programmatic titles such as “I’ll Follow You

To Each New Beginning.” As the title suggests, this duet is composed similar to t

Telemann Canonic Sonatas, in which one part repeats to previously performed material.

Overall, the pieces are very well written for trombone and would work for an

undergraduate performance opportunity.

he

35 Doug Yeo, “College Level Bass Trombone Repertoire,” Douglas Yeo Trombone Web Site,

http://www.yeodoug.com/resources/text/repert.html; Internet: accessed 11 December 2007.

20

http://www.yeodoug.com/resources/text/repert.html

Composer: Dedrick, Art

Title: 19 Progressive Trombone Duets

Publisher: Kendor Music, Delevan, New York



Difficulty: Medium



Trombone One Range: B-flat – f '

Trombone Two Range: A – f '






Dedication: N/A

Overview: Art Dedrick (1915–1980) is credited as one of the foremost initiators of the

school jazz ensemble movement.36 Quoting his online biography, “Drawing from his

extensive writing and playing experience, in 1954 he started his own publishing

company, Kendor Music, and issued his first big band charts for school groups.”37 As

stated in the title, this is a collection of nineteen easy duets that progress in difficulty.

Dedrick’s work includes some arranged works by Prokofiev, and Tchaikovsky, along

36 Kendor Music, http://kendormusic.com/composer/dedrick_art.htm; Internet: accessed 2

December 2007. 37 Ibid.

21

http://kendormusic.com/composer/dedrick_art.htm

with original compositions. Each piece has a title, and the collection concludes with

“Adios.” As the book progresses, the composer adds details such as dynamics,

articulations, tempo changes. Styles of music include waltz, march, and jazz. The limited

range, homorhythmic construction, and short duration makes these duets ideal for

teaching young players concepts of tone, articulation, and intonation.

22

Composer: Defaye, Jean-Michel

Title: Six études pour deux trombones

Publisher: Editions Robert Martin by Carl Fischer, New York, New York






Trombone One Range: E – c''

Trombone Two Range: G-sharp – b-flat'






Dedication: “To my friend Michel Becquet”

Overview: This challenging collection of works by French film composer Jean-Michel

Defaye has six sections (“Intonation,” “Rythme,” “Détaché,” “Intervalles,” “Legato,” and

“Vélocité”). These works have strong dissonances, disjunct melodic lines, quartal

harmonies with some thematic sections employing the rapid use of rhythmic alternation.

Lip trills are required in “Rythme.” It has been suggested that this set of higher level

literature, with its complex rhythmic construction and use of mixed-meter, would make

excellent sight-reading material for graduate level instruction.38 Although these duets


Guide,” 34.

23

were originally composed for pedagogical uses, they are also appropriate for chamber

performances.

24

Composer: Desportes, Yvonne

Title: Trombonades – 30 Petites pièces

Publisher: Gérard Billaudot, Paris, France



Difficulty: Medium



Trombone One Range: F – f '

Trombone Two Range: F – f '






Dedication: N/A

Overview: Yvonne Desportes (1907–1993) was a French composer, pianist, and lecturer

of music.39 In addition to winning the Grand Prix de Rome in 1932, Madame Desportes

was a professor of music at the Conservatoire, teaching solfege, counterpoint, and fugual

concepts.40 This collection contains thirty “small pieces” for two trombones. Styles

include waltz, minuet, gavotte, tango, polka, and march. Additionally, the composer

wrote a fugue along with labeling the Subject, Answer, and Countersubject.

Trombonades incorporates the use of sequential and imitative elements, integrated in

39 Viv Mantels, “In Memoriam: Yvonne Desportes,” ILWC Journal 5 no. 2 (June 1994): 19.

40 Ibid.

25

simple song form. Moreover, the collection contains simple four and eight measures

phrases, dynamic contrasts, fermatas, and tempo changes. Teachers will find this work

beneficial in establishing solid concepts of tone production and articulation, along with

building confidence in young players.

26

Composer: Edwards, Richard

Title: Seven Deadly Duets

Publisher: Warwick Music, Coventry, England





Trombone Required: 2) tenor (tenor-bass41)

Trombone One Range: A-flat – d''

Trombone Two Range: A-flat1 – b'

Trombone One Clefs: tenor





Dedication: N/A

Overview: Edwards’s work contains seven professional level duets that are composed in

varying styles including swing, funk, and blues. The upper part in this compilation is

written solely in tenor clef. Titles are given to three of the following pieces: II - “To

Blazhevich”; V – “To Bugs Bower”; VII – “Mad as a Piano Blues.” The second duet, “To

Blazhevich,” is mostly constructed in complex mixed-meter form. Edwards imitates

Blazhevich’s unique style by writing aggressive melodies and providing specific

articulations throughout; however, he deviates by only utilizing one clef per part.

41 The composer includes optional notes below the bass clef staff that are only possible with a

tenor-bass trombone with an F-attachment.

27

Concerning the fifth duet, “To Bugs Bower,” the composer is referring to Bugs Bower’s

Bop Duets. This set of thirty-nine duets incorporates the bebop, or bop, jazz style made

popular by Charlie Parker and Dizzy Gillespie in the late 1940s.42 Edwards emulates this

style in a composition that is uniform in rhythm and in ABA form. Two funk duets (III

and VI) are included in this collection, containing the most syncopated and complex

rhythmic material of the collection. Influenced by contemporary commercial music and

jazz,43 Seven Deadly Duets incorporates an extensive use of the high register in the first

part and require the highest level of rhythmic accuracy for performance.

42 Don Michael, Randel, ed., The New Harvard Dictionary of Music (Cambridge, MA: The Belknap Press of the Harvard University Press, 1986), 86.

43 Schaefer, “Using Duet Literature in the Applied Trombone Studio: A Method and Annotated Guide,” 86.

28

Composer: Girard, Pierre

Title: Dix petits duos progressifs pour trombones

Publisher: Editions Robert Martin by Carl Fischer, New York, New York



Difficulty: Medium



Trombone One Range: A – f '

Trombone Two Range: E – e'






Dedication: N/A

Overview: Dix petits duos progressifs pour trombones is a collection of ten duets

arranged in a progressive manner. Titles are listed numerically “Premier Duo,”

“Deuxième Duo,” and present a medium level of difficulty as they are written in simple

formal structures. Girard uses sequential techniques, fermatas, varied articulations, and

dynamic changes written in major or minor keys. The published work is printed in score

form, presenting one or more duets per page. Concerning suggested slide positions,

publishing errors can be found in measure eight of “Premier Duo,” and measure six of

“Deuxième Duo.” Dix petits duos progressifs pour trombones would be appropriate

material for high school and undergraduate college students.

29

Composer: Harris, Aaron & Bob Nelson

Title: 35 Original Duets for Trombone

Publisher: Charles Colin Music, New York, New York






Trombone One Range: E – b-flat'

Trombone Two Range: E – b-flat'






Dedication: N/A

Overview: As the title states, this work is a collection of thirty-five original duets for two

trombones. Although the front cover includes both names, Aaron Harris is the only

composer credited in the text. The range of the upper part is generally higher, but both

parts are otherwise equal in difficulty. The set contains a variety of flat keys, meters, and

musical styles including the minuet, march, and scherzando. Duets 2-6, 14-20, 25, 26, 29,

30, 32, and 33 contain awkward page turns, thus requiring photocopies for performance.

The work provides not only suitable material for public recitals, but also as a resource of

appropriate sight-reading literature for high school and undergraduate instruction.

30

Composer: Hartzell, Doug

Title: Blues for Twos

Publisher: Tap Music Sales, Newton, Iowa

Copyright Date: *44


Difficulty: Medium



Trombone One Range: B-flat – f '

Trombone Two Range: F – d-flat'






Dedication: N/A

Overview: Doug Hartzell has composed/arranged over four hundred works for

ensembles of all sizes.45 A retired public school band director, Hartzell spent most of his

teaching career in the Ohio School System.46 Blues for Twos is composed in a twelve-bar

44 The published copy of this work lacks a copyright date. The author initiated correspondence

with various music publishing companies in an attempt to answer this question. On 24 April 2007, the author received an e-mail from Shawnee Press, the composer’s main publisher, which stated that he had passed away in July 2006. A definitive date of composition or publication was never determined. The author used WorldCat and internet search engines to compare the composer’s publication dates, and speculates that Blues for Twos was composed in the late 1970s along with the majority of his compositions.

45 Shawnee Press; available from www.shawneepress.com; Internet: accessed 17 December 2007.

46 Ibid.

31

http://www.shawneepress.com/

blues form. Written in B-flat, Blues for Twos is mostly homorhythmic, constructed

mainly of quarter, eighth, and dotted-eighth/sixteenth notes. The composition contains

mild syncopation and upward glissandi “scoops,” is easy to negotiate, with the only

difficulty being two repeated sections. Published in score form, this would be a fine piece

to introduce to undergraduate students interested in the jazz style.

32

Composer: Hidas, Frigyes

Title: Introduzione e fughetta

Publisher: Editio Musica Budapest by Boosey & Hawkes, New York, New York






Trombone One Range: B – b'

Trombone Two Range: F – g-flat'






Dedication: N/A

Overview: Hungarian composer Frigyes Hidas (1928–2007) composed over fifty works

for brass instruments during his lifetime.47 Containing two sections, Introduzione and

fughetta, the introduction is presented at a lento ma non troppo tempo and includes

alternating entrances in the two parts. Hidas uses this technique to unite the duo in the

presentation of melodic ideas. The Fugue section displays J. S. Bach’s influence on the

composer as the subject is first presented in part 2 and answered by part 1 in the

47 Steven Hendrickson “Frigyes Hidas: An Analysis and Discussion of Selected Works for

Trombone” (DMA doc., University of Texas at Austin, 1998), 1.

33

traditional manner. 48 Hidas then strays from this style, leading into a section of unified

experimentation at the octave, before concluding in the traditional form. Consistent with

the composer’s style, Hidas incorporates a lot of dotted rhythms and present both tonal

and atonal elements.49 The ability to read tenor clef is required to perform the first part,

but is only necessary for three measures.

48 Ibid., 8. 49 Ibid., vi.

34

Composer: Israel, Brian

Title: Partita Piccola Canonica

Publisher: Tritone Press by Carl Fischer, New York, New York


Availability: out of print50




Trombone One Range: E – a'

Trombone Two Range: E – a'






Dedication: N/A

Overview: As the title states, this work is composed in canonic style, and includes four

sections (“Intrada,” “Moto Perpetuo,” “Aria,” and “Gigue”). The first two movements are

in the form of interval canons, in which the second part imitates the first part at any

interval other than the octave or unison. “Aria,” the third piece, incorporates inverse and

simple canonic techniques, and the final section is in simple “round” canon form. Total

duration of this work is three minutes and ten seconds. These duets require the second

performer to match the style and tone quality of the previously stated material, making it

an excellent resource for undergraduate instruction.

50 The author was unable to locate a publishing house that currently sells this composition.

35


Title: Partita Piccola Canonica Seconda







Trombone One Range: F – a'

Trombone Two Range: F – a'






Dedication: For Douglas Reicher

Overview: Partita Piccola Canonica Seconda is Brian Israel’s second anthology of

pieces based on the canonic form. The four movements, (“Dance,” “Campana,”

“Folksong,” and “Fanfare”) are well written for the trombone and composed in simple

formal structures. The first and third duets (“Dance and “Folksong”) are composed in an

alternating simple canonic structure that displays both grace and technical mastery.

“Fanfare,” the last and most difficult piece, contains arpeggiated melodies, progressive

harmonies, and is composed entirely in inverse canonic form.


36


Title: Sonata







Trombone One Range: G – a-flat'

Trombone Two Range: G1 – e-flat'






Dedication: N/A

Overview: Sonata is composed in three movements and is intended for performance.

Sections are labeled numerically and contain printed tempo markings. Movement one has

a march-like character, and incorporates the use of inverse and fugal elements. At times,

the second section has similar inverted construction along with specific dynamics and

sections of imitation on a theme. The final selection contains strong dissonances

throughout, subito dynamic changes, and comic glissando elements. Repeated pedal notes

are required for the second performer. The total work is six minutes fifteen seconds in

length. Sonata is a composition that is well-suited for undergraduate performers.

37

Composer: Kahila, Kauko

Title: Andante - Allegro

Publisher: Edition Musicus, Botsford, Connecticut






Trombone One Range: E-flat – b-flat'

Trombone Two Range: B-flat1 – b-flat'






Dedication: N/A

Overview: Kauko Kahila was the bass trombonist of the Boston Symphony Orchestra

from 1952–1972. Contrary to the title, this through-composed work is written in four

sections (“Andante,” “Allegro,” “Andante,” and “Allegro”), with the latter two segments

each containing a small amount of material. The work functions as a one movement

piece with the composer’s use of fermatas at transitional points. The longest and most

demanding section is the first “Allegro,” which contains chromatic alterations, angular

melodies, syncopated rhythms, mixed-meter, and imitative elements. A tenor-bass

trombone (with F-attachment) is required in the first part. In addition to its pedagogical

uses, Andante – Allegro is appropriate literature for chamber performances.

38

Composer: Katz, Marco

Title: Serious Samba

Publisher: Sneaky Yellow Dog Music, Sacramento, California






Trombone One Range: F-sharp – g'







Dedication: N/A

Overview: As the title states, this work is based on the Brazilian style of samba dancing.

The syncopated duple meter, driving rhythmic figures, and disjunct melodies are

representative of the musical style. This “serious” piece is lively in nature and invokes a

care-free attitude as the melody is traded between each part giving both performers the

opportunity to have expressive solos. Serious Samba is free at the present time and

available for download on the composer’s web page, http://www.sydmusic.com.

39

http://www.sydmusic.com/


Title: Sunset Time on Broadway

Publisher: Sneaky Yellow Dog Music, distributed by TAP Music Sales, Newton, Iowa






Trombone One Range: E – f ''

Trombone Two Range: E – f ''



Trombone One Mute(s): straight, plunger

Trombone Two Mute(s): straight, cup, plunger

Extended techniques: multiphonics, flutter tongue

Dedication: N/A

Overview: This challenging work is through-composed, requires various extended

techniques in combination with mutes, and is theatrical in nature. “Not for the faint of

heart,”52 this composition was envisioned as a work for two dancers with the players’

movements representing the choreography. Sunset Time on Broadway was first

performed by the composer and Linda Neel at modern dance showcases in New York

City and the New York Brass Conference. Katz does not include specific dance

instructions, but the environment created by the music is sure to motivate the performers.

Katz conceived this work to be performed on small bore tenor trombones (like the Bach 52 Marco Katz, Sunset Time on Broadway, (Newton, Iowa: Tap Music Sales, 1994), preface.

40

36) due to the extreme register shifts presented in the piece. Cross-harmonic glissandos,

flutter tongue, and multiphonics are required. Regular note heads indicate pitches to be

sung. Advanced performers will find this “super difficult outing for two tenor trombones”

both demanding and musically entertaining.53

53 Ibid.

41


Title: Turkish Taffy

Publisher: Sneaky Yellow Dog Music, Sacramento, California






Trombone One Range: e-flat – b-flat'

Trombone Two Range: F – c'






Dedication: Written for Dale Turk

Overview: This comical work is written in a march style and exploits the trombone’s

ability to glissando. The preface is as follows: “Some say that the trombone has its

origins in Turkey. If so, it is unlikely that they played like this. I named this duet for New

York City freelancer DALE TURK, who plays excellently in every style of music

possible on the tenor and bass trombones, euphonium and tuba. (Whew!) One day, while

we were playing at the Ringling Brothers Barnum & Bailey Circus, Dale broke up the

whole trombone section by exclaiming, ‘Aarrgh! Now this is real trombone playing.’”

Influenced by Ringling Brothers’ Circus Marches, this work is sure to lighten the mood

of any recital or performance. Specific slide positions are indicated in the score to help

42

performers negotiate the various glissando passages. Turkish Taffy is free at the present

time and available for download on the composer’s web page, http://www.sydmusic.com.

43


Composer: Langer, Ken

Title: Duets

Publisher: Solid Brass Music Company, San Rafael, California






Trombone One Range: A – a'

Trombone Two Range: G – f '





Extended techniques: lip and valve trills

Dedication: N/A

Overview: This work by Ken Langer includes ten duets: nine for two trombones (I-III,

V-X) and one for trombone and trumpet (IV). Langer uses a variety of compositional

techniques including a syncopated motive that alternates between each part, sequential

elements, mixed-meter, and cascade melodic motion. The ability to perform lip and valve

trills, turns, and grace notes is required. Duets VIII and XI contain the most complex and

demanding rhythmic passages, including a section in 3/16. Use of a tenor-bass trombone

might alleviate some technical issues in the first part, although it is not required for

54 In duet VII, the written mid-register trills on g and g-sharp require the performer to use a tenor-

bass trombone (with F-attachment).

44

performance. In closing, Langer’s duets contain a variety of material from slow melodic

phrases to fast technical sections, providing diverse opportunities for expression.

45

Composer: Lesley, Simon

Title: The Two Terrible Trombones







Trombone One Range: E – b-flat'

Trombone Two Range: A-flat1 – b'



Trombone One Mute(s): metal hat

Trombone Two Mute(s): straight, metal hat

Extended techniques: inhale/exhaling in horn while whistling, multiphonics, flutter tongue

Dedication: N/A

Overview: This through-composed work is programmatic, incorporates theatrical

elements, and presented in a comical manner. Lesley requires the performers to tell a

“ghoulish” story. The Two Terrible Trombones employs traditional and non-traditional

notation, and dialogue that must be coordinated properly to make the performance

successful. Lesley simulates howling wind through the inhaling/exhaling of air through

the instrument while whistling as shown below.

46


Simon Lesley. The Two Terrible Trombones (Coventry, England: Warwick Music, 2000), mm. 1–2. Copyright 2000 by Warwick Music. Used by permission.

Multiphonics are required, in conjunction with parallel motion glissandi,55 along with the integration of straight mute and metal hat.56 Diamond-shaped note heads indicate the sung pitches. Two small sections of this work are tonal, with the remaining majority atonal in construction. Lesley’s composition is a wonderful show piece for the instrument and would be received well by audiences of all ages.

55 Davidson, “An Annotated Database of 102 Selected Published Works for Trombone Requiring

Multiphonics”, 183. 56 The metal hat is substituted in place of the traditional plunger mute, incorporating open (o) and

closed (+) positions.

47

Composer: Lynn, Brian E.

Title: 20 Posh Duets

Publisher: Tezak, Pueblo, Colorado






Trombone One Range: F – d''

Trombone Two Range: A1 – g'






Dedication: N/A

Overview: Brian Lynn is a British trombonist and composer of low brass music. The

preface describes the composer’s style as containing “rich harmonies, dazzling rhythmic

juxtapositions, and acrobat-like unison passages, which appear and dissolve quite

suddenly.” This composition of twenty duets was commissioned by the Tezak Verlag.

Lynn presents these duets in a contemporary jazz style with limited harsh dissonances,57

with nine of them written in the swing style. Lynn presents these works in common flat

keys and several sharp keys. Compositional techniques include the use of hemiola,


Guide,” 92.

48

rhythmic alternation,58 stylized articulations, wide leaps, grace notes, subito dynamic

changes, and jazz turns. Moreover, duet seventeen is written in a “funk” style, which is

highly syncopated and contains angular melodic lines. High upper notes in the first part

require the player to have solid embouchure and reliable high range. Pedal notes are

required in the second part. This collection of pieces provides beneficial opportunities for

introducing students to jazz styles, along with enjoyable performance material.

58 Ibid.

49

Composer: Mais, Chester L.

Title: Scherzo and Meditation







Trombone One Range: B-flat – b-flat'







Dedication: N/A

Overview: Scherzo and Meditation contains two through-composed movements. In the

“Scherzo,” the composer uses rhythmic alternation between voices as a compositional

device. When one player states a theme, the other player fills in rhythmically. Scherzo is

in 6/8 time and requires the performers to periodically “scoop” notes. The “Meditation” is

composed of slow melodic motion that often creates dissonances. Mais states that both

movements are complete works, but gives the option to return to the “Scherzo” briefly

when programmed for performance.


50

Composer: McCulloh, Byron

Title: Slide Show

Publisher: Accura Music, North Greece, New York






Trombone One Range: E – c''

Trombone Two Range: F-sharp1 – a'





Extended techniques: trills, flutter tongue, multiphonics

Dedication: N/A

Overview: Byron McCulloh (1927–2001) was the bass trombonist for the Pittsburgh

Symphony Orchestra, an accomplished composer, and a published poet. This work,

subtitled “Seven Brief Obliquities for Two Trombones,” contains several extended

techniques including lip trills, flutter tongue, multiphonics, quarter-tones, wide leaps, and

glissandi. Non-traditional notation is used in displaying the necessary microtones as seen

in the example below.

51


Byron McCulloh. Slide Show (North Greece, NY: Accura Music, 1980), Mvt. II, mm. 1–4. Copyright 1980 by Accura Music. Used by permission.

Access to the trigger and pedal register is required in the second part. Smaller note heads indicate pitches to be sung. McCulloh indicates falsetto for the high multiphonics notes. These “deviations” from standard methods illustrate the composer’s compositional expertise and creativity.

52

Composer: Miller, Ernest R.

Title: 33 Trombone Duets

Publisher: Ludwig Music Publishing Company, Grafton, Ohio






Trombone One Range: G – b-flat'

Trombone Two Range: E – a-flat'






Dedication: N/A

Overview: This collection of works is separated by difficulty into two sections

(moderately easy, moderately difficult).60 Along with eleven original compositions,61

Miller’s anthology contains transcriptions from the following composers: Schubert, W.

A. Mozart, Handel, Tchaikovsky, Pachelbel, and Orlando di Lassus. Miller uses standard

compositional devices including arpeggios, scale patterns, chromatic motion,

accumulation, imitation, ABA form, and rhythmic alternation. A variety of styles are

60 The preface reads: “The sixteen duets in Part I of this collection are moderately easy. The ranges in both parts are well within the practical playing range and the key signatures are the more common ones. The seventeen duets in Part II are moderately difficult as they are more demanding technically, have extended ranges and a good variety of key signatures.”

61 The original duets in this work are numbers 6, 10, 12, 14, 16, 18, 21, 23, 27, 30, and 32.

53

presented, ranging from “quiet legatos to strident marches.”62 These works are published

in score form, with one or two printed on a page. Undergraduate students will find this

work accessible and full of value.

62 Halverson, “33 Trombone Duets by Ernest R. Miller: A Review,” 58.

54

Composer: Nash, Richard T.

Title: Four Trombone Duets

Publisher: Dorabet Music Company, distributed by RBC Publications, San Antonio, Texas






Trombone One Range: G – b-flat'

Trombone Two Range: E – e-flat'






Dedication: N/A

Overview: Upon moving to Los Angeles in 1954, Richard Nash joined the 20th Century

Fox Studio Orchestra. Additionally, the composer wrote music for the Stan Kenton

orchestra and orchestrated music for Fox films. This work consists of four movements

(“Melodie,” “Contrasts,” “Perpetuity,” and “Patterns”) written in ABA form, with three

using the Dal Segno al Coda format. The second movement, “Contrasts,” incorporates

sudden dynamic changes and alternates between legato and detached sections.

Appropriately titled “Perpetuity,” the third duet presents continuously moving legato

55

eighth notes, which are traded between the performers. The last piece contains

syncopated motivic writing and sequential elements.

56

Composer: Nelhybel, Vaclav

Title: Interplays

Publisher: J. Christopher Music Company by Carl Fischer, New York, New York



Difficulty: Medium



Trombone One Range: F – f '

Trombone Two Range: F – e'






Dedication: N/A

Overview: Interplays contains eleven pieces of trombone chamber music. Nelhybel was

a prolific composer who wrote numerous compositions for small and large ensembles,

along with concerti and vocal music. Over four hundred of the composer’s works were

published during his lifetime, and many are in the process of being published.63 These

duets contain canonic imitation, rhythmic motives, and generally involve staggered

entrances. Each duet is one page in length, consisting mainly of eighth, quarter, and half

notes. Additionally, the alternating rhythmic activity creates a “driving force” commonly

63 Vaclav Nelhybel Official Web Page; available from http://academic.scranton.edu/department/bandsing/nelhybelsite.shtml; Internet: accessed 1 December 2007.

57

http://academic.scranton.edu/department/bandsing/nelhybelsite.shtml

associated with Nelhybel’s music. The independent parts require the performers to

maintain a steady pulse and count accurately, which could be beneficial in teaching

young students rhythmic stability.

58

Composer: Nightingale, Mark

Title: Ten Tempestuous Duets







Trombone One Range: F – c''

Trombone Two Range: F1 – d-flat''






Dedication: N/A

Overview: Mark Nightingale is a well-known jazz trombonist in Great Britain and, in

recent years, has released compositions and educational material. This work, subtitled

“For Players Who Like To Blow A Storm!,” contains ten interesting duets. Titles include

“A Cool Breeze,” “Forecast Changeable,” “Whirlwind,” “High Seas, Grey Skies,”

“Blizzard Blues,” “Driving Rain,” “Danger! – Snow and Ice,” “Carribean Cyclone,”

“Turning Parky!,” and “Twister Trouble.” The second duet, “Forecast Changeable,” is

written in a “march-like” style and utilizes a hocket effect between the two parts, filling

in the rhythmic gaps. “Blizzard Blues,” the fifth duet, contains the most demanding

rhythmic material and is written in a heavily syncopated “funky-swing” style. Other

59

musical styles include swing, ballad, and Latin. Compositional features include the use of

hemiola, glisses, imitation, chromatic motion, short falls, sequence, wide leaps, and high

range notes. Performers will require a reliable high range and excellent endurance.

60

Composer: Pederson, Tommy

Title: Teens ’N’ Trombones, Five Duets

Publisher: Tommy Pederson64


Availability: out of print




Trombone One Range: F – b-flat'

Trombone Two Range: E – b-flat'






Dedication: N/A

Overview: Tommy Pederson (1920–1998) was a prolific composer who made important

contributions to twentieth century trombone literature.65 This work includes five duets for

tenor trombone (“Grunion Run,” “Song of the Squid,” “The Broken Zipper,” “The

Scamp,” and “Tux DeLux”) and was presented in a series of works written for younger

64 The author was able to obtain photocopies through Interlibrary Loan. The edition does not

include a location for the publisher. Referencing Michelle Poland Devlin’s dissertation on Pederson, it is probable, considering the copyright date, that DATE Music was the publisher. 65 Michelle Poland Devlin, “The Contributions of Tommy Pederson (1920–1998) to Trombone Performance and Literature in the Twentieth Century: A Lecture Recital and Document.” (DMA doc., University of North Carolina at Greensboro, 2007), 1.

61

trombonists.66 The music is contemporary in style, containing disjunct melodies,

syncopated rhythms, as well as upward glissandi “scoops” common in jazz works. The

fourth duet, “The Scamp,” exploits the use of rhythmic alternation with a series of

constant staccato eighth notes while the upper range is similar in both parts, requiring the

players to have a solid high register. This series of duets displays the composer’s mastery

of writing for the trombone.

66 Ibid, 44.

62


Title: Ten Duets for Tenor Trombone

Publisher: Almitra Music Company by Kendor Music, Delevan, New York






Trombone One Range: F – a'

Trombone Two Range: F – a'






Dedication: N/A

Overview: This work contains ten medium-advanced duets that contains creative titles

such as “Push-ups in the Early Morn,” “The Flannel Fox,” “The Ha–Ha Fence,” “Rip-

off,” “Journey to Jordan,” “Echo Schmecho,” “High Speed Corners,” “The Hungry Head

Hunter,” “Quiet Canoe,” and “Caterpillardiller.” Several of the duets are homorhythmic,

incorporating the same rhythmic ideas throughout each piece.67 Consistent with

Pederson’s style, the composer often introduces the melody in the first part, only to trade

parts on the next statement of the theme. Both parts are treated equally throughout the


Guide,” 95.

63

work in terms of range, use of articulation, and technical difficulty. It has been suggested

that this collection, along with all of Tommy Pederson’s duets, are excellent sources of

educational material.68

68 Ibid.

64


Title: Ten Duets for Trombone




Difficulty: Medium



Trombone One Range: G – f '

Trombone Two Range: G – f '






Dedication: N/A

Overview: Inspired by commercial music and jazz, this collection of duets contains

material of medium level difficulty. Imaginative titles include “Broomsticks,” “The

Arrow,” “Bean Bag,” “Paper Clips,” “Pixie Parade,” “The Glider,” “The Bug,” “The

Missing Chair,” “Chemistry,” and “Door in the Floor.” Pederson uses sequential and

motivic patterns, along with syncopation as compositional devices. The works are often

homorhythmic, written in duple and triple meter, moderate tempos, and simple ABA

forms. Common keys are used, although key signatures are not provided by the

composer. Ten Duets for Trombone is suitable literature for high school students.

65

Composer: Raphling, Sam

Title: Sonatina







Trombone One Range: E – a'

Trombone Two Range: F – a-flat'






Dedication: “To Dr. George Feldman” Overview: Sam Raphling (1910–1988) was a twentieth-century American composer who wrote a variety of solo, chamber, and vocal music.69 His transcription of Stravinsky’s The Rite of Spring, premiered by Dickran Atamian in 1979, was a highlight of the composer’s career. This three-movement work is written in the standard (fast, slow, fast) sonata form while the first and last movements are motivically based with the principal motive being presented in the first two measures. Raphling integrates the use of the following compositional techniques: rhythmic alternation, subito dynamic changes,

69 “Sam Raphling Dies; Composer and Pianist,” New York Times, 14 January 1988; available at www.nytimes.com; Internet: accessed 8 December 2007.

66

http://www.nytimes.com/

chromatic and sequential motion. The parts are published in score form, accompanied by an additional copy of the second part.

67

Composer: Rice, Thomas N. Title: Duo for Two Trombones Publisher: Seesaw Music Corporation, by Robert King Music Sales, North Easton, Massachusetts






Trombone One Range: F – g-flat'

Trombone Two Range: F – f '






Dedication: “To Bob and Wanda Gibble”

Overview: Thomas Rice has written over fifty compositions, including several brass and

woodwind chamber works.71 This one-movement work (“opus 42G”) is divided into two

connected sections, “Allegro” and “Andante.” The author speculates that the opus

number may have been inspired by a popular trombone model of the day, the Bach

70 The published manuscript includes the composer’s initial date of composition. The work was

produced between 7 and 11pm on 27 May, 1978 in Virginia Beach, VA. 71 The work includes a catalog of trombone music available from the publisher. Additional

compositions by the composer can be found through Robert King Music Sales; available at www.rkingmusic.com; Internet: accessed 12 December 2007.

68

http://www.rkingmusic.com/

Stradivarius 42G.72 Rice’s piece employs motivic effects as a unifying factor, recurring

in different guises throughout the work. Additionally, the composer incorporates the use

of hemiola, quintuple rhythms, sequential elements, syncopation, rhythmic alternation,

and fermatas while the ability to lip trill is required in the first part. The composition

published in manuscript score form, providing two copies for the performers, but

awkward page turns are still prevalent.

is

72 According to the Vincent Bach website www.bachbrass.com, around thirty-three thousand trombones were made between 1970 and 1981. This massive increase in output was primarily a result of the transference of ownership from to the Selmer Company. A popular model was the Bach 42G trombone, which included an F-attachment and gold brass bell.

69

http://www.bachbrass.com/

Composer: Richter, Marga

Title: One for Two and Two for Three

Publisher: Carl Fisher, New York, New York






Trombone One Range: f – a-flat'

Trombone Two Range: e – g-flat'






Dedication: N/A

Overview: Inspired by visual experiences and nature, Marga Richter (1926– ) has

composed music for nearly every genre including opera, solo, chamber, choral and

orchestral works.74 This three-movement work is comprised of one duet and two trios.

The through-composed “Duo” is written in varying mixed meter, which include 3/8, 4/8,

5/8, 6/8, 7/8, and 8/8. Richter incorporates a limited tonal range, syncopation, close

73 The author was unable to locate a publishing house that currently sells this composition. 74Carl Fischer; available from http://www.carlfischer.com/Fischer/richterbio.html; Internet:

accessed 12 December 2007.

70

http://www.carlfischer.com/Fischer/richterbio.html

dissonances, and chromatic motion. The duration of this movement is around fifty

seconds.

71

Composer: Ross, Walter

Title: Études a deux

Publisher: Nichols Music Company by Ensemble Publications, Ithaca, New York






Trombone One Range: F-sharp – b-flat'

Trombone Two Range: D – g'



Trombone One Mute(s): Harmon

Trombone Two Mute(s): Harmon


Dedication: “For Per and Kjetil Brevig”

Overview: Composed in 1982,75 Études a deux is a collection of twelve duets written

for Per Brevig, former principal trombonist in the Metropolitan Opera Orchestra, and his

son Kjetil. The preface states that “each (duet) addresses a different aspect of 20th

Century literature.” The duets are arranged progressively, increasing in difficulty

throughout the collection. Ross incorporates the use of reverse slide-rips, Harmon mute,

mixed meter, and disjunct melodies. In the first part, the ability to read tenor clef is

necessary for four of the pieces while the second part requires the use of a tenor-bass

75 Walter Ross; available from www.people.virginia.edu/~wbr/; Internet: accessed 20 December

2007.

72

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trombone in order to facilitate the low trigger notes in duets V and IX. The published

work is issued in part form, with one or two duets on each page. Études a deux is a

collection of music that “sounds right

and is a joy to play!”76

76 Walter Ross, Études a deux (Waltham, MA: Nichols Music Company, 1994), preface.

73

Composer: Stockhausen, Gabriel

Title: Five Interludes

Publisher: Kagarice Brass Editions, Denton, Texas






Trombone One Range: F – e-flat''

Trombone Two Range: B-flat1 – c''




Trombone Two Mute(s): straight, Harmon

Extended techniques: multiphonics, trills, flutter tonguing,

Dedication: N/A

Overview: This programmatic work consists of five movements (“Entrance,” “Musical

Chair,” “Dialogue,” “Lullaby,” and “Epilogue”). Multiphonics occur in the third

movement, with white note heads indicating the pitches to be sung. In addition to

multiphonics, trills, multiple tonguing, and flutter tonguing are required. The piece

contains disjunctive leaps, glissandi, and abrupt pauses, and employs the use of mixed

meter, feathered beamings, and hemiola. This use of non-traditional notation can be seen

in the example below.

74


Gabriel Stockhausen. Five Interludes (Denton, TX: Kagarice Brass Editions, 1999), Mvt. III, mm. 1–2. Copyright 1999 by Kagarice Brass Editions. Used by permission.

For the “Epilogue,” Stockhausen introduces two additional trombone parts creating a trio

to accompany Trombone 1 onstage. The musical styles of each movement, along with the

visual interactions, provide the audience with an entertaining musical drama. Performance notes are provided, including an onstage/backstage diagram.

75

Composer: Stout, David G.

Title: 10-4-2 (Trombone Duets)

Publisher: Leemaur Music by Walrus Music Publishing, Pismo Beach, California






Trombone One Range: F – d-flat''

Trombone Two Range: A1 – b'






Dedication: N/A

Overview: 10-4-2 (Trombone Duets), as the title suggests, is a set of ten duets for two

trombones. The collection contains plenty of syncopated melodies to keep the

performers’ attention. Furthermore, the composer integrates fermatas, subito dynamics,

frequent time changes, trills, and several passages of mixed-meter including 2/8, 3/8, 4/8,

5/8, 6/8, and 7/8. Compositional elements include intervallic, motivic, and sequential

motion. The ability to read tenor clef is required in the first part, along with pedal notes

written in the second part. Stout incorporates pedagogical lip slur exercises in duet

number IX as shown below.

76


David G. Stout, 10-4-2 (Trombone Duets) (Pismo Beach, CA: Leemaur Music by Walrus Music Publishing, 1978), No. IX, mm. 17–20. Copyright 1978 by Walrus Music Publishing.

Used by permission.

A tenor-bass (with F-attachment) is necessary for the required trigger notes. The work is published in manuscript score form. Long glisses are indicated in non-traditional notation by wavy lines. These pieces are well-suited for advanced undergraduate and graduate performers.

77

Composer: Stratton, Scott

Title: Study Duets for Trombone

Publisher: TrumCor Music, Dallas, Texas







Trombone Two Range: D – b'






Dedication: “Special thanks to Professor John Marcellus of the Eastman School of Music for his editorial advice.”

Overview: Study Duets for Trombone contains thirty-three duets intended for

pedagogical use. Along with eleven original compositions,78 Stratton’s collection

contains arrangements from the following composers: William Billings, W. A. Mozart,

Robert Schumann, F. J. Haydn, J. S. Bach, Benedetto Marcello, G. F. Handel, Arcangelo

Corelli, G. P. Telemann, Felix Mendelssohn, Camille Saint-Saëns, and Ludwig van

Beethoven. Stratton has arranged the music in a progressive manner, hoping that it will

77 A tenor-bass trombone is required to perform the trigger notes in #32.

78 The original duets in this work are numbers 5, 9, 14, 16, 18, 19, 21, 22, 24, 26, 28.

78

“provide an opportunity for genuine, artful music making.” A variety of styles are

presented, ranging from Renaissance to Blues. Duet #16 is a “Rhythmic Study” on the

famous Wagner motive “Ride of the Valkyries.” Duets #21 and #22, “Just Your Basic

Blues,” are designed to introduce students to the twelve-bar blues, and chord changes.

Mixed-meter and syncopation is used in #28 – “Vivace in 5/8.” These works are

published in score form, each printed on one or two adjacent pages. Undergraduate

students will find this work valuable.

79

Composer: Tanner, Paul

Title: Suite for Two Trombones







Trombone One Range: B-flat – g'

Trombone Two Range: B-flat – f '






Dedication: N/A

Overview: Tanner states in the preface: “This suite has three parts which may be played

individually or collectively according to the needs of the performers. The form is

centuries old but has quite stringent rules: all of the parts must be related, threads of

musical themes must be used throughout for continuity.” The movements include

“Rondo,” “Repose,” and “Suivant.” “Rondo” is presented in the traditional seven-part

form of ABACADA. Written in a masterful idiomatic style, the opening section is

presented in B-flat major, and visits B-flat minor, E-flat major, and F major. “Repose,”

meaning “refresh by rest,” is presented by the composer “as a relief from the faster

80

pieces.” Concluding the work, “Suivant” is a canon written at the distance of a unison.

Tanner indicates that the music is “not difficult but must be performed with the utmost

precision possible.”79 Required rhythms include half, quarter, and eighth notes, along

with a few sixteenth notes. The published work includes two copies of the music in score

form. Applied instructors will find this piece well-suited for undergraduate students.

79 Paul Tanner, Suite for Two Trombones, (San Antonio, TX: RBC Publications, 1981), preface.

81


Title: Trombone Duets Vol. 1

Publisher: Wester International Music, Greeley, Colorado






Trombone One Range: B-flat – a-flat'

Trombone Two Range: A-flat – a-flat'






Dedication: N/A

Overview: This set includes five duets (“Andante,” “Legato,” “Canon,” “Waltz,” and

“Chase”). Tanner incorporates the use of simple ABA form along with sequential and

imitative elements. Thematic material is presented in simple four or eight measure

phrases, often traded back and forth between the two parts. This compositional technique

results in each performer having the same requirements, in terms of range and technical

ability. “Chase,” the last movement, utilizes short sections of rhythmic alternation along

with harsh dissonances of a minor second. Additionally, the composer deviates from the

traditional modulation to the dominant (B-flat), choosing to move to the tri-tone (A)

before returning to the tonic (E-flat major). The music is published in score form.

82

Considering the contrasting styles, Tanner’s collection of duets can be performed

individually, or combined into a multi-movement performance work. Teachers will find

these duets helpful in teaching ensemble and listening skills.

83


Title: Trombone Duets Vol. 2














Dedication: N/A

Overview: Paul Tanner’s second volume of duets includes five pieces (“Allegro,”

“Lento,” “Canon Ad Unison,” “Dolce,” and “Dance”). This collection of works is similar

to his first volume, with his trading of thematic material between parts and use of simple

song forms. Compositional techniques also include the use of sequential and imitative

elements. “Dance,” the final duet, incorporates mild syncopation along with contrasting

detached and legato sections. The publication is printed in score form. Like the first

volume, these duets are valuable teaching tools, creating the opportunity for students to

develop good intonation by playing with a teacher or colleague.

84

Composer: Uber, David

Title: Concert Duets







Trombone One Range: G1 – c''

Trombone Two Range: D-flat – b'






Dedication: N/A

Overview: David Uber (1921–2007) was a prolific composer, writing over four hundred

works during his lifetime.80 Concert Duets is a collection of ten duets intended for

performance. Titles include “Rolling Hills,” “Strolling Through a Lilac Paradise,”

“Pantomine,” “Rose Legend,” “Chinatown Pageantry,” “Elegy,” “Yankee Festival,”

“Sentimental Interlude,” “Pastoral Melody,” and “County Dance.” Similar to the works

by Paul Tanner, each part is treated equally in terms of difficulty and range. A pedal G is

required in the first part. Additionally, confidence and accuracy in the upper register is

also required. Uber incorporates four and eight measure phrases, thematic material that is

80 Kendor Music. www.kendormusic.com; Internet: accessed 2 December 2007.

85

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alternated between the parts, syncopation, wide intervallic leaps, fermatas, repeated

sections, rapid technical passages, and imitative elements. Published in score form,

photocopies of duets I, III, IV, and V, or an extra copy of the score, is necessary for

performance to alleviate awkward page turns. David Uber’s collection contains suitable

material for chamber music opportunities.

86


Title: Ten Tasty Duos

Publisher: Virgo Music Publishers by Robert King Music Sales, North Easton,

Massachusetts





Trombone Required: 2) tenor81

Trombone One Range: f – d''

Trombone Two Range: B-flat1 – b-flat'82






Dedication: N/A

Overview: Inspired by “tasty” dishes, Uber’s compositions are named after common

food pairings. The menu includes: “Fish ’n Chips,” “Corned Beef ’n Cabbage,” “Liver ’n

Onions,” “Peaches ’n Cream,” “Bagels ’n Lox,” “Spaghetti ’n Meatballs,” “Surf ’n Turf,”

“Champagne ’n Oysters,” and “Rhubarb ’n Custard.” These creative titles are reminiscent

of those associated with Tommy Pederson and the approach is consistent with Uber’s

81 The composer indicates 8va basso notes for performing these pieces on bass trombones

(trombon

If the performer elects to use a tenor-bass or bass trombone, the required range would be A1 – a'.

es with an F-attachment).

82

87

style, incorporating disjunct melodic lines, wide leaps, complex rhythms, subito

dynamics, mixed meter, and strong upper register requirements. A solid high range is

necessary for the first part, which is written primarily above the bass clef staff. Uber

indicates optional bass trombone notes in the second part, which would lower the

required range to A1. The published work includes copies of the Trombone 1 and

Trombone 2 part, lacking a copy of the score. Ten Tasty Duos is loaded with “intriguing

morsels of musical magic” that is “cleverly written and musically filling.”83

83 Daniel Innaimo, “Ten Tasty Duos,” International Trombone Association Journal 19 (Winter/January 1991): 50.

88


Title: Three Picaresque Duos








Trombone Two Range: A-flat1 – f '






Dedication: N/A

Overview: Three Picaresque Duos (“Allegretto,” “Valse lento,” and“Allegro spiritoso”)

contain moderate tempos, subito dynamic changes, tempo changes, wide intervallic leaps

in the upper register, syncopation, and grace notes. Stylized articulation patterns require

consistency between players. Uber’s integration of imitative elements creates a constantly

changing environment. The second duet, “Valse lento,” includes multiple tempo changes

and rubato and ritardando. Concluding the collection, Uber uses brief thirty-second notes

and exchanges of sixteenth-note passages in the last duet. The work is printed in score

form, with each piece containing cumbersome page turns. Applied instructors will find

89

these duets useful in teaching ensemble skills, along with introducing enjoyable chamber

music.

90


Title: Tribal Dances

Publisher: Hidalgo Music by Robert King Music Sales, North Easton,

Massachusetts







Trombone Two Range: C – e-flat'






Dedication: N/A

Overview: Tribal Dances, Opus 342 contains five movements (“Allegro barbaro,”

“Allegro misterioso,” “Moderato,” “Allegro moderato,” and “Allegro grazioso”). As the

title implies, this set incorporates sequential and motivic elements that creates a driving

rhythmic force. Additionally, the composer includes tempo changes in the form of ritards

and rallentandos. “Allegro barbaro” focuses on the harmonic interval of a third for the

duration of the piece. The second and fifth duets have the most rhythmic complexity,

containing mixed-meter, syncopation, and rhythmic alternation. Although the second part

requires the use of a tenor-bass trombone, the composer has added optional notes to allow

91

tenor trombones (without F-attachment) to play the necessary sections. The collection is

printed in score form, with awkward page turns presented in each piece. An estimated

length of six minutes is given in the score, suggesting performance as a five-movement

suite.

92


Title: Twelve Duets

Publisher: Southern Music Company, San Antonio, Texas






Trombone One Range: E – d-flat''

Trombone Two Range: A1 – c''

Trombone One Clefs: bass, tenor, alto

Trombone Two Clefs: bass, tenor, alto




Dedication: N/A

Overview: Twelve Duets is a collection of twelve duets for two trombones. Comparable

to the works of Vladislav Blazhevich, twelve duets require the ability to read tenor and

alto clef. The pieces contain the following titles: “Demons’ Rendezvous,” “Moonlit

Canyon,” “Shooting Stars,” “Mystic Moorland,” “Pathways,” “Dialectics,”

“Tournament,” “Ancient Valley,” “Ventures,” “Footlight Histrionics,” “Homage to

Bach,” and “Interchange.” The works are rhythmically active, with several including

mixed-meter, and contain angular melodic lines, tempo changes, fermatas, abrupt stops,

syncopation, wide upward leaps, and sudden dynamic changes. These pieces are

appropriate for advanced students with a reliable high range and fine endurance.

93

Composer: Vining, David

Title: Daily Routines for Trombone

Publisher: Kagarice Brass Publications, Denton, Texas






Trombone One Range: F1 – f ''

Trombone Two Range: F1 – f ''






Dedication: “Special Thanks to John Drew, Dan Cherry, and all the students who had a

hand in developing these routines.” Overview: Daily Routines for Trombone is a wonderful collection of warm-up routines

composed to help students develop a better understanding of fundamentals and establish

consistency on a daily basis. The work contains the following topics: “Basic Routine,”

“Articulation,” “Flexibility/Accuracy,” Register Change/Dynamic Extreme,” “Natural

Slur/Vibrato,” “Range,” “Duet/Intonation,” and “Easy Routine.” Each routine includes

long tones, crescendos/diminuendos, lip slurs, subito dynamic changes, low and loud

resonant passages, articulation, range study, and a relaxation/warm-down section. The

ability to read tenor clef and buzz notes on the mouthpiece is required. Vining suggests

94

transposing Section 2 and 6C to various keys for additional study. The duet routine is

intended to be a learning experience for the players and is not intended as performance

material.

Intonation is the primary focus of this routine, but additional benefits include

concept of tone, flexibility, range, articulation, and slide technique. The majority of these

duets are possible with tenor trombones (without F-attachment). Vining requests that a

metronome be used throughout the routine, unless stated otherwise. It would be valuable

to incorporate these duets, along with the entire collection, into an undergraduate and

graduate curriculum. Additionally, this compilation of exercises could be used as part of

a college entrance/scholarship audition to test the student’s ability.

95

Composer: Whitfield, Ralph

Title: Gallop

Publisher: Rainbow Brass Music, Rainbow City, Alabama






Trombone One Range: c – f '

Trombone Two Range: c – f '






Dedication: N/A Overview: Ralph Whitfield is a composer of low brass, band, choral, and orchestra music.84 Presented in a fast tempo, this duet is through-composed and uses a narrow dynamic and tonal range. Gallop is written in 3/4, exploiting rhythmic alternation and imitation elements. Constant running eighth notes are traded back and forth between the two parts. Because the parts alternate, the author suggests distancing the players in performance to enhance the stereo effect. Whitfield does not indicate any articulations throughout the piece, with the exception of the last note. Considering this,

84 Rainbow Brass Music; available from http://www.rainbowbrassmusic.com; Internet: accessed 1 December 2007.

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performers could introduce a variety of articulations and dynamic changes to add more character to the work. The work is published in score form.

97

Composer: Wienandt, Elwyn A.

Title: Dozen Plus One

Publisher: Southern Music Company, San Antonio, Texas



Difficulty: Medium



Trombone One Range: A – g'







Dedication: N/A

Overview: This collection of duets contains twelve arrangements and one original

composition, thus the title Dozen Plus One. Wienandt borrows music from several

composers including Engelbert Humperdinck, Ludwig van Beethoven, Arcangelo Corelli,

Benedetto Marcello, and Johann Pezel. It has been suggested that these duets, considering

their simplicity, would be appropriate sight-reading material for young players.85 The one

original work, “#12 – Blues,” incorporates an eight-bar phrase that is repeated three times

and alternated between the two performers. Wienandt desires swung eighth notes, as


Guide,” 31.

98

indicated by written dotted-eighth sixteenths, and employs the use of standard flat-III,

and flat-VII blues notes. Although the piece is not difficult to negotiate, a g’ is required in

both parts. The work includes two copies of the printed score. High school students

interested in the jazz style will enjoy this easy piece.

99

Conclusion

The purpose of this document was to investigate and catalog original tenor

trombone duets published from 1928–2006. The author was able to locate a total of fifty-

two original collections and works through OhioLINK Inter-library loan and retail

purchase. Included were eight works of medium difficulty (M), twenty-two of medium-

advanced difficulty (M-A), thirteen of advanced difficulty (A), and nine of professional

difficulty (P). Twelve require one or both performers to have an F-attachment. Thirty-

eight works were written only in bass clef, with the remaining fourteen works including

tenor or alto clef. Compositional techniques used in the collection of works range from

traditional to the avant-garde.

Table B lists the works in order from easiest to most difficult. Instructors will find

this list useful for establishing goals for students as they progress towards the more

advanced literature.

Table B.

No. Composer Title Difficulty 1 Dedrick, Art 19 Progressive Trombone Duets M 2 Wienandt, Elwyn A. Dozen Plus One M 3 Pederson, Tommy Ten Duets for Trombone M 4 Baxley, Wayne Reflections M 5 Nelhybel, Vaclav Interplays M 6 Desportes, Yvonne Trombonades 30 Petites pièces M 7 Hartzell, Doug Blues for Two M 8 Girard, Pierre Dix petits duos progressifs pour trombones M 9 Katz, Marco Turkish Taffy M-A

10 Blumenthal, Fred It Don't Matter If You Win or Lose M-A 11 Nash, Richard T. Four Trombone Duets M-A 12 Pederson, Tommy Ten Duets for Tenor Trombone M-A 13 Whitfield, Ralph Gallop M-A 14 Tanner, Paul Trombone Duets Vol. 1 M-A 15 Tanner, Paul Trombone Duets Vol. 2 M-A 16 Tanner, Paul Suite for Two Trombones M-A 17 Katz, Marco Serious Samba M-A

100

18 Miller, Ernest R. 33 Trombone Duets M-A 19 Israel, Brian Sonata M-A 20 Hidas, Frigyes Introduzione e Fughetta M-A 21 Uber, David Tribal Dances M-A 22 Pederson, Tommy Teens ’N’ Trombones, Five Duets M-A 23 Israel, Brian Partita Piccola Canonica M-A 24 Israel, Brian Partita Piccola Canonica Seconda M-A 25 Richter, Marga One for Two and Two for Three M-A 26 Culver, Eric Ten Duets M-A 27 Stratton, Scott Study Duets for Trombone M-A 28 Harris, A. & Bob Nelson 35 Original Duets for Trombone M-A 29 Lesley, Simon The Two Terrible Trombones M-A 30 Vining, David Daily Routines for Trombone M-A 31 Rice, Thomas N. Duo for Two Trombones A 32 Kahila, Kauko Andante – Allegro A 33 Raphling, Sam Sonatina A 34 Mais, Chester L. Scherzo and Meditation A 35 Uber, David Concert Duets A 36 Ross, Walter Études à deux A 37 Uber, David Three Picaresque Duos A 38 Lynn, Brian E. 20 Posh Duets A 39 Bolter, Norman The Archer A 40 Uber, David Ten Tasty Duos A 41 Stout, David G. 10-4-2 (Trombone Duets) A 42 Langer, Ken Duets A 43 Uber, David Twelve Duets A 44 Bassett, Leslie 12 Duos for Trombones P 45 Katz, Marco Sunset Time on Broadway P 46 Defaye, Jean-Michel Six études pour deux trombones P 47 McCulloh, Byron Slide Show P 48 Bolter, Norman Occurrence P 49 Nightingale, Mark Ten Tempestuous Duets P 50 Edwards, Richard Seven Deadly Duets P 51 Stockhausen, Gabriel Five Interludes P 52 Blazhevich, Vladislav Concert Duets P

Utilizing this data, the author proposes the following curriculum for high school

through advanced college students and professionals:

High School Desportes, Yvonne Trombonades 30 Petites pieces

Girard, Pierre Dix petits duos progressifs pour trombones Nelhybel, Vaclav Interplays Pederson, Tommy Ten Duets for Trombone

101

First or Second Year Undergraduate

Culver, Eric Ten Duets Harris, A. & B. Nelson 35 Original Duets for Trombone Israel, Brian Sonata Miller, Ernest R. 33 Trombone Duets Pederson, Tommy Ten Duets for Tenor Trombone Stratton, Scott Study Duets for Trombone Tanner, Paul Suite for Two Trombones Tanner, Paul Trombone Duets Vol. 1 Tanner, Paul Trombone Duets Vol. 2 Vining, David Daily Routines for Trombone

Upper Level Undergraduate/Master’s Level Student Lynn, Brian E. 20 Posh Duets Ross, Walter Études à deux Stout, David G. 10-4-2 (Trombone Duets) Uber, David Concert Duets Uber, David Ten Tasty Duos Uber, David Twelve Duets

Advanced/Professional Players Bassett, Leslie 12 Duos for Trombones Blazhevich, Vladislav Concert Duets Defaye, Jean-Michel Six études pour deux trombones Edwards, Richard Seven Deadly Duets Nightingale, Mark Ten Tempestuous Duets

In conclusion, the author offers this document to trombone performers and

teachers to aid in locating appropriate material for private and collegiate instruction.

102

Appendix A: Works Indexed Alphabetically by Composer’s Last Name Composer Title Page B Bassett, Leslie 12 Duos for Trombones 8 Baxley, Wayne Reflections 10 Blazhevich, Vladislav Concert Duets 11 Blumenthal, Fred It Don’t Matter If You Win or Lose 13 Bolter, Norman Occurrence 15 Bolter, Norman The Archer 17 C Culver, Eric Ten Duets 19 D Dedrick, Art 19 Progressive Trombone Duets 21 Defaye, Jean-Michel Six études pour deux trombones 23 Desportes, Yvonne Trombonades 30 petites pièces 25 E Edwards, Richard Seven Deadly Duets 27 G Girard, Pierre Dix petits duos progressifs pour trombones 29 H Harris, Aaron & Bob Nelson 35 Original Duets for Trombone 30 Hartzell, Doug Blues for Two 31 Hidas, Frigyes Introduzione e fughetta 33 I Israel, Brian Partita Piccola Canonica 35 Israel, Brian Partita Piccola Canonica Seconda 36 Israel, Brian Sonata 37 K Kahila, Kauko Andante - Allegro 38 Katz, Marco Serious Samba 39 Katz, Marco Sunset Time on Broadway 40 Katz, Marco Turkish Taffy 42 L Langer, Ken Duets 44 Lesley, Simon The Two Terrible Trombones 46 Lynn, Brian E. 20 Posh Duets 48 M Mais, Chester L. Scherzo and Meditation 50 McCulloh, Byron Slide Show 51 Miller, Ernest R. 33 Trombone Duets 53 N Nash, Richard T. Four Trombone Duets 55 Nelhybel, Vaclav Interplays 57 Nightingale, Mark Ten Tempestuous Duets 59

103

P Pederson, Tommy Teens ’N’ Trombones, Five Duets 61 Pederson, Tommy Ten Duets for Tenor Trombone 63 Pederson, Tommy Ten Duets for Trombone 65 R Raphling, Sam Sonatina 66 Rice, Thomas N. Duo for Two Trombones 68 Richter, Marga One for Two and Two for Three 70 Ross, Walter Études a deux 72 S Stockhausen, Gabriel Five Interludes 74 Stout, David G. 10-4-2 (Trombone Duets) 76 Stratton, Scott Study Duets for Trombone 78 T Tanner, Paul Suite for Two Trombones 80 Tanner, Paul Trombone Duets Vol. 1 82 Tanner, Paul Trombone Duets Vol. 2 84 U Uber, David Concert Duets 85 Uber, David Ten Tasty Duos 87 Uber, David Three Picaresque Duos 89 Uber, David Tribal Dances 91 Uber, David Twelve Duets 93 V Vining, David Daily Routines for Trombone 94 W Whitfield, Ralph Gallop 96 Wienandt, Elwyn A. Dozen Plus One 98

104

Appendix B: Works Indexed Alphabetically by Title

Composer Title Page Stout, David G. 10-4-2 (Trombone Duets) 76 Bassett, Leslie 12 Duos for Trombones 8 Dedrick, Art 19 Progressive Trombone Duets 21 Lynn, Brian E. 20 Posh Duets 48 Miller, Ernest R. 33 Trombone Duets 53 Harris, Aaron & Bob Nelson 35 Original Duets for Trombone 30 Kahila, Kauko Andante - Allegro 38 Hartzell, Doug Blues for Two 31 Blazhevich, Vladislav Concert Duets 11 Uber, David Concert Duets 85 Vining, David Daily Routines for Trombone 94 Girard, Pierre Dix petits duos progressifs pour trombones 29 Wienandt, Elwyn A. Dozen Plus One 98 Langer, Ken Duets 44 Rice, Thomas N. Duo for Two Trombones 68 Ross, Walter Études a deux 72 Stockhausen, Gabriel Five Interludes 74 Nash, Richard T. Four Trombone Duets 55 Whitfield, Ralph Gallop 96 Nelhybel, Vaclav Interplays 57 Hidas, Frigyes Introduzione e fughetta 33 Blumenthal, Fred It Don’t Matter If You Win or Lose 13 Bolter, Norman Occurrence 15 Richter, Marga One for Two and Two for Three 70 Israel, Brian Partita Piccola Canonica 35 Israel, Brian Partita Piccola Canonica Seconda 36 Baxley, Wayne Reflections 10 Mais, Chester L. Scherzo and Meditation 50 Katz, Marco Serious Samba 39 Edwards, Richard Seven Deadly Duets 27 Defaye, Jean-Michel Six études pour deux trombones 23 McCulloh, Byron Slide Show 51 Israel, Brian Sonata 37 Raphling, Sam Sonatina 66 Stratton, Scott Study Duets for Trombone 78 Tanner, Paul Suite for Two Trombones 80 Katz, Marco Sunset Time on Broadway 40 Pederson, Tommy Teens ’N’ Trombones, Five Duets 61 Culver, Eric Ten Duets 19 Pederson, Tommy Ten Duets for Tenor Trombone 63 Pederson, Tommy Ten Duets for Trombone 65 Uber, David Ten Tasty Duos 87 Nightingale, Mark Ten Tempestuous Duets 59

105

Bolter, Norman The Archer 17 Lesley, Simon The Two Terrible Trombones 46 Uber, David Three Picaresque Duos 89 Uber, David Tribal Dances 91 Desportes, Yvonne Trombonades 30 petites pièces 25 Tanner, Paul Trombone Duets Vol. 1 82 Tanner, Paul Trombone Duets Vol. 2 84 Katz, Marco Turkish Taffy 42 Uber, David Twelve Duets 93

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Appendix C: Works Indexed By Difficulty

Medium Composer Title Page Baxley, Wayne Reflections 10 Dedrick, Art 19 Progressive Trombone Duets 21 Desportes, Yvonne Trombonades 30 Petites pièces 25 Girard, Pierre Dix petits duos progressifs pour trombones 29 Hartzell, Doug Blues for Two 31 Nelhybel, Vaclav Interplays 57 Pederson, Tommy Ten Duets for Trombone 65 Wienandt, Elwyn A. Dozen Plus One 98

Medium-Advanced Composer Title Page Blumenthal, Fred It Don’t Matter If You Win or Lose 13 Culver, Eric Ten Duets 19 Harris, Aaron & Bob Nelson 35 Original Duets for Trombone 30 Hidas, Frigyes Introduzione e fughetta 33 Israel, Brian Partita Piccola Canonica 35 Israel, Brian Partita Piccola Canonica Seconda 36 Israel, Brian Sonata 37 Katz, Marco Serious Samba 39 Katz, Marco Turkish Taffy 42 Lesley, Simon The Two Terrible Trombones 46 Miller, Ernest R. 33 Trombone Duets 53 Nash, Richard T. Four Trombone Duets 55 Pederson, Tommy Teens ’N’ Trombones, Five Duets 61 Pederson, Tommy Ten Duets for Tenor Trombone 63 Richter, Marga One for Two and Two for Three 70 Stratton, Scott Study Duets for Trombone 78 Tanner, Paul Suite for Two Trombones 80 Tanner, Paul Trombone Duets Vol. 1 82 Tanner, Paul Trombone Duets Vol. 2 84 Uber, David Tribal Dances 91 Vining, David Daily Routines for Trombone 94 Whitfield, Ralph Gallop 96

Advanced Composer Title Page Bolter, Norman The Archer 17 Kahila, Kauko Andante - Allegro 38 Langer, Ken Duets 44 Lynn, Brian E. 20 Posh Duets 48

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Mais, Chester L. Scherzo and Meditation 50 Raphling, Sam Sonatina 66 Rice, Thomas N. Duo for Two Trombones 68 Ross, Walter Études a deux 72 Stout, David G. 10-4-2 (Trombone Duets) 76 Uber, David Concert Duets 85 Uber, David Ten Tasty Duos 87 Uber, David Three Picaresque Duos 89 Uber, David Twelve Duets 93

Professional Composer Title Page Bassett, Leslie 12 Duos for Trombones 8 Blazhevich, Vladislav Concert Duets 11 Bolter, Norman Occurrence 15 Defaye, Jean-Michel Six études pour deux trombones 23 Edwards, Richard Seven Deadly Duets 27 Katz, Marco Sunset Time on Broadway 40 McCulloh, Byron Slide Show 51 Nightingale, Mark Ten Tempestuous Duets 59 Stockhausen, Gabriel Five Interludes 74

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Appendix D: Works Indexed By Trombone Type Necessary for Performance

Tenor, Tenor Composer Title Page Baxley, Wayne Reflections 10 Blumenthal, Fred It Don’t Matter If You Win or Lose 13 Bolter, Norman The Archer 17 Culver, Eric Ten Duets 19 Dedrick, Art 19 Progressive Trombone Duets 21 Defaye, Jean-Michel Six Études Pour Deux Trombones 23 Desportes, Yvonne Trombonades 30 Petites pièces 25 Edwards, Richard Seven Deadly Duets 27 Girard, Pierre Dix petits duos progressifs pour trombones 29 Harris, Aaron & Bob Nelson 35 Original Duets for Trombone 30 Hartzell, Doug Blues for Two 31 Hidas, Frigyes Introduzione e fughetta 33 Israel, Brian Partita Piccola Canonica 35 Israel, Brian Partita Piccola Canonica Seconda 36 Israel, Brian Sonata 37 Katz, Marco Serious Samba 39 Katz, Marco Sunset Time on Broadway 40 Katz, Marco Turkish Taffy 42 Lesley, Simon The Two Terrible Trombones 46 Lynn, Brian E. 20 Posh Duets 48 Mais, Chester L. Scherzo and Meditation 50 Miller, Ernest R. 33 Trombone Duets 53 Nash, Richard T. Four Trombone Duets 55 Nelhybel, Vaclav Interplays 57 Nightingale, Mark Ten Tempestuous Duets 59 Pederson, Tommy Teens ‘N’ Trombones, Five Duets 61 Pederson, Tommy Ten Duets for Tenor Trombone 63 Pederson, Tommy Ten Duets for Trombone 65 Raphling, Sam Sonatina 66 Rice, Thomas N. Duo for Two Trombones 68 Richter, Marga One for Two and Two for Three 70 Stockhausen, Gabriel Five Interludes 74 Tanner, Paul Suite for Two Trombones 80 Tanner, Paul Trombone Duets Vol. 1 82 Tanner, Paul Trombone Duets Vol. 2 84 Uber, David Ten Tasty Duos 87 Uber, David Three Picaresque Duos 89 Uber, David Twelve Duets 93 Whitfield, Ralph Gallop 96 Wienandt, Elwyn A. Dozen Plus One 98

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Tenor, Tenor-bass

Composer Title Page Bassett, Leslie 12 Duos for Trombones 8 Bolter, Norman Occurrence 15 Langer, Ken Duets 44 McCulloh, Byron Slide Show 51 Ross, Walter Études a deux 72 Stout, David G. 10-4-2 (Trombone Duets) 76 Stratton, Scott Study Duets for Trombone 78 Uber, David Tribal Dances 91

Tenor-bass, Tenor

Composer Title Page Kahila, Kauko Andante - Allegro 38

Tenor-bass, Tenor-bass

Composer Title Page Blazhevich, Vladislav Concert Duets 11 Uber, David Concert Duets 85 Vining, David Daily Routines for Trombone 94

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Appendix E: Works Indexed By Trombone One Lower and Upper Range

Composer Title Lower Upper Vining, David Daily Routines for Trombone F1 f '' Uber, David Concert Duets G1 c'' Bassett, Leslie 12 Duos for Trombones B-flat1 b' Blazhevich, Vladislav Concert Duets C d'' Kahila, Kauko Andante - Allegro E-flat b-flat' Israel, Brian Partita Piccola Canonica E a' Raphling, Sam Sonatina E a' Harris, Aaron & Bob Nelson 35 Original Duets for Trombone E b-flat' Lesley, Simon The Two Terrible Trombones E b-flat' Defaye, Jean-Michel Six études pour deux trombones E c'' McCulloh, Byron Slide Show E c'' Uber, David Twelve Duets E d-flat'' Katz, Marco Sunset Time on Broadway E f '' Desportes, Yvonne Trombonades 30 petites pièces F f ' Nelhybel, Vaclav Interplays F f ' Rice, Thomas N. Duo for Two Trombones F g-flat' Israel, Brian Partita Piccola Canonica Seconda F a' Pederson, Tommy Ten Duets for Tenor Trombone F a' Pederson, Tommy Teens ‘N’ Trombones, Five Duets F b-flat' Nightingale, Mark Ten Tempestuous Duets F c'' Stratton, Scott Study Duets for Trombone F c'' Uber, David Three Picaresque Duos F c'' Stout, David G. 10-4-2 (Trombone Duets) F d-flat'' Lynn, Brian E. 20 Posh Duets F d'' Stockhausen, Gabriel Five Interludes F e-flat'' Blumenthal, Fred It Don’t Matter If You Win or Lose F-sharp f ' Katz, Marco Serious Samba F-sharp g' Culver, Eric Ten Duets F-sharp a' Ross, Walter Études A Deux F-sharp b-flat' Bolter, Norman Occurrence F-sharp d-flat'' Pederson, Tommy Ten Duets for Trombone G f ' Israel, Brian Sonata G a-flat' Miller, Ernest R. 33 Trombone Duets G b-flat' Nash, Richard T. Four Trombone Duets G b-flat' Edwards, Richard Seven Deadly Duets A-flat d'' Girard, Pierre Dix petits duos progressifs pour trombones A f ' Wienandt, Elwyn A. Dozen Plus One A g' Langer, Ken Duets A a' Dedrick, Art 19 Progressive Trombone Duets B-flat f ' Hartzell, Doug Blues for Two B-flat f ' Tanner, Paul Suite for Two Trombones B-flat g' Tanner, Paul Trombone Duets Vol. 2 B-flat g' Uber, David Tribal Dances B-flat g'

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Tanner, Paul Trombone Duets Vol. 1 B-flat a-flat' Mais, Chester L. Scherzo and Meditation B-flat b-flat' Bolter, Norman The Archer B-flat c'' Hidas, Frigyes Introduzione e fughetta B b' Whitfield, Ralph Gallop C f ' Baxley, Wayne Reflections C g' Katz, Marco Turkish Taffy E-flat b-flat' Richter, Marga One for Two and Two for Three F a-flat' Uber, David Ten Tasty Duos F d''

Composer Title Lower Upper Vining, David Daily Routines for Trombone F1 f '' Katz, Marco Sunset Time on Broadway E f '' Stockhausen, Gabriel Five Interludes F e-flat'' Lynn, Brian E. 20 Posh Duets F d'' Uber, David Ten Tasty Duos F d'' Edwards, Richard Seven Deadly Duets A-flat d'' Blazhevich, Vladislav Concert Duets C d'' Uber, David Twelve Duets E d-flat'' Stout, David G. 10-4-2 (Trombone Duets) F d-flat'' Bolter, Norman Occurrence F-sharp d-flat'' Uber, David Concert Duets G1 c'' Defaye, Jean-Michel Six études pour deux trombones E c'' McCulloh, Byron Slide Show E c'' Nightingale, Mark Ten Tempestuous Duets F c'' Stratton, Scott Study Duets for Trombone F c'' Uber, David Three Picaresque Duos F c'' Bolter, Norman The Archer B-flat c'' Bassett, Leslie 12 Duos for Trombones B-flat 1 b' Hidas, Frigyes Introduzione e fughetta B b' Kahila, Kauko Andante - Allegro E-flat b-flat' Harris, Aaron & Bob Nelson 35 Original Duets for Trombone E b-flat' Lesley, Simon The Two Terrible Trombones E b-flat' Pederson, Tommy Teens ‘N’ Trombones, Five Duets F b-flat' Ross, Walter Études a deux F-sharp b-flat' Miller, Ernest R. 33 Trombone Duets G b-flat' Nash, Richard T. Four Trombone Duets G b-flat' Mais, Chester L. Scherzo and Meditation B-flat b-flat' Katz, Marco Turkish Taffy E-flat b-flat' Israel, Brian Partita Piccola Canonica E a' Raphling, Sam Sonatina E a' Israel, Brian Partita Piccola Canonica Seconda F a' Pederson, Tommy Ten Duets for Tenor Trombone F a' Culver, Eric Ten Duets F-sharp a' Langer, Ken Duets A a'

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Richter, Marga One for Two and Two for Three F a-flat' Israel, Brian Sonata G a-flat' Tanner, Paul Trombone Duets Vol. 1 B-flat a-flat' Katz, Marco Serious Samba F-sharp g' Wienandt, Elwyn A. Dozen Plus One A g' Tanner, Paul Suite for Two Trombones B-flat g' Tanner, Paul Trombone Duets Vol. 2 B-flat g' Uber, David Tribal Dances B-flat g' Baxley, Wayne Reflections C g' Rice, Thomas N. Duo for Two Trombones F g-flat' Desportes, Yvonne Trombonades 30 petites pièces F f ' Nelhybel, Vaclav Interplays F f ' Blumenthal, Fred It Don’t Matter If You Win or Lose F-sharp f ' Pederson, Tommy Ten Duets for Trombone G f ' Girard, Pierre Dix petits duos progressifs pour trombones A f ' Dedrick, Art 19 Progressive Trombone Duets B-flat f ' Hartzell, Doug Blues for Two B-flat f ' Whitfield, Ralph Gallop C f '

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Appendix F: Works Indexed By Trombone Two Lower and Upper Range

Composer Title Lower Upper Nightingale, Mark Ten Tempestuous Duets F1 d-flat'' Vining, David Daily Routines for Trombone F1 f '' McCulloh, Byron Slide Show F-sharp1 a' Israel, Brian Sonata G1 e-flat' Bassett, Leslie 12 Duos for Trombones G1 b-flat' Blazhevich, Vladislav Concert Duets G1 c'' Uber, David Three Picaresque Duos A-flat1 f ' Edwards, Richard Seven Deadly Duets A-flat1 b' Lesley, Simon The Two Terrible Trombones A-flat1 b' Lynn, Brian E. 20 Posh Duets A1 g' Stout, David G. 10-4-2 (Trombone Duets) A1 b' Uber, David Twelve Duets A1 c'' Blumenthal, Fred It Don’t Matter If You Win or Lose B-flat1 e-flat' Kahila, Kauko Andante - Allegro B-flat1 b-flat' Uber, David Ten Tasty Duos B-flat1 b-flat' Stockhausen, Gabriel Five Interludes B-flat1 c'' Bolter, Norman Occurrence B-flat1 e-flat'' Uber, David Tribal Dances C e-flat ' Uber, David Concert Duets D-flat b' Ross, Walter Études a deux D g' Stratton, Scott Study Duets for Trombone D b' Nash, Richard T. Four Trombone Duets E e-flat' Girard, Pierre Dix petits duos progressifs pour trombones E e' Miller, Ernest R. 33 Trombone Duets E a-flat' Israel, Brian Partita Piccola Canonica E a' Harris, Aaron & Bob Nelson 35 Original Duets for Trombone E b-flat' Pederson, Tommy Teens ‘N’ Trombones, Five Duets E b-flat' Katz, Marco Sunset Time on Broadway E f '' Katz, Marco Turkish Taffy F c' Hartzell, Doug Blues for Two F d-flat' Nelhybel, Vaclav Interplays F e' Desportes, Yvonne Trombonades 30 petites pièces F f ' Rice, Thomas N. Duo for Two Trombones F f ' Hidas, Frigyes Introduzione e fughetta F g-flat' Baxley, Wayne Reflections F g' Culver, Eric Ten Duets F g' Katz, Marco Serious Samba F g' Mais, Chester L. Scherzo and Meditation F g' Tanner, Paul Trombone Duets Vol. 2 F g' Wienandt, Elwyn A. Dozen Plus One F g' Raphling, Sam Sonatina F a-flat' Israel, Brian Partita Piccola Canonica Seconda F a' Pederson, Tommy Ten Duets for Tenor Trombone F a'

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Langer, Ken Duets G f ' Pederson, Tommy Ten Duets for Trombone G f ' Defaye, Jean-Michel Six études pour deux trombones G-sharp b-flat' Tanner, Paul Trombone Duets Vol. 1 A-flat a-flat' Dedrick, Art 19 Progressive Trombone Duets A f ' Tanner, Paul Suite for Two Trombones B-flat f ' Bolter, Norman The Archer B b' Whitfield, Ralph Gallop C f ' Richter, Marga One for Two and Two for Three E g-flat'

Composer Title Lower Upper Vining, David Daily Routines for Trombone F1 f '' Katz, Marco Sunset Time on Broadway E f '' Bolter, Norman Occurrence B-flat1 e-flat'' Nightingale, Mark Ten Tempestuous Duets F1 d-flat'' Blazhevich, Vladislav Concert Duets G1 c'' Uber, David Twelve Duets A1 c'' Stockhausen, Gabriel Five Interludes B-flat1 c'' Edwards, Richard Seven Deadly Duets A-flat1 b' Lesley, Simon The Two Terrible Trombones A-flat1 b' Stout, David G. 10-4-2 (Trombone Duets) A1 b' Uber, David Concert Duets D-flat b' Stratton, Scott Study Duets for Trombone D b' Bolter, Norman The Archer B b' Bassett, Leslie 12 Duos for Trombones G1 b-flat' Kahila, Kauko Andante - Allegro B-flat1 b-flat' Uber, David Ten Tasty Duos B-flat1 b-flat' Harris, Aaron & Bob Nelson 35 Original Duets for Trombone E b-flat' Pederson, Tommy Teens ‘N’ Trombones, Five Duets E b-flat' Defaye, Jean-Michel Six études pour deux trombones G-sharp b-flat' McCulloh, Byron Slide Show F-sharp1 a' Israel, Brian Partita Piccola Canonica E a' Israel, Brian Partita Piccola Canonica Seconda F a' Pederson, Tommy Ten Duets for Tenor Trombone F a' Miller, Ernest R. 33 Trombone Duets E a-flat' Raphling, Sam Sonatina F a-flat' Tanner, Paul Trombone Duets Vol. 1 A-flat a-flat' Lynn, Brian E. 20 Posh Duets A1 g' Ross, Walter Études a deux D g' Baxley, Wayne Reflections F g' Culver, Eric Ten Duets F g' Katz, Marco Serious Samba F g' Mais, Chester L. Scherzo and Meditation F g' Tanner, Paul Trombone Duets Vol. 2 F g' Wienandt, Elwyn A. Dozen Plus One F g'

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Richter, Marga One for Two and Two for Three E g-flat' Hidas, Frigyes Introduzione e fughetta F g-flat' Uber, David Three Picaresque Duos A-flat1 f ' Desportes, Yvonne Trombonades 30 petites pièces F f ' Rice, Thomas N. Duo for Two Trombones F f ' Langer, Ken Duets G f ' Pederson, Tommy Ten Duets for Trombone G f ' Dedrick, Art 19 Progressive Trombone Duets A f ' Tanner, Paul Suite for Two Trombones B-flat f ' Whitfield, Ralph Gallop C f ' Girard, Pierre Dix petits duos progressifs pour trombones E e' Nelhybel, Vaclav Interplays F e' Israel, Brian Sonata G1 e-flat' Blumenthal, Fred It Don’t Matter If You Win or Lose B-flat1 e-flat' Uber, David Tribal Dances C e-flat' Nash, Richard T. Four Trombone Duets E e-flat' Hartzell, Doug Blues for Two F d-flat' Katz, Marco Turkish Taffy F c'

116

Appendix G: Works Indexed By Clefs (B-Bass, T-Tenor, A-Alto)

Trombone Composer Title One Two Bassett, Leslie 12 Duos for Trombones Bass Bass Baxley, Wayne Reflections Bass Bass Blazhevich, Vladislav Concert Duets B,T,A B,T,ABlumenthal, Fred It Don’t Matter If You Win or Lose Bass Bass Bolter, Norman Occurrence B,T B,T Bolter, Norman The Archer Tenor TenorCulver, Eric Ten Duets Bass Bass Dedrick, Art 19 Progressive Trombone Duets Bass Bass Defaye, Jean-Michel Six études pour deux trombones Bass Bass Desportes, Yvonne Trombonades 30 petites pièces Bass Bass Edwards, Richard Seven Deadly Duets Tenor Bass Girard, Pierre Dix petits duos progressifs pour trombones Bass Bass Harris, Aaron & Bob Nelson 35 Original Duets for Trombone Bass Bass Hartzell, Doug Blues for Two Bass Bass Hidas, Frigyes Introduzione e fughetta B,T Bass Israel, Brian Partita Piccola Canonica Bass Bass Israel, Brian Partita Piccola Canonica Seconda Bass Bass Israel, Brian Sonata Bass Bass Kahila, Kauko Andante – Allegro Bass Bass Katz, Marco Serious Samba Bass Bass Katz, Marco Sunset Time on Broadway B,T B,T Katz, Marco Turkish Taffy Bass Bass Langer, Ken Duets Bass Bass Lesley, Simon The Two Terrible Trombones B,T B,T Lynn, Brian E. 20 Posh Duets Bass Bass Mais, Chester L. Scherzo and Meditation Bass Bass McCulloh, Byron Slide Show B,T B,T Miller, Ernest R. 33 Trombone Duets Bass Bass Nash, Richard T. Four Trombone Duets Bass Bass Nelhybel, Vaclav Interplays Bass Bass Nightingale, Mark Ten Tempestuous Duets B,T B,T Pederson, Tommy Teens ‘N’ Trombones, Five Duets Bass Bass Pederson, Tommy Ten Duets for Tenor Trombone Bass Bass Pederson, Tommy Ten Duets for Trombone Bass Bass Raphling, Sam Sonatina Bass Bass Rice, Thomas N. Duo for Two Trombones Bass Bass Richter, Marga One for Two and Two for Three Bass Bass Ross, Walter Études a deux B,T Bass Stockhausen, Gabriel Five Interludes B,T B,T Stout, David G. 10-4-2 (Trombone Duets) B,T Bass Stratton, Scott Study Duets for Trombone Bass Bass Tanner, Paul Suite for Two Trombones Bass Bass

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Tanner, Paul Trombone Duets Vol. 1 Bass Bass Tanner, Paul Trombone Duets Vol. 2 Bass Bass Uber, David Concert Duets Bass Bass Uber, David Ten Tasty Duos Bass Bass Uber, David Three Picaresque Duos Bass Bass Uber, David Tribal Dances Bass Bass Uber, David Twelve Duets B,T,A B,T,AVining, David Daily Routines for Trombone B,T B,T Whitfield, Ralph Gallop Bass Bass Wienandt, Elwyn A. Dozen Plus One Bass Bass

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Appendix H: Works Indexed By Trombone One Clefs

Trombone One with bass and/or tenor clef

Composer Title Page Bolter, Norman Occurrence 15 Bolter, Norman The Archer 17 Edwards, Richard Seven Deadly Duets 27 Hidas, Frigyes Introduzione e fughetta 33 Katz, Marco Sunset Time on Broadway 40 Lesley, Simon The Two Terrible Trombones 46 McCulloh, Byron Slide Show 51 Nightingale, Mark Ten Tempestuous Duets 59 Ross, Walter Etudes a deux 72 Stockhausen, Gabriel Five Interludes 74 Stout, David G. 10-4-2 (Trombone Duets) 76 Vining, David Daily Routines for Trombone 94

Trombone One with bass, tenor, and alto clef Composer Title Page Blazhevich, Vladislav Concert Duets 11 Uber, David Twelve Duets 93

Appendix I: Works Indexed By Trombone Two Clefs

Trombone Two with bass and/or tenor clef

Composer Title Page Bolter, Norman Occurrence 15 Bolter, Norman The Archer 17 Katz, Marco Sunset Time on Broadway 40 Lesley, Simon The Two Terrible Trombones 46 McCulloh, Byron Slide Show 51 Nightingale, Mark Ten Tempestuous Duets 59 Stockhausen, Gabriel Five Interludes 74 Vining, David Daily Routines for Trombone 94

Trombone Two with bass, tenor, and alto clef Composer Title Page Blazhevich, Vladislav Concert Duets 15 Uber, David Twelve Duets 93

119

Appendix J: Works Indexed By Mutes Necessary for Performance

Straight Mute

Composer Title Part(s) Bassett, Leslie 12 Duos Both Baxley, Wayne Reflections Trombone Two Katz, Marco Sunset Time on Broadway Both McCulloh, Byron Slide Show Both Stockhausen, Gabriel Five Interludes Both

Cup Mute

Composer Title Part(s) Baxley, Wayne Reflections Trombone One Katz, Marco Sunset Time on Broadway Trombone Two

Harmon Mute

Composer Title Part(s) Bolter, Norman Occurrence Both Ross, Walter Etudes a deux Both Stockhausen, Gabriel Five Interludes Trombone Two

Other Mutes

Composer Title Type Part(s) Katz, Marco Sunset Time on Broadway Plunger Both Lesley, Simon The Two Terrible Trombones Metal Hat Both

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Appendix K: Works Indexed By Extended Techniques86 Composer Title Type Part(s) Bassett, Leslie 12 Duos for Trombones Trills Both Bolter, Norman Occurrence Flutter Tongue Both Multiphonics Both Trills Both Defaye, Jean-Michel Six études pour deux trombones Trills Both Katz, Marco Sunset Time on Broadway Flutter Tongue Both Multiphonics Part 2 Langer, Ken Duets Trills Both Lesley, Simon The Two Terrible Trombones Flutter Tongue Part 1 Multiphonics Both Inhale/Exhale/Whistling Part 2 McCulloh, Byron Slide Show Flutter Tongue Both Multiphonics Both Trills Both Rice, Thomas N. Duo for Two Trombones Trills Part 1 Stockhausen, Gabriel Five Interludes Flutter Tongue Part 1 Multiphonics Both Trills Part 2 Stout, David G. 10-4-2 (Trombone Duets) Trills Both

86 The works by Norman Bolter, Marco Katz, Byron McCulloh, and Gabriel Stockhausen contain

the use of multiphonics. They are not mentioned in Davidson’s “An Annotated Database of 102 Selected Published Works for Trombone Requiring Multiphonics” (DMA doc., University of Cincinnati, 2005), but have been cited here.

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Appendix L: Publisher Contact Information

Accura Music P.O. Box 257 North Greece, NY 14515-0257 Telephone: (585) 227-1550 / Fax: (585) 227-2829 www.accuramusic.com Air-Ev Productions 675 VFW Parkway PMB 352 Chestnut Hill, MA 02467-3656 Email: [email protected] / www.air-ev.com Almitra Music Company c/o Kendor Music P.O. Box 278 Delevan, NY 14042-0278 Telephone: (716) 492-1254 / Fax: (716) 492-5124 www.kendormusic.com Briar Music Press 4146 W. Cornelia Ave. Chicago, IL 60641 E-mail: [email protected] C. F. Peters 70–30 80th Street Glendale, NY 11385 Telephone: (718) 416-7800 / Fax: (718) 416-7805 E-mail: [email protected] Carl Fischer 65 Bleecker Street New York, NY 10012 Telephone and Fax: (800) 762-2328 E-mail: [email protected] / www.carlfischer.com Charles Colin Music 315 West 53rd Street New York, NY 10019 Telephone: (212) 581-1480 / Fax: 212-489-5186 http://www.charlescolin.com/

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http://www.accuramusic.com/

mailto:[email protected]

http://www.air-ev.com/





http://www.carlfischer.com/

http://www.charlescolin.com/

Clark-Baxley Publications c/o TAP Music Sales 1992 Hunter Avenue Newton, IA 50208 Telephone: (800) 554-7628 www.tapmusicsales.com Dorabet Music Company RBC Publications P.O. Box 29128 San Antonio, TX, USA 78229 Telephone: (800) 548-0917 / Fax: (210) 736-6902 http://www.dorabetmusiccompany.com/ Editio Musica Budapest c/o Boosey & Hawkes, Inc. 35 East 21st Street 9th Floor New York, NY 10010 Telephone: (212) 358-5300 / Fax: (212) 358-5309 www.boosey.com Edition Musicus, Inc. P.O. Box 628 Botsford, CT 06404 Telephone: (203) 268-1522 E-mail: [email protected] Editions Robert Martin c/o Carl Fischer 65 Bleecker Street New York, NY 10012 Telephone and Fax: (800) 762-2328 E-mail: [email protected] / www.carlfischer.com Gérard Billaudot 14, rue de l’Echiquier 75010 Paris, France Telephone: +33 1 47 70 14 46 / Fax: +33 1 45 23 22 54 Hidalgo Music c/o Robert King Music Sales 140 Main Street North Easton, MA 02356 Fax: (508-238-2571) www.rkingmusic.com

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http://www.tapmusicsales.com/

http://www.dorabetmusiccompany.com/

http://www.boosey.com/





J. Christopher Music Company c/o Carl Fischer 65 Bleecker Street New York, NY 10012 Telephone and Fax: (800) 762-2328 E-mail: [email protected] / www.carlfischer.com Kagarice Brass Publications P.O. Box 305302 Denton, TX 76203 Fax: (940) 891-3435 E-mail: [email protected] Kendor Music P.O. Box 278 Delevan, NY 14042-0278 Telephone: (716) 492-1254 / Fax: (716) 492-5124 www.kendormusic.com Leemaur Music c/o Walrus Music Publishing P.O. Box 1910 Pismo Beach, CA 93448-1910 Telephone: (805) 489-2055 www.walrusmusic.com Ludwig Music Publishing Company 1044 Vivian Drive Grafton, OH 44044 Telephone: (800) 851-1150 / Fax: (440) 926-2882 Email: [email protected] / www.ludwigmusic.com Nichols Music Company c/o Ensemble Publications P.O. Box 32 Ithaca, NY 14851-0032 Telephone: (607) 592-1778 / Fax: (607) 273-4655 E-Mail: [email protected] Noga Music, Jerusalem c/o Ensemble Publications P.O. Box 32 Ithaca, NY 14851-0032 Telephone: (607) 592-1778 / Fax: (607) 273-4655 E-mail: [email protected]

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http://www.walrusmusic.com/


http://www.ludwigmusic.com/



Rainbow Brass Music 130 Nottingham Rd. Rainbow City, AL 35906 www.rainbowbrassmusic.com/ Seesaw Music Corporation c/o Robert King Music Sales 140 Main Street North Easton, MA 02356 Fax: (508-238-2571) www.rkingmusic.com Sneaky Yellow Dog Music Sacramento, California http://www.sydmusic.com/ Solid Brass Music Company 71 Mt. Rainier Drive San Rafael, CA 94903 Telephone: (800) 873-9798 / Fax: (415) 598-1342 www.sldbrass.com Southern Music Company P.O. Box 329 San Antonio, TX 78292 Telephone: (210) 226-8167 / Fax: (210) 223-4537 www.southernmusic.com TAP Music Sales 1992 Hunter Avenue Newton, IA 50208 Telephone: (800) 554-7628 www.tapmusicsales.com Tezak Music Publishing Co. P.O. Box 3147 Pueblo CO 81005 Tritone Press c/o Carl Fischer 65 Bleecker Street New York, NY 10012 Telephone and Fax: (800) 762-2328 E-mail: [email protected] / www.carlfischer.com

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http://www.sldbrass.com/

http://www.southernmusic.com/

http://www.tapmusicsales.com/



TrumCor, Inc. 8176 San Benito Way Dallas, TX 75218 Telephone and Fax: (214) 321-0606 E-Mail: [email protected] Virgo Music Publishers c/o Robert King Music Sales 140 Main Street North Easton, MA 02356 Fax: (508-238-2571) www.rkingmusic.com Warwick Music 1 Broomfield Road Coventry, England CV5 6JW Telephone: +44 (0)24 7671 2081 / Fax: +44 (0)24 7671 2550 www.warwickmusic.com Western International Music 3707 65th Avenue Greeley, CO 80634-9626 Telephone: (970) 330-6901 / Fax: (970) 330-7738 E-mail: [email protected]

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Horsley, Nathan Chad - An Annotated Database of 52 Selected Original Tenor Trombone Duets Published...

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