Newer Trombone Reperotire?

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Newer Trombone Reperotire?

Post by jasonlvazquez » Mon May 10, 2021 7:05 pm

Hello everyone! I'm posting on here for some recommendations for newer solo trombone repertoire (accompanied or not) outside of the standards for our instrument. I have been searching and haven't been able to find a posting that quite covers what I'm looking for just yet, so I decided to make my own! I'm not looking for a specific grade of difficulty, but I do mainly have private high school trombone students and I myself am going to be a graduate student. Just looking for anyone who has either performed, written, or seen newer repertoire for the instrument! Thank you! :biggrin:
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Re: Newer Trombone Reperotire?

Post by IanDeterlingComposer » Fri May 21, 2021 3:51 pm

Hello! I'm a composer, and I have a number of chamber works featuring the trombone:

Duet in F Minor. This is a recent performance of the second movement:
It's a three-movement piece, and the instrumentation is flexible.

Duet in D-Flat Major - this is also a flexible duet. I don't know of any recorded performances - so here's a score video:

Quest (for either solo with audio accompaniment or percussion accompaniment) I have it so it's available for trombone, bass trombone, or tuba - this is a video of the premiere of the first movement (on bass trombone):
Also - the working title for the longest time was 'Quartet in D-Minor' - which is why the video is labeled as that :lol:
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Re: Newer Trombone Reperotire?

Post by harrisonreed » Fri May 21, 2021 5:45 pm

Arrows of Time (it's 30 years old... But you don't hear this piece often)
Los Bandidos
Joe Jack Jinglebandit
Mandrake in the Corner (very accessible piece)

New music keeps getting harder and harder
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Re: Newer Trombone Reperotire?

Post by mahlertwo » Mon May 24, 2021 9:26 am

harrisonreed wrote:
Fri May 21, 2021 5:45 pm
New music keeps getting harder and harder
Maybe that's because Christian keeps writing it. Love the guy, but jeez.
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Re: Newer Trombone Reperotire?

Post by skeletal » Wed Jun 02, 2021 8:17 pm

mahlertwo wrote:
Mon May 24, 2021 9:26 am
harrisonreed wrote:
Fri May 21, 2021 5:45 pm
New music keeps getting harder and harder
Maybe that's because Christian keeps writing it. Love the guy, but jeez.
I wonder if we'll ever see another trombonist as prolific as him, ever. Heck I wonder if brass playing even has a future a few generations from now outside of historical works
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Re: Newer Trombone Reperotire? - CONCERTO FOR TRB 4Tet & WIND ENS. (Richards)

Post by ericrich » Thu Jun 03, 2021 8:54 am


Please feel free to explore my CONCERTO FOR TROMBONE QUARTET AND WIND ENSEMBLE (2010). ... c-richards

Many thanks to Dr. Bradley Genevro and the University of Texas at El Paso Wind Symphony for this excellent recording!
Solo Quartet:
Barry Hearn, National Symphony Orchestra
Richard Harris, New York City
Dr. Pete Madsen, Professor of Trombone and Director of Jazz Studies-University of Nebraska at Omaha
Dr. Steve Wilson, Chair of the Department of Music and Professor of Trombone at the University of Texas at El Paso.

A Demo Folder of the Score and Part PDFs can be found here: ... 9OXaa?dl=0

This work was commissioned for the Continental Trombone Quartet (Peter Madsen, Mark Sheridan-Rabideau, Doug Farwell, and Steve Wilson) by a consortium of four university band programs and one solo artist: the University of Nebraska-Lincoln, the University of Nebraska at Omaha, the University of Texas at El Paso, the University of Wyoming and Dr. Doug Farwell of Valdosta State University. The piece was premiered on April 6, 2010 by the University of Texas at El Paso Wind Symphony under the direction of Dr. Ron Hufstader.

In regard to movement structure and relationship, the concerto follows a typical three movement global design:

I. Molto ritmico
The compositional goal of the first movement is the exposition and interplay of two primary themes. The language of two of my heroes, Bartok and Stravinsky, influences the highly rhythmic and angular first theme. The second theme is presented in a favourite context of the composer, a legato, “cantabile” theme set over a pulsing, “percolating” rhythmic background. Influence of guitarist/composer Pat Metheny can clearly be heard in the second theme. The solo quartet presents the thematic material and then performs variations and commentary on the themes.

II. Molto expressivo
In much of the music of the Western Common Practice, the musical role of the trombone in ensemble music is closely aligned with the voice, either in terms of support (e.g. doubling) or in function as a representation of the human voice. The intent of the second movement is to explore the beautiful, singing possibilities of the bass trombone. This movement emerged as an aria for bass trombone, trombone quartet and wind ensemble. The movement is framed by opening and closing cadenzas for bass trombone and features the solo quartet performing a chorale that serves as the primary thematic material. Lush, shimmering chords reminiscent of Impressionist orchestral gestures as well as the writing of master jazz orchestrator Gil Evans are prevalent in the accompanying ensemble texture

III. Molto fuoco e l’anima
The trombone plays a major role in the various tributaries of Afro-Cuban, Puerto Rican, and Brazilian music (e.g. son, mambo, bomba, plena, samba, partido alto, et al), and trombone artists such as Juan Pablo Torres, Raul de Souza, Papo Vasquez, and Conrad Herwig are well known among aficionados of these genres. Since many Latin bands use four trombones as the horn section to compliment the singers and rhythm section, I decided to craft an energetic final movement using the solo quartet in a similar way. My goal was to create something sounding like “Bela Bartok meets Willie Colon.”

The movement begins with a set of solo cadenzas set over lush simmering chords in the ensemble. These chords and voicings serve to bridge timbral continuity from the second movement. The quartet then leads the ensemble into a strong mambo-based groove that underpins the most of the third movement. A second contrasting theme is introduced when instrumentalists of the wind ensemble are asked to sing a chant-like melody set over a samba groove in triple meter. A stronger theme and groove return in the ensemble giving the quartet an opportunity to heartily comment upon what has occurred. This texture intensifies to the final raucously improvised cadenza for all members of the quartet.
Don't hesitate to reach out with any questions!
Eric Richards
ER Music Sampler on YouTube: ... PGo37GZTIX
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