A descriptive analysis of the solo literature for the trombone with piano accompaniment

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A DESCRIPTIVE ANALYSIS OP THE SOLO LITERATURE FOR THE TROMBONE WITH PIANO ACCOMPANIMENT

A Thesis Presented to the faculty of the School of Music University of Southern California

In partial Fulfillment of the Requirements for the Degree Master of Music

Robert W. Stroetz August 1950

UMI Number: EP61888

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Dissertation Pubi sb*ng

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m

u. 'tr/ S/9

TA/i thesis, written

by

........ M M R T . . W . . . S T R O K T Z .............

under the guidance of A...is.Faculty Committee, and approved by a ll its members, has been presented to and accepted by the Council on Graduate Study and Research in partial f u l f i l l ­ ment of the requirements fo r the degree of

Master of Music .

Dean D ate.

August .X9j0__

Faculty Qompnttee

Chairman

PREFACE It is pertinent that I should present an analysis of the stimuli, that have directed and urged me to choose this particular field of research.

I earnestly desire to submit a

thesis which may be recognized as of immediate value to others, particularly to students and teachers of the trombone. For many years I have searched libraries for informa­ tion concerning the instrument on which I have striven for excellence and for music suitable for performance on this most versatile instrument.

There is an adequate supply of methods,

exercise books, and etudes prepared by skillful performers and recognized teachers*

However, no method for selecting solos

as to grade and quality has been made for students in progres­ sive stages of development.

Furthermore, a great amount of

the very best music for trombone has been ignored through lack of knowledge of its existence.

No informative index of trom­

bone music is contained ordinarily in two or three files in first class music stores and is neither complete nor represen­ tative of the quality of music written for the instrument* There is an urgent need for a classification of trombone solos that will set forth fine music, which may be used in correla­ tion with standard methods and teaching procedures. An interest in solo literature, classic and modern, directs groups of proficient soloists toward chamber music* Our modern instrumental program is training great sectional

iii choirs of wind instruments.

Those students who aspire to

more finished interpretation in solo sections and those teach­ ers who desire a means of motivating the student, find in chamber music pleasant means for working out technical prob­ lems and for stimulating a fine feeling of musicianship.

In

order that this new device may be put to its most efficient use, it is imperative that a complete knowledge of the best works written for each instrument be known, and they should be graded accurately so as to be quickly adapted to the stu­ dents* stage of development.

^here is a need for a method

of trombone solo literature selection. effort to fill that need.

This thesis is an

ACKNOWLEDGEMENT The writer wishes to express deep appreciation to the many people who contributed information and suggestions#

In

particular he wishes to thank trombonists Robert Marsteller of the Los Angeles Symphony, William Schaefer of the Holly­ wood Radio Studios, John MacKay of the Minneapolis Symphony, and Armand Ruta formerly of the N.B.C. Symphony of New York# With these people the writer has had many discussions of performance and teaching methods.

This was invaluable in

formulating the authoritative information upon which these analyses are based.

Grateful acknowledgement is made to Mr#

Clarence Sawhill, director of the University of Southern California Band for suggestions on material and discussion of the problem.

Above all the author is indebted to Mr. Ralph

Rush of the University of Southern California School of Music whose perspective of the instrumentalists place in all types of performance was of utmost help in guiding the writer to direct this information toward its most effective focus#

TABLE OP CONTENTS CHAPTER I.

PAGE

THE PROBLEM AND METHOD USED IN COMPLETING THE SURVEY AND ANALYSIS ...........................

II.

THE DEVELOPMENT OP THE TROMBONE AS A SOLO IN­ STRUMENT

III.

......................................

V.

VI.

8

SELECTION, APPRAISAL, AND GRADING OF TROMBONE SOLOS: EASY SOLOS

IV.

1

............................

1?

Grade 1 .................

18

Grade 2 ........................................

23

Grade 3 .........................

27

MEDIUM S O L O S ....................................

314-

Grade Ij......................

35

Grade 5 ........................................

I4J4.

Grade 6 ........................................

57

DIFFICULT S O L O S ..................................

69

Grade 7 ........................................

70

Grade 8 ........................................

79

Grade 9 ........................................

99

SUMMARY AND C O N C L U S I O N S .........................

93

Summary

93

C o n c l u s i o n s ....................................

914-

BIBLIOGRAPHY

...................

96

A P P E N D I C E S ............................................. APPENDIX A: PUBLISHERS. . . . .

......................

99 100

APPENDIX B: INDEX TO G R A D E - .........................

101

APPENDIX C: INDEX TO T I T L E .........................

103

CHAPTER I THE PROBLEM AND METHOD USED IN COMPLETING THE SURVEY AND ANALYSIS The need for a comprehensive, yet select list of trom­ bone solos— graded and described in such a manner that students and teachers of the instrument can readily visualize the literature available at all grade levels--has been real­ ized for some time by conscientious teachers*

The trombone

has suffered as a solo instrument because the publishers and retailers have flooded the market with material, poor in quality, and either through lack of knowledge or because hackneyed music sold better, have pushed the best in the trombone repertoire into obscurity.

In order to find one

good solo in the average music store today one must go through files of trite transcribed tunes.

Also, because of the great

number of different publishing houses it is almost impossible to find a complete list of the published material without writing for catalogues to twenty or more different publishing houses.

Even then, lists are incomplete because many places

do not give out complete lists.

After an exhaustive search,

all one has is the title with no knowledge of the type, style, quality, or grade of the work. Therefore, this thesis is an attempt to select out of approximately nine hundred-** published solos, those which are ^ Grant B. Jenkins, Music Literature Bibliography for the Bh Tenor Trombone (Glen Ellyn, Illinois: The Instrumental­ ist* Company, l$l±9)•

the very best in musical quality and also those which have been considered good for so long that they have become known by name and are frequently played*

Many of these are not

the best in the trombone repertoire and are graded according­ ly*

Naturally, there will be divergence of thought from

the writer*s opinion in the judgment of musical quality. It has been the sincere attempt of the writer to study each number, to weigh the opinions of students studying solos, and to obtain the opinions of some of the most prom­ inent trombonists in the country, for the purpose of giving an accurate and unbiased appraisal*

It is possible that

some excellent works have been omitted because they were not available in this area during the period in which this thesis was being prepared*

However, a very thorough survey has

been made over a period of two years, and the complete se­ lection of music contained in this thesis certainly is a very comprehensive selection of all the music in the trombone solo repertoire.

Only trombone solos with piano accompani­

ment were considered, and transcriptions were avoided, except those which definitely were an addition to the reper­ toire* A definite objective has been to obtain music which would illustrate the styles and works of the great composers. Such a selection should offer a course In music appreciation

to trombone students*

The trombone has been in an unfortun­

ate position in comparison with solo instruments such as the violin and piano because so few of the classical and romantic composers wrote directly for the instrument in solo form. An attempt has been made to include solos of all grade levels, from easy to difficult, for all students from the young beginner to the mature artist*

The use of solo mater­

ial in conjunction with methods and teacher instruction is of undoubted value as an instructional and motivating force* In formulating a method whereby practical factual information about each solo could be quickly visualized, the following system has been set up: First the title and composer with the name of the publishing house was set forth.

This is followed by a dual

grade: the numbers 1-10 signifying technical difficulty, while the letters A-D convey the quality of musical content and the general effectiveness of the work in performance* Second, a thematic excerpt of the actual music is given to show the actual solo and accompaniment manuscript* Third, a verbal description follows, giving as much information as possible about each number.

The attention is

called to tempo markings, keys, impressions of musical con­ tent, and technical difficulties in the over-all range* Finally, a short appraisal of the piano accompaniment is

added to complete the analysis# The following grading system, numbering from one to ten, designates the technical difficulties: 1. Very easy —

for beginners with but a few months

experience* 2# Very easy —

includes a few notes in the upper

register* 3* Medium easy — i^.* Easy —

easy keys.

but with slightly more difficult rhythms*

5>* Medium difficult* 6* Medium difficult —

but with increased range*

7* Difficult

for the average non-professional.

8* Difficult

for the artist*

9* Very difficult for the artist* 10* Extremely difficult and bordering on the impossible. Both numbers

1 and 10 are extremes.

While solos of

grade 1 are too easy for effective performance they are quite necessary as training material; therefore, several examples are included.

Solos of grade 10 would be too difficult to

risk in solo performance*

Since the demand for this grade

of solo is so small no selections were included# The quality and effectiveness is exhibited and ampli­ fied in this manner* A. Excellent musical content —

the very best in the

5 solo repertoire and exceedingly effective as program or recital material* B* Very Good —

solos that definitely would make good

solo material for the average student but having one feature that mars perfection* C* Average —

solos that should be studied in order to

become acquainted with the history of solo com­ position for the instrument, but should not be programmed* D* Very poor —

solos lacking both in musical content

and effectiveness in performance* These two methods of grading are combined so that a grade of 5B, for example, would signify a solo of medium technical difficulty and of very good musical content*

Solos

that would have fallen into the !tDn classification were omitted*

It was felt that the inclusion of these would

serve no particular benefit* The verbal appraisal of the compositions included in each analysis, serves to assist the student in acquiring a knowledge of the finer distinctions within the two divisions of technical and qualitative analysis, and to create impres­ sions that will readily aid in visualizing the music itself* On page /^

a key or legend sheet placing the position

of each item used in the analysis, will quickly illustrate

the general procedure used in the appraisal of each composi­ tion. The trombone should not be an instrument of limited expression but should interpret the music of great musicians. He who desires to teach the tombone cannot lose his enthu­ siasm, if the versatility of the instrument is shown to have more far-reaching limits than he had believed possible. This survey and resulting selective analysis has been planned for actual use in the every-day situation of teaching and performance. A.

ORGANIZATION OP THE REMAINDER OP THE THESIS

The following chapter presents a discussion of the trombones use in the various phases of music literature with which it was concerned.

It also shows the influence of

various conditions under which it evolved as a solo instru­ ment.

Chapters III, IV, and V are devoted to the selection,

appraisal and grading of trombone solos. Chapter III contains solos of an easy grade, Chapter IV contains solos of a medium grade, and Chapter V contains solos of a difficult grade.

Within each of these classifi­

cations there is a finer distinction of three grade levels. Preceding each of these chapters is an explanation of the criteria used in the appraisal and grading of the solos.

Following each of these chapters there is a list of conclu­ sions drawn from the investigation of that particular area# A summary of the entire study and a list of conclu­ sions comprise Chapter VI* is to be found.

Following this the Bibliography

The appendices contains a list of music

publishers and two forms of indices for the solo literature#

CHAPTER II THE DEVELOPMENT OP THE TROMBONE AS A SOLO INSTRUMENT The -trombone was the first of all our orchestral in­ struments to appear in its present shape#

It developed In

the fifteenth century out of a large trumpet (hence the name

11trombone” , i#e#, ”large tromba") by the addition of a slide, and the earliest representations, on paintings of the late fifteenth century, show all the essentials of the present instrument#T In 1520 the Hans Menschel family of Nuremberg became famous as a source of fine trombones#2

Although trombones

of fine quality were available in 1520, the same year that the Briscian school of violin making became famous, the trombone took no similar place in the development of instrumental music# This is due to the trombones outdoor usage# «t

"Frederich Belcke, a celebrated trombonist, was the

*3,

'

Q

first known to use it in 1795, as a solo instrument#”3 Except for this brief statement, as far as the writer is able to determine, nothing is known of early trombone solo playing*

^ The Harvard Dictionary of Music (Cambridge: Harvard University Press, 1 9 U W , p# I4.67 . 2 H.W. Schwartz, The Story of Musical Instruments (New York: Doubleday, Doran and Co#, Inc. , l£>38), p# 212# 3 Joseph Russell, ”King Trombone,” Etude, January, 193*1-, P. 21# ^

I

9 This seems strange to us for the trombone was one of the few early wind instruments that was capable of playing a chroma­ tic scale*

It must be remembered, however, that the highest

form of musical expression of the sixteenth and seventeenth centuries was attained in writing for human voices*

The

trombone tone was evidently considered to be closely akin to the quality of the human voice for it was used to strengthen certain parts of choral ensembles* The choir of human voices Is the most perfect example of blended tone quality and the serious writing for instru­ ments at this time reflects the desire of composers for unity of timbre.

The typical small ensemble of the sixteenth and

seventeenth centuries was composed of the related instruments* Trombones were common throughout the sixteenth and seventeenth centuries in the' ceremonial bands of princes and of large cities as well as in churches*

Their sliding mechanism made

them suitable for the rendering of art music at a time when the horns and trumpets were still limited to the performance of military signals*^Many towns, especially in Germany and Austria, took pride In official or semi-official municipal music, made by performers who were civil functionaries.

The duties of

these players according to medieval custom, were originally to ^

Harvard Dictionary of Music,

ojd *

cit* * p* 1|.67#

10 announce the hours by musical signals from the towers in which they kept watch#

By the middle of the sixteenth century,

they were playing chorales from their towers#

The instru­

ments on which these towermen performed were trombones and cornetts#

These cornetts, or zinken were wooden instruments

with a cup mouthpiece and had finger holes, much like record­ ers

Some authorities believe that these groups of tower

musicians were precursors of the concert band of today# Among the earliest compositions prescribing trombones are G. Gabriele’s Sacrae Symphoniae of c# 1600 scored for cornetti, trombones, bassoons, and

s t r i n g s

Bach and HandeL

used the trombone occasionally, but mostly in unison with voices for the sake of greater sonority#

Gluck was perhaps

the first to make effective use of the trombone for accompany­ ing chords, e#g#, in the aria ”Divinite du Styx” of his Alceste.

Mozart also used the trombone in conjunction with

vocal music# his symphonies#

He used the trombone in his operas by not in Beethoven introduced the trombones into

symphonies in the final movement of his Fifth Symphony, but it was not until after l8£0 that, owing to the precedence of Berlioz, Wagner, and Tschaikowsky, the trombone became firmly

5 Richard Franko Goldman, The Concert Band (New York: Rinehart and Co., Inc., 19^6), p# 2lf# 6

Harvard Dictionary of Music, op. oit#, p# I4.67 *

11 established as a member of the orchestra. The trombone found a more ready acceptance as a member of the band from its very beginning*

The differences be­

tween the band and the orchestra are the result of entirely different histories and different usages*

The instrumental

composition of the band is the outgrowth of utilitarian improvisation; that of the orchestra is the product of sever­ al centuries of conscious art. The band has a definite tradition arising out of the military* Prom the time of the bands which accompanied Edward III to battle, to the early town bands of Germany, the oboe bands of Louis XIV and the Napoleonic army bands, wind-instrument combinations have had their musical functions subordinated to what may be termed their moral, civic, or martial duties*y The development of the modern concert band underwent various transitions and it may still be evolving*

By around

185>0* however, the modern wind band had taken shape in all major respects.^

The height of the bands popularity was

around the turn of the century.

Band concerts were a regu­

lar feature of popular musical life, and military bands were to be heard in parks, at resorts, and at public festivals. There is some indication that in Russia the trombone was being featured as a solo instrument as early or perhaps

7 Richard Pranko Goldman, The Bands Music (New York: Pitman Publishing Company, 1938), p. 5"! ®

Goldman, The Concert Band, o p . cit.» p. 1^.9#

12 earlier than in the United States*

During 1876-77 Rimsky-

Korsakoff composed a concerto for trombone with wind band accompaniment#

This was performed by the trombonist

Lyeonoff at the Cronstadt concerts of the United Bands of the Naval Department under the composer*s direction*

In refer­

ence to this and other similar compositions, Rimsky-Korsakoff says, nThese compositions were written primarily to provide the concerts with solo pieces of less hackneyed nature than the usual#n9 In the heyday of bands such as those of Patrick Sarsfield Gilmore (1829-1892) and John Philip Sousa (18561932) competition from radio and recording was non-existent and the public taste for the symphony orchestra was less developed.

The concert band also occupied something of the

position today enjoyed by the popular dance orchestras# Marches, polkas, and waltzes, played by bands, were the vogue for dancing before a new type of dance orchestra or jazz band came along with the fox-trot and the tango*

Bandmasters of

the period therefore benefited by being able to combine con­ cert music with a type of popular music then in the height of fashion*

In popular estimation they occupied positions

analogous to those of today*s swing idols*

9 N.A* Rimsky-Korsakoff, My Musical Life (New York: Alfred A. Knopf, 1923), p. 152#

13 It was in this atmosphere that there grew a need for solo performance.

In the symphony orchestra the violin was

the natural solo instrument due to the prominent place it held in the orchestra and to its versatility as a solo instru­ ment.

In the band the cornet and trombone became popular

solo Instruments for the same reasons.

Their brilliant tone

and showy appearance were possibly other factors which in­ fluenced this choice* Arthur Pryor, trombonist, and P.N. Innes were the first performers to popularize the trombone as a solo instrument in America.

Arthur Pryor, trombonist, and Herbert Clark, cor-

netist, were the two most famous soloists of the Sousa band. These men exploited the technic of their respective instruments in solo performances.

Legends, such as the following are

still in the memory of those who are well acquainted with these performances: The Sousa band very often staged two performances a day with Pryor and Clark as soloists. One would appear as soloist on the afternoon concert and the other would ap­ pear In the evening. Each would try to outdo the other in trying to win the audience1 favor. If Clark would appear in the afternoon, Pryor would present a more spectacular performance in the evening and vice-versa.i q Sousa toured Europe five times with his band, and made one trip around the world.

It Is quite probable that in

10 Ralph Rush, unpublished statement. The School of Music Faculty of the University of Southern California.

Europe, trombonists were not as advanced as some American trombonists were in solo playing at this time*

It is re­

ported that when the Europeans heard Pryor they suspected him of having a "trick” instrument for they believed that such technic was impossible on the trombone* The trombone has also been exploited as a solo Instru­ ment in the dance orchestra from the beginning of the "jazz" movement In New Orleans*

Most trombonists of today credit

Tommy Dorsey with the development of the lyric, high-register style of solo playing*

This was begun around 1930*

It is

said, however, that Miff Mole was the progenitor of this style for he used It several years before 1 9 3 0 * ^

The public

school music program has created further demand and has pro­ vided a growing stimulus for trombone solo playing* In recent years there has been some serious effort made to raise the musical quality of trombone solo performance* This effort has been on the part of certain composers, perform­ ers, and teachers.

The fine performances of Paul Cresto n ^

Fantasy for Trombone and Orchestra by Robert Marsteller and the Los Angeles Symphony is a notable example of this.

^ Robert Marsteller, unpublished statement* The School of Music Faculty of the University of Southern California.

SELECTION, APPRAISAL, AND GRADING OP TROMBONE SOLOS

16 LEGEND Title:

Composer:

Publisher:

Date:

Grade:

Thematic Excerpt

h



------------

(a)

Tempo markings and key

(b)

Description of the quality and type of solo

(c)

Technical problems

(d)

Range, or typical register of solo

(e)

Appraisal of Piano accompaniment

17 CHAPTER III EASY SOLOS:

GRADES I, II, AND III

These first three grades of solos are basically train­ ing pieces*

With the possible exception of those numbers in

grade 3A, these solos will mainly be used with young players to create a new playing situation and to use the technics at those levels in a meaningful form* The criteria used therefore in selecting and grading solos in these classifications is mainly based upon the technical demands and musical quality.

Technical demands

of the solo part include such factors as style as well as range, speed, types of articulation, etc*

The effectiveness

of solos at this level is considered to be of secondary im­ portance since a student at this level will seldom appear as a featured soloist*

When these solos are used on a student

recital or at a music festival, the primary consideration also is upon the performance and secondary consideration is given to the music* The solos in 3A in some cases will be used by featured soloists who are technically enough advanced to devote their primary attention to the interpretation and effectiveness of the number.

Although the technical demands of these solos

place them in grade 3# they contain enough musical substance to be performed with a degree of maturity.

18 Ernest Clarke

Garden Festival Carl Fischer 1A

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_]__ . __________ 1-------- L-- H -- J— _

^

1 .

(a)

Moderato E. Major

(b)

This number has the character of a pleasing joyful dance* It is cleverly written for this grade.

The technical

demands are within the scope of the most elementary solo­ ist yet it is an Interesting little piece* (c)

The few slurs moving in an upward direction are all with­ in the interval of a third except for one fourth* are no more than two notes slurred consecutively.

(d)

Bb - eb

(e)

Good piano accompaniment*

There

19 Evening Shadows

Ernest Clarke

Carl Fischer

1931+

IB

. u

i

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1

..... 7

-r~-......



jpr*-

"# ..

-

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p z ?l

— 1— 1— I"*”. f = y ---- 1---

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A pt?------—

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40

(a)

Andante in E*5 Major

(b)

An extremely easy number that can be used at the most elementary level. simple grade*

It is well written for a solo of such

It is slow moving and the notation con­

sists of only quarter and half notes* (c)

The only technical problem might possibly be the £ level of volume*

This could be tempered somewhat to suit the

individual* (d) (e)

- bb Good*

The piano part is delicate, rhythmically simple

and provides movement to the overall effect*

20 Julia Maurine Waltz

Fred Weber

Belwin

I9h5

1C

rr

(a)

Valse moderato In E^ and A “ Major

(b)

A very simple number suitable for the youngest students first solo*

All the flats in the key signature are

again written Individually as each note is affected in the solo part* (c)

This solo should be played with the feeling of beating one to the bar*

This may present a problem at this level.

If it is played beating 3 to the bar, the solo drags and becomes dull.

The students endurance also will be taxed

quite heavily if it is played too slowly*

21 (d)

c - c»

(e)

Fair.

The piano plays the melody along with the solo

part almost throughout.

22 Intermess 20

Forrest L. Buchtel

Neil A* K J o b

19hS

1C

(a)

Andantlno 3j^ time in Allegro J " 152

(b)

^

Major time In

A satisfactory training solo.

Major The general musical effect

Is poor because of the repetitious and limited style of melodic material. (c)

The first half of the solo Is in waltz time to be played one beat to the bar.

The second half is a fast ^

but

the note values are not short; the quickest pattern Is two successive eighth notes. (d)

-B*> - bb

(e)

Poor piano part. iation.

Very little pianistic and harmonic var­

23 May Moon

Forrest L. Buchtel

Neil A. Kjos

1S45

2A

(- - 8° l r \ f ____________

£

(a) Andante J 3 80-8lj. and J * 100 in Eb Major and Ab Major. (b) A lyric piece that encourages a smooth flowing tone* There is a nice movement to this number which makes it more interesting to young players than many "tone” solos. The leaps are not wide and the slurring is natural* (c)

The bb should be played in the I

t/V^ IU

S



LLJ_J

fifth position to facilitate slur and also to match the next slur*

(d) Bb - eb » (e) Good piano accompaniment.

2lj. Jean Waltz

Forrest Buchtel

Mills Music Inc*

191+5

2B

(ft)

Waltz tempo d-= 63-66

(b)

A very easy number in range and technic*

F Major and Bb Major It has plenty

of movement and Is musically easy to understand by the youngest players* ginality.

The tune and accompaniment lack ori­

It is a good training solo for the development

of facility and for players whose range is limited* (c)

This solo lies quite naturally in range, slide technic and phrasing*

(d)

c - f»

(e)

Fair*

The accompaniment consists of only the most obvious

type of waltz accompaniment.

25 Apollo

Forrest L. Buchtel

Mills Music Inc*

19US

2B

(a)

Andante in

JkP Major;

Allegretto in E^ Major, A *3 Major,

and E*3 Major# (b)

A march style tune with a very simple style of accompan­ iment#

It Is easier than it first appears to be*

Mus­

ically It is uninteresting even for a solo of this grade. It has some specific advantages as a training number#

H i .

I

These rhythmic patterns are common and may present a technical problem#

•i

(d)

B*> - f*.

(e)

Pair piano accompaniment.

26 Heroics

E. De Lamater

Rubank

1932

2C

o *--^—7---

rf

f

4

7n±.es-toSo maf'Ci-to

£

pa

■A— *■

V- -y- V- -£

O iPt=±

-y- y

j pi 5

= j ^

i * 88 in F Major

(a)

Adagio

(b)

One of the best transcriptions for trombone and a defin­ ite contribution to

the literature.

The slide mechan­

ism has a real advantage in this type of playing#

With

its easy flow and transparency this piece encourages a delicacy and fluid style of articulation.

If the option­

al high register is played it requires a very mature player. (c)

The problem here is

to play this legato but well defined#

____________

■) b

---

This type of figure occurs frequently#

It is a less

awkward figure when the op­ tional higher range Is played. (d)

B - a*

Optional part do d2

(e)

Excellent piano accompaniment#

36 Solo de Concours

Croc© - Spinell!

B©lwin

*

19l±$

l+A Reei'-fc. — I->P 1

(a) Lento ( J

-

50) f minor; Andante ( J



&

60) f minor;

Allegro Moderato, f minor (b) Musically, this is a very nice composition.

It has a sol­

emn sustained type of tune In the low register Interspersed with several short recitative sections*

The more rapid

passages are written in a comfortable range. in general is well-suited to the trombone.

The technic There is a

nice amount of rhythmic variety* (c) Great demands are placed upon the dynamic levels which range from £ to fff. (d) f - b ^ 1 (e) Excellent.

It supports the trombone well, helps to pro­

duce a nice agitato and lends considerable variety*

37 Andante

Victor Doullez Op 53

Editions Musicales Brogneaux U A i t*-—

p.

T

E

d

i

==q^= 3

"S'

l>

Pec/.

(a)

Andante, E*> Major and

Major

(b)

A very musical solo that is an effective program number for this grade#

Solos of this high quality in this

grade are rare#

This solo has a lyric style which is

very well adapted to the trombone# (c)

Although the composition in general is not transparent, pitch and tone quality are exposed by the relatively slow moving solo part# of chromaticism#

There is a considerable amount

The range, legato and dynamic demands

are not great, (d)

cb - g»

(e)

Excellent.

Full chords in harp style, varied with six­

teenth note movement in thirds#

38 Lelbeslied

Oskar BBhme

Cundy Bettoney Co* i*A

(a)

Andante eon expression© in D*5 Major

(b)

A beautiful lyric style solo*

It has a considerable

amount of melodic decoration.

The turns are all written

in*

This is a very musical solo that can be performed

by the most advanced player as well as one at this level* (c)

This pattern continues for five bars with very little piano*

It must be played

l-L-d- trace of stiffness in articulation. (d)

B'b -

(e)

Excellent piano accompaniment.

39 Romanza Appassionata

C.M. von

Cundy Bettoney

Weber

1939

Ub

(a)

Andante sostenuto in c minor

(b)

A beautiful melodic solo in the classic style.

It is a

number of considerable length and it is lyric throughout. It is slightly lacking in effectiveness.

There are sev­

eral places where optional parts may be substituted for the high tones.

This is a good solo for the person seek­

ing a good composition with little technical display. (c)

There are several ornaments written in, which demand a precise legato technic.

(d)

f - c2

Optional a*

(e)

Excellent.

The piano part has a nice rich sound which

is a compliment to the trombone tone.

lj.0 Vais© Petite

J. Cimera

Gamble Hinged

19hB

1|B

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Allegro energico, C Major; Tempo di Valse in F Major; Piu mosso in Bb Major; Tempo di Valse in F Major; Poco piu mosso in Bb Major; Tempo di Valse in F Major; Vivo in Bb Major.

(b)

A composition based on the old style of technical display but dressed-up with an improved and more modern type of accompaniment.

It is quite an effective number partly be­

cause it sounds more difficult than it actually is and be­ cause of the fairly interesting accompaniment. (c)

There is a great deal of slide-pumping^and quick change of registers.

This very often encourages a harsh sort

of technical execution. (d)

f - a*

Optional bbl

(e)

Good piano accompaniment.

111 Allegro de Concert

Eugene Cools'

Alfred Music Co.

1937

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(b)



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J • 60 e minor;

g minor

This number contains the style of writing used for brass instruments in the symphony orchestra. rhythmic.

It Is bold and

There are two short legato passages which give

some relief to this severity.

In general, however, the

effectiveness of this solo is marred slightly by the pre­ dominance of one type of playing. (c)

In several places the performer is left to play unaccom­ panied, a thematic statement of considerable length.

(d)

E to bb*

optional

(e)

Excellent accompaniment part.

lf.2 Atlantic Zephyrs

Gardell Simons

Carl Fischer

1915

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(a)

Moderate

(b)

An old style solo that makes no special use of the slide trombone mechanism*

Major, and Ah Major

It is a novel little tune with a

rhythmic style that young players find interesting. There are optional passages In several places where the technic gets a bit difficult. (c)

The syncopation In 63 time usually presents some diffi­ culty at this grade level.

The

J~D

rhythm pattern Is

common and is usually played Incorrectly. (d)

©b - b h f

(e)

Fair.

Optional g*

Quite interesting pianistically and in harmonic

treatment.

1

La Petite Suzanne

Arthur Pryor

Carl Fischer

1937

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(a)

~¥~

Tempo di Valse D*> Major; Trio in G*> Major; Coda in Major

(b)

A typical tfpark band concert 11 type of waltz tune*'

Ex­

cept for a few different little technical devices this is very similar to many other solos of this type*

The

accompaniment and harmonic structure Is very uninterest­ ing.

There is some merit in its use as a study piece i

because of the technical demands* (c)

A considerable amount of facility is required.

Triple

tongueing, fast scale runs in the cadenzas, and lip slurIng intervals as wide as a twelfth are called for* (d)

A^ - b ^ 1

(e)

Poor*

Optional d^2

A hackneyed old style waltz accompaniment*

ii i“. T) Sonata No* I4.

J.E. Galliard (1687-17U9)

McGinnis and Marx

19^6

5a

(a)

Adagio, in 9 minor, Allegro e staccato G Major, Adagio In e minor* Allemanda a tempo Giusto in e minor Corrente Spiritoso e minor Moderato Tempo di Menuet

(b)

This is one of six Galliard Cello sonatas transcribed for trombone by John Clark. from the contrapuntal era.

This is very good music It is not difficult to In­

terpret and appreciate by the moderately advanced high school student*

These sonatas are very good for devel­

oping quick and accurate slide movement and flexibility In the middle and low registers, (c)

Many of the less common auxiliary positions are required.

ks

It Is not easily memorized because of the many similar patterns* (d)

E - gt

(e)

Excellent* Important*

The piano and trombone parts are equally

k6 Solo de Concours

P.V* do la Nux

Alphonse he due

19U 6

5a

(a)

Andante, d minor; Allegro, g minor

(b)

A fugue style composition in the traditional strict counterpuntal style*

%tis solo is one of the best in

this grade considering its adaptability to the trombone! and its musical quality* (c)

It requires a rich straight sustained tone in the char-

V

acter of a chorale melody.

In the allegro the player

is required to switch quickly from a decisive detached tongueing to a very smooth legato.

(d)

0 -

(e)

Excellent.

Academic style of fugue treatment*

kl Recitative and Prayer

Hector Berlioz

Mercury Music Corp.

Piano acc. by Roger Smith

5A

19l].7 V-

(a)

Adagio non Tanto (Recitative) and Andantino No definite key# J ■ 72

(b)

J - 80

Andante 9 Poco Lento e Sostenuto

P Major

This is the second movement of the Grand Symphony for Band#

Berlioz scored this movement for Trombone solo

accompanied by band#

It is a somber slow moving piece#

The first half is in a relatively low range while the second half lies medium high and is quite sustained. (c)

There is considerable demand upon mature phrasing and sustained upper register.

CJ=71) # '

g-

PPP

(d)

A - a'

(e)

Excellent piano accompaniment.

Concertino

Edgard Leclercq

Buffet-Crampon

192 9

5B

(a)

Moderato

J * 62-66 In c minor; Andante

Major; Allegro (b)

J3

J*

58-60 in

96-100 in C Major

A composition in the Romantic style.

The solo part con­

sists of n\mierous arpeggi and scale runs*

A short canta-

bile style melody in the middle is very nice.

The remain­

der of the number contains many rhythmic sequences and Is only fairly interesting from the musical standpoint. (c)

The soloist must play almost

constantly throughout the

piece for the accompaniment offers very little relief. There are numerous accidentals including double-sharps. Except for a few low register runs the technic is quite comfortable for the soloist. (d)

f# - ab*-

(e)

Good.

Optional c2

U-9

Concert Piece No* 5

B.M. Blazewitch

Belwin

1939

5b

t c m m i

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kfy

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L U i- U

/ W a t * * C o n aff/,*/oi>e

V' X ! ____

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r r T P . -i ,

(a)

Andante con afflizione in d minor and f minor*

(b)

A rapsodic style with much of the interpretation written in.

There are frequent deviations of tempi and several

different time signatures are used.

It contains a con*

siderable amount of chromatic harmony which students usually find interesting.

As a composition it is only

fair but it is an effective program number. (c)

It is very trombonistic. mistakes on the solo part.

(d)

f - bb'

(e)

Good piano accompaniment.

There are several notation

50 Cavatine

Demersseman Op. I4J

Editions Costallat

5B

f

f t f f ir

-—



■r *

(a)

Andantlno, Eb Major; Allegro maestoso, Ab Major

(b)

Harmonically and technically conventional.

A bold style

of playing is called for with march-like character. Practically no legato is necessary.

i

A good student piece.

The technical demands are well suited to the trombone* (c)

It demands a big solid tone on the ab * and bb l .

The abl

occurs quite frequently. (d)

A* - bbl

(e)

Pair.

Uninteresting for the most part.

The piano plays

the melody In octaves with the solo part in places.

At

this level the student should not require this kind of support•

51 Concertino

Ferdinand David Op. I}.

Cundy Bettoney 5c

A

W

M aestoso

J= /

V-

-CUl

E e U z f ?1-----------

Allegro maestoso

(b)

This would be an easy number if it weren*t for the many high tones.

J * 126

E^

(a)

Major

Throughout the piece the trombone plays a

flowing obligato to a hymn-like tune. conventional.

It is musically

The trombone continually plays runs, arpeg-

gi and wide leaps that serve no purpose except to give

the player a workout. (c)

Frequent use of b b f and This type of thing is called for often.

(d)

GG - c2

(e)

Pair piano accompaniment.

52 Ilmari Ronka

Fantasette

’ 19U 3

Fillmore Music House SC

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Maestoso (ad lib) in d minorj Andante in d minor; Lento in d minor; Allegro in D Major

(b)

This solo consists of approximately sixteen bars of musical material in

\

time*

The rest is very similar to

a page or two out of an exercise book*

*£he soloist

either plays an octave or holds the high tone, an arpeg­ gio or sequence pattern*

It is a very simply number ex­

cept for Its range* etc.

( o) (d)

f to

Optional

(e)

Fair piano accompaniment

et c

53 Henri Busser

PIoc© en Ml^ Alphonse Leduo

5c