|Albam|| Geological Survey
20th Century. Jazz. Composed for Emory Remington and the Eastman Trombone Choir in the 1960's, this work uses stylistic elements from the rock and jazz idioms, elements that were not typically found in the traditional "legit" music of the time. Remington embraced the work in accordance with his belief that his students should be capable of meeting every type of performance demand. This work was recorded by the Eastman Trombone Choir on their landmark 1971 LP, The Eastman Trombone Choir, and later re-released on the 1996 CD The Legacy of Emory Remington and the Eastman Trombone Choir. The performance is directed by Rayburn Wright, then director of Jazz Studies at the Eastman School.
As the title suggests, this work is an exploration of some of the sounds that were emerging in rock music. Having more of a Funk character, no one will ever confuse this work with anything from Buddy Holly or The Beatles. The funk and fusion sounds of Chicago or Earth, Wind & Fire might make a better comparison. The elements are similar, including (especially) rhythms, open "power chord" harmonies and an agressive tempo.
Geological Survey is set for twelve trombones in three separate TTTB choirs. Straight mutes are required.
|Bach|| Passacaglia in Cm, BWV 582 (Hunsberger)
Opening Passacaglia portion of the famous Passacaglia & Fugue in C minor, BWV 582 originally for organ. For eight trombones in one choir. Upper parts alternate between bass and tenor clefs. Requires strong ensemble skills. One of the most popular trombone octets ever published. Recorded by the Eastman Trombone Choir on their 1971 LP and re-released as The Legacy of Emory Remington on CD.
|Barber|| Adagio, op 11 (DePaolo)
20th Century/Tonal. This arrangement of the Adagio for Strings takes advantage of the singing quality of the trombone, as well as its range and tessitura characteristics. Arranged for alto (or tenor), 5 tenors and 2 basses. Tenor parts all have some tenor clef along with bass clef.
|Barsom|| Children of Jericho [12 trombones & bass drum]
A monumental work for eight tenors, three basses, one alto trombone and bass drum. For trombone duodectet or 12 part ensemble. Premiered by the Eastman Trombone Choir at the 1995 Eastern Trombone Workshop, and a winner of the Ostrander Composition Prize. Involves standard and aleatoric writing, along with conventional and extended performance techniques.
|Blank||Diptych (with Refrain)||NMC072||$15.00|
|Chase|| Oneita [10 trombones]
20th Century (1973). Winner of the first International Trombone Association Composition prize.
|Chase|| Passacaglia [10 trombones]
20th Century/Tonal. A modern interpretation of a 17th and 18th century form that features variations over a ground bass.
|Faure||Libera Me (Aharoni)||NM01888||$12.50|
|Faure|| Pavane, op 50 (Bollinger)
Faure's popular Pavane here transcribed for six tenors and two basses (or alto, five tenors & two basses). All tenor parts are in tenor clef. Requires a strong first player as the range reaches high F#.
|Hankey|| Heroic Tale [008.00 or 007.01]
20th Century. An original work in one movement, depicting our hero's trials and tribulations. Requires a strong bass trombone on the 8th part (optionally for tuba). Clefs are TTTTBBBB.
|Hartley|| Canzona (1969)
20th Century/Tonal. One of the earliest modern works specifically written for the trombone choir. The Canzona evokes images of Gabrieli while using a modern, but very tonal harmonic structure. Powerful and succinct, this work makes a good opener. All parts are in the bass clef. Recorded by the Eastman Trombone Choir on their CD Legacy of Emory Remington. All parts in the bass clef.
|Hartley|| Celebration 2001 [12 trombones]
21st Century/Tonal. Written in honor of longtime Pittsburgh Symphony Orchestra bass trombonist Byron "B.B." McCullough and performed at his memorial service in 2001. The work is a jubilant full choir fanfare somewhat similar in nature to the composer's now classic 1969 composition, Canzona for Trombone Octet (ENS050). For eight tenors (clefs ATTTBBBB) and four basses. Duration: approx 2 minutes.
|Mahler|| Langsam, from Symphony No 3 (DePaolo)
Romantic. Excerpted from the third symphony, this transcription is of the opening section of the sixth movement, subtitled "What Love Tells Me." This gorgeous chorale builds to a powerful climax and then dissipates to a pianissimo e niente. For six tenors and two basses (or eight part choir). Clefs are TTBBBBBB.
|Massaino|| Canzon a8 (1608) (Silliman)
Renaissance. One of the earliest pieces written specifically for the trombone choir. Written in the choral style prevalent at the time, the eight independant voices come together only for passing cadences and the end cadence. From the collection "Canzoni per Sonare con ogni sorti di stromenti" published in Venice, 1608. All parts in bass clef.
|Mendelssohn|| Holy Is God the Lord (Ostrander) [12 trombones]
Romantic. Transcription of an oratorio from Elijah. In this setting, Mr. Ostrander has divided the trombone choir into separate "orchestra" and "soloist" groupings. Although performable as an octet, this definitely works better with all 12 parts played.
|Tchesnokov|| Salvation is Created (DePaolo)
This arrangement takes advantage of the quasi-antiphonal nature of this well known Russian Orthodox Church choral masterpiece. For alto, 5 tenors and 2 basses (or 6 tenors and 2 basses) set in two 4-part choirs. The text translates to roughly, "Salvation is created in the midst of the Earth. O Lord, our God. Alleliua." Clefs are ATBB-TBBB or TTBB-TBBB.
|Winter|| Festfanfare (DePaolo) [12 trombones & tympani]
Written in 1960 for the opening of the World Eucharist Congress held in Munich, Germany, this fanfare was originally set for seven part mixed brass choir. It has been transcribed and arranged here for 12 trombones in two 6-part antiphonal choirs with optional tympani. Festfanfare is cast in one continuous movement, with alternating fanfare and chorale sections. Set in E flat, the entire piece is powerful and rousing, the coda section especially so with its Strauss-like layered rhythms and blazing finale. Due to its strong compositional integrity, it can readily be used as an opener or a closer, as well as anywhere within a program, Although tympani is called for in the score, it is not absolutely necessary, and if desired can be covered by performing cues within the trombone choir.
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