Brass ClinicMaurice Faulkner, Contributing Editor

Solo Literaturefor the Bass Trombone

Thomas G. Everett

In the last 15 years the growth inawareness and interest in the basstrombone has been significant. Adistinct member of the symphonyorchestra for over 150 years, it hasbeen only recently that the basstrombone sound has been takenadvantage of in stage bands, con-cert bands, chamber music ensem-bles, and as a solo instrument.

The strict use of cello, stringbass, and tuba materials for thebass trombone student or per-former is no longer tolerable, asfine literature for the bass trom-bone does exist (although mostlycontemporary).

The following list consists ofselected works conceived for thebass trombone. It does not includearrangements or transcriptions. Alarge amount of French music pub-lished for bass trombone (Leduc)has been omitted because I believethat the works were originally writ-ten for tuba.

The works appearing in this se-lected list are representative of themost accessible and recommendedliterature for bass trombone. Read-ers interested in additional listingsof works for the instrument shouldsend a request, plus $1.50 to coverduplicating and mailing charges,to Thomas G. Everett, 9 PrescottSt., Cambridge, Massachusetts02138.Adler, Samuel: Canto II — Four Con-cert Etudes for Solo Bass Trombone(1970); Oxford.

Unaccompanied in four short move-ments, this work exploits many facetsof the bass trombone, including itslyrical and declamatory qualities. Basedon a tone row freely used throughout,the piece requires great technical facil-ity and range from pedal G to high BP(also requires flutter-tongue, glissan-dos between F and B? trombone, cupand velvet-tone mute). Written forThomas Everett, this is one of the bestworks in the literature. Grade VI.Thomas Everett is Director of Bands atHarvard University. He received his de-grees from Ithaca College, and hasstudied bass trombone with RogerSmith, Donald Knaub, Allen Ostrander,Emory Remington, and John Coffey.

Andrix, George: Four Pieces for BassTrombone and Strings (1971); Andrix.

An excellent four-movement workusing strings in both accompanyingand solo roles. Piece requires low B ,glissandos, mute, and range from sus-tained pedal G to high B'. Grade V.Bariller, Robert: Hans De Schnokeloch— for bass trombone and piano; Leduc.

A French piece dedicated to Paul Ber-nard. Declamatory style with lyricalsection in 5/8 alternating with 2/4, therange is from trigger O to an optionalhigh A, and requires some technique inmoving triplet section (chromatic andarpeggio). Grade IV.Bartles, Alfred: Elegy — for basstrombone and piano; Sam Fox.

Dedicated to Alan Raph, this 3!/2 to 4minute work is part of the NationalBrass Solo Series. Elegy is in a slow,singing legato style ranging from pedalA up to high A. Requires good breathcontrol. Grade IV.Brown, James E.: Impromptu — forbass trombone and tape (1970); Brown.

Commissioned by Thomas Everett,the piece is for solo bass trombone in-terrupted by three sections of tapedsound. The pre-recorded tape soundsare made from trombone, flute, pianoand electronic sounds. The tape andtrombone toy at counterpoint and attimes fashion something closer in styleto a recitative. The work consists ofchanging meter, feeling of accelerationand ritard (5 against 3 followed by 3against 2 etc.), wide skips, requires astraight mute and a range from pedalG to high G". Tape operator is needed.Grade VI.Carles-Marc: Introduction et Toccatafor bass trombone and piano; Leduc.

French Conservatory piece in differ-ent tempos. Contains a trigger Bt l .Grade IV.Casterede, Jacques: Fantaisie Con-certante for bass trombone and piano;Leduc.

A French contest piece dedicated toPaul Bernard, this is a major work withchanging meter, turns and a rangefrom trigger C to high G. Containstrigger Bt|. Grade V.

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Brass ClinicMaurice Faulkner, Contributing Editor

Coker, Wilson: Concerto for Tenor-Bass Trombone — for tenor-bass trom-bone and symphony band; TheodorePresser.

A difficult piece in connecting sec-tions, the work makes use of changingmeter and a high tessitura (pedal EP tohigh C). Band part is also difficult.Grade V.Cope, David: BTRB — for bass trom-bone performer (1970); Cope.

A theatre piece involving the "dis-covery" of the bass trombone. Includesproducing sounds with different mouth-pieces (clarinet, bassoon reed). Grade V.Cope, David: 3 Movements for SoloTrombone with F attachment; Com-poser's Autograph Pub.

An unaccompanied, 6-minute workin changing meter. The three-move-ment piece (slow, fast, slow) requiresfast mute and plunger changes. Secondmovement makes good use of F triggeron the staff. Shows off instrumentwell and requires careful articulation.Range is from low F to high B? (sometreble clef). Grade IV.

Croley, Randell: Variazioni Piccolo op.44, no. 1 for bass trombone solo; Auto-graph Editions (Colombo).

A difficult unaccompanied work incadenza style, the piece has no regularmeter (no time signature). Range isfrom pedal G? to high C (tenor clef).Grade VI.Dedrick, Chris: Inspirations — for basstrombone, winds and cello (clarinet,two 8^ trumpets, doubling flugel horns,two French horns; Kendor Music.

Written for Thomas Streeter by ChrisDedrick of the " Free Design," this three-movement work rates as one of the un-derstanding chamber works for trom-bone. The piece offers a challenge forall performers and much interestthrough contrast. All instruments haveexposed sections as well as intricatepassages, and the accompanying in-strumental parts are very difficult.Player needs good flexibility, agility,rhythmic independence and control.Range from pedal G" to high A. GradeV.Dunn, Russell: Opus 1 for Bass Trom-bone — for bass trombone and concertband (1971); Dunn.

One of two works known by com-piler for bass trombone and band, thepiece includes varied tempos and ru-batos and wavers between impression-istic (much use of 4ths and 5ths) toalmost a dance style, chord structure,and voicing. No great demands aremade on any of the performers. Manytimes trombone blends in with ensem-ble. Range is from trigger D to optionalhigh G.

Everett, Thomas G.: Vietnam 70 — fOrbass trombone, tenor saxophone andstring bass (1970); Everett.

An aleatoric and improvisationalwork based on the performers' reactionto war. In four sections, it requiressustained glissandos and trills with thetrigger. Range from pedal Bt> to high CGrade V.Fulkerson, James: SDTQ — for one tofour bass trombones or bass trombone,flute, string bass and percussion (1969);Fulkerson.

Instrumentation is flexible. Compu-ter composed, the work is playable byfrom one to four bass trombones. Thecomposition is not technically difficultbut is in an open form (freedom withingiven events). Grade V.Gay, Harry W.: Introduction and Alle-gro Moderate for bass trombone andpiano (1969); Gay.

Commissioned by Thomas Everettand dedicated to Emory Remington,this is a fine work in basically lyricalstyle. A busy piano part is set againstthe repeated singing motif in the basstrombone. Not a difficult piece, therange is from trigger D to high F.Grade IV.George, Thorn Ritter: Concerto for BassTrombone and Orchestra (1964); Ritter.

An outstanding major work for basstrombone and orchestra (or piano).Dedication reads "for Emory Reming-ton and Robert Brawn, the master andhis pupil." Work creates several moodsand requires many short, quick glis-sandos and some very wide difficultskips in and out of the trigger and pedalrange. Composition concludes withfugue stated by the bass trombone.Range from pedal F" to high F!. GradeV.Hartley, Walter: Arioso — for basstrombone and piano (1958); Inter-lochen.

An experiment in sonority designedto be playable on no other wind instru-ment but the trombone, Arioso waswritten for Byron McCullah. It is ashort, very slow work comprising alegato statement in the bass trombonewith some measured long glissandos.Piano part consists of slow movingchord clusters. Range from trigger D tohigh Bi! (tenor clef). Grade V.

Hartley, Walter: Sonata Breve — forbass trombone (1969); Tenuto Press(Presser).

An excellent short unaccompaniedsonata in two fast movements. It re-quires flutter-tongue, good technicalfacility and range from pedal B? t°high F*. Commissioned by ThomasEverett and dedicated to Emory Rem-ington. Grade V.

44 THE INSTRUMENTALIST/DECEMBER 1971

Hartley, Walter: Sonata da Camera forbass trombone and four winds (oboe,B? clarinet, A clarinet and bassoon)(1950).- Ferma Music Pub. (CrescendoMusic Sales).

Scored for oboe, B-"1 clarinet, A clar-inet, bassoon and bass trombone. Thiswork is technically demanding and hasa range from sustained pedal G (andoptional pedal C') to high C*. All theinstruments have major roles in thework. Grade V.Hellermann, William: Format a forbass trombone and four instruments(flute, BP clarinet, piano, percussion!(vibraphone, 5 temple blocks, 3 cym-bals, woodblock) (1967); Hellermann.

A difficult 7-minute work in propor-tional notation, the parts are quite in-volved and all players play from thescore. Has high tessitura, tenor clef,rhythmic complexities, 2 harmonmutes and range from low F to doublehigh E". Grade VI.Henry, Otto: Passacaglia and Fuguefor bass trombone and piano; RobertKing Music.

A 7l/2-minute work dedicated to JohnCoffey, the piece features mostly de-tached playing. The work needs nospecial technical skills but does requirestrict counting and slide movement inthe fast, changing meter fugue. Rangeis from trigger D to high G. Grade V.Kam, Dennis: Rendezvous II for basstrombone and piano; Kam.

The piece uses proportional andaleatoric notation. Interaction be-tweeen players is of prime importance,and both play from the score (muchwork needed between performers). Re-quires mute, flutter tongue, humming,and range from pedal G' to high Bf.Grade V.Lantier, Pierre: Introduction, Romanceet Allegro pour trombone basse etpiano; Lemoine c/o Elkan-Vogei

A neo-romantic type work with intro-duction, slow section, and long fastsection. Range is from optional pedalF to high A, and requires a technicallysure performer. Grade IV.Lassen, Edvard: Zwei Fantasiestuckefor Bass Trombone and Strings 1)Devotion 2) Dance in the evening, ar-rangement by Ostrander of At Devo-tions; Edition Musicus.

Ostrander's edition of the first move-ment is of a slow, legato nature. Rangeis from trigger E^1 to high G^. Grade IV.Lieb, Richard: Concertino Basso forbass trombone and band; Carl Fischer.

A simple repetitious rhythm figurekeeps the bass trombone in the lowregister. No major problems, but play-er should have good command of trig-ger and trigger register and be ableto j u m p down to pedal register. Therange is from sustained pedal G to C

just above the staff. Dedicated to AlanRaph. Grade IV.Lischka, Rainer: Drei Skizzer — forbass trombone and piano; Hofmeister.

Not technically difficult, the range isfrom pedal B^ to F above the staff. Avery straightforward and playablepiece. Grade IV.Margoni, Alain: Apres Une Lecture deColdoni — for bass trombone andpiano; Leduc.

French Conservatory piece in 18thcentury style, with scale-wise runs andarpeggios. Grade IV.

Martelli, Henri: Dialogue, op. 100, for

Bass trombone and piano; EditionsMax Eschig.

A major work in many varied andquick changing tempos and meters,the piece contains several low E ^ 's andgoes up to an F. A technically andstylistically difficult and mature work.Grade V.Martelli, Henri: Sonate pour trombonebasse et piano, op 87 (1956); Philippo(Elkan-VogelCo.)

An easier work than the Dialogue,this similar work was composed as aConservatory of Paris contest piece.Range is from pedal G to high A buthas several low Blj 's . Grade V.

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Brass ClinicMaurice ftalluw. Contributing Editor

McCarty, Frank: Music for Trombone,op. 21 for bass trombone and piano;Everett.

A lyrical, difficult work with fre-quently changing meters and intricatepiano part. In two movements, at timesthe bass trombone plays inside thepiano. Features mute, many glissan-dos, tenor clef, pedal G through trig-ger register to high C. Grade VI.McCarty, Patrick: Sonata for BassTrombone—for bass trombone withstring quartet or string orchestra;Ensemble Publications.

Another fine contribution to theliterature, this work may be performedwith string quartet, string orchestra,or piano. First movement is a legatoAllegretto, second is a singing typeAndante and the third is a Vivace. Ingeneral, legato flexibility into triggerregister, octave jumps, and some fastslide movement in last movement arethe only problems. Range is from op-tional pedal E and pedal register toD above the staff. Grade IV.McCauley, William: Five Miniatures forBass Trombone, Harp and Strings;Canadian Music Centre.

An excellent work dedicated toEmory Remington. The Five Minia-tures each demonstrate a differentmood (Powerful, Peaceful, Prankish,Pensive and Progressive). A difficultwork that moves around and has somechanging meter, it is neverthelessworthwhile and listenable. Range isfrom pedal E^ (and one double pedalB^!) to high A. Grade V.McVey, Larry: Ballade for Trombone;Rifferendum 94; Serenade for BassTrombone; Some Other Time — eachfor solo bass trombone and stage band;Regal Pub.

Written for George Roberts, thesepieces show off the bass trombone ex-h*S (and a trigger B5) to high B-"1.Excellent piece from the romantic era.Grade IV.Ostrander, Allen: Sonata in g minor -bass trombone solo (piano ad lib onrental); Edition Musicus.

An unaccompanied work (with pianopart on rental) in four movements. Al-most in a baroque suite style, this workmakes an excellent study piece. Somechanging meter and technical passagesmake excellent use of F attachment onstaff. Range is from pedal G to high F.Grade IV.

Payne, Frank Lynn: Concert Suite forTrumpet and Bass Trombone (1970);Payne.

A four-movement suite (Rhetoric,Asymmetry, Tribute to D.S., Toccata)commissioned by Thomas Everett anddedicated to Robert Levy. Trumpetpart is in C. Second movement has fre-quent meter changes and tenor clef.Last movement is quite fast and keepsthe trombonist very active in a type ofbasso continuo. Piece requires rangefrom pedal EP to high A?.Petit, Pierre: Wagenia; Leduc.

A Paris Conservatory piece in slowWagnerian style, the work is basicallyin the low register with a low triggerB;. Grade IV.Plane!, Robert: Air et Final — pourtrombone basse et piano; Leduc.

This French Conservatory piece hasseveral meter, tempo, and key changes.Range is from trigger Bi] (single F hastime to pull and push E slide) to highG. Very playable work. Grade IV.Raph, Alan: Caprice — for bass trom-bone solo (1963); Robert King MusicCo.

An unaccompanied work makingmuch use of the bass trombone in theupper register. Composition is basedon triplet and dotted eighth and six-teenth rhythms. Some trigger notes,the range lies between pedal A^ andhigh C (the last measure indicates forperformer to glissando and diminu-endo from high A above the bass clefto a double high A!), and demands astrong upper register. Grade V.

Riddle, Nelson: Five Pieces for BTrombone — with two trumpetFrench horn, tuba; Dick Noel Ent 'prise.

A light work in dance style, the bastrombone functions within the ensemble and as soloist. The movementsrange from a ballad to a jazz waltzNot difficult, but the last movementmoves along and requires slide andtrigger dexterity. The work is also sup-plied with a recording of George Roberts performing the work. The secondside of the record consists of the FivePieces with the bass trombone partdeleted, so that one may play alongGrade V.

Somers, Paul: Two Pieces for BassTrombone and Orchestra (full orches-tra with piano) (1971); Somers.

Written for Thomas Everett, thework begins as kind of a rock pieceand "regresses" to a slow '20's typejazz. The bass trombone is prominentthroughout the fast first movement ina flowing lyrical style (with some calland response sections with orchestra)set off by a detached rhythmic orches-tral accompaniment. Although verydissonant with several note clusters(even undetermined pitches withinunison rhythms), the sparsely scoredorchestra parts are not difficult. Thesecond movement is slow and legato.Written in tenor clef, indeterminednotation, the composition featureshigh glissandos and a range from trig-ger C to high A.

Spillman, Robert: Concerto for BassTrombone and Piano; Edition Musicus.

A good extended work offering manydifferent facets of bass trombone play-ing. Performer needs strong triggerand pedal control, and breath controlfor long phrases. Range is from pedalE to optional F above the staff. GradeV.

Tanner, Paul: Concert Duet for Tenorand Bass Trombone and Band; West-ern Inter. Music.

This piece includes some unisonwork and call and response dialoguebetween the tenor and bass trombone,as well as an extended unaccompaniedcadenza. Tenor trombone travels up toan optional double high F. No majorproblems in bass trombone exceptsome extreme low sustained parts(pedal D^). Range is from pedal D^ toF above the staff. Grade V.Tcherepnin, Nicolai: Une Oraison (APrayer) for bass trombone and piano;Schirmer.

Oneof the earliest 20th century pieceswritten for bass trombone, this is aslow work with just quarter, half andwhole notes. Phrasing and sound areon display. Range is from pedal B"1 toF above the staff. Grade IV.

46 THE INSTRUMENTALIST/DECEMBER 1971

Tomasi, Henri: Eire Ou Ne Pas Entre— pour trombone basse et piano outrois trombones (1963); Leduc.

A subtle take-off on Hamlet's "to beor not to be," this 6-minute work maybe accompanied by piano or three tenortrombones. In general, it is a very slowwork with changing styles and meterin the lower bass trombone range, andcan be a taxing work when playedproperly. Range is from pedal EP (trig-ger B l l ) to D above the staff. Grade V.Vilette, Pierre: Fantaisie Concertantepour trombone basse et orchestra dechambre; Alphonse Leduc.

A 5!/2 minute Andante - Vivace -Andate work with orchestra and per-cussion, this is a major work withtechnical problems and some longphrases. Requires tenor clef, mute,and some trigger BC's . Grade V.Wilder, Alec: Bass Trombone Sonatafor bass trombone and piano; Wilder.

Another of the outstanding worksfor bass trombone, this five movementpiece (written for George Roberts) isas fun to listen to as it is to perform. Ina third stream, pseudo-jazz style, thecomposition calls for meter change,much soft tongue playing, flares anddrops, a trigger Bl and some vigorousplaying. Range is from pedal G to highG. Grade V.

Publishers

Andrix, George, 10715 151 St., Edmonton,Alberta, Canada

Boonin, Joseph Music Pub., 831 Main St.,Hackensack, N.J. 07601

Boosey & Hawkes, Inc., Lawson Blvd.,Oceanside, N.Y. 1 1572

Brown, James E., 100 Main St., Salem, N.Y.12865

Canadian Music Centre, 33 Edward St.,Toronto, 101 Ontario, Canada

CMP Library, University Microf i lms, AnnArbor, Michigan 48100

Colombo, Franco Pub., 16 W. 61st St., NewYork, N.Y. 10023

Composers Autograph Pub., Box 7103,Cleveland, Ohio 44128

Composers Facsimile Edition, 170 W. 74thSt., New York, N.Y. 10023

Cope, David, 3705 Strandhill Rd., ShakerHeights, Ohio 44122

Crescendo Music Sales, 440 W. Barry,Chicago, 111.60657

Dunn, Russell, 179 Station St., New York,N.Y. 10002

Editions Max Eschig, 48 Rue de Rome, Paris,France

Editions Musicales, Transatlantiques, 14Avenue Hoche, Paris (8e) France

Editions Musicus Inc., 333 W. 52nd St., NewYork, N.Y. 10019

Elkan-Vogel, Co., Inc., 1712 Sansom St.,Philadelphia, Pa. 19103

Ensemble Publications, Box 98, Buffalo,N.Y. 14222

Everett, Thomas, 9 Prescott St., Cambridge,Mass. 02138

Fischer, Carl, 62 Cooper Square, New York,N.Y. 10003

Fox, Sam Publishing Co., 1540 Broadway,New York, N.Y. 10036

Fulkerson, James, 213 Quinbee Rd.,Rochester, N.Y. 14609

Gay, Harry, W., 1677 Autumn Ave., Mem-phis, Tenn. 33104

Hellerman, William, 90 Morningside Dr.,4J, New York, N.Y. 10027

Hofmeister, VEB Friedrich, Musikverlag,Leipzig, Germany 7446

Kam, Dennis, 2153 Aupuni St., Honolulu,Hawaii 96817

Kendor Music, Delevan, N.Y. 1 4042King, Robert Music Co., 7 Canton St., North

Easton, Mass. 02356Leduc, Alphonse et cie, 175 Rue St., Honore,

Paris, FranceMolenaar N.V., Wormerveer, HollandNoel Enterprise, Dick, P.O. Box 3166, Holly-

wood, Ca. 90023

Oxford University Press, 200 Madison Ave.,New York, N.Y. 10016

Payne, Frank Lynn, 1316 NW 21st St., Okla-homa City, Okla. 73106

Presser, Theodore Co., Bryn Mawr, Pa. 19010Regal Publications, 7816 North Interstate,

Portland, Oregon 97217Ritter, George Thorn, c/o Army Band, Wash-

ington, D.C. 20310Schirmer, G., Inc., 609 Fifth Ave., New York,

N.Y. 10017Somers, Paul, c/o 44 Fairmont Ave..Chat-

ham, N.J. 07928Swing Lane Pub., Beverley, N.J. 08010University Music Press, Ann Arbor, Michigan

48100Western International Music, 2859 Holt

Ave., Los Angeles, Ca. 90034Wilder, Alec, c/o Hotel Algonquin, 59 W.

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