Horsley Nathan Chad PDF

UNIVERSITY OF CINCINNATI
April 2008
Date:___________________
Nathan Chad Horsley

I, _________________________________________________________,
hereby submit this work as part of the requirements for the degree of:
Doctor of Musical Arts
in:
Trombone Performance
It is entitled:
An Annotated Database of 52 Selected Original Tenor Trombone
Duets Published From 1928-2006
This work and its defense approved by:
Timothy J. Northcut
Chair: _______________________________
Randy C. Gardner
_______________________________
bruce d. mcclung
_______________________________
_______________________________
_______________________________
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
iii
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
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
viii
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
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 instrument
journals such as the International Trombone Association Journal 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 Journal 17 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
current 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 the student, including lesser known compositions that have academic
and musical value.
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
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.
5
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 Music 21
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-bass 22
Trombone One Range: B-flat 1 – b'
Trombone Two Range: G 1 – 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: G 1 – 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. 30 31
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
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-flat 1 – 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-flat 1 – 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
Copyright Date: 1980 34
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 the
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.
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
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
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
38
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-bass 41 )
Trombone One Range: A-flat – d''
Trombone Two Range: A-flat 1 – 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
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
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 print 50
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.
51
36
Title: Sonata
Trombone One Range: G – a-flat'
Trombone Two Range: G 1 – 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-flat 1 – 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
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-flat 1 – 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: A 1 – 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,
57
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.
59
50
Composer: McCulloh, Byron
Title: Slide Show
Publisher: Accura Music, North Greece, New York
Trombone One Range: E – c''
Trombone Two Range: F-sharp 1 – 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
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: F 1 – 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 Pederson 64
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
67
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
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
Copyright Date: 1978 70
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
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 is
published in manuscript score form, providing two copies for the performers, but
awkward page turns are still prevalent.
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
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
74
Carl Fischer; available from http://www.carlfischer.com/Fischer/richterbio.html; Internet:
accessed 12 December 2007.
70
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
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-flat 1 – 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: A 1 – 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
Texas
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
Texas
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: G 1 – 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
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) tenor 81
Trombone One Range: f – d''
Trombone Two Range: B-flat 1 – 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
(trombones with an F-attachment).
82
If the performer elects to use a tenor-bass or bass trombone, the required range would be A 1 –
a'.
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 A 1 . 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-flat 1 – 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: A 1 – 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: F 1 – f ''
Trombone Two Range: F 1 – 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.
96
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
85
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
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

105
Desportes, Yvonne Trombonades 30 petites pièces 25
106
Appendix C: Works Indexed By Difficulty
Medium
Composer Title Page
Desportes, Yvonne Trombonades 30 Petites pièces 25
Medium-Advanced
Composer Title Page
Advanced
Composer Title Page
107
Professional
Composer Title Page
108
Appendix D: Works Indexed By Trombone Type Necessary for Performance
Tenor, Tenor
Composer Title Page
Defaye, Jean-Michel Six Études Pour Deux Trombones 23
Desportes, Yvonne Trombonades 30 Petites pièces 25
Pederson, Tommy Teens ‘N’ Trombones, Five Duets 61
109
Tenor, Tenor-bass
Composer Title Page
Tenor-bass, Tenor
Composer Title Page
Tenor-bass, Tenor-bass
Composer Title Page
110
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-flat 1 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'
111
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''

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'
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'
Raphling, Sam Sonatina E a'
Culver, Eric Ten Duets F-sharp a'
Langer, Ken Duets A a'
112
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'
Nelhybel, Vaclav Interplays F f'
Blumenthal, Fred It Don’t Matter If You Win or Lose F-sharp 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'
113
Appendix F: Works Indexed By Trombone Two Lower and Upper Range

Nightingale, Mark Ten Tempestuous Duets F1 d-flat''
McCulloh, Byron Slide Show F-sharp 1 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-flat 1 f'
Edwards, Richard Seven Deadly Duets A-flat 1 b'
Lesley, Simon The Two Terrible Trombones A-flat 1 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-flat 1 e-flat'
Kahila, Kauko Andante - Allegro B-flat 1 b-flat'
Uber, David Ten Tasty Duos B-flat 1 b-flat'
Stockhausen, Gabriel Five Interludes B-flat 1 c''
Bolter, Norman Occurrence B-flat 1 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'
Pederson, Tommy Teens ‘N’ Trombones, Five Duets E b-flat'
Katz, Marco Turkish Taffy F c'
Hartzell, Doug Blues for Two F d-flat'
Nelhybel, Vaclav Interplays F e'
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'
114
Langer, Ken Duets 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'
Richter, Marga One for Two and Two for Three E g-flat'

Bolter, Norman Occurrence B-flat 1 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-flat 1 c''
Edwards, Richard Seven Deadly Duets A-flat 1 b'
Lesley, Simon The Two Terrible Trombones A-flat 1 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-flat 1 b-flat'
Uber, David Ten Tasty Duos B-flat 1 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-sharp 1 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'
115
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-flat 1 f'
Rice, Thomas N. Duo for Two Trombones F f'
Langer, Ken Duets G f'
Dedrick, Art 19 Progressive Trombone Duets A f'
Tanner, Paul Suite for Two Trombones B-flat 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-flat 1 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,A
Blumenthal, Fred It Don’t Matter If You Win or Lose Bass Bass
Bolter, Norman Occurrence B,T B,T
Bolter, Norman The Archer Tenor Tenor
Culver, 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
117
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,A
Vining, David Daily Routines for Trombone B,T B,T
Whitfield, Ralph Gallop Bass Bass
Wienandt, Elwyn A. Dozen Plus One Bass Bass
118
Appendix H: Works Indexed By Trombone One Clefs
Trombone One with bass and/or tenor clef
Composer Title Page

Ross, Walter Etudes a deux 72
Trombone One with bass, tenor, and alto clef
Composer Title Page

Appendix I: Works Indexed By Trombone Two Clefs
Trombone Two with bass and/or tenor clef
Composer Title Page

Trombone Two with bass, tenor, and alto clef
Composer Title Page

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

Baxley, Wayne Reflections Trombone One
Katz, Marco Sunset Time on Broadway Trombone Two
Harmon Mute

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
120
Appendix K: Works Indexed By Extended Techniques 86
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.
121
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: contact@air-ev.com / 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: info@briarmusic.com
C. F. Peters
70–30 80th Street
Glendale, NY 11385
Telephone: (718) 416-7800 / Fax: (718) 416-7805
E-mail: sales@cfpeters-ny.com
Carl Fischer
65 Bleecker Street
New York, NY 10012
Telephone and Fax: (800) 762-2328
E-mail: cf-info@carlfischer.com / 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/
122
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: edmus@sbcglobal.net
Editions Robert Martin

c/o Carl Fischer
65 Bleecker Street
New York, NY 10012
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
123
J. Christopher Music Company
c/o Carl Fischer
65 Bleecker Street
New York, NY 10012
Kagarice Brass Publications

P.O. Box 305302
Denton, TX 76203
Fax: (940) 891-3435
E-mail: kagarice@jove.acs.unt.edu
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: info@ludwigmusic.com / 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: enspub@aol.com
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: enspub@aol.com
124
Rainbow Brass Music
130 Nottingham Rd.
Rainbow City, AL 35906
www.rainbowbrassmusic.com/
Seesaw Music Corporation

140 Main Street
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
125
TrumCor, Inc.
8176 San Benito Way
Dallas, TX 75218
E-Mail: trumcor@sbcglobal.net
Virgo Music Publishers

140 Main Street
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: wimbo@wiminc.com
126
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UNIVERSITY OF CINCINNATI

Nathan Chad Horsley

This work and its defense approved by:

A document submitted to the

Division of Graduate Studies and Research

in partial fulfillment of the

DOCTOR OF MUSICAL ARTS

in the Division of Performance Studies

Nathan Chad Horsley

Committee Chair: Timothy Northcut, M.M.

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,

summarizing the overall composition.

lesser–known compositions that have academic and musical value.

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

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

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,

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

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

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

2 Methods of Data Collection …………………………………..……….… 5

3 Database Field Explanation ...………………….…………………….…... 6

4 Database Entries: Duets …………………………………………………. 8

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

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

L Publisher Contact Information ………………………….........…...…... 122

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

Bolter, Norman. Occurrence, Air-Ev Productions, Chestnut Hill, Massachusetts. “Used

B. Database arranged in order from easiest to most difficult ...…................................. 100

Motive for Research

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

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

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

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

as the most recommended. 5

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

provide new chamber music for public performances. 7

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

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

trombone literature currently exists.

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

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

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

and musical value.

Methods of Data Collection

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

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

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

for other instruments later.

Database Field Explanation

Selected Published Works for Trombone Requiring Multiphonics” by Michael

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