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ORIGINAL MUSIC FOR BASS TROMBONE

AND PIANO FROM 1985 TO 2018: AN
ANNOTATED BIBLIOGRAPHY
Brian Lew
University of Nebraska - Lincoln, [email protected]
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ORIGINAL MUSIC FOR BASS TROMBONE AND PIANO FROM 1985 TO 2018:
AN ANNOTATED BIBLIOGRAPHY
by
Brian Andrew Lew
A DOCTORAL DOCUMENT
Presented to the Faculty of
The Graduate College at the University of Nebraska
In Partial Fulfillment for the Requirements
For the Degree of Doctor of Musical Arts
Major: Music
Under the Supervision of Professor Scott L. Anderson.
Lincoln, Nebraska
April, 2019
ii
ORIGINAL MUSIC FOR BASS TROMBONE AND PIANO FROM 1985 TO 2018:
AN ANNOTATED BIBLIOGRAPHY
Brian Andrew Lew, D.M.A
University of Nebraska, 2019
Advisor: Scott Anderson
The purpose of this document was to compile and annotate original music
for the bass trombone and piano from 1985 to 2018. Original works is defined as
compositions whose original intentions were for the idiom of solo bass trombone
and piano. Works included are exclusive of transcriptions and arrangements.
This document annotates more than 125 compositions. Each annotation
includes information about the composer (birth year and death year, if
applicable), length of the piece, publisher, level of difficulty, a preview of the
music, and the written annotation. Observations from the examined compositions
are found in the closing chapter. Observations range from the largest output of
works by a single composer (Tom Dossett), the influence of Latin music, and the
number of works for each level of difficulty.

iii
Acknowledgments
My deepest thanks go to my teacher, mentor, and advisor Dr. Scott Anderson, for
his commitment to my doctoral career at the University of Nebraska. In such a
short amount of time, you have elevated my performance and teaching abilities
to a level that I never dreamed possible. Thank you for seeing the potential in me
when I was not able to see it in myself.
Thank you to my advisory committee, Professor Craig Fuller, Dr. Gregory Simon,
and Dr. Wendy Katz for providing guidance and feedback throughout my three
years in Nebraska.
To the members of Eastridge Presbyterian Church, thank you for providing me a
place of spiritual wellness and family. As a New Englander, you have embraced
me as your own and provided me with so much more than I could have ever
envisioned. Warm hugs, smiles, invitations to suppers, and much more have
been most comforting.
With so many compositions involved in this bibliography, thank you Kalvin
Schreiner and Vincent LaMonica for assisting me with procuring musical scores.
Jimmy Lowe, your editorial assistance has made me a stronger writer and have
influenced the ways in which I write and think about music.

iv
Finally, and certainly not least, thank you to my closest family and friends who
have seen me through my musical and educational life to date. Your support in
my musical endeavors has never ceased from the beginning. I am indebted to
you for all the opportunities you have given me in pursuing a musical education
that has spanned 10 years, four universities, and two continents.

v
Table of Contents
Acknowledgments……..…….……..……….…..……..……………………………….iii
List of Figures……..…….……..……..……..……..……..…..…..…….....………...…vi
List of Tables……..…….……..……..……..……..……..………………….…………vii
List of Appendices……..…….……..……..……..……..……..………………………viii
Chapter 1: Introduction ……..…….……..……..……..……..……..…………..……..1
Chapter 2: Research Methods ……..…….……..……..……....……..……..………..5
Chapter 3: Literature Evaluation……..…….……..……..……..……..……..………..8
Chapter 4: Annotations……..…….……..……..……..……..……..…………………12
Chapter 5: Observations from the Study……..…….……..……..…....……..……209
Bibliography……..…….……..……..……..……..……..…………………………....216
Appendices
A: List of Composers by Last Name…………………………………….….218
B: List of Works by Grade Level…………………………………………....223
C: List of Women Composers………………………………………………229
vi
List of Figures
Figure 3.1 : Scientific Pitch Notation

vii
List of Tables
Table 1.1: Brief Overview of Previous Trombone Annotated Bibliographies
Table 3.1: Grading Scale of Levels 1 and 2
Table 3.2: Grading Scale of Levels 3 through 5
Table 5.1: Level of Difficulty and Micro-Output of Works
Table 5.2: Level of Difficulty and Macro-Output of Works

viii
List of Appendices
A: List of Composers by Last Name
B: List of Works by Grade Level
C: List of Women Composers

1
Chapter 1
Introduction
An annotated bibliography serves as a useful resource for educators and
performers to pursue greater insight into a piece of music. Online previews and
sample pages on a publisher’s or composer’s website often provide nominal
information about a given work. A citation in an annotated bibliography gives
teachers, students, and performers a plethora of information that they may be
unable to obtain elsewhere.
Several annotated bibliographies have been written for the tenor and bass
trombone since the 1970s. Table 1.1 lists a number of significant English-
language bibliographies which have served as landmark literary pieces in their
own right since the mid-1980s. There are very few ways in which performers are
able to find new repertoire unless they keep up to date on every publisher’s most
recent mailing list. By compiling this body of literature into one cohesive
document, this document seeks to serve as a valuable tool in assisting with solo
bass trombone and piano repertoire.
Tom Everett, former Professor of Music at Harvard University, created the
first bass trombone annotated bibliography in 19731, which was later updated in
19782 and19853. The three editions of Everett’s bibliography endeavored to
include all works that were written for the trombone to date, including tenor, alto,
1
Everett, Thomas G. Annotated Guide to Bass Trombone Literature. Nashville: Brass Press,
1973.
2
1978.
3
1985.
2
and bass trombone compositions. At the time, it served as the singular document
where performers and teachers could find solo and chamber literature. In the
1985 edition of his book, Everett stated “The hope was to call attention to the
possibilities of the bass trombone as a solo instrument, and to further the
diversity and the quality of the music written for the instrument.”
Since then, a substantial number of solo bass trombone pieces have been
written and transcribed for the instrument. The volume of these pieces makes it
impossible to catalogue them in one cohesive anthology. Scholars have since
endeavored to continue to compile works written for the trombone in several
other publications and educational theses.
Table 1.1: Brief Overview of Previous Trombone Annotated Bibliographies

Year Title Author
1973 Annotated Guide to Bass Trombone Literature Thomas G. Everett
1978 Annotated Guide to Bass Trombone Literature, Thomas G. Everett

Second Edition
1985 Annotated Guide to Bass Trombone Literature, Thomas G. Everett
Third Edition
1994 French Music for Low Brass Instruments: J. Mark Thompson and
An Annotated Bibliography Jeffrey Lemke
2009 Solo Literature for Trombone and Organ: An Patrick David
Annotated Bibliography Lawrence
2015 Canadian Solo Trombone Recital Repertoire: Dale Sorensen
An Annotated Bibliography
2015 An Annotated Bibliography Of Works For Solo Erik Shinn
Bass Trombone And Wind Band
2018 Solo Literature for Trombone and Harp-An Louis Setzer
Annotated Bibliography
Dr. Dale Sorensen currently serves as Visiting Professor at Mount Allison
University in New Brunswick, Canada and is a frequent performer with

3
Symphony Nova Scotia. Most recently, Dr. Sorensen’s 2015 dissertation4 on solo
trombone repertoire by Canadian composers stands as the largest annotated
bibliography for the instrument after Everett’s third edition. More than 200
annotations for both tenor and bass trombone are included in this bibliography.
Only a few works from his bibliography overlap with the works compiled in this
bibliography.
J. Mark Thompson and Jeffrey Lemke’s 1994 book5 French Music for Low
Brass Instruments, which is an extension of Lemke’s 1979 annotated
bibliography, was a welcomed addition to the trombone community’s knowledge
about its repertoire. Thompson and Lemke provided a great deal of insight to the
literature derivative of the Paris Conservatory before and during the 1980s, most
of which was written for tenor or bass trombone and piano.
Dr. Erik Shinn’s treatise6, An Annotated Bibliography of Works for Solo
Bass Trombone and Wind Band, examines a compilation of 40 works, many of
which are available with a reduction for bass trombone and piano but are not
included in this bibliography due to the delimitations that shall be described in
Chapter 2. Lastly, two other notable annotated bibliographies have been written
about bass trombone music in the past decade. Dr. Patrick Lawrence7 has
4
Sorensen, Dale. Canadian Solo Trombone Recital Repertoire: An Annotated Bibliography.
Toronto: University of Toronto, 2015. <https://central.bac-lac.gc.ca/.item?id=TC-OTU-
71328&op=pdf&app=Library>.
5
Thompson, J. Mark, and Jeffrey Jon Lemke. French Music for Low Brass Instruments: An
Annotated Bibliography. Bloomington: Indiana University Press, 1994.
6
Shinn, Erik Thomas. “An Annotated Bibliography Of Works For Solo Bass Trombone And Wind
Band” (2015). http://purl.flvc.org/fsu/fd/FSU_migr_etd-9453.
7
Lawrence, Patrick David. Solo Literature for Trombone and Organ: An Annotated Bibliography.
2009.
4
annotated over 150 pieces for trombone and organ. Solo Literature for Trombone
and Harp: An Annotated Bibliography8 by Dr. Louis Setzer is a compilation of all
known works for trombone and harp.
It is evident that there has been a rise in annotated bibliographies for the
trombone in the past decade. These resources have been well-received in
academic circles and are proving that there is both a need and demand for the
organization of this kind of music in a digestible fashion. This bibliography seeks
to be the first to dedicate itself solely to the literature written originally for bass
trombone and piano. With the creation of this document, the author hopes that
students, educators, and performers are made more aware of new literature and
that it inspires performances, study, and future research.
8
Setzer, Louis. Solo Literature for Trombone and Harp-An Annotated Bibliography. Vancouver,
Canada: Cherry Classics Music, 2018.
5
Chapter 2
Research Methods
This chapter discusses the methods in which the author collected and
researched this body of literature. In an effort to keep this document concise for
its intended purpose, the following parameters and limitations had to be
instituted:
1. Compositions must have been originally written for solo bass

trombone and piano. Transcriptions from other instruments and
piano reductions are excluded. Works that are published for “bass
trombone or tuba” whose original intended instrumentation cannot
be determined are included-these works are few. Tenor-bass
trombone pieces are included-again, these works are few.
2. Music must be published between 1985 and 2018. Manuscripts

dated prior to 1985 but not published until 1985 or later are
included.
One of the most difficult undertakings in creating this bibliography is
ensuring that all pieces of music were properly documented. The internet has
been a most valued research tool; however, directly emailing and conversing with
composers directly has been equally satisfying in procuring musical scores.
WorldCat®, an international library database, served as the most useful
tool in finding the majority of scores included in this bibliography. Since all
musical scores are categorized by a “subject heading” according to the Library of
Congress, WorldCat® will allow you to search all records within each subject
heading and to narrow the results within a range of years. The two subject
headings used for these searches were “Bass trombone and piano music” and
“Bass trombone and piano music, arranged”. Both of these heading searches
showed results that were improperly categorized and needed to be sorted

6
through in order to ensure that music was truly originally written for the bass
trombone and piano and not written for a different performing medium. Some
works that were piano reductions were found in the “bass trombone and piano
music” subject search. Works that were not arrangements were found in the
“bass trombone and piano music, arranged” subject search.
As useful as WorldCat® was in finding musical scores, the research
database creates a serious limitation that should not be overlooked. Despite
having an extensive amount of music, the records in WorldCat® are limited to the
contents of their participating libraries. That is, WorldCat® is not comprehensive
to all items that are circulated worldwide is restricted to a select number of
libraries in the world. For some musical scores, no lending libraries in WorldCat®
owned a copy, but this does not mean that no library in the world owns a copy.
Publisher’s catalogues, both print and online, were exceptionally useful in
identifying repertoire that did not appear at this time in WorldCat®’s circulation.
With the addition of new music being published in recent years, libraries are slow
to acquire new scores due to any number of reasons such as but not limited to:
lack of funds, not knowing it exists, and lack of interest in the piece. The
International Trombone Association (ITA) has recently archived their past
journals dating back well before the scope of this research. Each quarterly
journal has a section dedicated to recent publications and premieres of works.
Examining these journals has been most helpful in finding works by lesser-known
European publishing companies.

7
By communicating with composers directly via email during this research
process additional pieces of music were brought to the author’s attention that
were not found elsewhere. Composers shared information about works that were
not found elsewhere due to being unpublished, self-published, or out of print. It
should be noted that unpublished works are not included in this bibliography due
to the limitations previously stated requiring works to be published. All attempts
were made to find as many self-published works as possible.

8
Chapter 3
Literature Evaluation
In an effort to create a holistic and comprehensive annotated bibliography,
previous publications were evaluated to determine how to craft and influence the
author’s edition. Upon looking at several other author’s works, it became evident
that there is no uniform way to format an annotation as each author has their own
unique, personal formatting preferences. Some authors such as Shinn and
Setzer chose to simply list the preliminary information preceding their
commentary. Alternatively, Everett chose to write his annotations, essentially, in
complete sentence paragraph form. Somewhere in the middle of these two
formats, Sorensen created a more database-like system of portraying his
information, which flows well for the reader.
All authors were in agreement that information such as title, composer,
date of composition, and publisher were necessary in order to give a complete
annotation. Some authors included additional information such as composer’s
contact information (mailing address, telephone number, or email address),
composer’s gender, composer’s location of birth, publisher’s contact information,
publication catalogue number, duration of music, and range. In this bibliography,
the author wishes to create an annotation that is accessible for the reader which
gives as much of a biographical sketch of each piece as possible. The following
data has been deemed pertinent by the author for each annotation:
§ Composer’s name: listed by the last name then the first name in order to
create an alphabetical bibliography.
9
§ Composer’s birth and death dates: since most composers are still living,
birth years are hard to find for living composers and this will assist
performers in creating program notes, recital programs, etc.
§ Title: printed name of the work. In the event of concertos and sonatas, the
title has been shortened to “Sonata for Bass Trombone”.
§ Dedication or Commission Information: name of the artist(s) who the work

was dedicated to or commissioned by.
§ Duration: the length of the piece is represented using prime and double
prime symbol notation, for example, 4’30’’.
§ Publisher and publication date: the name of the publisher and the date of
publication is listed here. Complete publisher contact information is found
in an index of publishers in the back of this document.
§ Level of Difficulty: a grading scale of 1 to 5 has been created in order to

provide insight into the difficulties of each piece of music. In the event that
a piece of music falls between levels of difficulty, they are notated by a
“point five” marking, for example, Level 3.5. Many times, but not always,
the use of a point five level is needed due to an extended range that is
slightly larger than the previous level is defined by. In other cases, the
rhythms may be slightly more complex. After examining several other
annotated bibliographies, it is apparent that there is no standard grading
scale among authors when assessing music. Even publishers have
varying assessment methods. After careful consideration the author has
created a grading scale, as illustrated in Tables 3.1 and 3.2, that looks to
provide a broad overview of the general criteria for each level without
being overly analytical and creating a grading scale which is twice as large
and leads to confusion.
10
Table 3.1: Grading Scale of Levels 1 and 2

Level 1 Level 2
Range -F2 to F4 - D2 to B♭4
Meter -4/4, 3/4, 2/4, 6/8 -all simple meters
-moderate meter changes -9/8, 12/18, 3/8, 5/8, 7/8
Key -up to 4 flats or sharps -up to 5 flats or sharps
-minimal accidentals -more frequent accidentals
Clefs -bass -bass

-brief tenor clef
Rhythm -whole, half, quarter, eighth -extended triplets and sixteenths
-dotted notes -more difficult syncopation
-moderate syncopations
-triplets and sixteenths
Articulation -legato and staccato -larger slurs (no more than an
-small natural slurs octave)
-all accents
-limited multiple tonguing
passages
Extended -glissandi -mute changes
Techniques -percussive sounds -slide vibrato
-minimal mute changes -flutter tonguing
-growling
11
Table 3.2: Grading Scale of Levels 3 through 5

Level 3 Level 4 Level 5
Range -A♭1 to C5 -F1 to D5 -A0 to F5
Meter -all meters -advanced and -all meter changes
-frequent changes frequent changes -advanced meter
-intricate relationships
relationships
between meters
Key -all keys -frequent key -all keys
-moderate changes -extensive
accidentals -extensive accidentals
-double accidentals
sharps/flats
Clefs -bass clef -all clefs -all clefs
-tenor clef
-alto clef
-C treble clef
Rhythm -complicated -advanced rhythms -complex rhythms
rhythms and -complex rhythmic and relationships
syncopations relationships
Articulation -slurs over an -all slurs -all slurs

octave -consecutive multiple -extended duration
-all accents tonguing passages of multiple tonguing
-brief double/triple
tonguing
passages
Extended -multiphonics -lip trills -all previous
Techniques -lip trills -multiphonics extended
-mute changes -quarter tones techniques
-rips
-falls
12
Aharoni, Abraham (b. 1975)
Gavotte
Duration: 3'30''
Publisher: Warwick Music Limited 2002
Level of Difficulty: 4
Range: A1 - F♯4
Extended Techniques: none
This unique and challenging work is sure to give the soloist a workout in
flexibility. Subtitled "à la Prokofiev", the title alludes harmonies to that of
Prokofiev while maintaining the Baroque dance style. Large lip slurs are the most
challenging aspect of this work. Performers should try to make the leaps between
octaves not sound abrupt and simply a natural part of the phrase. Despite the
challenging technique, the harmonic implications are explicit and should provide
guidance for the performer. The solo part has limited rests and the performer
should pace themselves accordingly in order not to be winded and short of
breath.
13
ALLEN, Don
Sonata for Bass Trombone

Duration: 13'
Publisher: Trombone Association Publishing of Western Massachusetts 1985
Range: D♭1 - A4
Extended Techniques: straight mute, glissando
Allen's Sonata is one of the earliest works in this collection and demonstrates the
compositional harmonies and techniques from the 1970s that carried well into the
1980s. The bass trombone is given an active and virtuosic part that descends
into the lowest register of the instrument as well as more advanced passages in
the upper register. The only known edition of this work exists in a handwritten
format which makes reading the part much more difficult as most performers are
used to reading off computer-generated parts. Lyrical passages exist in both the
14
upper and lower registers of the instrument. The ability to traverse multiple
octaves with ease will be most beneficial as some phrases ascend and descend
over a large distance. The accompaniment is at times complimentary to the
melody and other times provides contrast which produces varying musical
textures.
15
Andraschek, Siegmund (b. 1975)
Tango
Duration: 4'
Publisher: Advance Music 2012
Range: G1 - C5
Austrian trombonist and composer Siegmund Andrascheck has written a short
work in the style of tango, as the name suggests, for the intermediate soloist. The
range is quite modest, mostly playing between G2 and G4. A singular G1 is
notated to be played optionally 8va and a singular C5 is to be played optionally
8vb. Standard compound divisions and subdivisions are found throughout and a
16th note extended passage is found twice in the work. Articulation and phrasing
should be the most challenging aspect of this work, ensuring to find the correct
groove in a tango, which may be unfamiliar to a younger player. The piano
provides a steady tempo which will assist a player in aligning syncopated and
rhythmic gestures. This piece of music is also a great teaching tool to introduce
younger students to Latin style music.

16
Auger, Evelin (b. 1956)
Rafales
Duration: 6'
Publisher: Editions Robert Martin 2012
Level of Difficulty: 3.5
Range: A1 - A4
Rafales, meaning "gust" or "burst of wind" in French, evokes an image of winds
during a storm. The piece is moderately difficult, ideal for a young undergraduate,
with a 3 octave range but only extending to the lower and upper range briefly.
The soloist should be sure to bring out all nuances, especially the crescendo-
decrescendo gestures, in order to give a convincing performance. The most
difficult passage, found in the musical example, will be executing grace notes
within a triplet. The piano part occasionally contains arpeggios which help to
evoke the feeling of wind and creates forward motion.

17
Bass, Eddie Covington (b. 1937)
Forests of the Night
“Dedicated to Jonathan Warburton”

Duration: 7'30'
Publisher: Warwick Music 2011
Range: A1 - G4
Forests of the Night includes a variety of musical styles and expressions for the
soloist to communicate. The opening piano music expresses a feeling of
exoticism from a distant land with elements of whole tone scales heard in the
accompaniment. The foreign flair and colors created in the piano part lend itself
to many different timbres that could be used by the trombonist. The faster 6/8
sections demonstrate the power of the bass trombone in the core of its register in
the bass clef with a giocoso feeling of playful lightness. The small range required
in this piece allows it to serve as an intermediate work where students can

18
practice music requiring advanced slide work in both legato and staccato styles
and more frequent usage of the valves. A brief middle section alternates
compound and simple meters but a consistent eighth note pulse is present which
assists the alternation of meters.

19
Ben-Amots, Ofer (b. 1955)
Prophetic Tropes
Duration: 12'30''
Publisher: Kallisti Music Press 1999
Range: B♭1 - D5
Extended Techniques: cup mute, triple tonguing, double tonguing,

bell into piano, rip
Inspired by Jewish prophetic liturgy, this piece of music shows the extreme
emotional and dynamic ranges of the instrument. Designed for the
advanced/professional performer, this work will require the soloist to expand their
musical comfort zone in order to give a convincing performance. The solo part
requires light and crisp multiple tonguing in all registers of the horn ranging from
pianissimo to fortissimo which may be the hardest part of performing this music.
The melodies are written in a fragmented, rhythmic, chant-like style which will
challenge the soloist to give a vocal quality to the melody. The music reaches its
climax by extended multiple tonguing and roaring rips into the upper register, as
20
if to depict the fire and fury that is sometimes associated with an angry God. The
piano part has an extensive amount of extended techniques such as silently
pressed keys, plucked strings, muted strings, and so on. An entire page in the
piano score further describes how each effect should be performed and
executed. Extra rehearsals with the accompanist may be required in order to
align both the solo and piano part.

21
Benton, Robin (b. 1941)
Dance Movements
Duration: 3'30''
Publisher: Gold Branch Music 2005
Range: F1 - G4
Extended Techniques: rip, straight mute
Written in two movements, a slow waltz and a gigue, this work would be a useful
work to include in lieu of an "étude" in an academic setting. The piece itself is
short in duration and does not contain difficult music that a university student
could not learn in a short period of time. A single F1 is written at the very end of
the piece and could easily be performed up an octave to create an easier part.
The tessitura of this piece lies above a B 1 and is perfectly suited for the range
that a first-year university student should be versatile in. Phrases below and in
the staff make use of primarily the F valve but also both valves engaged
together. Educators will find this work beneficial for students who may need
simple music to apply slide technique and articulation.

22
BEVAN, Clifford
Sonatina for Bass Trombone
Duration: 9'
Publisher: Piccolo Press 2011
This work was unavailable for examination. It is uncertain as to whether or not
this piece is still in publication. Dr. Clifford Bevan is a low brass performer,
educator, and scholar. His most recent publication, The Tuba Family, discusses
at length the history of the tuba. Without being able to examine Sonatina, it is
assumed that the music is written relatively idiomatically for the instrument since
the composer is a low brass performer.

23
Biedenbender, David (b. 1984)
Liquid Architecture
“Dedicated to Randy Hawes and Kathryn Goodson”

Duration: 12'
Publisher: Bent Space Music 2012
Range: E 1 - A4
Extended Techniques: straight mute, glissando
Liquid Architecture was inspired by the architectural creations of Frank Gehry
who is best known for his designs such as the Guggenheim Museum and Walt
24
Disney Concert Hall. Two movements, sharp and smooth, represent both
characteristic qualities in Gehry's designs9. The first movement is based upon
quick pianissimo to forte crescendos in the solo line accompanied by a sharp,
accented, brash, and syncopated piano part. Strong dynamic control throughout
the entire range of the instrument is a necessity in order to execute the musical
gestures in this piece. A lento second movement seems to suspend time as it
portrays what smooth and liquid architecture may be like. An exceptionally strong
sense of rhythm is needed in order to create the back and forth syncopations that
are created between soloist and pianist. The performer may consider performing
off the score on an electronic reader instead of the solo part in order to help stay
more together with the piano part.
9
Biedenbender, David. Liquid Architecture. Bent Space Music, 2012.
25
Blumenfeld, Aaron (b. 1932)
Duration: 10'
Publisher: Tap Music Sales 1986
Range: A 1 - C5
This manuscript-style score is neatly written; however, it has omitted
measure numbers, rehearsal marks, most dynamics, and the tempo of the last
movement. It is unclear whether these omissions are intentional or not, but they
26
leave unique, ambiguous phrases open to interpretation to the soloist.
Rehearsals with an accompanist are sure to be difficult due to the lack of
landmark rehearsal markings in the music. Performers who are thinking about
performing this work should greatly consider creating their own digitized solo and
score in order to ease reading the original part.
Written in three movements, rhythms across the entire piece are quite
simple and do not pose much difficulty. Extended accidentals are used
throughout, despite key signatures, and may create additional difficulties when
determining implied harmonies. Range should not be out of reach for a level 4
performer and does require a strong upper register, especially in the third
movement when several phrases remain above the staff. Tenor clef is used
inconsistently throughout the work but not always at times when a performer
would desire it the most, such as in the first movement. The piano part is quite
complimentary to the music and rhythmically simple, save for a few technical
phrases.
27
Bolter, Norman (b. 1955)
Sagittarius2
“Commissioned by the Zellmer-Minnesota Orchestra Trombone Competition”

Duration: 9'30''
Publisher: Air-ev Productions 2002
Range: E♭1 - C5
Composed for an advanced university student or young professional,
Saggitarius2 is full of character changes that allow the bass trombone to shine.
Embracing each section’s mood and character changes will make this music
speak and come to life. Crisp articulation and ease in flexibility are key to
performing the most challenging phrases in this piece of music. Bolter uses a
wide range of the instrument and utilizes the characteristic timbres of each range
to help color his music. A strong undergraduate player would be able to perform
this work at their graduating recital.
The outer limits of the range are used sparingly and are reached
accessibly, usually by step or within harmonic context. Rhythms are frequently

28
complex and sometimes syncopated. Frequent scale patterns require the use of
the F valve in the staff. Complex use of the valves below the staff is limited. Most
intervals are limited to within the octave but the occasional octave leap or leap of
a 10th are also found.

29
Bolter, Norman (b. 1955)
Tootle Tour

Duration: 3'
Publisher: Air-ev Productions 2008
Range: D♭1 - G4
Extended Techniques: glissando, triple tonguing
Norman Bolter, former trombonist of the Boston Symphony Orchestra, wrote this
short but multi-sectional work as an encore for one of Jonathan Warburton's
recital tours. This piece lacks a cyclical melody, however, is through-composed in
short sections featuring a wide variety of styles and moods such as swing,
humorous, religioso, and many others which creates a rhapsodic atmosphere. A
strong pedal register is required for long, held notes as well as the flexibility to
jump in and out of the pedal register for octave leaps. Aside from a few octave
leaps into the pedal register, the range is quite idiomatic to the instrument. Some
performers may find the harmonies at the end of the piece difficult due to non-
traditional harmonic implications. A convincing performance will embrace and

30
confidently express the half dozen different styles and moods seen in this work.
Like its original intention, this would be a great recital ending or encore piece.
31
BOWIE, Gordon W. (1944-2012)
Duration: 7
Range: C1 - A4
Due to the extensive low range, extending downward to a singular C1, the work
has been rated a Level 4.5. The C1 is part of an optional 8va passage register,
however, a D1 is required in another passage that is not marked 8va. This work
could also serve those who are looking to solidify their pedal register. The
declarative mood of the piece makes it a great opener to the beginning of either
half of a recital. Fanfare, giocoso, and lyrical sections work together to create a
well-rounded work. Contrasting articulations in the fanfare-like sections and
giocoso sections will keep the music light and not heavy. Excerpts from this
music would also lend themselves well to be used in a lesson for an articulation
study.
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Buss, Howard (b. 1951)
Ballad
“Commissioned by Jonathan Warburton”

Duration: 7'
Publisher: Brixton Publications 2004
Range: F1 - E♭4
Performers looking for an expressive piece in the mid to lower range of the bass
trombone will find great value in this work by Howard Buss. The tessitura of the
piece lies between B♭1 and C4 and control going in and out of the trigger register
is a must. Precise slide work will support the performer in the frequent scalar
passages found throughout. A well-trained ear will also assist in hearing wide
leaps as well as difficult intervals such as major and minor sevenths, diminished
octaves, and tritones. The slow tempo helps to facilitate faster scales phrases
and eighth note triplets. The majority of the work is written at a mezzo forte
volume or softer and requires strong control in the valve register at these
dynamics.
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Buss, Howard (b. 1951)
Illuminations
“Dedicated to Charles Vernon and the 30th Anniversary of the International

Trombone Festival”
Duration: 19'
Publisher: Brixton Publications 2001

Range: F1 - F4
Extended Techniques: triple tonguing, glissando
Buss's composition is set in two very distinct movements and presents several
different kinds of modern and urban styles of music. Reverie is "contemplative
and lyrical" 10, according to the composer in his program notes. The melodies are
10
Buss, Howard. Illuminations. Lakeland, Florida: Brixton Publications, 2001.
34
soft and gentle are accompanied by lush piano figures that give a sense of
rocking. The mid to low register encompasses most of the first movement. A
sharply contrasting second movement seems to come out of nowhere in
comparison to the first movement. A rhythmic solo part is clearly derivative of
jazz and popular music while the accompanist provides "hits" like those that a
jazz band would provide. Urban Lights is set in rondo form with alternating
melodic content; one section, in particular, is directly funk.

35
CADÉE, Jean-Louis (b. 1952)
Ballade
Duration: 15’
Publisher: Symphony Land 1995
This piece was unavailable for examination. Jean-Louis Cadée’s compositional
output is refined to orchestral and chamber music. His music is known to contain
elements of post-serialism, quarter-tones, and non-tempered scales. It is unclear
if his Ballade may have any or none of these elements.

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CANDILLARI, Daniela (b. 1979)
Extremely Close
“Dedicated to Nick Schwartz”

Duration: 16'
Publisher: Ensemble Publications 2016
Range: C♭2 - G♭4
Extended Techniques: glissando, cup mute

37
Jonathan Safran Foer's book "Extremely Loud and Incredibly Close" served as
the inspiration for this five-movement contemplative work. Each movement has a
unique character with a depth of emotion. A slow and melodic first movement is
sharply contrasted by a prestissimo second movement in 5/8 with a frantic
feeling. The third movement creates a unique and memorable timbre from a
combination of muted trombone and paper placed on specific strings of the
piano. The fourth movement is a moderately paced waltz which blossoms and
continues to become more elaborate. The final movement is a depiction of the
famous image of Falling Man from the events on September 11th, 2001. This
movement seems to stand still with a pedal bass and slowly begins to drastically
pick up speed as if the music is falling and falling faster and quickly perishes to
niente. The relatively simple rhythms and tessitura make this work accessible to
an upper-level undergraduate student.

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CHAULK, David (1958-2018)
Publisher: Muso's Media 2004
This work is out of print.

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COURTIOUX, Jean (b. 1931)
Wide Awake
Publisher: Éditions Delatour France 2004
This work was unavailable for examination. Courtioux was a percussion
instructor at various conservatories in France. He also led a jazz sextet, the Jazz
Workshop Big Band, and many other jazz ensembles throughout his entire
career for radio broadcasts. In addition to percussion music, Courtioux has
published extensively for big band as well as electronic keyboard.

40
COWELL, John (1920-2007)
Two Symphonic Dances
“Dedicated to Gerald Sloan”

Duration: 9'30''
Range: A1 - B♭4
Extended Techniques: double tonguing, fall
Two very different style dances create this memorable work. The first
movement subtitled as "idyllic-intimate, but mysterious" exudes a serene feeling
despite the faster tempo. The mostly legato phrases are simple and are
41
enhanced by the specifically placed articulations that give the phrases a lift.
Attention to these articulations will create the subtle nuance needed for this
movement to not become overly legato.
The second movement is subtitled "spirited-sportive" and is recollective of
an eastern European dance. The harmonies are dense and dissonant due to the
low scoring of the piano at times. The solo part is often marked with staccati and
should always have a sense of moving forward and not be influenced by the
heaviness from the piano. Rhythms in both movements are simple and do not
impose any additional difficulties on either solo or accompaniment part.

42
Crespo, Enrique (b. 1941)
Escenas Latinas
Duration: 20'
Publisher: Lydke Musikverlag 1992
Range: E1 - A4
Extended Techniques: rip, fall
43
Cast in four distinct dance styles, Escenas Latinas is an accessible work
for both performer and audience. The overall range is modest and rhythms are
usually simple with moderately extended syncopations for a level 4.5 piece. An
intuitive understanding of the different dance styles will help bring the music to
life through differentiated articulations. The first movement begins in a slower
tempo before moving into the allegro section that will continue the rest of the
movement. Precise slide technique will be most beneficial in passages that occur
in the bass clef due to the wide slide positions. The jovial tango movement
naturally comes to life with crisp rhythms. Crespo is quite particular with
articulations in this movement and trying to be as precise as possible will create
the dance-like feeling that the composer intends.
The lyrical and lamenting third movement is full of sorrow and is an
homage to the enslaved and extinct Indians of the composer's homeland,
according to Crespo’s program notes11. Both the soloist and pianist provide
complimentary melodic content creating a dialogue between the two instruments.
A faster and more rhythmic middle section adds a different mood to the piece
11
Crespo, Enrique. Escenas Latinas. Germany. Lydke Musikverlag, 1992.
44
before returning to the more somber feeling. The final movement is playful and
upbeat in the style of choro, the same style that the popular song "Tico Tico" is
written in. This movement is the most syncopated of all movements but does not
display exceptionally challenging syncopations. A sudden cadenza in the middle
of the movement brings the movement to a sudden halt. The music then resumes
at a slower tempo with a slow accelerando until the opening tempo is reached.
The final statement of the melody is notated to "accelerando al fine". This built up
energy is drastically changed to a subito piano for the last measure as if the
music disappears into thin air. Performers may choose to play this piece in its
entirety or use individual movements as each could stand alone.

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Damase, Jean-Michel (1928-2003)
Prélude, Élégie et Final
“Dedicated to Claude Chevaillier”

Duration: 7'
Publisher: Gérard Billaudot Éditeur 2000
Range: A1 - G4
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Dedicated to the former Paris Opera Orchestra bass trombonist, Damase has
written this work in the French style, reminiscent of the works that came from the
Paris Conservatory examination pieces. The opening prelude features two
octave ascending and descending slurred phrases. Extended accidentals create
a feeling of chromaticism at times which will require the performer to have an
astute ear to hear intonation. Élégie opens and closes with a beautiful soaring
melody, similar to a romance. The middle section of this movement features a
deep emotional contrast with fanfare like rhythms. A dancing third movement is
full of alternating compound meters such as 3/8, 4/8, and 5/8. The soloist should
be well acquainted with the piano's part for the final movement as it is quite
interjectory on the off beats and creates a less stable pulse.

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DEEGAN, Robert (1928-2006)
The Last Words of Crowfoot
Duration: 3'
Publisher: Canadian Music Centre 1999
Range: F1 - F4
Extended Techniques: glissando, rip
Crowfoot, the Blackfoot chief, muttered these finals words in 1890:
"What is life?
It is a flash of a firefly in the night.
It is a breath of a buffalo in the winter time. It is as the little shadow that runs
across the grass and loses itself in the sunset."
The entire piece is written without a time signature and is indicated "a piacere".
Besides a single F1, the range is quite modest and does not impose challenges
upon the player. Rhythms are exceptionally simple and phrases are relatively
straightforward. The most convincing performances will exaggerate all dynamics
and articulations notated. Two phrases in the middle create exceptional
counterpoint between the piano and soloist. Strict time should be taken here in
order for the counterpoint to naturally flow. The composer indicates that the
above quote should be read aloud before the performance of this music12.
12
Deegan, Robert. The Last Words of Crowfoot. Toronto, Canada. Canadian Music Centre, 2010.
48
DENHAM, Robert (b. 1973)
Sizzl'…
“Dedicated to Ilan Morgenstern and Christopher Wills”

Publisher: Cimarron Music Press 2012
Range: E♭1 - B4
Extended Techniques: double tonguing, triple tonguing, glissando, rip
Sizzl'… is an important addition to the repertoire that displays the virtuosic
abilities of the instrument. Mastery in multiple tonguing in both legato and
staccato is required. Meters shift frequently between simple compound meters as
well as advanced meters such as 6/16, 9/16, 12/16, and 7/16. The performer will
have to keep the 16th note consistent between meters as well as alternating
double and triple tonguing depending on the meter. This work can loosely be
organized as a rondo due to how frequently the primary melody is presented and
the contrasting material that occurs between it. A piano solo provides a most
welcomed extended break for the soloist in the middle of the work. The final
statement of the melody is stated at a higher pitch set and is fully embellished
with glissandi at a tempo marked "as fast as possible" which will be sure to
entertain and impress the audience. The piano part is equally difficult and will
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require a great deal of collaboration between the soloist and accompanist. The
primary theme is almost always played in octaves in the piano part, requiring
rigid tuning from the soloist. Except for a few passages, the accompaniment
provides a steady pulse between meters for the soloist to align with.
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DENHAM, Robert (b. 1973)
Withering Grass
“Dedicated to Ilan Morgenstern”

Duration: 8'45''
Range: A1 - F♯4
Extended Techniques: glissando
This work by Dr. Robert Denham completely contrasts with his other work in this
bibliography, Sizzl'.., showing the more expressive and reserved side of the bass
trombone. The simplicity of the lyrical sections seems almost elegiac but includes
glimmers of hope and joy. The middle section alternates compound meters of
6/8, 9/8, 7/8, and 12/8 at a moderate tempo. This would be a great work for a
student to practice moving in between compound meters without difficulties in
rhythm or tempo. The piano part is occasionally cross-cued in the solo part when
the piano has more active rhythms, an appreciated addition to the solo part.
Teachers will find value in this by challenging their students to play rather softly
for the majority of this work.

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DOSSETT, Tom (b. 1952)
Carrousel Song

Duration: 3'45''
Range: F1 - F4
Tom Dossett has evoked the image of a carousel ride in this waltzing work. A
rhythmic ostinato of dotted quarter note and three 8th notes is present almost
constantly throughout the entire piece, either in the piano or solo part. Flexibility
in intervals is the main difficulty for the soloist. Many phrases arpeggiate larger
than an octave and require the soloist to sing through each phrase effortlessly.
Practicing two octave arpeggios from the pedal register would benefit the soloist
in order to obtain the flexibility needed in the middle section. A clear sense of
pulse, felt in one, is evident from beginning to end.

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Furiant

Duration: 2'30''
Range: A1 -E♭4
Extended Techniques: triple tonguing
Depicting a Bohemian dance, this very short work could be an exciting way to
open the first or second half of a recital. The pulsating feeling the music portrays
evokes an intense dance that never wants to end. Traditionally, furiants are
known for the placement of accents on weak beats and creating syncopations.
With this furiant, there are sometimes two syncopations per measure which
require both soloist and accompanist to know each other's parts. The soloist will
most likely find the slide work of the scalar passages more troublesome than the
syncopation due to the fast tempo. To the performers benefit, many melodies
reappear making the music slightly less difficult to learn. Consecutive triple
tonguing is required for a single measure. This piece could substitute an etude in
a lesson setting and serve to help teach fast scale work and syncopation.
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Hyper 1

Duration: 2'30''
Range: Ab1 - E♭4
It is unclear what may have inspired this work but its groove will be sure to make
the listeners nod their head and tap their toes. The octave jumps in the piano part
are reminiscent of boogie woogie but without the swing. This piece could loosely
be considered an embellished bass line since it lacks a melody and seems to
build off the bass line of the piano. A few passages will require good slide work
due to moving the slide between wide positions. Since this piece is so short it
may be enhanced by being part of a set of small works. For example, the boogie
woogie movement from David Uber's Basslines.

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Mamba Dance
Duration: 3'
Level of Difficulty: 3-4
Range: F1 - E♭4
Extended Techniques: glissando, double tonguing
Mamba Dance is a brief exploratory work in the style of a Latin dance. A popular
bass line is established by the accompanist while the soloist is able to play over
it, almost as if the accompanist is a rhythmic section by itself. The tonal language
may be difficult for novice performers who are unfamiliar with Latin styles.
Specifically, augmented 2nds are common in the piece, usually in scales, and will
simply require practicing at slower tempi in order to hear the intervals in the
scales properly. Many performers will find two octave descending scales into the
pedal range to be difficult to execute.

55
Dossett, Tom (b. 1952)
Scenes
Duration: 13'
Range: F1 - E♭4

56
Written in five very distinct styles, Scenes will show just how versatile the bass
trombone can be. Range should not be too difficult for intermediate players who
can play confidently down to an F1. The first scene is a fusion of funk and Latin
and contains syncopated dance-like rhythms. The first movement will most likely
be the most difficult movement to put together with the accompanist due to the
syncopation found in both parts. A slow jazz ballad is simplistic in nature but will
57
easily be enhanced by having a wide pallet of articulations. A softone mute may
be used to provide a specific timbre to the movement, as seen in a performance
by Martin McCain who premiered this piece. A swinging jazz waltz has a simple
and lyrical melody while the piano provides an upbeat accompaniment. The
varying slow fourth movement contrasts with the second movement, this one
more lamentoso and contains a brief cadenza that feels almost like a jazz
improvisation. The piece comes to a close with a rousing dance of joy that is felt
in both the solo and accompaniment parts. This entire work, or selected
movements, would be fitting for a student to learn jazz and Latin styles in an
undergraduate recital.
58
Speed Lush
Duration: 2'30''
Range: G1 - F4
A unique bass line creates this Rondo-esque, groove-like composition. The main
theme occurs several times and has contrasting periods of legato and articulated
phrases. The solo part mostly lies in and above the staff with limited pedal notes.
The piano part is rudimentary and provides a consistent pulse, almost always
with eighth notes and limited syncopations. By far the most challenging part of
this work for the soloist are a few wide slide positions due to the fast tempo.
59
Sweet Lullaby
Duration: 2'30''
Range: C2 - D4
Due to the short duration of this piece, it may be difficult to program on a recital,
but its pedagogical value should not be ignored. This work has great value for
students in a lesson and can easily be used in lieu of a typical étude. Select
harmonies seem abrupt yet color and compliment the mood of the music. A keen
ear will help the performer hear and understand how their part fits with some
chords. Such soft dynamics create a small challenge at maintaining good tone
production evenly in all registers of the instrument. The gentle accompaniment
provides support and helps create a light and endearing atmosphere.

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The Notorious Captain Wink and Sailor Sedge
Duration: 2'45''
Range: A♭1 - F4
Extended Techniques: triple tonguing, double tonguing
Subtitled "Comic Relief", Dossett's music is light and comical. A brief quote of the
popular sea shanty Barnacle Bill the Sailor is made. The solo part is quite active
and phrases frequently unfold over many octaves which may be trying for some
less accomplished performers. Sixteenth note phrases are the most challenging
aspect of the music as some require alternate positions and feel slightly
unidiomatic. Some scale work may be made easier by using alternate positions,
particularly in combination with the valves.

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Three Cups of Life

Duration: 4'
Range: A1 - F4
Geared towards younger intermediate players, Three Cups of Life creates an
accessible solo piece for students to implement good slide technique in scalar
passages. Dossett has carefully written phrases in the middle to low register
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which allows students to use the valve, an important aspect in developing a bass
trombonist. The first and third movement contains similar technical challenges,
fast scales with several chromatic notes. The second movement is rhythmically
more involved and has regular syncopations. The accompaniment in this
movement is also slightly syncopated and has a quasi Latin feel. Educators will
find this work extremely useful in assisting their students to apply scales in solo
literature in a simple manner.

63
Toccata
Duration: 3'
Range: F1 - F4
Extended Techniques: double tonguing
Toccata is a valuable work where students can apply good articulation and slide
work. This work is rated 3.5 because it includes two F1's, both approached by the
octave above it. The tempo is not fast but many wide positions will force the
performer to move the slide exactly in time. Sixteenth notes at this tempo and
style require a light but firm articulation in order for the rhythms to not fall behind.
The slower middle section utilizes extended chords in a non-traditional fashion
and almost limited to just eighth notes in the solo part. A return to the original
tempo and modified opening theme brings the music to a close. Educators will
find that this music can greatly assist students in applying many different
techniques and styles of trombone playing in solo literature.

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Trilogy
“Commissioned by Thomas W. Streeter and David Carlton”

Duration: 9'
Range: F1 - A♭4

65
Trilogy is arguably Dossett's most well-known work. It has been recorded
by Steve Norell, bass trombonist of the Metropolitan Opera, and by Dr. Micah
Everett, Professor of Low Brass at the University of Mississippi. The range sits
perfectly between a level 3 and 4, accessing F1's only a few times throughout all
movements. Rhythms are quite manageable however the tempo of the first and
last movement will add complexity due to large intervals and fast-changing
harmonies. Intervals in the first movement are less than an octave but increase
to 10ths, 11ths, and 13ths in the third movement.
The first movement immediately portrays a dancing character in the piano
part and is repeated in the solo's entrance. Almost the entire movement can be
felt in a compound meter despite being written in simple meter. Performers
should be sure to not make certain rhythms become felt like a dotted eighth-
sixteenth note figure. The bounciness of a true compound meter will keep the
music springing forward. The second movement has frequent ties on beat two as
well as large, slurred arpeggios in the middle movement. The final movement,
Gaillarde, is modeled on the European dance with modern harmonizations.
Select scalar passages are moderately difficult due to wide slide positions.
66
Waltz for Elephants
Duration: 3'
Publisher: Warwick Music Limited
Range: F1 - E4
Extended Techniques: glissando, flutter
Waltz for Elephants is a character piece that musically and comically portrays the
exact image of the title. The waltz begins and ends in a largo tempo, portraying
the idea of a slow elephant, but a faster middle section brings the waltz to a true
dance. Harmonies are somewhat vague and difficult to infer due to the extensive.
A select few phrases require slurring over two octaves into the pedal register.
The faster middle waltz is the most difficult section of this work. Slurs into the
valve register as well as two octave jumps will require good flexibility so that
neither the upper nor lower octave seem more pronounced. The final measure
depicts the trumpeting of an elephant with a flutter tongue effect.

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DUARTE, Fernando
Divertimento
“Dedicated to Antonio Henrique (Bocão)”

Duration: 6'30''
Publisher: Kagarice Brass Editions 2016
Range: D1 - G4
Extended Techniques: double tonguing, glissando
Duarte's Divertimento, subtitled "Enjoyment", is an exciting and colorful work.
The slow tempo remains almost consistent throughout the piece but the active
piano part creates a feeling as if it is in four, with the eighth note being the main
pulse. Thirty-second notes may want to be considered being double tongued, not
because the tempo is too fast but simply for clarity. The tessitura lies mostly in
and above the staff with a single phrase remaining in the pedal register. The
piano part may look difficult on paper but is actually quite accessible.
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East, Harold (b. 1947)
Duration: 4'45''
Publisher: G. Ricordi & Co. 1990
Range: A1 - A4
This two movement work, meant to be played attacca, is a brief but exciting work
written at the request of David Stewart. Written without a strong sense of tonality,
both the solo and accompaniment parts are full of accidentals. The first
movement features several arpeggios larger than an octave, with brief harmonic
69
outlines, in alternating compound meters. The contrasting second movement
consists of a brief lyrical and legato section followed by pizzicato-like staccato
notes. This piece requires excellent flexibility in order to execute large scale
arpeggios and the ability to have a large pallet of articulations. An undergraduate
with strong fundamentals should be capable of performing this work.

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Ewazen, Eric (b. 1954)
Duration: 4'30''
Range: G1 - G4
Inspired by the landscape of the Midlands in England, this light and lyrical work is
well suited for advanced high school bass trombonist or the first year university
student. Despite the three octave range, it only contains a single G1 and lies
above E2 for the majority of the work. The tessitura of the work is A2 to E4. The
simple rhythms allow the bass trombone to be sonorous and soar on top of an
arpeggiated piano accompaniment. This work does use extensive accidentals but
should not create an obstacle for high school students. Educators may consider
using this work for university music program auditions as it requires good tone
production, varied articulations, and refined slide technique.

71
FAUST, Randall E. (b. 1947)
Ancient Scenes

Duration: 5'
Publisher: Faust Music 2017
Range: B♭1 - E♭4
These two scenes are intended to portray two locations in Greece where
the composer visited while on vacation. The range is unusually small for a solo,
only two and a half octaves, and rhythms are uncomplicated. The lack of key
72
signature and extended accidentals imply clear harmonies and tonal areas. The
piano part is clear and helps to further portray the images of each movement.
Performers may find this piece as a useful recital opener or end of the semester
jury piece.
The first movement depicts a Greek temple. The blocks of rock used to
build the temple analogizes to "a block of sound", according to the composer, in
the solo part13. A firm and full sound are required in this heroic movement. The
second movement is more involved and from the soloist and utilizes wide
intervals and arpeggios. The composer is quite intentional with his articulation
markings throughout this entire movement which aide the performer in keeping
the solo light and moving. One phrase below the bass clef will require good
facility in the valve register as it ascends into the bass clef.
13
Faust Randall. Ancient Scenes. Macomb, Illinois. Faust Music, 2017.
73
FONTANOT, Fabrizio (b. 1962)
Morphe
The publisher of this score is no longer in business, hence, the work is out of
print and unavailable for examination. Some copies of this score may be in
circulations in public libraries and universities. Little is known about the composer
but Fontanot is mainly a music educator in Italy and his compositions for brass
instruments have gained prominence in the last ten years. For a short while,
Fontanot held a playing position in an Italian symphony orchestra.

74
FRANCIS, Mark
Behind the Trees
Duration: 13'30''
Range: G1 - F4
Francis' three movement work provides an opportunity for performers, specifically
young students, to carefully craft their own interpretation of this expressive
music. The solo part provides no more than dynamics and the occasional
crescendo and decrescendo. With minimal markings the performer is forced,
more than usual, to make their own interpretive decisions on phrasing and
75
dynamics. The first movement seems to lack a proper melody but rather contains
several fragments of melodic ideas and does not contain any difficulties due to
range or rhythm. The lyrical second movement is simplistic and is accompanied
by arpeggiated chords. The latter half of this movement includes sweeping
slurred arpeggios in the solo part just over an octave and requires a fair amount
of flexibility in order to properly execute. The final movement is full of charisma
and is supported by a rhythmic accompaniment creating a 3+3+2 feeling at
times. The entire piece comes to a halt with a dramatic and sudden lento tempo.
The soloist states previously heard material at the new tempo ends with six
whole note C1's. The simplicity in this piece allows itself for performers to gain
autonomy in phrasing as well as learning an extended piece of music without too
many difficulties.
76
Francis, Nicholas (b. 1977)
Fantasy on the Skye Boat Song
“Dedicated to Barnaby Kerekes”

Duration: 8'
Publisher: Cherry Classics Music 2000
Range: B♭1 - C5
Skye Boat Song is among the most popular Scottish melodies and is most
commonly recognized when performed on the bagpipes. An arpeggiation of five
perfect 5ths creates a dreamy effect and also nostalgic of the drone effect from
Scottish bagpipes. The arpeggiations are sequenced four times followed by a
one measure fragment that will later reappear in the work. The melody is finally
stated in the solo part which feels timeless with simple, arpeggiated chords in the
piano. As the melody continues in the bass trombone, the piano part becomes
more active with faster arpeggios and scales which evokes the timeless and
dreamy feeling. The middle section contains a quote from Mendelssohn's
Hebrides Overture; the Hebrides is an archipelago in Scotland in which the Isle of

77
Skye is found. An agitato version of the melody features the traditional snappy
Scottish rhythm in the solo part coupled with an active piano accompaniment.
This work demonstrates the expressive and lyrical side of the bass trombone and
can create a moving performance.

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Frith, John (b. 1947)
Behind the Mask

Duration: 6'30''
Range: E♭1 - A♭4
Extended Techniques: cup mute, glissando, multiphonics
While not technically demanding, strong control of both the upper and pedal
register is required for this piece. A muted opening section provides two
difficulties-range and glissandi. The entire range of the instrument is covered in
the opening measures. While a muted upper range does not add too much
difficulty in playing many performers will experience difficulty in making the
instrument speak clearly in the pedal register. Glissandi will require less
frequently used alternate positions such as A♭3 in 7th position, F♭4 in 7th
position, and a compromised E♭3 in 7th position. The unmuted second section is
79
quite simplistic and has several wide intervals leaps of minor sevenths. The
"quasi-recitative" sections have ascending appoggiatura-like sigh gestures
moving directly into a solo cadenza featuring virtuosic lip slurs that can be
executed even by undergraduates. The final section contains an easy
multiphonic, although notated as optional. This work would be beneficial for
students who want to access both the upper and lower register of the instrument
but in a simple, slow tempo with few technical passages.

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Concertino for Bass Trombone

Duration: 13'
Range: E1 - B♭4
Extended Techniques: glissando, double tonguing, triple tonguing

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The title of the first movement needs no introduction to the character of this
movement. Performers will find difficulty in the fast rhythms and movements
required to move the slide in time. The key signature and melody require fast
movement between 1st and 5th position in both legato and staccato articulations.
A consistent 8th note pulse alternates between 12/8 and 6/4 meters creating
hemiolas and other rhythmically challenging rhythms. The ability to keep all
articulations light and floating will make the first movement truly come to life. The
singing middle movement is by far the least difficult movement of the entire work
due to its simple rhythms and significantly fewer large leaps. A sense of
humoresque is still present in this work and keeps it light and moving forward.
The third movement begins with a vivo, two octave sixteenth note chromatic
scale on E1 and then is quickly repeated a step higher. This movement requires
excellent double tonguing in both staccato and legato articulations and would
benefit greatly from using both Ta-Ka and Da-Ga syllables. This work is intended
for the professional soloist or a doctoral-level student with thorough competency
on the instrument.
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“Dedicated to Stephen Fissell”

Duration: 14'30''
Range: D1 - B♭4
Extended Techniques: triple tonguing, double tonguing, scoop

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Frith's second large-scale work for the bass trombone in this bibliography
is equally virtuosic and was written for Stephen Fissel of the Seattle Symphony.
With the performer in mind, Frith wrote extensively for Fissel's strengths-low
register and flexibility of lip slurs. The pedal and low valve section receive much
attention throughout all three movements. Performers must be able to ascend
and descend easily in and out of this register in both slurred and articulated
passages.
The first movement is flush with fragmented material that is used several
times in different styles. Wide and difficult slurred phrases are found frequently,
especially in the "quasi recitative" section. Triplet passages are tricky due to the
key and the slide positions that occur. A slightly slower, cantabile second
movement has equally difficult phrases imposed by the challenges described in
the first movement. The mid to upper range is used often in lyrical passages
which extend up to a C5. The final movement is the most virtuosic due to scales
at a fast tempo of 3/4 felt in one. Harmonies are more complex and intervals
such as tritones and major sevenths are used regularly. Slurred phrases often
expand over two octaves and include the challenging intervals previously
mentioned.
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GABEL, Fabien (b. 1975)
Fantaisie dans le style de Richard Strauss

Duration: 11'
Publisher: Gérard Billaudot 1999
Range: A♭1 - B♭4
A graduate student or professional soloist will find this work demanding and
rewarding. This work is profoundly lyrical while matched with technical passages.
The performer will need an exceptional ear to maintain good intonation through a
frequently changing tonal center. Sextuplets are found throughout the entire
piece and are at the discretion of the performer as to whether or not they require
to be triple tongued. The occasional quintuplet and septuplet also appear. For
educators, this would be a highly recommended work to challenge the advanced
student in areas of the flexibility of large intervallic leaps, phrasing, and
articulation.
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Gillingham, David (b. 1947)
“Dedicated to Curtis Olson”

Duration: 12'
Publisher: International Trombone Association Press 1998
Range: F♯1 - A4
Extended Techniques: glissando, straight mute
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Gillingham's Sonata for Bass Trombone is one of the few works by a prolific
composer in this document. Written for and premiered by Curtis Olson, this
sonata is full of life, beauty, and grandeur and would be an excellent work for a
graduate student. The first movement is written in sonata allegro form and is
comprised of two principal melodies, the second of which is octatonic. The
middle of the first movement features fast 10/16 and 6/8 meters. A theme and
four variations create a memorable second movement due to the depth of
emotions created by the different variations. Wide intervals in and out of the
valve register are found in all of the variations. The fugato third movement
creates a back and forth dialogue between soloist and piano. Two main melodic
ideas encompass the entire movement-the fugal theme and a lyrical melody. A
final push to the major mode creates a triumphant ending to long and artistically
crafted sonata.
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Gillingham, David (b. 1947)
Elegy

Duration: 5'30"
Publisher: C. Alan Publications 2018
Range: G1 - G4
Extended Techniques: straight mute, cup mute
This lyrical work is a fine addition to the repertoire featuring the middle register of
the bass trombone. The harp-like accompaniment found throughout the piece
provides a lush color for the soloist to soar over, especially in the muted
passages. Rhythms are exceptionally simple, never advancing past sixteenth
notes. A major observation in this work is that many sections of the piece are
written in 6/4 but the solo part is written as if the meter should be 12/8. This
subtle difference in a sense of pulse should be discussed with the accompanist
as to how the pulse should be felt. The straight mute and cup mute passages are
marked with staccati but should be perceived as slightly longer due to the mute
which naturally shortens the note length. This work is an excellent piece for
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students to work on expressivity as well as articulations in various kinds of
mutes.
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GOODWIN, Gordon
Bump & Grind
Publisher: Gold Branch Music Inc. 2006
The publisher of this score is no longer in business, hence, the work is out of
print and unavailable for examination. Limited copies of this score are in
circulations in public libraries and universities. The author is unsure if the
composer is the same as the bandleader of Gordon Goodwin’s Big Phat Band,
but it is assumed to be true. Due to the title and known compositions by the
alleged composer, this work is written in a jazz style, possibly swing.

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GRANTHAM, Donald (b. 1947)
Sonata in One Movement
“Dedicated to Donald Knaub”

Duration: 10'30''
Publisher: International Trombone Association Manuscript Press 1997
Range: E1 - C♭5
Written with six distinct sections, this work is ideal for the advanced player due to
its rhythmic sophistication and harmonic language. The opening and closing
sections are similar in nature which serve as the bookends of a typical sonata
form. Complex rhythms are consistent throughout the entire work. Rhythmic
complexities such as 5:6, quintuplets, and syncopations between soloist and
accompanist are arguably the most demanding part of mastering this work. The
accompaniment is equally as difficult as the solo part. Outstanding flexibility is
crucial as most phrases expand well over an octave, sometimes two.

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GREEN, Alwyn
Concert Piece
“Dedicated Jonathan Warburton”

Duration: 5'
Range: G1 - C5
Extended Techniques: multiphonics
Alwyn Green, bass trombonist of the City of Birmingham Symphony Orchestra,
wrote this exquisite piece for the intermediate performer. The solo part is written
idiomatically for the instrument and features a reasonable range. A single F1 and
G1 appear in a coherent, accessible manner. There are two instances where
phrases in the upper range are notated as optional 8vb. Even with this
modification, the performer still needs to be able to play up to an A♯4. An
extended multiphonic section is written in an accessible manner and is well
suited for a student who is just learning this technique. The played note is always
sustained while the sung part moves almost always by step. Most first year
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university students should be able to perform this piece and would make an
excellent choice for a jury.

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GRIER, Jon
Propagatia
Duration: 3'30''
Range: D♯1 - G♭4
Extended Techniques: glissando, flutter, straight mute, vibrato,

percussive noises
An advanced performer will find great joy in bringing Propagatia to life and would
make a welcomed addition to any recital. The music lacks any melodic theme,
according to the composer, and makes frequent use of minor seconds, perfect
and augmented fourths, and major sevenths. A combination of a fast tempo and
tonally unstable phrases make this music quite challenging. The music is also
highly ornamented with vibrato, glissandi, and grace notes. A straight mute is
called for and requires quick insertion into the bell. The part notes at one point for
the mute to be taken out by the left hand so that percussive noises may be made
while the performer places the mute on the ground. These acrobatic motions will
take coordinating. The piano part provides an almost consistent eighth note pulse
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throughout the entire work which provides immense support since the solo part is
occasionally syncopated and often has notes on the offbeat.

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GROSSNER, Sonja
Scherzo

Duration: 5'
Publisher: Sunstone Music 1999
Range: C2 - B♭4
Composer and violinist Sonja Grossner has written a comical and light work that
frequents the use of glissandi throughout the entire piece. Phrases frequently
alternate between rhythmically articulated and lyrically sustained. The composer
commonly uses terraced dynamics which makes sudden changes in dynamics
which enhances the humoresque and scherzo style. Select passages in the valve
register will require extra coordination and may benefit from exploring various
positions, for example, playing D2 on the F valve versus both valves engaged.
An allegro middle section may require the use of double tonguing but is left to the
discretion of the performer. The accompaniment, for the most part, provides a
clear sense of pulse but irregularly contains syncopated and rhythmically active
passages.
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Gulino, Frank (b. 1987)
Worlds Apart
“Dedicated to Christen”
Duration: 6'30''
Range: E♭1 - F4
As a bass trombonist, Gulino is well aware of the complexities of the instrument
and writes idiomatically for the performer. Written in clearly defined sections, the
music explores both the lyrical and technical side of what the bass trombone is
able to do and communicate. The slow opening section showcases the entire
range of the instrument, extending down to E♭1. An exciting allegro middle
section in 5/8, interspersed with the occasional 6/8 and 5/4 meter, explores the
staff and valve range. The fortissimo moderato closing section is full of grandeur
and but surprisingly ends on a pianississimo F1. This work also includes an
arrangement for tenor trombone with the purchase of the score. An
undergraduate with a strong pedal register and flexibility in lip slurs will be able to
perform this as part of a graduating recital.

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HARTZELL, Doug
The Waltzing Walrus
Duration: 2’30’’
Range: D2 - E♭3
Written as a very simple waltz, this is one of the easiest solos in this collection
which is ideal for a beginner bass trombonist as it introduces the first notes used
with the valve. In addition to the lower valve range, Waltzing Walrus also
provides an avenue to use the valve on C3 and F2 in an easy, scalar fashion.
With only three accidentals, this work is harmonically simple and focuses on the
tonic and dominant tonal areas. Even though the tempo is indicated relatively
fast, an adjusted slower tempo would be well suited for this Level 2 piece.
Educators are highly encouraged to use this piece with a young bass trombonist.
University professors may even seek value in this piece if they need to switch a
student from tenor to bass trombone.

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Hogg, Merle E. (1922-2017)
Duration: 9'
Range: F1 - E5
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A graduate student or professional performer will find this modern work
most exciting and a crowd pleaser. Lacking traditional Western harmony and
regular phrasing, creating obvious musical arrivals will be challenging to
performers of any level. The first rhythmic movement is full of short, chromatic
fragments rather than clear phrases of typical phrase lengths and is certainly the
most difficult movement in the entire work. Hogg alternates simple and
compound measures including 2/4, 5/8, and 3/8. The upper range of the
instrument is shown off in the majority of the second movement, which is
surprisingly quite rare in solo repertoire but does contain a few pedal F's.
Although marked optional, a B5 and E5 are included in the cadenza. C5 is part of
the melody in this movement therefor the B5 in the cadenza should not be
problematic. For a level 5 piece, the upper range should not be an obstacle for
the performer. Style indications by the composer state "with a slight jazz flavor"
but this seems to indicate jazz harmonies rather than swung notes. This,
ultimately, is left to the performer to decide.
The final movement is light and has a backbeat feel with frequent offbeat
rhythmic figures by the piano in specific sections, derivative of jazz. The opening
four measures of this movement in the solo part establish an ostinato bass line
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that is almost always present throughout the movement, either by the soloist or
pianist. The range is quite modest and does not feature any extreme register
notes.
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Hogg, Merle E. (1922-2017)
Sonidos Graves
“Dedicated to Alex Panos and his big bass trombone”

Duration: 10'
Publisher: Tap Music Sales
Range: B0 - B♭4
Extended Techniques: trill, glissando

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Hogg has carefully crafted this advanced work for Alexander Panos, bass
trombonist in the Marine Band. Most prominently, this work features the pedal
register of the instrument, extending down to B0, and is highly demanding on the
soloist. Frequent octave leaps into the pedal register require the performer to be
able to create a wall of sound at all times without the technical aspects getting in
the way of tone and sound production. As much as Hogg writes for the low range
of the instrument, his phrases in the mid to upper register are lyrical and
exceptionally expressive. The second movement is notably colorful due to the
polychords in the accompaniment and could stand alone as an individual
movement. The final movement is upbeat and the 9/8 meter is felt in 2+2+2+3.
Steady eighth notes provide assistance to the performer in maintaining the
meter.
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KALLMAN, Daniel (b. 1956)
Four Canticles
“Dedicated to Dave Dahlgren”

Publisher: Kallman Creates Publications 2006
Range: G1 - F4
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Kallman's four movement work is written to accompany four different parts of a
worship service but also fits appropriately in a recital setting. Each movement is
reflective of diverse liturgical elements of a service varying from an annunciation,
prayer, declaration, and rejoicing (postlude). Each movement is quite tonal and
features minimum accidentals, except for the last movement. This work could
easily be performed in its entirety or select movements. Many phrases require
the player to stretch beyond an octave making this a great work for a student and
performers to enhance their phrasing and flexibility while maintaining even tone
throughout all registers.

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KALLMAN, Daniel (b. 1956)
Three Admirations
“In memory of William Behrens”

Duration: 10'
Range: G♭1 - F4

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This three movement work features a wide variety of expression from a chant-like
first movement, lullaby second movement, and joyful and exuberant third
movement. This work would be well suited for an undergraduate to work on
phrasing as well as moving in and out of the valve register. Rhythms are quite
simple, not progressing past 16th notes at a moderate tempo, and slow has
Sicillienne rhythms in the second movement. The first two movements are hymn-
like and would be well suited for a worship service.

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KANKA, Jan (b. 1977)
Sutenaide Kudasai
Publisher: Warwick Music
This work was unavailable for examination. Dr. Kanka is a bass trombonist by
trade and received his doctorate in composition and currently teaches at Klatový
Music School. As a performer, Kanka has performed with many of the prominent
orchestras in his native Czechoslovakia. His compositions are known to contain
elements of jazz, funk, and serialism.

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Kazik, James (b. 1974)
Concerto in Five Short Movements
“Commissioned by Dan West”

Duration: 12''
Range: D1 - A4
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Trombonist James Kazik expertly displays the virtuosity of the bass trombone. A
brief piano introduction leads directly into the first movement entitled "Cadenza".
The movement may better be thought of as two parts-first a recitative with
chordal accompaniment followed by true cadenza-style material. The second
movement requires superb slide work in fast pentatonic, scalar passages in the
staff with frequent movement from 1st to 4th position. Interlude is entirely tacet
for the soloist and the piano echoes the main melodic idea in a new harmonic
language. The lyrical ballad features the voice of the bass trombone in the mid to
low register. The presto finale in 12/8 has a jovial and skipping character
featuring hemiolas and large slurs. This concerto would serve as an excellent
recital closer.
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Kazik, James (b. 1974)
Gangbusters

Duration: 3'30''
Range: B♭1 - E4
Gangbusters is a short work that is full of technical demands for the soloist. The
low valve register bass line at a presto tempo requires the performer to maintain
a light and agile articulation in order to seem effortless and not heavy. An
additional difficulty is the fast passages requiring slide positions from 1st to 5th.
Specifically, C3 to D♭3 could require the soloist to use the side trigger on an
independent valve model for easier facilitation. Educators may find this work to
be a great pedagogical piece to use throughout a semester and not necessarily
restricted to recitals or juries.

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KOETSIER, JAN (1911-2006)
Falstaffiade
Duration: 8'
Publisher: Editions Marc Reift
Range: F1 - B♭4
Extended Techniques: glissando, flutter, straight mute
Based on an opera theme by Romantic composer Otto Nicolai, audiences will
love the wit and humor that Koetsier is so famously known for. A fanfare-like
introduction sets the mood for the playing statement of the melody. The melody
switches between different compound meters but consistent eighth notes are
present helping to maneuver between these measures. The first variation is
mainly arpeggiations of various chords contrasted with lyrical and legato phrases.
Appoggiaturas are used in this movement and should be emphasized to help
bring nuance to the music. A waltz in the low register of the bass trombone
creates comedy and almost mocks a "tubby tuba" style. The third variation is
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colored by the muted bass trombone as well as numerous glissandi. The closing
variation could, depending on the soloist's interpretation, be vivace which would
require triple tonguing. A fast four would be equally convincing and need not be
triple tongued. Performers who enjoy this work may also find it arranged in a
version for trombone quartet with the bass trombonist still serving as the soloist.
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Krivokapič, Igor (b. 1965)
Rhapsody
Duration: 8'
Publisher: Editions Marc Reift 2006
Range: F1 - G4
The tessitura lies from the bass clef and above with limited passages written
below the staff and even fewer pedal notes. The opening section is declarative
and asserts its prominence with bold fanfare-like rhythms. The middle section is
written in 10/8 and features a heavily syncopated rhythm which is evocative of a
primitive, European dance, likely influenced by the composer's home country of
Slovenia. The dance becomes even faster moving into 5/4. The performer will
need to know the piano part well throughout these sections as the piano part is
equally syncopated as the solo part. The music returns to the opening tempo and
then returns to allegro scalar passage. The penultimate section, Arioso, is lyrical
and passionate which is cut short by the final, brief allegro section showing off
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the virtuosity of the trombone to play vivace. This work requires a mature
performer who can evoke the many moods found in this work.
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LAMB, Shane
Bagatelle

Duration: 3'
Publisher: Shane Lamb Music 2016
Range: A1 - E♯4
Extended Techniques: glissando, straight mute
Many performers may not be aware that a bagatelle is a musical genre that is
supposed to be light and carefree. The most famous bagatelle is Beethoven's Für
Elise. The composer creates a unique timbre by instructing the pianist to lightly
depress the low keys on the piano and depress the sostenuto pedal before
playing the notated first four measures. The piano part is remarkably specific
about how long to pedal and dynamics within a phrase. The soloist's entrance is
marked forte and staccato but the music should always be striving for the
lightness that the bagatelle desires. Achieving a light articulation will be
challenging due to the dynamics and the register in which the bass trombone
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often plays in. The middle section calls for an unspecified "sordino" but the
author believes a straight mute is desired. The composer orchestrates a unique
feeling in this section as the bass trombone is playing in the middle of its register
while the piano is several octaves above. This entire composition may look
simple but a well-polished performance will constantly maintain a light and
floating mood and grasp the varying orchestrational timbres.

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LAMB, Shane
Pledge
“Commissioned for the Butler School of Music”

Duration: 4'
Range: G1 - B♭4
Pledge was written in reflection as to what it means to be American and the
concept of pledging allegiance to the flag14. The opening melody is set to the
spoken rhythm of the Pledge of Allegiance. According to the composer, the
middle section pensively considers the future of America and its reputation in the
world at the time of composition. This work would greatly benefit a first or second
year undergraduate who needs a simple work to enforce their lower and upper
range. The tessitura of the work lies between E♭2 and E♭4, requiring only a few
14
Lamb, Shane. "Lamb - Pledge for Bass Trombone and Piano." Cherry Classics Music.
Accessed April 10, 2019. https://cherryclassics.com/products/2642.
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notes both above and below that range. This work would be an excellent addition
to a program dedicated to "American Music" or by American composers.

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Ludwig, Christopher (b. 1972)
A Fresh Start
Duration: 11'
Publisher: Canadian Music Centre 2000
Range: C2 - A4
This three movement work is composed in an atonal style and would be a
challenging addition to any recital. Learning the notes and creating muscle
memory for these atonal phrases will be the most difficult part of this music.
Extensive accidentals blur obvious scalar passages and significantly decrease

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the performer's ability to hear difficult intervals such as augmented seconds and
minor ninths. Furthermore, a complex accompaniment adds even more instability
when trying to bring together both the solo and piano parts.
The simplistic second movement gives great repose to both the
performers and audiences. Rhythms are simple and harmonies create
contrapuntal motion. Terraced dynamics are seen throughout this movement and
will impose a unique challenge to the soloist as to not crescendo and
decrescendo, as notated in the music. The third movement contains challenges
identical to the first movement, however, the accompaniment is more
rhythmically active and often times provides an unclear sense of pulse with the
metric groupings. An impeccable sense of rhythm is required of both soloist and
performer throughout the entire duration of this movement.

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Lund, Gudrund (b. 1930)
Sonatina for Bass Trombone (2000)

Duration: 7'
Publisher: Tap Music Sales
Range: C2 - A4
Extended Techniques: vibrato, double tonguing
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Young performers and educators will find value in this multi-movement
composition. The varying styles and technical demands are challenging yet
attainable for lower level undergraduate. Except for a few phrases, the tonal
language is accessible. The entire composition is comprised of rudimentary
rhythms. Movement two is the most rhythmically challenging because the 9/8
time signature is not felt in the usual three big beats. Instead, it is felt in varying
groups of 2's and 3's. Studying the piano part will provide clear answers as to
what the groupings are. The final movement is marked without a metronome
marking and must be determined by the soloist. Two consecutive measures
contain steady sixteenth notes and may need to be double tongued. This phrase
should be the determining factor in tempo for the movement.

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MARTIN, Viv
Melodic Transition
Publisher: Muso's Media 2004
This work is out of print and unavailable for examination. The publisher is located
in Kangaroo Flats, Australia. The composer is thought to be from either Australia
or New Zealand.
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MATCHETT, Steve (b. 1957)
Expressions
“Dedicated to Carl V. Muller”

Duration: 8'45''
Publisher: Gulf Wind Music Press 1995
Range: G1 - B♭4
As the title implies, this piece demonstrates a variety of musical expressions. As
the composer states in the score, "The slow sections present highly subjective
and contemplative material, while the fast sections are more exuberant and
affirming. The tempos should be set with this contrast in mind. The slow sections
should be interpreted with free use of rubato and the fast section with strict
time."15 The first lyrical section is simple in rhythm and shifts between 4/4, 5/4,
6/4, and 7/4 meters with a short passage in tenor clef. An allegro con brio 6/8
section requires a few measures of diligent practice due to wide movements of
the slide. This section will require a light but clear articulation in the bass clef staff
range. The lento recitative functions just as that, a recitative, with chordal
15
Matchett, Steve. Expressions. Houston, Texas. Gulf Wind Music, 1995.
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accompaniment, and rubato is encouraged by the composer. A restatement of
the allegro con brio section quickly brings the work to an end. The piano
accompaniment provides a steady pulse throughout. It is well suited for
undergraduate recitals.
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MATHEWS, Mike K.
Dodecaphon
Duration: 8'30''
Range: D1 - C5
Extended Techniques: trill, play into piano, rip, glissando, improvisation
This technically challenging three movement work is an excellent piece for
the graduate or professional recital. A heavily syncopated piano accompaniment

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across the entire work adds a great level of difficulty in trying to align the solo
part. The piano part will require an accomplished pianist.
The first movement is a rhythmic scherzo which is mostly in 2/4 but
consists of a few measures of mixed meters such as 3/8 and 5/8. Extensive
accidentals and a lack of clear harmonic implication will make perceiving
upcoming passages strenuous. The passacaglia is the most difficult and
syncopated movement of the entire work as both solo and piano parts create an
ambiguous sense of meter and pulse. Wide intervals-such as 10ths, diminished
octaves, and major 7ths-are found throughout this movement in the solo part.
The final movement is most notable for the extensive aleatoric section in both the
piano and solo parts. Most of the aleatoric sections are notated except for the
final section which requires both trombonist and pianist to improvise. The entire
work ends in soft dynamic with the piano playing in its highest register and the
bass trombone ending on D1.

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MATHEWS, Mike K.
Fantasy
Duration: 5'
Range: B♭1 - B♭4
Written in multiple sections, this piece uses extensive accidentals but chord
outlines are clearly understood. The tenor clef is used for a slower lyrical
passage which makes for great exposure to this clef in solo literature.
Performers will need to have excellent slide work to execute the allegro con brio
and allegro phrases. The final section is on the verge of needing to be double
tongued. Educators should encourage their students to never play past a good
sound especially when the music is marked fortississimo and fortissississimo.
Performers, and especially students, may want to practice these loud passages
relatively quiet and slowly add volume while maintaining good tone production.
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Maunder, Peter (b. 1960)
Prelude & Fugue

Duration: 4'30''
Range: F1 - F4
Extended Techniques: trill
Prelude & Fugue is a challenging, but rewarding work. The entire work is based
on a fragmented melody and is evolved into elaborated movements. Both
movements require control in the pedal register at both forte and piano dynamics.
The key of the piece frequents C2 and will provide require extra dexterity in valve
technique. The fugue, in particular, will require precise movement of the slide due
to the wide slide positions. A younger performer will easily find the fugue quite
difficult and played out of tune without refinement of slide technique. Two trills in
the fugue require the use of the valve, as notated in the score.
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McDougall, Ian (b. 1938)
Four Bells

Duration: 5'30''
Range: D1 - F4
Canadian composer and trombonist Ian McDougall has composed an ominous
work for both soloist and accompanist. Four Bells seems to be similar to the
tolling of the bells, as first expressed by the soloist, and then immediately taken
over by the piano. The mysterious opening melody snakes its way as it descends
into the valve register of the instrument. Large intervallic lip slurs are required
throughout the entirety of this work. Many leaps are close to an octave and most
phrases slur about an octave and a half. This work would greatly benefit a
student looking to apply their slurring abilities in the context of solo repertoire.
The allegro middle section contains an almost ostinato in the bass of the piano
which is then stated in the solo part and returned to the piano. A legato, lyrical
melody juxtaposed over the ostinato creates a unique effect and an almost state
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of panic. A brief, slower interlude returns to the opening material and ending with
the four bell motif. A single D1 is part of an 8vb passage and could be omitted
which would reduce the difficulty of range, making the work more accessible to
other students.
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MEYER-SELB, Horst (1933-2004)
Fünf Charakterstücke nach Motiven eines eigenen Themas
Duration: 7'
Publisher: Musikverlag Friedrich Hofmeister 1995
Range: G1 - F♯4
Written in five very distinct movements, this comical work is a welcomed addition
to any recital. The work begins with the presentation of the theme in the bass
trombone and each movement serves as a variation. The scherzo first movement
is rhythmically challenging to bring together in both the solo and accompaniment
parts. The second movement, burlesque, requires a light but firm articulation to
achieve the style which is then quickly contrasted by a "largo espressivo" third
movement that features the lyrical valve range of the bass trombone. Meyer-Selb
creates a comical waltz by irregularly adding in a 2/4 measure to displace the
regular 3/4 feeling that the waltz is generally in. Lyrical sections in the waltz are
balanced with more rhythmically involved scalar passages which require precise
slide work. A brief 36 measure fifth movement is full of lively syncopations brings
this short but compact multi-movement piece.

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Michel, Jean-François (b. 1957)
3 Bagatelles
“Dedicated to Markus Muff”

Duration: 12'30''
Publisher: Editions Bim 2012
Range: G1 - G4
Extended Techniques: plunger mute, glissando, slide vibrato, whisper mute,
cup mute, straight mute, rips
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Michel's modern composition combines many extended techniques in
each movement. The opening phrase of the first movement shows difficulty in the
balancing of muted and unmuted playing. The first note, E♭2, is notated as
closed with a plunger, which is impossible due to the need for the left hand to
engage the valve to produce that note. A "lipped down" E in 7th position may be
the solution. Extra coordination will be needed to determine when to pick up and
put down the plunger. The sharp and crisp rhythms of this movement are quite
bold but have a sense of refinement with its lighter moments.
A lyrical second movement is embellished by several mute changes which
create unique timbres and moods to the swaying music in 5/8. Rhythms and
passages throughout are simple and the soloist should embrace the 3+2
grouping. The final movement is full of acrobatic gestures, as the French name
insinuates. A light and nimble approach during this movement will keep the piece
moving forward as if to actually imitate an acrobat. A few sixteenth note phrases
will require work moving the slide in time; however, the rest of the movement
contains chromatic scales and harmonic arpeggios which are more idiomatic.
This work would be well suited for a graduate-level recital or an advanced
undergraduate recital.
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MILLER, Jeffrey
Duo
“Dedicated to David Ridge”

Duration: 6'
Range: D1 - A♭4
Extended Techniques: straight mute
Duo is an open dialogue between bass trombone and piano. Both parts balance
when to be the prominent voice and when to be supportive. The bass trombone
part is, for the most part, straight forward with limited rhythmic complexities. The
harmonic language is moderately advanced and some passages look
challenging but are in fact easier than they appear. A brief muted section is
written for the phrases in and above the bass clef, the most sonorous range of
the instrument when muted. The piano part is rhythmically complex and
composite rhythms are found frequently. The soloist should be quite familiar with
the piano part.

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Mills, Amy Riebs (b. 1955)
Catharsis Sonata
“Commissioned by Brian Hecht”

Duration: 15'
Publisher: Amy Mills Music 2015
Range: A0 - A4
Extended Techniques: glissando, trills, flutter tongue, straight mute,
double tonguing, triple tonguing
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This tour de force sonata is one of the most challenging pieces in this collection
of works. As a true Grade 5 piece, the performer must have complete control of
the pedal register which extends to the lowest possible note on the instrument,
A0. Commissioned by Brian Hecht, bass trombonist of the Atlanta Symphony,
this work pushes the limits of the bass trombone soloist to new limits. Double and
triple tonguing passages show just how virtuosic the bass trombone can be.
Following the typical three movement sonata format, the outer movements
provide a faster and more playful character while a more elegiac middle
movement balances the entire work. The virtuosity and musicianship needed to
perform this sonata is exceptionally high and would make an impactful ending to
a recital.
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Molyneux, Jim (b. 1991)
Imaginations
“Dedicated to Simon Minshall”

Duration: 4'30''
Range: F1 - A4
Extended Techniques: triple tonguing
Molyneux opens his work with a dreamlike atmosphere as if to create the place in
which the imaginations come from. The scale work in this composition is very
idiomatic to the instrument and does not impose further difficulty. Adversely, the
scalar triple tongued passages are less idiomatic and are difficult to execute
smoothly. The use of alternate positions could potentially reduce large slide
motions but may compromise tone. Besides the technical aspects, this work
provides a great depth of emotion and that should remain at the fore throughout
the entire work.

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MOREN, Bertrand (b. 1976)
Psychedelia
“Dedicated to Lionel Fumeaux”

Duration: 6'
Publisher: Editions Marc Reift
Range: D1 - D4
Psychedelia is a barnburner of a piece that will surely impress the audience. The
heart of the piece lies in the ability for precision multiple tonguing from the bottom
of the bass clef to the upper range of the piece (D5). The fast, double tonguing
passages are mostly scalar or arpeggios with clear harmonic implications. The
middle section continues the need for multiple tonguing but through various
compound meters. Moren has placed accents on metrically weak beats which is
exceptionally difficult to execute when multiple tonguing. The performer should
highly consider alternating between double and triple tonguing in order to bring
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out the nuanced accents. A brief passage in the middle of the piece is marked
"opt. 8vb" which extends down to D1 and stays mostly in the first and second
octaves. Some performers may find the pedal register refreshing on the
embouchure after the previous upper register passages. Besides the lengthy
double tonguing phrases, the soloist will find much difficulty in pacing this entire
piece. The solo part contains minimal rests and is marked mostly loud in
dynamics. Wisely choosing where true fortissimo passages are needed and
where the part can be played softer will help create a more musical performance.
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Naulais, Jérôme (b. 1951)
Étoile des Profondeurs
Duration: 17'
Publisher: Editions Robert Martin 1999
Range: D1 - A4
Extended Techniques: glissando, fall, double tonguing
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Naulais's work is a clear resemblance of the repertoire of 20th Century
French composers but with an influence of world music. Elements of jazz, Latin,
and funk are subtly intertwined into the melodies and harmonies. Scales and
arpeggio-like chord outlines are found in most sections of the first movement,
especially the outer sections. A short cadence leads to a slower section,
embellished by colorful chords, perhaps an homage to the style of Bozza, and
moves to a faster more syncopated ostinato that is clearly influenced by funk and
Latin styles. A return to the opening material creates a recap, ending the first
movement.
A simple melodic ballad serves as the outer sections of the second
movement. The simplicity of the melody is almost reminiscent of the Romantic
Era collection of songs without words. The music moves along to a suddenly
slightly faster tempo with more active rhythms accompanied by a simple quarter
note pulse. A jazz waltz abruptly appears out of nowhere featuring fast scalar
passages before returning to the opening ballad material. A playful march is the
main style for the third movement which has ascending and descending scales in
the solo part and an accompaniment creating a steady pulse. A cadenza shows
the virtuosic side of the instrument featuring double tongued arpeggios and
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sustained notes in the pedal register. This work is most fitting for a graduate or
professional recital.
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NESTERENKO, Evgeni (1938-2014)
Buffo Waltz
Duration: 5'30''
Publisher: Neuschel Publications 1996
Range: C2 - A♭4
Little to nothing is known about the origins of this piece or its composer. It should
be noted that the name of the composer is strikingly similar to that of the famous
Ukrainian operatic bass singer and the two may be the same person. The title of
the work is an homage to the opera voice "basso buffo", or loosely a "comic
bass", and features coloratura style embellishments to the melody. The dramatic
character in this piece is a great way for students to work on phrasing in a vocal
style but more importantly nuance, which is found throughout the piece once the
performer understands the push and pull. A slower middle section allows the
possibility for the performer to add un-notated portamento. Grace notes in this
work add an additional level of difficulty and could be omitted for a student who's
not ready for this kind of ornamentation-the work would still stand true to its
melodic nature. There are inconsistent uses of the tenor clef. At times it is
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appropriate due to the range and other places it is not. There is one alto clef,
which is a misprint, and should be read as tenor clef. No adjustment between the
clef changes are needed. The vivo ending is an exciting way to potentially end
the first half of a recital or a great end-of-semester jury piece.

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Nickel, Christopher Tyler (b. 1978)
Poème
Duration: 6'
Publisher: Christopher Tyler Nickel 1999
Range: A♭1 - D4
This rhapsodic piece is an excellent addition to any recital. Written in five distinct
sections, each section is a great teaching tool to focus on different aspects of
playing: lyricism, mixed meter rhythms, and fast scalar passages. The fourth
section, particularly, is impressive when up to speed. Depending upon how fast
the performer takes the fourth section it may require triple tonguing. The first
section contains lyrical passages in the valve register. The piano provides a
supporting accompaniment to the solo part, specifically providing a regular pulse
throughout for the soloist, especially in the mixed meter sections.

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Nightingale, Mark (b. 1967)
Trigger Happy
Duration: 3'
Range: E1 - F4
Jazz trombonist and composer Mark Nightingale has composed this deceivingly
difficult work. The title does live up to the expectation that the music makes
frequent use of the trigger, however, the difficulty of the piece lies in the extended
slurred passages. The slurred passages are idiomatic for the instrument and lie
well for bass trombone. The phrases that have leaps, rather than scales, are by
far the most challenging. This piece could be thought of as a study in slurs and
lip slurs. Double tonguing should be highly considered as it will help the music
remain light and not bogged down. Trigger-Happy would serve as a great encore
piece to any recital.

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Önaç, David A.T. (b. 1984)
"…and the Red Sea…"
Dedicated to Jesus Christ, as promised.

Duration: 4'30''
Range: D1 - B4/E5
This musical portrayal of Jesus parting and crossing the Red Sea is quite
evocative and tastefully portrayed. The range is the most difficult component in
this piece, spanning from the lowest octave of the instrument up to the fifth
octave. The entire piece serves as a large-scale crescendo beginning softly in
the pedal register and working its way up to the upper register while getting
louder, a musical depiction of the rising sea. Önaç has carefully written the outer
ranges to be approached by stepwise motion making the range more easily
accessible. The piece begins slowly with long, held notes and begins to become
more rhythmically active with eighth, triplets, and sixteenth notes, and
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quintuplets. The final section (Rehearsal L) has a notated "alternative bass
trombone line" which is more difficult and written higher in range. The lower staff
only ascends to a B4 whereas the upper part reaches an E5. Both lines are
equally convincing, however, the top line would project a unique timbre when
reaching an E5 at a fortissimo volume.

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PAGÁN-PÉREZ, William (b. 1976)
Short Piece
“Dedicated to Javier Colomer”

Duration: 4'30''
Publisher: William Pagan-Perez 2013
Range: E1 - A3
William Pagán-Pérez has explored the lyrical and expressive side of the bass
trombone in Short Piece. Written with two main themes, a slow lyrical melody
and faster Latin dance, this contemplative work takes a dramatic turn throughout
the composition. Approximately half of the music is written below the staff and is
written in a tonal manner. The music is almost always stepwise or arpeggios and
is quite accessible for younger students who seek to play into the lower range of
the instrument in an easier fashion. The faster sections (simply marked "Latino")
allows for the performer to explore various valve combinations such as D2 with
the single valve or both valves engaged. This work would make a welcomed
addition to a recital.
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Pagán-Pérez, William (b. 1976)
Duration: 17'
Publisher: William Pagán-Pérez 2016
Range: E1 - B4
Extended Techniques: fall, glissando
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The composer states in his program notes16:
This Sonata is a cyclic piece for Bass Trombone and Piano with multi
movements. It was written in a neoclassical style. The first movement
Tribute to Myrta Silva, has the classical sonata structure (exposition,
development, and recapitulation), the periodicity of themes, melodies
and textures, and some modern musical language, moods and rhythms
from the Afro Caribbean music. Its introduction starts with a melody
inspired in a theme by Dr. Emanuel Dufrasne-González. This melody is
developed and varied during the entire movement. The second
movement Tribute to Dagmar Rivera, has the danza puertorriqueña’s
structure or form (introduction, first theme, second theme, trio and
recapitulation of the first theme), rhythms and styles. Its introduction
starts with the same melody of the first movement that was inspired in a
theme by Dr. Emanuel Dufrasne-González.
The third movement Tribute to Ruth Fernández and Sylvia Rexach, has
a structure or form similar to the structure of the danza puertorriqueña,
but its textures, rhythms, and style are from the Latin Bolero and cha
chá. It featured some developed variations from melodies of the first
movement. The fourth movement Finale: Tribute to Amanda Antonia
16
Pagán-Pérez, William. Sonata for Bass Trombone. William Pagán-Pérez Music, 2016.
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Miguel, has a freestyle structure that was inspired in El me mintió, a pop

song composed in the 1980s by Amanda Miguel (the Argentinean-
Mexican singer). Years later, the Chantelle Merengue Band recorded El
me mintió by Amanda Miguel in the 1991 recording album named Cada
vez con más clase where it features the Cuban Guaguancó rhythms
instead of the original pop styles. Finale: Tribute to Amanda Antonia
Miguel, features two basic melodies and some developed variations
inspired in Amanda Miguel music combining some Guaguancó’s
textures from the first movement of this sonata.
Rhythms throughout this sonata are exceptionally simple and do not impose
much difficulty on the performer. Syncopations are minimal and exist within
typical Latin styles. The music requires the performer to frequently move from the
valve register into the pedal register rather quickly but are idiomatic in harmonic
contexts. Optional 8vb’s are found on occasion in this work, however, it does not
change the required range, as notated in this annotation.

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Pagán-Pérez, William (b. 1976)
Duration: 15'
Publisher: William Pagán-Pérez 2016
Range: E♭1 - A4

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Similar to the previously annotated work by the composer, Sonatina is a
large-scale composition featuring various Latin dance forms. In comparison to
Pagán-Pérez's Sonata, this composition is slightly easier and may be better
suited for an undergraduate. Rhythms are much simpler and contain significantly
less syncopation. The first movement seems to "play itself" in that it is written
idiomatically for the instrument and is quite simple. A few fast lip slur passages in
both the bass clef and valve register will require the performer to stay light so as
not to drag. The second movement, danzón, is lyrical and remains mostly in the
staff. The middle section of the movement turns to a cheerful cha-chá before
returning to the opening danzón.
The third movement is also lyrical but in a different style. The syncopated
but still lyrical bass line may be challenging to some as they move in and out of
the valve register. This movement would be enhanced with vibrato, especially in
the lower register. The concluding movement is all around quite standard. Half
note triplets may be difficult for some performers and may create an opportunity
for students to rush this rhythm. This rhythm should remain as even as possible
so that the accompaniment can stay together without compromise of its own part.
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PANOS, Alexander
Titanium
Duration: 3'
Publisher: Brassworks 4 2006
Range: F1- F4
This brief, three minute work is a great piece to use as a recital opener. A
contrasting, more legato, middle section balances the rhythmic outer sections.
Select passages require quick use of the valve which may take some additional
coordinating to learn. This piece would benefit a student learning to navigate
alternating 3/4 and 6/8 time signatures. Although marked as a grade 3.5, the only
limiting factors are the addition of a few F1's. A student with a strong lower range,
or those looking to extend their range, will find this work rewarding.
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Plog, Anthony (b. 1947)
Initiatives
Duration: 4'
Publisher: Editions Bim 2014
Range: E2 - C4
Initiatives is a brief four minute work characteristic of Tony Plog's composition
style. Commissioned by M. Dee Stewart, Initiatives is part of a larger six-piece
collection, Adventures in Brass, meant to provide high school students with
repertoire suitable for college-entry auditions. The range of this piece is quite
simple, one and a half octaves. The opening and closing slow, melodic material
allows the instrument to show off its beautiful rich sonority in the center of its
range. The faster middle section is written, intentionally, to be difficult as it moves
throughout the staff, requiring a good slide arm. For teachers, this is a great
piece to use for students auditioning to music schools as well as an excellent first
semester jury piece to help bring students up to par.

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Rabushka, Aaron (b. 1958)
Duration: 15'
Publisher: Cimarron Music & Productions 2003
Range: C2 - A4
Extended Techniques: 3/4 and 1/4 semitones, bell in piano, glissando
Rabushka's Sonata is one of the more difficult pieces in this body of literature.
Most notably, the faster tempo and inclusion of quarter tones make this piece
most unique and exceptionally laborious. The performer must have an especially
good ear to hear the difference between 1/4 tone and 3/4 tone tonality. This two
movement work serves as a theme and variations, with the second movement
entitled "Variazioni". The second movement is quite rhythmic at a swift tempo,
paired with continued quarter tones from the first movement. The piano part is
equally difficult as the solo part. Lacking traditional harmony, chords are
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constantly changing and lack a return to previous material. Intervals often
traverse the distance of an octave or larger.

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Raum, Elizabeth (b. 1945)
Turning Point

Duration: 6'
Range: C2 - G♭4
Extended Techniques: glissando, trill, straight mute, flutter
With two primary themes, Raum transforms two simple themes into a complete
and coherent work. The opening harp-like accompaniment creates a dreamy
state contrasted by a more declarative solo part. In Raum's compositional style,
her phrases are full of scales which makes this work a great teaching piece for
those looking to increase their scale work in solo repertoire. Glissandi in alternate
positions also create an opportunity to work on intonation in those positions.

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RISHER, Tim (b. 1957)
JWMUSIC
Publisher: Wehr's Music House
This work is temporarily out of print and unavailable for examination. The
publisher believes that this work will be back in print in the future.
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RISHER, Tim (b. 1957)
n(o)w
Publisher: Wehr's Music House
This work is temporarily out of print and unavailable for examination. The
publisher believes that this work will be back in print in the future.
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Rivard, William (1928-2008)
Quadrivalence
“Dedicated to Randall Hawes”

Duration: 9'30''
Publisher: Encore Music Publishers 2010
Range: F♯1 - B♭4
Extended Techniques: multiphonics, improvisation, flutter tongue, rip,

glissando, double tongue, triple tonguing
Quadrivalence is a challenging work featuring several different extended
techniques. The main theme is created from a 12-tone row and goes through the
many transformations that a composer can apply to it. The harmonic language is
academically advanced and requires a good ear to hear the row. The composer
frequently applies large leaps in the solo part, sometimes larger than an octave.
The most challenging extended technique is Rivard's use of multiphonics.
Traditionally, the sung note is above the played note but Rivard challenges the
performer to sing below the played note. Another multiphonic used is the tritone
which poses a unique challenge as the bass trombone does not naturally
resonate with this interval. The solo part contains jazz improvisation with written
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out chords. The piano part is exceptionally challenging and requires an
accomplished pianist.
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ROSS, Clark Winslow (b. 1957)
Duck Soup
“Dedicated to Ken Knowles”

Publisher: Clark Winslow Ross 1994
Range: F1 - A♭4
Extended Techniques: glissando, play into piano
Duck Soup is a musical depiction of the 1933 movie by the same name featuring
Groucho Marx. The music is comical and spirited just like the movie. It is written
in an atonal style yet is accessible for audiences. Frequent alteration of time
signatures is found throughout the entire work and features advanced rhythms
and syncopations. The accompaniment is quite difficult and requires a skilled
pianist. This work would be a welcomed addition to a graduate recital and an
excellent piece to any recital.

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ROSS, Walter (b. 1936)
Tarantella

Duration: 3'
Publisher: Walter Ross Music 2009
Range: F2 - E♭4
Nebraska born composer Walter Ross has written a rather simple piece of music
for a beginner bass trombonist. Educators should point to this solo as a beneficial
teaching tool for young players, both on bass and tenor trombone. Tarantella
makes great use of the valve on C3 and F2 in a melodically simple manner. The
music makes the performer move in and out of the valve register almost always
in the context of an arpeggiation. Students should aim to keep a light but firm
articulation so as not to bog down the dancing character.

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SACCO, Steven Christopher (b. 1965)
“Dedicated to John Rojak”

Duration: 15'30''
Publisher: American Composers Edition 2007
Range: E♭1 - A4

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Dr. Christopher Sacco has written a rhythmically complicated but accessible
sonata for John Rojak that is accessible to both performer and audiences. Sacco
frequently uses quintuplets and septuplets which includes syncopations within
those tuplets. The most challenging rhythm in the entire sonata is a syncopated
7:4 that is almost like a duplet but within a measure of 5/8. The work is rated
level 5 but is certainly able to be performed by an advanced graduate student.
John Rojak has recently recorded this sonata and is an exemplary performance.
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SAGLIETTI, Corrado Maria (b. 1957)
Concerto Classico
Duration: 12'30''
Range: F♯1 - Bb4
Extended Techniques: trill, glissando, tremolo, straight mute,
harmon mute, singing, plunger, tap bell with plunger, tap piano with plunger
Saglietti's Concerto is a challenging, yet exciting, work for the bass trombone.
The composer uses almost every extended technique to bring this work to life
with techniques such as trills, plunger taps, singing, and much more. This work
does not contain overly difficult rhythms but the addition of plunger effects
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(open/close, tap on the bell, tap on piano) will add a level of difficulty that should
not be underestimated. Significant time should be spent learning to execute the
extended techniques so that it firstly, produces a good sound, and secondly looks
visually simple to an audience. The piano part is complimentary and well written
to support the soloist without overpowering them.

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Schneider, Michael P. (b. 1975)
Elegy
Duration: 4'
Publisher: Michael P. Schneider 2017
Range: C2 - B4
Extended Techniques: trill
Elegy is a simple and expressive piece that beautifully shows the softer, tender
side of the instrument. An optional 8va passage would extend the range up to D5
once with a trill on C♯5 to D5. This optional 8va passage could be easily omitted
without disrupting the melody. Harmonies are rather straight forward and provide
obvious phrasing and cadential points. Basic rhythms in compound meter
amount to the majority of the piece except for a few non-consecutive sextuplets.
The accompaniment is as simple as the solo part and provides a depth of
dialogue to the piece. The middle section of the accompaniment is reminiscent of
a slow movement from a work by Eugène Bozza.

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Schnyder, Daniel (b. 1961)
Duration: 12'
Publisher: Editions Marc Reift 1996
Range: D1 - G4
Extended Techniques: glissando, fall, vowel manipulation,
plunger, bucket mute
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Soloists familiar with Daniel Schnyder's compositions will find many of his
unique compositional techniques in this work. This jazz-inspired piece is intended
for the professional soloist and requires exceptional double tonguing, or doodle
tonguing, and the flexibility to freely move in and out of registers. The first
movement is the longest movement and features sharp, contrasting contours in
phrasing as well as the prominence in alternating meters-4/4, 7/16, 3/8, 5/8, and
many more. The soloist and accompanist must be meticulous in their timing
moving in and out of meters as both parts are exceptionally challenging due to
syncopations. The harmonic language is particularly challenging which results in
frequent accidentals and uncommon intervals such as diminished and
augmented octaves and augmented thirds. The cadenza in this movement
includes the lesser performed effect of vowel manipulation. Specifically,
Schnyder asks for the vowels to replicate the effect of an opened and closed
plunger. The soloist should experiment with a variety of vowels to find the most
optimal and resonant effect.
A relaxing slow second movement in the style of a ballad provides a
balance to the sporadic first movement. A bucket mute is used throughout and
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creates a dark and mellow timbre to the music. The accompaniment is quite
simple, providing a standard quarter note pulse embellished with a few offbeat
patterns. The soloist is encouraged to use rubato, as marked in the score, in
order to create a freeing style almost in the form of a jazz ballad. The final
movement is recollective of the first movement with a sporadic feel and ever-
changing meter. Mixed compound meters are found throughout, 9/8, 11/8, 15/8,
and 12/8, which create a sense of forward motion as it feels like the music is
yearning for a regular beat pattern that it never achieves. Extensive turns are
notated in the middle of passages which create an additional level of difficulty in
addition to an already difficult part. Players are encouraged to use alternate
positions in order to make the ornamentation more free-flowing. An exceptional
pianist is required for this piece as the jazz harmonies and rhythms may not be a
comfortable style for all pianists. Despite the rhythmic complications among solo
and accompaniment parts, this work is well worth the required collaboration.
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Schnyder, Daniel (b. 1961)
Winter 1941
Duration: 2'
Publisher: Danymu Publishing 2011
Level of Difficulty: D1 - F♯4
Range: 4.5
Extended Techniques: falls, flutter, rip
This short and difficult work is filled with jazz harmonies and challenging rhythms.
Rhythms and ornamentations will be the most difficult components of this piece.
Due to the fast tempo, being able to execute the falls and rips will take good
practice in order to not take away from the melody notes. The soloist may find it
beneficial to learn this entire piece without ornamentation first. The tessitura of
the piece lies between B♭1 and C4. The low first octave notes do not appear until
the end at a slower, lento tempo in whole notes and are approached by stepwise
motion, making it more accessible to a level 4 student with a strong pedal
register. An accomplished graduate student should be capable of performing this
work with a skilled pianist.

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SIEKMANN, Frank H.* (b. 1925-?)
Colloquy

Duration: 4'
Publisher: Brelmat Music 2004
Range: F1 - C5
Extended Techniques: glissando, trill, rip
* Dr. Siekmann’s year of death cannot be determined but is thought to be circa
2015.
Educators and performers will find great value in this work as it contains many of
the compositional characteristics that are found in other works by Dr. Siekmann,
but is not as difficult. The upper and lower notes of the range are used sparingly
making this work quite accessible for undergraduates. This piece meets the
technical demands of a level 3 work, except for the range, and would be an
excellent challenge to a student looking to advance the level of their playing. The
music itself is harmonically simple and consists of scalar passages and
arpeggios. Two main themes are presented throughout the work and are varied
through harmonic and rhythmic transformations. The closing nine measures has
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a short but extended 16th note passage at a moderately fast tempo and may
require multiple tonguing depending on how strong of a single tongue the
performer can control.

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SIEKMANN, Frank H.* (b. 1925-?)
Rhapsody on Pennsylvania "Dutch" Songs
“Dedicated to Frederick Boyd”

Duration: 10'30''
Publisher: Brelmat Music 1996
Range: D1 - C5
Extended Techniques: triple tongue, double tongue, glissando
* Dr. Siekmann’s year of death cannot be accurately determined but is thought to

be circa 2015.
As the name suggests, Siekmann has set three Pennsylvania Dutch songs in a
rhapsodic style, each having their own movement. The first movement presents
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the first melody and then transforms the melody into a quasi theme and
variations. This movement contains extended double tonguing passages and
wide intervallic leaps, sometimes larger than an octave. The cradle song second
movement shows the expressive and lyrical side of the soloist. A strong upper
register is required for the middle part of this movement. A tour de force third
movement is a culmination of a new melody as well as quotations of previous
movements. This movement opens in a true rhapsodic style but quickly turns to a
playful song. The music slowly gets faster section by section and has extended
double tonguing passages in the middle register and a return to the second
movement theme in the upper register. The work ends in a fast, animato rhythmic
style making it a great "barn burner" to end any recital.

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SIEKMANN, Frank H. * (b. 1925-?)
Ton(e)y
Publisher: Brelmat Music
* Dr. Siekmann’s year of death cannot be accurately determined but is thought to

be circa 2015.
This work was unavailable for examination. At the time this document was
written, it is believed that the publishing house was being transitioned to a new
owner/manager after the death of the Dr. Siekmann. Given the information about
Dr. Siekmann’s other works in this bibliography, it is assumed that the music is in
a similar manner.
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SILVERMAN, Faye-Ellen (b. 1947)
Alternating Currents
“Commissioned by Thomas Matta”

Duration: 7'
Publisher: Seesaw Music 2004
Range: G1 - A♭4
Bass trombonists will find several technical, melodic, and stylistic challenges
throughout this piece. The first section is full of terraced dynamics and glissandi.
Some glissandi are not harmonic and may need to be masked with the use of
partials or valves, such as a glissando from E♭2 to F♯2. Wide intervals are found
throughout the middle of the piece with a brief section written in tenor clef.
Performers will find that the mood of the piece alternates frequently, alluding to
the title of the composition, and should be sure to embrace these changes in
order to give a convincing performance.

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Stephenson, James M. (b. 1969)
Sonata Rhapsody
“Dedicated to Gerry Pagano”

Duration: 19'
Publisher: Stephenson Music 2010
Range: B♭0 - D5
Sonata Rhapsody was inspired by the Gateway Arch in St. Louis, Missouri.
Musical gestures and phrases are found throughout the work trying to depict the
physical arch shape, for example, the first phrase of the entire work. Large scale
phrases show this shape throughout the piece. This work is indeed in sonata
form and is defined by its rhapsodic character in the middle sections. Performers
will require fluid flexibility in traversing multiple octaves in a single phrase which
is characteristic of this piece. Sections of this piece are written in B major and will
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require good slide technique due to the wide slide positions moving from 1st to
5th position or trigger to 5th position. This work is intended for the professional
soloist or doctoral-level recital.

184
Stevens, John (b. 1951)
The Kleinhammer Sonata
“Commissioned by Alan Carr (lead commissioner)”

Duration: 17'
Publisher: Potenza Music 2016
Range: E1 - F♯4
Stevens has written this sonata in honor of the legendary bass trombonist of the
Chicago Symphony, Ed Kleinhammer. The first and last movements are

185
rhythmically and harmonically challenging to both the soloist and pianist. Meters
frequently alternate between compound and simple meters and tonal centers are
difficult to perceive. The solo part often requires precise slide movement while
moving between difficult phrases. Half steps are found throughout the work and
care should be taken to place these notes with precise intonation. The slow and
lyrical second movement balances the heavy outer movements. The second
movement is the easiest movement of the entire work but requires an advanced
sense of phrasing.
186
STEWART, Frank Graham (b. 1920-2012)
Divertimento
Duration: 5'30''
Publisher: FGS Music 1997
Range: D♯1 - G4
Extended Techniques: flutter, glissando
Soloists will find simplicity in the melodies of this intriguing work by Frank
Stewart. This piece is rated a level 4.5 due to the single D♯1 serving as the last
note of the piece. Without this note, the piece would be rated 3.5. Students who
enjoy this work but are unable to play a D♯1 may choose to play this note an
octave higher. The piano part is significantly more difficult than the solo part but
provides a regular pulse. The mysterious nature of this music would lend itself
well to closing the first half of a recital. The simplicity in rhythms and range are
well suited for an undergraduate.

187
Stroud, Richard (b. 1982)
Metamorphosis of Narcissus

Duration: 3'30''
Range: E1 - G4
Although this work bears the same title as a famous portrait by Salvador Dali, this
composition is inspired only by the title and not the painting itself17. The piece is
quite simple in regard to rhythm and range. Two quintuplets are found in this
work and its range is modest, containing only a few pedal notes and brief
passages using the trigger range. Young performers may find it challenging, but
certainly attainable, due to the lack of clear tonality and unpredictable cadential
points. Educators may find this work beneficial to use in lessons, since it can be
learned over a few weeks rather than taking an entire semester to learn, for a
jury or recital. Since the work is short in duration and relatively simple it can
17
Stroud, Richard. Metamorphosis of Narcissus. Tamworth, United Kingdom. Warwick Music,
2003.
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serve as an entry-level piece for students to begin hearing advanced harmonies
and phrase structures.

189
Stubblefield, Roger G. (b. 1965)
The Reluctant Protagonist
“Dedicated to Felix Del Tredici”

Duration: 11’
Publisher: Subito Music Corporation 2014
Range: A1 - B♭4
Extended Techniques: double tonguing, triple tonguing, percussive noises
Dr. Roger Stubblefield composed this advanced work for bass trombone soloist
Felix Del Tredici. The work features a difficult, but accessible, tonal language.
Several sections are written in a fast 3/4 meter, but felt in one, and contain triple
tongued phrases and fast lip slurs. The composer asks the performer to "make
up any (non-pitched) sound effect that you wish using your embouchure". The
performer must create two different effects and asks for a fast alteration between
the two. This may or may not be similar to a beatboxing sound effect, depending
190
upon the performer's chosen effects. This work is geared towards an advanced
graduate student or professional soloist.

191
SWEDEN, John
Coffee and Cake

Duration: 4'30''
Range: G♭1 - A♭4
Coffee and Cake is a useful work that can be used to help elevate an
intermediate student's level of playing. Sweden frequently uses large leaps both
into the pedal register as well as the middle register. These kinds of leaps are
commonly found in level 4 and higher pieces and Sweden's composition can be a
stepping stone to higher level works. The allegro sections contain a funk-rock
inspired piano accompaniment. A jazz waltz in D♭ major will require a fast slide
arm due to the wide slide positions. The score contains minimal articulation
markings; however, the music should not be played without contrast in
articulations.
192
Tuthill, Burnet (1888-1982)
Editor: Bruce Gbur
Music for Bass Trombone

Duration: 4'
Publisher: Prairie Dawg Press 2009
Range: G1 - E♭4
Published posthumously, this piece of music displays the great sonority of the
bass trombone in the mid to low register of the instrument. This work would serve
as an excellent college audition piece or first semester solo. The range is modest
both in the upper and lower extremities and forces the soloist to maintain good
tone over wide distance phrases. This work would be a great tool for young
players to develop moving in and out of the trigger and pedal range in a melodic
manner.
193
Uber, David (1921-2007)
Legend of Lake St. Catherine
Duration: 5'30''
Publisher: Kendor Music 1996
Range: G1 - C4
The author is uncertain as to whether or not this work was originally intended for
bass trombone or tuba. An ITA Journal publication indicates the composition to
be for bass trombone yet the printed score states tuba solo. This majority of the
music lies in the bass clef and valve register of the bass trombone which makes
it a great study piece for working on production of sound, flexibility, and slide
technique. Simple harmonies and scales are evident throughout the work making
it accessible for students learning to be more fluent in the valve register. The
scale work involved also makes this a great exploration in the choice of which
valve combinations to use on certain notes and in specific passages, specifically
if D2 and/or C2 should be played on single or double valves. Educators may find
it advantageous in assigning this piece in lessons in lieu of a valve/pedal register

194
etude. It should be noted that as of January 2019 this work is out of print by
Kendor Music but limited copies are still for sale via wholesale sheet music
suppliers.
195
Uber, David (1921-2007)
Rhapsody in C Minor
Duration: 4'30''
Publisher: Kendor Music 1998
Range: G1 - G3
Rhapsody in C Minor is an excellent portrayal of a level 3 piece. The tessitura
explores the vocal and technical aspects of the bass trombone that audiences
often enjoy. As a tonal work with few accidentals, this is an ideal work to use to
assist a bass trombonist to improve upon their low valve register as well as
scalar passages that bridge the valve register into the bass clef. With only one
G1, a first year university student could find great use of learning this piece to
help solidify the tessitura in which the bass trombone so often plays.
196
Vollrath, Carl (b. 1931)
Duration: 7'
Publisher: Trombone Association Publishing of Wsn. Ma. 1986
Range: F1- A4
Extended Techniques: glissando, double tongue, straight. mute
This single movement sonata is full of rhythm and life. Syncopation in fast tempi
and tonal complexity are the most advanced aspects of this work. Several
glissandi require the soloist to use alternate positions as well as double tongue in
alternate positions, for example, Db4 in 5th position or E3 in 7th position. An
accomplished accompanist is required in order to execute this piece to its fullest
potential.
197
WARBURTON, Jonathan b. (1961)
Almost Swing
“Dedicated to John Higginbotham”
Duration: 3'30''
Range: D2 - E♭4
Bass trombonist and composer Jonathan Warburton is mostly known as a
performer who frequently commissions new works for the bass trombone. His
compositions for the bass trombone are well suited for younger players. Almost
Swing is set in a Latin style, established by the piano, and allows the soloist to
sing lyrically. As the title mentions, this music is not exactly swing and should be
played without swinging the offbeats. The range is mostly in and above the bass
clef and only twice goes below the staff, one of those times being for the last
note.
198
Warburton, Jonathan (b. 1961)
Among Us
“Dedicated to Randy Hawes”
Duration: 4'30''
Range: D♭2 - E4
Educators looking to challenge a beginner bass trombonist will find great value in
this lyrical piece. There are only two notes which engage the valve below the
staff but the tessitura of this piece is within the staff, the most common range of
the instrument. This piece will help with developing tone in this register as well as
long slide positions due to the key. Rhythms are straightforward and should not
provide difficulty to the student.

199
White, John (b. 1936)
Sonatina
“Dedicated to Peter Harvey”
Duration: 7'30''
Range: C1 - G4
200
Sonatina is a rhythmically simple composition but can be difficult to musically
express. The range descends to a C1 but is notated that it could optionally be
played up an octave, leaving the range to still descend to E1. The first movement
requires a complete wall of sound on every note no matter how large of an
intervallic leap. The second movement is written in the lyrical style of a
barcarolle. The soloist and accompanist each have solo voices as if they are
singing back and forth to each other. A sudden vigoroso middle section in 6/8
stops the barcarolle for a more playful style. The final movement presents the
theme from the first movement in a fast dancing style in 3/8. The last few
measures finally restate the theme just like the beginning of the work. The
performer should be mindful to carry over the same wall of sound concept when
returning to this section.

201
Wilborn, David F. (b. 1961)
Jazz Triptych
Duration: 22'
Range: A1 - G♭4
Extended Techniques: stomp, straight mute, plunger, flutter tongue
202
Wilborn has tastefully crafted this work in three distinct jazz styles-ragtime,
tango, and boogie woogie. For such a lengthy composition, it is commendable as
to how Wilborn has balanced the solo and accompaniment parts so as to not
fatigue the soloist. This composition also clearly creates a dialogue between
soloist and pianist making them equal voices. The first movement will come to life
with clear articulations that differentiate between slurred note groupings and
those not slurred. A lyrical "sultry slow drag" in the middle of this movement
provides a light contrast from the syncopations of the ragtime.
The tango is orchestrationally thinner and provides a lighter style for the
commonplace second movement. Perceiving this movement in two rather than
four will help the soloist to achieve the feel of a tango. The piano accompaniment
does just that, accompanies the solo bass trombone line with chords and a bass
line. The accompaniment eventually gets more syncopated to match the soloist,
taking on the feel of a rhythm section, and then returns to the simple
accompaniment like the beginning. The final boogie movement provides a steady
tempo for the soloist to play over. Due to the swung nature of the boogie style,
both the soloist and accompanist will have to match their swing styles. The solo
part contains chromatic lines and the soloist should ensure that slide positions
are not compromised even in the faster tempo, guaranteeing proper intonation.
The brief use of a plunger is used on long, sustained flutter notes. Having to hold
the plunger will result in the loss of using the trigger, requiring the soloist to play
B2's in seventh position.

203
WILLIAMS, Ronald Ray
Elegy
“Dedicated to A. G. McGrannahan III”
Duration: 4'30''
Publisher: International Trombone Association Manuscript Press 2003
Range: A1 - A4
Written in a tonal style, this colorful work is expressive and a great addition to
any recital. Williams consistently uses the tenor clef for phrases that extend
above F4. The use of glissando in this work may be better perceived as
portamento, giving a more vocal and sorrowful quality to the work. Educators can
use this work to assist students in enhancing their phrasing and expressivity in a
more modern but tonal language. A strong high school student should also be
able to perform this work.

204
WILLIAMSON, Michael
Four Vignettes
“Dedicated to Reggie Chapman”
Duration: 6'30''
Range: B1 - G4
205
Four Vignettes is a valuable work to help increase a student’s playing from a
Level 3 to Level 4. Slightly challenging rhythms as well as large intervals are
found throughout this multi-movement work. The first, second, and fourth
movements are fast enough that it requires double tonguing. Some phrases are
slurred and would benefit from using Du-Gu syllabus rather than Tu-Ku. Some
phrases extending beyond an octave, which is typical of works Level 4 or higher,
but are not too advanced for a performer looking to increase their playing
abilities.
206
Wolking, Henry (b. 1948)
Bass Trombone Music

“Dedicated to Donn Schaeffer”
Duration: 12'30''
Range: C1 - F4
Extended Techniques: flutter, glissando, triple tongue
207
Set in four different styles, soloists are able to use several different
techniques and varying articulations to bring out the nuances of each movement.
The outer movements are jazz inspired whereas the second movement explores
the techniques found in gamelan music. The third movement is written in memory
to the composer's dog, Simon, and portrays a transformation of harmonies from
darkness to light and return back to darkness.
Inspired by Rodger Miller’s song “Dang Me”, the melody of the first
movement is a “recomposition” of this song18. The first movement is highlighted
by the common jazz articulation of alternated long and short notes. Tenuto notes
should be held for their full duration, according to the composer's program notes.
Gamelan influence is found in the second movement and was inspired by the
compositional techniques of Lou Harrison. The opening eight notes of the could
be perceived as the chiming of the traditional gamelan instruments. The
performer should approach this movement in a classical manner and keep
articulations light. Depending on the performer's tonguing abilities, they may have
to use double tonguing for a few passages. Syncopated rhythms and ambiguous
note groupings in the piano will create difficulty for the soloist to keep a steady
pulse and will require extra practice with the accompanist.
18
Wolking, Henry. Bass Trombone Music. Vancouver, Canada. Cherry Classic Music, 2007.
208
With the concept of darkness into light, the movement is written in memory
of the composer’s beloved dog, Simon. The soloist may consider when the use of
vibrato may be a tool to enhance the melody. The composer mentions the use of
vibrato in the upper register which may allude to the desire for no desire in the
middle to low register, which is a choice the performer must ultimately make
themselves. The final movement is written with consideration of the playing styles
of Thelonius Monk, as the title suggests, and requires clear intonation in the
several quasi-chromatic scales. A note at the beginning of the movement states
"dynamics should be constantly 'in your face', that is anywhere between mf-ff".
Both the performer and accompanist should pace their dynamics and choose as
to where they want to expand their louder dynamics as the entire movement
played at a fortissimo dynamic will be perceived as untasteful and unneeded.

209
Chapter 5
Observations from the Study
This chapter analyzes a variety of observations from the author after
annotating, studying, and playing the music in this collection. The observations
discussed are by no means all observations possible but are significant to the
point of necessitating further academic consideration. The author also hopes that
this insight will inspire further research, study, and performances.
To the author’s surprise, there are a limited number of easy works written
for the bass trombone. Table 5.1 displays the number of works categorized in
each difficulty level, including mid-grade levels. No musical scores are
categorized for level 1 and 1.5. Furthermore, levels 2 and 2.5 each only had two
pieces ascribed to their difficulty. The lack of beginner level pieces leaves a
substantial hole in the bass trombone repertoire and leaves beginner bass
trombonists at a significant disadvantage.
Without beginner-level music, students are either forced to play solo
literature that is too difficult for them or learn études from étude books and wait to
perform solo literature until they reach level 2. For composers and publishers,
this could be a potentially rewarding niche to fill. Many teachers and students
would benefit from solos that are targeted for the beginner bass trombonist.
Specifically, works that target the use of trigger C3, B2, and F2 would be most
advantageous as many beginners are simply trying to navigate the use of the
valve(s).
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Table 5.1: Level of Difficulty and Micro-Output of Works
Level 1 0
Level 1.5 0
Level 2 2
Level 2.5 3
Level 3 24
Level 3.5 27
Level 4 20
Level 4.5 16
Level 5 28
The remaining works show an impressive amount of repertoire written for
the intermediate to advanced performer. Figure 5.2 illustrates the total number of
works composed for each grade level, excluding the in-between levels. It is
evident that Level 3 works encompass close to half of the total literature. Many
teachers may find this subset of literature to be tremendously helpful in preparing
students for university-level auditions. University professors may also find value
in using these works to help bring weaker bass trombone students up to par
without assigning repertoire that is too difficult for them to learn. Level 3 pieces
commonly, but not specifically, provide musical passages in the lower register, a
range in which many younger bass trombonists do not spend enough time
developing sound and facility.

211
Table 5.2: Level of Difficulty and Macro-Output of Works
Level 1 0
Level 2 5
Level 3 51
Level 4 36
Level 5 28
Literature rated levels 4 through 5 amounts to the other half of the works
in this collection which gives a certain amount of legitimacy to the bass trombone
as a solo instrument. A sizeable amount of advanced music suggests that
composers are confident in the bass trombone’s abilities and are exploring ways
in which to highlight its voice. Specifically, the lowest range of the instrument has
seen greater exploration than its upper register. The majority of works these
advanced pieces of music contain pedal notes well into the first octave,
especially towards the lower part of this octave. One piece in particular,
Catharsis by Amy Riebs Mills, contains an A0, which is the lowest note on the
piano.
Range was a significant determining factor when creating the grading
scale. The accessibility and flexibility of the low range of the beginning to
intermediate bass trombonist is more slowly obtained than that of the upper
register. When using range as a determining factor in selecting works for
students, the author feels strongly that a graduating undergraduate should be
able to play down to an F1 with ease, and preferably an E1. Any range below
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those previously stated notes is a reserved standard for graduate and
professional students.
Of the 103 different composers, only 7 are women. The works in this
bibliography by these composers are comparable in quality to the works by their
male counterparts and are equally worthy of being performed. Of these 6 women
composers, the author was previously aware of one composer, Elizabeth Raum.
The author believes that this is due in part to his own lack of knowledge
regarding bass trombone repertoire written by women; however, this lack of
knowledge may have risen due to the lack of notable performances of this
literature. It is important to note that women composers do in fact contribute to
the greater body of bass trombone literature when limitations of this bibliography
are not imposed. For example, Elizabeth Raum has written works for solo bass
trombone in other musical idioms.
While compiling these musical works it was evident that one composer
notably contributed a significant output of compositions to the genre of bass
trombone and piano, Tom Dossett. Dossett has more than 20 years of combined
experience serving as both a composer and arranger for the United States Air
Force Band in Washington, DC, writing for America’s International Musical
Ambassadors. His multi-movement piece Trilogy has been premiered by Thomas
Streeter, a former member of the Airmen of Note, and Steve Norrell, bass
trombonist of the Metropolitan Opera. The same work has been recorded by
Denson Paul Pollard of the Metropolitan Opera.

213
Of these twelve works, eleven of them are rated as a level 3 or 3.5. Such
moderately advanced ratings make these works well-suited for undergraduate
juries and/or recital pieces. Dossett’s shorter pieces serve as character pieces
and can greatly assist teachers in helping students perform in a certain style or
work on a specific skill, such as fast scalar passages, the upper range, or jazz
styles. Three of the composer’s compositions are multi-movement and are quite
suited for undergraduate recitals. What teachers may find most accessible about
Dossett’s music is that the ranges are modest, never extending beyond F1 and
A♭4. Students will benefit greatly from this repertoire that is written with trigger
and pedal register passages in mind but is neither too simple nor too hard.
In addition to composer output, the author observed a considerable
amount of works dedicated to or commissioned by Jonathan Warburton. Nearly
30 works are attributed to the British bass trombone soloist, composer, and
educator. Warburton may or may not be a common name to educators or
students but his contributions to bass trombone literature are commendable.
Little biographical information is known due to a lack of personal website and
digital footprint but Warburton is a graduate of the Royal Birmingham
Conservatoire, graduating with first class honors. A 2016 biography of Warburton
from a recital program states that he has had over 30 original compositions
written for him and this bibliography contains the majority of these works.
According to recent ITA Journal publications, he is an active recitalist in the
United Kingdom, North America, and Australia. As a composer, his works are
published by Warwick Music, Cherry Classics, and Wehr House Music.

214
Among all works examined, there is a noticeable influence of Latin music
upon these compositions written for the bass trombone. Puerto Rican composer
and bass trombonist William Pagán-Pérez has written four works (all of which are
included in this collection) which demonstrate a wide variety of Latin dance
styles. According to the composer’s biography, his music contains
“characteristics of the traditional and folkloric music of Puerto Rico, the Afro
Caribbean, and Hispano America”19. Pagán-Pérez’s Sonata is an exceptional
work in that it includes elements of danza puertorriqueña, bolero, cha chá, and
guaguancó. Beside the cha chá, the other dance styles are ones that are
commonly lesser known and allow both teacher and performer to study this
music by a native composer. Additional styles by the composer in other works
include rumba, danzón, bachata, and típico.
Escenas Latinas by Enrique Crespo was written in a similar manner of
Pagán-Pérez’s Sonata, both of which incorporating a different specific style in
each movement: candombe, tango, and choro. Tom Dossett has also written an
entire piece in the style of a mambo. In less obvious cases, composers will briefly
add Latin sections within a piece, which may not be inferred from its title. For
example, Jérôme Naulais’ Etoile des Profondeurs suddenly has a Latin-inspired
groove with rhythmic piano accompaniment and a syncopated solo part. Various
other compositions exhibit similar passages to those found Naulais’ piece.
In addition to the influence of Latin music on compositions, the author also
observed the continued influence of jazz in bass trombone literature (but second
19
Pagán-Pérez, William. The Bo Guamo's Battle. William Pagán-Pérez Music, 2016.
215
to that of Latin). Multi-movement works by David Wilborn and Tom Dossett are
written entirely in the jazz idiom. Moreover, individual movements from multi-
movement works are also influenced by jazz and swing. The bass trombone has
a long history with jazz, originating from the Paris Conservatory. Eugène Bozza’s
New Orleans, written in 1962, is one of the most popular pieces performed from
the Conservatory repertoire. Jazz harmonies are most obviously recognizable in
the accompaniment and harmonic implications are found in the solo part. The
ending allegro section is clearly imitative of ragtime, an homage to the origins of
jazz at the turn of the 20th Century. Further influence of jazz is still noticeable in
Richard Lieb’s Concertino Basso, written a decade after New Orleans.

216
Bibliography
Biedenbender, David. Liquid Architecture. Bent Space Music, 2012.
Buss, Howard. Illuminations. Lakeland, Florida: Brixton Publications, 2001.
Crespo, Enrique. Escenas Latinas. Germany. Lydke Musikverlag, 1992.
Deegan, Robert. The Last Words of Crowfoot. Toronto, Canada. Canadian Music
Centre, 2010.
Everett, Thomas G. Annotated Guide to Bass Trombone Literature. Nashville:

Brass Press, 1973.

Brass Press, 1978.

Brass Press, 1985.
Faust Randall. Ancient Scenes. Macomb, Illinois. Faust Music, 2017.
Lamb, Shane. "Lamb - Pledge for Bass Trombone and Piano." Cherry Classics
Music. Accessed April 10, 2019. https://cherryclassics.com/products/2642.
Lawrence, Patrick David. Solo Literature for Trombone and Organ: An Annotated
Bibliography. 2009.
Matchett, Steve. Expressions. Houston, Texas. Gulf Wind Music, 1995.
Pagán-Pérez, William. Sonata for Bass Trombone. William Pagán-Pérez Music,

2016.
Pagán-Pérez, William. The Bo Guamo's Battle. William Pagán-Pérez Music,

2016.
Setzer, Louis. Solo Literature for Trombone and Harp-An Annotated

Bibliography. Vancouver, Canada: Cherry Classics Music, 2018.
Shinn, Erik Thomas. “An Annotated Bibliography Of Works For Solo Bass
Trombone And Wind Band” (2015).
http://purl.flvc.org/fsu/fd/FSU_migr_etd-9453.
Stroud, Richard. Metamorphosis of Narcissus. Tamworth, United Kingdom.

Warwick Music, 2003.
217
Sorensen, Dale. Canadian Solo Trombone Recital Repertoire: An Annotated

Bibliography. Toronto: University of Toronto, 2015. <https://central.bac-
lac.gc.ca/.item?id=TC-OTU-71328&op=pdf&app=Library>.
Thompson, J. Mark, and Jeffrey Jon Lemke. French Music for Low Brass
Instruments: An Annotated Bibliography. Bloomington: Indiana University
Press, 1994.
Wolking, Henry. Bass Trombone Music. Vancouver, Canada. Cherry Classic

Music, 2007.
218
Appendix A
List of Composers by Last Name
Aharoni, Abraham
Allen, Don
Andraschek, Siegmund
Auger, Evelin
Bass, Eddie Covington
Ben-Amots, Ofer
Benton, Robert
Bevan, Clifford
Biedenbender, David
Blumenfeld, Aaron
Bolter, Norman
Bowie, Gordon W.
Buss, Howard J.
Cadée, Jean-Louise
Candillari, Daniela
Chaulk, David
Courtioux, Jean
Cowell, John
Crespo, Enrique
Damase, Jean-Michel
Deegan, Roger
Denham, Robert
219
Dossett, Tom
Duarte, Fernando
East, Harold
Ewazen, Eric
Faust, Randall E.
Fontanot, Fabrizio
Francis, Nicholas
Frith, John
Gabel, Fabien
Gillingham, David
Goodwin, Gordon
Grantham, Donald
Green, Alwyn
Grier, Jon
Grossner, Sonja
Gulino, Frank
Hartzell, Doug
Hogg, Merle E.
Kallman, Daniel
Kanka, Jan
Kazik, James
Koetsier, Jan
Krivokapič, Igor
220
Lamb, Shane
Ludwig, Christopher
Lund, Gudrun
Martin, Viv
Matchett, Steve
Matthews, Mike
Maunder, Peter
McDougall, Ian
Meyer-Selb, Horst
Michel, Jean-François
Miller, Jeffrey
Mills, Amy Riebs
Molyneux, Jim
Moren, Bertrand
Naulais, Jérôme
Nesterenko, Evgeni
Nickel, Christopher Tyler
Nightingale, Mark
Önaç, David A. T.
Pagán-Pérez, William
Panos, Alexander
Plog, Anthony
Rabushka, Aaron
221
Raum, Elizabeth
Risher, Tim
Rivard, William
Ross, Clark Winslow
Ross, Walter
Sacco, Steven Christopher
Saglietti, Corrado Maria
Schneider, Michael
Schnyder, Daniel
Siekmann, Frank
Silverman, Faye-Ellen
Snelgrove, Michael
Stephenson, James M.
Stevens, John
Stewart, Frank Graham
Stroud, Richard
Stubblefield, Roger G.
Sweden, John
Thilloy, Pierre
Tuthill, Burnet
Uber, David
Verhelst, Steven
Vollrath, Carl
222
Warburton, Jonathan
White, John
Wilborn, David F.
Williams, Ronald Ray
Williamson, Michael
Wolking, Henry
Woolfenden, Guy
223
Appendix B
List of Works by Grade Level
Level 1
No works in this bibliography are graded level 1.
Level 2
Tarantella (Ross)
The Waltzing Walrus (Hartzell)
Level 2.5
Almost Swing (Warburton)
Among Us (Warburton)
Moving On (Woolfenden)
Level 3
Ancient Scenes (Faust)
Bagatelle (Lamb)
Behind the Trees (Francis)
Concert Piece (Green)
Elegy (Gillingham)
Elegy (Schneider)
Elegy (Williams)
Fantasy (Mathews)
Furiant (Dossett)
Gangbusters (Kazik)
224
Hyper 1 (Dossett)
Initiatives (Plog)
Midlands Melody (Ewazen)
Music for Bass Trombone (Tuthill)
Pledge (Lamb)
Poème (Nickel)
Rhapsody in C Minor (Uber)
Speed Lush (Dossett)
Sweet Lullaby (Dossett)
Tango (Andraschek)
Three Admirations (Kallman)
Three Cups of Life (Dossett)
Waltz for Elephants (Dossett)
Withering Grass (Denham)
Level 3.5
Alternating Currents (Silverman)
Ballad (Miler)
Buffo Waltz (Nesterenko)
Carrousel Song (Dossett)
Coffee and Cake (Sweden)
Colloquy (Siekmann)
Dance Movements (Benton)

225
Expressions (Matchett)
Extremely Close (Candillari)
Fantasy on Sky Boat Song (Francis)
Forests of the Night (Bass)
Four Bells (McDougall)
Four Canticles (Kallman)
Four Vignettes (Williamson)
Fünf Charakterstücke nach Motiven eines eigenen Themas (Meyer-Selb)
Mamba Dance (Dossett)
Metamorphosis of Narcissus (Stroud)
Rafales (Auger)
Scenes (Dossett)
Sonatina for Bass Trombone (East)
Sonatina for Bass Trombone (Lund)
The Last Words of Crowfoot (Deegan)
The Notorious Captain Wink and Sailor Sedge (Dossett)
Titanium (Panos)
Toccata (Dossett)
Trilogy (Dossett)
Turning Point (Raum)

226
Level 4
Gavotte (Aharoni)
Sonata for Bass Trombone (Blumenfeld)
Tootle Tour (Bolter)
Ballad (Buss)
Two Symphonic Dance Movements (Cowell)
Prélude, Élégie, et Final (Damas)
Behind the Mask (Frith)
Scherzo (Grossner)
Worlds Apart (Gulino)
Concerto in Five Short Movements (Kazik)
Falstaffiade (Koetsier)
Prelude & Fugue (Maunder)
3 Bagatelles (Michel)
Imaginations (Molyneux)
Short Piece (Pagán-Perez)
Sonata for Bass Trombone (Pagán-Perez)
Sonatina for Bass Trombone (Pagán-Perez)
Ton(e)y (Siekmann)
Jazz Triptych (Wilborn)

227
Level 4.5
Concerto Classico (Saglietti)
Concertpiece (Bowie)
Divertimento (Stewart)
Divertimento (Duarte)
Dodecaphon (Mathews)
Escenas Latinas (Crespo)
Étoile des Profondeurs (Naulais)
Milonga Triste (Pagán-Pérez)
Rhapsody (Krivokapič)
Sagittarius2 (Bolter)
Sonata for Bass Trombone (Vollrath)
Sonatina for Bass Trombone (White)
Trigger-Happy (Nightingale)
Winter 1941 (Schnyder)
Level 5
Sonata for Bass Trombone (Allen)
Prophetic Tropes (Ben-Amots)
Liquid Architecture (Biedenbender)
Imaginations (Buss)
Sizzl’ (Denham)
Sonata for Bass Trombone (Frith)

228
Concertino for Bass Trombone (Frith)
Fantaisie dans le style de Richard Strauss (Gabel)
Sonata for Bass Trombone (Gillingham)
Sonata in One Movement (Grantham)
Propagatia (Grier)
Sonata for Bass Trombone (Hogg)
Sonidos Graves (Hogg)
A Fresh Start (Ludwig)
Duo (Miller)
Catharsis Sonata (Mills)
…and the Red Sea… (Önaç)
Sonata for Bass Trombone (Rabushka)
Quadrivalence (Rivard)
Duck Soup (Ross)
Sonata for Bass Trombone (Sacco)
Sonata for Bass Trombone (Schnyder)
Rhapsody on Pennsylvania “Dutch” Songs (Siekmann)
Sonata Rhapsody (Stephenson)
The Kleinhammer Sonata (Stevens)
The Reluctant Protagonist (Stubblefield)
Le Lumière du Nadir (Thilloy)
Bass Trombone Music (Wolking)

229
Appendix C
List of Women Composers
Candillari, Daniela
Grossner, Sonja
Lund, Gudrun
Martin, Viv
Mills, Amy Riebs
Raum, Elizabeth
Silverman, Fay-Ellen

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University of Nebraska - Lincoln

DigitalCommons@University of Nebraska - Lincoln

ORIGINAL MUSIC FOR BASS TROMBONE

Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent

Brian Andrew Lew

Presented to the Faculty of

The Graduate College at the University of Nebraska

In Partial Fulfillment for the Requirements

For the Degree of Doctor of Musical Arts

Under the Supervision of Professor Scott L. Anderson.

Brian Andrew Lew, D.M.A

University of Nebraska, 2019

Advisor: Scott Anderson

and piano. Works included are exclusive of transcriptions and arrangements.

This document annotates more than 125 compositions. Each annotation

applicable), length of the piece, publisher, level of difficulty, a preview of the

number of works for each level of difficulty.

his commitment to my doctoral career at the University of Nebraska. In such a

when I was not able to see it in myself.

To the members of Eastridge Presbyterian Church, thank you for providing me a

been most comforting.

With so many compositions involved in this bibliography, thank you Kalvin

influenced the ways in which I write and think about music.

my musical endeavors has never ceased from the beginning. I am indebted to

that has spanned 10 years, four universities, and two continents.

Chapter 1: Introduction ……..…….……..……..……..……..……..…………..……..1

Chapter 2: Research Methods ……..…….……..……..……....……..……..………..5

Chapter 3: Literature Evaluation……..…….……..……..……..……..……..………..8

Chapter 5: Observations from the Study……..…….……..……..…....……..……209

Figure 3.1 : Scientific Pitch Notation

Table 1.1: Brief Overview of Previous Trombone Annotated Bibliographies

Table 3.1: Grading Scale of Levels 1 and 2

Table 3.2: Grading Scale of Levels 3 through 5

Table 5.1: Level of Difficulty and Micro-Output of Works

Table 5.2: Level of Difficulty and Macro-Output of Works

A: List of Composers by Last Name

B: List of Works by Grade Level

C: List of Women Composers

An annotated bibliography serves as a useful resource for educators and

sample pages on a publisher’s or composer’s website often provide nominal

information about a given work. A citation in an annotated bibliography gives

teachers, students, and performers a plethora of information that they may be

unable to obtain elsewhere.

language bibliographies which have served as landmark literary pieces in their

bass trombone and piano repertoire.

Tom Everett, former Professor of Music at Harvard University, created the

19782 and19853. The three editions of Everett’s bibliography endeavored to

possibilities of the bass trombone as a solo instrument, and to further the

impossible to catalogue them in one cohesive anthology. Scholars have since

endeavored to continue to compile works written for the trombone in several

other publications and educational theses.

Table 1.1: Brief Overview of Previous Trombone Annotated Bibliographies

1973 Annotated Guide to Bass Trombone Literature Thomas G. Everett

1978 Annotated Guide to Bass Trombone Literature, Thomas G. Everett

Dr. Dale Sorensen currently serves as Visiting Professor at Mount Allison

University in New Brunswick, Canada and is a frequent performer with