Dissertations / Theses on the topic 'Bass trombone music'

This thesis is about register and how it affects my playing through compositions and improvisation. As a brass musician, the high and low range is something that takes a lot of effort to master. How important is register for my artistic expression and how does register influence my music?  My method to test this is by composing with a template where I have three musical components that I arrange in different registers. The first component is melody. The second one is ostinato, which in this thesis means something rhythmical that creates movement through time. The last component is harmony.  In the next part of the thesis, I analyze all of my compositions and describe how I have worked with the template. I have also written about what difficulties we encountered as a band when we rehearsed the music. The band consists of me on trombone and bass trombone, Olle Vikström on tenor and baryton saxophone, Sara Karkkonen on piano, Johan Tengholm on bass and Henrik Jäderberg on drums. In the end of this thesis I discuss how register have influenced how the components work together like the clarity of the melody and how the harmony is affected by the melody.I find the instrumentation is of higher influence than the register but this specific constellation of instruments may have influenced how I perceive the components.<br><p>Konserten innehöll Fem originalkompositioner av Simon Skogh</p><p>Det var följande låtar</p><p>Vårflod</p><p>Väg 83</p><p>Stresspåsag</p><p>Reserestriktioner</p><p>Lyckligt slut</p><p></p><p>Medverkande musiker var</p><p>Simon Skogh tenortrombon och bastrombon</p><p>Olle Vikström tenorsaxofon och barytonsaxofon</p><p>Sara Karkkonen piano</p><p>Johan Tengholm Bas</p><p>Henrik Jäderberg Trummor</p><p></p><p>På grund av ett tekniskt fel fungerar inte en video som är inlagd i mitt arbete på sida 5 den är därför en egen fil uppladdad här.</p>

The modern bass trombone has undergone many changes in design since the 1960s and a student beginning on or switching to bass trombone today needs pedagogical material that methodically addresses the many valve combinations available on an independent double valve bass trombone. The existing books for bass trombone contain useful exercises, but none of the currently available books address all the valve combinations and patterns that are helpful for developing proficient valve technique on bass trombone. Therefore, I created a new bass trombone double valve technique method book that includes a thorough exploration of the bass trombone's two valves within the context of scales, scale exercises, and original material specifically designed to be applicable to common literature for the bass trombone.

Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by 4 recitals, recorded Apr. 8, 1996, Jan. 27, 1997, Nov. 30, 1998, and June 24, 2002. Includes bibliography of trombone music (p. 44-53); other bibliographical references (p. 54-67).

The purpose of this research is to explore the benefits of chant music and its pedagogical applications for the individual trombonist or ensemble member. Several common method books are examined and categorized as either musical exercise or lyrical etude. Through this analysis I highlight a gap between the two method types that can be bridged through practice of chant. I support this claim through an analysis of chant characteristics that make it an ideal candidate to encourage pure sound production and connection in a performable work. Practice of chant in trombone chamber or choir ensembles will also encourage the development of skills necessary to play as a member of a group. I propose regular practice of this music will aid the ensemble in blend and balance, intonation, articulation, and slide coordination. The final chapter of the research provides the reader with a brief summary of the works refenced to promote further study as one chooses.

Among the instruments of the Western orchestra, the bass trombone has experienced the most transformation. Such evolution has included an expansion of the bore and bell diameter, inclusion of initially one and now two valves, and experimentation with variable-bore hand and tuning slides. Consequently, composers of orchestral music and solo bass trombone literature have expanded the demands placed upon the bass trombonist. Various methodologies have been developed to address the ever-expanding musical expectations of the bass trombonist, with some pedagogical aspects having been addressed more than others. One particular pedagogical subject that bears more investigation is the proper usage of valves, and that is the subject area that the following document examines and seeks to address. The author will provide the bass trombonist and his or her teachers with a basic understanding of the history of the bass trombone, including a short discussion about the limitations of the technical capabilities of the valve-less and single-valve bass trombone. The realized method will provide the bass trombonist with the tools to make intelligent decisions about which valve and slide combinations to use and why, to the point that the informed bass trombonist will become the master of the instrument.

The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.

In this work I have explored different ways of communicating the notated music (even in a more abstract form) to the musicians. How can I develop the aesthetics I am aiming for by using specific techniques in notation. I have also investigated how to incorporate the strengths of each improviser and whether it is possible to use these strengths as a compositional factor The group consists of a group of seven musicians playing 9 different instruments in total: trumpet, trombone, mellophonium, alto saxophone, tenor saxophone, clarinet, bass trombone, double bass and drums. During this project I wanted to make the most of composing and arranging for this particular constellation of instruments and the musicians who plays them.   The music I have written is for the most part influenced by jazz but sometimes bordering to a more classical or orchestral approach. In this project, I have challenged myself as an instrumentalist and a composer by utilizing a low C-string on the double bass. And while it made some passages more technically difficult to execute on the instrument, it has pushed me forward as a composer in wanting to explore all the different sounds and timbres available. The project resulted in a recording session at Sunnanå Studio, Sweden.<br><p>Repertoar samt mediedokumentation:</p><p>1. <strong>Preludium</strong> (kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p>2. <strong>Faktiskt</strong> (kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p>3.<strong> Musikhandlaren</strong> (kompositör:Andreas Henningsson</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>4. <strong>Gikt Fever </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>5. <strong>Humoresque pour les Chats </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Mellofon, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett och Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>6. <strong>Interludium </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p></p><p>7. <strong>Three Brothers </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>8. <strong>Roll </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>9. <strong>Valse des Bois </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>10. <strong>KB Moods </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>11. <strong>Postludium </strong>(Kompositör: Andreas Henningsson och Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p>

Die „Denkmäler der Tonkunst in Dresden“ veröffentlichen in sieben Bänden Werke des Dresdner Hofkapellmeisters Johann Christoph Schmidt (1664-1728) aus Hohnstein/Sächsische Schweiz, einem von der Dresdner Musikgeschichtsschreibung vergessenen Komponisten. Als erster Band erscheint unter der Editionsnummer 22 die Partitur des Motetto „Auf Gott hoffe ich“ für Alt-Solo, Chor und Orchester für 14 Stimmen. Die Ausgabe basiert auf einer Übertragung von Kirchenmusikdirektor Ulrich Meier, Auerbach/Vogtland, die im Rahmen einer Diplomarbeit an der Hochschule für Kirchenmusik Dresden 2001 entstand. Das Werk existiert nur in einer fehlerfreien Abschrift von Johann Sebastian Bach, die dieser vermutlich zwischen 1714 und 1716 offenbar für den eigenen Gebrauch in Weimar angefertigt hat.

Trio sonata op. 1, no. 3 / A. Corelli -- Choros no. 4 for three horns and trombone / H. Villa-Lobos -- Brass quintet no. 2, op. 6 / V. Ewald -- Meditation from Thais / J. Massenet -- Street song / M. T. Thomas -- Wagner for five bones / R. Wagner.<br>text

Hosannah / Franz Liszt -- Sonata no. 3 in F major / Johann Ernst Galliard -- Concert allegro / Alexey Lebedev -- Frost fire / Eric Ewazen -- Variations on Palestrina's "Dona nobis pacem" / David Fetter -- Capriccio / Steven Verhelst -- Variations on "Turkey in the straw" / James Markey.<br>text

Introducaoe/ao desafio / Edmundo Villani-Cortes -- Sonata breve / Walter Hartley -- Sonata / David Gillingham -- Two songs / Robert Spillman -- Fantaisie concertante / Jacques Casterede -- Variations on Barnacle Bill, the sailor / Steven Frank.<br>text

abstract: Vaclav Nelhybel (1919-1996) composed over 600 works, a significant number of which were never published. The trombone is included in more than 200 of Nelhybel’s compositions, some featuring the instrument in a solo role and also as a key contributor in many of his chamber and large ensemble works. The goal of this project is to bring this significant body of trombone literature into the light by examining his seventeen compositions that feature the trombone in solos and trombone ensembles; this paper also includes a select listing of other works by Nelhybel that include the trombone. The seventeen highlighted pieces include nine works for solo trombone and eight for trombone ensemble. This paper also contains background information on the composer and a brief discussion of his overall compositional history, focusing on the last thirty years of his life when he was most active as a composer and became one of the most prominent figures in the wind band movement in the United States. The central portion of the paper describes each of Nelhybel’s compositions that feature the trombone and is divided into three sections: the trombone as solo instrument in published works, an unpublished Concerto for bass trombone, and chamber works for two or more trombones alone. Discussions of key pedagogical aspects, recurring features and techniques, each piece’s difficulty level, and suggestions for performance are included for added depth.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2019

abstract: This document is a compendium of the materials that are housed within the special collections donated by Thomas Everett. In August 2016, the Arizona State University School of Music, through the efforts of retired Professor of Trombone Douglas Yeo, received a donation of materials from Thomas Everett, founder of the International Trombone Association and retired director of bands at Harvard University. This donation contains published and unpublished music, numerous letters, and various drafts of his book, An Annotated Guide to Bass Trombone Literature. Over the course of two-and-a-half years, the donation was catalogued for the university by the author. Materials from the donation were sent into public circulation or sent into special collections within the ASU School of Music Library.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2019

Felleskap for two tubas / James D. Thornton -- Fantasy for flute and tuba / Ben Miles -- Duo for bass trombone and tuba / Ron Newman -- Morgenmusik / Paul Hindemith -- Two Miniatures / Matt Hightower -- The carnival of Venice / J. B. Arban.<br>text

Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).

Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.<br>submitted by Tang Pan-hang Benny.<br>Thesis submitted in: December 1997.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Abstract --- p.i<br>摘要 --- p.ii<br>Acknowledgment --- p.iii<br>Declaration --- p.iv<br>Introduction --- p.1<br>Trombone Concerto (first movement) --- p.2<br>Programme notes --- p.3<br>Remarks --- p.5<br>Instrumentation --- p.6<br>Seating Plan --- p.7<br>Scores --- p.8<br>Post-Zero 零後 --- p.56<br>Introduction --- p.57<br>Programme notes --- p.57<br>Performance direction --- p.61<br>Instrumentation --- p.62<br>Seating plan --- p.62<br>Scores --- p.63<br>"Trio for Flute, Violin and Cello No.2" --- p.144<br>Programme notes --- p.145<br>Performance direction --- p.145<br>Scores --- p.146<br>Biography --- p.159<br>Music Works List --- p.160

This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. It is divided into six chapters, four of which are analytical and cover the following topics: Form, Melody, Harmony, and Other Compositional Techniques. Subcategories are used within these chapters to draw attention to specific compositional components relevant to the construction of the piece; illustrative tables and examples have been provided to assist in describing these components. The ultimate purpose of this document is to describe in detail my technical approach to the composition.<br>text