Academic literature on the topic 'Solo trombone'

The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).

The purpose of this exploration is revealing of some characteristic, maximally peculiar features for artistically expressive, constructional nature of trombone, as the more unique, universally perfective instrumental phenomenon in the sphere of European musically performing art. The target of this denoted disquisition is also popularization of professional orchestra, ensemble and solo playing trombone in synthetic nature of modern postmodern culture. Methodology represented the scientifically investigative work is formed by author into applying of historical, comparative, axiological and structurally analytical research’s methods. The empirical methods such as association and generalization acquire the important significance. The appeal to structurally functional method in the process for studying of denoted theme has particular importance, because the role of instrument, its functional meaning in definite culturally historical period is lighting the instrument’s artistically singular traits. The scientific novelty of this investigation is conditioned by the view to biggest historically retrospective observation of the trombone’s evolution with the simultaneous detection its uniquely natural, perfectively universal constructional and artistically expressive qualities, possibilities for reflection of ideally imaginative content in reference to professional musical compositions. Conclusions. The naturally formed into constructional perfective specificity the technique of playing trombone established fundamental bases concerning universality of the instrument in duration all the period of its existence. The unrestricted, maximally closing to vocal performing the artistically expressive means of trombone in the all culturally historical periods for widest development of musical art is generated by natural capability for chromatization of sound scale on the all trombone’s diapason, in result applying the specific connecting line mechanism.

As in previous Proms seasons, Cadogan Hall's 2013 chamber concerts series presented some of the most interesting repertoire. On 5 August, Tine Thing Helseth and her all-female brass ensemble tenThing gave the world premiere of a new piece by Diana Burrell. She has already written a substantial work for brass ensemble, Gold, dating from 2001 (which also requires 3 gongs and a piano), and her new BBC commission has a similarly punchy title capturing the bright and burnished qualities of its instrumentation – Blaze. Scored for three trumpets, flugelhorn, horn, three tenor trombones, bass trombone and tuba, this virtuosic, 10-minute showcase grabbed the audience's attention from the start with a striking, fanfare-like idea that recurred in extended form as unison chords during the closing bars, providing an incandescent coda. In a brief pre-performance talk, the composer spoke of the often-untapped technical capabilities of brass instruments, and her demanding piece successfully tapped into this potential, as she gave each performer a chance to shine within its teeming textures. In addition to these challenging solo episodes, the score was memorable for its inventive deployment of various combinations of instruments, denoting a genuinely chamber-oriented work. Blaze provided a strong focal point for a programme that otherwise consisted solely of arrangements, nearly all by guitarist Jarle Storløkken, of repertoire originally conceived for other forces, such as piano pieces by Grieg and excerpts from Carmen and The Threepenny Opera.

Il trattamento della trombosi della FAV con vasi nativi, che è la causa più frequente della perdita dell'accesso vascolare, può avvalersi di diverse tecniche: trombolisi farmacologica, trombolisi meccanica e trombectomia chirurgica, cui associare la correzione della stenosi che ha provocato la trombosi. La trombolisi diretta mediante cateterismo endovascolare con o senza tombolisi meccanica sta diventando la terapia di prima scelta. La tombolisi accelerata microsonica (TAM) è un trattamento endovascolare innovativo: grazie all'emissione di ultrasuoni da parte di un catetere multilume che rilascia contemporaneamente il fibrinolitico all'interno del trombo, la TAM è più rapida, più efficace e più sicura rispetto alla sola fibrinolisi e, rispetto alla tombolisi meccanica, non è traumatica, ha un bassissimo rischio di embolizzazione e non provoca emolisi. La TAM, da poco impiegata nelle trombosi acute arteriose e venose profonde e nelle tromboembolie polmonari massive, è stata da noi utilizzata per la prima volta per trattare la trombosi acuta di una FAV radio-cefalica estesa all'intero circolo venoso superficiale dell'avambraccio per una lunghezza complessiva di 20 cm. La TAM è risultata una tecnica semplice, ben tollerata e mini-invasiva che ha reso utilizzabile la FAV subito dopo la tombolisi. Dopo 15 mesi, la FAV è pervia e funziona bene.

D.M.A. final project--Department of Music, Stanford University, May 2003.
For solo trombone, solo guitar, flute, clarinet, percussion, viola, cello, double bass, and CD. Duration: 21:00. Includes performance instructions.

This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.

Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 1, 2004, Jan. 31, 2005, Jan. 30, 2006, and Apr. 21, 2008. Includes bibliographical references (p. 50-64), and discography (p. 41-49).

This dissertation provides a study guide to aid trombonists in understanding and appreciating the Solo for Sliding Trombone (1957-58), one of the many solo parts from the Concert for Piano and Orchestra (1957-58) by John Cage (1912-1992). This seldom-performed piece of contemporary music is often misunderstood and is overlooked as an important part of the trombone repertoire. This document aims to help trombonists seeking to perform unaccompanied trombone music to develop an understanding of Cage's aesthetic of non-intentional performance and a greater interest in learning this work. In particular, this dissertation addresses the question of how one can perform the Solo with non-intention in spite of the fact that practicing and rehearsing are required to play the work. The Solo score presents new challenges for the trombonist in terms of using all parts of the trombone, as well as a wide selection of mutes, to produce various sounds and timbres in ways never before conceived for the instrument. To approach this work, the trombonist must also reconsider his or her performance practice; they must learn to maintain extreme patience in performance and must transform the way they listen to and treat "silence." This work was the first indeterminate solo composition for the instrument. This document considers the context and compositional process for this piece, provides guidelines for performing the Solo, examines recordings of the work, and discusses its influence on later compositions for trombone. Thus, this dissertation presents the first extensive scholarly study of Cage's Solo for Sliding Trombone.
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More than 200 compositions have been written for solo trombone and organ since the nineteenth century, including contributions from notable composers such as Franz Liszt, Gustav Holst, Gardner Read, Petr Eben, and Jan Koetsier. This repertoire represents a significant part of the solo literature for the trombone, but it is largely unknown to both trombonists and organists. The purpose of this document is to provide a historical perspective of this literature from the nineteenth century to the present, to compile a complete bibliography of compositions for trombone and organ, and to determine the current state of performance of this repertoire. This current state of performance has been determined through an internet survey, a study of recital programs printed in the ITA Journal, a study of recordings of this literature, and interviews and correspondence with well-known performers of these compositions. It is the intention of this author that this document will serve to make the repertoire for trombone and organ more accessible and more widely known to both trombonists and organists.

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This paper discusses the challenge of the trombone performance in interpreting the work Inventiva No. 1 for solo trombone Francisco Fernandes Filho, known as Maestro Chiquito. The first stage of this research deals with the history of the composer's life, contemplating with his characters and events the importance of Maestro Chiquito for instrumental music of Paraiba. The second approach we intend to do a technical and expressive elements of a general scope of the music written for trombone, and stylistic elements found in the composer's work for trombone above. In the third and last, we demonstrate the concepts of interpretative Inventiva No. 1 for solo trombone, which represent a considerable portion of relevance to the trombone repertoire in Brazil. In the methodology of this research were readings that underlie the concepts of musical performance of the performer, the compositional process of music for trombone, as well as discussions about the work being studied in order to have an understanding of the concepts and interpretive style for the executed, where we use various instruments to collect data such as photographs, interviews and analysis of the interviews, addition to the literature review and consultation Internet. It is hoped that with this whole process seen and analyzed on the music written for the trombone Maestro Chiquito, serve as a parameter to other trombonists will use as study material.
Este trabalho discute o desafio da performance do trombonista em interpretar a obra Inventiva nº1 para trombone solo de Francisco Fernandes Filho, conhecido como Maestro Chiquito. O primeiro capítulo desta pesquisa trata da história de vida do compositor, contemplando com seus personagens e eventos a importância do Maestro Chiquito para a música instrumental da Paraíba. No segundo capítulo buscamos uma abordagem dos elementos técnicos e expressivos num âmbito geral da música escrita para trombone, bem como os elementos estilísticos encontrados na obra para trombone do compositor acima citado. No terceiro e último capítulo demonstramos as concepções interpretativas da Inventiva nº1 para trombone solo, que constituem considerável parcela de relevância para o repertório do trombone no Brasil. Na metodologia desta pesquisa foram feitas leituras que fundamentaram os conceitos da performance musical do instrumentista, o processo composicional da música para trombone, bem como, discussões a cerca da obra em estudo, afim de se ter um entendimento das concepções interpretativas e de estilo para a execução da mesma, onde utilizamos de vários instrumentos de coleta de dados,como, fotografias, entrevistas e análise das entrevistas, além da revisão bibliográfica e consulta a internet. Espera-se com isso, que todo o processo visto e analisado sobre a música escrita para trombone do Maestro Chiquito, sirva de parâmetro para que outros trombonistas venham a utilizar como material de estudo.

The development of solo literature for the bass trombone came relatively late in the history of instruments. Though the development of solo literature for this instrument and the birth and development of jazz occurring at the same time in history may be coincidental, the influence of one on the other is undeniable. Because of the large percentage of solo bass trombone literature that is influenced by jazz due to this coincidence, it is necessary that even a classically trained bass trombonist include jazz as a part of the study curriculum. In order to exemplify the influences of jazz harmony and jazz style on bass trombone literature, it was decided that the pieces chosen would be either from the library of standard bass trombone literature or would be an outstanding example for this topic. Then, the stylistic influences must be proved as being derived from the jazz idiom. The same must be shown true for any jazz harmonies discussed. For this topic, the following pieces were chosen: Eugène Bozza's New Orleans composed in 1962, Alec Wilder's Sonata for Bass Trombone and Piano composed in 1969, and Daniel Schnyder's subZERO: Concerto for Bass Trombone and Orchestra composed in 1999.

Thesis (D.M.A.)--University of North Texas, 2001.
For solo trombone, 4 trumpets (2 doubling flugelhorn), 4 horns, 3 trombones, euphonium and tuba. Includes analysis by composer. Includes bibliographical references.