Ralph Sauer's landmark new work, Practice With Bach, will challenge your technique and musicality with demanding new �tudes. Based on the keyboard works of J. S. Bach, each of the Three Volumes is available in five different versions--Alto Trombone, Tenor Trombone, Bass Trombone, Euphonium, and Tuba. Each version is customized for the individual instrument (choice of key, range, ornaments, etc.).



Tenor trombonists will find that the Alto version is excellent for high register practice and alto clef reading. Likewise, Tenor trombonists can use the Bass version for low register work.



Bass trombonists will find excellent material in the Tenor version for work in the upper register and tenor clef reading. The Euphonium version is in the same key as the Tenor version, but all in bass clef, with many more trills added. The Tuba version is in the same key as the Bass version, also with more trills.



Volume One contains Twenty-four �tudes in all keys, based upon preludes from The Well-Tempered Clavier.and#65279;

Item Number: S0.714033

?Meat Salad? is a new piece for solo bass trombone commissioned by Ilan Morgenstern of the Vancouver Symphony Orchestra. Inspired in part by the slap-bass stylings of artists like Bootsy Collins and in part by the inimitable trombone playing of ?Funky Fred? Wesley, this piece is simultaneously a groovy crowd-pleaser and an acrobatic showstopper. ?Meat Salad? gives the advanced bass trombonist the opportunity unleash his/her full repertoire of tricks including: trills, growls, turns, glissandi, extended range, and just about every type articulation imaginable.

This piece was premiered in August 2019 at the 2nd annual Vancouver Trombone Week, with the composer adding an emphatic (if unsophisticated) cowbell accompaniment to Morgenstern?s bass trombone.

For advanced performers.

Below is a short track of Meat Salad brilliantly performed by Vancouver Symphony Bass Trombonist Ilan Morgenstern.

My first season with the Oregon Symphony was 1962-1963. I was so excited when I was told that I was accepted into the Portland Symphony (now Oregon Symphony), I danced and jumped up and down. I can still see myself. Its was like winning the Powerball. I was only 17 years old. What is equally amazing is that 45 years later I retired from a career that very few people can ever experience. I was bass trombonist my first year in the Oregon Symphony and was principal trombonist my third year. I also traveled with the New York Metropolitan Opera National company for 84 weeks as principal trombonist and was bass trombonist of the Portland Opera for 18 years. I played in the Peter Britt Orchestra for two seasons and also in the Anchorage, AK. music festival. I was a scholarship winner to Tanglewood in Lenox, Mass. and the National Music Camp in Interlochen, Michigan. I was privileged to perform with Leopold Stowkowski and Erik Leinsdorf. None of this would have been possible without my early training with the Portland, Youth Philharmonic under the leadership of maestro Jacob Avshalomov.

I have met many famous people and have played the world's greatest music. The Oregon Symphony music directors and conductors have been magnificent and have each brought many special talents to the orchestra. I remember special concerts featuring Jack Benny, Danny Kaye, Isaac Stern, Leonard Rose, and many others.

During my time in the Oregon Symphony I developed a hobby of making batons for some of the conductors who visited our orchestra. Most recently, I made batons for Itzhak Perlman, James DePreist, Carlos Kalmar, Riccardo Mutti, Murry Sidlin, Hannu Lintu, Karel Mark Chichon,

Andre Watts, and many others.

Since establishing the Alan Pierce Piano Service in 1976, I have tuned pianos for the Oregon Symphony, Andre Watts, Lawrence Leighton Smith, James DePreist, Murry Sidlin, Norman Leyden as well as for many churches, schools and prominent piano teachers. Most recently I tuned the piano in the home of world famous Janet Guggenheim. One of my most special memories was an all expense paid trip to Scottsdale, Arizona to tune the piano of a prominent surgeon. While in Arizona, I had the chance to spend time with the late James DePreist who had a home in the area. For two summers, I also served as piano technician for the Sunriver Music Festival I am currently the president of the Reno chapter of the Piano Technicians Guild.

Most recently I got to meet Geoge Curran, bass trombonist of the New York Philharmonic. My wife and I traveled two times to hear him perform my Romanza and Scherzo for bass trombone and piano. What a thrill to hear a world famous trombonist perform my music. I am very honored that George Curran recorded my music on his latest CD. (Vital Signs)

Earth Summoner for Unaccompanied Bass Trombone by Jason Beghtol is a 7-minute work for moderately advanced performers in one complete movement in seven contrasting sections of alternating slow and fast.

This work is a very good vehicle for learning rhythmic solidity in the fast sections and developing an expressive singing legato in the slow sections.

Phil Brink's new work for unaccompanied Bass Trombone is in three contrasting movements:

1. Harmonies - subtitled "The Trombone Strikes Bach" is pensive in mood and in the style of an Unaccompanied Prelude by Bach.



2. Balooze - subtitled "A Sort of Soliloquoy" is in a swung blues-style including a free cadenza-like introduction. It also includes a foot tapping accompaniment and multiphonics, reminiscent of Bernstein's Mippy II.



3. Rhythmus - "Movement At High Speed", the finale is in a Presto tempo with lots of technical wizardry for the performer.

This very fine work of about 7-minutes in length is appropriate for advanced performers.