SKU: CY.CC2726

The first movement, Prologue, consists of an Exposition (bars 1-42) with a main theme followed by four development sections and ending with a return to the main theme before a short coda. The second movement, Variants is a set of seven variations on the theme presented in the opening with descriptive terms pointing out the contrasts between the variations. The final movement is titled an Epilogue follows the general structure of ABCDCEBA which is a modified arch form with an abundant use of dance-like syncopated rhythms but a lyric and less active middle section D for contrast.

This work of about 17 minutes in length is suitable for advanced performers.

SKU: CY.CC3136

ISBN 9790530111055. 8.5 x 11 in inches.

This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.

SKU: CY.CC3086

ISBN 9790530110638. 8.5 x 11 in inches.

Purcell's Sonata was originally written for Trumpet in D about 1694 and has been deftly arranged in the original key for alto trombone and piano or organ by Jeremy Niles Kempton. The 5-minute work for moderately advanced performers is in three movements: Fast - Slow - Fast.

SKU: CY.CC2928

ISBN 9790530057476.

The Six Sonatas by Baroque composer Galliard have been a staple for Trombonists for many years now. This new edition by Mike Hall has been beautifully edited with detailed performance commentary.
This complete performance edition of over 146 pages adds a new dimension in the study of these beautiful works.

SKU: HL.14004088

ISBN 9788759865811. 8.25x11.75x0.122 inches.

SKU: CY.CC2578

The Cello Sonata No. 2 was published in 1887, more than 20 years after his first. The Sonata is dedicated to Robert Hausmann who had premiered the 1st Sonata and was a collaborator with Joseph Joachim in the premier of the Double Concerto.

The work is in four movements:

Allegro vivace
Adagio
Allegro passionata
Allegro molto (rondo)

Sonata No. 2 is a major work of over 30 minutes in length, having been exquisitely arranged by Ralph Sauer for advanced performers,

Cherry Classics is the distributor for Balquhidder Music.

SKU: SU.32040021

Trombone & Piano Duration: 17' Composed: 2013 Published by: Amy Mills Music, LLC …the audience loved Red Dragonfly. Definitely a keeper in my repertoire! Dr. James Bicigo, Associate Professor of Trombone, University of Alaska, Anchorage Virtuoso piece, the dramatic first movement opens with a Bold statement followed by the beautiful love theme. It reaches up to the Cry of the Heart, then everything ruptures and crashes. Now the trombonist must rebuild and gain strength through dramatic cadenzas until reaching the recapitulation where the opening Bold melody is transformed into a majestic march in 3/4 time. The love theme returns, and the movement ends in triumph. The second movement is a setting of the famous Japanese folksong, Red Dragonfly. The trombonist and pianist play the lovely song amidst the sound of fluttering wings that appear and disappear like memories of the heart. Thank you to the Nihon Gakugeki Kyoukai Foundation for permission to use the melody in this trombone sonata. A solo glissando opens the third movement in American folk dance style with tongue in cheek and twinkle in both eyes. The subsequent variations include a perfect triple canon, a taste of New Orleans jazz, and a dramatic augmentation which spills into a flashback of the first movement’s love theme. This melts away and we recapture a glimpse of the Red Dragonfly melody, this time growing to the Triumphant restatement of the first movement’s main theme. And finally, the exuberant coda drives to a spectacular ending. Difficulty Level: Trombone 6 (Professional) Piano 5 (Advanced) See also Red Dragonfly, Concerto for Trombone and Band for the version with band accompaniment. See composer website for audio sample.