Bass Trombone Unaccompanied - Advanced SKU: CY.CC3021 Composed by Gregory...(+)
Bass Trombone
Unaccompanied - Advanced
SKU: CY.CC3021
Composed by Gregory
Kosteck. Arranged by Jeff
Reynolds. Classical. Solo
part. Cherry Classics
#CC3021. Published by
Cherry Classics
(CY.CC3021).
ISBN
9781774310618. 8.5 x 11
in inches.
Cherry
Classics Music and Jeff
Reynolds are thrilled to
introduce for the first
time in print an
excellent work for
unaccompanied Bass
Trombone from the 1960's
by the late American
composer Gregory Kosteck.
Here is what Jeff
Reynolds says about the
Kosteck - Concert Music
for Bass Trombone -
unaccompanied: When I was
a student, my teacher,
Roger Bobo handed me the
1963 Kosteck manuscript
(originally written for
tuba when they both lived
in Amsterdam) to have a
look for my senior
recital. He said it was
not right for him but I
might find it worthy.
Worthy it was, and I went
on to play it on my
recital and also as the
solo piece for my
audition for the bass
trombone chair with the
L.A. Philharmonic. After
playing it on the
audition, conductor Zubin
Mehta asked, Did you miss
any notes? My response
was, No. Some years later
I recorded the piece on
an album called The Big
Trombone for Crystal
Records. Also available
on iTunes. The music of
about 5 1/2 minutes in
length is contemporary
sounding in four
sections: Lyrical -
Scherzando - Cadenza -
Lyrical and is
appropriate for advanced
performers. The range
goes from a pedal F up to
a high G above middle C.
The beautiful performance
on the audio sample is
taken from Jeff Reynold's
album The Big Trombone
from Crystal Records and
also available on
iTunes.
Bass trombone unaccompanied - advanced SKU: CY.CC2921 Composed by Phil Br...(+)
Bass trombone
unaccompanied - advanced
SKU: CY.CC2921
Composed by Phil Brink.
Contemporary. Booklet.
Published by Cherry
Classics (CY.CC2921).
Exegesis is an
unaccompanied solo for
Bass Trombone written by
American composer and
Bass Trombonist Philip
Brink in 1973. The work
of about 4 minutes in
length is appropriate for
very advanced performers
and requires the use of
multi-phonics and other
technical
challenges. Below is
a brief instruction to
the performer from the
composer. The
rhythmic notation of
Exegesis is fairly free;
sections in traditional
notation should
approximate those
rhythmic patterns, while
arbitrarily long notes,
rests or patterns should
be as long as possible.
The score hints at but
does not make explicit
any particular dramatic
action or effect, which
it is left to the
performer to create or
not. Most of the
instructions are on the
score and fairly easy to
follow. The Beams that
crescendo and diminuendo
relate to acceleration or
deceleration as
indicated. There are odd
little notes, like
secretive in the first
line - in these instances
do whatever comes to mind
as giving an impression
of secrecy - change in
volume, tone, or whatever
- even a hand
gesture! The composer
gives detailed
instructions in the score
for the listener and the
performer, helping with
the interpretation and
appreciation of this
work.