Trombone

3 Tenor Trb, 1 Bass Trb Learn More

3 Tenor Trb, 1 Bass Trb Learn More

3 Tenor Trb, 1 Bass Trb Learn More

with Piano

The Bone of Lucifer was written in November 2010 for the wonderful bass trombonist Nuno Martins to play with Mr. SC and the Wildbones Gang. I tried to write a piece that leaves the bass trombonist room to play both with full power and adroit phrasing. Although it traverses a variety of sections, feels, and characters, the piece is essentially a passacaglia over an ostinato of nine pitches that I found to be particularly demonic.

– Jon Hansen

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with Piano;

With a background in rock and heavy metal, I figured it was time to write something in an art music setting using similar musical materials. The bass trombone is a great instrument for expressing aggression, and thus fits this style very well. However, there are many moments of lyrical and romantic playing which find their way into this piece. These “happier” elements eventually win out in the end, which is where the title comes from. “Bone to Pick” is essentially a musical narration of the path of an argument.

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Using rhythmic intensity, this African song shines in this version for Trombone Quartet and optional percussion. Playable by a High School ensemble on up. Learn More

An evocative, entertaining work in which both performers recite the text during performance. Cast in 4 movements: Boomers!, Thoughts of Grey, Trombone Magic, and Wild Nights, it addresses humankind’s relationship to technology in the modern world. The instrumentation includes tomtoms, cymbals, wood block, wind chimes, tam-tam, bell tree, triangle, bass drum, tambourine, hi-hat, whip, vibraslap, bells and vibraphone. Commissioned by and premiered at the 1998 International Trombone Festival. Learn More

We all fell asleep to this lullaby, but not with the version for trombone quartet. This is a beautiful melody that will enhance any recital. Learn More

"This riveting “tour de force” musically depicts the character and exploits of Washington Irving’s dashing prankster, Brom Bones, in The Legend of Sleepy Hollow. The musical ensemble consists of 2 trombone quartets, each comprised of three tenors and one bass. The work is cast in 5 movements, the first two are interconnected: I. Overture (2:00) II. The Smoke Out (2.40) III. The Schoolhouse Caper (2:00) IV. Ichabod’s Romance (3:40) V. Night Encounter (3:10) Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of brassy muted trombones, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful trombone solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. This is a “must” for the advanced college ensemble. Score & parts included." Learn More

From the arranger:

The boisterous Can-Can is a highly energetic, physically demanding dance made popular in French cabarets in the mid to late 1800’s and continues to be popular today. Flashy, bawdy, and provocative, the dance can include such acrobatic movements as high kicks, splits, cartwheels, and even flying jumps. Many composers have written music for the can-can, but undoubtedly, the most famous example is the Infernal Galop from Jacques Offenbach’s Orpheus in the Underworld. Offenbach composed the opera bouffe, which is a form of French operetta, in 1858, and although it shocked some audiences early on, it quickly became extremely popular and spread outside Paris.

This version for trombone quartet was arranged for Bones Apart, the internationally acclaimed trombone quartet comprised of all females from the U.K. After hearing their inspirational second CD, Enigma, and writing a review of the recording for the ITA Journal, Meador was compelled to arrange a flashy, crowd-pleasing piece for the group to perform. In keeping with the flamboyant style of the piece, this arrangement goes high, low, soft, loud, fast, and faster. It challenges the extremes of register, technique, and flexibility, and is sure to evoke a standing ovation from the toughest of crowds. (And, there is no place to breathe. Enjoy!)

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with Piano Learn More

5 Trombones Learn More

4 4-part Trombone choirs

Canzoni per sonare con ogni sorte di stromenti No.35, ITM 4 (1608) Learn More

8 Tbns Learn More

CANZONA by Florentio Maschera (1540-1584) transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style and makes a memorable feature number for a recital as well as a wonderful musical offering in church. Learn More

For the providers at Baptist Health Hospital in Richmond, KY celebrating 20 or more years of service. Learn More

Arranged for Trombone Quartet, this fast paced classic is perfect for a recital or ceremonial event. Learn More

4 Trombones Learn More

For Trombone Quartet and Viola da Gamba (optional), this is a great piece for a recital

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unaccompanied

From the composer:

Caravaggio for solo trombone was composed in 2015 for Mark Hetzler, Professor of Trombone at the University of Wisconsin-Madison. It is a four-movement work of about 9 minutes in length. The work was inspired by the incredible artistry of the Italian painter Michelangelo Merisi da Caravaggio (1571-1610). His work, ahead of its time in many ways, changed the visual art world forever and has served as inspiration for generations of artists the world over. I see many similarities between his “outside the box” artistry and that of trombonist Mark Hetzler, whose performances and recordings are stunning, eclectic and instrumental in breaking new ground for the trombone.

The movements are titled after four elements of Caravaggio’s painting that stand out to me- Realism, Shadow, Vulgarity and Light. I also see these as elements of Mark Hetzler’s performances. Although I have made many indications to steer the performer in certain directions musically, I also hope and expect that each performer will approach this piece with a passion and abandon that will result in a musical performance that is about much more than notes, rhythms and dynamics. This work is a vehicle for the trombone soloist to be as expressive as possible. A look at the works of Caravaggio, particularly in context with the other well known painters of the time, should provide substantial inspiration.

I. Realism

II. Shadow

III. Vulgarity

IV. Light

 

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