Trio sonata op. 1, no. 3 / A. Corelli -- Choros no. 4 for three horns and trombone / H. Villa-Lobos -- Brass quintet no. 2, op. 6 / V. Ewald -- Meditation from Thais / J. Massenet -- Street song / M. T. Thomas -- Wagner for five bones / R. Wagner. / text

Duet no.1 in Eb / Otto Nicolai -- Stuck on the tracks / Allison Maupin -- Duo / Ron Newman -- Bouncer / Donald Grantham -- Trombone quartet op.117 / Derek Bourgeois. / text

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by 4 recitals, recorded Nov. 8, 1999, June 19, 2000, June 2, 2003, and Feb. 2, 2004. Includes bibliographical references (p. 78-80).

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Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:47:30Z (GMT). No. of bitstreams: 1 Santos_RodrigoAlexandreSoares_M.pdf: 2749506 bytes, checksum: 2d20dbe219f46ef6553e7193c4858c1c (MD5) Previous issue date: 2009 / Resumo: Esta dissertação é o resultado de dois anos de experimentações com sacabuxa. O objetivo deste trabalho é de compartilhar informações sobre a história e principalmente sobre a prática do sacabuxa e do trombone. As informações históricas foram extraídas de fontes bibliográficas atuais sobre a história do trombone e de documentos de época, como os tratados escritos por Michael Praetorius (1571 - 1621), Marin Mersenne (1588 - 1648) e Daniel Speer (1636-1707). A pesquisa histórica permite visualizar o desenvolvimento da construção dos instrumentos de metal desde o trompete reto romano até o sacabuxa. A comparação entre o sacabuxa e o trombone abrange aspectos da construção, tais como a campana e barras transversais de estabilização, facilitando também a compreensão de aspectos da performance. O trabalho se encerra com um relato do autor sobre a sua experiência com uma réplica de sacabuxa e com uma análise das manifestações de profissionais que atuam igualmente na prática do sacabuxa e do trombone, em resposta a um questionário elaborado para fornecer subsídios à pesquisa em questão. / Abstract: This dissertation is the result of two years of experiments with sackbut. The goal is to share information on the history and especially about the practice of the sackbut and the trombone. The historical information was extracted from current literature sources on the history of the trombone and documents of the time, such as the treatises written by Michael Praetorius (1571-1621), Marin Mersenne (1588 - 1648) and Daniel Speer (1636-1707). This research allows the reader to view historical development of the construction of brass instruments from the straight Roman trumpet to the sackbut. The comparison between the sackbut and the trombone covers aspects of construction such as bell and the stays, also facilitating the understanding of aspects of performance. The work concludes with an account of the author about his personal experience with a replica of the sackbut and an analysis of opinions of professionals that perform both on the sackbut and trombone in response to a prepared questionnaire to provide data and subsidies to this overall research. / Mestrado / Musica / Mestre em Música

In 1939, during his studies at the Eastman School of Music, John La Montaine (1920-2013) composed a Scherzo for four trombones. The Scherzo was revised more than 60 years later, becoming the third movement of a three-movement trombone quartet completed in 2001. Interestingly, the same Scherzo subsequently appeared in two of his later works: first the final movement of his Piano Concerto No. 4 Op. 59 (1989) and 12 years later as the final movement of a three-movement Trombone Quartet. The thesis presents a detailed account of the compositional history of the Scherzo, its connection to the first two movements, and a performance edition of the Scherzo based on my collaboration with the composer between for five years from 2003 to 2007.

Doubling is defined as playing two instruments. It is becoming increasingly necessary for low brass musicians to double in the course of their careers. Euphoniumists often learn trombone, and trombonists learn euphonium. The instruments share several surface similarities but also differ in many significant ways. Interviews with six professional doublers highlight strategies for learning, teaching, and performing on both trombone and euphonium. Slide and valve technique, adjustment of intonation, tone quality, air usage, repertoire, and skill maintenance are all addressed. Trombone literature comprises a large part of the euphonium repertoire, due to the fact that most trombone pieces can be performed on euphonium. Euphoniumists should avoid playing pieces that require glissandi or extremely loud dynamics to be effective. Euphonium solos are generally too technical to be practical for trombonists to perform. Grøndahl's Concert pour trombone et piano ou orchestre is a standard piece for both instruments. When performing the piece on either instrument, it is helpful to practice the piece on both trombone and euphonium in order to tap into each instrument's strengths.

Thomas G. Everett's activities as a catalyst for bass trombone repertoire and scholarship are significant in the development of further research in the field, and in the development of new performance repertoire. An examination of Everett's life and musical influences precedes the detailing of his pursuits of new solo/chamber music for the bass trombone. A discussion of Everett's efforts in obtaining new performance repertoire by means of commission or request is followed by an examination of four pieces composed for Everett. The four pieces profiled are Sonata Breve by Walter Hartley, Prelude, Fugue, and Big Apple by Walter Ross, Everett Suite by Ulysses Kay, and 100 Bars for Tom Everett by András Szöllösy. Three of these four pieces, the Hartley, Ross, and Kay selections, are the repertoire for the performance recital portion of this research. Everett's contributions in the area of publication, including details of his Annotated Guide to Bass Trombone Literature are addressed as well as his role as founder of the International Trombone Association (ITA) and the implications of this organization's existence upon the growth of knowledge in the area of trombone pedagogy and performance. Two appendices account for the pieces in which Everett was involved in bringing to the repertoire. A third appendix is an annotated bibliography of Everett's trombone-related periodical publications.

This thesis is about register and how it affects my playing through compositions and improvisation. As a brass musician, the high and low range is something that takes a lot of effort to master. How important is register for my artistic expression and how does register influence my music?  My method to test this is by composing with a template where I have three musical components that I arrange in different registers. The first component is melody. The second one is ostinato, which in this thesis means something rhythmical that creates movement through time. The last component is harmony.  In the next part of the thesis, I analyze all of my compositions and describe how I have worked with the template. I have also written about what difficulties we encountered as a band when we rehearsed the music. The band consists of me on trombone and bass trombone, Olle Vikström on tenor and baryton saxophone, Sara Karkkonen on piano, Johan Tengholm on bass and Henrik Jäderberg on drums. In the end of this thesis I discuss how register have influenced how the components work together like the clarity of the melody and how the harmony is affected by the melody.I find the instrumentation is of higher influence than the register but this specific constellation of instruments may have influenced how I perceive the components. / <p>Konserten innehöll Fem originalkompositioner av Simon Skogh</p><p>Det var följande låtar</p><p>Vårflod</p><p>Väg 83</p><p>Stresspåsag</p><p>Reserestriktioner</p><p>Lyckligt slut</p><p></p><p>Medverkande musiker var</p><p>Simon Skogh tenortrombon och bastrombon</p><p>Olle Vikström tenorsaxofon och barytonsaxofon</p><p>Sara Karkkonen piano</p><p>Johan Tengholm Bas</p><p>Henrik Jäderberg Trummor</p><p></p><p>På grund av ett tekniskt fel fungerar inte en video som är inlagd i mitt arbete på sida 5 den är därför en egen fil uppladdad här.</p>

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