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TROMBONE MUSIC

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  1. Quick view Splinters of Bone - Derek Bourgeois

    Splinters of Bone - Derek Bourgeois

    £7.75

    A series of graded studies for trombone

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  2. Quick view Time Pieces for Trombone Volume 1

    Time Pieces for Trombone Volume 1

    £7.95

    Time Pieces for Trombone Volume 1 Learn More
  3. Quick view The Magic Trombone

    The Magic Trombone

    £7.99

    The Magic Trombone

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  4. Quick view Really Easy Jazzin' About - Pam Wedgewood trombone

    Really Easy Jazzin' About - Pam Wedgewood trombone

    £7.99

    Really Easy Jazzin' About for Trombone is a vibrant collection of original pieces in a range of contemporary styles, arranged for the absolute beginner trombone player by Pam Wedgwood and featuring piano accompaniments.

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  5. Quick view Winner Scores All Trombone

    Winner Scores All for Trombone

    £10.75

    Winner Scores All for Trombone Learn More
  6. Quick view Cornish Pastiche Trombone & Piano arr Mark Turner

    Cornish Pastiche Trombone & Piano arr Mark Turner

    £12.50

    Stirring traditional Cornish tunes, skillfully and imaginatively arranged with piano accompaniment.

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  7. Quick view Shining Brass Volume 1

    Shining Brass Volume 1

    £12.50

    ABRSM Shining Brass is an exciting series of graded repertoire pieces and studies that can be played by any brass instrument.

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  8. Quick view G.P. da Palestrina, arr. Knight: Adoramus Te

    G.P. da Palestrina, arr. Knight: Adoramus Te

    £14.95

    Product Description

    Palestrina’s music was significant to the development of sacred music, and represents the culmination of Renaissance polyphony. Whilst his 105 masses may be his best-known works, he  also wrote over 300 motets; this setting of Adoramus Te, a text sung between the Stations of the Cross in the Catholic tradition, is from the second volume of two books of motets for four ‘equal voices’ (‘paribus vocibus’), published in 1604.

    During the counter-reformation’s Council of Trent (1545-63) the Catholic Church threatened to ban polyphony in order to ensure that liturgical texts were intelligible. Palestrina’s most celebrated work, the Missa Papae Marcelli was credited with convincing the Council that counterpoint could be comprehensible, and indeed there was a vote in favour of polyphony in 1563. Thus Palestrina was romanticised in the nineteenth-century imagination as the ‘saviour’ of church music – a reputation enhanced by Pfitzner’s 1917 opera, Palestrina, which relates the legend of the Missa Papae Marcelli.

    Whether there is any truth in the story or not, it is clear that textual clarity was at the forefront of Palestrina’s mind. In the short motet Adoramus Te only the third line (‘quia per sanctam crucem tuam’, from b. 13) is set contrapuntally, and there is an abbreviated repetition of the section towards the end of the piece (from b. 26); the rest of the text is set largely homophonically, and the final line (‘redemisti mundum’) is made clear through emphatic repetition.

    Parts included:

    • Score
    • Trombone 1 (Alto)
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)
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  9. Quick view Thomas Tallis, arr. Knight: Hear the Voice and Prayer

    Thomas Tallis, arr. Knight: Hear the Voice and Prayer

    £14.95

    Product Description

    Tallis’s lifetime saw the Reformation in all its guises – the initial split with Rome, the Marian restoration, and ultimately the Elizabethan settlement. Born a Catholic, Tallis remained a member of the “Old Faith”, but escaped persecution. He was accomplished at writing for both the Catholic and Protestant liturgies, and became the principal composer of the new Church of England.

    An early example of the Anglican anthem, Hear the Voice and Prayer came back into use in Elizabeth I’s reign, having survived her half-sister Mary’s attempted restoration of Catholicism. It bears the formal and stylistic hallmarks of the early anthem: a lengthy repeated final section (giving it a typical ABB structure), and the alternation of imitative counterpoint with homophonic sections.

    The text is taken from Solomon’s prayer at the dedication of the first temple, and the setting is predominantly contrapuntal. The most striking homophony is for the sequentially-repeated phrase “ever toward this place” (bb. 16-18 and 39-41).

    This release is part of the Equale Series for Trombone Quartet, and contains CueParts.

    Parts included:

    • Trombone 1
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)
    Learn More
  10. Quick view William Byrd, arr. Harris: Alleluia, Cognoverunt Discipuli

    William Byrd, arr. Harris: Alleluia, Cognoverunt Discipuli

    £14.95

    Product Description

    Along with the Cantiones Sacrae of the late sixteenth century, William Byrd’s two sets of Gradualia are a towering achievement of renaissance polyphony and epitomise the English style.  Dedicated to Byrd’s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the Gradualia are concise settings of the Proprium Missae for the major feasts of the church calendar.

    This late work of 1607 was written for the feast of Corpus Christi, and the text follows the story of the last supper, focusing on the disciples’ acceptance of Christ as the Son of God: Alleluia, the disciples knew the Lord Jesus in the breaking of bread.  The music is concise and textual intelligibility is paramount, while the rather sprightly dance-like style reflects the optimistic and joyful nature of the text.

    Parts included:

    • Score
    • Trombone 1 (Alto)
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)

    This work is also available as part of a set: Byrd – Six Gradualia.

    Learn More
  11. Quick view Thomas Tallis, arr. Knight: If Ye Love Me

    Thomas Tallis, arr. Knight: If Ye Love Me

    £14.95

    Product Description

    Tallis’s lifetime saw the Reformation in all its guises – the initial split with Rome, the Marian restoration, and ultimately the Elizabethan settlement. Born a Catholic, Tallis remained a member of the “Old Faith”, but escaped persecution. He was accomplished at writing for both the Catholic and Protestant liturgies, and became the principal composer of the new Church of England.

    During the reign of Edward VI (1547-1553) choral music had to be intelligible: short and concise, in English, largely homophonic, with clear syllabic word-setting  – “to each syllable a plain and distinct note”. If Ye Love Me is an early English anthem from this time, and whilst the word-setting is predominantly syllabic, Tallis only manages to stick to homophony for the first 4 bars, after which imitative counterpoint takes over. The formal hallmarks of the early anthem are nevertheless there: a lengthy repeated final section gives the piece a typical ABB structure.

    Jesus promises his disciples that he will pray to God to send the Holy Spirit down to dwell with them, and Tallis’s music appropriately reflects the optimistic nature of the text.

    Parts included:

    • Score
    • Trombone 1
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)
    Learn More
  12. Quick view William Byrd, arr. Harris: Dies Sanctificatus

    William Byrd, arr. Harris: Dies Sanctificatus

    £14.95

    Product Description

    Along with the Cantiones Sacrae of the late sixteenth century, William Byrd’s two sets of Gradualia are a towering achievement of renaissance polyphony and epitomise the English style.  Dedicated to Byrd’s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the Gradualia are concise settings of the Proprium Missae for the major feasts of the church calendar.

    This piece is the third in the collection of Nativity motets.  Byrd opens the piece with a powerful homophonic declaration, as if the clarity and intelligibility of text is particularly important here- this is perhaps not surprising given that the opening line almost sums up the message of the collection: A day made holy dawns upon us.  This brief moment of homophony does not last long however, and Byrd falls into the prevailing polyphonic texture quite quickly, often presenting new thematic ideas with pairs of voices appearing from the textural background.

    Parts included:

    • Score
    • Trombone 1 (Alto)
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)

    This work is also available as part of a set: Byrd – Six Gradualia.

    Learn More
  13. Quick view William Bird, arr. Harris: O quam sauvis est

    William Bird, arr. Harris: O quam sauvis est

    £14.95

    Product Description

    Along with the Cantiones Sacrae of the late sixteenth century, William Byrd’s two sets of Gradualia are a towering achievement of renaissance polyphony and epitomise the English style.  Dedicated to Byrd’s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the Gradualia are concise settings of the Proprium Missae for the major feasts of the church calendar.

    This contemplative work, written for Corpus Christi, is markedly different from the preceding pieces in the collection.  It is considerably longer, and represents the composer at the height of his powers, the word painting rivalling the tone poets of the twentieth century.  The opening  chromatic section is imbued with a deep sense of piety thanks to the unsettling chord progression leading up to the first cadence.  This uncertain movement of harmony and delayed resolution continues throughout and ultimately means that the closing bars are some of the most emotionally satisfying Byrd wrote.

    Parts included:

    • Score
    • Trombone 1 (Alto)
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)

    This work is also available as part of a set: Byrd – Six Gradualia.

    Learn More
  14. Quick view G.P. da Palestrina, arr. Knight: Salve Regina

    G.P. da Palestrina, arr. Knight: Salve Regina

    £14.95

    Product Description

    Palestrina’s music was significant to the development of sacred music, and represents the culmination of Renaissance polyphony. Whilst his 105 masses may be his best-known works, he  also wrote over 300 motets; this setting of Salve Regina, a Marian antiphon sung at various different seasons within the Catholic liturgical calendar, is from the second volume of two books of motets for four ‘equal voices’ (‘paribus vocibus’), published in 1604.

    During the counter-reformation’s Council of Trent (1545-63) the Catholic Church threatened to ban polyphony in order to ensure that liturgical texts were intelligible. Palestrina’s most celebrated work, the Missa Papae Marcelli was credited with convincing the Council that counterpoint could be comprehensible, and indeed there was a vote in favour of polyphony in 1563. Thus Palestrina was romanticised in the nineteenth-century imagination as the ‘saviour’ of church music – a reputation enhanced by Pfitzner’s 1917 opera, Palestrina, which relates the legend of the Missa Papae Marcelli.

    Despite all this, Palestrina reserves homophonic clarity for just two distinct moments in this setting of the Salve Regina: the important words ‘Et Iesum’ (bb. 83-6) are emphasised according to the fashion of the time, with all the voices silenced before three bars of plain chords; more strikingly, the words ‘nobis post hoc exilium’ (‘and after this, our exile’, bb. 92-7) are repeated, first in three-part homophony, and then pared down to just two.

    This release is part of the Equale Series for Trombone Quartet, and contains CueParts.

    Parts included:

    • Score
    • Trombone 1
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)
    Learn More
  15. Quick view William Byrd, arr. Harris: Viderunt Omnes

    William Byrd, arr. Harris: Viderunt Omnes

    £14.95

    Product Description Along with the Cantiones Sacrae of the late sixteenth century, William Byrd’s two sets of Gradualia are a towering achievement of renaissance polyphony and epitomise the English style. Dedicated to Byrd’s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the Gradualia are concise settings of the Proprium Missae for the major feasts of the church calendar. The text of this piece describes God’s oversight of the Earth, and the music is expansive, drawing on the intervals of perfect fourths and fifths to create a sense of awe and majesty. The piece is in two sections, each led by the second trombone, which include overlapping sections of text. New textual ideas, delineated in the performance directions, should be clear in performance. The section marked declamatory is a special expression of the righteousness of God and an outpouring of joy, and the final Amen is a moment of great musical power. Parts included: Score Trombone 1 (Alto) Trombone 2 Trombone 3 Trombone 4 (Bass) This work is also available as part of a set: Byrd – Six Gradualia. Learn More
  16. Quick view William Byrd, arr. Harris: Ego sum panis vivus

    William Byrd, arr. Harris: Ego sum panis vivus

    £14.95

    Product Description

    Along with the Cantiones Sacrae of the late sixteenth century, William Byrd’s two sets of Gradualia are a towering achievement of renaissance polyphony and epitomise the English style.  Dedicated to Byrd’s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the Gradualia are concise settings of the Proprium Missae for the major feasts of the church calendar.

    This work, written for Corpus Christi, details Christ’s explanation of his self sacrifice: ‘I am that bread of life… which I will give for the life of the world.’  The music is similarly profound, and like the other pieces in the collection, follows the text very closely, with an almost complete absence of melisma.  The rather spirited imitative music of the final section represents Christ’s idea that his death should not be mourned but celebrated as the saving grace of mankind.

    Parts included:

    • Score
    • Trombone 1 (Alto)
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)

    This work is also available as part of a set: Byrd – Six Gradualia.

    Learn More
  17. Quick view One Hour a Day - Urbie Green

    One Hour a Day - Urbie Green

    £15.00

    Urbie Green's One Hour a Day - A Technique and Embouchure Maintenance method Learn More
  18. Quick view Orchester Probespiel Test Pieces for Auditions: Trombone

    Orchester Probespiel Test Pieces for Auditions: Trombone

    £17.50

    The classic source for your audition preparation - orchestral excerpts of the biggest repertoire. Learn More
  19. Quick view 20 minute warm up trombone

    20 minute warm up trombone

    £18.50

    The 20 Minute Warm-Up Routine by Michael Davis is a dynamic, comprehensive set of 15 exercises and 15 play-along tracks that will both warm you up and work you out. This routine will absolutely energize your practice routine. It gives you the opportunity to play along with and emulate one of the world's finest brass players. With Michael Davis, the 20 Minute Warm-Up gives you examples to strive for in a fresh and innovative way. Learn More
  20. Quick view Hubert Parry, arr. Knight: My Soul, There is a Country

    Hubert Parry, arr. Knight: My Soul, There is a Country

    £18.95

    Product Description

    For Parry, who had devoted his life to the German musical tradition, the First World War was deeply depressing; it was, in the words of Herbert Howells, ‘a scourge that cast a devastating shadow over Parry’s mind and heart’. And in the introspective Songs of Farewell, composed between 1916 and 1918, it is also clear that Parry sensed that he was close to death. As he wrote on his 70th birthday, ‘I have reached the last milestone’.

    Even though Parry himself labelled them motets, only the last of the six Songs of Farewell has a traditional sacred text (Psalm 39), and the rest are mostly more personal than strictly devotional. However, there is no mistaking the Christian message of Henry Vaughan’s text for My Soul, There is a Country, the first piece of the set.

    Through the Songs of Farewell Parry gradually expands his forces from 4 voices to 8 in Lord, Let me know mine end, and with this expanded scoring comes greater textural variety. My Soul, There is a Country, however, is largely homophonic. Only in the setting of the final stanza does Parry introduce some imitative counterpoint for the line ‘But One who never changes’. The repetition of the previous line ‘For none can thee secure’ is thus especially striking when it returns with all 4 parts in unison, before the emphatic homophonic statements of the final tricolon.

    Parts included:

    • Score
    • Trombone 1 (Alto)
    • Trombone 2
    • Trombone 3
    • Trombone 4 (Bass)
    Learn More
  21. Quick view William Byrd, arr Harris: Six Gradualia

    William Byrd, arr Harris: Six Gradualia

    £44.95

    Product Description Along with the Cantiones Sacrae of the late sixteenth century, William Byrd’s two sets of Gradualia are a towering achievement of renaissance polyphony, and epitomize the English style. Dedicated to Byrd’s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the Gradualia are concise settings of the Proprium Missae for the major feasts of the church calendar. Each feast day is given its own sub-section and this principle is followed in these collections for trombone quartet. Each feast day follows roughly the same textual format: usually Introit, Graduel, Alleluia, Offertoire and Communion, in keeping with the Catholic liturgy. This collection is typical of Byrd’s compositional style of the period, in which the convoluted imitative counterpoint of the Cantiones Sacrae gives way to a more restrained style in which the counterpoint, while still complex and of interest, assumes secondary importance. Long melismatic paragraphs are the exception, often occurring at the end of important phrases. Parts included: Score Trombone 1 (Alto) Trombone 2 Trombone 3 Trombone 4 (Bass) These works are also published individually. Learn More

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