SKU: A0.1220622

A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.



Innovations

First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.

Polychoral Works

Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.

Spatial Music

Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.

First Works

Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.

Homophony

Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

SKU: A0.806966

EASTER PRELUDE for 3 TRUMPETS and 3 TROMBONES (unaccompanied)
Were You There? and Low in the Grave He Lay are used in this arrangement for Bb Trumpets & Trombones.  Baritone Treble Clef parts are provided from Trombone 1 & 2. Trombone 3 is Bass Trombone or Tuba.  Perfect way to open an Easter celebration!

51 measures.   Performance Time approx 2:25.  Medium in Difficulty (Grade 3)
Key: F - Ab - Eb.   Meter: 4/4 - 3/4 - 2/4.   Instrument Ranges (C4=middle C):
Trumpet 1 F4 - B5 (written).   Trumpet 2 D4 - G5 (written).   Trumpet 3 D4 - F5 (written).
Trombone 1 Eb3 - Ab4 (or Baritone TC 1).   Trombone 2 Bb2 - Eb4 (or Baritone TC 2).
Trombone 3Eb2 (Bb1) - Bb3 (Bass Trombone or Tuba).

SKU: A0.1224064

From Sacrae Symphoniae, Venice, 1597
Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.

Innovations

First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.

Polychoral Works

Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.

Spatial Music

Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.

First Works

Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.

Homophony

Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

SKU: A0.806964

COME, THOU ALMIGHTY KING for 3 Bb TRUMPETS & 3 TROMBONES (unaccompanied)
60 measures.   Performance Time approx. 2:25.  Medium Difficult (Grade 4-)
Key: Bb - D - A.   Meter: 4/4- 3/4.   Instrument Ranges (C4=middle C): Trumpet 1 C4 - B5 (written)
Trumpet 2 A3 - F#5 (written).   Trumpet 3 B3 - G5 (written).  Trombone 1 Bb2 - F4
Trombone 2 Bb2 - F4.   Trombone 3 E2 - E4 (Bass Trombone or Tuba)

SKU: A0.792575

Four Elements was originally composed for Violin and Bass Trombone and was written as a Christmas present for the composer's sister, Priscilla, and her husband, Bass Trombonist, Gordon Hallberg who performed with the Boston Symphony Orchestra.

Raum was experimenting with tone rows at the time and the row is first stated in the first six notes in the Trombone part followed by the next six in the Violin part.

The titles of the movements, from the Four Elements, are descriptive of the moods of each movement.

Water has the lines of the instruments flowing, as in a river with swirls and eddies.

Earth has Jazz influences which are intended to give an Earthy quality to the second movement.

Air, with mutes, glissandos, and quasi unmeasured rhythm, seeks to float;

The finale Fire is crackling with excitement. 

Trombonist, David William Brubeck, asked Raum if she had anything written for trumpet and trombone as he frequently performs in a duo so she adapted the violin part in Four Elements for trumpet.

The work can be performed by advanced performers.

Two scores are provided, including one for C Trumpet and the other for B-flat Trumpet. The Trombone part can be performed with an f-attachment Tenor Trombone or Bass Trombone

SKU: A0.591361

The Tulip Ch’Boogie is a fun and original duet written by David McKeown for one Trumpet and one Trombone. 

The Tulip Ch’Boogie is one in a series of ten Easter-themed duets each written in a different American dance style. Boogie originally referred to the piano style found in Southern State bars where the driving swung bass-line, often double in octaves, cut through the noise. These bass-line patterns were adapted by Big Bands in the ‘30s, and later by Jump bands like that of Louis Jordan. Later still Boogie was quickly incorporated into Rockabilly and Rock’n’Roll. 

The Tulip Ch’Boogie is suitable for players at an intermediate level and above, with the accessible key and range balanced by the fast tempo and syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, The Tulip Ch’Boogie is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube.

 There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

SKU: A0.811260

The Ten Christmas Carol Duets for Trumpet and Trombone are traditional Carols that have been very beautifully and inventively arranged by Ken Knowles. They are intended to combine melodic interplay and rhythmic interest while retaining the beauty of the classic melodies.

The Carols in the collection are:

O Tannenbaum, Jingle Bells, Lo, How A Rose Ere Blooming, The First Noel, The Holly and the Ivy, Silent Night, Away in a Manger, Ding Dong Merrily on High,Christ was Born on Christmas Day/Wassail Song, Joy to the World

They are perfect for use in lessons or just for fun and appropriate for intermediate to advanced-intermediate performers.

For Trumpet in B-flat and Trombone in bass clef or Euphonium

This music is also available as a Kindle eBook on Amazon.

SKU: A0.589088

Merengue de Merlín is an exciting original composition by David McKeown, arranged as a duet for one Trumpet and one Trombone.

This duet is based on the traditional Latin style of Merengue that emerged in the Dominican Republic during the Nineteenth Century. Merengue Tipico bands maintain the traditional instrumentation of the double-headed tambora drum, güira, accordion and vocal, while urban bands in the North American diaspora often add saxophone, bass and other percussion. The Merengue dance became hugely popular in the 1950s and new forms continue to draw audiences around the world.

If you play to an intermediate standard and upwards, then you and your audience will enjoy this piece. The steady quintilla tambora rhythm is present throughout, and following the precise articulation in the score will help convey the style. The main challenge is the fast tempo and melodies should be clearly articulated. Merengue de Merlín has a performance time of around two and a half minutes at full tempo. You can listen to a full performance the Alto Saxophone version of this duet by following the YouTube link above.

There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

SKU: A0.1125639

This easy arrangement for trumpet and trombone duet has been adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students because of the ease imposed on the piece. Recommended for performance in reverently Christian and liturgical ceremonies such as Good Friday and Christmas time. It also serves as a study for Baroque sacred song. The Jesulein süß, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein süss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering.

SKU: A0.1125403

This easy arrangement for trumpet and trombone duet has been adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students because of the ease imposed on the piece. It is often performed at wedding ceremonies slowly and reverently, challenging the effect suggested by Bach in his original score for voices with trumpet, oboes, strings, and continuous bass. This is one of Bach's most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary's Visitation. It is the final chorale of the cantata Herz und Mund und Tat und Leben. Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works.

SKU: A0.1140325

Mozart composed these 12 duets for two horns and published them in 1786 in the key of C. I have carefully rearranged them here, changing the key and including appropriate articulations to suit the instruments. Parts are provided in concert pitch bass clef and B flat treble clef. This listing is for one duet out of the twelve - you can buy a complete book of all 12 duets for $19.99 here: https://armusiconline.com/b/sC4a7.

SKU: A0.1140327

Mozart composed these 12 duets for two horns and published them in 1786 in the key of C. I have carefully rearranged them here, changing the key and including appropriate articulations to suit the instruments. Parts are provided in concert pitch bass clef and B flat treble clef. This listing is for one duet out of the twelve - you can buy a complete book of all 12 duets for $19.99 here: https://armusiconline.com/b/sC4a7.