SKU: A0.1096951

O Come, All Ye Faithful (originally spelled in Latin as Adeste Fideles) is a famous Christmas song that has been attributed to various authors. This beautiful hymn was first published by John Francis Wade in his collection Cantus Diversi (1751), with four Latin verses, and music set in the traditional square notation used for medieval liturgical music. Besides John Reading and John Francis Wade, the tune has been attributed to several musicians, from Handel to the German composer Gluck. The Portuguese composer Marcos Portugal or King John IV of Portugal have also been credited. Thomas Arne, whom Wade knew, is another possible composer. This arrangement features an easy-to-play trombone version. Easy level. Key: G Major.

SKU: A0.921087

These etudes are designed to assist the progressing brass player in the major areas of performance, which traditionally cause issues. Careful attention has been paid to endurance, range, and modern performance requirements.

As such, these etudes can be used as a primary teaching source, or as supplemental material.

Depending on the intended use of these etudes, they may be learned and performed in chronological order, or in a different order as suggested by a private instructor.

Additionally, these etudes are also offered in identical versions for small group instruction purposes, transposed and minimally adjusted as necessary, for tuba, euphonium, trombone, horn and trumpet. Etudes appear in the same order, with the same markings, in each book. Bass trombonists are recommended to use the trombone book for slide technique, and the tuba book for trigger technique.

SKU: A0.1322285

This composition, in four short movements (5 minutes total), is for trombone and hi-hat - played by one player.

At the request of a friend, this composition began in 2008 as a concept for solo bassoon. Sadly, the friend passed away before performing the piece.

When I was asked recently for a solo piece for bass trombone, I finally had a reason to update the original. Besides adapting it for the instrument, I also added new material. The result is four short movements for bass trombone with hi-hat, both played by one player. The hi-hat is played mostly with the pedal, but occasionally with the fingers.

The final step in the evolution of this piece was this edition for tenor trombone.

The first movement combines chromatic patterns, diminished scales, and blues licks. The hi-hat adds kicks and color.

The second movement is a blues progression that swings, with backbeats on the hi-hat.

The third movement attempts to obscure tonality through the use of chromaticism. It should be played very freely (rubato), with the hi-hat again adding color.

Only one minute in length, the final movement treats a four-measure melody as a theme and variations reminiscent of Arthur Pryor solos of the early 20th century.