Search results
Results from the WOW.Com Content Network
"Seventy-Six Trombones" is a show tune and the signature song from the 1957 musical The Music Man, by Meredith Willson, a film of the same name in 1962 and a made-for-TV movie in 2003. The piece is commonly played by marching bands, military bands, and orchestras.
For music written for e.g. men's voices, or trombones, a certain amount of re-distribution of the full-range harmony was necessary. For most of the early fifteenth-century, French chanson repertory for equal voices – whether in two, three or four voices – the discantus and tenor occupy ranges separated by about a fifth.
This page lists classical pieces in the trombone repertoire, including solo works, concertenti and chamber music of which trombone plays a significant part. Solo trombone [ edit ]
1953: Jazz Workshop, Volume One: Trombone Rapport with Kai Winding, Bennie Green, Willie Dennis (Debut Records) 1953: Jazz Workshop, Volume Two: Trombone Rapport (Debut, 1955) – more recordings from the 1953 Jazz Workshop sessions; 1953: Four Trombones (Debut) – third release (in 1957) of recordings from the 1953 Jazz Workshop sessions
Brass Tablature is a rather rare form of music notation that applies to all brass instruments, but is most commonly found written for trumpet [citation needed]. It consists of lines with partials, and numbers representing valve or slide positions.
Al Grey – trombone, bandleader; Joe Newman – trumpet; Benny Powell – trombone; Billy Mitchell – tenor saxophone; Charlie Fowlkes – baritone saxophone; Eddie Higgins – piano (tracks 1-7) Freddie Green – guitar (tracks 1-7) Ed Jones – bass (tracks 1-7) Sonny Payne – drums (tracks 1-7) Arrangers: Al Grey – arranger (tracks 1 & 5)
Sequenza V is a composition for solo trombone by Luciano Berio, part of his series of pieces with this title.Written in 1966 for Stuart Dempster, it has since been performed and recorded by Vinko Globokar, Benny Sluchin, Christian Lindberg, and others.
First recorded instance of the trombone arrangement. Recorded by Arthur Pryor in Aug 31, 1897. This version is technically challenging and allows the soloist to show off a flowing legato while, in different places, requiring some difficult jumps. The sheer speed and volume of notes also pose a significant challenge.