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INTERNATIONAL TROMBONE ASSOCIATION JOURNAL LITERATURE REVIEWS

Literature

periods and trombone 8 is a true bass

trombone part, remaining below the bass
staff most of the time. These ranges require
a more mature ensemble and are probably
more suitable for advanced college groups,
though in short intervals these exercises
could provide an excellent development
tool for less advanced groups seeking high
register confidence. Tychinski has written
an excellent skill-building tool for trombone
ensembles with lots of flexibility and
interesting challenges.
Tim Howe
University of Missouri

SOLO MATERIALS

Bruce Tychinski.
Warmups for Trombone Choir: Vol.I Quartets.
Flagstaff, AZ: Mountain Peak Music, 2013.
Grade 3. Score and parts.
Warmups for Trombone Choir: Vol.II Octets.
Flagstaff, AZ: Mountain Peak Music, 2013.
Grade 4-5. Score and parts.
This is the book all of us that conduct
trombone ensembles have thought about
writing for years. Warmups for Trombone
Choir is designed to cultivate blend,
intonation, balance and coordination
within the ensemble. The first volume is
written for quartet and the second volume
is expanded to eight parts. Most of these
short exercises are simple whole note
chorales using traditional and non-traditional
harmonies, added 9th and 11th chords, and
include modulations as well. There are also
exercises at the end of the text that work on
other valuable ensemble skills: bell tones,
clusters, pass the motive, unison break out,
etc. The author uses a variety of keys to keep
things interesting and he leaves out dynamics
so the conductor has the flexibility to try
different possibilities. Volume I keeps ranges
reasonable. The first part stays primarily
between c1 and g1, though it does stretch
to c2 a few times, and bass trombone stays
mainly between E-flat and B-flat, occasionally
reaching to BB-flat. Therefore the exercises
are not too taxing and can accommodate
younger or less mature ensembles. This
volume will work well with a quartet or a
full choir, and a tenor trombonist could
certainly play the fourth part if needed.
Volume II follows the format of Volume I
with similar but new exercises and a more
extended range and voicing; first trombone
stays between b-flat1 and c2 for extended

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In te rn a tio n a l T ro m b o n e A s s o c ia tio n J o u rn a l /

It is clear that Cooper welcomes the

performer to explore styles, expression, and
even the use of percussion in his Sonata.
A pianist with the appropriate amount
of experience in jazz and Latin styles is a
requirement. The vast array of styles makes
this piece challenging and only appropriate
for advanced trombonists.
Andrew Converse
Pikes Peak College

Corrado Maria Saglietti.

Suite per Trombone Contralto e Piano.
Vuarmarens, Switzerland: Editions BIM,
1993. Playing time 12:00. Score and solo
part, www.editions-bim.com

See TROMBONE ENSEMBLES below for

John Friths A Beautiful Noise for solo bass
trombone and trombone ensemble.
Jack Cooper.
Sonata for Trombone and piano. N.p:
Brassworks 4 Publishing, 2007.
www.brassworks4.com
The versatile
Sonata for Trombone
and prolific
composer Jack
Cooper, whose
S3
work ranges from
Lj jC , r./ _ X jj;. t j
choral pieces
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to the studio
orchestra, adds
this Sonata to his
growing library
of compositions
for brass
instruments. The
three movement Sonata uses jazz, Latin, and
African dance styles that Cooper employs
in some of his other brass works. The range
requires a tenor trombone with F-attachment.
Coopers markings are clear and print quality
excellent. Abundant swing rhythms, jazz
turns and falls pervade. There are sections
in the first and third movements that can be
improvised, ample moments that allow the
soloist to express individual style.
a

The first movement is titled Mambo.

This aggressive, Latin movement ranges from
F to b-flat1. The second movement, titled
Solo, is for unaccompanied trombone. This
jazzy movement develops a single motive
and ranges from D to b1. A free cadenza
is left open to the creativity of the soloist.
Naningo in 12/8 meter is the third movement
that employs an afro Latin groove. Although
nothing is specifically notated in the
score, exploring the use of percussion

w w w .tro m b o n e .n e t

and improvisation will certainly enhance

the sense of style in the first and third
movements.

Suite is cast
in three
Corrado Maria SAGLIETTI
movements:
Tango, Canzone,
and Suite. Each
SUITE
movement is
per Trombone Contralto e Piano
set in a loosely
based tonality
and each
successfully
occupies a
distinctive
groove. In fact,
Saglietti puts the musical emphasis in the
way the music moves and not on building
towards climaxes; this process is emphasized
over the final product.
Tangos two parts opens with a
serious, ruminative melody set over a
skeletal rhythmic accompaniment. After
one of the many short cadenzas found
throughout the work, cadenzas that give
a sort of tongue-in-cheek approach to the
entirety, a sweeter, more languidly paced
tango ensues. Canzone moves hesitantly and
the accompanying piano (or string quartet
in that version of the piece) is more at odds
with the solo. A muted passage and changes
in tempo enhance the nostalgic proceedings.
Suite is replete with meter changes, wellconceived glissandi, wa-wa mute, and lots of
energy. The multiple moods and attitudes of
the piece are cleverly dispatched and invite
repeated listening.
Suite was commissioned by and
dedicated to Joseph Bumam, principal
trombone of the Turin Radio Symphony.

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