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Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
The ability of musicians to perform well in multiple musical styles is increasingly common and necessary. This paper profiles two trombonists who have gone well beyond the ability to function in multiple genres, and are instead considered significant artists. Tony Baker and Alex Iles were chosen to be profiled for this project because both have achieved recognition as solo artists in the genres of classical music and jazz and have performed on international stages as soloists. They also have significant ensemble experience in both classical and jazz settings and are active teachers as well. Both hold-high profile positions that have helped grow their reputations as performers: Mr. Baker as a professor at one of the largest music schools in the United States, the University of North Texas, and Mr. Iles as a highly in-demand freelance musician in Los Angeles. This paper presents interviews with both trombonists that investigate their development as musicians and soloists in both classical music and jazz. They are asked to describe the benefits and challenges of performing at a high level in both styles, and how these have affected their musical voices. Common traits found in their responses are examined, and recommendations are created for musicians seeking stylistic versatility.
ContributorsLennex, William (Author) / Pilafian, J. Samuel (Thesis advisor) / Bush, Jeffrey (Committee member) / Ericson, John (Committee member) / Hackbarth, Glenn (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2012
Description
This thesis proposes an augmentation of the Complete Method for Trombone by Jean Baptiste Arban. Although it is widely considered one of the leading trombone method books in the world, a thorough consideration of the demands of most performed solo literature today reveals serious shortcomings in the Arban Method for preparing trombonists to encounter such demands as meter and rhythm, keys and tonalities, range and endurance, clefs and F-attachment usage. This thesis thus proposes additions for a new version of the Arban Method that better aligns with the playing demands of the most performed solo literature today, as compiled by the International Trombone Association Journal since 1972.
ContributorsDixon, Adam, Ph.D (Author) / Edwards, Brad (Thesis advisor) / Swoboda, Deanna L (Committee member) / Schmelz, Peter J (Committee member) / Arizona State University (Publisher)
Created2018
Description
The canon of music performed in recitals by American trombonists contains very few works for trombone by composers from Russia and the Soviet Union. Trombonists in the United States periodically perform trombone solos by Nikolai Rimsky-Korsakov, Alexei Lebedev, Vladislav Blazhevich, Gregory Kalinkovich, Alexander Tcherepnin, and Eugene Reiche. But these works represent a very small percentage of trombone solos performed in recitals in the United States, and compositions written after 1960 by composers in the U.S.S.R. are completely absent from recital programs. The purpose of this project is to identify several Soviet-era compositions for trombonists that are worthy of introduction into trombone recital programs in the West. To support the thesis that Soviet-Russian trombone music has been disproportionally under-represented in American recital programs, a survey of over 3300 trombone recitals given in the United States from 1972 to 2013 was conducted. Once a body of significant works that had previously not been performed on American trombone recitals was identified, they were acquired, analyzed, and several were performed. The following compositions represent a list of Soviet-Russian solos not programmed on any of the 3300 recitals: German Grigoryevich Okunev, Adagio and Scherzo; Gregory Markovich Kalinkovich, Concertino for Trombone; Pavel Davidovich Saliman-Vladimirov, Concertino for Trombone; Vadim Veniaminovich Kulyov, Concertino for Trombone; Vladislav Alexanderovich Uspensky, Concertino for Trombone and Orchestra; Sergei Vasilyev and Vladimir Robertovich Enke, Concerto for Trombone and Orchestra; Sergei Borisovich Chebotaryov, Rondo for Tuba; Victor Nikolaevich Smirnov, Scherzo; Alfred Garievich Schnittke,“Schall und Hall”;and Tatyana Alexseyevna Chudova, Sonata for Trombone.
ContributorsRoberts, Jay Daniel (Author) / Yeo, Douglas (Thesis advisor) / Carpenter, Ellon (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2015
Description
Nikolay Andreyevich Rimsky-Korsakov’s Concerto for Trombone and Military Band and Georg Philipp Telemann’s Sonata in F minor TWV 41:f1 are two works from contrasting periods written by well-known composers. International Music Company first published the Sonata in 1968 for trombone, edited by Allen Ostrander. Rimsky-Korsakov’s Concerto for Trombone was first published in the United States by Leeds Music Corporation in 1952, edited by Davis Shuman. Both of these compositions contain editorial concerns that detract from each composer’s original music.
In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov.
This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions.
In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov.
This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions.
ContributorsHutchens, Timothy (Author) / Yeo, Douglas (Thesis advisor) / Swoboda, Deanna (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2016
Description
Vaclav Nelhybel (1919-1996) composed over 600 works, a significant number of which were never published. The trombone is included in more than 200 of Nelhybel’s compositions, some featuring the instrument in a solo role and also as a key contributor in many of his chamber and large ensemble works. The goal of this project is to bring this significant body of trombone literature into the light by examining his seventeen compositions that feature the trombone in solos and trombone ensembles; this paper also includes a select listing of other works by Nelhybel that include the trombone. The seventeen highlighted pieces include nine works for solo trombone and eight for trombone ensemble. This paper also contains background information on the composer and a brief discussion of his overall compositional history, focusing on the last thirty years of his life when he was most active as a composer and became one of the most prominent figures in the wind band movement in the United States. The central portion of the paper describes each of Nelhybel’s compositions that feature the trombone and is divided into three sections: the trombone as solo instrument in published works, an unpublished Concerto for bass trombone, and chamber works for two or more trombones alone. Discussions of key pedagogical aspects, recurring features and techniques, each piece’s difficulty level, and suggestions for performance are included for added depth.
ContributorsHaas, Garrett (Author) / Yeo, Douglas (Thesis advisor) / Ericson, John (Committee member) / Holbrook, Amy (Committee member) / Arizona State University (Publisher)
Created2019
Description
The purpose of this document is to identify contemporary issues facing female-identifying professional trombonists today. Interviews were conducted with three prominent women in the international trombone community, including questions that sought to foster discussion on the extent to which their experience as professional trombonists was influenced by their gender. The topic of microaggressions emerged as significant, as it became clear throughout the interview process that these women experience microaggressions far more commonly than overt gender discrimination, as did the topic of coping mechanisms. The interview questions also sparked discussions of identity, self-motivation, and local cultural norms within the context of each woman’s musical career.
ContributorsBroome-Robinson, Julia (Author) / Edwards, Bradley (Thesis advisor) / Swoboda, Deanna (Committee member) / Wells, Christopher (Committee member) / Arizona State University (Publisher)
Created2020
Description
In preparation for an orchestral audition, one of the first considerations a trombonist will have in the study of an excerpt is the question of tempo. The selection of an appropriate tempo for a musical work is key to a successful performance of that work and can make the difference between winning an audition and losing it.
This project identifies the tempo of the top sixteen tenor trombone excerpts one is likely to perform in an audition by analyzing the tempo in recordings of professional orchestras. The data generated in the measurements of those recordings is analyzed in an effort to determine an appropriate tempo around which a trombonist preparing these excerpts might center their work. The goal of this project is to provide a resource for trombonists and trombone teachers as an aid in their determination of the ideal tempo of these excerpts.
This project identifies the tempo of the top sixteen tenor trombone excerpts one is likely to perform in an audition by analyzing the tempo in recordings of professional orchestras. The data generated in the measurements of those recordings is analyzed in an effort to determine an appropriate tempo around which a trombonist preparing these excerpts might center their work. The goal of this project is to provide a resource for trombonists and trombone teachers as an aid in their determination of the ideal tempo of these excerpts.
ContributorsO'Neal, Andrew Stephen (Author) / Edwards, Bradley (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2020
Description
Literature is an important source for children to learn about many aspects of life, including music, and, more specifically, the trombone as a special type of musical instrument. The project at hand seeks to encourage the introduction of the trombone to young children through books and stories in which the instrument is featured prominently. Seven such books by various authors are identified and analyzed, and a study guide for each is presented. In addition, a brief history of children’s literature and a discussion of its use in the music classroom provide context for these seven books as well as any music-themed literature. Finally, the centerpiece of this project is the creation of a new book intended for children and featuring the trombone, written and illustrated by the present author.
ContributorsRozanski, Emily Marie (Author) / Yeo, Douglas (Thesis advisor) / Holbrook, Amy (Committee member) / Schmidt, Margaret (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
This document is a compendium of the materials that are housed within the special collections donated by Thomas Everett. In August 2016, the Arizona State University School of Music, through the efforts of retired Professor of Trombone Douglas Yeo, received a donation of materials from Thomas Everett, founder of the International Trombone Association and retired director of bands at Harvard University.
This donation contains published and unpublished music, numerous letters, and various drafts of his book, An Annotated Guide to Bass Trombone Literature. Over the course of two-and-a-half years, the donation was catalogued for the university by the author. Materials from the donation were sent into public circulation or sent into special collections within the ASU School of Music Library.
This donation contains published and unpublished music, numerous letters, and various drafts of his book, An Annotated Guide to Bass Trombone Literature. Over the course of two-and-a-half years, the donation was catalogued for the university by the author. Materials from the donation were sent into public circulation or sent into special collections within the ASU School of Music Library.
ContributorsLynch, Paul (Author) / Edwards, Brad (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2019