January 6, 20206 yr This is my first time writing for the trombone outside of an orchestral context. I would love feedback regarding how playable this is and whether you think trombonists would enjoy performing it. Thanks for listening!
January 6, 20206 yr Awesome piece, great job on that. I'm no brass player, but this doesn't seem to be any hard for a well trained trombonist. I mean, if every piece were to be highly acomplishable by every player, what would be the point of studying an instrument afterall?
January 7, 20206 yr Lovely piece. I'm not a trombone player (viola, ftw!), however, it looks pretty doable to me. I love the harmonic language that you've used in this work. Would be nice for you to give some background on how you developed the material for this piece. It's an awesome piece!
January 8, 20206 yr Author Thank you for the comments! @jawoodruff The form of this piece is inspired by an experience I had. I woke up from a vivid night of dreams, but they quickly evaporated from my mind's eye. I struggled only to recall disjointed scenes that didn't seem related. Eventually, I had an ecstatic 'eureka' moment as I remembered more and those pieces formed a coherent plot. I began the piece with a small melodic fragment in the trombone that I kept repeating and elongating. It finally expressed itself as a whole with the andante section starting at measure 41. This represents me remembering an entire scene of the dream. The solo piano section at measure 79 represents a seemingly unrelated scene. These eventually come together in the final section of the piece starting at measure 137. This is the first time in the whole piece that the piano and trombone rhythmically align. This section combines rhythmic, harmonic, and melodic material from disparate earlier sections. The instruments reach parity and achieve call-and-response. Neither is in an merely accompanying role. My goals for this piece were to: -Develop a coherent work longer than 4 minutes -Develop from motifs rather than whole melodies or chord progressions -Work on breaking away from strictly tonal harmony -Explore harmonic rhythm and get away from chords always changing on downbeat -Make the instruments have a conversation rather than having the piano serve as accompaniment
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