Trombone music

Solo Trombone/Euphonium - unaccompanied

A DAY IN THE CITY “7 Vignettes” (1986) by Howard J. Buss. These colorful musical scenes from the city are excellent study and recital pieces. Each movement is given a title which depicts an occurrence which the composer experienced one day in 1982 during a visit to New York City. The movements are Another Sunrise (based upon an early morning excursion to Central Park to witness the rising of the sun over the buildings); Off to a Busy Day (driving in heavy traffic, zigzagging around to avoid "crazy" drivers); The Lost Key Episode (the composer lost his car keys, but the key of the music is lost too); The Waitin' in Line Blues (an actual blues progression during which the performer alternates between playing with a straight tone and a heavy, obnoxious "corny" vibrato to show frustration at being stuck in a slow-moving line); Romantic Interlude (a beautiful, melodious and flowing waltz); Sudden Storm (getting caught up in a raging thunderstorm); and Out on the Town (has a cheerful Latin feel and breaks into swing as it reaches its climax). "Tonal, charming and imaginative! The low purchase price and the incisive approach of a skilled composer make this a piece worth seeking out.”- PMEA News (10’) Grade IV. A Day in the City Sound Sample: Movement 4, The Waitin’ In Line Blues.mp3 (1.2MB)

GOODBYE (1999) for solo trombone (or euphonium) by Thomas Zugger conveys the passionate and intense emotions of saying goodbye to someone dear. Written in four interconnected movements: Despair, Grief, Conflict and Anger, and Acceptance and Hope.This captivating composition is an impressive showcase for the trombone. (7’) Grade V.
OUTINGS (2013) for solo bass trombone or tuba by Roger C. Vogel was written for the British bass trombonist Jonathan Warburton, who premiered the work on March 1, 2013 at St. Martin's in the Bullring in Birmingham, England. This accessible work is in two short, contrasting movements: Stroll, and Jaunt. (4’) Grade IV-V. B937 $6.95

THREE EUPHONICS (2011) for solo euphonium by Howard J. Buss was the first place winner of the 2011 Lieksa Brass Week's International Composition Competition. In addition to receiving a 1,000 € prize, the winning work is to be used as required music for the Lieksa International Euphonium Competition, July 21-28, 2011 in Lieksa, Finland. Ranging from lyric tenderness to powerful (and sometimes fiery) technical displays, the three short movements Moods, Lyrique, and Breakout, explore a wide range of sonic atmospheres and moods Three Euphonics is an entertaining, audience-friendly concert work as well as an impressive contest piece. (5'40") Grade V-VI. Three Euphonics sound samples: Excerpt_movement_1.mp3 (1MB); Excerpt_movement_2.mp3 (1.1MB); Excerpt_movement_3.m4a (4MB)

Trombone with one other instrument (An asterisk, "*", after the word "trombone" means that the part may also be played by a euphonium.)

BALLAD (2004) for bass trombone (or tuba) and piano by Howard J. Buss received its world premier on May 9, 2004 at the Chetham School of Music in Manchester, England by Jonathan Warburton, bass trombone and Gilbert Cowlishaw, piano. This was commissioned by Mr. Warburton, and is a beautiful piece which radiates a sensuous lyricism and and nostalgic mood. The structure of the work is A-B-A-Coda, the A section is melodious, flowing, and expressive. The B section is more animated and has a playful nature. This is a “must” for your next recital or competition. (6’00”)This is a “must” for your next recital or competition. (6’00”) Grade IV-V.
Ballad Sound Samples: Excerpt 1 (the opening).mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
score sample .pdf file (will open with Acrobat Reader)

BOOM TIME for trombone and percussion,words and music by Howard Buss, is an evocative and entertaining work in which both performers recite the text during performance. Cast in four movements: Boomers!, Thoughts of Grey, Trombone Magic, and Wild Nights, it addresses humankind’s relationship to technology in the modern world. The instrumentation includes tomtoms, cymbals, wood block, wind chimes, tam-tam, bell tree, triangle, bass drum, tambourine, hi-hat, whip, vibraslap, bells and vibraphone. Commissioned by and premiered at the 1998 International Trombone Festival. (12’) Grade VI. Score sample: Mvt. 1 “Boomers!” .pdf fil;e
Score sample: Mvt. 2 “Thoughts of Grey!” .pdf file; Score sample: Mvt. 3 “Trombone Magic” .pdf file
Score sample: Mvt. 4 “Wild Nights” .pdf file; Sample page: Percussion Set-up .pdf file
Sample page: Performance Notes .pdf file
Boom Time Sound Samples:
Excerpt, Movement 1A.mp3 (1MB); Excerpt, Movement 1B.mp3 (1004KB);
Excerpt, Movement 2.mp3 (944KB); Excerpt, Movement 3.mp3 (1MB); Excerpt, Movement 4.mp3 (1.2MB)

DISCOURSE (1962) by Edward Troupin. In versions for trumpet and trombone*, and flute and trombone. Edward Troupin (1925-2004) enjoyed an international reputation as a composer of instrumental music. Throughout his long and illustrious career as a professor of music at Ithaca College and later the University of Florida, he inspired numerous young composers. Mr. Troupin received his bachelor’s degree from Harvard University with a major in mathematics. Later he earned his master of music degree from the University of Michigan, where he studied with Ross Lee Finney. Troupin’s sound-world is dramatic and full of vitality. His Discourse for trumpet and trombone was composed in 1962, further edited in 2006, and transcribed for flute & trombone by Howard Buss. This duo is in 5 short, entertaining movements: Assertion, Reflection, Eulogy, Fantasy and Comedy. The colorful, contrasting sections combine in charming balance to make a memorable concert feature. (8’) Grade V.

DIVERSIONS for flute & trombone duo by Howard J. Buss was composed during the Spring of 2009. The 4 colorful and entertaining movements are programmatic in a general way. “First Impressions” is a friendly musical conversation reflecting the ebb and flow of ideas that two people may exchange and develop when meeting the first time. The music has an easygoing quality with the discourse becoming quite excited at times. “The Challenge” begins with a flute cadenza that highlights the agility the instrument with rapid tonguing, quick dashes of sound, and trills. When the trombonist enters and demonstrates to the surprised flutist the ability to execute similar passages also with agility and finesse, it becomes apparent that a challenge has been issued. For the remainder of the movement the two players try to impress one another with their individual technical prowess. The manner in which the two finish the movement together suggests the contest is a draw. “By Starlight” has a beautiful and romantic atmosphere. The lyricism is woven into a predominately consonant harmonic tapestry that at times melts into poignant dissonance. By contrast, the freewheeling final movement, “Carnival”, is bright and exuberant. The colorful music and rondo-like form is suggestive of a carousel in motion. (12’30” Grade VI.
FABLES FROM AESOP (2001) for violin and trombone* by Howard J. Buss in 5 entertaining movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The colorful and engaging music is idiomatic and sophisticated, yet it is accessible because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly effective on out-reach concerts in the schools. “Buss employs a variety of meters, tonalities, and an equality of parts to set this duet apart from other instrumental duos of mixed descent. This is a captivating achievement of great variety and craftsmanship.” - reviewed by Joel Elias, California State University, Sacramento in the July 2005 International Trombone Association Journal, Vol. 33, No. 3 - (13’) Grade V.
Fables from Aesop score samples: Excerpt, Movement 1.pdf (2 pages, 192KB);
Excerpt, Movement 2.pdf (2 pages, 200KB); Excerpt, Movement 3.pdf (2 pages, 180KB);
Excerpt, Movement 4.pdf (2 pages, 228KB); Excerpt, Movement 5.pdf (2 pages, 280KB)

FOR THE FUNK OF IT (1985) for bass trombone (or tuba) and piano by Zack Browning offers hard-driving funk and off-beat reggae passages which are then contrasted with lyrical lines derived from a twelve-tone set. This unusual combination of styles creates an energetic and volatile setting for the performers, who must switch from one style to another within the course of the composition. The result is an entertaining and memorable work which is fun to perform. For the Funk of It was written for and premiered by Fritz Kaenzig of the University of Michigan. (5’) Grade V. For the Funk of It Sound Sample: Excerpt.mp3 (1.1MB)

FOUR MINIATURES for trombone* and bass trombone (or tuba) by Howard J. Buss is a vibrant and colorful sonatina. This picturesque composition is divided into four movements: Aggressive, Contemplative, Buoyant, and Energetic. The playful, yet sophisticated character of the music makes this an entertaining, audience-friendly work. (9’20”) Grade V.
ILLUMINATIONS for bass trombone (or tuba) and piano by Howard J. Buss was commissioned for Charles Vernon, bass trombonist with the Chicago Symphony, and the 30th Anniversary of the International Trombone Festival. It is cast in two engaging movements: Reverie and Urban Lights. The first movement is lyrical and contemplative in nature, the second is a frolicking rondo which is hugely influenced by jazz and, in one section, funk music. This is a “must” for your next recital! (19’) Grade V.
Illuminations Sound Samples: Movement 1 Sample A.mp3 (974K); Movement 1 Sample B.mp3 (796K); Movement 2 Sample A.mp3 (845K) Movement 2 Sample B.mp3 (1MB)

LULLABYE FOR BEAR by Lee Heritage in versions for trombone* and piano, and trombone* choir (5 part) is a charming composition in which conservative modern writing is used in an appealing manner. Grade II-III. (3’30”)
Lullaby for Bear (ensemble version) Sound Sample: Excerpt.mp3 (798KB)
(Live outdoor recording: You will hear the faint sound of night crickets in the background.)
NIGHT TIDE (1995) for trombone and marimba by Howard J. Buss. An evocative interplay between aggressive and serene sections, this enchanting duo is an impression of the New England coastline at night. “The evening’s highlight, Night Tide was a stunning aural portrait of the sea’s ebb and flow.” - The Maine Sunday Telegram. (8’30”) Grade V.
Sound Sample#1.mp3 (1.1MB) Sound Sample#2.mp3 (1.1MB)

PAS DE DEUX for flute and trombone* by Roger Vogel is an engaging suite in four movements: Fandango, Siciliana, Basse Danse, and Saltarello. (9’) Grade IV-V.

New! STEPPING OUT (2013) for trombone (or euphonium) and bass trombone (or tuba) by Roger C. Vogel was premiered by Philippa Done, trombone, and Jonathan Warburton, bass trombone on March 1, 2013 at St. Martin's in the Bullring in Birmingham, England. This concert work is cast in 5 movements: Promenade, Organum, Song, Leapfrog, and Dance. The movements range in duration from 2’30” to 2’50” and may be played individually, or in any grouping. (13’) Grade V. B936 $16.50

SOLAR LIGHTS (2011) for tenor and bass trombone duo by Roger Vogel is a picturesque work in 6 movements: The Sun, The Full Moon, Shooting Stars, Panets, Aurora Borealis, and UFO's. The movements may be performed individually or in any grouping. (17') Grade V.

THREE DANCES for clarinet and trombone* by Thomas Zugger in three movements : Jazz Waltz, Slow Dance, and Irish Jig. In this charming and entertaining work the "lead" in each dance is shared in alternation between the two instrumentalists. The first movement, Jazz Waltz, is in ABA form with the middle section being a waltz in 4/4. The melody is introduced by the trombone and is passed back and forth throughout. In the enchanting second movement, Slow Dance, the musical material undergoes continuous development with the equality of the parts being paramount. The energetic final movement, Irish Jig, opens with an intriguing mixed meter section which leads to the rousing jig. It concludes with an exciting and frenzied accelerando and fugue. This work is fun to perform and has a great audience appeal! Recorded on the CD Dances and Dreams [Mark Records 8290-MCD] (11’30”) Grade IV.
Three Dances sound samples: Excerpt, Movement 1.mp3 (1.1MB); Excerpt, Movement 2.mp3 (868KB):
Movement 3.mp3 (1 MB)

TIME CAPSULE (2002) by Howard Buss is an entertaining sonatina in four movements: Daybreak, Chorale, Rendezvous, and Homeward Bound and is both fun to play and listen to. The first movement has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. The final movement, Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the two instruments. (7’) Grade IV.
TREK! “A Fantasy for Trombone and Piano” (1999) by Howard J. Buss is a powerful and exciting romp through 4 continuous movements. Fanfare, fugal, and jazzy sections contrast. This is a “must” for advanced players. Commissioned for the 1999 International Trombone Festival in New York, premiered by Douglas Wright (Minnesota Orchestra). (9’) Grade VI.
Trek! Sound Samples:Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (1005KB);
Excerpt 3.mp3 (1MB); Excerpt 4.mp3 (1MB)
TROMBONE CONCERTO (1983) by Howard J. Buss in three movements: Proclamation, Soliloquy, and Capriccio. This critically acclaimed composition works well as a feature number and as a contest piece. “An alternative to the Rimsky-Korsakov, the Jacob ‘Concertino’, or the Larson - substantial, listenable, I recommend it highly.” - Paul Hunt, ITA Journal. (18’) Grade V.

version for trombone and band:
Trombone Concerto (version for trombone and band) Score Samples (transposed score):
Excerpt, Score, Movement 1.pdf (4 pages, 916KB); Excerpt, Score, Movement 2.pdf (6 pages, 776KB);
Excerpt, Score, Movement 3.pdf (6 pages, 928KB); Excerpt, Solo Part Movement 1.pdf (1 page, 100KB);
Excerpt, Solo Part Movement 2.pdf (1 page, 140KB); Excerpt, Solo Part Movement 3.pdf (2 pages, 228KB)
Trombone Concerto (version for trombone and band) Sound Sanples:
Movement 1: Excerpt_Opening.mp3 (1.3MB); Excerpt_Middle.mp3 (1.5MB); Excerpt_End.mp3 (1.3MB)
Movement 2: Excerpt_Mov.2.mp3 (1.7MB)
Movement 3: Excerpt_Opening.mp3 (1.7MB); Excerpt_End.mp3 (1.5MB)

ZOOM (2011) for bass trombone (or tuba) and harp by Howard J. Buss was commissioned by Brandt Attema and Astrid Haring and written during the winter of 2010-11. The composition was inspired by the spectacular images as seen through a satellite camera as the composer zoomed in on the coastline of The Netherlands. The strong narrative quality of the music couples with Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies, makes this work accessible to a wide array of different types of audiences. (10'30") Grade VI.
Zoom sound samples: Excerpt 1 (1.2MB); Excerpt 2 (1.1MB); Excerpt 3 (1.2MB); Excerpt 4, the ending (1.1MB)

Trombone(s) with percussion ensemble

AMERICAN PHOENIX (2001) for solo bass trombone (or tuba) and four percussion by Howard J. Buss was written for Stefan Sanders, bass trombonist with the Buffalo Philharmonic and the 30th Anniversary of the International Trombone Association. Cast in three movements, this colorful work was composed immediately following the important world events of September 11, 2001. It was premiered by Mr. Sanders and members of the University of North Texas Percussion Ensemble at the 2002 International Trombone Festival in Denton, Texas. this colorful work is in three movements: In Remembrance 9/11/01, Repercussions, and Renewal. Percussion Distribution - Percussion 1: Xylophone, tubular bells (chimes), suspended cymbal, snare drum, police whistle, and Chinese bell tree; Percussion 2: Vibraphone, 2 suspended cymbals, 4 tom toms, bongos, and wood block; Percussion 3: Marimba, tam-tam, lion roar, ratchet, slapstick, wind chimes, and suspended cymbal; Percussion 4: Marimba (to low A), timpani (4), tambourine, 2 cowbells, and suspended cymbal."Buss’ melodies vary. They are mystic, poignant, heroic, often modal, and at times reminiscent of folk songs. He writes for the percussion ensemble with mastery and features a wide range of instruments. The sound landscape is rich with many moods and timbres. American Phoenix is an attractive addition to a solo program or as a feature piece for a percussion recital. It is rewarding for both performer and audience.” - The ITA Journal, January 2005 (15’) Grade V. B375 $48.50
Score sample: Mvt. 1 “In Remembrance” 9/11/01 .pdf file (will open with Acrobat Reader)
Score sample: Mvt. 2 “Repercussions” .pdf file (will open with Acrobat Reader)
Score sample: Mvt. 3 “Renewal” .pdf file (will open with Acrobat Reader)
American Phoenix Sound Samples: Movement 1 (In Remembrance 9/11/01), Excerpt A.mp3 (1001KB);
Movement 1 (In Remembrance 9/11/01), Excerpt B.mp3 (1MB); Movement 2 (Repercussions), Excerpt A.mp3 (1.1MB);Movement 2 (Repercussions), Excerpt B (the ending).mp3 (1021KB);
Movement 3 (Renewal), Excerpt A.mp3 (1.1MB); Movement 3 (Renewal), Excerpt B (the ending).mp3 (795KB)

CROSSROADS (2011) for 4-part trombone choir and 8 percussion by Howard J. Buss was written during the summer of 2011 and is dedicated to Tom Brantley and Robert McCormick. The University of South Florida Trombone Choir and Percussion Ensemble premiered it in Tampa, Florida on January 21, 2012 under the direction of Robert McCormick. The character of this music is strongly influenced by jazz and Latin music. The intriguing rhythms and soaring melodies combined with the implied theatre suggested by the staging, make this a sophisticated, yet accessible composition that is rewarding to perform and listen to. The four trombone parts may be performed with a quartet; however, it is desirable to have multiple players used on each part except in those areas where the score specifically specifies one player on a part for a particular passage. The unique instrumentation of this ensemble, combined with the prevalence of numerous colleges and universities that have trombone choirs and percussion ensembles, make this a concert work that is destined to become standard literature. "Somewhat contemporary sounding, with jazz and Latin influences, one's interest is held for the entirety. The two instrument families are well integrated throughout. Some sections are extremely lyrical in the percussion ensemble and rhythmic in the trombones, vice versa in others. This compositional technique allows for great clarity throughout the work. An enjoyable work for the performers and audience." -Susan Martin Tariq, Percussive Notes Magazine. (15’40”) Grade V.
Additional Information: Percussion setup page.pdf General notes and instructions.pdf Crossroads Sound Samples: Excerpt_1.mp3 (1.6MB), Excerpt_2.mp3 (1.1MB), Excerpt_3.mp3 (1.5 MB), Excerpt_4.mp3 (2.7MB)

DREAM SEQUENCE (1987) for trombone (or euphonium) and four percussion by Howard J. Buss was inspired by Carl Sagan’s poetic observation about dreams: “Late at night, when it is very still and the obligatory dreams have been dreamt, the gazelles and dragons begin to stir.” Subdued, mystical sections contrast with energetic and rhythmic episodes in a manner resembling a progression of dreams. Percussion distribution: Percussion 1: Marimba, celesta (muted orchestra bells may be substituted), suspended cymbal, claves, and 2 cow bells; Percussion 2: Vibraphone, maracas, bass drum and temple blocks; Percussion 3: Orchestra bells, guiro, and 2 suspended cymbals; Percussion 4: Chimes (tubular bells), bongos, wind chimes, tam-tam, triangle, and lion roar. “Worth programming and highly recommended.” - Percussive Notes. (10’) Grade IV.
Dream Sequence Sound Samples: Excerpt 1.mp3 (1016KB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (964KB)

Trombone ensembles (An asterisk, "*", after the word "trombone" means that the part may also be played by a euphonium.)

New! AQUARIUS (2013) for three trombones* by Howard J. Buss showcases both the agility and the beautiful, sonorous tone of instruments. It was written during the spring of 2013 and is the second in a series of works by the composer inspired by aspects of the signs of the Zodiac. The two movements are At the Glow of Dawn (3’5”) and Ocean Blue (3’50”). Aquarius explores a variety of sonic atmospheres and moods. The sophisticated musical language coupled with soaring melodies and intriguing rhythms makes this composition an accessible concert work as well as an impressive contest piece. (7’) Grade V. B440 $15.00

AVE VERUM CORPUS by W. A. Mozart, transcribed by Howard J. Buss. This sensitive rendition of one of Mozart’s most sublime works makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (3’30”) Grade II-III.
BROM BONES for trombone octet by Howard Buss.
This riveting “tour de force” musically depicts the character and exploits of Washington Irving’s dashing prankster, Brom Bones, in The Legend of Sleepy Hollow. The musical ensemble consists of 2 trombone quartets, each comprised of three tenors and one bass. The work is cast in 5 movements, the first two are interconnected:
   I. Overture (2:00)
   II. The Smoke Out (2.40)
   III. The Schoolhouse Caper (2:00)
   IV. Ichabod’s Romance (3:40)
   V. Night Encounter (3:10)
Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of brassy muted trombones, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful trombone solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. This is a “must” for the advanced college ensemble. Score & parts included. (14') Grade V-VI.

CANZONA by Florentio Maschera (1540-1584) transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (2’30”) Grade III. 2-page score sample.pdf file
CROSSROADS(2011) for 4-part trombone choir and 8 percussion by Howard J. Buss was written during the summer of 2011 and is dedicated to Tom Brantley and Robert McCormick. The University of South Florida Trombone Choir and Percussion Ensemble premiered it in Tampa, Florida on January 21, 2012 under the direction of Robert McCormick. The character of this music is strongly influenced by jazz and Latin music. The intriguing rhythms and soaring melodies combined with the implied theatre suggested by the staging, make this a sophisticated, yet accessible composition that is rewarding to perform and listen to. The four trombone parts may be performed with a quartet; however, it is desirable to have multiple players used on each part except in those areas where the score specifically specifies one player on a part for a particular passage. The unique instrumentation of this ensemble, combined with the prevalence of numerous colleges and universities that have trombone choirs and percussion ensembles, make this a concert work that is destined to become standard literature. (15’40”) Grade V.
Additional Information: Percussion setup page.pdf General notes and instructions.pdf
Crossroads Sound Samples: Excerpt_1.mp3 (1.6MB), Excerpt_2.mp3 (1.1MB), Excerpt_3.mp3 (1.5 MB), Excerpt_4.mp3 (2.7MB)

DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The composer wrote an extended two-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. (2’30”) Grade IV. 2-page score sample.pdf file
LEVI'S DREAM (2011) for trombone* quartet (3 tenors and one bass) or ensemble by Howard J. Buss. This colorful work showcases the agility and rich sonority of the instruments. The title refers to an imagined dream of Levi, the namesake of the Israelite Tribe. The Levites were known for their involvement in priestly duties and music. Although the composition is loosely programmatic, much of the music has a distinctly Middle-eastern quality. The soulful nature of the slower sections is enhanced by the expressive, luscious ambience of the ensemble. The composition features two sections with original tunes in the style of Jewish folk songs. One is slow and contemplative, the other jubilant. Levi’s Dream an audience-friendly work appropriate for the concert hall or in a house of worship. (7'40") Grade V-VI.

LULLABYE FOR BEAR by Lee Heritage is a charming composition in which conservative modern writing is used in an appealing manner. Grade II-III. (3’30”) version for trombone* choir (5 part) Lullaby for Bear Sound Sample: Excerpt.mp3 (798KB)
(Live outdoor recording: You will hear the faint sound of night crickets in the background.)

ODYSSEY (1987) for trombone quartet (or ensemble) by Howard J. Buss is scored for three tenor and one bass. (A tenor with an F-attachment may play the 4th part is no bass is available.) This riveting composition is an exciting musical excursion by one of the eminent composers of contemporary trombone music. Bold fanfare sections contrast with beautiful chorale-like passages. The writing is idiomatic and the ranges are modest. (Part 1 ascends briefly to an optional high Cb and part 4 descends to a pedal G.) No extended techniques are employed, yet because of the intriguing scoring and the tasteful, ingenuous use of mutes, the music sounds fresh and invigorating. (10’10”) Grade V. Sound sample.MP3 (1.1MB)
PRELUDE AND INTRADA (2007) for four euphoniums and/or trombones by Howard Buss. This attractive quartet features lyrical writing, and spirited rhythmic drive. The Prelude is an interesting combination of fanfare and lyrical sections as well as tonal and polytonal harmonies. The festive Intrada is in an ABA-Coda format and features crisp, energetic rhythms and lyrical contrapuntal writing. It works well as a memorable feature number or an impressive contest piece. Multiple players may be used on each part to expand the ensemble. (5’15”) Grade V.

RICERCARE ON C by Andrea Gabrieli (1510-1586) transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. Particularly interesting are the meter changes involving metric modulations, a trait found in much of the dance music of the day. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (2’30”) Grade III. 2-page score sample.pdf file
SHOWDOWN for 10-part trombone choir by Howard Buss was composed during the latter months of 2009 for Nathaniel Brickens, The University of Texas-Austin Trombone Choir, and the 2010 International Trombone Festival. This entertaining work is a musical depiction of two opposing groups of cowboys. Each group is comprised of a soloist and 4 “companions.” Following the initial fanfare, the groups individually showcase their musical prowess. Eventually they clash in a riveting sonic “gunfight.” Showdown mixes Buss’ unique style of soaring lyricism, energetic rhythms, and colorful harmonies with forceful and idiomatic writing for the trombones. The result is sure to please both the audience and performers! (10’30”) Grade V-VI. Showdown sound samples (from live concert) Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (1.3MB); Excerpt 3.mp3 (984KB)

Trombone in chamber music - trios: (An asterisk, "*", after the word "trombone" means that the part may also be played by a euphonium.)

A THOUSAND WORDS for clarinet, viola, and trombone by Thomas Zugger in 4 colorful movements: Irony, Blue Image, Serenity and Rush Hour. At first the instrumentation may sound implausible. However, this work is masterfully written and the instrumental combination works exquisitely. (14’) Grade V. A Thousand Words score samples (transposed score):
Excerpt, Movement 1.pdf (3 pages, 355KB); Excerpt, Movement 2.pdf (2 pages, 329KB);
Excerpt, Movement 3.pdf (2 pages, 296KB); Excerpt, Movement 4.pdf (3 pages, 485KB)

CAPRICCIO (1986) for clarinet, trombone and one percussion by Howard J. Buss is a rather whimsical composition. The overall structure of the work is related to sonata-rondo form. Following an introduction, the frolicking Exposition unfolds only to be interrupted by a chorale-like episode followed by a paraphrase of the opening “thematic” material. The development section consists primarily of cadenzas for the percussionist, trombonist, and clarinetist respectively. (The cadenzas are separated by colorful transitional passages.) The clarinet cadenza is abruptly interrupted by the percussionist and trombonist leading to a section in Dixieland style. The composition concludes with a Recapitulation and Coda.Capriccio subtly pokes fun at the pyrotechnical characteristics exhibited by many contemporary compositions and the same time hints at a parallel with similar elements in Dixieland and jazz. The work was premiered in at the University of South Florida in Tampa by the composer on trombone, clarinetist Judy E. Buss, and percussionist Robert McCormick on November 24, 1981. The instrumentation includes 5 tom-toms, snare drum, tambourine, suspended cymbals, cowbells, triangle, tam-tam, bell tree, one timpani, vibraphone and bells. "Frolicking and freewheeling with 12-tone Dixieland to boot!" - The London Times (13’) Grade V.
Capriccio Sound Samples: Excerpt 1.mp3 (1.1MB); Excerpt 2.mp3 (1MB); Excerpt 3.mp3 (1.1MB);
Excerpt 4.mp3 (398KB); Excerpt 5.mp3 (the ending) (966KB)

CONTRASTS IN BLUE (2001) for trumpet, trombone*, and piano by Howard J. Buss. A dramatic and colorful work in 2 picturesque movements: Evening Shadows and Summer Sea The music is evocative of the imagery suggested by the titles of the movements and of the musical “blues” as well. The themes of shadows and water also suggest a kinship with the impressionist style of 100 years earlier. (15:30) Grade V-VI. Contrasts in Blue Sound Samples:
Movement 1 Sample.mp3 (795K); Movement 2 Sample A.mp3 (1MB);
Movement 2 Sample B.mp3 (730K)

DIVERTIMENTO (1969) for trumpet, trombone* & French horn by Edward Troupin. Troupin’s sound-world is dramatic and full of vitality. His Divertimento for trumpet, trombone, and French horn was composed in 1969. In this entertaining and delightful brass trio the beautiful and lyrical Andante is surrounded by brilliant, energetic movements. The colorful and contrasting sections within each movement combine in charming balance to make a memorable concert feature. (9’) Grade IV-V.
FLORIDA TABLEAU (1987) for clarinet, trombone & piano by Howard J. Buss is a picturesque work in 3 movements: The March of Progress, Pastorale, and The Eternal Sea. The energetic first movement features dramatic contrast between lyrical lines in the winds sounding over a hard-driving piano accompaniment, and a development section characterized by staccato melodic fragments being passed among the players. The beautiful second movement, Pastorale, is impressionistic and paints a sonic portrait of rural Florida's vast pasture lands, forests, lakes, and the Everglades. The final movement, The Eternal Sea, begins and ends with turbulent sections, one can easily imagine great waves crashing on the shoreline. The middle part of the movement has a swashbuckling and almost humorous quality about it, suggesting people frolicking at the beach. Florida Tableau was commissioned by the Florida State Music Teachers Association. “A curious musical blend of the old and the new, much like modern Florida itself.”” - The Orlando Sentinel (16’40”) Grade V.
IMAGINATIONS (2012) for horn, trombone & piano by Howard J. Buss showcases the agility and beautiful, sonorous tone of the horn, trombone, and piano ensemble. Ranging from lyric tenderness to powerful (and sometimes fiery) technical displays, the 2 movements, Contemplative and Auspicious, explore a wide range of sonic atmospheres and moods. The sophisticated musical language, coupled with the soaring melodies and intriguing rhythms, make this a significant, audience-friendly concert work. Imaginations was composed for Gene Berger, horn; John Seidel, trombone; and Liz Beth Seidel, piano. (13’) Grade V-VI.
Imaginations sound samples: Movement 1, excerpt 1(1.6MB); Movement 1, excerpt 2 (1.2MB); Movement 2, excerpt 1 (1.8MB); Movement 2, excerpt 2 (1.5MB)
TRIGON (1989) for trumpet, trombone, and tuba by Howard J. Buss. This riveting and energetic piece is characterized by lyrical passages juxtaposed with aggressive, angular sections. All three players are given substantial solo lines in this exciting tour de force. (10’) Grade V.

Trombones in chamber music - quartets (includes brass quartets) (An asterisk, "*", after the word "trombone" means that the part may also be played by a euphonium.)

FUGA VII from the Well-Tempered Clavier, Book 2, BWV 876, by Johann Sebastian Bach for brass quartet, [two B-flat trumpets, French horn (an optional trombone* part is included as a substitute for the horn on part 3), and trombone*] transcribed by Howard J. Buss. Rather than intending to elicit a strong emotional response from listeners, this elegant music is designed to showcase compositional craftmanship and stilulate the intellect. This outstanding transcription makes a wonderful addition to a concert and is especially appropriate for performance in church. (3’) Grade III.
JAZZICAL #4 (2012) for horn, trombone, tuba & piano by Howard J. Buss . The composer states, “It was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of this work is the resultant this procedure. Because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, the music will sound jazzy (in varying degrees) to most, and mostly classical to others. (12’45”) Grade VI.
Jazzical #4 Sound Samples: Excerpt_1.mp3 1.5MB); Excerpt_2.mp3 (1.8MB); Excerpt_3.mp3 (2.4MB); Excerpt_4.mp3 (2.3MB).
ODYSSEY (1987) for trombone quartet (or ensemble) by Howard J. Buss is scored for three tenor and one bass. (A tenor with an F-attachment may play the 4th part is no bass is available.) This riveting composition is an exciting musical excursion by one of the eminent composers of contemporary trombone music. Bold fanfare sections contrast with beautiful chorale-like passages. The writing is idiomatic and the ranges are modest. (Part 1 ascends briefly to an optional high Cb and part 4 descends to a pedal G.) No extended techniques are employed, yet because of the intriguing scoring and the tasteful, ingenuous use of mutes, the music sounds fresh and invigorating. (10’10”) Grade V. Sound sample.MP3 (1.1MB)

Trombone in chamber music - quintets and sextets (includes brass quintets and choirs)

BROM BONES for 10-part brass choir by Howard J. Buss musically depicts the character and exploits of Washington Irving’s dashing prankster in The Legend of Sleepy Hollow. The musical ensemble consists of 4 Bb trumpets (an optional Eb part is included for trumpet 1), one French horn, 3 tenor trombones, one bass trombone, and tuba. This entertaining composition is cast in 5 movements, the first two are interconnected:
       I. Overture   (2:00)
      II. The Smoke Out    (2.40)
      III. The Schoolhouse Caper (2:00)
      IV. Ichabod’s Romance    (3:40)
      V. Night Encounter   (3:10)
         Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of muted brass, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. (14’30”) Grade V-VI.

CASCADES for brass quintet (2-1-1-1) by Roger C. Vogel. Musical “cascades” rush forth from one another throughout in this exciting new work. Cascades is divided into three main sections. A fast energetic opening eventually gives way to a slower section before the opening mood returns in increasing intensity to the rousing conclusion. This accessible composition makes an outstanding contest piece, feature number, or because of its character, a dashing encore. (4’) Grade IV-V.
Cascades sound sample: Excerpt.mp3 (1 MB)

CHROMATIC FANTASY (1997) for brass quintet (2-1-1-1) by Howard J. Buss was composed for the United States Air Force Brass Quintet. This exciting and engaging“tour de force” is a riveting excursion through driving ostinati and sparkling chromatic flourishes. Chromatic Fantasy was premiered by the U.S.A.F. Brass Quintet at the Eastern Trombone Workshop hosted by the U.S. Army Band in Ft. Meyer, VA. (8’) Grade V-VI.
Chromatic Fantasy Sound Samples: Excerpt 1 (the opening).mp3 (1MB);
Excerpt 2.mp3 (984KB)

CONCORD (1990) for brass quintet (2-1-1-1) by Howard J. Buss teems with the vitality of youth. Lyrical passages are juxtaposed with fanfare-like sections to create a dramatic and festive atmosphere. Written for the opening of a performing arts high school in Florida, this exciting composition was winner of the 1991 “Erik Satie Award” of New York City. This significant work makes a great contest piece or rousing feature number. (6’) Grade V. Concord Sound Samples: Sample 1.mp3 (1MB) Sample 2.mp3 (1.2MB) Sample 3.mp3 (412K)

DREAM SEQUENCE (1987) for trombone or euphonium and 4 percussion by Howard J. Buss was inspired by Carl Sagan’s poetic observation about dreams: “Late at night, when it is very still and the obligatory dreams have been dreamt, the gazelles and dragons begin to stir.” Subdued, mystical sections contrast with energetic and rhythmic episodes in a manner resembling a progression of dreams. Percussion distribution: Percussion 1: Marimba, celesta (muted orchestra bells may be substituted), suspended cymbal, claves, and 2 cow bells; Percussion 2: Vibraphone, maracas, bass drum and temple blocks; Percussion 3: Orchestra bells, guiro, and 2 suspended cymbals; Percussion 4: Chimes (tubular bells), bongos, wind chimes, tam-tam, triangle, and lion roar. “Worth programming and highly recommended.” - Percussive Notes. (10’) Grade IV. Dream Sequence Sound Samples:
Excerpt 1.mp3 (1016KB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (964KB)

PLANE DANCING (1984) for flute, trumpet, bass clarinet, bass trombone, and two percussion by Erik Lund makes an exciting and colorful contrast on any program. This is music with thrust, intensely alive. Percussion distribution - Percussion 1: Three cymbals, tom toms (5), vibraphone, temple blocks, iron frying pan, cow bell, and brake drum; Percussion 2: Maracas. “An excellent addition to the chamber music program.” - Percussive Notes (5’) $28.50
Plane Dancing Sound Samples:
Excerpt 1 (the opening).mp3 (1.1MB); Excerpt 2 (the ending).mp3 (1.2MB)

SONATA K. 380 by Scarlatti, Domenico for brass quintet (2-1-1-1), transcribed by Howard J. Buss. This delightful work was originally composed for keyboard by Domenico Scarlatti around the year 1754 and was entitled Sonata in E Major K. 380 (Longo 23). This transcription for brass quintet preserves the essential traits of the composer’s unique style, including his compositional use of register with florid treble parts and a strictly functional, supportive bass. (6’30”) Grade IV.

SONIC FABLES: “Lessons from Aesop” (1991) for brass quintet (2-1-1-1) and one percussion by Howard J. Buss. Entertaining musical representations of 6 of Aesop’s famous fables are presented between a Prelude and Postlude. The text of the fables is printed on a preliminary page to the score and may be used as written program notes. Each fable may also by recited by a member of the ensemble or a narrator prior to performing the accompanying movement. Because of the programmatic subject matter and the colorful spirit of the music, Sonic Fables works well with all types of audiences, including those of children. It is frequently used as a feature number by professional ensembles on school programs. Percussion: 2 suspended cymbals, temple blocks, snare drum, tomtom, triangle, tambourine, wind chimes, xylophone, and tam-tam. The total duration is about 17 minutes; however, the 8 movements may be performed in smaller groupings if so desired by the performers. (18’) Grade V-VI.
Sonic Fables Sound Samples:
Prelude.mp3 (excerpt with the beginning of narrator's lead-in to the first fable) 844KB
The Hawk and the Nightingale.mp3 (excerpt) 916KB
The Middle-Aged Man and His Two Mistresses.mp3 (excerpt) 1MB
The Cat and the Rooster.mp3 (excerpt) 1.2MB
The PipingFisherman.mp3 (excerpt, with the beginning of narrator's lead-in to the next movement) 940KB
The Fox and the Leopard.mp3 (excerpt) 1.1MB
The Lion and the Bear.mp3 (excerpt) 764KB
Postlude.mp3 (excerpt) 1.2MB

WARP! (1994) for brass quintet by Robert J. Frank. The title was inspired by the term from Star Trek where warp engines would bend time and space to propel the ship at incredible speeds. Exploring relationships between time and space in a musical sense, this work begins with motives and fragments free-floating in space. These gradually build in energy and motion until coming into phase with one another. After this cadence, a motor section expands and develops the previous free-floating motives over driving, repeated patterns. As the speed increases, these motives fade in and out of phase with each other until the motives come back into phase at "warp speed" in the exciting conclusion.Warp! is a fun and exciting concert feature! (3') Grade V.
Warp! sound sample: Excerpt.mp3 (966KB)

Trombone and band

TROMBONE CONCERTO (1983) by Howard J. Buss in three movements: Proclamation, Soliloquy, and Capriccio. This critically acclaimed composition works well as a feature number and as a contest piece. “An alternative to the Rimsky-Korsakov, the Jacob ‘Concertino’, or the Larson - substantial, listenable, I recommend it highly.” - Paul Hunt, ITA Journal. (18’) Grade V. Trombone Concerto (version for trombone ) score samples (transposed score):
Excerpt, Score, Movement 1.pdf (4 pages, 916KB); (all will open with Acrobat Reader)
Excerpt, Score, Movement 2.pdf (6 pages, 776KB);
Excerpt, Score, Movement 3.pdf (6 pages, 928KB);
Excerpt, Solo Part Movement 1.pdf (1 page, 100KB);
Excerpt, Solo Part Movement 2.pdf (1 page, 140KB);
Excerpt, Solo Part Movement 3.pdf (2 pages, 228KB)
Trombone Concerto (version for trombone and band) Sound Sanples:
Movement 1: Excerpt_Opening.mp3 (1.3MB); Excerpt_Middle.mp3 (1.5MB); Excerpt_End.mp3 (1.3MB)
Movement 2: Excerpt_Mov.2.mp3 (1.7MB)
Movement 3: Excerpt_Opening.mp3 (1.7MB); Excerpt_End.mp3 (1.5MB)

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