TromboneChat

To add to the stuff I've already posted
Air Flow Warm-ups
Giuseppe Concone's 25 Leçons de chant, Op.10 For Low Voice
Selected etudes from Charlier's 36 Etudes Transcendantes
Carl Maria von Weber (but probably not from him) Romance
Max Bruch's Kol Nidrei, Op. 47, arr. Keith Brown

I’ve just added the following pieces for your enjoyment:
12 Cello Sonatas, 1-6, Pierre Hyacinthe Azaïs (1741 – 1796)
12 Cello Sonatas, 7-12, Pierre Hyacinthe Azaïs (1741 – 1796)
6 Sonatas for Bassoon or Violoncello, John Ernest Galliard (1687 – 1749)
6 Sonatas for Violoncello, Giraud, François-Joseph (? – 1788)
6 Sonatas for a Violoncello, Op. 1, Willem de Fesch (1687 – 1761)
6 Sonatas for a Violoncello, Op. 8, Willem de Fesch (1687 – 1761)
6 Sonatas for a Violoncello, Op. 13, Willem de Fesch (1687 – 1761)
5 Sonates suivies d'un concerto, Op.26 (ca. 1729), Joseph Bodin de Boismortier (1689 – 1755)

(for this second batch, click onto the link, then within your browser, print to PDF)

https://5d832781b3df5.site123.me/free-trombone-music

These pieces are actually for MY use and enjoyment. If you like them, fine. If not, also fine. The „why“s.

1) Taking an example from the 6 Vivaldi Sonatas, the Bach Cello Suites, and others, using cello music or bassoon music for trombone solo literature has a long past. So these here aren’t breaking any new ground. The are however, some of the better pieces I dug out of IMSLP. And that being the case, there is, of course, a certain lack of qualitative uniformity. Some are great, others are less so. Some didn’t actually survive past the transcription process and I abandoned the work on them – they DON’T appear here. But I’ve played them all, with all their strengths and weaknesses as well as mine.

2) In August, the company Make Music announced, that Finale will no longer be developed or sold. And that it will not be „certified“ for use under MacOS 15.x Sequoia. That doesn’t mean that Finale will evaporate at some point. Nor does it mean that one MUST switch to Dorica, even if Make music is pushing a cross grade. But at some point in the future, you’ll update your OS and Finale will break. I went through this with HB Music Engraver, which never started again after I updated from System 6 to System 7. Shortly thereafter I bought into Finale, according to my records, in 1991. I used it for my engraving business from around 1994-2002/3 or so. I used it for my arrangements which I ended up selling to Marc Reift and Emil Ruh. Despite all that I am planning for the future, (however long that will be, being that I’m creeping up on 72) to continue transcribing music. Because of this, I decided to work on some multi-movement sonatas in Finale, Dorico and MuseScore, learning the later two as I went along. I found Dorico to be frustratingly rigid (online the „advice“ is to learn Dorico’s way and don’t question it), illogical and just plain a PITA. MuseScore was much easier for me to learn – still learning – and I’ve found it does some things exceedingly better than Finale. The question I had was „Can I develop a combined work-flow, or is this an either-or-proposition?“ As is so often the case, the answer for me is „it depends“. With much of this work I entered notes in Finale, added most articulations and texts, slurs and such. I then exported in either uncompressed XML or the older version of XML Finale offers. Then I’d open this XML file in MuseScore. For those curious as to the reliability of this process: all the notes themselves came over well. Not all the editorial signs did. But importing Finale’s XML, no matter what version, caused some wonkiness with MuseScore. For one thing, after the first movement, all subsequent movements have slightly messed up measure numbers, requiring adding to the showing measure numbers one number at the beginning of each and every movement individually – easily done in MuseScore. Also, although all time signatures and key signatures showed physically properly, a bug to this process is, means needing to go, movement for movement, and re-establishing the key signature in the first measure of the movement, no matter what is already showing. If you don’t do this, any transposing of a movement may or may not transpose all subsequent movements although you only select the one. And the transposition is wonky – the notes get transposed, but the key signature doesn’t change UNLESS you first take this previously explained step. This problem only happens with files based on imported XML files. Also changing playback speed is … hit and miss - sometimes it works, sometimes it reverts to the previous tempo after 2-3 measures.. Long story not short (for those considering switching from Finale after simply exporting all Finale files as XML), … it ain’t necessarily so...easy or bug-free. Anyway, doing these sets of sonatas was a great learning experience for me.

Enjoy!

FYI - just added another set of sonatas. This one by Gian Baptiste Cirri. Two versions. Who can tell which one is a Finale product and which is a MuseScore product?

I get an error when scrolling through many of your files.
...including the first Cirri, but not the second.

How are you downloading them onto the computer? Also, Mac or windows?

What works best for me is to
1) click onto the link. the PDF opens in a window in the browser (Safari and/or Firefox)
2) print out this to disk by using the "system" printing window, choosing PDF, and then showing it where to deposit it on your computer.
3) I don't have Adobe on my boxes, so use Apple's "Preview" program. Works every time.

New End of November 2024:

Here are 5 more pieces, newly transcribed.
Link: https://5d832781b3df5.site123.me/free-trombone-music

The first 4 transcriptions come with piano parts readily available, taken from IMSLP and included in each package. A couple have already been recorded by some trombonist or other. Instead of linking to them, I′ve chosen to provide links to recordings by well known (or lesser well known) singers, such as Dietrich Fischer-Dieskau or Hermann Prey, inasmuch as I prefer to „imitate“ a singer who is interpreting the text, rather than a trombonist playing playing his best trombone piece. And that being the case, the editorial breathe marks reflect the punctuation in the original text, not necessarily places to breath. But since the singers often do breath there….

Ludwig van Beethoven – 6 Gesänge, Op. 75
Johannes Brahms – 4 ernste Gesänge, Op. 121
Gabriel Fauré – Trois romances sans paroles, Op. 17
Franz Strauss - Nocturno, Op. 7

The fifth piece by Stephen Paxton (1734 - 1787), is once again a piece originally for Cello or Bassoon with continuo, but the bass is not originally figured.
More coming….