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The music builds, pulses, and grows, and portrays heart-wrenching “life-moments”, before finally beginning to subside back to a period of much reflection and thought. As it continues, the motif reverses, and lyrical music rides on top of contrapuntal orchestral scoring, as if wisdom has taken the place of hustling angst. It is audacious music brimming with pomposity, and with resolute puffed chest. The second movement (“Chapter II”) picks up right where the first left off. The concerto has travelled from A minor to A Major. It enters the world boldly, but then goes through moments of confusion, nervousness, development, and finally, confidence and fun (the latter with jazz references, in honor of one of Charlie’s favorite mediums), as the movement ends with the protagonist at its height. The first movement is that of a bass trombone coming of age. Note-motif of A-B-C, which serendipitously couples nicely with Charlie’s idea of this piece beingĪnd so the piece evolves, with the main A-B-C motif generally revealed in rising fashion in Chapter I,Īnd in falling fashion in Chapter II. This idea spurred on my initial inspiration, and I begin to feel a pulse that would inspire the entire work.Ī pulse, of course, fits nicely into both worlds: life and music. In thinking about life, I kept coming back to the rhythms of life, and its ups and downs. Perhaps this is because at the time of the world premiere I will be 50 years old, when one starts thinking about such heavy subjects but suffice it to say that it seemed a good time to write something that heeded the significance of life. When Charlie Vernon first told me in November of 2015 that I would be writing a new bass trombone concerto for him, he highlighted two things:ġ) that it be the “most profound, beautiful and lasting musical event to be played on the bass trombone” (thanks, Charlie, I’ll do my best…) and:Ģ) that it would be “a great story, like a book you can’t stop reading.”Īs I thought about these requirements, I began to think about something I consider pretty profound: life itself.
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P III: chimes (shared), triangle, bass drum, wood blocks, crotales (shared), suspended cymbal cymbals a2, snare drum, tambourine, Thai gong (1 – pitched low A) P II: suspended cymbals (18″ + 16″), snare drum, cymbals a2, marimba (shared) tam tam, 4 toms, shakers, xylophone (shared), glockenspiel (shared), chimes (shared) claves, wood blocks, crotales – bowed (shared) and bucket of water (for crotale dips) P I: vibraphone, triangle, glockenspiel (shared), cymbals a2, marimba (shared) cabasa, 2 small polished stones, xylophone (shared), chimes (shared)