• Three Studies for Trombone Quartet by Vladislav Blazhevich Brass Quartet - Digital Sheet Music
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Three Studies for Trombone Quartet by Vladislav Blazhevich Brass Quartet - Digital Sheet Music

By Vladislav Blazhevich

The Clef Studies by Vladislav Blazhevich, composed in 1925 are a staple of the Trombone repertoire. Their quality is superb, not only for teaching the clefs, but solid technique and musical style as well.

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Details

Summary
Instrument:
Trombone
Ensembles:
Brass Quartet Trombone Quartet
Genres:
Romantic Period 20th Century
Composers:
Vladislav Blazhevich
Publishers:
Gordon Cherry
Series:
ArrangeMe
Format:
Score and Parts
Item types:
Digital
Instructionals:
Etudes and Exercises Methods and More
Level:
Advanced
Artist:
Vladislav Blazhevich
Usages:
Sacred
Number of Pages:
39
Detailed Description
Brass Ensemble, Trombone Quartet Trombone - Level 5 - Digital Download

SKU: A0.792728

Composed by Vladislav Blazhevich. Arranged by Karl Lyden. This edition: pdf. 20th Century, Instructional, Romantic Period. 39 pages. Gordon Cherry #6082859. Published by Gordon Cherry (A0.792728).

The Clef Studies by Vladislav Blazhevich, composed in 1925 are a staple of the Trombone repertoire. Their quality is superb, not only for teaching the clefs, but solid technique and musical style as well.

Karl Lyden has brilliantly arranged Three Studies for Trombone Quartet inspired by the Blazhevich Clef Studies for Trombone based on numbers 56, 54 and 65 (subtitled Five Etude having a funk feel to it). They are very musically interesting, rhythmically challenging and fun to perform.

Here is a description of the Three Studies by arranger Karl Lynden:

"The seed for the Blazhevich Three Studies for Trombone Quartet came from my desire to write for my trombone quartet during undergraduate studies at Nebraska-Lincoln. I was tinkering with study No. 64 from Blazhevich’s Clef Studies for Trombone book and began to imagine pulsating trombone chords  and ostinatos. The original was in 5/8 so I dubbed that arrangement "Five Etude".

Several years later, I had similar experiences with two other works from the book (No. 54 and 56). For the latter No. 56, I originally imagined it as a mournful duo between trombone and cello. I then flushed out the implied harmony to allow for four trombones.

No. 54 is more harmonically dense with an active bass line. It should be played majestically but come to rest in a subsided manner.For all three studies, I deviate slightly from the written form. However, the melody always remains constant as a means of generating new textures, harmonies, and rhythms. My hope is that trombonists in quartets will experience these familiar etudes in a new light."

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