What's New

April 2017

Christmas Album for Brass Quintet by Charles Collier Jones (1928-2013) is now available here as a free download, thanks to Polly Collier Jones! These easy but subtle arrangements are delightful. Three PDF files provide a score; parts for trumpets, horn, trombone, and tuba; and substitute parts in alternate keys and clefs for horn, trombone, and tuba parts. Arranged for his Cape Ann Brass Quintet many years ago, Charlie and I carefully edited his manuscripts in 2012.
Click below for the free PDFs
Collier Jones Christmas Album Score
Christmas Album Parts
Christmas Album Alternate Parts

July 2012

In 2012 arrangements for brass quintet by Charles Collier Jones (1928-2013) are now available. Mr. Jones studied composition with Paul Hindemith, Irving Fine, Leonard Bernstein, and Francis Judd Cooke. While supporting his family as a commercial lobsterman in Rockport, Massachusetts, he co-founded the Cape Ann Brass Quintet and over many years arranged for the ensemble. The arrangements are not technically demanding, but require interpretation and attention to balance, articulation and phrasing. Melodies pass frequently from one part to another. Three American Rags consists of rags from the first decade of the twentieth century by three different composers, all contemporaries of the famous Scott Joplin. Parts and a 12-page score are printed on 9-in. x 12-in paper. The arrangements are subtly nuanced and delightful. I highly recommend them.

April 2011

Spring 2011 brings to completion publication of ACCOMPANIMENTS FOR ROCHUT, piano accompaniment scores for studio and recital use. In 2009 four folios were published supporting the first ninety Rochut numbers, scores in Rochut's keys with solo staves showing Bordogni's phrase, dynamic, articulation, and breath marks. In 2011 Folios #5 and #6 were published supporting the numbers in Rochut Book III.

Also in April 2011 ACCOMPANIMENTS FOR BASS TROMBONE was published, a piano score supporting the 27 selections in Bordogni for Bass Trombone. Thanks to David Neill for the idea!

In 2010 a new piano score, ACCOMPANIMENTS FOR VOLUME SEVEN, THE DUETS was published. With a large 9-in. x 12-in. format and 55 pages, the new score combines the duo parts into one treble staff for easy reading and fewer page turns. The duets themselves are difficult but beautiful. Volume Seven itself, with separate folios (no page turns!) for part one and part two, is particularly worthy for recital and concert performance. I hope the new piano score will encourage more performances of the duets.

BORDOGNI FOR TUBA. Two new piano score folios now support the highly regarded Robert King 1972 publication edited by Chester Roberts, 43 Bel Canto Studies for Tuba or Bass Trombone. These new scores, 66 and 67 pages each, show Bordogni's canto or vocalizzo staves in the tuba or double-trigger bass trombone range. The scores also show Chester Roberts' new recommendations for tempo along with tempo specifications of Bordogni and Rochut for each of the studies. Each folio includes a table of keys and tempi relating each study to numbering in Bordogni and Rochut collections. Tuba students and teachers now have a valuable resource for improvement of rhythm, intonation, phrasing, articulation, and ensemble skills.

What's New
February 2010

This winter there is a new DISK ONE companion audio compact disc for Volume One in its bass clef, tenor clef, trumpet in B-flat, and horn in F versions.

This spring there is a new DISK TWO companion audio compact disc for Volume Two in its bass clef and its concert-pitch treble clef versions.

During August 2009 Brown University's Matthew McGarrell, music prof, ensemble conductor, and teacher of jazz history, served as host and engineer for a project to create human accompaniments for the Bordogni studies. Intended to replace the synthesized accompaniments, the new accompaniments were recorded at Grant Recital Hall on a Steinway concert grand piano by Hanako Yamagata. Listen to a sample (MP3) performed by Hanako Yamagata.

For the past several years Hanako Yamagata has freelanced, taught, and accompanied, mostly in the area of New York City, her home. She is well recognized among trombonists for her work accompanying soloists at the Alessi Seminar and the Julliard School trombone studio.

During 2009 Hanako also accompanied Denson Paul Pollard in production of his third CD, Listening. Mr. Pollard is Metropolitan Opera bass trombonist. The CD includes Brubeck's Concerto for Bass Trombone; Casterede's Fantasy Concertante, Bach's Cello Suite No 1 in G, Ritter-Geroge's Concerto for Bass Trombone, and Paganini's Variations on Rossini's Moses.

During 2009 Hanako also accompanied Metropolitan Opera trombonist, Weston Sprott, in production of his CD, Act I. Mr. Sprott's CD includes Casterede's Sonatine, Puccini's Tra Vol Belle, Recondite Armonia, Che Gelida Manina, and Nessun Dorma, Donizetti's Una Furtiva Lagrima, Uber's Romance, Molineux's Manipulations, Tomas's Concerto, and Pryor's Starlight.

The new audio compact discs give the soloist several musical advantages compared to the synthetic accompaniments.

  • A human performance with subtle variations in tempo and articulation
  • The resonance of a beautiful instrument in a fine, large recital hall and therefore
  • Additional harmonic support, encouraging good phrasing, intonation, articulation, and breathing
  • Greater dynamic range


    Many friends and teachers are due thanks for encouragement and coaching in my transcription and publication of the vocalises and accompaniments.

  • Matthew McGarrell, who validated the project from the start and who initiated and engineered the new recording
  • Jonathan Greenberg, Hanako's husband, who enthusistically participated in preparation, performance, and editing
  • Tom Everett, who provided early encouragement nearly ten years ago
  • Phil Wilson, who said, "David, you will provide human accompaniments, won't you?"
  • Scott Hartman, who said the synthetic accopaniments are also valuable
  • Douglas Yeo, who suggested tempo alternatives suitable for trombonists
  • Elwood Williams and Ralph Sauer, who inspired visual improvements on the pages
  • John Coffey and Kauko Kahila whose lesson assignments included studies in Rochut's Book II
  • John Corley, Bob Corley, Helen Barrett, Sam Harris, and Joe Leary, teachers and conductors who made me perform solos in public
  • Joannes Rochut, who brought Bordogni's melodies into the twentieth century
  • Joseph Alessi, who encourages us to practice Bordogni studies from Book One (a) as is, (b) in tenor clef, (c) in bass clef down an octave, (d) up an octave, and (e) tenor clef down two octaves.
  • Benny Sluchin, who brought Bordogni's accompaniments into the twenty-first century and who encouraged me to do more and more proofreading
  • Music merchants Bob Osmun, Charles DePaolo, Jack Coffey, Steve Greenall, Steve Ferguson, Ron Ganzinotti, Dick & Lori Hagborg, Irvin Karan, and Dick Wuoppio, who invested their money in the books, recognizing the value of accompanied Bordogni studies to trombonists.
  • Trombone teachers Richard Bowles, Nathaniel Brickens, Peter Ellefson, Tom Everett, Mike Hall, Scott Hartman, Henry Howey, Alex Iles, David Lee Jackson, Art Jennings, Mark Kellogg, John Kitzman, John Marcellus, Matthew McGarrell, James Prindle, Scott Shelsta, Steve Shires, Bron Wright, Douglas Yeo, and Larry Zalkind who wrote me nice comments and gave me permission to quote them. And special thanks to Joseph Alessi for his kind endorsement of Breakfast, Intonation Practice for Trombonists.

  • Revised April 21, 2017.

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