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Classics for Two, Trombone/Baritone/Bassoon: Trombone/Baritone/Bassoon Book

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Classics for Two, Trombone/Baritone/Bassoon Cover Image

Classics for Two, Trombone/Baritone/Bassoon: Trombone/Baritone/Bassoon Book

Arranged by Andrew Balent

Grade: 2-4

Item: 98-I-1030

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Description
Arranged to be playable by any combination of band instruments, these duets cover a wide range of styles from the Baroque Period to the 20th Century. Difficulty ranges from grades II through IV, providing a great deal of flexibility for the needs of young musicians. In addition to the mallet duet lines, the percussion book provides an optional percussion line that can be used in place of or in addition to a duet line. Perfect for smaller ensembles with unusual instrumentation and for solo and ensemble festivals.

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Additional Details
Series: FJH Solo and Ensemble
Publisher: The FJH Music Company, Inc.
ISBN10: 1-56-939530-6
ISBN13: 978-1-56-939530-1
UPC: 674398219292
SKU: 98-I-1030

More about this title

Why we love this

Balent's arrangements solve a real logistical problem without sacrificing musicality. The flexibility to mix and match instruments means you're not locked into a single instrumentation, and the range of periods represented keeps these duets from feeling like a single compositional style. Students get genuine repertoire exposure while your program adapts to whoever shows up on rehearsal day.

What to expect

You move through musical history in miniature, from the orderly architecture of Baroque counterpoint to the looser textures of early twentieth-century writing. Each arrangement honors its source material while fitting naturally to the voices available, so nothing feels forced or simplified beyond recognition.

Who it's for

Chamber musicians preparing for solo and ensemble festivals, younger players building ensemble skills in smaller programs, and ensembles with non-traditional combinations who need accessible but legitimate classical repertoire. Directors managing mixed instrumentation will find these arrangements particularly valuable.

How to get the most out of it

  • Balance the melodic line between players by listening for which voice carries the primary material in each phrase. The upper part doesn't always lead.
  • Treat the Baroque selections with clean articulation and period-appropriate phrasing; these arrangements benefit from crisp tonguing and shaped lines rather than legato connections.
  • Use the grade spread strategically in rehearsal: pair stronger readers with developing musicians on adjacent selections to build confidence before moving into the Grade IV pieces.
  • Record yourselves early and often. Intonation issues between these instruments emerge quickly, and hearing the playback helps students self-correct without constant teacher intervention.

How to use it

These work well as a formal festival preparation tool or as a casual chamber music option for students waiting longer engagement elsewhere. You might also sequence them through the year to introduce different periods and compositional approaches without requiring a large ensemble commitment.

Skills your students will build

  • Independent melodic line reading in unfamiliar tonal contexts
  • Balancing two equal voices without default to homophony
  • Sight-reading across the classical repertoire timeline
  • Intonation matching with instruments of different ranges and colors
  • Phrasing and articulation style shifting between periods
  • Transposing and adapting parts for available instrumentation

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