Exciting Sounds of the Big Band Era: 1st Trombone Book

Swing, blues, and bebop energy from the moment you open the book. These standards pulse with the infectious rhythms and harmonic sophistication that made big band music the dominant sound of American jazz, and the writing feels natural under your hand rather than awkwardly adapted.

First trombone players in community jazz ensembles, college jazz bands, and high school programs who need accessible lead parts written at appropriate ranges. Directors assembling a jazz repertoire library will appreciate having dedicated books for each voice rather than hunting through full scores.

• Anchor your tone in the middle register and protect it during passages in the upper staff. Big band writing asks for projection without strain, so lean on your air support rather than embouchure tension.
• Listen closely to the second and third trombone parts during full ensemble passages. Your lead voice shapes the brass section's balance, so check dynamics against the parts rather than assuming your printed forte is their forte.
• Mark your slides and position changes during the learning phase, especially in fast bebop figures like those in 'Cherokee.' Clarity matters more than speed in the first pass.

Build an entire concert or series of rehearsals around this collection. The variety of tempos, styles, and moods (ballads like 'At Last' and 'In a Mist' sit alongside driving swingers like 'In the Mood' and 'Two O'Clock Jump') gives you the flexibility to program complete sets or to pull individual selections for contests and casual performances.

• Reading lead trombone voicings across the staff and upper register
• Executing smooth slide technique in swing and bebop contexts
• Balancing articulation and legato in sustained melodic passages
• Responding to section balance cues in full ensemble scoring
• Interpreting swing rhythms and phrasing conventions of the 1930s and 1940s
• Managing endurance across a full set of standards