Gershwin® by Special Arrangement: Trombone/Baritone/Bassoon Book & CD

Carl Strommen's arrangements give players direct access to Gershwin's jazz vocabulary without requiring improvisation skills they may not yet possess. The eleven songs represent some of Gershwin's most recognizable melodies, and hearing them in your own voice as a trombonist, baritone, or bassoonist creates genuine ownership of the material. The recorded accompaniments remove the barrier of needing a pianist or rhythm section, making these pieces viable for solo practice and performance.

The music swings with an easiness that comes from Gershwin's gift for melody and Strommen's intelligent arranging. Playing these pieces feels like stepping into a sophisticated jazz club where you're heard, understood, and the melody always lands exactly where it should. There's elegance here, and humor, and the particular warmth of great American popular song.

Intermediate instrumentalists (trombonists, baritone players, and bassoonists) who want to explore jazz style through familiar, beautiful melodies without the added complexity of improvisation. This book works for students in jazz ensembles, small group settings, or solo recital preparation. It's also ideal for players transitioning from classical technique into jazz idiom.

• Lean into the swing eighth notes. These arrangements expect a relaxed, behind-the-beat feel rather than strict rhythmic placement. Listen to the CD accompaniment multiple times before playing to internalize the pocket.
• Treat the melody as a song, not a technical exercise. Gershwin wrote these for singers first; shape phrases around the lyrical content even when you're playing without words.
• Check the variation sections carefully for range and tessitura shifts specific to your instrument. The arrangements accommodate your instrument's strengths, so use the written register choices.
• Balance tone clarity with the laid-back character of jazz phrasing. Avoid overpowering the accompaniment; let it support your line.

Feature these arrangements in a jazz or popular music concert where players can shine on accessible, recognizable repertoire. The variety of moods across the eleven pieces (from the rhythmic drive of 'I Got Rhythm' to the balladic warmth of 'Someone to Watch Over Me') allows for a full recital or a well-curated section within a larger program. Solo performances work equally well in classical recital contexts where you're introducing jazz as a legitimate performance genre.

• Swing eighth-note articulation and phrasing
• Jazz interpretation and rhythmic flexibility
• Melodic shaping and lyricism across jazz idiom
• Ensemble listening and accompaniment balance
• Stylistic awareness across Gershwin's standard repertoire