The Marshall Cover Image

The Marshall: Trombone Part(s)

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The Marshall Cover Image

The Marshall: Trombone Part(s)

By Leonard B. Smith / ed. Leonard V. Falcone

Item: 00-FDS00034

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Additional Details
Publisher: Alfred Music
Page Count: 8
UPC: 029156203509
SKU: 00-FDS00034

More about this title

About the Author: Leonard B. Smith

Leonard B. Smith (1915-1994) stands among the most prolific and respected composers and arrangers in American band and brass music. A trombonist himself, Smith brought deep understanding of brass pedagogy and performance to his compositions, earning recognition as both a concert composer and a vital voice in developing solo and ensemble literature for wind musicians.

Smith's output spanned over six decades and included works for concert band, brass ensemble, and solo brass instruments. His compositions balanced musical substance with accessibility, making them valuable resources for advancing students while remaining artistically satisfying. He contributed significantly to the repertoire of contest and recital pieces that defined American band music in the mid-twentieth century.

Why we love this

Smith wrote with genuine understanding of trombone capabilities, crafting music that challenges technique without sacrificing musicality. The solo earns its contest status through musical substance rather than empty display; it demands control and phrasing alongside the expected technical passages.

What to expect

The Marshall balances confidence with refinement. It moves through assertive passages that let the trombone speak with authority and quieter moments requiring legit singing tone, creating a solo that leaves space for personal musicianship rather than demanding a single interpretation.

Who it's for

Intermediate to advanced trombonists preparing for solo competition or recital performance. This solo suits players who have moved past basic position work and are ready to refine articulation, phrasing, and sustained tone control.

How to get the most out of it

  • Map the dynamic range across the piece first. Smith's scoring moves between lyrical passages and moments of assertion; committing to these contrasts early keeps the narrative clear and prevents the solo from flattening in the middle.
  • Attend to the low register carefully. Many trombone solos live in the upper and middle ranges; recognizing when Smith pulls downward gives you interpretive opportunities and technical variety.
  • Approach tempo marking flexibly within the printed ranges. A sense of forward motion serves the piece better than rigid metronomic adherence, especially in passages that alternate between sustained and articulated material.

How to use it

Schedule this as a featured solo in a recital or festival performance when you need a substantial seven-minute work from your most capable player. It works equally well paired with an overture or short band arrangement in a concert setting, or as a standalone contest entry.

Skills your students will build

  • Sustaining focused tone across dynamic shifts
  • Balancing articulated passages with legit singing phrases
  • Managing technical control in varied registers
  • Shaping longer musical lines without repetitive phrasing
  • Interpreting solo writing within a composed framework

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