Compiled and Edited by BM elite eere Cea} Compatible with 14 Duets for Trumpet ‘ a - . ie CARL FISCHER.Compiled and Edited by Joseph Alessi and Michael Sachs mi ROMBONE Compatible with 14 Duets for Trumpet (See back cover for detalls) Table of Contents Foreword, About Joseph Alessi and Michael Sachs. Bach, Johann Sebastian Inventlon No. 4 from Two-part Inventions for Keyboard. Invention No. 4 from Two-part inventions for Keyboard... invention No. 8 from Twopart Inventions for Keyboard Little Fugue In G Minor, 8WV 578. Bolsmortier, Joseph Bodin de Sonata No. 12, Op. 40, No. 2 |. Allegro. I. Adagio, I Allegro... ‘Sonata No. 19, Op. 40, No. 3 I. Vivace., MW. AdagIO on I Allegro... Handel, George Frideric Concerto In B> Major, Op. 4, No. 6 Andante Allegro... 44 ‘Mozart, Wolfgang Amadeus Le Nozze de Figaro from Operate Duets Arranged by H, Koenig |. Allegro moderato. H, Andante nnn I, Allegretto Telemann, Georg Philipp Bourrée from Music for Keyboard or Lute Fantasla No, 2 from Fantalsies pour le clavecin: 3. douzaines.. Fantasla No. 9 from Fantaisies pour le clavecin: 3, douzaines.. Passacallle from Music for Keyboard or Lute ‘Sonata No, 4 from Six Canonic Studies ‘Sanata No, § from Six Canonic Studies.. BRooae CARL FISCHERe 165 Bloockor Street, New York, NY 10012 Cony © 2007 by Car Facer, 6 ‘ugh reserved ek igh ‘ght ocoredicetrs prering ght waswunar ha cc rend Contam pkey: sin by pocaianamen emma WF76 men irtedin tw US A ISBN 0-62586571-9were Foreword Throughout history, the trumpet and trombone have always enjoyed a close partnership, From the days of comettos and sackbuts to the modern instruments we play today, trumpeters and trombonists continue to stiare a special musical bond. In the orchestral literature, there is @ great deal of Interplay between the trumpet and trombone, and the resulting texture is always distinctive. Our inspiration for this collaboration was @ mutual agree- ‘ment that there was, however, a lack of fine music avallable for trumpet and trombone. Performing duets is probably one of the best ways for you as a musician to listen and work on your intonation and phrasing as you interact with the colleague playing next to you. This will also sharpen your ability o identity who has the melody and, therefore, to determine when to yield to that player while remembering the maxim that melody always leads. (One unique aspect of this collection is our duet format, which provides for a variety of instrumental combinations. The duos can be played with two trumpets, two trombones, or one of each. In addition, the trumpet or the trombone can play either the top or the bottom part of each piece. This mix-and- match flexibility offers a wide range of technical challenges that should give each player the maximum benefit of playing in a range of keys, registers, and difficulty levels, providing an equal musical challenge in each part so that both players are stretched and engaged. You may even want to record yourself play- ing one part and perform duets with yourself ‘Throughout these pieces, there are a number of passages where brackets are shown next to the ‘staff, These brackets indicate the option of taking a particular passage up or down an octave depending on the trumpet/trombone combination being used. This is meant to assist in the blend of textures and enhance both the facility and the voicing in each different instrumental scenario. One can aiso switch the line being played in repeated sections for added interest. Dynamics and articulation markings were typically sparse in most original manuscripts of the pieces Included in this book. Because of this, we added little in the way of musical editing and opted to leave dynamic and phrasing choices primarlly to the performer. We have been good friends for many years and have often wished that there were more literature for trumpet and trombone for study, performance, or just for casual reading. We had a great time ‘assembling this collection and hope that this will help create many future trumpet and trombone part- nerships! Michael Sachs —Joseph Alessi Principal Trumpet Principal Trambone Cleveland Orchestra New York PhilharmonicAbout Joseph Alessi and Michael Sachs Joseph Alessi was appointed Principal Trombone of the New York Philharmonic in the spring of 1985. He began musical studies in his native California with his father, Joseph Alessi, Sr. and continued his musical training at the Curtis Institute of Music. Prior to joining the Philharmonic, Mr. Alessi was ‘second trombone of The Philadelphia Orchestra for tour seasons, and principal trombone of L'Orchestre symphonique de Montreal for one season. In April 1990 he made his solo debut with the New York Philharmonic, performing Creston’s Fantasy for Trombone. In 1992 he premiered Christopher Rouse’s Pulitzer Prize-winning Trombone Concerto with the Philharmonic. His most. recent appearance with the Philharmonic as soloist was in the world-pre- mmiere performance of Melinda Wagner’s Trombone Concerto in February of 2007. Mr. Alessi has been @ guest soloist with the Lincoln Symphony, National Repertory Orchestra, Colorado Symphony Orchestra, Syracuse Symphony Orchestra, Virginia Symphony, Alabama Symphony Orchestra, Santa Barbara Symphony, South Dakota Symphony, New Japan Philharmonic, Seoul Philharmonic, Orchestra of Teatro Massimo Bellini in Catania, Sicily, Mannheim National Theater Orchestra, National Symphony of Taiwan, Puerto Rico Symphony, Hague Philharmonic, Helsinki Philharmonic, and the Hartford Symphony. In 2002 Mr. Alessi was awarded an International Trombone Association Award for his contributions to the world of trombone music and trombone playing. Mr. Alessi is currently on the faculty of The Juilliard School; his students now occupy posts with many major symphony orchestras in the U.S. and throughout the world. He is a clinician for the Edwards, Instrument Co. and has recorded extensively for Summit Records and for the Naxos label. Michael Sachs joined The Cleveland Orchestra as Principal Trumpet in 1988, Since his appoint- ‘ment, Mr. Sachs has been frequently featured as soloist with The Cleveland Orchestra, as in the world premiere af John Williams’ Concerto for Trumpet and the United States premiere of Hans Werner Henze’s Requiem. Nr, Sachs has also appeared as guest soloist with numerous major U.S. and interna- tional orchestras and chamber groups, including the Houston Symphony, the Louisiana Philharmonic, the Auckland (New Zealand) Philharmonia, and the Chamber Music Society of Lincoln Center. In April 2005, Mr. Sachs performed a recital of music for trumpet and organ as part of Severance Hall's Organ Recital Series. The recital was recorded and released on CD by the Musical Arts Association (a parent ‘organization of The Cleveland Orchestra. ‘Mr. Sachs is currently Chairman of the Brass division and Head of the Trumpet Department at the Cleveland institute of Music. In addition to serving on the faculty of leading summer festivals, including, the Aspen Music Festival, the National Orchestral Institute, the Summit Brass, and the Solti Orchestral Project at Carnegie Hall, Mr. Sachs regularly presents master classes and workshops at conservatories, ‘and major universities throughout the U.S., Europe, and Asia. He is the author of Daily Fundamentals for the Trumpet and Mahler: Symphonic Works, Complete Trumpet Parts, both published by International Music. Prior to joining The Cleveland Orchestra, Mr. Sachs was a member of the Houston Symphony Orchestra, where he also performed with the Houston Grand Opera and served on the faculty of the ‘Shepherd School of Music at Rice University Originally from Los Angeles, Michael Sachs attended UCLA, where he received a Bachelor of Arts degree in History before attending The Juilliard School of Music. His former teachers include Mark Gould, James Stamp and Anthony Plog,4 Fantasia No. 2 from Fantaisies pour le clavecin: 3. douzaines GEORG PHILIPP TELEMANN (1681-1767) Edited by Joseph Alessi and Michoet Sachs 1 Presto oe Copyright © 2007 by Cr Fischer, LLC ‘ntematenal Copyright Secured. were A igh reves ncudng performing rightwere° Fantasia No. 9 from Fantaisies pour le clavecin: 3. douzaines GEORG PHILIPP TELEMANN (1681-1767) Edited by Joseph Alessi and Michael Sachs268 Bourrée from Music for Keyboard or Lute GEORG PHILIPP TELEMANN (1681-1767) Edited by Joseph Alessi and Michael Sachs 4 a werePassacaille 9 from Music for Keyboard or Lute GEORG PHILIPP TELEMANN (1681-1767) Eddted by Joseph Alessi and Michael Sachswrewerea Sonata No. 1 from Six Canonic Studies GEORG PHILIPP TELEMANN (1681-1767) Allegro * Edited by Joseph Alessi and Michael Sachs * The second plaver begins when te frst reaches the sign Nand ends atthe fermata, which is ignored by the first player. wreSonata No. 5 i from Six Canonic Studies GEORG PHILIP? TELEMANN (1681-1767) Edited by Joseph Alessi and Michael Sachs Cantabile Bt 4 4 er Pp dolce * The second player begins when the reaches the sign Sand ends at the fermata, which is ignored by the:14 Invention No. 1 from Two-part Inventions for Keyboard JOHANN SEBASTIAN BACH (1685-1750) Edited by Joseph Alessi and Michael Sachs15 weretS Invention No. 4 from Two-part Inventions for Keyboard JOHANN SEBASTIAN BACH (1685-1750) Edited by Joseph Alessi and Michael Sachs Allegro were28 33 B 8 a.18 Invention No. 8 from Two-part Inventions for Keyboard JOHANN SEBASTIAN BACH ] (1685-1750) es Edited by Joseph Alessi and Michael Sachs 3 Oe were* Play bracketed notes one octave higher if being played with treble part for upper voice. were 19a Sonata No. 12 Op. 40, No. 1 JOSEPH BODIN de BOISMORTIER (1689-1755) Edited by Joseph Alessi and Michael Sachs I Allegro f werea Il. Adagio 4 P legato P legato ——=F2 TIL. Allegro =p cresc ip crese. were 2B24 Sonata No. 19 Op. 40, No. 3 JOSEPH BODIN de BOISMORTIER: (1689-1755) Edited by Joseph Alessi and Michael Sachs I. Vivace dint PD crese. WL Adagio Pp legato P legato26 IIL. Allegro 4 4 mp oS 444 444 fn 2 ie Cr on Pp crese, P cresc.were Crese. a28 Le Nozze de Figaro from Operatic Duets Arranged by H. Koenig WOLFGANG AMADEUS MOZART (1756-1791) I Allegro moderato Edited by Joseph Alessi and Michael Sachs s— f => - | — f—___ pale —_ 16 x _ *= Play bracketed notes one octave higher if being played with treble pat for upper voice. were2» dolce|con espress. were30 w76 crese. mf& P Sf Le... ----------- eel U32 wersTI, Andante — p dolce p dolce 6 wD Oo Oe R (p dolce were4 PP crese. 7635 Sf atempo ff atempo ral. —— p atempo or —— a — _— * Play bracketed notes one octave higher if being played with treble part for upper voice,36 IIL. Allegretto * Play bracketed notes one octave higher if being played with treble part for upper voice. were7 cresc. =— P ‘crese.38 dolce9 were40 Little Fugue in G Minor BWV 578 JOHANN SEBASTIAN BACH (1685-1750) Edited by Joseph Alessi and Michael Sachs 2 4.were 4l42 werewre B44 Concerto in Bb Major Op. 4, No.6 GEORGE FRIDERIC HANDEL (1685-1759) Edited by Joseph Alessi and Michael Sachs Andante allegro4546were 47TRUMPET AND TROMBONE DUETS From the Carl Fischer Catalog TRUMPETS..9 Sigmund Heri 28 tart Trong! ns meaty Cn TRUMPET DUETS ‘Athan, Jean-Baptiste (04801 Easy Duets for Two Trumpets Bach, Johann Sebastian (04858 Bach for Two Trumpets — Hering Gattl, Domenico (03088 88 Duets for Trumpets Various Composers WATS 44 Duets for Trumpet ~Sechs/Aless| (04207 Miniature Clasals — Hering WF64 Progressive Duets, Volume 4 — Clark (04458 Trumpets for 2— Hering TROMBONE DUETS Various Composers WAT 44 Duets for Trombone — Alesi/Sachs Progressive Duets, Volume 4 — Crk Books Compatible as TRUMPET/TROMBONE DUETS FS 44 Duets for Trumpet —Sachs/Aless| WFTE 44 Duets for Trombone ~ Aless\/Sachs WEG4 Progressive Duets, Volume 2 for Tumpet — Clark WEES Progressve Duets, Volume 1 for Trombone ~ CiorkeT CR CMC My 1g This unique duet collection of Classical Repertoire by Joseph Alessi, eRe Re ee De MMR eet eet ee sionals the opportunity to hone their ensemble skils in a variety of ways. ee ec eet Re ne ee ee Deen eke es ey detail and fleshed out for easy reading, these duets should be a part of Ben Coa oie revit tty] eee TTY Invention No. 1. from Two-part Inventions for Keyboard —J. S. Bach Invention No. 4 from Two-part Inventions for Keyboard —J. S. Bach Scere ea ae ey Pree a eee - ‘Sonata No. 12 Op. 40, No. 1 — Boismortier + Sonata No. 19 Op. 40, No. 3— Boismortier iS Cee ae a Ce 5 Peg ee eee Ce acca een EB oun g ona ig mac 2° Fantasia No. 2 from Fantaisies pour le clavecin: 3. douzaines — Telemann By ee uN ee gee eee ee S Passacaille from Music for Keyboard or Lute — Telemann 3 Sonata No. 1 from Six Canonic Studies — Telemann g ToS eat [eee EI ~ S = ® PI Z ry y FY fa = bo Pence PEI AN CARL FISCHER: WM Bleecker Street, New York, NY 10012 WF76 — $14.95 USA