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Pete Strohm Music
United States
Registrace 12. 10. 2019
The compositions and arrangements of P. F. "Pete" Strohm. All have full score videos for preview, with links for online purchase at JW Pepper, Sheet Music Direct and Sheet Music Plus.
Scherzo for Strings
"Scherzo for Strings" is a work for string ensemble (octet is ideal) from American composer P. F. Strohm. With a difficulty level of 3 for range, but 4 for technique, the work is ideal for high school groups looking for a contemporary contest or concert piece. "Scherzo for Strings" shows off individual bow control as well as ensemble skills with close interval harmony and expressive playing. The piece has a Medium level of difficulty. Typical performance time is 4:44. Member, ASCAP.
"Scherzo for Strings" is available for purchase from these outstanding vendors:
JW Pepper ($15.00): www.jwpepper.com
Sheet Music Plus ($15.00): www.sheetmusicplus.com
Sheet Music Direct ($14.99): www.sheetmusicdirect.com
"Scherzo for Strings" is available for purchase from these outstanding vendors:
JW Pepper ($15.00): www.jwpepper.com
Sheet Music Plus ($15.00): www.sheetmusicplus.com
Sheet Music Direct ($14.99): www.sheetmusicdirect.com
zhlédnutí: 44
Video
Impromptu No. 6 for Trombone and Piano
zhlédnutí 18Před 3 měsíci
"Impromptu No. 6 for Trombone and Piano" is the sixth in a set of one-movement works for trombone and piano from American composer P. F. Strohm, written written at the request of trombonist Matthew Driscoll. Unlike the first five impromptus, this is a Medium level of difficulty student solo work that demands tone, technique and musicality. Its passages highlight numerous skills essential for a ...
Fantasia On Themes From Band of Brothers
zhlédnutí 54Před 3 měsíci
"Fantasia on Themes from Band of Brothers", is a concert work for trombone choir, derived from Michael Kamen's brilliant cues for the 2001 HBO series "Band of Brothers", and dedicated to the Eastman Trombone Choir. American composer P. F. Strohm has explored and developed cues from the original score, creating a beautiful, compelling concert work. The result is a memorable and moving musical es...
Sonata No. 4 for Trombone and Piano
zhlédnutí 121Před 4 měsíci
"Sonata No. 4 for Trombone and Piano" was written by American composer P. F. Strohm for trombonist Mark Kellogg. The rhythmic roots of this piece are in the music of Central and South America. This third edition has a reworked piano part, lowering the difficulty level somewhat. The first movement is based on a bossa nova rhythm, with trombone and piano working together to create the syncopation...
Chromatique (for Trombone Ensemble)
zhlédnutí 57Před 4 měsíci
'"Chromatique" is a contemporary work for twelve-part trombone ensemble or choir, created by American composer P. F. Strohm for the Eastman Trombone Choir. It has a sound that is both dramatic and energetic, exploring combinations of serialism and quartal/quintal harmonies (though admittedly not rigorous in either). The suspenseful opening, driving themes, and raucous ending make "Chromatique" ...
Sonata No. 5 for Trombone and Piano
zhlédnutí 33Před 4 měsíci
"Sonata No. 5 for Trombone and Piano" was written for American trombonist Mark Babbitt, Professor of Trombone at Illinois State University. The work is tonal and in three movements. The first movement, "Moderato", is a sparkling sonata form that moves freely between modes of B and E-flat. The middle movement in A major labeled "Andante sospirando" uses Lydian modes to create a series of musical...
Caprice for Strings
zhlédnutí 33Před 5 měsíci
"Caprice for Strings" is a work for string orchestra from American composer P. F. Strohm. With a difficulty level of 3.5-4, the work is ideal for high school groups looking for a concert or contest piece. The work is tonal, opening with a sorrowful song in g minor that turns into a whimsical waltz in G Major. The waltz returns to the sorrowful opening, which cadences but then sets off immediate...
Sonata No. 3 for Trombone and Piano
zhlédnutí 31Před 6 měsíci
"Sonata No. 3 for Trombone and Piano" was written for American trombonist Mark Lawrence. It is tonal throughout, in three movements. The work demands technique and ensemble skills, but should be truly enjoyable to play and hear. The first movement, marked "Moderato giocoso", is in sonata form in the key of G. The exposition is played muted, moving abruptly into a driving and open development, c...
Trilogy II (for String Orchestra)
zhlédnutí 31Před 7 měsíci
"Trilogy II" is a three-section work for string orchestra from American composer P. F. Strohm, with a difficulty level of 3.5. The work is ideal for skilled junior high school groups looking for a showcase piece. The work is tonal, opening with a somber, sorrowful song in g minor, followed by a hymn-like section featuring lush orchestration. The piece makes an unexpected transition into what be...
Trilogy I (for String Orchestra)
zhlédnutí 18Před 7 měsíci
"Trilogy I" is a three-section work for string orchestra from American composer P. F. Strohm, with a difficulty level of 4. The work is ideal for skilled high school groups looking for a showcase piece. The sound of the piece is tonal, ranging from quiet contemplation to strident assertion. It opens with a chorale-like 3/2 that lasts about four minutes, moving into a powerful three-and-a-half m...
The Defenders (March)
zhlédnutí 130Před 7 měsíci
"The Defenders" is a traditional march, written to honor all who serve and have served in the United States Armed Forces. "The Defenders" is scored for concert band, beginning with a fife and drum first strain, and ending with a full final chorus of the Trio, complete with piccolo flourishes and trombone counter-melody. Medium to Medium-Advanced level of difficulty, and a great addition to the ...
Trombone Trio No. 3
zhlédnutí 68Před 8 měsíci
"Trombone Trio No. 3", by American composer P. F. Strohm, is a tonal work for Medium-Advanced trombonists (two tenor and one bass trombone). The piece is an original theme with six variations. The variations all build on the first four notes of the theme and range in mood from passion to whimsy. The work was written for Peter Ellefson and the trombonists of the Jacob School of Music at Indiana ...
Sonata No. 2 for Trombone and Piano
zhlédnutí 85Před 10 měsíci
"Sonata No. 2 for Trombone and Piano" was written for American trombonist Peter Ellefson. This second edition of the work contains four movements. The first movement, marked "Andante con moto", starts in A-flat major with flowing themes, then a development in G# minor, and an ebullient recap. The second movement is marked "Lento con affeto", in D-flat major, with a beautiful, plaintive trombone...
Sonata No. 1 for Trombone and Piano
zhlédnutí 80Před rokem
“Sonata No. 1 for Trombone and Piano” was written for trombonist Larry Zalkind by American composer P. F. Strohm. The piece is in three movements and tonal throughout, using various modes to weave familiar yet unpredictable lines and harmonies. The first movement, in F, is a brisk and energetic sonata form, using various major and minor modes. The second movement is a Larghetto in simple ABA so...
Sonata No. 1 for Bass Trombone and Piano
zhlédnutí 67Před rokem
"Sonata No. 1 for Bass Trombone and Piano" from American composer P. F. Strohm is in three movements and tonal throughout, using various modes to weave familiar yet unpredictable lines and harmonies.The first movement, in F, is a brisk and energetic sonata form, using various major and minor modes. The second movement is a Larghetto in simple ABA song form. The somber, reflective opening sectio...
Adagio Cantabile for Piano Trio (Trombone, Cello and Piano)
zhlédnutí 93Před rokem
Adagio Cantabile for Piano Trio (Trombone, Cello and Piano)
Impromptu No. 6 for Violoncello and Piano
zhlédnutí 37Před rokem
Impromptu No. 6 for Violoncello and Piano
Impromptu No. 5 for Violoncello and Piano
zhlédnutí 13Před rokem
Impromptu No. 5 for Violoncello and Piano
Impromptu No. 4 for Violoncello and Piano
zhlédnutí 49Před rokem
Impromptu No. 4 for Violoncello and Piano
Impromptu No. 3 for Violoncello and Piano
zhlédnutí 31Před rokem
Impromptu No. 3 for Violoncello and Piano
Impromptu No. 2 for Violoncello and Piano
zhlédnutí 14Před rokem
Impromptu No. 2 for Violoncello and Piano
Impromptu No. 1 for Violoncello and Piano
zhlédnutí 28Před rokem
Impromptu No. 1 for Violoncello and Piano
Into The Unknown (for Solo Cello and Piano)
zhlédnutí 58Před rokem
Into The Unknown (for Solo Cello and Piano)
Beautiful. Great to see you conducting!
Thank you for taking the time to view and listen. The Eastman Trombone Choir and its leaders, Larry Zalkind and Mark Kellogg, are marvelous, gifted artists.
Like the way the 2nd and 3rd sections flow. Sounded easier in the transitions.
I appreciate the thoughtful review! Perhaps the re-tooling will engage the interest of a soloist or two.
Very good and very different from your past works. Is there a story behind the changes in the movements? Pretty lighthearted in places. I really like the last sections, starting around page 10. As a side note, Didn't your parents have a Chevy Caprice in the late 60s?
Thanks for the kind words! Two previous works "Trilogy I" and "Trilogy II" were both in G minor and major, though that was not planned. When I started this one, my ear and thoughts went to the same tonality before I realized I was doing it again. That made want to differentiate this work somehow, so I'm pleased it sounds different! (BTW I've started a "Trilogy III", which will definitely not be in G) The story on "Caprice": I started with thoughts of a prelude and fugue, but decided to pursue a continuously evolving piece tied together by thematic elements. As a result, the slow minor theme becomes a direct outline for the contrasting major waltz.The fugal section starts with the repeated staccatos used in both the slow theme and the waltz. After the fugue exposition and some episodes, it too flows into a dance (page 10) based on a snippets of the fugue, including the repeated staccatos. Finally, the dance flows right back into a fugue recap, stretto, and conclusion. All I can plead is that it seemed like a good idea at the time. In music, a caprice is usually lively and fairly free in form.That definition seemed to come close, hence the title. And you are correct about the Chevy Caprice. A 1966 silver coupe.
Thank you for the encouragement! Another string piece is in the works, and should be ready in 2-3 weeks.
Beautiful!
Thank you! Hope you also like the next one, coming up in a moment...
That’s just lunacy to see brass played with bell covers and the musicians wearing masks.
It was a tough time to navigate. I thought Eastman did a brilliant job getting through it all.
Having a medical background and playing trombone through college, a bell cover is not stitched with a tight enough weave to capture any virus. The masks were the exact same.
Tanti auguri sto cazzo
Very nice and interesting.
Thank you for viewing. I hope you'll find find some of the other works worth your time, as well!
Really like this one. Quite different!
Thank you! Peter Ellefson, for whom the piece was written, will be premiering it this month. He's a fantastic player with excellent solo albums you can hear on Spotify, Apple Music and other sources.
Well done and never seen it done with bell covers. It was never done in my days of the early 1980s. Well done ❤😊
Thanks for watching, and I'm glad you enjoyed the work and their great performance. The bell covers (which definitely affect overtones and overall choir sound) were owing to COVID protocols at Eastman during that time. The sound of the piece with open bells should be really fun--I hope to hear it in person that way sometime.
Nice arrangement! This would be great to hear live.
Thank you for the kind review, Mitch. I've wondered why Baroque and Classical composers didn't write more for the only fully chromatic brass instrument at the time. These three-voice Bach collections really sound and are fun to play. Not easy, but fun!
@@petestrohm You're welcome, Pete! I've wondered the same thing too--to my ears, full brass seems more of a Renaissance texture?
This midi file does your composition no favors.
Thanks for the critique @michaelfox3259 -- can't say I disagree. I just haven't transitioned from loading Finale and GPO-generated .wavs into my DAW, to the next level of playing or hiring demo players to play in the individual parts. Guess I thought the Finale .wavs with some DAW EQ and reverb might give people enough of an idea of the works to consider them. That position allowed me to focus on writing and arranging. Frankly, it's been a trade-off against the time and $ for more realistic production. I take your comment to mean I should revisit that notion. --PFS
The best.
@PorterBrass, thanks and all the more so, given COVID protocols at the time still dictated bell covers and restricted rehearsals. I hope to hear them do it unconstrained someday!
Beautiful!
Glad you enjoyed the performance and the piece! Thanks for viewing! Pete Strohm
Wonderful piece. Love the energy.
I always appreciate your thoughts. Thanks!
Pete, absolutely , stunning.
Thanks for the kind review! I'm indebted to Larry Zalkind, Mark Kellogg and the Eastman trombonists for the wonderful job of bringing it to life.
@@petestrohm I like that it wasn’t a direct cover of the piece, but you added your own composition to it. Is the score available for other trombone choirs?
@@Arthur-hg7ny @James Decker It's available as performed from JW Pepper at www.jwpepper.com/11132312.item#/submit. I'm just finishing an updated edition. You can reach me at info@petestrohm.com for details.
@@petestrohm Much appreciated. Did you ever consider adding percussion? I do see that trombone 5 and 6 have the percussive rhythm.
Interesting you say that. The early drafts did include percussion, but ultimately I decided to do everything with the trombones. The rhythmic figures that occur in all eight parts throughout the work are just enough to give the necessary momentum, I think.
Bravo, braaavoooo, beautiful.
Thanks for listening! Life speaks through music.
Wow, this is the best concert version of Edelman’s score I’ve heard and I saw this film in theaters when it first came out. Incredible performance of the battle theme. Imagine some strings and percussion to go along with it! 🔥Bravo to everyone involved here. Blown away by your talents.
Thanks, mikey8088. I'm glad the work resonated with you. Prof. Larry Zalkind and the Eastman Trombone Choir did an incredible job with that world premiere performance. For my part, it was a joy to create the piece for them from that terrific score. If you're interested, all Eastman Trombone Choir concerts are livestreamed at www.esm.rochester.edu/live/. --PFS
As a Tromnone player for 20 plus yrs. How many of these guys are playing a Bass or trigger Trombone. I have looked. Not many. The Bass is what makes the band.
Masie, thanks for viewing and taking time to comment. I'm not sure what you're seeing, but as I recall there were either six or eight players on bass. The work has eight parts (six tenor, two bass), with multiple players on each part. They even added a contrabass (downstage right). Thanks, again, and I hope you enjoyed the piece!
Amazing!
Thank you, Jay. For more great sounds, you can watch the Eastman Trombone Choir this Friday at 7:30 EST on Eastman Live, their performance streaming site (www.esm.rochester.edu/live/)!
Veramente bravi! Complimentissimi!!
Thank you!
Edelmann wrote such powerful music. This was a wonderful arrangement and was beautifully performed.
The Running Shark: Thanks for the comments. The Eastman Trombone Choir and Professors Zalkind and Kellogg are fantastic to work with. You also might check out Larry Zalkind's channel at czcams.com/users/lrbmaz1. My personal favorite is the "Lost in the Stars" album he did with Deborah Shulman. Soooo smooth.
Am I currently driving about the Gettysburg National Battlefield geeking out on this? You betcha! 👍
Kelley Shannon: Perfect!
This is beautiful...speaks to the heart and soul...
Italia Bionda: Thank you!
Pete, I just don't know. I think that it needed more cowbell.
Jim, but other than that it was OK?
@@petestrohm Was very impressed. Excellent!
Great work, Peter. I miss our stage band days together and my failed attempt at being a flag person in your drum and bugle corp.
Thanks, Don. Great to hear from you!
It's SO nice to hear the contra with this group...sounding like a trombone, not a tuba!
Agree, Scott. Credit to Larry Zalkind for using the contra to reinforce the bass trombone parts. Brilliant!
Beautiful piece! Great performance.
Jack: I was honored to have this storied group take interest in performing the piece. Check out their other videos as well.