A TROMBONE ENSEMBLE PROJECT

A TROMBONE ENSEMBLE PROJECT:

COMPOSING, ARRANGING, AND PERFORMING

by

William R. Hendrix

A Senior Thesis

in

GENERAL STUDIES

Submitted to the General Studies Council in the college of Arts and Sciences

at Texas Tech University in Partial fulfillment of the Requirements for

the Degree of

BACHELOR OF GENERAL STUDIES

Approved

PROFESSOR DON LUCAS Applied Music

Co-Chair of Thesis Committee

PROFESSdR STE~E PAXTON Music Composition

Co-Chair of Thesis Committee

Accepted

DR. DALE DAVIS Director of General Studies

DECEMBER 1996

Ac

t3

^\ô ~32n

e.^

Copyright 1996

ACKNOWLEDGMENTS

I would like to express my appreciation to the following

people for their assistance and understanding:

Professor Steve Paxton

Professor Don Lucas

Professor James Sudduth

Dr. Dale Davis

I would also like to express my appreciation to the trombone

ensemble that played my compositions, for without them my

project would not have been completed.

Danny Sanchez

Jason Smith

Mike Mullinax

Carlos Lopez

Brian Russell

Russell Hulme

Christopher Carver

A special thanks to my parents, Deral and Mary Kay Hendrix,

for their support this busy and final semester.

TABLE OF CONTENTS

ACKNOWLEDGMENTS i i

LIST OF FIGURES iv

CHAPTER

I . INTRODUCTION: EXPLANATION OF THE PROJECT 1

II. THE CRITTER 2

2.1 Composition 2

2.2 Rehearsal 3

2.3 Performance 4

2 .4 The Score 4

III. WONDER WOMAN 10

3.1 Transcription 10

3.2 Arrangement 10

3.2.1 Problems Encountered 10

3 . 3 Rehearsal 14

3 . 4 Performance 14

3.5 The Score 16

IV. LAVERNE AND SHIRLEY 25


4.2 Arrangement 25

4.3 Rehearsal 25

4. 4 Performance 25

4. 5 The Score 26

V. YOUNG FRANKENSTEIN 31


5. 2 Arrangement 31

5.3 Rehearsal 31

5.3.1 Problems Encountered 32

5.4 Performance 32

5. 5 The Score 34

VI. CONCLUSION: EVALUATION OF THE PROJECT 38

111

LIST OF FIGURES

2.1 The Critter - The Score 5

3.1 Wonder Woman - Close Syncopation 11

3.2 Wonder Woman - Visual Clutter 12

3.3 Wonder Woman - A Better Notation 13

3.4 Wonder Woman - Continuous playing 15

3. 5 Wonder Woman - The Score 17

3.6 Wonder Woman - Legends to the Drumsets 24

4.1 Laverne and Shirley - The Score 27

5 .1 Young Frankenstein - Range 33

5.2 Young Frankenstein - The Score 35

IV

CHAPTER I

INTRODUCTION:

EXPLANATION OF THE PROJECT

This creative project is a part of my requirements

as a major in General Studies. I decided to do a creative

project because it would best demonstrate my abilities in

two of my three disciplines: Musicology and Music Applied.

The project was supposed to center around

composing a piece for a trombone choir or small ensemble of

trombones and having it rehearsed and then performed. When

creating the project, however, I decided to add arrangements

of other compositions to the project.

The members of the committee under whom I worked

were Professor Don Lucas and Professor Steve Paxton. The

role of Professor Lucas was helping with rehearsals when

needed. Professor Lucas also gave advice on phrasing and

dynamics during the rehearsals. Professor Lucas also

allowed my project ensemble to rehearse during Trombone

Choir. I met each week with Professor Paxton to discuss

different sections of the project. Professor Paxton was

very helpful in giving me guidance on my original

composition. With the arrangements, he gave helpful

technical advice on the layout of the parts and scores.

In this thesis I discuss the procedure that I

followed for each of the musical selections. The first

selection is The Critter, a march that I composed. The

following selections are television themes that I

transcribed and arranged for the ensemble. Included in

these themes are Wonder Woman. Laverne and Shirley, and

Young Frankenstein.

The scores are located in their respective chapters;

however, the parts are located in the appendix. The

recording of the performance is in the pouch of the thesis.

CHAPTER II

THE CRITTER

2.1 Composition

2.1.1 Initial Brainstorming

After listening to a compact disc entitled Circus

Screamer, I decided to invest my time creating a functional

march. I asked some professors: What constitutes a march?

What is the form? Do they all follow this form? I also

asked what they considered an example of a good march. I

listened to recordings further and looked at a condensed

score for a march to confirm what I had heard about the

form. The forms of the marches were all generally the same.

There were marches that had different forms; however, the

examples to which I listened had acceptable forms to follow

for composing.

2.1.2 General Form

The marches all contained an introduction, followed by

the first theme. This first theme was usually repeated,

after which the second theme was presented. This second

theme is also usually repeated. Then a modulation to a new

key begins, normally up a fourth. After this modulation, a

third or last theme is presented. After the theme is played

once, there is a break to build tension, after which the

theme is repeated and ended.

2.1.3 Problems Encountered

The main problem encountered when attempting to compose

this march was getting the harmonic rhythm of the different

voices to match up. I created the themes necessary for the

form; however, the counter melodies and other motives in the

background of these themes did not always match up to their

harmonic rhythm. Committee member Dr. Steve Paxton advised

me to create a piano score of some of the sections to make

chordal analysis easier. This did indeed help clean up

sections of the march.

The next problem I encountered with the march was

brought to my attention by Dr. Paxton. The themes that I

created did not complete the idea that was begun in the

theme. He said that the phrases ended abruptly before the

start of the next section. This probably came about because

of the approach that I took for the creation of this march.

I created the different sections to correspond to the form

for a march, and then stuck them together in the proper

order. The junction of the sections turned out to be rather

chaotic. I did attempt to straighten these seams out;

however, I was not completely successful in every instance.

The march is musically cohesive now, but it could be better.

Committee member Don Lucas commented that the melodic

material was good, but needed development.

2.2 Rehearsal

The rehearsal of this march was very difficult. For

trombones in concert band style, the music is very similar.

The trombones will enter at the same time and sometimes in

the same rhythm.

All of the trombone parts in this march were

different. This would mean that the players would have to

act as individuals and be confident about their part and

their playing. This would also mean more practice for the

players.

There was a general lack of focus but a healthy

presence of interest. This basically created the ensemble,

and that is it. The parts were not designed to play

correctly the first time. They require practice, not only

individual practice, but practice as an ensemble.

The rehearsal schedule was somewhat erratic due to my

own fault; however, once a stable schedule was established.

there was a decline in group effort. Either people did not

show up, or they could not play their part to my

satisfaction.

The lack of authority on my part, possibly the lack of

a grade for the some of the players, and the lack of

material reward for the some of the players are causes I

blame for the some of the lack of effort. Possibly I could

have been more motivating; however, the players were

motivated -- some of them just not for the march. I also

blame myself for not rehearsing the march earlier in the

semester, giving the players more time, in theory, to

prepare.

2.3 Performance

The performance of The Critter was adequate to get the

general melodic ideas across to the audience. One player

did forget to take a repeat in one section during the

performance, but quickly realized the error and caught up to

the ensemble. The addition of the bass drum, I felt, helped

keep the ensemble together, but the bass drum had too much

ring — especially in Hemmle recital hall. The dynamics of

the piece, though relatively undefined, were not

sufficiently followed.

2.4 The Score

Figure 2.1 is a copy of the musical score for The

Critter. Anyone who wishes to copy this score for purposes

of performing is welcome.

Figure 2.4

The Score for

The Critter

0.

The Critter

Trombone 1

Trombone 2

Trombone 3

Bass Trombone

Doss Drum

Willyami Hendrix

^^^g^gm^^ K ^ ^

Mf-l m. ^ ^ ^ g ^ ^ ^ ^

^ in^^*^

i fa t m r-Cl

^Sc^Ê^::^

F «= •I 1

IS E9l* ^ ; ^ i ^ f=3c

E:f: ^ l"

r t i t i z i

:p=E3 ^

^=fF^ * f e ^ miE^Ê^'E-^îâ^^?^

-W ? M*-

iîÊ^ » f

3_i iJ --^hH-HF^^^^f-'L-f^^

^^^^^^^=^^^^^^^3. ^ ^

^î£ accal..

acrjotq*—«: s ncaaqtzK ^

* p P 0 » » u accel.. %

-,^—d-A-d~d—d-i g ^ j J J ^ S K -a—d-rr-m-

acc0l..

iEEEfÊEE^

^

^ ^ accel....

Iltf __«=:r:;::=r-ZT::r~ OTf

m

iiH^ffl^^ m Play on D.S.

il'>S^

=3^rt± -j-

m ^ ^ ^4f4 ^ft^^^^-f'F-f M £=&:y£

m ^

p=l==pia: -t r r^^ ? ^ ^

^ ^ ^

^ ^ ^ l v r . : l i ^ ^ ^

^T-vp^—M

-.T.1t:;-

I P ! --T-f-f-jf-^r-jsL^ t r

U U

EfEE^;^-?^^; :*^:^:fEE|E •-f4- 3EEE3;

Isi

H h

f rl 11.1

±EE£

i I S^ • • 6C

^ MmMd^-^'î^^ds^^ D

i p' f

< •

£J r~^-^7-i^

"ft" l^'':::^:^-::ÊE*E?E^

^ ^ :D : ^ -V^5^

w^m^

ilEEE;

xgîC:^:^:

^ ^ ^ :

- ^ - - - ^ ^ ^—f-£rf^

riÊt

1==

P=S

Coda

-y^ l r r ' ^ ^ D.S. al Coda

-? J^7 ^ accel... Coda

^ ^ ^ ^ -ro^rr-r

^ f l — p — . — ^ - ^' ^ —p i». r-T'-c T-inTT^Qi D.S. al Coda accel..

CHAPTER III

WONDER WOMAN

3.1 Transcribing

A transcription of the piece was made by listening to a

recording of the theme to the New Adventures of Wonder Woman

that I found on a compact disc containing television themes,

and notating what was heard. In the case of Wonder Woman,

this was quite difficult. There were many sounds at the

same time, which made distinguishing some of the instruments

difficult.

3.2 Arranging

After the transcription was completed, the next task

was to try to arrange the music for a trombone choir of

about six trombones. The range of the transcription was

very broad; however, because of the trombone's broad range,

this was not too difficult to comply with. I chose to use

three trombone parts, one bass trombone part, a solo

trombone part, and a drumset. Because of the range I

decided to use tenor clef in certain parts to make it easier

to read.


Some of the rhythms in Wonder Woman were difficult to

notate so that they could be read and understood. Many

times, there were eighth notes that were offset by one

sixteenth note, making a very close syncopation which, can

be difficult to read (Figure 3.1).

The rhythm in Figure 3.2 was extremely difficult for

some of the players to understand. I felt the difficulty

was mostly visual. The notation of the sixteenth notes was

rather weak. Figure 3.3 shows the modified version that I

thought might be easier to read.

10

Solo Trombone ^gpg

Trombone 1

Trombone 2

tetter

Trombone 3 h^

.L^|£^^^Jf

^ ^

Si^

Bass Trombone ^Sp^::f^-4 V -^ -f i r +

Dnimsct

h_ J J J J > f m J j J >j J J J >

r r .. r f=^ ^ ^

g J_.. ir=^J_„U

LA ii >i ii X X K fTT^ FTl

^^3= i=^4Li.=£:

feite

^

^ 1 ^ ^5.:-"4=lpt 3E

x_k_

=r

= ^ = ^ = - ^ 4'=±

feiiS^^rt:^^

^ i i^ ^ ^ i BÊ^^^^S^S^5^3 ^^^^^^^^^^^^^^9 ^^SS^S^^^S^Bi TTTi r T n >rm

J i ^ J ^

Figure 3.1 11

\

Wonder Woman

Solo Trombone

Trombone 1

Trombone 2

Trombone 3

Bass Trombone

Drumset

L *r 1* f *r *r . o M . M

''J* Lh>i (* F r ^ r r r ^ ^ 1 / CJ yn* r r ^ LT

jr

7'M^ c ^ 1 — # ^ J J J ^ ^

JT

rr ^ r ^ ^ ^

^

Figure 3.2

I

12

Wonder Woman

Solo Trombone

Trombone 1

Trombone 2

Trombone 3

Bass Trombone

Drumset

'^'''^\\<'U ^ P U "^TU P ^ P ^

"^'M e j j ^ J r j 1 iji s^ 7 n ^

< L m ' L; Ui [J P ^ LJ Ej Jf

Figure 3.3

13

The largest problem encountered with Wonder Woman for

trombones was the bass guitar/piano part from the original

transcription. I gave that part to the bass trombone when I

arranged it. Unfortunately, there are no places to breathe.

The part is continuous (Figure 3.4) I experimented with

leaving certain small sections out to allow the player to

breathe or rest, but the continuous motion is necessary to

keep the piece held together. My only solution for the

future of the piece is for two bass trombones to play the

part allowing the players to stagger their breaths and

maintain this continuous motion. The only problem foreseen

with this solution is the tuning of the bass trombones being

the same. If the tuning of the trombones was not the same,

it is possible that the cutoff's of one player and the

entering of another, however rhythmically correct will, not

sound like one player. This problem may only be solved by

the players tuning their horns correctly.

3.3 Rehearsal

The rehearsal of this piece was somewhat frustrating.

The close syncopated rhythms took a while for the players to

play correctly and with confidence. In theory, the range of

the piece was quite acceptable. However, in practice, the

range seemed to be a little on the high side. The piece

could easily be played by a professional ensemble or by

graduate students, but for Texas Tech music students, who

already have to practice for school, the piece was a

challenge to play.

3.4 Performance

This was the opening piece for the performance. The

performance went a little slower than I had planned, but the

tempo stayed consistent. Committee member Don Lucas

commented that the ensemble stayed together rhythmically but

14

Wonder Woman

Bass Trombone ^''^\\ ' j ^ J^ Jtj bJ I n J J JijJ ^^ mf

^s J ^ Jt|J *\\^ u I J ^ J J ^ ' Û ' J ^ JtiJ *\^ %

^S J~] Jt J tjJ [,J I J ^ i^j=^ bJ ^ 1 ^

mi -0-0-9

Cresendo

C\' * f* 1 ' •> -^ h ^\

^ ^ h » f •

4

^

fl

_ 4

^^

"4

^^

d i i 4 d d 4 i i i d ^

34 / Cresendo

^ ^ ^ ^ J ^ Jt,J Jf j \j I J ] Jt|J ^ K Q C

37

"»• # -0-9-0 •0.0 -0 0 mf

' ^ \> J j Jt]J ^^1^ ' 'U \ \ l ^\d ^\^ Û 1 j j J[]J ^^^ l J 1

^ J ^ Jt|j ^t]^ U I J ^ JtiJ " ^ %J I J l J[^J-*^^-%

F i g u r e 3 . 4

15

the dynamics were not very defined — ''always loud" is how

he put it. The drumset was too loud in this performance.

The bass trombone part, when played by just one trombone,

did not suffice for this arrangement.

3.5 The Score

Figure 3.5 is a copy of the musical score to Wonder

Woman. Figure 3.6 is the legend for the drumset parts.

Anyone who wishes to copy this score or the parts for the

purposes of performance or rehearsal is welcome.

16

Figure 3.5

The Score for

Wonder Woman

17

I I

Wonder Woman

Solo Trombone

Trombone I

Trombone 2

Trombone 3

Bass Trombone

d^^=w—~^fî^^^^^

Written by N. Gimbel and C. Fox

Arranged by William Hendrix

-^^^..^^M^^^^^m^^,

m

Dmmsel 4

ep 31

^fe;

g^

.ff"

Jf

^ ^ @ R , f e S E g

g - h mf

^•nrrrtr ff

^3^WW^^^ Jf

mf

mf

a^j&^^s^ fr

wmm^^m

fi^^^jp^

IS ^ ^

^999 " jQf H'^^l^

. ( ^ ) ,

-p-f.<S),

•pp-p-p^'^^ ; ^ [ j ' ' f ^ r ^ ^ ^

s s

^ j-^^'-^r^W::

^^ 7pr ' ^ r ^ p

S E J JijJ îi^ l m

f

^^mMiM^ Jf

^

Sf^'f- : ^ ^ -

^ i iiji;

p^^ Et 3 *

SSul ^ ^

w- Cresendo

a b r --' ^ Cresendo

^ ^ ^ J 3 3 S ;

s ^JSMff l fflffifflffi jmmffl_^

H^P"- ^ ^^î^T T jl — 1 tf+=F^ ^ - ^

«f Cresendo

18

^m^mm

^m fefê^ EEJE

SS S^ ^ .

j t ^

^

if

r ^ S ? ^ /

j ^ EE3E

^Ê^m

m^M,

m^

^^SM^

-J p J — I — I — T J

p.-^p.-P- * - f ».•

gi^gg^ « = ^ r r ^ ^ ^ ^ E ^ ^g^^Sî, ^ t ^ -

:fflfflfflffl_JBfflJH,5n ^^ w w^ u^==^-"S^^W

19

# t f e

SIP

t ^ ^ = ^ ^

E?£g£££ Cn isendo

U

£ ^ resendo

^ 1 5 - ^ p ^ # 1,* :*l,v T : ^ ^ : ^ -JJ^M^*^

3£B

> . ^ J X , n i ] > n j J y ^ | >J> J>i>i>i>J> >j'IIj . Cresendo

M s i6^.

^Mv^^^^^^ T:r- ' u Cresendo /

SSi m S ^ ^ Mk

mm§^m ,ui^-wmsm. ^/n^^ ;Tf—^ J9^-

f ^ f r ^ Cresendo

Cresendo jQf cr ^^ [/I 7pl---g^=^

20

^,^tU-Ci

m=^s

^ ^ o

i -r, -l - J ^ 'k* ! ! 1 'J ^

iMuk

:55?iS^

C J ' ••:>

mUf^^Msi = ^ ^ r~' '*~T Cresendo

-ttC

Sa # ^

^ s Cresendo

M=l m^ M: fr Cresendo

U' s

- J s

^ J \>=^^=i^^^=^ Sffl s Cresendo

^ B ^ rnrim w??

Jf UJ^J^J I^ )^

Cresendo

SE ^ s ^ ^ s ^ tf+"^p f CJ' ^ f ? Cresendo

.fl ED sasffl

21

teps h^^

^^Pv^^J

^"^m^m IHJUH

D c p f = p j ^

8

.^9^ :>- >-mMm

r " r "^?^^ fYY*

^

.fly

ii^l^

ag^ f=g-/

/

^ ^

ffi

fei

TTg Ji3i53ltK S ^

?^-

S'

JJS

is "> P LT^ ^ P ^ -^mj^-^-.- -r^^

;ME^: -£^ - i ^

«1''' ^ ^ ^ -

ffis I J i £J£,JLJL1£^ a

i s:

s^ s^l-3:^3'^ #

77l yTTn / m HTI

P3^^^^ s ::J£î:=i3^

j j j j j j ) j i j > j j j i j > j > j > rLD. 13-=*="== -= :f: Q- P T U :p=^-i'-fY:'>:

22

ifeEar-tffe—^fc^y:

^ ^ nfT ^^^^m

gp^^g^ s E ^ ^ E ^

^^^Sfe^^ ^• • - t :

^^P^^^î'-N:: ^ tJ.

^ ^ g B 3 ^ £ g ^ f=r '~^"'

23

Wonder Woman

x! crash J ride m hi-hat 1 [-1 • T O i n 1

d ^ Trttn 2 m

f^

floor torn -

1 J « snare

bass

M. expl osion

Laverne and Shirley

Hi-hat 4erash J turn 1 J- i torn 2 snare floor Tom bass:

F i g u r e 3 . 6

24

CHAPTER IV

LAVERNE AND SHIRLEY

4.1 Transcription

Transcribing the theme to the television show Laverne

and Shirley seemed, at first, just as hard as Wonder Woman.

The transcription was, however, extremely easy. After about

two days of listening and writing, the transcription was

complete. The difficulty of this piece was making sure the

notated music was accurate enough so that, when it was

played, it would sound just like the original theme, which

is what I wanted.

4.2 Arranging

In order to maintain this original sound, each voice or

instrument in the original recording was represented by the

trombones. This type of voice distribution creates the

effect I wanted both for Laverne and Shirley and Wonder

Woman. For Laverne and Shirley, this was not terribly hard.

There were essentially three different instriament or voice

lines in the original recording, with an occasional split in

one of the voices. I chose to use three trombone parts with

drumset.

4.3 Rehearsal

This piece had very few problems other than dynamics.

The parts seemed much easier to follow than those in Wonder

Woman. The only real critical section is in measure 5 when

the tempo change occurs. It was difficult to establish the

new tempo as instantaneously as the recording sounds.

4.4 Performance

From my evaluation of the performance, Laverne and

Shirley worked well as a whole. The drumset was a little

too loud throughout, as in Wonder Woman. Committee member

25

Don Lucas felt that the drums were overpowering. Again

there were tuning problems; however, they were present

throughout the entire concert. The ensemble was able to

survive and adapt to the abrupt new tempo established in

measure 5.

4.5 The Score

Figure 4.1 is a copy of the musical score for Laverne

and Shirley. The drumset legend was shown earlier in figure

3.6. Anyone who wishes to copy the score and/or the parts

for purposes of performing or rehearsing is welcome.

26

Figure 4.1

The Score for

Laverne and Shirley

27

Laverne and Shirley

Trombone 1

Trombone 2

Trombone 3

Drum Set

, Allegro

, Allegro

Allegro

'>!, i'Pnnn Alleij

JUICLQ

SSI

i l i l i l i l =i!fimmfff mmifflfff mmffflnr ffflmmff

xc

Written by N. Gimbel and C. Fox Arranged by William Hendrix

Psestu , . .

^ ^

Presto

^

Presto

^ ^

Prest

^

3

rr^—n~^^—r~r^—r-r^—TTT JiA

^

m i Hi Ai'^ J J ^ = 5 i ^ ^ ^ t ^ i I /j AJ'J j ._ j

S :t S

^ iEEE# # ^ #

* • * * — a r *• : r ^

nnnn nnnn nnnn nnnn nnnn nnnn #^f=% #pf=% pr p'r pr l p'r pr p %r% r r r r

13 n ^ j J. Ii 13JJl J'JJ J. |> HiPihi I

13

n j J J. u^ ^ ^

' i - , J. J'J J g ^ ^ y - T T * • * *~Tr * • » mm

JLJUUUI JLAA *-: r-zf nnnn imM nnnn mil

^pf ^p''Lj|j,puJlf ^pr i,|;lr ^pf p'f tpr^p^¥|T| r

28

^^y u 19

^

is^

19

" nnnn T lipr lp r l pr l?p

J. i'j J £ si

AA ^ ^

nnnn r lipf lip'

^ tete mjn r %T=^

25

a ^ J J J

# # = #

J /'J A.

-I .hJ i>^

25

^ E * '

25 nnnn nnnn nnnn nnnn r l^pr ^p r ^pr ^p' r = pT%^ r pr p

3 ^ SMS £ M. ^

;: ? .n J Jlri^J-x^ ^ J I J n,hj J. } J jij jipj'j j ^ - ^ ^

^ ^ ^ ^ =8=

31

fe^ ^ ^ ^ ^ i *• * *—s-Tf- r-^r - nnnn nnnn

r pr ^p r % = f ^ r ^ p r L/ p JJJ] J]J]. iULDJl ;ijij]j] r %f=^ r pr p r %f=^

29

^ j=^^ i=Jf J=4 J J ,1J J

37

^m J? -

37

m Bfefe J. j ' j J =it=ik i ft f~:

r ^P r ^P^ s ^ ; J J J J

r l?pr F J J J J r ^pr F

"3—I

J J J J

f r f f

1

43 J ^ ^

L- ja.

^-Â

43

=i=i

J J J J

r ^pr F J J J j r [ ipr F

J J J J i r ^ p r l ^ p ' ^ ^ ^

49

49 a m ~t>. ^ o

49

'^ J- J. J n J J

30

CHAPTER V

YOUNG FRANKENSTEIN

5.1 Transcription

This piece was transcribed from a video cassette of the

movie Young Frankenstein. I transferred the audio section

to be transcribed to an audio cassette tape and used that

for most of the transcription. Because the recording was

not high guality, I had to listen to the video cassette to

make sure that I notated the piece correctly. I transcribed

the two main voices that I could hear. There were other

instruments in the background; however, for this piece, I

wanted to create a duet.

5.2 Arranging

There was not very much arranging reguired for this

piece. The only arranging necessary for this selection was

choosing which trombone part had which melody or background.


One of the problems encountered was the high range of

the piece. In the recording, the violin is the main voice

that is being accompanied by a French horn. The French

horn's range in the piece is easily emulated by the

trombone. However, the violin's range extends an octave

above what is considered the frontier of a trombone. I

arranged the violin voice down an octave in certain

sections, which sounded fine with trombone.

5.3 Rehearsal

There were not very many rehearsals for this piece. I

decided to add this piece very late in my project because I

31

was one of the players and I knew that I would practice my

music. The second part of the duet was not very challenging

when considering range. The part could easily be played by

itself, but when combined with the first part of the duet,

the downbeat becomes confusing. This duet is an example of

counterpoint. There are two voices playing different parts

against each other.


The range of the piece (as stated earlier) was adapted

for trombone. The highest note of the piece was a high C#

(Figure 5.1). This note is not terribly high for a college

level tenor trombone student. My frontier, at least for the

day of and before the performance, was a high C. I could

not accurately and consistently hit the C#. This is when I

decided to take certain sections on both parts down an

octave for the performance. I wanted the piece in the

program and preferred that it not sound bad.

5.4 Performance

There were cracks on high notes; however, these were

not from lack of preparation -- mostly nerves. The parts

that were taken down an octave worked well to an extent.

There was also guite a bit of dissonance in measure 36 and

37. The performance went well overall. More than just the

general idea of the theme was well presented.

One of the factors that might have influenced the

player on the other part of the duet is the strain of having

already played Wonder Woman, which is guite a strain, and

The Critter. There was, perhaps, not enough time to rest

between pieces. Considering the circumstances, I do not

believe that this could have been avoided.

32

Theme from Young Frankenstein

Trombone in C

Trombone in C

26

^M.ny^nr

A m m

28 B L f f V

Figure 5,1

33

5.5 The Score

Figure 5.2 is a copy of the musical score to Young

Frankenstein. Anyone who wishes to copy the score or parts

for the purpose of performing or rehearsing is welcome.

34

Fi The

Young

qure 5 Score

.2 for

Frankenstein

35

Theme from Young Frankenstein Written by John Morris


Trombone in C

Trombone in C

^" l.lYl' (! J

^ ^

g#^ §

: ;3:

m=^ p- ^0 ft

^

^S ^r-f=r ^=M^ ffl

'>J'l>-f- J' ^ ^ ^ ^ n^^ :*yy f ^ ^ 3 ^ ^ ^ ^

'"t"i>"[jr"r r u^^ ^ m^^ ^f^ f EJ f^f 'IT

^= kh> Y J- b.^

16 ^

*= 11' i LT r r h

16

-^ [> [/ r— * * ^

P'~ = ^ — p —

r r r J ' '

i — p f p — 1

4 LJ—1

i[j ^ ^ r

1 p-f—f 1 - » — 4 L—J—1

iiJ 1—1

i P P—19 1 -> 4 UJ—1

. r P^—'p ,

v\ r f 1

•>ti'i> r M^ & ^ ^ = ^ ^ IE r ' } Bii

''j'lfc J j r ^gcfcBl ^ ^ ^

36

26

'Miindr'rr r ^ art H

i i g j i . P r r FT^T^ -•**-«-1—3—k—»^ ___

30

iy^lJ ' f r—^f—-r— ^ 't L,

1* ' m » 1 : r P P

!Ljlr r r r

- r f . n 1=] ' p [J ' ' J j

^ i : ^ — p — \ — 1 j 1

—T""*!

-^ ^

i n M

<

'.M,ii:Y'rr f

W ^

yitr r'^r r

SEEEEfe

4#fg¥J^

iLt.T r f ; ; ! S 1 »• rt_-

39

^ M ^ LJ r~r

37

CHAPTER VI

CONCLUSION:

EVALUATION OF THE PROJECT

The project seemed to mutate a little as the semester

went on. The project mutated from one single composition to

one composition and three arrangements. The only parts of

the project that I felt could have gone better were the

rehearsals and some sections of The Critter. I intend on

expanding the arrangements and arranging them for full band.

This project has shown me how difficult it can be to

organize and rehearse an ensemble. I learned especially how

important it is to plan ahead. I have learned more about

the software (FINALE) that I used for the scores and parts.

Finale.

I have found quite interesting the fact that this

project has developed my ears. When I say I have developed

my ears, I mean that I can now hear more than just the

melodic theme all of the time. I have learned how to pick a

voice line out of a melody to try to follow and transcribe.

I listen to what actually makes the piece work well, and

that is not just the melody. However, the actual

application of combining the melody with everything else for

a good sounding piece has not developed as quickly. The

project as a whole was a success, I believe, because I

learned guite a bit from it.

Someone, some marching band, or some other type of

ensemble may want to play these compositions or

arrangements; this thesis is one way of making sure that the

ideas as well as the actual scores and parts are

immortalized.

38

APPENDIX A

THE CRITTER

PARTS

39

The Critter Willyami Hendrix

Trombone 1 "7' \)\ <t^ J'' •/ 1 ^ ^

A • — • • 1

J

— H

•»

| r -/ H • 1

—^t~

» • •-0 — •

'—t-n • 1 • 1 B.

OT/

v^ -n'i.^Ln,F:^ 10

^

2. e

lA r r ' I B

t "m- i ^f-f

14

g « • 9=1 p r # r T ^ ^ ^

40 ^ i

r f f if r r ^ ^ i i'î 1^

44 D

m i 49 Coda f:

--^ '>% t V M 1 '' \i '••^ -^ ^ ^

r r r I r ^ 1 = ^

D.S. a/ Coda

^ accel..

41


Trombone 2 '-'Hi'i. t hJ 1 1 i A

^

^^m ^

^ g ^

^ ^—*

mf

^ ^ ^ T i uj- j-î r^ gF=^ 1 f M ^ LUJI U:J ^

^ (^)e

B

''n"i. > j^J ^ r r T ^ ^ ' ? ' ^^ f J 1 J r mf

'}' •/ JTJ •/ ^ ^ J ^

(TW/)

^ ^

^ ^ ^ 7 " 7

18

i A * ^ i r #T»^

^

W mft

22

25 â •m^ mufff-^\^ W-accel..

29

-t»- # • X l ? ^

^

mf

. ; , [ r r ^ ^, . ,^^ 42

'HI r If r r ir r r ir r r ^ ^ ^ ^ 44

D

48

^

Coda

} IH Py ^P? \i P-i;'^ j I^CcJirr Ml D.S. alCoda accel..

43

The Critter Trombone 3 "7' A ^^ fa J s -^—7-

Willyami Hendrix

= 4 p

^' !>''[» I i /

«-«-« J ir fjr r IP r rr. ^ P P SB S 1 7 I b

13 B

3 r - ' rrrrr i^ r^-^f^ :^- 7 P ^ ^ ^ 17

^ ^ ^ ^ * 5# V 1 1 -—^ •/ W ^ ^ t ^ 0 ' 9 ^•7 7 7 7 7 7

' « /

21

: ^ :|^ rf: ==F

c ?^ mz^Lx ^ ^ # » # • * I f f f f r fzzg fe

^ PfP p S ^ ^

2 9 ^ #

accel..

29 • " « - «- - " r ^ » r pf P irr^^rr*r-^

33

Pf r ir f ^ r rL .h , f > J^ , | ^ ^

37

^ '' gFf i f t r r r r i 1=

44

9=, r r ^ f j i k^ i iMf D

"> If ( T p ^ 47 Coda

'-" r TT r I h J ' " ' > > J' - f lhJ''V ? > J ' v D.S. alCoda

accel..

51

^ ^ 0 0 =1' =1

^

45


Bass Trombone '" A < hJ xc

''n"i.lN'r D mf

W p ' J Jipy=^ i

^ ^ • # _ * •

^ 0 I , JTTIir. I r.PT^ P^ p ' JJlp^ g ^

12

^ M B

^ i i i r ^ i ^ 7 * 7

^ 7 ^ 7 7 ^ 7 -T^V-?

////•

16 rri.. m 7 J 7 =7=^

^ 7 * 7 ^

7 ^ 7 - J - ^ 7— 7 << 7

20

S If nccessan,' leave upper octave out

^ ^ ^ 2 = = ^ 7 . 7

25

^1 '-&

i s ^

3^:* * 9 m 9 -d 9 9 9 9

accel. 29

w p ^

mf

34

£ • ^ > — 7 P J'V ^ 19 (9- - O -

39 0

y^ ,: . " ^^^—€ 1 t—

46

44

49

w D

^ ^ ^ ^ ^ ^

Coda D.S. alCoda

' n ^p i J'v , ^ ^ ^ ^ accel.. ^m

47


Bass Drum ^ r r ' iiT r r r mf

"r r r r ir r r r If r L i J ^ ir r r r Ir r r r I 10

B

Df r r r Ir r r r ^ i i r r iii' M mf

15

"f r If r If r ir r ir r if r r 21

Dr t r » i f - t - r ^ ir » r > ic iir r r r 9 9 9 0

f 26

°r r .r r ir ^ r Mr r r iir r ^ r Mf 7 « /

"r ^ r Mr r r ir r r ir ^ r Mr r r r 38

°r ^ r ^ Ir r r r ir r r ir r r r i r » r ^ 44

D Coda

°r ^ r Mr r r ir r r ir r r r 'r r r r iir r ^ D.Sal Coda ^^^l-

50

if=f=f-M^r r ^^ 48

APPENDIX B

WONDER WOMAN

PARTS

49

Wonder Woman Wi ritten by N. Gimbel and C. Fox


Solo Trombone ^ ^ ^ ^ ^ ^ ^ . r = ^, u. r . ^ r a ^

'hîki^^^^ t ^

i m^^

^ ^ ^

XL.

10 m ''"AKi ^?> ' ' n? ? id-)

fff..pn,.fffj£j t Jt > o.

14 ^ i i

^S

Cresendo

fff f Y m r ^ ^ i ^

J9^ 21

'> k'lh. ? ? ^ ^ ^- *> ffi îte i^^

25

^ ^ MfrMi 1» ^ " ^ — - i i

S t= 29

m I ^ " ' ( O

^ ^ ^

J9P

: f f ^ ll #- #- # ^m i JJJ

37 ^ ^ ^ I a #-' # #- ##(Â

^ I 3JI ?: ''n"l. ? ^ ^ > - | - ^ - } ^ ^ ^ 1 E

Cresendo

41 — — f:f; f f: : "

'>i\<M i" h ^ |]| r r r r I | 48 I "-O-

/ Y V /

±=i p-rfT tffTf ^ ^ ^

50

Wonder Woman Written by N. Gimbel and C. Fox


Trombone 1 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ r u ^.ru r. i l ^ ^

-9^-A> Jf mf

y.^,^mnirâ ^s ^

^ ^ ^ ^

••••

^

1X)L. -Iliî^ f ^

/

1 P »/^ Cresendo /

13

K\>^ > iî JCZjC ff.fff.l-fff..f.f ^ s ^ f b d ^ m r^td , | . ^ ' i ^ j

Cresendo J9^ mf 17

1 b± ? I? [iTîjr Ir * i^Lyvriii /

21

fci r ^ i a /fLr i ^ If Iff a PP «i^ Cresendo -^f

liiM...yrrrri^j!f.m,ef,i'iAh 0 0 0

^ ^

29

i Cresendo

^!-«—P' "#!

jor

^j g^rr ? "î ^ #

33

i « ^ l^ ••lUM #

ii>k r Lr r-K^ i E3 Cresendo

41 :>- >

1 i*=pit-

^

/YY* /

51

45

«

50

9. 9. A - ^ J O L -

I B i ' V ^ ? - | |

/

^ ^^m

52

Wonder Woman

Trombone 2 ^ ^


i - , - J : ^ )

J T

^ ;.i.MtJTrf.f.f7cj

mf

? ^ ^

i i i_ ^

#. 4t.

/

^ £

12

^ ^ Lff..PLr

îf Cresendo

9^0

^

y Cresendo ^ 17

r._.-K" r - T

7 « /

^ ^ ^ t=tz

22

' " ^"i>. i LiJ ? « QA f # ^ P

///f 26 i i - — i i .

Cresend^

^S /

^ LXTiPf P^ -€»^ • < » - m * Cresendo j9^ /

; i., , E f J J . i r f f r f r r t ry r r i J9^

ni, > i^:,tfii\r Ailj i

38

i #- 9-9^ I * ^

-ff.

S S

S Cresendo /YY*

53

43

''H''I, - i ff.m ^ I- / m n nffff fr; /

48 «_ a-

^ I =i:

^ ^

^ ^

E

» • #•

54 3 i


Arranged by WUiam Hendrix

Trombone 3 ^ ^ ^ ^ ^ ^ ^

0 9 9C

^

^

A~) JT

ty'iKKU~n L l l ^ ^ mf

0 9 f-f

^ ^ y u /

^S LX1_ 9 9 9

9—ro u 3 5 1

^

13 ft ft

«{f Cresendo /

S ^

Cresendo ^ 18

^

y

' ' M ^^' ^ - ^ ^

22

^ ^

9 9 9 i u zee

te: P

SSI

27

^s ^ ^

7//f' Cresendo

is f Cresendo

s ^ = ^

f 9-^6 Jf 32 U-

^

39 «,-» *-<=3cy. y ^ =

-o-= I I I ll^^^^p^^^^^ ^ s E Cresendo /YY*

43

''Hh, - ? cir?rp 5 qjTpr^p /

49

^ ^ P *~

0 J ^ L i r ^

55



Bass Trombone ^—9—T-z—^^ ^gf § = E ^ fe»

fr TO-^lj^JJ^^

mf

^ t i ^ *^ ' ^ t ' ' J~] ' *'^ i' X *^ ' * ^

^'^\K j ^ J ^ ^ ^ J I j ^ J ^ J i j J J J I j ^ j ^ / i j ] J ^

10

^§ , y_ I Z H * — *

« ! / Cresendo /

13

- 3 -- > - > - :>

w ^ = %4

=*

V- = g ^v-'

• mf Cresendo fr

16

^ S i> J~] JtiJ *ti^ Û I J ^ Jt^J-A^ [>J 1 ^ JtiJ ^^1^ ^^

19

^ [. j ^ jijj îi^ û ij~] Ji|j ^ * û ^jn •''i^ *'' ^

22

^ r^ ^^^ ^^^ \> 9—9 w

< ^ *—t •9—9

w Cresendo

25

^ = ^ l ^ ^ ^

/

•d-^-4-^-0 00 -0-0-0 •KJ''0'9 -*-^

Cresendo jQP 56

28

'^''h n] ^ ^ K^\ n^ ^ ^ K^\ ^^^^^^^^^^^^^^ mf

32

'>•• \}\ J^ i p X] XJ I ^ i ^ fl XJ IJJ Ji|J JhJJ.J I n ^ ^ ^

36 i i i i ^ r - ^

Jf

39

-*>!—»

( Dres end 0

- 2 — 1^ ^ ^

42

£ £ l^ £Ê5 ^ ] }\} ^^^ ^[J I J^ jl J ^ * [>J a n ai«=*3*==k

/YY* /

45

^â

49

^

t ^ ^

^

57



1 ^

Drumset S IJ1 J1 J!?gjg X X ,

JjJJ Jf

>J><!><!><fXy! -x | -x lx ! 'x ly lWy!y l

[T'PG'^rrj'r^G'Qirji ^pi XJA X->i x_x X_5i

^ 7 B r 'r r r 7 ^ 1 ' 7 r I . ^ ^ X X X v f v j y l y l y ' y l v '

[ J ' 7^1 '[J I 7^1 '[J I 7 P

x x x y x y y > ^ > ^ y x j x ! v f > j y ! > j

u ^ ^ P ^ x x y x y ! y ! > . J > < J y ! > J x ! x ! > j y i v ' W x x x l > j x f y | y i ' ) . ! y i \ i v i \ '

r . p r If r r ? Uji CJ ' ^ r 'LT' ? ij?i^?^.m^ x x x y y y y y y X , X X X y i i_2 i X X X y i i x X X X X

r 7 r r If r r , r r ip r r .. F' X X X X X X .ffl:

99 99

mf Cresendo

iffl 13 X X X X X X X X X X X , X X X X X y - x X X X y X X X X X X XJK X X

" r r r r i r r w w P T O i f r ^ ^ c ^ Cresendo

16 _ X WJW X y y y

J9P

j X X , j x! V X •> X > X >f X X y

^ >j x! X , •>J xl • j X_2i xxxxxxxxxxx

"LT ^ ^ p ' L / ^ ^ P ^ 'c j ^ ^ P ^ 19 X X X X X X X X X X X X X X X X v ' y i y f y i x y i y i x > j y f y i > ^ > ( j y i v ! > j W ' ) J - x l X X v ! y i y ! ' x l y f > f X y ! W y ! v !

r ..ftr i f f f ,f. r i r r r - i ^ U ' ^ P ' 'LJ ' ^ P ' u ^ ^ P 22

y y X X y y y y i O i 'n imrmmmmmmn X_) i

r [—rijif If r r , p r ir r r , r^ Q^ ^ * Cresendl^ " »r

25 X X X X X X i O i X X X X

£ .X-X X - X x_x JW X X X X X X X y y , X X X y y y - x x x x x

pcmir r r r iLrw^pgpgg p 13" / Cresendo fr

58

J73 X X X X X X X X X X X X X X X X X X x f X y ' W y i X v ' v '

LT ^ P 'LT ^ ^ P r ^ m = ^ y y y' y y V X X X X y f > J > < i X > J x !

31 x x x x x x x x x x x x x x x x X X X X X X X X X X x X X y i y i v '

"cj ^ ^ p ^ ' u ^ ^ P ^ 'rj ' ^ p I-X X X X X X X X v ' v i v ' v '

34 X - X X X X X X X X X X X X X X y X X X X X X fW JW

"[J r , p r ^ ^ r , p r i ^ r caUg X X X X

Lffl X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

r -, ft r If f r ., r. r m 9 * •

CJ ' 7 p I ' [ J ' ^ p Cresendo 7

fr 40 iS J l X ' X X X X X X . X X X

r r r r uimiiîrp X X X O ^ X X X X

43 X X X X X

JjJ

X X X X X X y y X X X x_x I x x x x x x ^ x x x x x x_x X X y y y y

r >> ft r 'r r r ^ r ir r r ^ ^ L J ' ^ P ' CJ ' ^ P ' CJ ' ^ P / 46

W y X X X X X X X X X ^ J 1 ? 1 J 1 X X X nn r , r r r ,pr i^r L L ^ CJ I 7 p

^ ^ . L J l C J ^ ^

7

59

APPENDIX C

LAVERNE AND SHIRLEY

PARTS

•I

60

Laverne and Shirley

Trombone 1

1 Allegro


X5Z TSZ

Presto

m rr ^ •kQ [jpr=^M4=a

^ f 9 r=ff ar r f i> Jn:^~i^

12

^ jC f l mr^^ ^

17

v'H ? [rr r r i D ^ ^ ? J pr PIP I E

'"kcrpr r- i^-a--r=Tr pp^^=Lrr C;IP^ r pr 27

^>:. r p—r^-=^ r^'—y- — ^ ^ ^ r r' } •-'-'—•-'--^^4— ^^^ - ^ ? u 1 — ^ ^

32 _

rriPr r f i' pr ^ 37

91 I " ^S I * I I * -

42

vHr [/r j ^ f f ^ ^

47

^ X E

^ ^ - o - = ' - 0 -

61

Laverne and Shirley

Allegro


Trombone 2 ^ rs i rs i x»_ xsi

Presto

jcr: ^û^ i^Jrt x c

ss iH- r' r -o-

# ^ s

12

3 s *

4 J - 4 ^ 5E :§= m

17

TIT, o S ^ i n

22

^ M 3 ^ ii U I ^ -o - m

27

'-' rr r'r pr s ^ • -

^ m

32

'"uiJ- r' r i -o -

^ ^ = f ? ^ §=

37

4V f* *> ^ 7 * '

• 1

^ £i. £L

^ ^ = l j = ^

62

47

T r- f ifrr - i i

^ m

63

f*)i

Laverne and Shirley

Allegro


Trombone 3 ^>îun n n n in n ^ = R Presto

')>innnn\nnnn\i j n\ \nu ^ 7

m s s i ^^^m^ 9-^ 9 -0r-O

'" - ' ^ ' r -^ f f^ ' r - pr r i '-i ^^^^ 16

'-'HJ. 1\ J. JJ J IJ. J'J ^ ^ F= ^

21

^%r' pr r I J^ .£B=^ :E~^ 5 J P ^ SS

26

^H^- - - K S - • ^ #-<s^ M lilJ'J J.

31

^ g g ""in *-^zr * • * * * p^^ S

- • 9-

35

9'L J. J)J J r- pr ir pr i.,î^„l^-i=£=J:

40

^ ^ ^

"T»-= 9 ^ ^ p ^ ^ 45

• 3 - |

9- L J J J - ^ —b •I 4 4- -0^ 9-^

III l l M l l 1 t

64

50

^ zrcr

65

Laverne and Shirley

Drum Set

" f??i n Written by N. Gimbel and C. Fox Arranged by William Hendrix

fmnrirmrmmi T t r—r

f — r Eff l .^

r — r 1—I—r ^

J),]) ^ ; i ; i ; i J i ; i ^ ^ i i ^ j i ^ "^^[ j7 p ^ ' r ^pr ^p'r ^pr pV ^pr p

•jirrnr] r]^]/]^] nnnn nnnn V ^pr l p'r ^pf l p'r l pr ^p'r ^pr l?p

14 J), J) ^ j i r ] J i ; : ; i ; i ; i J i J i ; i ; i Û'[j-7 p î"'r ^pr ^p'r ^pr ^p'r l?pr l?p

°r ^pf ^pT ^pr l p'r ^pr ^p'r ^pr p 22 i),j nnnn nnnn nnnn ^ L f ^ p ^ r ' pr ^p'r ^pr ^p'r ^fr^

26 Jijiji Jiiijir] nnnn &

r l pr ^p'r ^^r l p'r ^pr p * * *

30 ]>, ^n^n.nnjin.ji^j:;!. °^Lr[j,p[JJlr ^pr ^pif ipf ^p'r ^ p r ^

66

-nnnn.nnnn nnnn nnnn r ^pr ^p'r ^pr ^p'r ^pr ^p'f (pr=4=p

38

f ^ p r ' T ^ p r M r f r r '

HI J j J J J j .1 J J J J J

^â 'ir l?pr P 'r ^pr ^ ' r r r r f

nnnn s V ^ p r i?p^

J^v-^? J . - H J J

ff^^'p? r ' c j ^

51

'"f ?-

67

APPENDIX D

YOUNG FRANKENSTEIN

PARTS

68

Theme from Young Frankenstein Written by John Morris


Trombone in C

Trombone in C

?" i,S> e J

^ ^

m^^

i

^m ^m p \r/z

p^ "â c.

^

6

6

*y.,1. L. . .—4^ 1 ^ !» 1," r — * - ^ > ^ —

-•"ir rnr^-~^»—i—

pr r r VI

^ ^ — - ^ ^ — '

if] r-r r 1

"• " * h *

I-' f T

•>- - » i

S S m S S

Pr rr r 1 I W i . 1

J • 1'' [ 1

''H''i> ''[jTT ^

^ ^^''l,|' Y f

^ # ^ ^ i:

^

m^

l__ia p

t f T f ^ r ,

f«n'

t>:i !>,_[> t r r r ^ p - ^ ^^^ m-

m ^ BfefE DJ r r r P s s s

21

^ ^ ^

•'H"l> J - j r

^^y

^ ^

^^

.z :z :_ M. î=u m

^

69

26

" ^ g ft—*—1—^—=*<—îiji

'>»i|ii i iY'r^r r 1

r r — r f f r & \ —1 imJ—l«J

*•• f*- - f • •

i^^^M^

^ r r 1 r • 1

30

[ l i i . ' i vPCJLr r ^ f f r r f p—'

;i!rr r r

h'ru ^^11

nr^r r

- * — , 1 a 1

• y - - .

IP.AT r r EJ s i -«—

39

gatf *U P~F Lf r j r~r i

70

APPENDIX E

PERFORMANCE PROGRAM

71

Thesis Creative Project Performance of

William Hendrix

Theme from Wonder Woman N Gimbel and C. Fox


The Critter William Hendrix

Theme from Young Frankenstein John Morris Arranged by William Hendrix

Theme from Laverne and Shirley N. Gimbel and C. Fox Arranged by William Hendrix

Trombone Drumset Jason Smith Brian Russell Danny Sanchez Carlos Lopez Christopher Carver Mr. Hendrix Russell Hulme Mike Mullinax

Mr. Hendrix is a Senior General Studies Major from Austin, Texas. This performance is just part of his creative project. All of the arrangements were transcribed by ear from various recordings and then arranged for trombone ensemble. Mr. Hendrix will graduate on December fourteenth at one o'clock in the afternoon.

Special thanks to: James Sudduth, Don Lucas, Danny Sanchez

Laverne and Shirley (Words to live by)

One, two, three, four, five, six, seven, eight, Schlemiel, Shiemosel, Possenfelp Incorporated. We're gonna doit.

Give us any chance, we'll take it. Read us any rule, we'll break it. We're gonna make our dreams come true.... Doin' it our way.

Nothings gonna turn us back now. Straight ahead and on the track now We're gonna make our dreams come true. .. Doin' it our way

There is nothing we won't try Never heard the word 'impossible'. This time there's no stopping us... We're gonna do it.

On your mark get set and go now Gotta dream and WE just know now We're gonna make that dream come true..

And we'll do it our way, yes our way Make all our dreams come true. And we'll do it our way. yes our way. Make all our dreams come true For me and you.

APPENDIX F

TAPE RECORDING OF PERFORMANCE

Creative Project Performance

of William Hendrix

Thursday, November 21, 1996

Wonder Woman N. Gimbel and C. Fox


The Critter William Hendrix

Young Frankenstein John Morris


Laverne and Shirley N. Gimbel and C. Fox


Tenor Trombones Bass Trombone

William Hendrix Jason Smith

Mike Mullinax

Carlos Lopez Drumset

Brian Russell Danny Sanchez

Russell Hulme

Christopher Carver

73

a

APPENDIX G

THE PLAYERS

William Hendrix is a senior General Studies Major from Austin, Texas.

Jason Smith is a senior Music Education major from Bedford

Texas.

Danny Sanchez is a senior Music Education major from

Lubbock, Texas.

Mike Mullinax is a junior Music Education major from

Killeen, Texas.

Carlos Lopez is a junior Music Education major from San

Antonio, Texas.

Brian Russell is a sophomore Music Education major from

Georgetown, Texas.

Russell Hulme is a freshman Music Education major from

Midland, Texas.

Christopher Carver is a freshman Music Performance major

from Lewisville.

74

Documents

A TROMBONE ENSEMBLE PROJECT