Review

Vladislav Blazhevich
Three Studies: from Clef Studies for Trombone

Arranged by Karl Lyden

Quartet: 3 tenor, 1 bass trombone

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2020
URL: http://www.cherryclassics.com

Score and parts.

Primary Genre: Trombone Ensembles - 4 trombones

Many trombonists have worked their way through the Blazhevich Clef Studies. Besides the challenge of the studies, they contain many wonderful musical moments. Inspired by these original etudes, Karl Lyden chose three to set as works for trombone quartet.

Fortunately, Lyden hasn’t taken the easy path with these settings. One might expect the simple placing of the melody in the top voice with some kind of accompaniment in the other parts. His approach has been far more creative, creating textures that build on the original etudes and sometimes put a whole new spin on them.

For No.56, playing time 4:30, the G minor etude which also appears early in the Voxman Selected Studies, he sets up a nice rhythmic multi-voice texture before presenting the melody, which at least at the outset, is largely a restatement of the etude. The top part is in tenor clef and ranges up to b-flat¹ following the range of the etude. Eventually the second part gets a crack at the tune. Lyden sends the piece into an interesting mixed meter section led by the fourth part, ending peacefully on a G minor chord with the bass voice ranging down to GG. There is enough independence of parts that four rhythmically proficient players are needed.

The next piece, playing time 2:00, based on etude No.54, is in the related key of B-flat major. Here the rhythmic complexity of the interlocking parts is greater. Any quartet planning to play this piece will need to spend some careful preparation time to figure out how everything fits together. I suggest that first rehearsals involve everyone reading from the score to save time. Lyden does include some cues in the individual parts. The melody is mostly placed in the upper two voices but the third trombonist will have to spend time shedding an awkward low passage near the end. One of the notable challenges of this movement are the 16th syncopations often creating 16th note “hocket” effects between the parts. Everyone will have to play with great rhythmic precision to pull this off.

The final piece, playing time 2:30, based on etude No.64, is marked “Allegro with funk” and has the subtitle “Five Etude.” Whereas the original is in 5/8 meter, this version changes meters frequently. There are many measures that can be divided in different ways, eg. an 8/8 bar marked 3+2+3, and Lyden has wisely marked all the parts with the subdivisions, a real time-saver for rehearsals that should be universally adopted! The changing subdivisions at this tempo will also take careful rehearsal time. The bass part has more solo interest here. The upper parts are frequently homo-rhythmic, laying down nice patterns with articulations clearly marked.

The music I reviewed was in pdf format. Score and parts are clearly marked. If you are looking to add to your quartet library, this is a strong contender, especially for those working through the Blazhevich Clef Studies.