More Sequencing, More Sightreading-More Great Music from Dr. Campbell!

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“Sliver of Moon” for Solo Guitar, by David William Brubeck

The moon!

It fuels our imagination, illuminates our nights, and beckons us into space!

It pulls the tides and the heart, summoning the wind of both.

As the moon waxes and wanes, it seems that it is almost always the full moon that inspires song.

But what about the sliver of moon?

It could be the last gasp of a waning moon that dissolves into a darker night. The end of something beautiful. The final cry of hope and light. Endings.


It could be the optimistic bud of the waxing moon. The first dawn of light which promises so much more. Hope. Beginnings.

These are the slivers of moon I have written for. You might even think you have found one, and end up with the other. Longing. Unrequited. Requited. Real. Imagined. Ambiguous.

It is one of the most balanced and satisfying pieces I have written. It is both longing and hopeful, and written in a Romantic style with more traditional harmony and alluring rhythms.

If you have a friend who is an intermediate to early advanced guitar player, please feel free to share this with them.

I hope that it brings some joy..

All the best!

“Sliver of Moon” for solo guitar, page 1of 2. c. 1996 David William Brubeck All Rights Reserved
Sliver of Moon-page 2 of 2, for Solo Guitar. c. 1996 David William Brubeck All Rights Reserved

C. 2021 David William Brubeck ALL RIGHTS RESERVED

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Piazzolla’s “OBLIVION” PIANO TRIO FOR THE BAND WORLD! Presented by trOmBOnE-Duo Winds

Dear friends and colleagues,

This REALLY works! Astor Piazolla’s “Oblivion” for piano trio with Oboe, Bass Trombone & Piano. This is take two, from a rehearsal. Please share this with all the BAND, WOODWIND & BRASS players you are able.

Other friends and colleagues have enjoyed success with different combinations of woodwind, brass and piano. Find some friends you love to make music with and try out a combination!

This recording of “Oblivion” features oboist Dr. Erin Gittelsohn, pianist Bronwen Rutter, and bass trombonist Dr. David Brubeck.

This is dedicated to my dear, sweet and loving dad, James Brubeck. He is my hero and was my biggest fan.

Piano trio is a traditional chamber music group which features arguably the three greatest solo instruments in classical music: Piano, Violin & ‘cello. From the perspective of a quartet/quintet player it can seem a bit more exposed. All three instruments are equal soloists and there is no where to hide.

Miami City Ballet

On the other hand, if one is accustomed to performing as a soloist with or without piano accompaniment, then the trio is beautiful collaboration with great opportunities for musical interactions and appreciation of other players. From the soloist to the trio, you retain your solo status and gain more musical possibilities and camaraderie.

Bronwen Rutter, Piano Rutter-Brubeck Duo

c. 2021 David William Brubeck All Rights Reserved

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World Premiere of “Ascenscione Mariae”, for Live Processed Bass Trombone and Video Overlay by Composer Dr. Liza Seigido and Bass Trombonist, Dr. David Brubeck

Liza Seigido Pic

Music in Miami’s Winter Solstice Concert (Trinity Cathedral, Miami-Sunday 15 December 2013 at 6:00 pm), hosted the world premiere of Ascensionis Mariae (The Ascension of Mary), a two-movement sacred work for live processed bass trombone and video overlay. The work, showcasing the bass trombone’s expressive power and reverent melodious tone, was written for Dr. David Brubeck, a Miami-based virtuoso bass trombonist. The bass trombone, which is the only sound source in Ascensionis, is sampled and processed in real-time by Max/MSP applications designed to turn the sounds of a solo performer into a diverse assemblage of sonorities. The first movement, entitled “Lamento Pro Maria,” is a guided improvisation that draws inspiration from vocal traditions of the Near East and plainchant. The second movement, an ascending crab canon, was inspired by medieval polyphony.

The video overlay was constructed from two images, which were composited together to evoke the expressive, yet reverent, characters of both movements. The first image was a vintage photograph of a statuette of the Virgin Marry from La Capilla de Belen (The Chapel of Bethlehem) in Marianao, Cuba. The second image was that of a living tree and a drying fallen tree. The composite of the fallen tree and of the statuette, mirroring the lamenting character of the music, will be projected over the performer in the first movement. The composite of the living tree and the statuette, mirroring the triumphant character of the music, will be projected over the performer in the second movement.


Dr. Liza Seigido is a Miami-based composer, performer, music-educator, and founding director of “Kendall Sound Art”—a monthly new music concert series hosted in West Kendall Regional Library. Liza is an alumna of New World School of the Arts, Florida International University and the University of Miami. She is a founding member of “Fridamusiq”—a Miami-based avant-garde improvisational ensemble, and is currently teaching at Miami Dade College and the Superior Academy of Music. Her music has been performed across the United States and in Prague, Czech Republic.

c. 2013 Liza Seigido

Images appear courtesy of Liza Seigido

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Thomas Sleeper Bass Trombone Concerto No. 2 World Premiere

Thomas Sleeper Bass Trombone Concerto No. 2, World Premiere, David Brubeck

“The work is intensely visceral”, comments Brubeck, “and features shifting rhythmic accents and syncopation amidst a confluence of polyrhythms and soaring lyricism.” The three movement work is Sleeper’s second concerto for his native instrument-the bass trombone, and taken along with his first concerto for bass trombone and the transcription of “Six Arias”, establishes Sleeper as one of the most significant composers for the solo bass trombone accompanied by orchestra.

The piece is dedicated to bass trombonist David Brubeck, The FAUSO and conductor Dr. Laura Joella. “Sleeper is a major composer who also happens to play the bass trombone, so it is no surprise that the work is riveting”, comments Brubeck. The trio have collaborated before, as Sleeper provided a world premiere transcription of “Six Arias for Bass Trombone” for FAUSO, Joella and Brubeck. This latest project is even more ambitious, as the composer set out with the conductor, the ensemble and the soloist in mind at the inception.

Set in three movements, I. Allegro-Lento-Allegro II. Adagio III. Allegro-Adagio Moroso Subito-Allegro, the work is unified by completeness and contrast. Each of the outer movements stands alone, and the second movement is at once understated and yet profoundly satisfying.

“Hauntingly Mysterious”, “Richly Lyrical”, “Soaring Melodies” – all phrases used to describe the music of Thomas M. Sleeper. His output includes 13 operas, fourteen concerti, five symphonies, four orchestral song cycles, works for chorus with orchestra, band, wind ensembles, three string quartets, numerous other vocal and instrumental chamber works and music for film. Sleeper has developed a unique compositional voice whose vocabulary is clearly from, but not limited to, this century***

***adapted from

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Funk for Fred…


Fred who? If you have to ask, then you might not be a fan of Funk, certainly not of Funk Trombone. One of the greatest trombonists of the 20th century is Fred Wesley-music director and trombonist for James Brown, Solo Artist and Funk Trombone Pioneer.. …Fred made the trombone not only relevant in Funk, but ESSENTIAL!

Here’s our tribute from Duo Brubeck. It may sound a little brighter than usual-playing my small bass bone here, an original Williams 10 that was given to me by my friend Fred Carter. Fred was a trombonist from Oklahoma who was perhaps the only human being to have been a regular member of BOTH Duke Ellington’s Band and Stan Kenton’s Orchestra-now THAT is versatility!

Thanks to my friend and excellent musician Bobby Keating for inviting us to his school.

c. 2021 David William Brubeck All Rights Reserved

Photo courtesy of the Irish Times IrishTimes.Com

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Duo Brass, Featuring Marc Reese, Perform J. S. Bach “Goldberg Variations”

Duo Brass Featuring Marc Rees, Trumpet & David Brubeck, Bass Trombone

What pleasure to have friends as talented as the incredible Marc Reese! Marc elevates any musical situation with his talent, generous humanity and wry humor. This recording was taken from our rehearsal.

I first became aware of the potential of a classical duo without piano when I heard a violin & cello duo. The sound was full and satisfying, and perfect for the room!

I searched for duos and found few for a treble/bass combination. With the help of trumpeter Brian Neal, we were able to assemble 10 concert-proven duos that are adaptable to almost any single treble clef woodwind, string or brass in conjunction with a bass clef instrument. Someone is running late? These are gig savers!

Thanks to Gordon Cherry of Cherry Classics for publishing these duos, and to Dr. Steve Quinzi for processing my humble files.

c. 2021 David William Brubeck All Rights Reserved

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trOmBOnE! Duo Winds adds Piano!

      1. DUO-Winds-Marcello-1st_02

Taken from a rehearsal, this is a sample of things to come from our WIND version of a piano trio. Oboe and bass trombone are excellent complimentary sounds, which still allow the piano to be heard. Presented as an inspiration for young bass trombone players to try NEW IDEAS and explore making music in small ensembles with their friends who play instruments-even other than trombone.

Dr. Erin Gittelssohn on Oboe is Joined by trOmBOnE-Duo Winds partner Dr. David Brubeck on bass trombone and master accompanist Bronwen Rutter on piano. Thanks to Dr. Steve Quinzi for his technical expertise!

c. 2021 David W Brubeck All Rights Reserved

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The Jazz Bass Trombone Presents: Billie Holiday’s “God Bless the Child” Live! Bass Trombone, Piano & Drumset

Thanks to my good friends Darlene Jones on piano and Doug Friend on drumset.

Billie Holiday is considered to be one of the greatest jazz singers of all time, with a voice that could be as penetrating as Louis Armstrong’s trumpet and as sweet as Lester Young’s tenor.

Billie’s rhythmic acumen was second to none, and I am always impressed by her weaving of of the polyrhythms of jazz with the rhythms of words.

This was performed live at Christ Church, Fort Lauderdale at the behest of their music director Chuck Stanley, and for the many friends in their excellent choir and congregation.

Billie Holiday is one of my greatest musical inspirations, and my main bass trombone is name Billie in her honor and in honor of NBA G.O.A.T., Bill Russell. Enjoy….

c. 2021 David William Brubeck All Rights reserved

Photo Courtesy of the

Transcription courtesy of Darlene Jones

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Campbell Scherzo…..

Three four is infectious. It can make you sway, or want to dance. It seems so hospitable-al other rhythms are welcome within! Dr. Campbell’s Scherzo reminds of a scoop of Neapolitan ice cream. Instead of Chocolate strawberry and vanilla I am feeling rhythms in 1, 2 and 3.. You found six? Ok, maybe spumoni! Enjoy!

Dr. Charles Campbell was a composer, trombonist and educator.

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Feel Like Dancing? You Are In Luck…..

Dr. Charles Campbell was famous for one of his highest compliments to students-“You got me dancing!” Like all great musicians, he understood that rhythm is essential.

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The Craftsmen’s Bench… John Duda, Master Craftsman and former david Sponsor, Has Passed…

John Noxon Part 1

It is with great sadness I pass this news on to you guys. I think you were all aware of John’s talent when it came to horn making. He was one of maybe 6 or 7 people who could make a horn from start to finish. Knew all of the processes involved and was truly a master horn builder. He is the one that built the 6/4 Tuba that Kanstul sold. He was Calicchio trumpets, and Williams trombones. He grew up in this business, working with his dad Lou Duda who built the Burbank Benge trumpets for many years.

John was one of my closest and best friends over the last 40 years. He has passed this weekend. He has been somewhat ill for the last year. He was going to undergo surgery on the 29th of this month for a leaking aortic valve. He just could not wait that long……

As things develop I will add more to this.

John Noxon Part 2

John was a friend for many years. I think we first met when I was about 16 hanging around Earl Williams shop. His dad, Lou Duda, was the foreman for Eldon Benge in Burbank Ca. Eldon and Zig Kanstul used to come to the shop to have Earl or Bob draw tubing for them occasionally. John was 3 years younger than I was. We last contact for a while. 

Then caught up when he worked for Kanstul for a while. John hurt his back and quit making horns and moved to Tulsa to become a pilot! Big career change for sure! He met a fellow who talked him into making horns again. 

They bought Calicchio from Irma and Chris here in LA. This was about 2 years after Calicchio had purchased Earl Williams trombones from Jay Armstrong in Donelson TN. Irma and Chris had talked to me about the Williams horns when all of the tooling and parts were in LA.  When John and his partner bough Calicchio, Williams came along with it. 

John called me and I used my original horns to sort out parts and pieces. So we were in contact again, after a couple of years. We figured out the parts etc to make great horns again. From that time forward he has probably made about 100 Williams trombones. He left Tulsa and went to Canby Oregon and was in the Marcinkowicz shop for a few years then moved back to Tulsa. In 2009 my wife and I took a trip to the east coast so we stopped to see John in Tulsa. About 2007 a good friend had a Minick tenor bone with no bell’ He always liked the sound of the Copper and Coprion Conn Trombones. So he had a Copper bell put on that Minick upper section. I also love the sound and responsiveness of the copper bell so I asked John to make me one. I bugged him for 2 years to do this. He reply was “Yah I’ll get to it but never found the time. Finally we were in Oklahoma City. I called John in Tulsa and told him I was coming in about 4 hours to pick up my Copper Bell! I also said I have a Williams 4 upper with no bell with me. So we got to Tulsa a few hours later and the bell was still warm from spinning it.There was 3 destroyed bell blanks on the floor. They had collapsed during spinning them, We shot the breeze for a while and he soldered in on the upper I had brought with us.He was never able to make another Copper bell as thin as mine is. The always collapsed while spinning.

He had a stray dog show up at the shop about 6 months before this. Her name was Ruby! She had be shot through the shoulders with and arrow. She made to to the shop and John got her fixed up and healthy again! She was a really delightful pup! She was a Rhodesian Ridge Back breed. Kind of redish in color. The copper bell was kind of red so my wife named the horn Ruby also.

That horn has such a clear mellow sound  and slots like you wouldn’t believe. It is a horn that anyone who plays it wants it. This horn makes me a better player than I really am! I was about ready to give up playing for a the 2nd time, but this horn still keeps me engaged and wanting to play. I had a repair business for over 20 years and I alway was gonna have John teach me to spin bells. I never got around to doing that and I really regret not doing that.

John and I stayed in touch after Tulsa.After  he went to Canby OR we always stopped to him on our trips north. We went to OR, WA, ID Montana and always caught up in the shop over over dinner someplace. Then he went back to Tulsa are to be around his daughter, Tammy and grandkids. We were gonna stop and see him next summer on our next road trip……..

I will miss his knowledge, wisdom about brass instruments. He could tweak a horn lie no one else! I will miss his friendship, and always positive attitude about life in general. As we both got older we started having health issues at about the same time. He always told me I would be ok with this kidney failure situation. I told him he would be ok too. He always “I know I will be, just another bump in the road”! I just talked to him last Thursday or Friday. He was looking forward to getting this valve replacement on the 29th so he could be more active again.

If per chance Gabriel needs trumpets, he knows where to find John now………..

John Noxon

From Massimo Pirone

This is really bad news. He held up the name of the famous Williams horns and his manufacturing was impeccable..A big loss for the world of brass…

R. I. P.

From James GLicking

Terrible news, John.  The very least of it is the loss to all of us, the world, of an absolute master of the craft.  I marveled at the quality of his work, and he had to be suffering during the time he generously shared his time to work on a Williams 6 for me.  So impressive, he agreed to make one from scratch.  Beautiful work.  We were talking about his building a Williams 9 for me; he said it might be the last one he would make (but not so far as he knew, I don’t believe, because of health reasons).     

From David Brubeck

Thanks for letting us know, John.
What terrible loss.  
Please express all of our condolences and deepest sympathy to his family.
John represented excellence AND kindness.   His knowledge was IMMENSE.
John Duda changed my life forever, and has allowed me to better express myself and share my music with people.

What an honor to work with him.  He was an incredible sponsor, and I really could not consider another-I’d have to stop playing the horns he helped me put together-IMPOSSIBLE!

I really relished bringing some additional attention to him and his excellence at my presentation for the 40th International Trumpet Guild Conference in Columbus, Ohio.  Despite the all-star cast of trumpet players I performed with, and the duets we presented-most of the questions I received were about John.  He was so vastly esteemed in the trumpet community, and so many were excited to again see his name.  

John Duda was one of a very few Americans who was universally respected by all of the European brass manufacturers with whom I came into contact.  And again, when I attended NAMM for the Plastic trombones, somehow John’s name kept coming up.  Whether at the Meinlschmidt booth or elsewhere, John was a LEGEND.

From Steve Stanford

I ran into John over a Williams 6 that we both wanted to purchase.   The horn was built special for a fine trombonist who had just lost his 2B in a car wreck.  John was a wealth of info on anything Williams and very helpful in understanding what my little Williams 6 was all about.  He made numerous offers so we settled on if I die first he gets to buy it.  RIP ole buddy

From Chris Amemiya

So sorry to hear about this John. I knew he was not well. Such a character the few times I met with him in Oregon. The Williams 6 he made for me is still my go-to horn. So sad.

From Stuart Merritt

Sorry to hear this. John was good to me. Love the bell he built on a horn I have. My best to his family and loved ones.

From John Hinchey

I had heard from Mike Corrigan. This is really sad news. John was an amazing craftsman. I am fortunate to have played a custom Williams 6 he made for me over the past 15 years, it’s fabulous horn. In addition, I am so sorry for the loss of your friend, that is always hard.
Best regards,

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