Separatists and Puritans

Puritans and Separatists are distinct.  Described as “a theology of regeneration”, (Woodridge and James, 2020, 281.),  both English Puritans and American Separatists rejected the vestments, formalities and prayers of the Church of England which many considered to be “too Catholic”, “Puritans were English Calvinists who sought to reform, or purify, the Church of England. Separatists were English Calvinists who sought to separate from the Church of England, which they felt was beyond reform.”   This is a significant distinction; the distinction of someone who wants to enforce their views on others, as opposed to those who simply want to be without outside influence on their worship.

Whether through advisors close to the King or via the Lord Protector Cromwell, Puritans wielded real power, committed genocide, and sought to ban through legislation everything from theatre-going to pies.  Hardly sporting. Beyond the negative was a bold positive: according to Bruce, Marilynne Robinson attributes the first examples of religious tolerance to the Puritans, “It is in the Puritan period that we get the first stirrings of this idea of religious toleration.” (Bruce 2021.)  This observation is buttressed by the significant contributions of Puritan thought leaders, “So, Owen preaches sermons on religious toleration, Milton (who wrote “Paradise Lost”), wrote one of the first treatises on religious toleration in the English language.”  (Bruce 2021).  “Puritans were spread throughout many denominations.”    (Bruce, 2021).  

Separatists were not comprised of the religious variety of the Puritans, and did not wield their political power.  They sought personal change that was internal, rather than to change others.  The initial Separatists only settled on land abandoned by Native American tribes, and the one reported instance of one of their number committing theft to the Native Americans, grave robbery, was later recompensed.  The initial separatists met their neighbors with alliances, good relations and not, as a rule, warring genocide like the Puritans.  After generations, this golden era of accord would diminish due largely to succeeding waves of Puritan immigration as well as some their own offspring..  

When faced with the realization that nearly half of their number that did not hold their beliefs, Separatists wrote the most significant agreement in English law to that point: The Mayflower Compact.  Within this accord, the Separatists struck a bold agreement for self government for all.   Bruce observes about the Separatists, without distinguishing them from the Puritans, “That is a very American ideal.  We have this idea that everybody has the obligation to worship God according to their own conscience.  Well, that goes back to the Puritans, to a very great extent.” (Bruce, 2021). The Separatist dabbling in communism was a failure and they faced constant health challenges and death. Despite these challenges, it was their inclusion of their non-believing shipmates that made separatists those who truly embodied what Bruce believed to be the correct conclusions of Calvin and Augustine, “Always have a mix”.  (Bruce, 2021.)

While Puritans sought perfection in society via the means of political power, Separatists abandoned England for the Netherlands and then North America to build a new society that was better, but not perfect, and based on personal reflection rather than the force of political prowess.  They were willing to brave the unknown wilderness and surrender all for their devotion to Christ.  Separatists and their shipmates alone served as the spiritual and legal foundation for their New Israel, The United States.  Following waves of Puritans took fewer risks and furthered the ideas of tolerance in bringing the precepts of purity and Calvinism to what they considered the New World.  As the Separatists faded into the overwhelming numbers of Puritans, they may have echoed Peter, in Matthew 19:27 “We have left everything to follow you! What then will there be for us?”, as they founded the great Christian civilization to come.

(REFERENCE LIST ENTRIES IN ALPHABETICAL ORDER)

AUDIOVISUAL CONTENT

Bruce, Josh. 2021.  “Reformation to Modern.” CH504 Lesson 21.  Updated October 4, 2021.  Lecture video, 

6:00”.  https://learn.knoxseminary.edu/mod/page/view.php?id=65977&forceview=1

Bruce, Josh. 2021.  “Reformation to Modern.” CH504 Lesson 23.  Updated October 4, 2021.  Lecture video, 

1:10, 1:44 and 3:44”.  https://learn.knoxseminary.edu/mod/page/view.php?id=65977&forceview=1

Burns, Rick.  2015.  “The Pilgrims (American Experience).”  DVD

Newcombe, Jerry.  2020. “The Foundation of American Liberty Series: The Pilgrims.”  DVD

www.youtube.com/watch?v=-b2Rz3QJBJw

BOOKS

Woodbridge, John D., and James III, Frank A..  2013. 

Church History Volume Two: From Pre-reformation to Present Day

ZONDERVAN ACADEMIC.

WEBSITE CONTENT

Bible Gateway.com.  “The Holy Bible”. 

Matthew 19:27

Accessed 3 August 2025

https://www.biblegateway.com/passage/?search=Romans%203%3A3-8&version=NIV

WorldHistory.org.  “Pilgrims, Puritans and Separatists”.  

Accessed 4 August 2025.

https://www.worldhistory.org/video/2223/pilgrims-puritans-and-separatists-calvinist-settle

c. 2025 David William Brubeck-Descendant of George Soule. ALL RIGHTS RESERVED.

COPYRIGHT NOTICE/DISCLAIMER

 FAIR USE:

COPYRIGHT DISCLAIMER UNDER SECTION 107 OF THE COPYRIGHT ACT 1976,
 ALLOWANCE IS MADE FOR “FAIR USE” FOR PURPOSES SUCH AS CRITICISM, COMMENT, NEWS REPORTING, TEACHING, SCHOLARSHIP AND RESEARCH.
FAIR USE IS PERMITTED BY COPYRIGHT STATUTE THAT MIGHT OTHERWISE BE INFRINGING.  NON-PROFIT, EDUCATIONAL OR PERSONAL USE TIPS THE BALANCE IN FAIVOR OF FAIR USE

It IS a quandry!

Mary sang. Moses sang. According to Zephaniah 3:17 God Himself is a musician, specifically a singer!

Many, if not nearly all, Orthodox Christian Churches prefer vocal music almost to exclusion.

For the instrumentalist, this chills the soul! Perhaps a vocalist who finds out that no music is allowed in the worship ceremony of a typical Muslim mosque might feel just a twinge of what is faced by an Orthodox Christian instrumentalist who wants to praise Jesus with their musical gifts.

It irrefutable that the human voice most often carries with it an incredible attribute shared by no instrumentalist. Words. When these words are from the Bible and especially when they Praise God, the supremacy of the voice seems distinct and compelling

The video of a young bishop from the church of the Patriarchs makes a compelling argument: “the voice is the only instrument made by God”. The Christian believes that they bear the image of God and are His creation. That God has created each human voice.

And yet, as the soul crushing sound of the door of the great orthofox basilica seems to close with a resounding thud of rejection, a simple knock on that resolute edifice taps lightly in the form of a question: WHO DO THEY THINK MADE GABRIEL’S TROMBONE?

And so we see that Basilica San Marco, of La Serenissima the blessed, the trombones and cornetti, the viols and the organ all cry out to God to praise and worship him. If the very rocks could be compelled to worship the Lord, why not these blessed instruments of angels and men?

Magnifica Sexta Toni , a verseti

Latin-Dictionary.netDefinitions:

1. noble/eminent
2. proud/boastful
3. splendid/excellent/sumptuous/magnificent/stately

BUT, WAS VENICE EVEN CHRISTIAN IN ‘the FIRST PLACE?

As Althea Weil writes in her brilliant book, “A History of Venice”:

“In the year 569 Italy was again overrun: this time by the wildest horde that Germany had yet sent forth, in the shape of the Longobardi or Lombards under their king, Alboin.”

“Again were those dwellers in the mainland , who had dreamed of safety in their inland homes, forced to seek the shelter patronised of old by their neighbors, and repair to the lagunes. It was chiefly from the town of Altium (Altino) that the refugees now poured forth…”

“”The Story runs that: “When Alboin was bearing down on the land and terror was in every heart the inhabitants determined to seek Divine assistance, and with tears implored for guidance from above. A sign was granted to them in that they saw birds and pigeons suddenly flying from the wells, and leave their nests, carrying in their beaks their young….This was accepted by them that they too should seek safety in flight. They decided to do so and divided into three compagnies, one going towards Istria, another to Ravenna, while the third remained in perplexity as to their destination.

After prayer and fasting, they were given a message of lights, which they followed to the once and future Rialto, La Serenissima, Venice!

The future empire began as a satellite of Constantinople, her Los Angeles (in American terms), and was Orthodox Christian as testified by the Basilica san Marco in the Eleventh Century.

While the French, Roman Catholic influence of “The Notre Dame School” of vocal music is widely acknowledged in the superb music and innovation of such composers as Leonin, Perotin and Machaut:

The Venetian School rightly includes: Adrian Wilaert, Andrea Gabrieli, Giovanni Gabrieli, Saint Henrich Schutz, Claudio Monteverdi and perhaps even partially Antonio Vivaldi. (It is difficult to believe that he never performed there with his father, nor derive great influence from his exposure to the greatest orchestra of his time.)

The stunning instrumental accomplishments of the Orthodox Church included the first proto-Opera (Andrea Gabrieli, 1585), The invention of dynamics (Giovanni Gabrieli 1597), antiphony or “surround sound”, orchestration-and thus THE INVENTION OF THE ORCHESTRA (Giovanni Gabrieli). While the first complete opera was composed by Monteverde in Mantua, his tenure for more than thirty years at San Marco saw the first public opera house (In Venice), produce his three later masterpieces and re-stage his earlier works. The first opera in German was not composed by the beloved Mozart but by Saint Heinrich Schutz, a student at and for a period of time Co-Music Director of San Marco’s Basilica with Monteverdi. The two great men and musicians worked alongside one another as Catholic and Protestant during the Counter-Reformation under the shelter of the Orthodox Christian Church.

When taken alongside the fact that the pipe organ using air, and not water, was invented in Orthodox Christian Constantinople and later introduced into Roman Catholic Western Europe, it becomes clear that the musical contributions of the Orthodox Christian Church rival those of the Roman Catholic Church in the Antiquity before the ostensible fall of the Roman Empire/ Constantinople in 1453 AD and into the Renaissance and Baroque.

By merit, Orthodox Christian Venice may stand first among the greatest musical cities on Earth: Vienna, Paris, New Orleans and Rio de Janeiro to name but a few.

Since Antonio Vivaldi’s father enjoyed a lifetime appointment at St. Mark’s, one is tempted to add partial credit for the invention and perfection of THE CONCERTO as well as the DEVELOPMENT OF REFERENTIAL MUSIC (as in Vivaldi’s “Four Seasons”), to the list of Orthodox Christian accomplishments. It is almost impossible to imagine that the young Vivldi did not perform there alongside his father at times, nor listen to the greatest orchestra in the world as they rehearsed and performed for worship.

Terra pax hominibus, (Peace on Earth).

Ecce facedor magnus (Behold, a great fool!) Vincent Campbell 1595?

Feast of Fools

Canzona Francesca a’ 4 dal’ Octavo, detla la Sirifinia

“CVD 274 Mass- p43-50 approx”.

“Venice, constantly proud of its past and its originality, did everything possible to stand apart from Rome; it intended to preserve its academic traditions and a ducal ceremonial which was quite distinct from the progress to uniformity undertaken by the Catholic Counter-Reformation throughout Italy. St. Mark’s , as the symbol of the hegemony of the Republic over the Church was therefore under the perpetual control of the Senate:”, writes Patrick Barbier in Vivaldi’s Venice.

May we also add home of the brass duo?

REFERENCE of ALL DUOS FOUND, VENETIAN, FOR BRASS

Page Listings, from Original Transcripts

ONE I II: Ecce facedor magnus, p. 1-2 (Oh what a great fool)

TWO I II: Factum est silentium, p. 3-5 (There was silence.)

THREE Ego flos campi, p. 5-6 (2 More…-Second Collection) (I am a flower of the field.)

FOUR Salve Regina, p. 7-8 (Third Collection-“3 More..”)

FIVE Angelus ad pastores, p. 9-10 (Third Collection-“3 More..”)

SIX Omnes gentes, p. 11-12 (2 More…-Second Collection) (All nations)

SEVEN Paratum cor meum, p. 13-14 (First Collection-“Did We Miss Something?”) (My heart is ready).

EIGHT Verbum caro factum est pages 14, 15a 15b 16 (The Word became flesh.)

NINE V: Magnificat Secundi Toni, p. 17-25

TEN Laudate Dominum, p. 26-29 (Third Collection-“3 More..”)

ELEVEN Canzon Francese a’ 8, detta la Carissima (said the dearest) , p. 30-33 (First Collection-“Did We Miss Something?”)

TWELVE Canzon Francese a’ 4, del Secondo Tuono, p. 34-36 (First Collection-“Did We Miss Something?”)

THIRTEEN Canzon Francese a’ 4 dal ‘Ottavo, detta la Sirifina, p. 37-39

FOURTEEN Magnificat Sexti Toni, a verseti , p. 40-42

FIFTEEN XII: MAss , Paratum cor meum (My heart is ready), Kyrie (Lord) Perino (I am tired.) p. 43-50

Intro p. 43 recording ok

SIXTEEN Kyrie Ultiima p. 43-44 recording (Lord’s Prayer)

SEVENTEEN Et in terra pax hominibus p. 44-45 ok stand alone. (trans. And Peace On Earth)

EIGHTEEN Qui tallis p.45-47 (Who are you?)

NNETEEN Credo p. 47-48 (I Believe)

TWENTY Adoramus te 48-49 (We adore you)

TWENTY-ONE Agnus Dei 49-50 John the Baptist, “Behold, the Lamb of God that taketh away the sins of the world.”

c. 2025 David William Brubeck. All Rights Reserved.

COPYRIGHT NOTICE/DISCLAIMER

 FAIR USE:

COPYRIGHT DISCLAIMER UNDER SECTION 107 OF THE COPYRIGHT ACT 1976,
 ALLOWANCE IS MADE FOR “FAIR USE” FOR PURPOSES SUCH AS CRITICISM, COMMENT, NEWS REPORTING, TEACHING, SCHOLARSHIP AND RESEARCH.
FAIR USE IS PERMITTED BY COPYRIGHT STATUTE THAT MIGHT OTHERWISE BE INFRINGING.  NON-PROFIT, EDUCATIONAL OR PERSONAL USE TIPS THE BALANCE IN FAIVOR OF FAIR USE

ACHILLES

It was never rage

When we first see him,
We see the the harp.

A heart trained by music–
There is no rage he cannot master.

The Greeks never beat foes with their spears alone.

It’s psyop,
He can’t be hurt by a weapon–
Then why the shield?
It’s the architects and the catapults,
Slowly tearing you down

It is the smoke of men’s praise.

When given a choice by Thetis
Of a long life of love and meaning
Or a famous death,
He chose death.

The dead Patroclus in his arms,
At last, the loss of love.

The unborn lives 
he has abandoned
laid upon his head

It was Odysseus who finally beats Troy.

---

by David William Brubeck, with thanks to S and especially R

c. 2025 David William Brubeck All Rights Reserved

New Jazz Brunch Menu!

New Repertoire inspired by the youthful Derek Sanguino, who is the same age Mr. Lippincott and I were when Duo Brubeck began! (And has studied with both Tom and Mitch!)

Formerly Filomena’s Coffee House ADDRESS: 19481 Sheridan St, Pembroke Pines, FL 33332

Duo Brubeck, “You Are My Sunshine”.

5-minute Lessons for Trombone???

GOOD NEWS! THEY’RE BACK!!!! AND THEY ARE REVOLUTIONARY!!!! (REALLY! SEE BELOW!)

Gordon Cherry has them HERE!

You can have them, too! Enjoy…..

REVOLUTIONARY, YOU SAY? YES!

Brubeck served as Chief Educational Officer for one of the two major plastic trombone companies for a number of years and developed his 5-Minute Lessons for Trombone and his 5-Minute Lessons for Trumpet to START FROM ZERO, and allow VERY YOUNG musicians to play these much lighter plastic instruments. While another line of plastic trombone pedagogy settled Alto Trombones, 5-Minute Lessons uses traditional Bb Tenor Trombones BUT RESTRICTS THE POSITION USE TO THE FIRST FOUR POSITIONS! These are the positions reachable by “short arms”.

THE LESSONS START ON THE IDEAL NOTE FOR EASE OF PLAYING AND PROPER EMBOUCHURE DEVELOPMENT.

Based on his studies and analysis of the works of Arnold Jacobs and Shinichi Suzuki, this book also draws upon Brubeck’s experience as a published composer and jazz musician. Rarely does an advanced musician concern themselves with beginner materials in such a thorough and fresh manner.

Tired of boring rhythms and “school music”? These methods were presented before the 40th International Trumpet Festival in Columbus, Ohio and contain original compositions with lyrics; compelling rhythms; buzzing, breathing and singing techniques associated with the Chicago School of brass-playing as well as embouchure formation associated with the East-Coast Schools. Brubeck has taught trombone for more than 40 years and conducted youth orchestras for more than 35. This method balances the best of classical pedagogy with fresh American rhythms and approaches. Enjoy!

26 POPPING-FRESH PAGES INCLUDE:

Prelude A: Breathing, Relaxing & Re-Relaxing With a Steady Tempo

Prelude B: Mouthpiece Placement, Embouchure Formation & Buzzing

Prelude C: Posture, Slide Motion, Articulation, Assembling & Holding the Instrument

Lessons Nos. 1-4: Simple melodies in the range of a Major Second, then a Minor Third and lastly a Major Third; Focusing on Positions 1-4

Songs for Short Arms I: Original Compositions To Play & With Words to Sing! Sliding and Gliding, Keep That Slide Smooth & Lips Have got to rest

Lesson No. 5: Melodies up to a Perfect Fourth, focusing on glissandos

Prelude D: Counting and clapping rhythms comprised of half-notes, quarter-notes and eighth-notes

Sight-reading for Short Arms: Four, Short Passages : Yellow, Blue, Red & Green, using mostly quarter-notes and half-notes in the range of a Major Second and a minor third. Intended to be sight-read in the lessons without prior preparation.

Lessons Nos. 6 & 7: Range increases to an Augmented Fourth with a focus on articulation exercises and the introduction of eighth notes to play.

Rhythms for Short Arms: Blues, Rock & Pop Rhythms in compelling melodic pitch sets for young people.

Songs for Short Arms II: Focuses on accents, longer melodies and pick up notes-(anacruses).

Lesson No. 8: Melodies with a emphasis on glissando, and with increased range to a minor sixth. This includes approaching higher notes through glissando and familiar music transposed to a new key.

Prelude E: Targets on warm-ups by using positions 1-4 on two partials with glissandos.

Prelude F: Basic clapping and counting in 6-8 meter in addition to more difficult counting and clapping in 4-4 meter with 16th notes.

Rhythms for Short Arms B: Melodies featuring shuffle rhythms in 6-8, and lightly swung rhythms in 4-4 with some repetitive syncopation.

Rhythms for Short Arms C: More advanced melodies featuring shuffle rhythms in 6-8, and lightly swung rhythms in 4-4 with syncopation as well as Blues songs.

Lesson No. 9: Natural slurs, rounds, more difficult melodies in 6-8 and 3-4. Range increases to a minor seventh.

Rhythms for Short Arms D: Pop-Rock ground bass variations, and a bass-line type melody.

Lesson No. 10: Popular melodies with a range up to a Perfect Octave. Active breathing exercises, articulation patterns and another warm-up table in three partials of 1-4 positions.

Scales for Short Arms: Three-Note, Four-Note, Five-Note and Eight-Note Scales in Major, minor, Major Pentatonic and minor Pentatonic.

c. 2025 David William Brubeck. All Rights Reserved

The Gig-Target: Part I Stereograms

(Are YOU hitting the center?)

My friend, a trumpet player, just laughed as we discussed my wedding gig on trombone. “You really do not have a clue, do you?”, I seem to remember him saying something to the effect of, “first comes the leader, in your case-the drummer, next he needs a singer and a keyboard player-if you are lucky, one that can play left-hand bass. Then he needs to hire trumpet, saxophone and probably guitar. IF you get called at all, you are going to be the seventh or eighth person called, at best!”

Wow! Was he right. In my mind I imagined a ‘gig-target’ and the concentric red and white alternating circles. The visual image of being the 12th or even the 16th call for a big band, or the 50th call for an orchestra seemed both daunting and dizzying, as now the target began to swirl and my head swim.

The same trumpet player, John, preferred brass quartet of two trumpets and two trombones to a quintet-easier to book (often at better pay), a more matched sound and all four players more likely experienced in jazz-which opened up the repertoire. His book had hundreds of quartets and included faculty from University of Miami and alumni of the Philadelphia and Metropolitan Opera Orchestras. I was at least fourth there, often second, but how to get closer?

The obvious thought was to be first was to be the leader. The best bass trombonist I knew who led a professional big band was Peter Graves. Peter is an excellent musician, fine bass trombonist and was a times the Music Director for Jaco Pastorius’ Word-Of-Mouth Big Band as well as The Atlantean Driftwood Band, Frank Sinatra’s Band when on tour in South Florida and other national acts. Through Peter, I had the privilege of playing for Stevie Wonder, The Four Tops and Steve Lawrence snd Eydie Gourmet.

“If I am not the worst musician on the band stand”, I remember Peter once told me, “I’m not doing my job!”

As a college jazz band director and youth orchestra director, I just was not searching for another director job, but to play my bass trombone. I wanted to #1 or #2 on the gig target.

Once college ends, if you do not choose to seek or win a regular position playing, you might need to create your own ensembles. Any college, school or church that will have you is a good place to start-try to find the best keyboardist possible and balance playing what you love with well-known masterpieces and pieces the keyboardist & audience will enjoy.

But what about being able to walk into a room, like a keyboardist or guitarist, and keep everyone’s attention all by yourself? How long could it be done on a bass trombone, Five minutes? Ten? HOW could you do it? A Bach Suite?

Inspired by Bach’s ‘cello suites, Bobby McFerrin and Duke Ellington, I set about to be able to walk into a room alone, and capture and hold the audience’s attention for 20 minutes. Maybe even a set! Two sets?

I came upon the idea for “Stereograms”, and developed my view that the bass trombone contained a jazz orchestra worth of sounds. Just as a visual stereo gram, or 3-D image contained two images within a single visual presentation, so I hoped that my aural “Stereograms” could weave two, three or even four parts within a single melodic line. Not with classical rhythms alone, but with modern and jazz-infused rhythms.

To date, 30 original Stereograms are published in two separate collections by the International Trombone Association Press. Other originals and more than a dozen arrangements or transcribed solos would follow, offered for free online at yeodoug.com, davidbrubeck.com and in the journals of the British “Trombonist”, as well as the international journals of the Double Reed Society, Trombone Association & Tuba & Euphonium Association.

Suddenly wonderful trombonists from around the globe began tecording them, including:

While all of these advanced Stereograms were NUMBERED, a clamor rose for some Stereograms that were easier. Next, Gordon Cherry with Cherry Classics published more than a dozen, easier, LETTERED Stereograms A-M. And now, several of the less advanced, lettered Stereograms N-Z are available free. Approaching Stereograms often introduces the concept of “voicing” to the young trombonist. This idea, which is common to pianists is all but almost unknown to many trombonists. In voicing, each of the separate voices implied within the single melodic line is imbued with its own characteristics of dynamics, articulation and character.

Please enjoy Stereogram V, dedicated to trombonist and Salsa Legend Barron W. rogenstein AKA Barry Rogers.

c. 2023 David Brubeck. All rights Reserved

ADDRESS: 19481 Sheridan St, Pembroke Pines, FL 33332

Jazz Legend Jonathan Kreisberg said our original Duo Brubeck featuring Tom Lippincot was a “MUST HEAR”! The group began in 1989 at a jazz brunch, not unlike this one! Come relive the very beginnings of Miami’s Own Duo Brubeck, now featuring Jazz Guitar Legend Neil Bacher. Since 1989-We built this city on JAZZ!

PS YOU ARE IN LUCK! The coffee is MUCH better now than in the 1980’s. FIND OUT-COME GET ROASTED! Just a little? Or maybe a Latte? All the coffees pair well with the smoothest jazz duo since Duke & Rabbit, Dave & Paul-(or just about anyone with Jim Hall).

Come and HEAR what we “Filo”-mean! BRAND NEW cafe with NEW and BEAUTIFUL interior. Comfy couches, too-IF you can beat us to them! Sweet vibe! Experience Jazz-Alive!

Tunes by Duke Ellington, Thelonious Monk, “TOM”-Antonio Carlos Jobim, Miles, George Gershwin, The Beatles, Bill Withers, Claire Fisher, Johnny Mercer, Stevie Wonder, Chick Corea, J. S. Bach, Frank Foster, and even the “Funky Soul of The Bass Trombone”–Dave Brubeck the Younger!

c. 2025 David WIlliam Brubeck All Rights Reserved

PROGRAM SUBJECT TO CHANGE

Our approach cannot be duplicated-this is a once-in-a lifetime sound!

Enjoy!

Miami’s Own– Duo Brubeck, featuring Neil Bacher, is slated to appear Friday evening 24 January 2025 at Studio 18 Art Complex, 1101 Poinciana Drive, Pembroke Pines, FL 33025 at 7:00 pm.

Experience 18 visual artists dedicated to sharing not only their art but their creative spaces with the public, patrons aa well as lovers of art and the creative process. Tour their exhibits and enclave while listening to live music!

The event is open to the public; attire is casual.

Duo Brubeck has performed at numerous venues and concert series throughout South Florida, and was featured in performance in Los Angeles, California at the 2017 Festival of the International Trombone Association, who touted the Duo in a ten-page feature in their Journal.

These two musicians have spent their lives crafting personal sounds that are individually identifiable and beautifully combine. Featuring arrangements and treatments of standards and originals, their approach is fresh, innovative and impossible to duplicate.

c. 2025 David William Brubeck

The Ten Italian Renaissance Duets Increasingly Point to Being Originally Written for Cornetto and Tenor Trombone.

These mysterious, mostly sacred duets from late Renaissance Venice seem more and more likely to have been written for brass, specifically the cornetto and tenor trombone. The ranges of the music seem to exclude any other likely instruments commonly employed at St. Mark’s Basilica, while fitting the cornetto and trombone like a glove. Historical records point to at least one of each instrument in the employ of the famous Basilica for over a hundred years. If this thesis is correct, these duets form the earliest and most significant collection of literature for mixed brass duo. The sight-reading of these recently rediscovered Venetian/Ten Italian Renaissance Duets were recorded by Duo Brass, featuring Morgen Low on trumpet and David Brubeck on bass trombone and were drawn from transcriptions recorded by Dr. Charles Campbell in Italy. No. 4. Salve Regina, from the Cherry Classics publication, venerates the Virgin Mary, Mother of Jesus the Christ.

FEATURED DUO BRASS RECORDING: 4. Salve Regina

FEATURED DUO BRASS RECORDING: 5. Angelus ad Pastores

An Inspiration of Angelus ad Pastores: taken from The New Testament of The Holy Bible Luke 2: 10-13 But the angel said to them, “Do not be afraid. I bring you good news that will cause great joy for all the people. ¹¹ Today in the town of David a Savior has been born to you; he is the Messiah, the Lord. ¹² This will be a sign to you: You will find a baby wrapped in cloths and lying in a manger.”from Bible Gateway

FEATURED DUO BRASS RECORDING: 10. Laudate Dominum

Psalm 117 (116) (An Inspiration for Laudate Dominum)

¹ Praise the Lord, all you nations;
    extol him, all you peoples.
² For great is his love toward us,
    and the faithfulness of the Lord endures forever.

Praise the Lord.^[a]

from biblegateway.com, this is the shortest of all the Psalms from The Bible.

Another Candidate for the First Symphony Orchestra to Rival The Gabrielis? Monteverdi himself conceived of his opera orchestra for Orfeo in three main sections : brass (2 cornetti, 5 trombones and 3-4 trumpets); strings(violins, violas, celli and double basses); and continuo (2 organs, 2 harpsichords and a reed organ for keyboards, 2-3 chitarrone, a double harp, 3 bass viola da gambas, 1 cittern and 2 recorders). While Monteverdi’s impressive Overture to Orfeo features the trumpet quite prominently, when the symphony of brass return to prominence in the Act III, it is two choirs without trumpets. The remaining brass are sounded in a manner every bit as expressive and interesting as the use of the string orchestra. Roughly organized in two choirs or sections, one section had one cornetto and three trombones while the other choir utilized one cornetto with two trombones. This use of cornetto and trombones is noted as further illustration of a relatively common pairing during this era, supporting the conclusion of the duets being written for the two instruments. Additionally, this use of the trombone in ACT III also makes it more clear that the trombone is at least as likely that the instrument of primary importance in the development of the symphony orchestra as the violin, satisfying a minimum of two-thirds up to three-fourths of the symphonic, non-continuo, sound. (116″ on..)

THROUGHOUT THE RENAISSANCE AND EARLY BAROQUE, CORNETTO & TROMBONE ARE PAIRED! This brass writing found in Monteverdi’s Orfeo is sophisticated, complex and virtuosic and not merely trumpeting bombast. The duo pairing of cornetto and trombone finds an echo in this opera orchestra of Monteverdi-one of the greatest opera composer’s of all time. By considering that these duos must satisfy a pairing common to the time, this further argues for the likelihood of these duos being intended for tenor trombone and cornetto. The ranges of the instruments now become doubly important as it is the TWO ranges taken together which fit such an important and historically extant musical pairing so well.

When Monteverdi left his post with the Duke of Mantua (who had commissioned Orfeo), he first travelled to Rome to offer his services to the Pope. When the Pope refused to meet with him, Monteverdi sought and obtained employment at Basilica San Marco in Venice-(La Serenissima). There, he was also lured to produce his operas at what may be considered the first PUBLIC opera house, Teatro San Cassiano. Monteverdi’s successors at Venice’s Teatro San Cassiano included many great composers, and most famously, Antonio Vivaldi!

Did Monteverdi compose the first relatively complete opera? It is almost certainly the earliest opera most commonly stage and still stands today. Did Claudio Monteverdi and Alessandro Striggio’s Orfeo first add dance (or ballet) to opera? Was Monteverdi’s Orfeo the first to provide opera a memorable overture of significance?

Venice’s Claim to the Originator of Opera to Rival Florence. Interestingly, in 1585 AD Venice, Andrea Gabrieli composed music to accompany the texts to the choruses of Sophocles’ Oedipus Rex.  These beautifully homophonic settings seem to predict the later ‘second practice’ of having but one melody-seemingly “leap frogging” decades of rival monody to arrive at a more modern outcome.  Similarly, given that the stated goal was to accurately recreate Ancient Greek Drama, the thesis of the Florentines and their Camerata was that these dramas were ENTIRELY sung. This has more recently given way to the Venetian thesis of Andrea Gabrieli that that it was more likely only the choruses.  

When added to the other operatic accomplishments of Venice: publishing the original treatise on Opera, opening the first public opera house in 1637 AD and welcoming and encouraging the operatic career of the greatest composer of early opera, Claudio Monteverdi, Venice’s contributions to early opera begin to rival that of even Florence herself. Monteverdi, from Cremona, was employed at the court in Mantua when Orfeo was composed, but composed his last three great operas in Venice, while mounting productions of previous operas there as well. Monteverdi was certainly opera’s principal popularizer if not her greatest pioneer, as well.

Andrea Gabrieli’s composition was four-years before Bardi & Cavalleri appeared to present the first successful performances of a multi-movement series of recitatives for a Medici wedding in 1589 AD and twelve-years before the first opera, Drama per Musica-(Dafne), was presented in 1597 AD (now lost). Gabrileli’s Oedipus Rex of 1585 was fully fifteen years before the first surviving opera, Euridice, in 1600 AD!

The 800-Pound Gorilla in the First Symphony Orchestra… If one is seeking the most music from a single instrument, keyboard instruments cannot be ignored.

Keyboards feature in early sacred and secular instrumental ensembles, as a staple of continuo in the Baroque and even a member of early classical symphonies. One of the favorite aspects for many musicians playing in a ballet orchestra is not only the great literature but the frequent inclusion of the piano within the symphony orchestra. From Broadway pit orchestras, to jazz trios to almost any form of accompaniment-keyboards are king! Monteverdi employed contrasting use of keyboards and harp in Orfeo to provide contrasting emotional color that reflected the textural content of the sung texts in an impressive manner. (Peri used similarly contrasting keyboards in Euridice.). Many symphonic compositions by both Andrea and Giovanni Gabrieli as well as their prize pupil, Heinrich Shutz, include keyboard.

In the history of the sacred an operatic symphony orchestra, a case could be made that the pipe organ and keyboard instruments are of central importance. In many sacred and operatic settings, one or two keyboard instruments may provide the fundamental sound of the ensemble and other instruments serve either as contrasting choirs or as soloistic colors. An organist alone, or especially an organist in conjunction with another keyboard instrumentalist such as a harpsichordist or pianist, may indeed provide a more complete basis of symphonic sound than even a trio of trombones or two sections of violins! Listeners to the operatic symphony orchestra of Monteverdi’s Orfeo may draw a similar conclusion.

The very first, initial symphonic pieces, where specific instruments were indicated, were direct descendants of keyboard pieces. The main limitation for consideration as the primary instrument at the genesis of the symphony orchestra, as opposed to the trombone and violin, is that keyboard is a consistent INTERFACE, but the instruments change wildly from harpsichord, organ, piano, clavichord, synthesizer, etc. As an interface, however, keyboard reigns supreme.

For a more scholarly discussion of opera, please consider this link to the papers presented at the University of Illinois on the 400th anniversary of the creation of opera in 2000 AD.: http://www.sscm-jscm.org/v9no1.html

Would you like to heat more Venetian Renaissance Brass Duos by DUO BRASS, featuring Morgen Low on Trumpet and David Brubeck, bass-trombone? This is the THIRD article featuring their recorded sight-reading session. The second recorded duos from this collection 6. Omnes gentes 3. Ego flos campi, may be found HERE:

2 More Venetian/Italian Renaissance Brass Duets

Find the FIRST three recordings, Canzona Francesca a’ 4 del Segundo Tuono , Canzona francese a 8 dette la Carissima & 7. Panatum cor meum, and accompanying article may be found HERE:

Did We Miss Something? No. 3. Renaissance Duets THESE REWRITE EARLY BRASS DUO HISTORY

c. 2025 David William Brubeck All Rights Reserved.

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COPYRIGHT DISCLAIMER UNDER SECTION 107 OF THE COPYRIGHT ACT 1976,
 ALLOWANCE IS MADE FOR “FAIR USE” FOR PURPOSES SUCH AS CRITICISM, COMMENT, NEWS REPORTING, TEACHING, SCHOLARSHIP AND RESEARCH.
FAIR USE IS PERMITTED BY COPYRIGHT STATUTE THAT MIGHT OTHERWISE BE INFRINGING.  NON-PROFIT, EDUCATIONAL OR PERSONAL USE TIPS THE BALANCE IN FAIVOR OF FAIR USE

Performance notes:

Grace notes after beat 3 are; m. 7 pedal ‘A’; m. 9 pedal ‘A’; and m. 11 pedal ‘Bb’.

[ ] in m. 12 designates an optional 8vbasso, with the low ‘F’ played instead as pedal ‘F’.

Straight (eighth-note), measures include 17, 19 & 21 as well as the first beat of 18, 20 & 22. The rest is Swing!

The Del segno to Fine section is measures 9-15.

The pedal note in m. 16 is a ‘Bb’, and may be played up an octave.

ENJOY!

PS: If you play single-valve Bass Trombone-you are especially welcome!

Below is a reprint of a related article included in the davidbrubeck.com series “The Jazz Bass Trombone”, No. 2

An Interview with Marc T. Bolin, by David William Brubeck
1. How would you describe the use of the bass trombone in Duke Ellington’s orchestra? (Jazz bass trombone being defined as having a .547 bore or larger with at least one valve).
Ellington didn’t begin to utilize a large-bore trombone until 1961 with the addition of Chuck Connors. Duke always used the three trombones prior to 1963 as unique and individual voices that would blend to create a particular sound-(the sound unique for each tune that matched the sound in his mind’s ear),…and that would be determined in part by who was playing which part as this would depend on each tune. I would describe Ellington’s trombone section up until then as trombone 1, 2, and 3…not, tenor 1, 2, and bass trombone. Dig? It wasn’t until the addition of Connors that Ellington would utilize a more stereotypical sound of two tenors and a bass section sound.

2. Why did Duke seem to favor three trombones? When did he switch to four?
Moon Mist recorded in Chicago late January 1957 (track 8) utilizes 6 trombones: Lawrence Brown (tracks 1-3 & 8-17), Buster Cooper (tracks 1-3 & 8-17), Quentin Jackson (track 8), Britt Woodman (track 8) – trombone, John Sanders – valve trombone (track 8), Chuck Connors – bass trombone (tracks 1-3 & 8-17)

Ellington was back to using three bones on the Symphomaniac (Symphonic or Bust) [recorded and released on the Reprise label in 1963] is certainly a huge sound. But, that’s Ellington. Ellington was able to get a sound out of three trombones that most jazz arrangers could only get using four.

Swinging Suites by Edward E. & Edward G. (also known as Peer Gynt Suite/Suite Thursday…or “Zweet Zurzday”) Ellington recorded for the Columbia label in 1960. Ellington made use of the four-trombone sound here, too. But, curiously he only used four on the Grieg stuff – Lawrence Brown, Mathew Gee, Booty Wood, and Britt Woodman – all tenors of course.

A Concert of Sacred Music Live from Grace Cathedral and on DVD as Love You Madly/A Concert of Sacred Music at Grace Cathedral. The official album on RCA, A Concert of Sacred Music, was recorded at two concerts at Fifth Avenue Presbyterian Church in New York on December 26, 1965.

The concert premiered on September 16, 1965. (First Sacred Concert); Lawrence Brown, Buster Cooper, Quentin Jackson, Britt Woodman – trombone, John Sanders – valve trombone, Chuck Connors – bass trombone.

January 19, 1968, Ellington’s Second Sacred Concert ; Lawrence Brown, Buster Cooper, Bennie Green – tenor trombone, Chuck Connors – bass trombone.

Third Sacred Concert, October 24, 1973, Ellington was back to writing for three trombones. Art Baron, Vince Prudente – trombone, Chuck Connors – bass trombone.

3. Which is the first trombone part you are aware of that goes below low ‘E’, and would require a trigger?
I believe Ellington’s first use of the bass trombone (as BASS trombone…below low ‘E’) to be on the album “Afro-Bossa” recorded and released for Reprise in 1963:
Low ‘D’ in “Moonbow”
Low ‘C’ in “Absinthe”
“Pyramid” has and interesting quasi-ostinato figure; Low ‘C’
Low ‘C’ Jam with Sam 1966 (Live (7/27/66-Cote D’Azur)
The Ella Fitzgerald & Duke Ellington Cote D’Azur Concerts On Verve
and he keeps getting lower…Low ‘B’ in “Afrique”, from The Afro-Eurasian Eclipse, recorded in 1971 and released on the Fantasy label in 1975

4. Do you think that Harry Carney’s incredible tenure with Duke Ellington predisposed Duke’s thinking of the Bari-sax as the bottom of the winds, and as his first consideration for a bass voice solo instrument?
I’m not sure Carney’s sound has a direct correlation to the “bass” sound in Ellington’s head, at least one that would relate to Ellington’s use of the bass trombone. “Agra” from the Far East Suite, Carney walks all the way down the instrument (Bari here), in a loud, gruff manner. Ellington never really uses Chuck (or Taylor) in that way.

5. When did Duke perform with tuba as opposed to string bass?
It seems that 1927 is the pivotal year that Ellington switches from tuba to bass. “East St. Louis Toodle-Oo”, Welman Braud plays tuba. In the very next recording, “Black and Tan Fantasy”, Braud is heard playing string bass. It is interesting to note that Duke is still using banjo here. While, in the minds of many, there is a link between banjo and tuba, Ellington and Braud can be credited with the innovation of using the double-bass rather than the tuba in jazz rhythm sections.”

Braud’s initial recording sessions with Duke were in October 26, 1927. In “Washington Wobble”, Braud takes a short pizz solo. Braud’s brief solos are important, because some historians maintain Bill Johnson’s solo on Johnny Dodd’s July 1928 “Bull Fiddle Blues” is the first recorded pizzicato jazz bass solo. Also, Braud has been characterized as a two-beat player, but he often played four-beat pizz walking style, such as the November 1928, Okeh recording of “Misty Mornin'”, which is both arco and four-beat style. On a November 3, 1927 recording of “Black and Tan Fantasy”, Braud switches from arco to pizzicato and back. For the March 1928 Victor session of “Black Beauty”, Braud utilizes double-time. On a November 1928 session, “I Can’t Give You Anything but Love” Braud recreates the tuba intro he played on an earlier version, but this time on bass.

6. Did you know Chuck Connors?
Chuck Connors was a friend of mine. Sometime, (I think it was 1991) I was in need of a bass trombone as I had hocked mine. I was put in touch with Chuck through a mutual friend who ran a big band in town (Pavilion Music Company), Marcus Ware. I called Chuck and he said to come on by and pick out a horn. He said I could borrow one as long as I needed! I drove to his house, then rang the bell…his wife (Betty I believe) answered the door. She told me that Chuck was at a doctor’s appointment and would return shortly. She showed me around their modest home. Hundreds of pictures hung on the wall; some family pictures and artwork, but mostly pictures of Chuck with members of the Ellington band, playing in the Ellington band, of him with celebrities, etc. Occasionally she would point and reminisce…at pictures of Chuck with “Diz”, Ellington, and Sammy Davis, Jr. I was star-struck.

Chuck returned. We continued to peruse the pictures on the wall and worked our way down some stairs to the basement. There were maybe twenty trombone cases strewn around the basement. He brought several closer to me and opened the cases: a Conn single-valve, a Bach 50B single-valve, a Remington Contempora single-valve, and one I can’t recall. He mentioned that he was playing a 50B double-valve lately and that any of these were mine for the choosing. I played on them all and opted for the Reynolds Contempora. I fell in love with this horn. I’ve seen several pictures of Chuck playing, or posing with this horn in his. It makes me smile every time. We stayed in touch. By the time I returned the horn, Chuck had past. I returned the horn to Betty. I don’t know what happened to that horn…but, my memories of Chuck reside permanently in the recesses of my mind. When I hear his sound, I am taken back to my youth in Cincinnati, Ohio where a man made an indelible impression on me as a musician and human being.

I believe my career was in part, shaped by the generosity of Chuck Connors. His sound, the Ellington Orchestra, his kindness and warmth as a person and musician – ELLINGTON – all played a role in shaping my career choices.

c. 2013 David William Brubeck All Rights Reserved davidbrubeck.com

****************************************************************************************************

Marc T. Bolin has performed with some of the world’s finest artists and organizations such as B.B. King, Dee Dee Bridgewater, Lalo Schifrin, Herman Olivera, Pete Escovedo, Sheila E, Black Eyed Peas, Deltron 3030, Aloe Black, and Stevie Wonder. He recently participated in a State Tour of China playing traditional Jazz, performed with the Ambassadors of New Orleans’ Jazz at the Red Sea Jazz Festival in Israel, has performed in two of Philip Glass’ Operas Akhenaton and La Belle et la Bete, and has even played on the Mississippi Riverboats. In 2007 Marc was commissioned to realize Duke Ellington’s incomplete opera “Queenie Pie” for the Oakland Opera Theater then in 2008 was invited to present his research and reflections in his paper Realizing the Duke at the Echoes of Ellington Conference at UT Austin. In addition to Oakland and UT Austin’s productions, both Long Beach Opera and Chicago Opera Theater will perform Queenie Pie in 2014.

 COPYRIGHT NOTICE/DISCLAIMER

 FAIR USE:

COPYRIGHT DISCLAIMER UNDER SECTION 107 OF THE COPYRIGHT ACT 1976,
 ALLOWANCE IS MADE FOR “FAIR USE” FOR PURPOSES SUCH AS CRITICISM, COMMENT, NEWS REPORTING, TEACHING, SCHOLARSHIP AND RESEARCH.
FAIR USE IS PERMITTED BY COPYRIGHT STATUTE THAT MIGHT OTHERWISE BE INFRINGING.  NON-PROFIT, EDUCATIONAL OR PERSONAL USE TIPS THE BALANCE IN FAVOR OF FAIR USE

Published in the International Trumpet Guild HERE.

THESE DUOS ARE GIG-SAVERS! Playable by a combination of almost any ONE treble clef ‘C’ OR Bb instruments and almost any one ONE bass clef instruments, THESE DUETS ARE ALWAYS IN MY CASE IN THE EVENT SOMEONE IS RUNNING LATE OR NOT GOING TO BE ABLE TO MAKE THE GIG!

These work for any one of these:

Trumpet, Violin, Oboe, Clarinet, Soprano Saxophone, Flute,

with any one of the following:

Bass-Trombone, ‘Cello, Euphonium, Bassoon, String Bass, Tuba, Euphonium, etc.

Published by Cherry Classics.

Enjoy!

ORIGINALLY PUBLISHED IN OCTOBER 2014

On 27 May 2015 at 11:15 am the brass duo format will be explored at the 2015 International Trumpet Guild Conference at Ohio State University in Columbus, Ohio. Anchored by trumpeters Peter Wood, Marc Reese, bass trombonist David Brubeck and a list of all-star trumpet players, the duos of the Brubeck-Neal Duo will be presented in this lecture recital.

Soon to be published by Gordon Cherry as Cherry Classics, this collection of ten concert duos have been arranged performed and refined over the last several seasons by Brian Neal and David Brubeck. Listed below, courtesy of the International Trombone Association, is a reprint of the Brubeck-Neal Duo arrangement of Flow My Tears by composer John Dowland, from the April 2014 ITA Journal. This and Badinerie, published in the Journal of the ITG, are but just two of more than a dozen duos spanning a variety of genres to be featured at the ITG lecture recital on the emerging genre of duo brass.

Here is a brief clip of the Brubeck-Neal Duo in concert as part of the Music in Miami Concert series performing their arrangement of Air on a G String by J. S. Bach.

c. 2014 David William Brubeck All Rights Reserved davidbrubeck.com

This article is a reprint from the April 2014 Journal of the International Trombone Association. Thanks to the Journal and editor Diane Drexler.