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Entrance and Exit Requirements
REQUIREMENTS FOR ADMISSION INTO TROMBONE STUDIES
- A personal audition with the faculty or a tape recording will serve to determine the student's acceptability and to make appropriate level placement.
- Students enrolled in trombone/euphonium study are expected to complete the minimum requirements as outlined here in order to attain a proficiency level necessary to complete each level of study and to meet graduation requirements for each degree program.
- In each of the levels of study described below, more stress is placed on the quality of performance and literature than on the difficulty of the works. It is understood that the works listed below are not themselves the course(s) of study, but merely indicate the comparative levels of achievement to be attained. Repertoire should include compositions from a full range of historical periods whenever applicable.
- Each semester of study is considered to be prerequisite for continuing study. The exit requirement for promotion in level, or for graduation, is the approval of the instructor and jury, who must be satisfied that the sum of tone, technique, musicianship, accuracy, etc. is adequate.
Levels and Materials of Study - Tenor Trombone/Euphonium
Since no two students will enter the program at exactly the same level the following is a general indication of MINIMUM achievement at each level. Many students, particularly performance majors, will enter the program with greater levels of ability than is shown in the first few course numbers. Nevertheless, all students will proceed through all course numbers required by their particular degree. Similiar levels of skill and achievementis required from everyone enrolled in any particular level but performance majors are expected to deliver greater quantity.
MUSA 139, 140
Nonmusic majors, music majors on secondary instruments, graduate students not requiring graduate credit.
1credit: half hour lesson. No jury is required.
Fundamentals of tone production, embouchure development, breath support, and attack.
METHODS
Rubank Elementary Method
Rubank Intermediate Method
Pearson Standard of Excellence, Vols. 1, 2, 3
WARM-UP EXERCISES
Remington Warm-up Exercises (ed. D. Hunsberger)
Schlossberg Daily Drills & Technical Studies
Hall Beginner's Daily Routine
STUDIES FOR GENERAL TECHNIQUE
Bordner First Book of Practical Studies
Voxman Selected Studies
SOLO MATERIALS
Kinyon Breeze-Easy Recital Pieces
Arnold (ed.) Easy Trombone Solos
Benson Aubade
Marsteller Barbary Pirates
Marsteller Yesterday Afternoon
Mozart/Ernst Sonatina
Vaughn Williams Six Studies in English Folksong
TECHNIQUE
All major scales, one octave in quarter notes (mm120).
MUSA 239, 240
Nonmusic majors, music majors on secondary instrument.
1credit: half hour lesson. No jury required.
Extension of range, increase in technique. Work in elementary legato style. Continued development of fundamentals including embouchure. Introduction to tenor clef. Pedal tones.
METHODS
Rubank Intermediate Method
Rubank Advanced Method, Vol. 1
WARM-UP EXERCISES
Hall Gym
Remington Warm-up Exercises
Schlossberg Daily Drills & Technical Studies (selected)
Hall Beginner's Daily Routine
Vining Daily Routines
LEGATO STUDIES
Cimera 55 Phrasing Studies
Fink Introducing Legato
STUDIES FOR GENERAL TECHNIQUE
Voxman Selected Studies
Lafosse School of Sightreading & Style, Book A
Roberts-Tanner Let's Play Bass Trombone
Bordner Second Book of Practical Studies
CLEF STUDIES
Fink Introducing Tenor Clef
Edwards Before Blazhevich
REPRESENTATIVE SOLO MATERIAL
Alary Contest Piece
Bach Arioso
Brown Meditation
Croce-Spinelli Solo de Concours
Dedrick Lyric Etude
Faure Apres Un Reve
Frackenpohl Pastorale
Haydn Andante
Haydn-Schuman Adagio
Mozart/Ernst Sonatina
Ostrander Concert Piece in Fugal Style
Smith, H.C. Solos for the Trombone Player
Voxman Concert & Contest Collection
TECHNIQUE
All major scales and arpeggios, one octave in eighth notes (mm120).
FIRST AND SECOND SEMESTERS
MUSA 141, 142
2 credits: full hour lesson - for freshman Music Education majors and Music Minors only. No jury for 141. 142 requires one student recital performance. Jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear.
MUSA 151, 152
3credits: full hour lesson - for freshmen Performance majors only.No jury for 151. 152 requires two student recital performances. Jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear.
All students must be able to perform all major scales one octave, up and down, in eighth notes at quarter = 120, from memory, before they will be allowed to enter the program at this level. Studies in tone control, breathing, flexibility, articulation, range, clefs, F-attachment if appropriate. Remedial concentration if indicated. Begin multiple tonguing. Begin jazz style reading. Begin playing by ear.
METHODS
Vining Daily Routines
Arban/Alessi/Bowman Method (sections)
WARM-UP EXERCISES
Remington Warm-up Exercises
Schlossberg Daily Drills & Technical Studies
LEGATO STUDIES
Bordogni-Schwartz Vocalises Vol. 1
Fink Studies in Legato
STUDIES FOR GENERAL TECHNIQUE
Voxman Selected Studies
Davies 20 Etudes in Changing Meters
Lafosse School of Sightreading & Style, Book A
Slama/Brown 66 Etudes in All Keys
Tyrrell 40 Progressive Studies (bass clef)
CLEF STUDIES
Fink Introducing Alto Clef (and tenor if not completed)
Edwards Before Blazhevich
Blazhevich Studies in Clefs
REPRESENTATIVE SOLO MATERIAL
Bernstein Elegy for Mippy II
Corelli/Gibson Sonata in D Minor
Corelli/Ostrander Sonata in Minor
Dubois, T. Concert Piece in A-flat Major
Marcello Six Sonatas
Morel Piece in F Minor
Porret Six Esquisses
Rachmaninoff-Smith Vocalise, Op. 34, No. 14
Ropartz Andante et Allegro
Tanner Aria
Vaughn Williams Six Studies in English Folksong
ORCHESTRAL EXCERPTS, tenor trombone
- Rimsky-Korsakov Russian Easter Overture
- Mozart Requiem: second trombone solo in Tuba Miram
- Berlioz Hungarian March
- Saint-Saëns Symphony No.3
- Wagner Lohengrin: Prelude to Act III
- Copland Buckaroo Holiday from Rodeo
- Stravinsky Pulcinella
- Dvorák Symphony No.9 (New World)
- Brahms Symphony No.3
- Tchaikovsky Symphony No.5
TECHNIQUE
Mueller Technical Studies, Vol.1
Salvo 241 Double and Triple Tonguing Exercises Arban/Alessi/Bowman Method (selections)
Marsteller Basic Routines Part 1 (mm72 or greater)
Schlossberg Daily Drills & Technical Studies
Hall Technique Exam
THIRD AND FOURTH SEMESTERS
MUSA 241, 242
2 credits: full hour lesson - for sophomore Music Education majors and Music Minors only. Requires one student recital performance each semester. 241 jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear. No jury for 242; a recital approval performance and half-hour recital is required.
MUSA 251, 252
3credits: full hour lesson - for sophomre Performance majors only.Requires two student recital performances each semester. 251 jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear. No jury for 252; a recital approval performance and half-hour recital is required.
Review fundamentals of trombone playing with emphasis on any deficiencies. Advanced flexibility exercises, continue multiple tonguing. Intermediate materials for clefs, articulation, range, velocity, F-attachment, jazz styles.
METHODS
Arban/Alessi/Bowman Method (sections)
Vining Daily Routines
WARM-UP EXERCISES
Remington Warm-up Exercises
Schlossberg Daily Drills & Technical Studies
Marsteller Basic Routines
LEGATO STUDIES
Bordogni-SchwartzVocalises Vols. 1, 2
Fink Studies in Legato
STUDIES FOR GENERAL TECHNIQUE
Lafosse School of Sightreading & Style, Book B
Tyrrell 40 Progressive Studies (bass or tenor clef)
Cimera 79 Progressive Studies
Hering 40 Progressive Etudes
Gregoriev 78 Studies
Pederson Intermediate Etudes
CLEF STUDIES
Fink Introducing Alto Clef (and tenor if not completed)
Blazhevich Studies in Clefs
F-ATTACHMENT STUDIES
Fink Introducing the F-Attachment
Fink Studies in Legato for Bass Trombone, Tuba
Blume 36 Studies for Trombone with F-Attachment
Ostrander The F-Attachment & Bass Trombone
Gillis 70 Progressive Studies
JAZZ STUDIES
Lipsius Reading Key Jazz Rhythms
Playing simple melodies by ear and memory, in most keys, on trombone and piano.
REPRESENTATIVE SOLO MATERIAL
Barat Andante et Allegro
Barat Piece in Mi Bemol
Boda Sonatina
Dubois, P.M. Cortege
Grafe Grand Concerto
Guilmant Morceau Symphonique
Nelhybel Suite
Pryor Annie Laurie
Rimsky-Korsakov Concerto
Rousseau Piece Concertante
Saint-Saëns Cavatine, Op 144
ORCHESTRAL EXCERPTS, tenor trombone
- Rossini La Gazza Ladra Overture
- Rimsky-Korsakov Scheherazade
- Brahms Symphony No.1
- Wagner Tannhaüser Overture
- Stravinsky Petrouchka
- Verdi La Forza del Destino Overture
- Copland Appalachain Spring
- Tchaikovsky 1812 Overture
- Schubert Symphony No.9 (Great C Major)
- Mahler Symphony No.1
TECHNIQUE
Mueller Technical Studies, Vols.1&2
Salvo 241 Double and Triple Tonguing Exercises
Marsteller Basic Routines Part 1, (mm84)
Work on flexibility and attack from Marsteller and Schlossberg. Special drills as assigned.
Hall Technique Exam
FIFTH AND SIXTH SEMESTERS
MUSA 341, 342
2 credits: full hour lesson - for junior Music Education majors and Music Minors only. Requires one student recital performance each semester. Juries consist of two solos, one by memory,with piano or major unaccompanied solo, playing by ear.
MUSA 351, 352
3credits: full hour lesson - for junior Performance majors only.Requires two student recital performances each semester. Jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear.
Further development of range, flexibility, velocity and sight-reading. Some emphasis on recital literature, and chamber music. Required work on F-attachment if not previously learned.
METHODS
Arban/Alessi/Bowman Method (sections)
Vining Daily Routines
WARM-UP EXERCISES
Remington Warm-up Exercises
Schlossberg Daily Drills & Technical Studies
Marsteller Basic Routines
LEGATO STUDIES
Bordogni-Rochut Melodious Etudes Vol. 2, 3
Bach Cello Suites (ed. Brown, Lafosse, Lusk, or Marsteller)
Concone-Miller 40 Legato Studies
STUDIES FOR GENERAL TECHNIQUE
Clarke Technical Studies
Lafosse School of Sightreading & Style, Book B-C
Campbell 30 Contemporary Studies
Bitsch 15 Etudes du Rhythme
Kopprasch 60 Studies
Shuman, Davis 5 Preparatory Studies
Bleger 31 Studies
Couillaud Vingt-Six Etudes
Kreutzer 16 Selected Studies
Paudert 24 Studies
CLEF STUDIES
Blazhevich Studies in Clefs
Uber 30 Etudes in Bass & Tenor Clef
F-ATTACHMENT STUDIES
Fink Studies in Legato for Bass Trombone, Tuba
Gillis 70 Progressive Studies
JAZZ STUDIES
Lipsius Reading Key Jazz Rhythms
Wilson/Viola Chord Studies for Trombone
Baker, D. Jazz Styles and Analysis
Reeves Creative Jazz Improvisation
Coker Patterns for Jazz
Learning standard tunes as assigned, required reading as assigned.
Snidero Jazz Conception
REPRESENTATIVE SOLO MATERIAL
Bach-Beversdorf Haste, Ye Shepherds
Bassett Suite
Berghmans La Femme a Barbe
Shostakovitch Four Preludes
Stojowski Fantasy
Vivaldi-Ostrander Sonata No. 3 in A Minor
Whear Sonata
ORCHESTRAL EXCERPTS, tenor trombone
- Hindemith Symphonic Metamorphosis
- Strauss Till Eulenspeigel
- Ravel Bolero
- Stravinsky Firebird
- Brahms Symphony No.2
- Borodin Plolvetsian Dances
- Britten Young PersonÕs Guide to the Orchestra
- Kodály Harry Janos Suite
- Respighi Pines of Rome
- Tchaikovsky Symphony No.4
TECHNIQUE
Mueller Technical Studies, Vol.2&3
Clarke Technical Studies
Marsteller Basic Routines Part 1, plus flexibility, attack exercises.
Some emphasis on extreme ranges, security, and endurance.
Hall Technique Exam
SEVENTH AND EIGHTH SEMESTERS
MUSA 441, 451
2 credits: full hour lesson - for senior Music Education majors and Music Minors only. Requires one student recital performance each semester. 441 jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear. No jury for 442; a recital approval performance and half-hour recital is required.
MUSA 442, 452
3credits: full hour lesson - for senior Performance majors only.Requires two student recital performances each semester. 451 jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear. No jury for 452; a recital approval performance and full recital is required.
Graduating level for performance majors, advanced for all others. Further emphasis on clef reading, difficult etudes, solo and chamber literature, orchestral studies. Specialization in jazz (ear playing and improvisation) may be appropriate. Solidify extreme ranges. Solidify complete command of the instrument by completing studies and technique from previous term; but the real emphasis should be on degree recital, literature, style, and advanced technique.
WARM-UP EXERCISES
Remington Warm-up Exercises
Schlossberg Daily Drills & Technical Studies
Marsteller Basic Routines
Hall Daily Routine with minidisc
Vining Daily Routines
LEGATO STUDIES
Bordogni-Rochut Melodious Etudes Vol. 3
Bach Cello Suites
Couilland Etudes de Style
Busser 12 Etudes Melodiques
STUDIES FOR GENERAL TECHNIQUE
Lafosse School of Sightreading & Style, Book C-D
Bitsch 15 Etudes du Rhythme
Boutry Douze Etudes de Haut Perfectionnement Kopprasch 60 Studies
Pichareau 21 Studies of General Technique Pederson Advanced Etudes
Marsteller Advanced Slide Technique
Marsteller 6 Etudes
Masson 12 Etudes Variees
Maxted 20 Studies
Vining Daily Routines
CLEF STUDIES
Blazhevich Studies in Clefs and 26 Sequences
Uber 21 Etudes in Bass & Alto Clef
Kahila Advanced Etudes in Tenor & Alto Clef
F-ATTACHMENT STUDIES
Bordogni-Schwartz Vocalises (8vb)
Delgiudice 12 Etudes Rhythmiques et Melodiques
Various studies for tuba and French tuba.
JAZZ STUDIES
Wilson/Viola Chord Studies for Trombone
Baker, D. Jazz Styles and Analysis
Reeves Creative Jazz Improvisation
Coker Patterns for Jazz
Learning standard tunes as assigned, required reading as assigned. jazz theory.
REPRESENTATIVE SOLO MATERIAL
Complete literature from 300's if deemed necessary.
Albrechtsberger Concerto
Berio Sequenza V
Bloch Symphony
Bonneau Fantasie Concertante
Bozza Hommage a Bach
Childs Sonata
Creston Fantasy
David Concertino
Druckman Animus I
Goldstein Colloquy
Grondahl Concerto
Handel-Marsteller Concerto in F Minor
Krenek Five Pieces
Martin Ballade
McKay Sonata
Milhaud Concertino d'Hiver
Pryor Blue Bells of Scotland
Ross Cryptical Triptych
Sanders Sonata in E-flat
Serly Concerto
Serocki Concerto
Serocki Sonatina
Stevens Sonata
Vivaldi-Brown 6 Sonatas
Mahler-Ostrander Solo from Third Symphony
Wagenseil Konzert
ORCHESTRAL EXCERPTS, tenor trombone
- Mahler Symphony No.3
- Brahms Symphony No.4
- Bartok Concerto for Orchestra
- Strauss Also Sprach Zarathustra
- Ravel L'Enfante et les Sortileges
- Milhaud La Creation du Monde
- Liszt Hungarian Rhapsodie No.2
- Dvorák Symphony No.8
- Bruckner Symphony No.4
- Tchaikovsky Symphony No.6
- Hindemith Mathis der Maler
- Schumann Symphony No.3
- Beethoven Symphony No.9
- Rossini William Tell Overture
- Wagner The Ride of the Valkyries
- Brahms Tragic Overture
- Holst The Planets
- Sibelius Symphony No.2
- Mendelssohn Symphony No.5
- Mahler Symphony No.2
SPECIAL ENSEMBLE LITERATURE
Trombone:
Poulenc Sonata (Trio)
Arnold Quintet
Stravinsky L'Histoire du Soldat
Campo Commedie
Kellaway Esque
Persichetti Serenade
Beethoven 3 Equali
Kroeger Toccata
Ewald Quintets
Euphonium:
Janecek Sinfonietta
Mahler Symphony #7
Mussorgsky-Ravel Pictures at an Exhibition
Strauss Tone Poems (Tenor Tuba parts)
Wagner Operas (Bass Trumpet parts)
Levels and Materials of Graduate Study
MUSA 651, 652
3credits: full hour lesson - for trombone/euphonium students pursuing a Master's degree with concentration in Applied Studies. It may be repeated for credit. Such students may come with special backgrounds, or problems, or goals, or long layoffs. Therefore the emphasis and the literature will be geared to these circumstances. Generally, this level will entail review and solidification of technique, pedagogy and extensive emphasis on literaturein preparation of the degree recital.
Requires two student recital performances each semester. 651 jury consists of two solos, one by memory,with piano or major unaccompanied solo, playing by ear. No jury for 652; a recital approval performance and full recital is required.
STUDIES
Any (all) from 622 not accomplished and new publications.
Masson 12 Various Studies
Bozza 11 Etudes in Karnatic Modes
Bozza 13 Etudes Caprices
Lafosse Vade Mecum de Tromboniste
Pichareau Vignt Etudes
Virtuoso etudes for trumpet (Charlier, Bozza, Nagel) and for horn (Reynolds, Bozza, Bitsch).
REQUIRED READING
Tests, papers, articles on performance and pedagogy as assigned. Discussion and/or written reaction is desirable and may also be required.
REQUIRED LISTENING
Recordings as assigned.
ENSEMBLE LITERATURE
Bozza Quintet, Sonatine
Premru Concertino
Schwartz Options I
See also 622 list.
REPRESENTATIVE SOLO MATERIALS
Any materials from 622 not accomplished.
Bassett Sonata
Bonneau Capriccio
Boutry Capriccio
Bozza Ballade
Brown Sonata
Castérède Sonatine
Defaye Deux Danses
Hindemith Sonate
Jacob Concerto
Uber Sonata
White Sonata
ORCHESTRAL EXCERPTS, tenor trombone
- Bartok Miraculous Mandarin
- Ravel Daphnis et Chloe (complete ballet)
- Berlioz Symphonie Fantastique
- Beethoven Sumphony No.5
- Strauss Ein Heldenleben
- Beethoven Missa Solemnis
- Berg Three Orchestra Pieces
- Prokofiev Romeo and Juliet Suites 1&2
- Bruckner Symphony No.7
- Mahler Symphony No.5
TECHNIQUE
Continual review and expansion of virtuoso technique as required by the literature.
Multiphonics.
Avant-garde techniques.
Jazz skills may be studied if the student wishes.
Levels and Materials of Study - Bass Trombone
The student specializing in bass trombone with double valves will follow the same general course outlined for each level listed for tenor trombone, with the following additions/substitutions to the curriculum.
METHODS
Aharoni New Method for the Modern Bass Trombone
Bernard Methode Complete pour Trombone Basse
Ostrander The F-Attachment and the Bass Trombone
Ostrander Method for Bass Trombone
Roberts-Tanner Let's Play Bass Trombone
STUDIES
Bach-Lusk Suites for Violincello
Bernard Etudes et Exercises
Blazhevich-King 70 Studies (Tuba) 2 vols.
Blume-Fink 36 Studies for Trombone with F-Attachment
Bordogni-Ostrander Melodious Etudes for Bass Trombone
Bordogni-Roberts 43 Bel Canto Studies (Tuba)
Delgiudice Douze Etudes . . .
Fink Studies in Legato for Bass Trombone, Tuba
Gillis 20 Etudes
Gillis 70 Progressive Etudes
Grigoriev-Ostrander 24 Studies
Maenz Zwanzig Studien
Ostrander Double-valve Low Tone Studies
Ostrander Shifting Meter Studies
Faulisse Warm-ups and Daily Drills
Pederson (Elem., Interm., Adv.) Etudes for Bass Trombone
Raph 26 Studies
Rode 15 Caprices
Stephanofsky-Brown 20 Studies
Tyrrell 40 Etudes (Tuba, and/or E-flat Tuba)
Vasiliev 24 Melodious Studies
REPRESENTATIVE SOLO MATERIALS
MUSA 139, 140
Barat Introduction & Sarabande
Beaucamp Cortege
Boutry Tubaroque
Dedrick Petite Suite
Hartley Arioso
McKay Concert Solo Sonatine
MUSA 239, 240
321 Bach-Bell Air and Bouree
Frescobaldi Canzoni
Hindemith Drei Leichte Stucke
Lieb Concertino Basso
Lischka Drei Skizzen
FIRST AND SECOND SEMESTERS
MUSA 141, 142, 151, 152
Bitsch Impromptu
Brown Meditation, Recitative, Lied and Final
Johnston Revelstoke Impressions
Marcello-Brown Sonata in G Major
Presser Three Folktales
Raph Rock
Tomasi Etre ou ne pas etre
THIRD AND FOURTH SEMESTERS
MUSA 241, 242, 251, 252
Bach-Marsteller Cello Suite #1, or Lusk
Barat Reminiscences de Navarre
Bozza Allegro et Finale
Bozza Prelude et Allegro
Capuzzi-Catelinet Andante and Rondo
Hartley Suite
Lebedev Concerto in One Movement
Vaughan-Williams Romanza from Tuba Concert
FIFTH AND SIXTH SEMESTERS
MUSA 341, 342, 351, 352
Bach Cello Suite #3, Lusk
Beversdorf Sonata for Tuba
Dedrick Prelude and March
Persichetti Serenade No. 12 for Tuba
Raph Caprice
Defaye-Knaub Deux Danses
Ross Prelude, Finale, and Big Apple
Vaughn-Williams Concerto for Tuba
SEVENTH AND EIGHTH SEMESTERS
MUSA 441, 442, 451, 452
Adler Canto II
Bach Cello Suit #4, Lusk
Bigot Carillon et Bourdon
Bozza New Orleans
Cope Three Pieces for Trombone with F-Attachment
Dedrick Inspiration
Hartley Sonata Breve
Spillman Concert, and Two Songs
White Tetra Ergon
Wilder Sonata
MUSA 651, 652
See lists from lower levels. Also the preparation of the various degree recitals required by the program of study.
Priority List for Student Assignments in Private Instruction
Length of private lesson:
1 credit = half hour per week
2-3 credits = one hour per week
The instructor reserves the right to group students into semi-private or class lessons in the 100 level of study. Often this arrangement proves advantageous to the technical and musical development of the students involved. Such arrangement will be carefully reviewed each semester to maintain optimum growth in all students involved.
Prospective students who play an acceptable audition will be accepted on a first come, first served basis. However, the following priority assignments in private instruction will be maintained:
FIRST Music majors/minors studying their major or required instruments.
SECOND Non-music majors on music scholarships.
THIRD Music majors who wish to study an additional instrument on which they are already reasonably proficient.
FOURTH Other students performing in Department of Music ensembles.
FIFTH General university students who wish instruction.
Any student who leaves the program (does not take applied music) for two consecutive semesters or more is required to re-audition to return. Such students may have to wait for a space to open in the studio, even though they re-audition successfully.
Mike Hall, Old Dominion University, Department of Music
Diehn Center FPA room 226, Phone: 757-683-4072 Fax: 757-683-5056
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