Course of Study for the Undergraduate Trombone Major

Designed and compiled by Thomas S. Gibson

Georgia State University

What follows is a general outline of MINIMUM expectations for the undergraduate trombone major. Exceeding these guidelines is highly encouraged! Simply meeting these criteria will only ensure that the student has met a minimum level of proficiency on the trombone. The necessary tools will be in place for the student to adequately present themselves as performers and musicians to the public at large.

It is well-understood that expectations will differ for “education” majors versus “performance” majors. Both will be held to these standards, with the anticipation that performance majors will easily meet and exceed them. It is also understood that Freshman, Sophomore, etc. are subjective terms. After four years of study, however, these goals should be easily met and hopefully surpassed.

Consult with your private teacher for additional guidelines and goals to be met throughout your undergraduate tenure. It’s a highly competitive world for the would-be performer. Both teacher and student should set the bar quite high with the realization that proficiency, if not complete perfection, is the aim.

Specific study materials can be substituted for those on this list. I have, however, included the “industry standards” as far as etude books and solo repertoire. These are the books and solos you will be EXPECTED to know in the professional arena. Your teacher may have his/her favorites, but I would suggest at least a passing familiarity with all the materials listed herein.

FRESHMAN YEAR/First Semester:

1) A Daily Routine, encompassing a wide variety of technical aspects, should be designed and “custom” fit by the teacher. More than a simple Warm-up, the Routine shall touch upon ALL aspects of performance and require approximately 30-45 minutes per day. MAJOR SCALES should be an integral part of this routine! For suggestions, refer to trombonelessons.com and have these resources at hand:

Basic Routines by Robert Marstellar

The Remington Warm-up, by Donald Hunsberger

Systematic Approach to Daily Practice in Bass Clef by Claude Gordon

Tenor Trombone Method by Buddy Baker

2) Etude Books to be studied and performed weekly:

TYRRELL, 40 Progressive Studies

ROCHUT, Melodious Etudes on the Vocalises of Marco Bordogni

ARBAN, Complete Method for Trombone

*one etude from each book and selections from ARBAN should be prepared and perfected every week.

3) A solid grasp of sound and a concept of style should be introduced by the teacher. LISTENING should be encouraged and a library of recordings should be available to the student. Concert attendance should be required/encouraged and exposure to a wide variety of musical genres shall be sought.

4) Students will be encouraged to join the professional community by joining the International Trombone Association. They will also be introduced to the wealth of resources available on the Internet, including on-line music stores and discussion groups.

FRESHMAN YEAR/Second Semester:

1) In addition to the course of study outlined in the first semester, it will be INSISTED upon that all major scales be memorized and performed as follows:

· The student will be expected to know at least 2 octaves for EACH scale. Those with F-attachments will be expected to perform most scales in 3-octave patterns.

· These scale patterns will be performed both tongued and slurred. Intonation and accuracy is expected to be flawless.

2) Possible solos for Juries include, but are certainly not limited to:

Sinfonia by Pergolisi

Andante et Allegro by Barat

Morceau Symphonique by Guilmant

3) The teacher will introduce the following and implement them in the student’s Daily Routine:

· Multiple tonguing ( double-tonguing at first, triple-tonguing once a reliable double-tongue has been achieved). Both LEGATO and STACCATTO styles!

· Vibrato (both SLIDE and JAW)

SOPHOMORE YEAR/First Semester:

1) Progress should be steady through the ARBAN, ROCHUT, and TYRRELL books. To this regiment, the teacher should introduce:

Thirty-Six Studies for Trombone with F-Attachment by O. Blume

· (it is assumed that the student by now owns a professional quality instrument. Large-bore, including an F-attachment. Students interested in Jazz are certainly welcome to practice the Blume studies on a small tenor!)

2) Pure or Natural Minor Scales will be introduced to the Daily Routine. Their relation to Major Scales should be made very clear!

3) Any of the solos listed above should be introduced. Students will purchase these solos! Students should become accustomed to photocopying a “study score” of all solos they are preparing. This study score will be “marked up” and analyzed by the student, while the accompanist will be provided a “clean copy”.

4) Students will be expected to own at least a straight and cup mute. Harmon, plunger, bucket, and solo-tone mutes might also be purchased.

SOPHOMORE YEAR/ Second Semester:

1) Tenor Clef will be introduced. Two resources are very handy for this:

· Introducing Tenor Clef by Reginald Fink

· Clef Studies by Blazevich (NOT a very user-friendly book, and perhaps reserved for the more advanced and ambitious student)

· In addition to weekly assignments from these books, the student will be taught to transpose the Rochut Etudes and perform them in Tenor Clef.

2) By the end of this semester, Minor Scales will be memorized and performed as follows:

· The student will be expected to know at least 2 octaves for EACH scale. Those with F-attachments will be expected to perform most scales in 3-octave patterns.

· These scale patterns will be performed both tongued and slurred. Intonation and accuracy is expected to be flawless.

3) Solos to be introduced might include:

Concertino by David

Sonata by Sulek

Concerto by Rimsky-Korsakov

4) Possibilities for summer performance should be sought. Festivals, amusement parks, chamber groups, etc. Literature and information should be gathered by the student and preparations made for audition tapes, resumes, etc.

JUNIOR YEAR/First Semester:

1) Alto Clef introduced via:

· Introducing Alto Clef by Reginald Fink

· Clef Studies by Blazevich

2) Orchestral Exerpts will be learned (at least 10 of the most popular will be begun this semester). The student understands that these excerpts often involve a lifetime of study and require ABSOLUTE precision and perfection. They are to be studied with great care and great reverence!

3) If at all possible, a secondary instrument should be begun. Alto trombone or Euphonium should be introduced. Consult trombonelessons.com for study materials and curricula for these instruments.

4) Harmonic Minor Scales will be incorporated into the Daily Routine. They will be memorized and performed as follows:

· The student will be expected to know at least 2 octaves for EACH scale. Those with F-attachments will be expected to perform most scales in 3-octave patterns.

· These scale patterns will be performed both tongued and slurred. Intonation and accuracy is expected to be flawless.

5) Solos to include:

Sonate for Trombone and Piano by Hindemith

Concertino by Larsson

Sonatina by Serocki

JUNIOR YEAR/Second Semester:

1) Continued study of the major orchestral excerpts. This study should include a lot of listening and a survey of recordings for tempi, style, etc. An appreciation of the history and cultural influences behind the music should be cultivated. As each excerpt nears perfection, it is highly suggested that the student make a PROFESSIONAL quality recording to start an archive of excerpts. More and more orchestras will be requiring tapes in the preliminary rounds….such an archive will prove MOST useful.

2) Melodic Minor scales will be learned, memorized, and performed as follows:

· The student will be expected to know at least 2 octaves for EACH scale. Those with F-attachments will be expected to perform most scales in 3-octave patterns.

· These scale patterns will be performed both tongued and slurred. Intonation and accuracy is expected to be flawless.

3) The following books will be studied:

Selected Etudes by Voxman

Studies for Cello, Op. 76 by Popper

Etudes de Rythme pour Trombone by Bitsch

4) It is advisable that the teacher regularly perform duets with the student to check intonation and “listening” skills. Suggestions include:

TELEMANN Canonic Duets

VOXMAN Selected Duets

BLAZEVICH Concert Duets

SENIOR YEAR/First Semester:

1) Continued study of orchestral excerpts, including those for alto trombone and euphonium.

2) The teacher will introduce modern performance techniques and notation.

3) ALL Major and Minor Scales will have been mastered! They should be double-tongued as quickly as possible:

· The student will be expected to know at least 2 octaves for EACH scale. Those with F-attachments will be expected to perform most scales in 3-octave patterns.

· These scale patterns will be performed both tongued and slurred. Intonation and accuracy is expected to be flawless.

4) Diminished, whole-tone, and Blues scales will be learned and memorized.

5) Solos may include:

Basta! by Rabe

Elegy for Mippy II by Bernstein

Concerto by Tomasi

Deux Danses by DeFaye

Sonata for Trb. and Piano by Ewazen

Blue Bells…, Fantastic Polka, Thoughts of Love,etc. by Pryor

Concerto by Grondahl

Sonata for Trb. and Piano by Ritter-George

Sonata by White

Sonata by Giffells

Arrows of Time by Peaslee

*Concerto by M. Haydn

*Concerto by Wagenseil

*Concerto by L. Mozart

*Concerto by Albrechtsberger

* alto trombone!

SENIOR YEAR/ Second Semester:

1) It is expected that at least 25 of the more popular orchestral excerpts will be known. A thorough concept of style, tempi, and context will be demanded.

2) Preparations will be made for a senior recital. Repertoire should include a nice variety of music from different time and style periods. Any solos listed here shall be eligible, as well as pieces selected by student and teacher. Chamber pieces and/or solos with voice should be considered.

3) The teacher might also assist with letters of recommendation, resume preparation, audition preparation,etc.

4) By now, the Daily Routine should be a way of life! Stick to it and adapt it so you are prepared for ANY playing situation at ANY time. Review your scales DAILY.