Entrance and Exit Requirements
REQUIREMENTS FOR ADMISSION INTO TROMBONE/EUPHONIUM 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
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.
1 credit: half hour lesson. No jury is required.
Fundamentals of tone production, embouchure development, breath support, and attack.
TENOR TROMBONE
EUPHONIUM
METHODS
Rubank Elementary Method
Rubank Intermediate Method
Pearson Standard of Excellence, Vols. 1,2,3
METHODS
Beeler Method for Baritone, Book 1
Rubank Intermediate Method
Pearson Standard of Excellence, Vols. 1,2,3
WARM-UP EXERCISES
Remington/Hunsberger Warm-up Exercises
Vining Daily Routines for the Young Trombonist
WARM-UP EXERCISES
Remington/Hunsberger Warm-up Exercises
Vining Daily Routines for the Student Euphonium
Player
STUDIES FOR GENERAL TECHNIQUE
Bordner First Book of Practical Studies
Voxman Selected Studies
Fink Studies in Legato
REPRESENTATIVE SOLO MATERIAL
Kinyon Breeze-Easy Recital Pieces
Arnold (ed.) Easy Trombone Solos
STUDIES FOR GENERAL TECHNIQUE
Bordner First Book of Practical Studies
Voxman Selected Studies
Fink Studies in Legato
REPRESENTATIVE SOLO MATERIAL
Belwin Mills Classic Festival Solos
Benson Aubade
Marsteller Barbary Pirates
Marsteller Yesterday Afternoon
Mozart/Ernst Sonatina
Vaughn Williams Six Studies in English Folksong
Campbell Master Solos
Davis Variations on a Theme of Robert Schumann
Dowland/Fischer What if I Never Speed
Mozart/Ernst Sonatina
Phillips Eight Bel Canto Songs
Smith, H.C. Solos for the Baritone Player
TECHNIQUE
TECHNIQUE
All major scales, one octave in quarter notes (mm120) All major scales, one octave in quarter notes (mm120)
MUSA 239, 240
Nonmusic majors, music majors on secondary instrument.
1 credit: 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.
TENOR TROMBONE
EUPHONIUM
METHODS
Rubank Intermediate Method
Rubank Advanced Method, Vol.1,2
METHODS
Beeler Method for Baritone, Book 2
Guggenberger Basics Plus
Rubank Advanced Method, Vol.1,2
WARM-UP EXERCISES
Hall Gym
Remington Warm-up Exercises
Vining Daily Routines for the Young Trombonist
LEGATO STUDIES
Cimera 55 Phrasing Studies
Fink Introducing Legato
STUDIES FOR GENERAL TECHNIQUE
Bordner Second Book of Practical Studies
Lafosse School of Sightreading & Style, Book A
Roberts-Tanner Let's Play Bass Trombone
Voxman Selected 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
Hasse Suite
Haydn Andante
Haydn-Schuman Adagio
Mozart/Ernst Sonatina
Ostrander Concert Piece in Fugal Style
WARM-UP EXERCISES
Hall Gym
Remington Warm-up Exercises
Vining Daily Routines for the Student Euphonium Player
STUDIES FOR GENERAL TECHNIQUE
Bordner Second Book of Practical Studies
Fink From Treble Clef to Bass Clef Baritone
Fink Introducing Legato
Lafosse School of Sightreading & Style, Book A
Mead New Concert Studies for Euphonium, Vol.1
Voxman Selected Studies
REPRESENTATIVE SOLO MATERIAL
Alary Contest Piece
Bartok/Harris Evening in the Country
Court Fantasy Jubiloso
Croce-Spinelli Solo de Concours
Faure Apres Un Reve
Frackenpohl Pastorale
Haddad Suite for Baritone
Hasse Suite
Haydn Andante
Haydn-Schuman Adagio
Krzywicki Ballade
Mozart/Ernst Sonatina
Ostrander Concert Piece in Fugal Style
Smith, H.C. Solos for the Baritone Player
Vaughn Williams/Droste Six Studies in English Folksong
Voxman Concert & Contest Collection
Smith, H.C. Solos for the Trombone Player
Voxman Concert & Contest Collection
TECHNIQUE
TECHNIQUE
All major scales and arpeggios, one octave in eighth notes All major scales and arpeggios, one octave in eighth notes
(mm120).
(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 (SPH) performance. 142 Jury consists of two solos, one by memory, with
piano or major unaccompanied solo, playing by ear.
MUSA 151, 152
3 credits: full hour lesson - for freshmen Performance majors only. No jury for 151. 152 requires two
student recital performances. 152 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/fourth valve if
appropriate. Remedial concentration if indicated. Begin multiple tonguing. Begin jazz style reading. Begin
playing by ear.
TENOR TROMBONE
EUPHONIUM
METHODS
Vining Daily Routines for Trombone
Arban/Alessi/Bowman Method
METHODS
Arban/Alessi/Bowman Method
Guggenberger Basics Plus
WARM-UP EXERCISES
Remington Warm-up Exercises
Vining Daily Routines for Trombone
Vining Daily Routines for Euphonium
WARM-UP EXERCISES
Remington Warm-up Exercises
Vining Daily Routines for Euphonium
LEGATO STUDIES
Bordogni-Schwartz Vocalises Vol.1
Fink Studies in Legato
STUDIES FOR GENERAL TECHNIQUE
Davies 20 Etudes in Changing Meters
Lafosse School of Sightreading & Style, Book A
Slama/Brown 66 Etudes in All Keys
Tyrrell 40 Progressive Studies
Voxman Selected Studies
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
LEGATO STUDIES
Bordogni-Schwartz Vocalises Vol.1
Fink Studies in Legato
STUDIES FOR GENERAL TECHNIQUE
Davies 20 Etudes in Changing Meters
Fink From Treble Clef to Bass Clef Baritone
Lafosse School of Sightreading & Style, Book A
Mead New Concert Studies for Euphonium, Vol.1
Slama/Brown 66 Etudes in All Keys
Tyrrell 40 Progressive Studies
Voxman Selected Studies
CLEF STUDIES
Fink Introducing Tenor Clef
Edwards Before Blazhevich
Blazhevich Studies in Clefs
REPRESENTATIVE SOLO MATERIAL
Dubois, T. Concert Piece in A-flat Major
Marcello/Hall Sonatas 1-6
Morel Piece in F Minor
Nux, de la Concertpiece
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
1.
Rimsky-Korsakov Russian Easter Overture
2.
Mozart Requiem: Tuba mirum solo
3.
Berlioz Hungarian March
4.
Saint-Saëns Symphony No.3
5.
Wagner Lohengrin: Prelude to Act III
6.
Copland Buckaroo Holiday from Rodeo
7.
Stravinsky Pulcinella
8.
Dvorák Symphony No.9 (New World)
9.
Brahms Symphony No.3
10.
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
Barat Introduction and Dance
Barat Introduction and Serenade
Barat Andante et Allegro
Bellstedt Napoli
Capuzzi Andante and Rondo
Clarke Bride of the Waves
Clarke From the Shores of the Mighty Pacific
Curnow Rhapsody
DeLuca Beautiful Colorado
Galliard Sonatas 1-6
Guilmant Morceau Symphonique
Hutchison Sonatina
Marcello/Hall Sonatas 1-6
Morel Piece in F Minor
Nux, de la Concertpiece
Porret Six Esquisses
Rachmaninoff/Smith Vocalise, Op.34, No.14
Ropartz Andante et Allegro
BAND/ORCHESTRAL EXCERPTS
Pendergast Practical Guide to Wind Band Excerpts for
Euphonium
TECHNIQUE
Mueller Technical Studies, Vol.1
Salvo 241 Double and Triple Tonguing Exercises
Arban/Alessi/Bowman Method (selections)
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 (SPH) performance. 241 and 242 jury consists of two solos, one by memory, with piano or
major unaccompanied solo, playing by ear.
MUSA 251, 252
3 credits: full hour lesson - for sophomore Performance majors only. Requires two student recital (SPH)
performances. 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 with emphasis on any deficiencies. Advanced flexibility exercises, continue multiple
tonguing. Intermediate materials for clefs, articulation, range, velocity, F-attachment/fourth valve, jazz
styles.
TENOR TROMBONE
EUPHONIUM
METHODS
Arban/Alessi/Bowman Method
Vining Daily Routines
METHODS
Arban/Alessi/Bowman Method
Guggenberger Basics Plus
WARM-UP EXERCISES
Marsteller Basic Routines
WARM-UP EXERCISES
Pilafian/Sheridan The Brass Gym
Remington Warm-up Exercises
Remington Warm-up Exercises
LEGATO STUDIES
Bordogni-SchwartzVocalises Vols.1,2
Fink Studies in Legato
LEGATO STUDIES
Bordogni-SchwartzVocalises Vols.1,2
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
STUDIES FOR GENERAL TECHNIQUE
Blume 36 Studies for Trombone with F-Attachment
Clarke Technical Studies
Lafosse School of Sightreading & Style, Book B
Mead New Concert Studies for Euphonium, Vol.2
Tyrrell 40 Progressive Studies (bass or tenor clef)
CLEF STUDIES
Fink Introducing Alto Clef (and tenor if not completed)
Blazhevich Studies in Clefs
CLEF STUDIES
Blazhevich Studies in Clefs
REPRESENTATIVE SOLO MATERIAL
Clarke Carnival of Venice
F-ATTACHMENT STUDIES
Cord Concert Fantasie
Fink Introducing the F-Attachment
Corwell Night Song
Fink Studies in Legato for Bass Trombone, Tuba
Falcone Mazurka
Blume 36 Studies for Trombone with F-Attachment
George Sonata
Ostrander The F-Attachment & Bass Trombone
Handel/laFosse Concerto in F Minor
Gillis 70 Progressive Studies
Israel Dance Suite
Jones Dialogues
JAZZ STUDIES
Klengel/Falcone Concertino No.1 in B-flat
Lipsius Reading Key Jazz Rhythms
Playing simple melodies by ear and memory, in most keys, Pryor Any of the solos
Ravel Piece en Forme de Habanera
on trombone and piano.
Rimsky-Korsakov Concerto
Saint-Saëns Cavatine, Op.144
REPRESENTATIVE SOLO MATERIAL
Saint-Saëns/Falcone The Swan
Barat Andante et Allegro
Senaille Allegro Spiritoso
Barat Piece in Mi Bemol
Shepherd Nocturne and Rondolette
Boda Sonatina
Spears Rondo Capriccioso
Dubois, P.M. Cortege
Telemann Sonata in f Minor
Grafe Grand Concerto
Guilmant Morceau Symphonique
BAND/ORCHESTRAL EXCERPTS
Nelhybel Suite
Pendergast Practical Guide to Wind Band Excerpts for
Pryor Annie Laurie
Euphonium
Rimsky-Korsakov Concerto
Rousseau Piece Concertante
TECHNIQUE
Saint-Saëns Cavatine, Op 144
Mueller Technical Studies, Vols.1&2
ORCHESTRAL EXCERPTS
Salvo 241 Double and Triple Tonguing Exercises
1.
Rossini La Gazza Ladra Overture
Hall Technique Exam
2.
Rimsky-Korsakov Scheherazade
3.
Brahms Symphony No.1
4.
Wagner Tannhaüser Overture
5.
Stravinsky Petrouchka
6.
Verdi La Forza del Destino Overture
7.
Copland Appalachain Spring
8.
Tchaikovsky 1812 Overture
9.
Schubert Symphony No.9 (Great C Major)
10.
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. 341 and 342 jury consists of two solos, one by memory, with
piano or major unaccompanied solo, playing by ear.
MUSA 351, 352
3 credits: 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/fourth valve if not previously learned.
TENOR TROMBONE
EUPHONIUM
METHODS
Arban/Alessi/Bowman Method
Vining Daily Routines for Trombone
METHODS
Arban/Alessi/Bowman Method
Guggenberger Basics Plus
WARM-UP EXERCISES
Remington Warm-up Exercises
Schlossberg Daily Drills & Technical Studies
Marsteller Basic Routines
WARM-UP EXERCISES
Pilafian/Sheridan The Brass Gym
Remington Warm-up Exercises
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
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
LEGATO STUDIES
Bordogni-SchwartzVocalises Vols.2,3
Bach Cello Suites (ed. Brown, Lafosse, Lusk, or
Marsteller)
Concone-Miller 40 Legato Studies
STUDIES FOR GENERAL TECHNIQUE
Bitsch 15 Etudes du Rhythme
Blume 36 Studies for Trombone with F-Attachment
Lafosse School of Sightreading & Style, Book B-C
Kopprasch 60 Studies
CLEF STUDIES
Blazhevich Studies in Clefs
Uber 30 Etudes in Bass & Tenor Clef
JAZZ STUDIES
Lipsius Reading Key Jazz Rhythms
Wilson/Viola Chord Studies for Trombone
Snidero Jazz Conception
REPRESENTATIVE SOLO MATERIAL
Barat Morceau de Concours
Bizet Flower Song from Carmen
Boda Sonatina
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
1.
Hindemith Symphonic Metamorphosis
2.
Strauss Till Eulenspeigel
3.
Ravel Bolero
4.
Stravinsky Firebird
5.
Brahms Symphony No.2
6.
Borodin Plolvetsian Dances
7.
Britten Young Person's Guide to the Orchestra
8.
Kodály Harry Janos Suite
9.
Respighi Pines of Rome
10.
Tchaikovsky Symphony No.4
TECHNIQUE
Clarke Technical Studies
Hall Technique Exam
Lin Lip Flexibilities for All Brass Instruments
Mueller Technical Studies, Vols.2,3
Marsteller Basic Routines Part 1, plus flexibility, attack
exercises.
Some emphasis on extreme ranges, security, and
endurance.
Brahms/Little Four Serious Songs
Casterede Fantasia Concertante
Clinard Sonata
Cord Concert Fantasie
David Concertino
Frackenpohl Sonata
Handel/Fitzgerald Aria can Variazioni
Hartley Sonata Euphonica
Hindemith Sonata for Bassoon
Jacob Fantasia
Mantia Endearing Young Charms
Pryor All solos
Puccini Nessun Dorma
Rachmaninoff Vocalise
Ross Partita
Rossini Largo al Factotum
Schmidt The Devil's Tongue
Schumann/Droste Five Pieces in Folk Song Style, Op.102
Sparke Fantasy
Sparke Song for Ina
Takacs Sonata Op.59
White Lyric Suite
Wilder Sonata
BAND/ORCHESTRAL EXCERPTS
Pendergast Practical Guide to Wind Band Excerpts for
Euphonium
Shifrin The Professional's Handbook of Orchestral
Excerpts for Euphonium and Bass Trumpet
TECHNIQUE
Clarke Technical Studies
Mueller Technical Studies, Vols.2,3
Hall Technique Exam
Lin Lip Flexibilities for All Brass Instruments
Some emphasis on extreme ranges, security, and
endurance.
SEVENTH AND EIGHTH SEMESTERS
MUSA 441, 442
2 credits: full hour lesson - for senior Music Education majors and Music minors only. Requires one
student recital (SPH) performance each semester unless recital approval or recital is performed. 441 and
442 jury consists of two solos, one by memory, with piano or major unaccompanied solo, playing by ear.
442 may be repeated to prepare senior recital.
Music Education majors may give a recital approval performance and half-hour (senior) recital
during 441 when student teaching is scheduled for the next semester. Otherwise this is
accomplished during 442. (SPH) requirements are waived during the recital semester.
MUSA 451, 452
3 credits: full hour lesson - for senior Performance majors only. 451 requires two student recital (SPH)
performances. 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 hour (senior) 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.
TENOR TROMBONE
EUPHONIUM
WARM-UP EXERCISES
Hall Daily Routine with compact disc
Marsteller Basic Routines
Remington Warm-up Exercises
Vining Daily Routines for Trombone
WARM-UP EXERCISES
Hall Daily Routine with compact disc Pilafian/Sheridan The
Brass Gym
Remington Warm-up Exercises
LEGATO STUDIES
Bordogni/Schwartz Vocalises Vols.4,5,6
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
Lin Lip Flexibilities for All Brass Instruments
Pichareau 21 Studies of General Technique Pederson
Advanced Etudes
Marsteller Advanced Slide Technique
Marsteller 6 Etudes
Masson 12 Etudes Variees
Maxted 20 Studies
Senon 25 Etudes Rythmo-Techniques
Vining Daily Routines for Trombone
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.
LEGATO STUDIES
Bordogni/SchwartzVocalises Vols.4,5,6
Couilland Etudes de Style
STUDIES FOR GENERAL TECHNIQUE
Various studies for tuba and French tuba.
Arban/Alessi/Bowman Method
Bitsch 15 Etudes du Rhythme
Boutry Douze Etudes de Haut Perfectionnement
Charlier 32 Etudes de Perfectionneme
Guggenberger Basics Plus
Lafosse School of Sightreading & Style, Book C-D
Lin Lip Flexibilities for All Brass Instruments
Kopprasch 60 Studies
Masson 12 Etudes Variees
Senon 25 Etudes Rythmo-Techniques
Uber Twenty-two Etudes
Vizutti 20 Dances for Euphonium
CLEF STUDIES
Blazhevich Studies in Clefs and 26 Sequences
Uber 30 Etudes in Bass & Tenor Clef
JAZZ STUDIES
Lipsius Reading Key Jazz Rhythms
Wilson/Viola Chord Studies for Trombone
Snidero Jazz Conception
REPRESENTATIVE SOLO MATERIAL
Complete literature from 300's if deemed necessary.
Bach Cello Suites
Boccolari Fantasia di ConcertoBourgeois
JAZZ STUDIES
Bourgeois Concerto for Trombone
Wilson/Viola Chord Studies for Trombone
Bowen Euphonium Music
Baker, D. Jazz Styles and Analysis
Bozza Hommage a Bach
Reeves Creative Jazz Improvisation
Butterworth Partita
Coker Patterns for Jazz
Learning standard tunes as assigned, required reading as Censu As Wonderful Things Drift By
Corwell Odyssey
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
Ewazen Sonata
Goldstein Colloquy
Grondahl Concerto
Handel-Marsteller Concerto in F Minor
Krenek Five Pieces
Martin Ballade
McKay Sonata
Milhaud Concertino d'Hiver
Mozart, L. Concerto
Pryor Blue Bells of Scotland
Ross Cryptical Triptych
Sanders Sonata in E-flat
Serly Concerto
Serocki Concerto
Serocki Sonatina
Stevens, John Sonata
Stevens, Halsey Sonata
Sulek Sonata
Vivaldi/Brown 6 Sonatas
Mahler/Ostrander Solo from Third Symphony
Wagenseil Konzert
ORCHESTRAL EXCERPTS
1.
Mahler Symphony No.3
2.
Brahms Symphony No.4
3.
Bartok Concerto for Orchestra
4.
Strauss Also Sprach Zarathustra
5.
Ravel L'Enfante et les Sortileges
6.
Milhaud La Creation du Monde
7.
Liszt Hungarian Rhapsodie No.2
8.
Dvorák Symphony No.8
9.
Bruckner Symphony No.4
10.
Tchaikovsky Symphony No.6
1.
Hindemith Mathis der Maler
2.
Schumann Symphony No.3
3.
Beethoven Symphony No.9
4.
Rossini William Tell Overture
5.
Wagner The Ride of the Valkyries
6.
Brahms Tragic Overture
7.
Holst The Planets
8.
Sibelius Symphony No.2
9.
Mendelssohn Symphony No.5
10.
Mahler Symphony No.2
Curnow Symphonic Variants
Ewazen Concerto
Gillingham Blue Lake Fantasies
Gillingham Vintage
Grondahl Concerto
Horovitz Concerto
Hoshina Fantasy for Euphonium and Piano
Hovhaness Symphony No.29
Jager Concerto for Euphonium
Lathan Eidolons
Mantia Auld Lang Syne
McKay Sonata
Mozart, W.A. Concerto for Bassoon K.191
Picchi/Mantia Fantasia Originale
Ponchielli Concerto per Flicorno Basso
Raum Faustbach
Richards Rangitoto
Rogers The Volunteer
Saint-Saëns Morceau de Concert
Spark Concerto
Spark Pantomime
Stevens, John Soliloquies
Sulek Sonata
Uber Sonata
Vivaldi/Brown Sonatas 1-6
Weber Concerto for Bassoon
Wiggins Soliloquy No.9
Wilhelm Concertino for Euphonium
BAND/ORCHESTRAL EXCERPTS
Pendergast Practical Guide to Wind Band Excerpts for
Euphonium
Shifrin The Professional's Handbook of Orchestral
Excerpts for Euphonium and Bass Trumpet
Janecek Sinfonietta
Mahler Symphony #7
Mussorgsky/Ravel Pictures at an Exhibition
Strauss Tone Poems (Tenor Tuba parts)
Wagner Operas (Bass Trumpet parts)
SPECIAL ENSEMBLE LITERATURE
Poulenc Sonata (Trio)
Arnold Quintet
Stravinsky L'Histoire du Soldat
Campo Commedie
Kellaway Esque
Persichetti Serenade
Beethoven 3 Equali
Kroeger Toccata
Ewald Quintets
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
Dijk Ben's Basics
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
Naulais Etudes variées sur la Virtuosité, le Style et le Rythme Vols.1,2
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
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 No.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 No.3, Lusk
Beversdorf Sonata for Tuba
Dedrick Prelude and March
Ewazen Rhapsody
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 No.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.
Levels and Materials of Graduate Study
MUSA 651, 652
3 credits: full hour lesson - for trombone/euphonium students pursuing the Master of Music Education
degree with concentration in Applied Studies. This class 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.
Requires two student recital (SPH) performances each semester. 651 jury consists of two solos, with
piano or major unaccompanied solo, no memory required, playing by ear. No jury for 652; a recital
approval performance and full hour recital is required. (SPH) requirement is waived during recital
semester.
Generally, this level entails review and solidification of technique, pedagogy and extensive emphasis on
literature in preparation of the degree recital.
TENOR TROMBONE
EUPHONIUM
STUDIES
Masson 12 Various Studies
Bozza 11 Etudes in Karnatic Modes
Bozza 13 Etudes Caprices
Lafosse Vade Mecum de Tromboniste
Pichareau Vignt Etudes
STUDIES
Any (all) from lower levels not accomplished and new
publications.
Virtuoso etudes for trumpet (Charlier, Bozza, Nagel) and
for horn (Reynolds, Bozza, Bitsch)
Brasch The Euphonium and 4-Valve Brasses
Reynolds Forty-eight Etudes
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 400 level list.
REPRESENTATIVE SOLO MATERIALS
Any materials not accomplished from lower levels.
Bassett Sonata
Bonneau Capriccio
Boutry Capriccio
Bozza Ballade
Brown Sonata
Castérède Sonatine
Creston Fantasy
Defaye Deux Danses
REPRESENTATIVE SOLO MATERIAL
Aagard-Nilsen 4 Lyric Pieces
Aagard-Nilsen Euphonium Concerto
Adler Four Dialogues (with marimba)
Bach, Jan Concert Variations
Bach, Jan Concerto
Bach, Jan Sonatas 1-3
Bourgeois Euphoria
Cosma Concerto
Ellerby Concerto
Gallaher Sonata
Gillingham Concerto Summer 2008
Golland Concerto No.1 and No.2
Linkola Concerto for Euphonium
Nagano Matrix with compact disc
Nehleybel Concerto for Euphonium
Szentpali Pearls
Vazzana Partita for Euph, Piano and Percussion
Weber Concertino (for clarinet)
Wilby Concerto
TECHNIQUE
Continual review and expansion of virtuoso technique as
Hindemith Sonate
Jacob Concerto
Uber Sonata
White Sonata
required by the literature.
Multiphonics, jazz skills, Avant-garde techniques.
ORCHESTRAL EXCERPTS
1.
Bartok Miraculous Mandarin
2.
Ravel Daphnis et Chloe (complete ballet)
3.
Berlioz Symphonie Fantastique
4.
Beethoven Sumphony No.5
5.
Strauss Ein Heldenleben
6.
Beethoven Missa Solemnis
7.
Berg Three Orchestra Pieces
8.
Prokofiev Romeo and Juliet Suites 1&2
9.
Bruckner Symphony No.7
10.
Mahler Symphony No.5
TECHNIQUE
Continual review and expansion of virtuoso technique as
required by the literature.
Multiphonics, jazz skills, Avant-garde techniques.
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.