Course Objectives: This course is designed to provide tonal/musical concepts, performance and practice techniques, and a working knowledge of the standard literature, so that you will develop musical proficiency in a variety of styles on the trombone, bass trombone, euphonium, or tuba.
GRADING. Final semester grades will be determined with the following percentages:
You will receive two grades each week for each lesson, one from the teacher that is based on your preparation and materials for that week. The second grade is one you give yourself based on your preparation and materials for that week. You need to have at least 11 lessons during the semester, for a total of 22 lesson grades.
70% weekly private lessons. Grades will be assigned to individual lessons. These grades will be based on
the application of concepts discussed in prior lessons, level of preparation of assigned material, improvement, etc.
10% Recital Attendance performance and attendance
Weekly private lessons have several purposes:
1) to provide the motivation for consistent improvement
2) to make suggestions for continued refinement
3) to guide the practice sessions
4) to monitor the student's progress over time
Assignments will be made regularly based on my assessment of your needs. You are strongly encouraged to take responsibility for your own progress. Daily practice is expected. The amount of practice time will vary from person to person and their specific degree requirements. Generally, as a minimum, it is recommended that at least half of the credit hours for which you are registered constitute the daily amount of practice time. Please keep in mind that this is a suggestion for a minimum requirement.
The level of preparation demonstrated in the lesson reflects not only the relative success of the preceding practice sessions, but also the consistent application of techniques and concepts in other performance situations. In other words, always apply what we are working on in the lessons.
Attendance Policy: Attendance is required at all lesson. Lessons not given due to teacher absence will be made up. Excused absences will be made up if I am given prior notification. Absences excused after the fact will be made up my schedule allows.
In the unlikely event of an unexcused absence from a lesson, the lesson will not be made up and the student's final grade will be lowered one letter. A second unexcused absence will lower the grade another letter. A third (!) unexcused absence from a lesson will result in a failing grade. This policy applies to make-up lessons as well as regularly scheduled lessons and studio classes.
Suggestions regarding effective practice:
Listen to what’s coming out of that bell. Hopefully it’s not your tongue:)
Warm up, warm down and take breaks. Rome was not built in one day.
Start with something on which you sound good. Confidence is everything.
Vary your warm up and practice. Repetitive practice leads to boredom.
Try it slower, faster, softer, louder. Try it down an octave, or up.
Buy and use Four Greatest Teachers: Metronome, Tuner, Mirror, Tape-recorder.
Match your technical studies to areas of your playing that could be better.
Most people don’t practice eight hours a day. Be efficient and split up sessions.
Budget your practice time, don’t be afraid to move on, but don’t gloss over.
Practice every day. When taking a day off, don’t go anywhere near the horn.
Don’t practice hungry or tired and practice first before anything else.
Pay attention to your posture: stand up straight, relax the arms and hands.
Relax and blow air, it’s fuel for the car. Breathe deep.
Other keys to musical success:
Avoid excessive self-deprecation, it’s damaging to you and others don’t care.
Accept compliments graciously.
Play everything: orchestra, opera, wind or jazz ensemble, brass ensemble, jazz combo, brass quintet, rock, wedding bands, new music, circus, rodeo:). One hint: the more you like it, the less it will pay.
Listen to good music all the time. Everyday.
Build a library of trombone music, sight-read something new every day.
Get together and play duets, trios and quartets. Play with anyone.
Stage presence is important: smile, bow, look good, acknowledge your pianist.
The more prepared you are, the less nervous you will be.
Your current and future students will benefit from your hard work now.
In addition, your other courses are of vast importance to the development of your musical being. Ace your theory, history, sight-singing and methods classes Be supremely prepared for your ensemble work.
Recitals: I encourage you to schedule recitals at any point (required or not). They provide a great goal for lessons. You can consider joint recitals as well. They could be at schools, churches, nursing homes, prisons, etc. Please let me know in advance when and where your recital and dress rehearsal are so I can be there!! Choose your repertoire early and secure a good pianist well in advance.
Conduct Statement: College students are adults and are expected to behave accordingly.
Academic Dishonesty Statement: Academic Dishonesty: Cheating, collusion, and plagiarism (the act of using source material of other persons, either published or unpublished, without following the accepted techniques of crediting, or the submission for credit of work not the individual’s to whom credit is given). Additional guidelines on procedures in these matters may be found in the Dean of Students’ Office. Cheating includes, but is not limited to: (1) use of any unauthorized assistance in taking quizzes, tests, or examinations; (2) dependence upon the aid
of sources beyond those authorized by the instructor in writing papers, preparing reports, solving problems, or carrying out other assignments; or (3) the acquisition, without permission, of tests or other academic material belonging to a member of the university faculty or staff. The term “plagiarism” includes, but is not limited to, the use, by paraphrase or direct quotation, of the published or unpublished work of another person without full and
clear acknowledgment. It also includes the unacknowledged use of materials prepared by another person or agency engaged in the selling of term papers or other academic materials. The term “collusion” means collaboration with another person in preparing work offered for credit of that collaboration is not authorized by the faculty member in charge.
Student Honor Creed
"As an MSU Student, I pledge not to lie, cheat, steal, or help anyone else do so."
As students at MSU, we recognize that any great society must be composed of empowered, responsible citizens. We also recognize universities play an important role in helping mold these responsible citizens. We believe students themselves play an important part in developing responsible citizenship by maintaining a community where integrity and honorable character are the norm, not the exception. Thus, We, the Students of Midwestern State University, resolve to uphold the honor of the University by affirming our commitment to complete academic honesty. We resolve not only tobe honest but also to hold our peers accountable for complete honesty in all university matters. We consider it dishonest to ask for, give, or receive help in examinations or quizzes, to use any unauthorized material in examinations, or to present, as one's own, work or ideas which are not entirely one's own. We recognize that any instructor has the right to expect that all studentwork is honest, original work. We accept and acknowledge that responsibility for lying, cheating, stealing, plagiarism, and other forms of academic dishonesty fundamentally rests within each individual student. We expect of ourselves academic integrity, personal professionalism, and ethical character. We appreciate steps taken by University officials to protect the honor of the University against any who would disgrace the MSU student body by violating the spirit of this creed.
Written and adopted by the 2002-2003 MSU Student Senate.
Special Needs Statement: Students with a disability must be registered with Disability Support Services before classroom accommodations can be provided. If you have a documented disability that will impact your work in this class, please contact me to discuss your needs. Disability Support Services is located in the Clark Student Center, Room 168. They may also be contacted at 397-4140. If you need course adaptations or accommodations because of a disability, if you have emergency medical information that needs sharing, or if you need special accommodations in case the building must be evacuated, please make an appointment with the professor as soon as possible.
Student Privacy Statement: Federal privacy law prohibits me from releasing information about students to certain parties outside of the university without the signed consent of the student. Thus, in almost all cases I will not discuss your academic progress or other matters with your parents. Please do not have them call me. Regardless of these important legal considerations, it is my general policy to communicate with the students, not their parents, even when a student has signed a consent form.
Recommended Course of Study
Etudes: Bordogni, 120 Melodius Etudes, Kopprasch 60 Technical Studies, Hering 40 Progressive Etudes for Trombone (remedial), Tyrrell 40 Progressive Studies for Trombone, Lafosse Tenor Clef Book A, Tyrrell Advanced Studies for Bb Bass (bass), Vernon A Singing Approach to Trombone (bass and tenor)
Solos: Guilmant Morceau Symphonique, Rimsky-Korsakov Concerto for Trombone and Band, Larsson Concertino, Galliard Solo Sonatas, Lieb Concertino Basso (bass)
Scales: (Always memorized) First semester - All major scales. Two octave Eb, E -> Bb and one octave remaining. Eight note at M.M. = 120, no flubs.
Second semester - All melodic, harmonic and natural minor scales. Required etude and sight reading in tenor clef
Fundamental training covering proper posture, breath support, development of embouchure, and correct staccato and legato tonguing; material leading the student through simple combinations of rhythm and intervals; major scales and arpeggios within embouchure capabilities of the student.
Concentration on legato playing through melodies in Rochut; extension of the register through major scales and arpeggios; training in minor scales.
Complete coverage of minor scales and arpeggios in extended registers; introduction to the C Clef.
Etudes: Bordogni, 120 Melodius Etudes, Kopprasch 60 Technical Studies, Aharoni New Method for the Modern Bass Trombone, Fink Introducing the Alto Clef, Schlossberg Method for trombone, Stephanovsky 20 Studies for Bass Trombone, Uber 30 Concert Etudes for Bass Trombone, Cimera 73 Advanced Tuba Studies (bass), Gale 20 Jazz Etudes
Solos: Hindemith Sonata, David Concertino, Saint-Saens Cavatine, Salzedo Concertante, Serocki Sonatina, Lebedev Concerto for Bass Trombone, Jacob Cameos (bass)
Scales: First semester - Modal scales played in succession: C Ionian, C dorian, etc.
Second semester - Diminished scales in succession: C half-whole, C whole-half,
Whole tone scales, Required etude and sight reading in alto clef.
Double and triple tonguing; tenor and alto clef.
Etudes: Blazevich Tenor and Bass Trombone Studies, Boutry Ten Difficult Etudes, Lafosse Books B-E, Raph The Double Valve Bass Trombone, Grigoriev - 50 Etudes for Tuba (bass), Grigoriev 78 Studies for Tuba (bass), Sear Etudes for Tuba (bass)
Solos: Grohndahl Concerto, Bozza Ballade, Jacob Concerto, Wilder Sonata (tenor), Wagenseil Concerto (alto), Wilder Sonata (bass), White Tetra Ergon (bass)
Extensive study of tuning covering all auxiliary slide positions and alternate fingerings; breath control in legato; exercises in flexibility; material covering placement of the tongue in all registers to attain greater speed and dexterity; studies to establish more security in the high register; vocal studies for phrasing, tone quality, and breath control; technique and material for endurance. Ensemble playing.
Study of the F trombone and fourth valve; clef material leading toward orchestral style; training in sight reading; study of the G clef.
Etudes: Bitsch 15 Rhythmic Etudes, Bozza 30 Etude Caprices, Telemann Sequences,
Solos: Tomasi Concerto, Casterede Sonatine, Albrechtsberger Concerto (alto), Defaye Deux Danses, Milhaud Concertino, Tomasi Etre Ou Ne Pas Etre (bass trombone),
White Dance and Aria (bass trombone)
Excerpts: As assigned
Concentrated study of F trombone/4th valve technic and register control; advanced technique and embouchure material.
Continued study of orchestral parts covering required material for auditions; preparation of solos for the senior recital; extended technique.
Daily Drills and Technical Studies, Schlossburg, M. Baron Company
Selected Studies, Voxman, Rubank
Advanced Musical Etudes, Fink, Accura
Method for Trombone (3 Books), Lafosse, Alphonse Leduc
18 Studies, Vasilyev/Brown, International
31 Brilliant Etudes, Blecer, Cundy-Bettoney
60 Studies for Trombone, Gaetke/Ostrander, International
66 Etudes, Slama, Carl Fischer or Accura
40 Progressive Studies, Tyrrell, Boosey & Hawkes
60 Selected Studies (2 Books), Kopprasch, Carl Fischer
Advanced Rhythm and Technic Etudes, Fink, Accura
6 Cello Suites (5), Bach, International
26 Sequences, Blazevich, International
34 Studies, Vobaron, Carl Fischer
Douze Etudes Varies, Maisson, Alphonse Leduc
Orchestral Excerpts (10 Bks.), Brown, International
Twenty Studies, Maxted, George, Boosey & Hawkes
Melodious Etudes (3 Books), Bordogni/Rochut, Carl Fischer
Melodious Etudes (2 Books, Bordogni/Tezak, Tezak Edition
Studies in Clefs, Blazevich, International
The Tenor Cleff, Fink, Accura
Complete Method for Alto Trombone, Anderson, Modern Editions
Selected Duets, Vol II, Voxman, Rubank
12 Melodious Duets, O. Blume, Carl Fischer
Three Duets, Schneider/Brown, International
Concert Duets, Belcke/Blahnik, Alliance
12 Duos, Bassett, C. F. Peters
Concert Duets, Blazevich, Belwin Mills
Concertino VIII, Porret, Editions Musicales
Fantasie Marziale, Paudert, Carl Fischer
Sonata in D minor, Corelli, International
Atlantic Zephyrs (3), Gardell Simons, Carl Fischer
Ave Maria (3), Anton Bruckner, Editions Musicus
Andante and Allegro (4), Barat, Joseph Edouard, International
Solo de Concours (Concert Piece) (4), Nux, de la, Southern
Concert Sketch No. 5 (3), Blazevich, Vladislav, Belwin Mills
Sonata V, from Six Sonatas, Galliard, International (2 Bks)
Allegro de Concert, Cools, Editions Billaudot
Phantasy Piece, Tuthill, Carl Fischer
Concerto in F minor (5), Handel, International
Morceau Symphonique, Op. 88 (4), Guilmant, Alexandre, International
Legende, Niverd, Editions Billaudot
Choral Varie, Lamy, Alphonse Leduc
Morceau Symphonique, Gaubert, International
Sonata in G minor (4), Marcello, Benedetto, International
Concerto for Trombone (4), Rimsky Korsakov, Studio P/R, International
Morceau de Concours (Concertpiece), Bachelet, International
Piece in E Flat (4), Barat, Joseph Edouard, Alphonse Leduc
Four Preludes (5), Shostakovich, Editions Musicus
Cavatine, Op. 144 (4), Saint Saens, Editions Durand & Cie
Piece Concertante (4), Rousseau, Samuel, Carl Fischer
Thoughts of Love (5), Pryor, Arthur, Carl Fischer
Sonata in Eb (5), Sanders, Warner Bros. Music
Blue Bells of Scotland (5), Pryor, Arthur, Carl Fischer
Etudes en duo d'apres, Bordogni, Alphonse Leduc
Concertino, Op. 4 (5), David, Ferdinand, International
Sonata (6), Hindemith, Paul, Schott's Soehne
Solo de Concours, Mazallier, International
Fantasie Heroique, Gottwald, Carl Fischer
Concerto No. 2, Blazhevich, International
Solo de Concert (Concertpiece), Duboise, International
Fantasie in si flat, Desportes, Carl Fischer
Meditation, Jacobi, Southern Music Publishing
Sonata in A Minor (5), Telemann, International
Concertino (Trb/Orch), Berghmans, Alphonse Leduc
Fantasy, Op. 42 (6)(Trbn/Orch), Creston, Paul, G. Schirmer
Etude de Concert, Buesser, Alphonse Leduc
Deux Danses (6), Defay, Jean Michel, Alphonse Leduc
Piece Concertante, Salzedo, Carlos, Alphonse Leduc
Sonata III (5) (Book I), Galliard, Johann Ernst, International (2 Books)
Concerto for Trombone, Jacob, Gordon, Galaxy Music Corp.
Sonatina, Serocki, Kazimierz, Hermann Moeck Verlag
Concerto (Trombone and Orchestra), Tomasi, Alphonse Leduc
Choral, Cadence, et Fugato (6), Dutilleux, Henri, Alphonse Leduc
Ballade, Op. 62 (6), Bozza, Eugene, Alphonse Leduc
Concerto for Trombone (6), Wagenseil, G. Christoph, Universal Edition