Low Brass Curriculum (Trombone, Bass Trombone, Baritone, Tuba)

LEVEL I – Introductory

Suggested Methods:

  • Grunow, Jump Right In, The Instrumental Series, Book 1 with Cassette/CD, the Solo CD One with Writing Book

Sample Solos:

  • NYSSMA Level 1 solos

Skills:

  • Foundations of efficient technique: relaxed deep breathing, producing a rich buzz on the mouthpiece, full tone quality
  • Basic musicianship: develop the ability to hear and sing IN TUNE and move in a steady rhythm

Practice goals:

  • Learn music by ear – sing first, then play. Breathe where a singer would breathe (phrasing a song).
  • Develop a repertoire of memorized tunes

LEVEL II – Basic

Methods:

  • Grunow, Jump Right In, The Instrumental Series, Solo CD One with Writing Book
  • Kinyon, Breeze Easy (Book 2)
  • Rubank, Intermediate Method
  • Hunsberger, ed., The Remington Warm-Up Studies for Trombone

Sample Solos:

  • Level 2 NYSSMA Solos
  • Bach, Minuet
  • Franck, Panis Angelicus
  • Handel, Saraband

Skills:

  • Articulation: separated vs. connected styles
  • Flexibility: smooth lip slurs with good embouchure
  • Continued ear training
  • Major and Minor scales (Bb/ g, Eb/c, F/d)
  • Remington #1, 3, 5, 13, 18
  • All major and minor scales and arpeggios, two octaves
  • High D and above
  • Sight-reading in alto and tenor clefs
  • Remington above + #42, 44, 53, 56, 57

Students are required to:

  • Practice DAILY. I will not require a specific amount of weekly practice unless a student is repeatedly unprepared. Students should always practice at least 20-30 minutes a day to be minimally prepared for a 30-minute weekly lesson. For maximum benefit, strive for two to three hours daily, but break this up into half-hour segments to avoid fatigue (both physical and mental) which can lead to injury and/or bad habits. This amount is required for level 6 students planning to audition for a conservatory.
  • Participate in large ensemble in school. Ensembles out of school, especially youth orchestras, offer important and unique musical opportunities and are highly recommended. Playing in a youth orchestra will raise your musical standards and introduce you to important repertoire. Low Brass instruments are “team players”!
  • Attend concerts – at least once per semester, but the more the better. Open your ears to the high quality of live music in Rochester. Attend RPO concerts (free tickets may be available through CED, or $5 student rush tickets at the door), recitals, ESM concerts, jazz ensemble, even listen to concerts which don’t involve brass, such as piano recitals, early music ensembles, operas, etc. Strive to be an intelligent musician, who happens to play a brass instrument! Buy recordings of great players of your instrument.
  • Keep your instrument clean and in good working order. Each student must have an appropriate instrument for his/her skill level and playing goals. Level 5 and 6 students need to have a trombone with f-attachment, or euphonium/tuba with four valves. I may require repairs as necessary, and on occasion, require the purchase of a specific mouthpiece. Students will purchase method books, solos, etc. in a reasonable amount of time (usually two weeks) and bring the necessary materials to every lesson.

LEVEL III – Intermediate

Methods:

  • Rubank, Advanced Method, vol. 1
  • Hunsberger, ed., The Remington Warm-Up Studies for Trombone

Sample Solos:

  • Level 3 NYSSMA Solos
  • Corelli, Prelude and Minuet
  • Bach/Fote, Air

Skills:

  • Freedom of expression as technique develops
  • Control of dynamics, articulation, and range with a beautiful, even tone; high G
  • Major and Minor scales (C/a, G/e, D/b, Ab/f)
  • Sight reading
  • Remington above + #7, 14, 16, 19, 20, 23, 28

Level IV – Intermediate

Suggested Methods:

  • Rubank, Advanced Method, vol. 1 & vol. II
  • Raph, ed., Introductory Melodious Etudes
  • Hunsberger, ed., The Remington Warm-Up Studies for Trombone

Sample Solos:

  • Level 4 NYSSMA Solos
  • Mozart, Sonatina
  • Hasse, Suite

Skills:

  • Legato, vocal style
  • Natural slurs: seamless use of the air with a relaxed approach
  • High B-flat
  • Major and Minor scales (Db/bb, Gb/Eb, A/f#, E/c#)
  • Remington above + #20, 29, 35, 37, 40, 48

LEVEL V: DIPLOMA LEVEL

Suggested Methods:

  • Bordogni/Rochut, Melodious Etudes for Trombone, v. I
  • Bordogni/King, 43 Bel Canto Studies for Tuba
  • Hunsberger, ed., Blavhevitch Clef Studies
  • Fote, ed. Kopprasch, Studies for Trombone with F-attachment
  • King, ed. Kopprasch, Selected Studies for Tuba
  • Hunsberger, ed., The Remington Warm-Up Studies for Trombone

Sample Solos:

  • NYSSMA Level 5 Solos

Trombone:

  • Mozart, Concerto in B-flat, mvt. III
  • Hindemith, Sonata, mvts. I & II
  • Rimsky-Korsakov, Concerto
  • Sulek, Sonata
  • Telemann, Suite in f minor

Bass Trombone:

  • Lebedev, Concerto
  • Wilder, Sonata
  • Hidas, Meditation

Euphonium:

  • Guilmant, Morceau Symphonique
  • Mozart, Concerto in B-flat, mvt. III
Tuba:
  • Haddad, Suite for Tuba
Unrated solos, trombone:
  • Casterede, Sonatine
  • Grondahl, Concerto
  • Larsson, Concertino
  • Pryor, Blue Bells of Scotland
  • Saint-Saens, Cavatine (+ other Paris Cons. Pieces)

Skills:

  • Security in the high register
  • Alto and tenor clefs for trombone
  • High C; use of f-attachment; double and triple tonguing
  • Major and Minor scales (B/g#, F#, C#, Cb/ab)
  • Remington above + #21, 39, 49, 51, 55

LEVEL VI: HONORS LEVEL

Suggested Methods:
Level 5 Materials, plus…

  • Melodious Etudes for Trombone, v. I and II, as written plus in tenor clef, down the octave
  • Orchestral Excerpts, in parts and books, ed. Brown
  • Hunsberger, ed., The Remington Warm-Up Studies for Trombone
  • Tyrrell, 40 Progressive Studies
  • Bach, Cello Suites

Sample Solos:

  • NYSSMA Level 6 Solos

Trombone:

  • Blazhevitch, Concerto No. 2 in D-flat
  • David, Concertino
  • Guilmant, Morceau Symphonique
  • Hindemith, Sonata, mvts. III & IV
  • Jacob, Concerto
  • White, Sonata

Bass Trombone:

  • George, Concerto
  • Hartley, Sonata Breve

Tuba:

  • Hindemith, Sonata
  • Mozart, Serenade, ed. Morris
  • Lebedev, Concerto
  • Gregson, Concerto
  • Wilder, Suite No. 1

Euphonium:

  • Mozart, Concerto in B-flat, mvt. I
  • Saint-Saens, Morceau de Concert (Nelson)
  • White, Lyric suite
  • Solos by Clarke, Bellstedt

Skills:

  • Demonstrate full control of range, articulation, dynamics, intonation, and rhythm
  • Mastery of flexibility, slide/valve technique, tone quality, and breath control
  • Able to create aesthetically compelling interpretations independently