{"id":680,"date":"2017-05-10T14:23:10","date_gmt":"2017-05-10T18:23:10","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/community\/?page_id=680"},"modified":"2025-08-08T14:01:28","modified_gmt":"2025-08-08T18:01:28","slug":"low-brass-curriculum-trombone-bass-trombone-baritone-tuba","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/community\/faq\/student-curriculum\/low-brass-curriculum-trombone-bass-trombone-baritone-tuba\/","title":{"rendered":"Low Brass Curriculum (Trombone, Bass Trombone, Baritone, Tuba)"},"content":{"rendered":"<hr \/>\n<h2><span style=\"color: #61812a\">Level I: Introductory<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Suggested Methods<\/strong><\/span><\/p>\n<ul>\n<li>Grunow, <i>Jump Right In, The Instrumental Series, <\/i>Book 1 with Cassette\/CD, the Solo CD One with Writing Book<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Sample Solos<\/strong><\/span><\/p>\n<ul>\n<li><em>NYSSMA Level 1 solos<\/em><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Skills<\/strong><\/span><\/p>\n<ul>\n<li>Foundations of efficient technique: relaxed deep breathing, producing a rich buzz on the mouthpiece, full tone quality<\/li>\n<li>Basic musicianship: develop the ability to hear and sing IN TUNE and move in a steady rhythm<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Practice Goals<\/strong><\/span><\/p>\n<ul>\n<li>Learn music by ear \u2013 sing first, then play. Breathe where a singer would breathe (phrasing a song).<\/li>\n<li>Develop a repertoire of memorized tunes<\/li>\n<\/ul>\n<hr \/>\n<h2><span style=\"color: #61812a\">Level II: Basic<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Suggested Methods<\/strong><\/span><\/p>\n<ul>\n<li>Grunow, <i>Jump Right In, The Instrumental Series<\/i>, Solo CD One with Writing Book<\/li>\n<li>Kinyon, <i>Breeze Easy <\/i>(Book 2)<\/li>\n<li>Rubank, <i>Intermediate Method<br \/>\n<\/i><\/li>\n<li>Hunsberger, ed., <i>The Remington Warm-Up Studies for Trombone<\/i><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Sample Solos<\/strong><\/span><\/p>\n<ul>\n<li><em>Level 2 NYSSMA Solos<br \/>\n<\/em><\/li>\n<li>Bach, <i>Minuet<br \/>\n<\/i><\/li>\n<li>Franck, <i>Panis Angelicus<br \/>\n<\/i><\/li>\n<li>Handel, <i>Saraband<\/i><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Skills<\/strong><\/span><\/p>\n<ul>\n<li>Articulation: separated vs. connected styles<\/li>\n<li>Flexibility: smooth lip slurs with good embouchure<\/li>\n<li>Continued ear training<\/li>\n<li>Major and Minor scales (Bb\/ g, Eb\/c, F\/d)<\/li>\n<li>Remington #1, 3, 5, 13, 18<\/li>\n<li>All major and minor scales and arpeggios, two octaves<\/li>\n<li>High D and above<\/li>\n<li>Sight-reading in alto and tenor clefs<\/li>\n<li>Remington above + #42, 44, 53, 56, 57 <strong><br \/>\n<\/strong><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Students are required to:<\/strong><\/span><\/p>\n<ul>\n<li>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.<\/li>\n<\/ul>\n<ul>\n<li>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 \u201cteam players\u201d!<\/li>\n<\/ul>\n<ul>\n<li>Attend concerts \u2013 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\u2019t 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.<\/li>\n<\/ul>\n<ul>\n<li>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.<\/li>\n<\/ul>\n<hr \/>\n<h2><span style=\"color: #61812a\">Level III: Intermediate<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Suggested Methods<\/strong><\/span><\/p>\n<ul>\n<li>Rubank, <i>Advanced Method, vol. 1<br \/>\n<\/i><\/li>\n<li>Hunsberger, ed., <i>The Remington Warm-Up Studies for Trombone<\/i><strong><br \/>\n<\/strong><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Sample Solos<\/strong><\/span><\/p>\n<ul>\n<li><em>Level 3 NYSSMA Solos<br \/>\n<\/em><\/li>\n<li>Corelli, <i>Prelude and Minuet<br \/>\n<\/i><\/li>\n<li>Bach\/Fote, <i>Air<\/i><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Skills<\/strong><\/span><\/p>\n<ul>\n<li>Freedom of expression as technique develops<\/li>\n<li>Control of dynamics, articulation, and range with a beautiful, even tone; high G<\/li>\n<li>Major and Minor scales (C\/a, G\/e, D\/b, Ab\/f)<\/li>\n<li>Sight reading<\/li>\n<li>Remington above + #7, 14, 16, 19, 20, 23, 28<\/li>\n<\/ul>\n<hr \/>\n<h2><span style=\"color: #61812a\">Level IV: Intermediate<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Suggested Methods<\/strong><\/span><\/p>\n<ul>\n<li>Rubank, <i>Advanced Method, vol. 1 &amp; vol. II<br \/>\n<\/i><\/li>\n<li>Raph, ed., <i>Introductory Melodious Etudes<\/i><\/li>\n<li>Hunsberger, ed., <i>The Remington Warm-Up Studies for Trombone<\/i><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Sample Solos<\/strong><\/span><\/p>\n<ul>\n<li><em>Level 4 NYSSMA Solos<br \/>\n<\/em><\/li>\n<li>Mozart, <i>Sonatina<\/i><\/li>\n<li>Hasse, <i>Suite<\/i><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Skills<\/strong><\/span><\/p>\n<ul>\n<li>Legato, vocal style<\/li>\n<li>Natural slurs: seamless use of the air with a relaxed approach<\/li>\n<li>High B-flat<\/li>\n<li>Major and Minor scales (Db\/bb, Gb\/Eb, A\/f#, E\/c#)<\/li>\n<li>Remington above + #20, 29, 35, 37, 40, 48<\/li>\n<\/ul>\n<hr \/>\n<h2><span style=\"color: #61812a\">Level V: Diploma Level<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Suggested Methods<\/strong><\/span><\/p>\n<ul>\n<li>Bordogni\/Rochut, <i>Melodious Etudes for Trombone, v. I<br \/>\n<\/i><\/li>\n<li>Bordogni\/King, <i>43 Bel Canto Studies for Tuba<\/i><\/li>\n<li>Hunsberger, ed., Blavhevitch <i>Clef Studies<\/i><\/li>\n<li>Fote, ed. Kopprasch, <i>Studies for Trombone with F-attachment<\/i><\/li>\n<li>King, ed. Kopprasch, <i>Selected Studies for Tuba<\/i><\/li>\n<li>Hunsberger, ed., <i>The Remington Warm-Up Studies for Trombone<\/i><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Sample Solos<\/strong><\/span><\/p>\n<ul>\n<li><em>NYSSMA Level 5 Solos<\/em><\/li>\n<\/ul>\n<p><strong>Trombone<\/strong><\/p>\n<ul>\n<li>Mozart, <i>Concerto in B-flat, mvt. III<br \/>\n<\/i><\/li>\n<li>Hindemith, <i>Sonata, mvts. I &amp; II<\/i><\/li>\n<li>Rimsky-Korsakov, <i>Concerto<\/i><\/li>\n<li>Sulek, <i>Sonata<\/i><\/li>\n<li>Telemann<i>, Suite in f minor<\/i><\/li>\n<\/ul>\n<p><strong>Bass Trombone<\/strong><\/p>\n<ul>\n<li>Lebedev, <i>Concerto<br \/>\n<\/i><\/li>\n<li>Wilder, <i>Sonata<\/i><\/li>\n<li>Hidas, <i>Meditation<\/i><\/li>\n<\/ul>\n<p><strong>Euphonium<\/strong><\/p>\n<ul>\n<li>Guilmant, <i>Morceau Symphonique<br \/>\n<\/i><\/li>\n<li>Mozart, <i>Concerto in B-flat, mvt. III<\/i><\/li>\n<\/ul>\n<p><strong>Tuba<\/strong><\/p>\n<ul>\n<li>Haddad, <i>Suite for Tuba<\/i><\/li>\n<\/ul>\n<p><strong>Unrated solos, trombone<\/strong><\/p>\n<ul>\n<li>Casterede, <i>Sonatine<br \/>\n<\/i><\/li>\n<li>Grondahl, <i>Concerto<\/i><\/li>\n<li>Larsson, <i>Concertino<\/i><\/li>\n<li>Pryor, <i>Blue Bells of Scotland<\/i><\/li>\n<li>Saint-Saen<i>s, Cavatine <\/i>(+ other Paris Cons. Pieces)<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Skills<\/strong><\/span><\/p>\n<ul>\n<li>Security in the high register<\/li>\n<li>Alto and tenor clefs for trombone<\/li>\n<li>High C; use of f-attachment; double and triple tonguing<\/li>\n<li>Major and Minor scales (B\/g#, F#, C#, Cb\/ab)<\/li>\n<li>Remington above + #21, 39, 49, 51, 55<\/li>\n<\/ul>\n<hr \/>\n<h2><span style=\"color: #61812a\">Level VI: Honors Level<\/span><\/h2>\n<p><span style=\"text-decoration: underline\"><strong>Suggested Methods<\/strong><\/span><\/p>\n<p><em><span style=\"font-size: small\">Level 5 Materials, plus&#8230;<\/span><\/em><\/p>\n<ul>\n<li><i>Melodious Etudes for Trombone, <\/i>v. I and II, as written plus in tenor clef, down the octave<\/li>\n<li>Orchestral Excerpts, in parts and books, ed. Brown<\/li>\n<li>Hunsberger, ed., <i>The Remington Warm-Up Studies for Trombone<\/i><\/li>\n<li>Tyrrell, <i>40 Progressive Studies<\/i><\/li>\n<li>Bach, <i>Cello Suites<br \/>\n<\/i><\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Sample Solos<\/strong><\/span><\/p>\n<ul>\n<li><em>NYSSMA Level 6 Solos<\/em><\/li>\n<\/ul>\n<p><strong>Trombone<\/strong><\/p>\n<ul>\n<li>Blazhevitch, <i>Concerto No. 2 in D-flat<br \/>\n<\/i><\/li>\n<li>David, <i>Concertino<\/i><\/li>\n<li>Guilmant<i>, Morceau Symphonique<\/i><\/li>\n<li>Hindemith<i>, Sonata, <\/i>mvts. III &amp; IV<\/li>\n<li>Jacob<i>, Concerto<\/i><\/li>\n<li>Whit<i>e, Sonata<\/i><\/li>\n<\/ul>\n<p><strong>Bass Trombone<\/strong><\/p>\n<ul>\n<li>George, <i>Concerto<br \/>\n<\/i><\/li>\n<li>Hartley<i>, Sonata Breve<\/i><\/li>\n<\/ul>\n<p><strong>Tuba<\/strong><\/p>\n<ul>\n<li>Hindemith<i>, Sonata<br \/>\n<\/i><\/li>\n<li>Mozart<i>, Serenade<\/i>, ed. Morris<\/li>\n<li>Lebede<i>v, Concerto<\/i><\/li>\n<li>Gregson<i>, Concerto<\/i><\/li>\n<li>Wilder<i>, Suite No. 1<\/i><\/li>\n<\/ul>\n<p><strong>Euphonium<\/strong><\/p>\n<ul>\n<li>Mozart<i>, Concerto in B-flat, mvt. I<br \/>\n<\/i><\/li>\n<li>Saint-Saens<i>, Morceau de Concert<\/i> (Nelson)<\/li>\n<li>White<i>, Lyric suite<\/i><\/li>\n<li>Solos by Clarke, Bellstedt<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline\"><strong>Skills<\/strong><\/span><\/p>\n<ul>\n<li>Demonstrate full control of range, articulation, dynamics, intonation, and rhythm<\/li>\n<li>Mastery of flexibility, slide\/valve technique, tone quality, and breath control<\/li>\n<li>Able to create aesthetically compelling interpretations independently<\/li>\n<\/ul>\n<hr \/>\n<p><a href=\"https:\/\/www.esm.rochester.edu\/community\/handbooks\/student\">Student Handbook Table of Contents<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>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 [&hellip;]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":617,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":"","_links_to":"","_links_to_target":""},"coauthors":[],"class_list":["post-680","page","type-page","status-publish","hentry"],"acf":[],"mb":[],"author_meta":{"author_link":"https:\/\/www.esm.rochester.edu\/community\/author\/rita-coulter\/","display_name":"Rita Coulter"},"relative_dates":{"created":"Posted 9 years ago","modified":"Updated 10 months ago"},"absolute_dates":{"created":"Posted on May 10, 2017","modified":"Updated on August 8, 2025"},"absolute_dates_time":{"created":"Posted on May 10, 2017 2:23 PM","modified":"Updated on August 8, 2025 2:01 PM"},"featured_img_caption":"","featured_img":false,"series_order":"","mfb_rest_fields":["title","coauthors","author_meta","relative_dates","absolute_dates","absolute_dates_time","featured_img_caption","featured_img","series_order"],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/comments?post=680"}],"version-history":[{"count":2,"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/680\/revisions"}],"predecessor-version":[{"id":32720,"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/680\/revisions\/32720"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/pages\/617"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/media?parent=680"}],"wp:term":[{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/community\/wp-json\/wp\/v2\/coauthors?post=680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}