Dare Hee dean In TrOGUCLINS ~ ee the Tenor Clef for Trombone (Bassoon) by Reginald H. Fink << Accura Music iBefore You Begin. . + Clean Slide e The trombone slide must be in good working order when attempting these ove ae A smooth and clean legato slur, the player must: (1) Use a steady flow of breath; ¢ he stideat quickly, and at the last posslble moiment, to the next position; and (3) Tongue lightly as the Bi tt rives at the new position. If the slide will not move easily and quickly from position to pos legato playing 1s not possible. Check the condition of the slide by holding the trombone perpendicular to the floor. Unlock th slide and let it vest on the fingers of the right hand. Lift the trombone quickly with the left hand. the slide leaves the right hand, even for an Instant, the slide either needs tobe lubricated or repalre If the slide remains at rest on the right hand in the test, this does NOT mean that the slide Is "per fect." It only means that the sllde is "good enough” to play legato. Intonation ‘ Achieving good Intonation when using the alternate positions on trombone is difficult for ‘ reasons: (1) The instrument {s usually out of tune on certain upper partials, particularly in the ex tended positions; jand (2) The player tends to pinch and humor the Intonation and the tone quality ¢ these notes in the extended positions. With these two factors at work, the intonation of the alterna positions becomes Insecure, The player mut first produce an open unpinched tone on the alterna’ position note. Then, and only then, the slide must be adjusted to bring the note into tune. A por tone that is pinched cannot be tuned properly, The alternate positions in this book are marked wi: #'s and b's when necessary to help the player's alm. Of course, the final adjustment of the no must be done by listening carefully. : Holding the Instrument 4 The left hand grip and the support of the instrument is important in legato pl: strument ia jarred when the right hand moves, the legato will be broken, suppart oe ail att of the instrument with the left hand, Use a right hand grip which moves’ the slide, but doce ace at port the weight of the slide, . not suLearpiuy to fead the tenor This book which gradually faster than It is pos and do not allow a conce provement of tone, attack, Learning to Read the Tenor Clef. . Reading: the tenor clef can be done by either of two methods. learn to read the new clef in the same way as the bass clef was learned the letter names of the lines and spaces. Lines Space — 4 = a As long as it is remembered that the C on the 4th line of the tenor clef is the same note as the C on the line above the bass staff, and that all other notes are relative, there will be no difficulty reading all of the notes of the tenor clef. G 2 The second method uses either of two forms of interval transposition. Ether the “player visualizes the note as a fifth higher in the bass clef, !.e. or the note is transposed down one step and visualized in the treble clef, ive. 2=¢=, fo f= Of course, by this second interval’ transposition method, the note is one and must be lowered one octave.” octave too high Many teachers believe that the tenor clef must be read as the tenor clef and not as an interval transposition related to the bass or treble clef, Other teachers belicve that transposing by interval is all right at the beginning and that in time the student will nat tally and gradually change to the reading of the tenor clef asa clef, not a transpositi Thesefore, the end result will be the same no matter which method is used in the deg ning. The merits of the two systems should be discussed with your teacher. on. Copyright ©1968 - Accura Music AN Rights ReservedIntroducing the Tenor Clef Reginald H. Fink GUSTAVO Rosates ~— int a a — SS (d=144) 52S f sostenuto ut Loo 1S SS SS S+ as eso “fa Copyright® 1968 - Accura Music vox All Rights Reserved gauusta Lope?oe oem i gm Oo PA Oe The Bell Doth Toll . Mederaes: Gatos) English Canon: i () 9 2 My 9 SS P sostenuto ———= A 223 \ + = —_—_{_==_ eS The Lass of Patie’s Mill Scotland Slowly (J=88)(J=108) S14 Melody Andante (J=72) Anonymous 1485S Sr SSR SSS aeaae gun Epaul Children’s Song ser : = t fe Ss C. M. von WeberThe Steel Arm 24323 nf grazioso iS = Allegretto (4=100) mp sostenuto ee ies SosaThe Mower’s Song Allegro (4.2108) German Air — Sees= a Bho FranceEasily (J=80)Htude sto (292) 3S SSF. Schubert Whose players A opaturad Per ttDido’s Lament Lergo (dunAria from Muzio Scevola G. F. Handel Allegra (agitate) 4g ees = ie: : ea a or te 5 ~Matrosenlied Allegro (d=100)atempe aThe B flat Treble Clef Transposition | t th 6 Be, Gt Be ad in the visual te 1 The Ash Grove Wales apaet 1 ee a eee ee vn explanation of transpos Play a G sharp, See pase 20 forTheme from 9th Symphony L. von Beethoven rall. Tranposing Accidentals When transposing B flat treble clef niasic by visualizing it ash it is necessary toremember that all of theaccidentalsare not The exceptions are those affecting the notes that are transpos: | ccidentals must be played one half step lower than written,Aria from “Anna Bolena” G. Donizett Moderato (d=88) mp @ Piacere —vy Swiss Air Allegro (¢=144) F cantabileEtudes in Tenor Clef Allegre assaia P semipre sostenuto =fEtudes that Change Clef F. Belcke Adagio F. BelckeSUSTAVO ROSH ea F. BelckeB. GregorievORCHESTRAL EXCERPTS Espaia A. Chabrier Allegro con fuoco ff dim. poco a poco=—— AUl® con fuoco poco pin mosso (J-=108) Bape eso xHungarian March H. BerliozThe Ride of the Valkyries R. Wagner Langsam>, . + Dae 7 Polovetzian Dances from “Prince Igor Allegre vive (c.d-160) A. Borodin ito (c.d=176) AP teat Be ae o The Flying Dutchman Allegro con brio f molto marcato Sole y=— Crap Sf molto marcatoFora mare detuned ¢ Glossary Jalh Pr BY, froin, fa, to, hecinning Witt ander the primetpal word } sceolrand (accel) Gera team ere. Look up ptave U. Accelerating fagio (ox 11 Slow ower than anilante, but mat as ow ar lento at (GRIM, Apinvted Negretto (ibis) Hight mioveanest 0 (a andante (ind a . Stower than aller, but with butt not ae fast as pests WAY), Je Literally undantino Cindi ising”, moderately sow ENB, 41 Literally shower than andante, Twit ciuully mistakenly considered to mean stightly anioato (état, tr Animated spied asi Gis), te Very triv Chi'O), fe. Vigor. tite ino G8), Pi i Aouad cantabite (ies48), 0 Lyra im a si chanson (hiisBA) Fr 4 sone 8 hal chansoneite (shi city con (kt), fF With cerescenclo (erese) (kitaitnld). 1. teadness. deciso (di-che'7h), 1. Ina bald manner, decisively decrescendo (decrease )(@EKIENEN/AD), fe Dininsshing in foudness, diminuendo (dio, SEmen00-%n85), te. Diinishiss tally in loudness, dolce (Iitfid), 1. Sweet, sof dolore (di-16'8), 1, Grief, sorow. 2 te, And. sleganza (tEgin' ts), 7, Blegance, ace espressione (E-prtst/nt), Ze. Expression, fect, expressing, (pre), 11 Expresine forza ((Br'ai),%. Fores, rower: woco (6-99), I, Fite, enerey, pasion sachwind (Esintat). Gr Quick, rapid gotragen (gitrikho), Gr. Sustained jocoso. G5), f. Meriy, ina joking manner, + Gr. ‘The most rigid form of imitation, nestyle Bante), A Mille oF short som A, sivste ou seth justo he Graceful on. Not be to confused BUSY (Guus). fe Haste, cap with Tangsain (ting in), Cr Stoswty ‘Slowly, nobly, broadly nhiafty ir Laely Heggices (by h5), Ir Ltaly rmaestoso ¢ Tr Maiesticlly, nobly. mareato (mirhitG), fr Marked, scvented. massig {rns'ish), Gr. Moderato, moderately. rene (ea. bes modlerato (mlira4o), Ir Moo molto (mitt). 11 Much, very meso (inf 45), fe “moved,” rapid Piacote (phicht¥¥), fe 4 piavcre—at pid (peur. te Move POCO (pRT), eA ithe; rath poco A poco. Little by i presto (pris), 7 Fast, the fastest rate im music, except for ts own superlatives rallentando (call) (ra-Kén-tin'e spsed somewht as prestisitne, 5), dt Wath grovally reduced tard)... Retarding grotuat rubato (roabi'ts),¢ “Robbed, Whose sii values ure fo be dintegarded) The Tong notes hoviowed, used of s tempo seal tine from the short ones, yet tl riythmic scheme are retained.” schnell (sha), Gr Quick, rapidly sche (x), Gr. Very rouch sempre (in’pr®), fe Always, continually, throuphout senza (EA), Je Without imile (Eii'Tl¥), tr Similaty. An indication thot « cer :vnnet of playing ie 19 be continued un fndieated. Subto. (sub ) (oobKA3), Ze. Suddenly, unmediatety tempo (Kém'yS), fe, “Time Rate of speci A ‘exact time (usually appearing after setardat vif (1), Fr Bask, quick Vive (VET), fe Animated, lively overall foanpo and Accura Music aes WePUBLICATIONS for Trombone, Bass Trombone, Baritone and Tu by Reginald H. Fink 36 Studies for Trombone ba nF Attachment (Carl Fiselier) So Advanced eludes for F aitachment snd bass uombone Introducing the Tenor Cet for Trombone (Bassoon) (Accu Music) ae ‘A primer For learn to read the tenor elt Intraducing the Alto Clef for Trombone (Acura Music) os Sains: A primer for learning to ccad the alto eet Studies in Legato foe Trombune (Cai Fischer) $3.00 Ao ele miewtary hook for developing legato control Studies in Legato for fxs Trombone and Tuba (Ct Fischer) , z es $3.00 An elementary Nook for tubia~a more diffi book for base Ironibome From Treble Clef to Has Clef Baritone (Acura Musie) $2.00 - A hus ele? reading method for tebe clef baritone players “ The Trombonist’s Handhook (AccuEA Misie) oon revntatance $19.00 A complete reference fivok on all aspects of trombone playing and teaching Among the ensembles with which Dr. Fink hus played are the Oklshioms City Symphony Orchestea Pitt Symphony Orchestra, Buffalo Philharmonic Orchestra, Rochester Philhaenson Wind Enserable ond the Ithves Brass Quintet He iss pexforinel under the batons of Evil Leinslorf, Leopold Stokowski, Guy Fraser tTarivon, Jokonos, William Steinberg, Frederick Fennell, and ethers, He has recorded under Mercury. CRI sed Mhack AS a respected teacher, Reginald Fink iow has students pro- ee fessionally. placed ins witiety of organizations including major Arunedl Seevices hunels and sytnphony prehesteas.. \ Aaa brass iniian ‘and tromboie wlobt, Br. Fink has anpeated in tany sates to conduct workshops for Both si vad rofestonatgroups, sod. resatly avale fOr sich engagements si hs pulsations have Bes develope igh extant eqperbned mit students of stops sod througout wile range of situations ions hy Regina sei . GUSTAVO KODALES k van be ordered throngli your Pubie local - pas 4, ee Se L, ie Orchestra, the original Kastman Donald Labels