RUBANK EDUCATIONAL LIBRARY No. 96 PROF, DANIE! 2 *1/ONE sc HOOL OF MUSIC TROMBONE . BARITONE VoL. | AND H. VOXMAN AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS RUBANK ms. MIAMI, FLORIDATHE RUBANK ADVANCED METHOD for Trombone or Baritone is published in two volumes, the course of study being divided in the following manner: Keys of By, Eb, F, Ab, and C Major. Keys of G, C, D, F, and A Minor. Vol. 1 } {Keys of Ds, G, Gb, D, Cb, and A Major. Vol. tt oh" [Keys of Bb, E, Eb, and B Minor. PREFACE THIS METHOD is designed to follow ony of the various Elementary and Inter- mediate instruction series, or Elementary instruction series comprising two or more volumes, depending upon the previous development of the student. The authors have found it necessary in their teaching experience to draw from many sources in order to provide a progressive course of study. The present publication assem- bles in two volumes, the material essential to a well-rounded musical development. THE OUTLINES, one of which is included in each of the respective volumes, tend to afford an objective picture of the student's progress. They will facilitate the ranking of members in a large ensemble or they may serve os a basis for awards of merit. In addition, @ one-sided development along strictly technical or strictly melodic lines is avoided. The use of these outlines, however, is not imperative ‘and they may be discarded at the discretion of the teacher. Wr. Gower — fl. VosmanChromatic Chart for Trombone and Baritone TROMBONE Pour @ The B+ or C> in the staff is too sharp. Flatten this tone enough to make it in good tune. @ The C above the staff will be too flat. Shorten the position on the trombone enough to make it in tune. ‘On the baritone the first and third valves may be used in slow passages to correct this pitch. © The D above the staff is sometimes too flat. Use first and second valves on baritone or fourth position on trombone to correct this. @ The G above the staff in the second position on trombone must be made in short second (2-) to be in tune. @© The Ff or Gy above the staff in the third posi TABLE OF HARMONICS ao ba bo Vat Position oa 2 2nd Position non trombone must be made in short third (3-) tp = = a aa be ba 3rd Position 4th Position a 2 Tw tat Too mat Ist Valve Ist and 2nd Valves (or 3rd Valve) Sth Position ba ba ’= 6th Position be 2 4nd and 3rd Valves et Ist and 3rd Valves ‘ae Tat 7th Position fa = ‘wo tat 1st, 2nd and 3rd Valves Positions and Fingerings for the tones above high B: jeiha ta techs hsOUTLINE RUBANK ADVANCED METHOD FoR TROMBONE, Vol.1 BY Wm. Gower and H.Voxman SCALES MELODIC FLEXIBILITY | WISCELLA unit unit and interpre. | arricucarion} exercises | NEOUS sotos | com ARPEGGIOS (Key | TATION PROBLEMS puget 7@:s ® BL | io © (20m Om moom One| nose an |Ecou@) 7 @s © nm |» © | © | o © oo@ mat u70n@) 7 @s @ Be | 20 @ 50 ® | « @ eo ® | 7 © s ©s @ Be | 2a © 50 © | o ® |e © |w © s © « | 2 © so © | o © | wv © 7 ® s @s @ g | 2 © a © | oo ® 6 ® | 70 © 9 @ g | 23 @ st @ | o © cw © |ua @ 9 ®@@ @ g |e © si @ | so © ow © [un @ 1 @ n @ pla @ |s © | © | © a @ 0 Ou @ Bb | 25 © sz_ @ | 60 © 63 ® a_@ 1 @ 1 @ Bb | 26 © 52 @ | 60 © a © [a @ 1 @ Eb | 26 © 52 6o © 6 @ | ® nu @ @ foue| ae) 52 @ | 0 @ 6 @ | 2 ® 1 @ ce | @ ss @ | co ® FO) 2 ® nu @en@® Oe. [as @ [ss @ [ou © 6 © [xn © 2 @ a @ F |» @ ice eet |oieu@ be eno @ meezan) 2 @ 3 @ r_| 2 ® a © | a © 65_ © 2 ® 2 Ow @ rF [a @@l/s @ fa © [ow @ [nr @ 2 @ 2 @ (a EES sa @® [am © [ow © | 2 © @ fia | as) s4 @ | o @ 66 @ [aw © @ a_|[a @ 55 @ | ot 6 @ | 73 ® @ @ «|x ® 5 @ | 1 @ os ® | 3 @ 4 @ 5 © ab [as @ 55 @ | ez @ 67 © 2 © 4 @ 5 @ a | @ s6_ @D | 62 @ 67 © | a @ nu @ 5 @ ay | as. 57 @) | © 7 © [a © 5 @ a | 38 37 @®) |e © | © |u © 5 @ 16 @ f 309 @® | 57 @ a @ 67 @ a @ 6 © 6 © Ot 40 @ s7_ @ | 6 @ «7 @ a © 15 ® t 0 @ 57 @ | we @ 68s @ a @ 6 @ 17 @ ec fa @ ss @ | ae © 68 @ 74 ® 17 @ 8 © ec |u @ 55_ @ | a2 © 6s @ 5 © 17 @ 16 @ c | 4 @ ss_ @ | 2 @ 6 @ | 5 © 7 @ 2 @ c [a @ ss @ | oe © | o @ | a © 6 @ a_|a @ | 59 @ |e © eo @ | © 1 © ala @ 59 @ | 2 © o @ | wm © 1 @ © @ 4s © 50 @ | a2 @ os @ | 5 © NUMERALS designate page aumber. ENCIRCLED NUMERALS designate exercise number. COMPLETED EXERCISES moy be Indicated by crossing out the rings, thu:OUTLINE RUBANK ADVANCED METHOD BARITONE, Vol. 1 Wm. Gower and _H. Voxman SCALES MeLopic | aRTicu- [FLEXIBILITY] _ORNA- NT unit ‘and interpre- | Lation exercises | MENTS sotos | com. ARPEGGIOS (Key)| TATION PLETED 1 [7 ©8 © »|»©@® 2 © | 0 @|ao 7 @ 2 [7 Os @ sls @ 4 @ | 0 @ | 64 0 @ 3 [7 @8 @ | 20 @® 50 ® | 0 @ | 4 @ 7 © a4[s ©@s © wla@d 50 @ | 0 @ | a @® 7 @ 5 [8s © e [2 @® 50 @® | 0 @ | 6 @ LO) alee aiei Home weueren| oan) © | 0 @ | a G n@® 7 [9 @ «| 3 @® a @ | 0 © |e @ a ®© 8 2 ®@®@@ g | 23 ¢ 51_@ | 0 © | 6 @ n_@® 9 [o@u @ Bla @ a © | 0 © | & © 1_@ o [o@u@® | 3 © 2 © | wo @® | 6 @ a _@ u [to @u @ | 26 2 @ | 0 © | 6 @ 1_@ 2 | 0 @ B | 26 s2_@ | 0 © | 6 @® a_@ se | 1 @@ co | 27 @ s2_@ | 60 © | 6 @ 2 @® nu fu @ «| 8 ® 33 @ | 0 @ | 6 @ 2 ® 5 [nu @n@ Oe | 2 @ 3 @® | a © | wo @ 2 ® 1 [2 © @ F |» @ 3 @ | a © | «© @ 2 @© 7 [2 @s @ F [2 @ 3 @® | @ | 6% @ 2 @® s [2 on @® Fla @@ls @®[a ©] 6 @ 2 ® » [2 es @® Fl 2 @ 4 @ la @| #7 @ 23 ® 2 | 8 @ a [3 @ s_ @ | a 7” @ © a [ss @ a [| @ 6s ©|a © |e @@l[ so 2 iu @@@ @[#@ 5 @®|a © | 7 @ B® 2 iu es @ «| 5 @ 5 © | a @ | 7 @ B® a i|n Os @ | 8 @ 3 @ |e @| a7 @ B_® o |4 @5 @ s| 6% @ 3 @ |e @ | 6 @ a_© 2 | 8 @ a | 36 @ 7 @ |e © |e @ 4 © 2 |b @6@ ¢f | 3% @ 7 @ |e @ | 6 @ a ® 2 [5 @6 @@t | 0 @ 7 @ | 2 @ |» @ 4a © 29 [1 @ [0 @ 3 @ | 2 © | o @ a ® 2% [6 @7 ® cla @ 3 @ |e ©[» @ “a _© a_[v @s@ cla ® 3s @ | 2 © | wo @ % © 2 [7 ©@8@ c | se @ 38 @ | 2 © | 0 @ © 3 [7 @8 @ cl a4 @ 3 @/|a © | 0 @ EO) a [8 © 2[% © » ® |e © | 0 @ B® 3 | 8 @ ala” ® 9» @ |e © | 0 @ B_© 3 [se @G@ «lav @ 3 @ |e © | o @ 7% _@ NUMERALS designate page number ENCIRCLED NUMERALS designate exercise number COMPLETED EXERCISES may be indicated by crossing out the rings, thus, {BYoumpuBig saozonaysul eanyoubig s.40yn-9su, ‘epeay s0yeoues, ‘epesy saysoues 6 : EEA sh vw | ae EEE | FEES Spar eanyoubig syumeg 10V0L “VOS “14d “PHL “POM “OnE “woW “uns neOM[PPOvD eAmoUBIG RAUeDG —I9FOL “FOS “4d “MUL “POR “On “WOW “UNS TT 2 1} _} a} o} ¢] 4] ©} a] @| 9 PRACTICE AND GRADE REPORT oa owen savepms, 20 walsawis GNOD9S uaisawas isaidScales and Arpeggios Bb Major ‘Numbers above notes—— simile Various orticulations may be used in the chromatic, the interval, and the chord studies at the instruct- or's option. Chromatic Scale simile Exercise in Thirds Common Chord Dominant 7th Chord 8 G Minor The sign ~ indicates a half-step Natural Harmonic 1%. 9 - Melodic 55-71Exercise in Thirds Common Chord Diminished 7th Chord 955-7110 Eb Major 2. 18 —=_simite ———— fe 855-71Thirds Common Chord Dominant 7th Chord cry c Minor Natural Harmonic ‘aimile Thirds 26 Dita erat elected a 855-71Common Chord Diminished 7th Chord F Major — =! bimite Trombonists may omit slurs in No.32 —<=——— 32 a Simite 855-71