RUBANK EDUCATIONAL LIBRARY No. 96 TROMBONE .. BARITONE VoL. | WM. GOWER AND H. VOXMAN AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS sass MIAMI, FLORIDA Ra rill 2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 Bb, Eb, F, Ab, and C Major. Keys of G, C, D, F, and A Minor. Keys of Db, G, Gb, D, Ch, and A Major. Keys of Bb, E, Eb, and B. Minor. vont { vat.u { PREFACE THIS METHOD iis designed to follow any of the various Elementary and Inter ‘mediate instruction series, or Hementary instruction series comprising two or more ‘volumes, depending upon the previous development of the student. The ‘euthors have found it necessaty in thei 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 10 afford an objective picture of the student's progress. They will facilitate the ranking of members in a large ensemble or they may serve as a basis for awards (of merit. In addition, @ one-sided development along strictly technical or strictly b melodic lines is avoided. The se of these oullines, however, is not imperative fond they may be discarded at the discretion of the teacher. Wn. Goves — fb, VormanChromatic Chart for Trombone and Baritone or POSITIONS 7 3 tha hh © The By oF Ch 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 i On the baritone the first and third valves may be used in slow passages to correct this pitch. in tune. @ 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 staf in the second position on trombone must be made in short second (2-) to be in tune. @ The F# or Gp above the staff in the third position on trombone must be made in short third (3-). TABLE OF HARMONICS be Ist Position ao 2 2nd Position (1p Open ‘oo fat ‘2nd Valve ‘ee fat 3rd Position bo b= 4th Position os = Tat Valve “— ‘Ist and 2nd Valves (or 3rd Valve) “t 5th Position ba ba 6th Position be’ 2 2. mis 2nd and 3rd Valves C14 Ist and 3rd Valves otal 71h Postion = ‘wi 1st, 2nd and 3rd Velves Positions and Fingerings for the tones above high B: 2b. Copyright MCMXLI by Rubank,tne. Chicageylil Copyright Renewed International Copyright Secured 855-71-PL a eelft G OUTLINE, : RUBANK ADVANCED METHOD { TROMBONE, Vol. Wm. 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Gower and _H. Voxman ‘SCALES MELODIC | ARTICU- [FLEXIBILITY ond INTERPRE- | LATION | EXERCISES ARPEGGIOS (Key}| TATION Bs | 19 Bs | 19 Bb | 20 Bs | at, «| 22 «| 22 ge | 2s «| 2s Bb | 24 ES Eb i) 49. 60. 49 60, 50. 60. 60. 60 60. 60 60. 60 60. 60. 60. 60. 60 i 1 ot a ot a 61 ot 2 02 62 62 62 2 62 62 62 62 2 2 62 62 Oo 50. St at at 5A 5a 52 52 52 58 58 58 54 54 54 54 55 35 35 @|@/@j@] |e] OOO Ble l= lO) ie @ slelslels |©|@|@|@|® ©|2|©© OO @ OOOO CCCP OP OCR/O ©. 8a] sO Bis @|O|O|O| |@|®| |O|o|ee© 56 ‘37 57 57 slelalalalels/elelelslsisisls/el=l= ists |s/sleje|@[@fe/s[3|s ©|©|@|©|© © ©|©|O/}O|O|O ©/@O|@ [© ©/@/©|O|©|@|© © OOOO O/O/O 38 58 58 58 59 50 59 sels alelololelol=|=|-lelelelel=lel=|=fsl=sfs|e le le © ®©|©|©|O|O@|@/@|O@©@/©@O|O|O|OO/@ © © OOO OSC OOO ®®|®@|@|@ © @©|®©|©|©|©|©/©|O|O|© ©|O|O/ |© OOO OOO CCS COO 2/2 |O|© OH © OO |@|@|O OOO © OO CCC CLP OCOPOCOCE/ DOO COSCO OOOO OCC CSO CSP CPC OCP|O OPPO /@|/9S Ooo eee @@@ a ns arate fpoee ae Once seenes eaeaaere ee Soar mere pment bry eraeyyPRACTICE AND GRADE REPORT oa Tony “wow “ung 400m [bpozD eamoubig wquaseg 10301 "405 “143 “MG, “POM “OMA “GON “wRS Hoon ouoN sauepns, oo owen suepms aaisawas GNO3S walsawas isaldScales and Arpeggios Bb Major 2 SS « fumbere chove notes GSpyTGRC MONET Hy Ruven nov Chisago, TH indicate trombone positions, Pee erm aenranh ten Shs Capers Ps nc use nnn imma manis iman| | eos ci ‘simile ae Various articulations may be used inthe chromatic, the interval, and the chord studies at the instruct 1 or's option. ° Chromatic Scale : = — SS ee ‘Common Chord [ates | | Dominant 7th Chord | 8 | : eae ye G Minor M ( : The sign ~ indiéates a holf-step 5 Natural Harmonic % ° 855-71Common Chord Diminished 7th ChordCommon Chord Dominant 7th Chord © Minor Harmonic MelodicCommon Chord ar Ds Diminished 7th Chord ————simite ‘Trombonists moy omit slurs in No.32 32Common Chord 35 Dominant 7th Chord Natural Harmonic 372 e5571“ Thirds b | Common Chord Diminished 7th Chord 7 Ab Major ass-71Common Chord at Dominant 7th Chord F Minor Harmonic Natural 255-71Thirds 52 i Common Chord Diminished 7th Chord © Major 855-71Trombonists may omit slurs in No.59 << —-- hte ete? 855-741Studies in Melodic Interpretation For One or Two Part Playing ‘The following studies are designed to aid in the development of the student's interpretative bility. Care ful attention to the marks of expression is essential to effective use of the material. Pencil the technically Sifficult passages and devote extra time to their mastery. In rhythmic music in the more rapid tempi (marches, dances, ete.),tones that are equal divisions of te beat are played elt Jnat detached (staccato). Tones that equal a beat or are multiples of a beat are held fui valiet “Tones foloned by reste ore usualy held full values The latter should be especially observed in Moderato BORTNIANSKY HOHMANN, Allegro 4+ Numbers above notes indicate trombone positions. 55-71# trattenuto = ritardando————————— Andante religieux : MARIE Prono : MARIE 55-71Allegro giusto Sarr | eS ee 855-74a pet? SELTNER Moderato @ 955-71] : : 2 ; ¢ Po 0% te Ly A ae SAINT JACOME 955-71Allegro 55-7127 De cour P legeiero 955-74Andante affettuose oe, Gari ee 55-711 29 BONNISSEAU Al Andantino grazioso eae 855-715 2B Allegro moderato ~, me 3 ARNAUD =a Folk Song = 2 55-71Allegretto grazioso 255-71Andante appassionato aes >Allegretto : HOHMANNAndantino ene _—_ a> a = 19 2p malodiove) ——= 55-74Play all detached eighth notes in this exercise somewhat staccato. SAINT- JACOME Allegro, = Baritones only.855-74Andantino CORNETTE P seripre legato 4s Trombones only.BONNISSEAL es5-71Marziale WAGNER 255-74Andante sostenuto # Boritones only. = sp epee —= 4s be cour 855-71CORNETT —_ Andante =— ee Trombones only. ess48 Allegroa9 Studies in Articulation 1 2 K In all exercises where no tempo is indicated the student should play the study as rapidly as is consistent with tonal control and technical occuracy. The first practice on each exercise should be done very. slowly In order that the articulation may be carefully observed. In alegre temp figures sinlor to SEES should be performed SEREEES etc. he igure should be played a= The slur is a difficult articulation on the side trombone, Whenever possible the motion of the slide should be outward when playing an ascending slurred passage (Ex.!) and inward when playing o descending slurred passage(Ex.il). ie s-2 age 1 eS | Se ty Dabur AF When it is not possible to move the slide as recommended above, the tones under the slur should be tongued os lightly as possible, fully sustained, and free of any trace of glissando. See Ex.lllAllegretto CARNAUD Andante affettuoso (J: es) — Te — YS | — | = > i j t ‘fombones only. rritones only.Furioso sempre stavoato 855-7156 ata % Baritone only. ‘ee Trombone only. 55-7 _SmrerpRRrURr eso eimai esc< a a only. ++ Trombone 855-71Con moto* Boritone only. ‘tx Trombone only. 855-71° Flexibility Exercises Keep the tone well sustained throughout the slur Indicated, leaving no gaps between the tones. The slur must be made smoothly and evenly by the f exibility of the embouchure, Adhere strictly to the fingerings given. Trombone positions will be indicated above the notes. Postions] 162 ‘ $ 3 Octeves =¥ a“ 63) Position Studies for Trombone i ‘The studies in this section have a two-fold purpose; first, to familiarize the student with the differ- ent positions in which these tones may be played, and second, to establish an accurate memory for the! correct length of these positions. Core must be token to maintain the same quality of tone In playing a note In its various positions. These exercises should be practiced daily until mastered ond must then be memorized. 5 ‘4+ Trombone only.Musical Ornamentation (Embellishments) The following treatment of ornamentation Is by no means complete. itis presented hare only as a guide to the execution of those ornaments which the student may encounter at this stage of his musical develop ment. There are different manners of performing the same ornament. “The execution of certain ornaments is not feasible on the slide trombone, for example, the trill. How= ever, from the standpoint of the students’ musical development, it is desirable that he be familiar with thelr interpretation. Refer to the trombone outline for exercises to be studied. The Trill (shake) The trill (or shake) consists of the rapid cternation of two tones. They are represented by the printed note (called the principal note) and the next tone above in the diatonic scale. The interval be- tween the two tones may be either a half-step ora whole-step. The signs for the trill are @# and =<. ‘An accidental when used in conjunction with the trill sign affects the upper note of the trill. Play as in Not tr ca g i oe iS bg Ibs * Baritone only. 855-71eo — 65 Grace Notes (Appoggiatura) £ tes are indicated by notes of a ‘smaller size. They ma, a The grace no long and short. Long grace notes a 'Y be divided into two classes 4) 1 from “Serenade” Haydn Andante cantabile ee Df > 7 See atte, ten der tet fps, 4 Ss —= possible snd tnatisis| of regent composition the short grace notes should ecey or Guadrupte as Wat value Is tcken preceding” the priccipsl sete tes, should singfe,double, triple a" stroke througn he Fees, EY—oes he single short racer en fore: Mey may be amailelghth note mith ings ‘are toorupPrigai Pook Ie Is not to Be Socentad. Ges ENR ag Crimes yas fundamental finger ings ‘Gre too dirticait® Qs little time | Short grace notes + Allegrettonace Allegro The Mordent i The short mordent (s#) consists of a single rapid alternation of the principal note with its | lower auxiliory. Two or more alternations are executed in the long mordent. ‘The inverted mordent (wv) does not have the cross line. In it the lower auxiliary Is replaced! by the upper. It is the more commonly used mordent in music for the wind instruments. ; ‘The mordent takes its value from the principal note. H short Mordent Long Mordent Se ee ae oa woe ; 15 % Baritone only. 855-7Short inverted mordent 16 In trills of sufficient length special ending Is generally used whether indicated or not SSE The closing of the trill consists of two tones: the scale tone below the principal note and the principal note. In long trills of a solo character, it is good taste to commence slowly and gradually increase the speed. Practice the following exercises in the manner of both examples 1 and 2. | Ex.2 18 * Boritone only 55-71 | aee : The Turn (Gruppetto) i The turn consists of four tones: the next scale tone above the principal tone, the principal | tone itself, the tone below the principal toné, and the principal tone again. When the turn © is placed to the right of the note, the principal tone is held almost to its full value, then the turn is played just before the next melody tone. In this case(Ex. 1,2,3,40nd 8) the four tones are of equal length. When, the turn is placed between a dotted note and another note having the same value as the dot(Ex. 6 and 8), the turn ts then played with the last note of the turn taking the place of the dot, making two notes of the same value. The turn sign after a dotted note will indicate that one melody note lies hidden in the dot. Bat Ex.2 Ex.3 Ena Ex.8 reemennt es eS ee 23 —|—~ | — |-—, Ex.6 Ex.7 Ex. 5 aN ae SN Sometimes an accidental sign occurs with the turn, ond in this case when written below the sign, it refers to the lowest tone of the turn, but when written above, to the highest. (Ex. 1 & 2 below). When the turn is placed over a note (Ex.3) the tones are usually played quickly, and the fourth tone is then held until the time value of the note has expired. In the inverted turn(Ex.4) the order of tones is reversed, the lowest one coming first, the principal next, the highest third and the principal tone again, last. The inverted turn Is indicated by the ordinary turn sign reversed: % or by 2. Ex.3 Ex Ex Ex.2, SN ee a | 25-74Allegretto Andante & ie # Baritone only. ARBAN70 SOLOS i : CROSS AND CROWN Solo Trombone ¥ or Baritone CARLETON L. COLBY Andante Religioso “crea. Copyright MCMXXIX by Rubank Inc., Chicago, Ill. Copyright Renewed Internatioral Copyright Secured 55-74nm Calm As the Night Solo Trombone 9 or Baritone Andante = St ——— P ‘ireoa: mS a tempo === = P rt atoms Fon motto —== + Prt Copyright RenewedFRIENDS 4 Solo Trombone 9: or Baritone WALTZ CAPRICE CLAY SMITH Waltz tempo Tempo di Valse 2 —— ——s r ia => i 955-71 Copyright MOMXXXI by Rubank,Inc.Chicago, tt. | Copyright Renewed i , = International Copyright Secured. Cantique de Noel Solo Trombone 9: or Baritone ADOLPHE ADAM Transcribed by G.E. Holme, = Andante iH = x | 5) 4 =| en P all Copyright MCMXXXIX by Rubank Inc. Chicago, I, i Copyright Renewed International Copyright Secured e55-71-p. nnnAwakening of Spring [9 Solo Trombone 9 Romance | or Baritone : Andante con espressione “Bum Ee Fine = —— — Pritam a ae pe eS f ———— == ~~ > oe ? = Copyright MCMXL! by Rubank, Inc.,Chicag Copyright Renewed International Copyright Secured 255-71Solo Trombone ¥ or Baritone Berceuse \ oar OSKAR BOHME, Op. 7 Andante ———S > tome i Piu mosso == a a 7 Copyright MCMXLI by Rubank, Ince,Chicag, Ill. Copyright Renewed International Copyright Secured ‘ass <7i