Thoughts on Trombone and Music
Sharing thoughts about being a trombonist and musician.
Monday, April 10, 2017
Joint Brass Recital
The Luther College brass area recently gave a joint recital featuring the works of Paul Hindemith. Our quintet worked up a fine arrangement of the Symphonic Metamorphosis themes to end a recital of four Hindemith sonata: trumpet, althorn (performed on alto trombone), horn, and trombone. We had a great time preparing the recital and preparing works our students bring to lessons and perform in recitals regularly. This experience was a great reminder of how difficult the works of Hindemith are and what a pleasure it is to perform the works. This article in the Luther College Chips helps to put some of these thoughts in place. Fun times with a fun group of players!
Thursday, May 5, 2016
Favorite works for Trombone in Chamber Music
The following is a simple list of a few of my favorite works for trombone in chamber music. Many are standard. However, I recommend readers check out recordings of the Tull and Bellon, they are great recital works!
Victor Ewald, Quintets 1-4
Victor Ewald, Quintets 1-4
Victor
Ewald was a musician and composer in St. Petersburg Russia in the early
twentieth century. He performed with a string quartet and was known to meet
with the “mighty handful” group of composers. Ewald was also a well-known
concrete and brick engineer, pioneering modern concrete construction methods.
All
four of Ewald’s Quintets are excellent material for brass quintets. The fourth
quintet was actually the first written and is very similar to his earliest
string quartets. I find Quintet Four
to be the most approachable for young student groups. Ewald was interested in
Romantic style music and incorporated Russian folk song into many of his works,
making an interesting work for student groups to rehearse and analyze.
I
include the four Ewald brass quintets because they are early works for brass
quintet and allow for the teaching of brass quintet history. Additionally,
there are many good recordings of the quintets for students to study. There is
additional value in students learning about quintet history and the use of all
conical, valve instruments in brass quintet.
Giovanni
Gabrieli, Canzona Septimi Toni Octavi a
12
This
work for twelve trombones would have originally been performed in St. Mark’s
cathedral. Although originally written for sackbut consort, voice and Cornett
ensemble, the work is valuable for students. Often trombone ensembles have many
doubling parts. However, this canzon by Gabrieli has twelve trombone parts,
encouraging students to be responsible for their part in the music. The work
also employs terraced dynamics, a system of playing very specific dynamics with
little musical interpretation for placement and lack of crescendo and
diminuendo. Students can also learn about the dance style of early brass music.
Many
recordings are available of this work and similar works by Gabrieli, both with
modern instruments and period instruments. Students can spend time discerning
their preferences for performance practice and learn about the differences. The
Canzona Septimi Toni Octavi a 12 additionally
offers students the opportunity to learn about the many historical brass
instruments available for modern performance. Educating students about sackbut
and renaissance trombone may not be useful for getting them work later, but it
does create a clear image of the historical ability of the trombone what the
work may have sounded like originally. This provides the opportunity to discuss
student’s preference for a modern interpretation or historical interpretation.
Jean Francis Victor Bellon, Quintets 1-12
Recently discovered (2007-2011), the twelve quintets of Bellon are some of the
earliest composed brass quintets known. They date back to the 1840’s. Bellon
was a French composer who studied at the Paris Conservatory. He was an active
string quartet musician and brass performer. His appreciation for brass instruments
is not completely understood. However, he did start a society for the
appreciation and application of brass instruments in the modern orchestra and
chamber music. Going as far as to write a work for brass quintet and 12 double
basses, Bellon was apparently interested in louder and more unrefined sounds.
According to recent research published about Bellon, his works where
appreciated by audiences and found fame in and around Paris, but did not move
away from that center of art. Hector Berlioz even heard some of his chamber
music and appreciated the value given to the brass instruments.
Bellon
wrote these quintets for as close to what we consider the modern brass quintet
configuration as possible in the day; Piston Cornet, Keyed Flugel Horn (or
Cornet in Eb), Horn, Trombone and Ophiclide. Teaching these quintets provides
an opportunity to work with students on the history of brass quintet and the
history of brass instruments.
I
have only recently started reading the twelve quintets and found them all to be
really excellent chamber music and easily programmable. I think student groups
may have some trouble with the works, but starting with Quintet 11 may be the easiest way to learn the style of Bellon.
Ludwig
Van Beethoven, Drei Equali
An
original work for trombone quartet by a major composer cannot be overlooked.
Many students find this to be a motivation to perform the work. This
three-movement work incorporates many of the things students will find in the
two symphonies by Beethoven that include trombone. The quartet can also be
performed on smaller bore instruments, providing practice in period style
performances for students. The top parts are written in alto clef with tenor
clef dominating the third trombone part and appearing in the bass trombone
part. Bass trombone players also need to get out of the top of the bass clef
staff, extending the range for some younger players.
Drei Equali was famously used as a funeral dirge when
Beethoven died. The work can be used in many ways for trombone quartets and is
very programmable.
Fisher
Tull, Concerto for Trombone and Woodwind
Quintet
The
Concerto for Trombone and Woodwind Quintet is a great example of the very
successful use of trombone with woodwind instruments in a chamber music setting.
Unlike many other trombone and woodwind chamber music settings, the Fisher Tull
uses the trombone as a solo instruments and keeps the horn in the woodwind
quintet. This allows for even more color changes throughout the three-movement
work.
Although
only one recording is available of this work, students can learn a great deal
by discovering and working on the piece. It also provides a strong opportunity
for student to work with woodwind colleagues, possibly helping to create better
collegiality in wind band and orchestra rehearsals.
Reasons to Perform in a Chamber Ensemble
Why play trombone in a chamber ensemble? Here are a few ideas about the wealth of performance and growth opportunities.
There are many
benefits for students participating in chamber music ensembles. It is one of the
fastest ways a student can progress musically and technically on their
instrument. Students are expected to add one more rehearsal to an already full
schedule, but this helps create even better time management and schedule
creation. Additionally, finding time for chamber rehearsals and coaching is an
important skill, one that will follow students through professional life.
Students are expected to rehearse on their own, making the most of their
musical and technical progress without the direct help of a teacher. Teachers help
as much as possible in weekly coaching sessions. However, student groups must have
a plan for successful coaching sessions. Student groups have the option of
learning vast amounts of literature and becoming aware of a whole area of literature
they may not have known. For young students, this can be a liberating
experience that allows for personal growth as well.
These
benefits can also be challenges for some students. Time management is always an
issue, and the way many chamber music programs are set up (often as an
afterthought or minimal degree requirement), many students allow chamber music
to be the first activity to go when schedules become challenging. Another
challenge for chamber music is personnel issues amongst chamber members. Unlike
in a large ensemble, chamber groups have only a few members to focus on and no
specific leader at the front of the group. Students must learn to work together,
even when it is difficult to work together or appreciate the chamber ensemble.
Moments of tension can come from lack of preparation by one or more students,
lack of technical or musical ability and even a lack of interest and
commitment. For the most part, it is important for student groups to learn how
to work through these issues early, because they will continue being issues
throughout their musical career. The most successful student ensembles have
clear expectations for their group and all of the members are in agreement
about the goals each semester.
The
chamber music setting is a great preparation for the various challenges professional
musicians find. These include complexities like finding rehearsal space, a
difficult issue in many overcrowded music facilities. Students must also learn
to quickly adapt to the difference between the rehearsal space (usually a small
practice room) and concert hall. Some student groups will struggle with the
lack of time to prepare in the concert hall. Other groups may struggle with the
variety of concert locations including malls, weddings, graduation ceremonies,
background music at various events and performing with choirs or other large
ensembles. Performing a chop heavy recital with little or no break is a great
learning experience for many students. The must learn how to manage their own
performance including getting to and from the gig, getting gigs to begin,
payment and learning the expectations of the hiring staff. Issues with
obtaining legal music can also be a problem. Many students are not accustomed
to purchasing their own ensemble music and can resist faculty encouragement to
start growing a library of sheet music.
The
experience of chamber music ensembles is very different from those of larger ensembles like band, orchestra and
jazz groups. Students grow quickly as musicians and mature as adults because of
these varied situations chamber music puts them in. This can be different from
the experience of performing in a large ensemble, which picks music for
students and does a substantial amount of practicing in rehearsal. A large
ensemble and solo work both usually have a conductor or teacher specifically
listening for problems and creating solutions for the problems. Student led
chamber groups are responsible for all of this work in addition to performing
at a high level. An additional difference from much of the solo and recital
work students have at the collegiate level is that in chamber music, they
typically choose their own music. This means they must create a way of reading
music to see what they like and make informed decisions about programing for
chamber music recitals. Students may also be expected to learn popular music or
music in varying styles and is expected to alternate between styles quickly
within a performance.
My Five Favorite Trombone Solos for Undergraduate Juries
I have prepared the following list after discussing favorite trombone works for jury performances (yes, it is jury season). These are not the only solos I consider when choosing jury literature with students, but these are some of my favorite to listen to and tend to help students focus on their weaknesses the most.
#1- Arthur
Pryor, Thoughts of Love: Valse de Concert
The
Pryor Thoughts of Love is a great
park band style work for students to learn. I have students learn it as part of
understanding the history of trombone and what the common repertoire has been
for trombonists in the United States. Learning the “brash” park band style is
important. This work is also a simple work to memorize, a good skill for
students to learn. This is a good work to program on a recital or use as a
performance work with a home summer band. The work also provides students the
opportunity to work with a small-bore tenor trombone. Many of the highly
technical aspects of the work become approachable with a smaller instrument.
For
recordings, I explain to students that we are lucky. We have recordings of
Pryor performing this work on Arthur
Pryor, Soloist of the Sousa Band. Students can study the unique sound and
style of Arthur Pryor. I do not necessarily ask students to perform just like
him, but it is again good to have a strong historical understanding of the work
and its uses. Larry Zalkind also has a good recording with the New Sousa Band
of Thoughts of Love. Zalkind has a
unique interpretation of the Pryor works that dances between modern and
historical that I really like. I also recommend the Ian Bousfield recording
from Pryor Engagement and the Brett Baker recording with the Black Dyke Band as
other interpretations. My goal is for students to be as educated as possible
about the musical and technical options for each work they approach.
Because
this is a work composed by the trombone virtuoso for himself, there are many
technical and musical issues for students to be aware of. There are
improvisational elements and musical decisions that need to be made by
students. This is where the recordings they are listening to and making recordings
in practice room and lessons is important. Listening is also useful when
learning the disjoint style of Pryor, although I do not always recommend trying
to completely mimic the sound. Students can also approach using a small-bore
tenor trombone for a more authentic sound and artistic ability. If they do use
the small bore horn, there are some notes in runs they may want to consider
using a quick false tone to avoid clunky slide technique. The high and low
range can also be difficult, although playing on a small trombone with the
appropriate mouthpiece helps some students. The low range can be difficult on
the smaller horn, so having students learn to balance these issues is
important.
#2- Nikolai
Rimsky-Korsakov, Concerto for Trombone
The Concerto for Trombone by Rimsky-Korsakov
is an important work for trombone. It is one of the few concerti by a major
composer that many people will recognize without any formal music training. The
work appears on many audition lists for concerto competitions and competitions,
making it an important work for students to study. Students can learn alternate
and rational slide positions from this work. The key signature is also a
selling point for students still not comfortable in all keys. The outer
movements are in Bb, but the second movement is in Gb. The student will feel
more comfortable in a key with many flats after learning this concerto.
Finally, this is often an introduction to concerti with cadenzi. Students have
a written cadenza from the composer at the end of movement one and two. They
can use these cadenzi, as is often specified by competitions, or they can
create their own cadenza.
As the
instructor I recommend recordings with piano and band accompaniment. Students
often run to YouTube for this recording, which is dangerous because of the many
bad recordings out there. The piece is approachable for some middle school or
high school players, but they may not have the technical skills and tone needed
to be a great example for collegiate students. Carl Lenthe has a great
recording of the Concerto on his
recording From the Audition Window. I also recommend the Per Brevig recording Music for Trombone and Piano.
A number
of technical challenges are possible in the Rimsky-Korsakov. As already stated,
the key signature in the second movement can give some students issues. Two
issues exist because of the publishing technique of the day and a lack of
trombone technique from the composer. The breathing choices provided by the two
publishers of the work often do not work musically and technically for players.
Working through this issue with students is important. They will have a better
idea of how to make their own editions afterwards. The publisher also has many
articulation markings that usually are just not needed by trombonists. These
included the ever popular staccato and marcato over a note marking. Working
with students to create an understanding of this marking and why from a
historical point of view it may have existed is important. A technical issue I work through with
students often is the coordination between the slide and articulation.
Especially in the fast passages, students will have some issues present
themselves. This is an opportunity for students to work on articulation and
coordination. They can also work on fast single repeated articulation. I do not
teach multiple tonguing with this work, I have never had a student who needed
it at the given tempi.
#3- Ferdinand
David, Concertino
The
Ferdinand David Concertino is a strong example of a classical style concerto
for trombone. As a teacher and performer it can be difficult to perform in
auditions and hear in lessons as often as I do. However, its importance to
students is invaluable. Students will perform the work at concerto contests,
orchestral auditions and graduate school auditions. The work has become one of
the major rubrics for deciding the musicality and technical proficiency of
student trombonists. After learning the work, students can put it away for
years at a time and come back to it with new ideas and ways of executing the
technical issues involved.
I
recommend several listening resources for this work. The blog by Jay Friedman
has a recording of Jay playing the opening material without accompaniment. This
recording is useful for students performing the work on an orchestral audition
and can also provide some insight on how a major orchestral section leader
wants to hear the concerto performed. The Carl Lenthe recording At the Audition Window is a strong
interpretation of the work that includes piano accompaniment. For orchestral
accompaniment I recommend the Michel Becquet recording from Michel Beqcuet et la musique. This is a
live recording and only one or two issues with it. Becquet has a fantastic
sound and plays the concerto with a great sense of musicality and proficiency.
I don’t always send students to Christian Lindberg, but he does have several
recordings. I find them to be overly flashy and he often takes musical ideas
out of the context of the work in my opinion.
There is
a common issue of the dotted eighth note and sixteenth note in the David
concerto. After working on this with many teachers, I have found the easiest
way to work on this is with another person. The other person can be a teacher
or student; with a metronome they can keep track of that rhythm. Often the sixteenth note becomes compressed
to the triplet and the triplet has a tendency to compress as well. Being sure
the student is really listening to good recordings is vital to solve this
problem. Many students need to think about the rhythm away from the context of
the baring system to really play it proficiently. This can also help with
issues in the triplet conversion. Range both high and low can be an issue in
the concerto as well. I have students work on scales and arpeggios in Bb, Eb,
C, and F while working on this work. The idea is to increase the comfortable
range both up and down using scalar passages. I also have students do a fair
amount of lip slurs moving from the comfortable middle range into the high
range. Most of the movement up in the concerto is through natural and lip
slurs.
#4- Georg
Christoph Wagenseil, Concerto per
Trombone
The
Wagenseil Concerto is one of the early works for alto trombone. I think it
works as a strong introduction to the alto trombone for undergraduate students
who have a strong understanding of the mechanics of the instruments and clef.
Students who are not prepared to perform in alto clef or are uncomfortable with
the alto trombone as an instrument will struggle with the work. It is important
that the student be technically proficient to execute the musical nuances of
the work. When a student lists the
ability to perform on alto trombone on a resume, I want them to have knowledge
of the basic repertoire for the alto trombone. Because of this stipulation, I
think it is good to start students with this work early.
I
recommend several recordings for learning the Wagenseil Concerto for Trombone.
Jörgen Van Rijen has a strong recording of the work, Sackbutt. The style is appropriate and
will help students to differentiate the light style and articulation style that
is so different from romantic style tenor trombone performance. I also
recommend the Alain Trudel album Trombone
Concerti and for a recording with an older European style I recommend the
Branimer Slokar Posaunekonzerte. A combination of recordings will help most
students develop their own musical and style ideals.
The
challenges associated with this work include the use of the alto trombone.
Students need to be comfortable with the slide positions, partial adjustments
and have a strong knowledge of the scale patterns on the specific horn to be
successful with this concerto. The style is very light and string like, finding
the optimal point of resistance between the horn, mouthpiece and articulation
is important. Many students come prepared with a compact sound, which I like to
open up and keep lighter. This issue can be approached various ways, in my own
performance I tend to work on arpeggios in the key I am working in, playing
short notes, sometimes with air attacks and just the smallest amount of tongue
articulation possible. I work with students to reduce compression from the
articulation to open the sound and create a light, clear sound.
Additional
challenges that this style of music brings up are the ornaments and unwritten
cadenza. With young students, I listen to recordings with them and discuss the
ornament options. With more advanced students I ask them to turn this into a
research project. I provide the book of Bach ornamentation styles as reference
and ask them to listen to recordings to make choices. All students have a copy
that they actually write out the pattern they are going to use and practice
from, so they have a specific decision. The cadenza is difficult to teach. I know
some teachers just don’t have students play it, but I try to work with students
to either improvise a cadenza (referring to our Baroque scholars at the college
for help) or provide one of the three written candenzi I have used in the past
(The Alessi cadenza, Chasanov cadenza, and my own created cadenza). All three
are different and provide many options for students. Sometimes they are able to
create there own version from these models.
#5- Paul
Hindemith, Drei Leichte Stücke
The
“Three Easy Pieces” by Paul Hindemith is written for cello. The name references
the cello ability to play much of the work in first position with few
complicated string changes. As a trombone work, it is a fine introduction work
for tenor trombonists learning the bass trombone or tenor trombonists working
in second partial. The work is also a strong introduction to the works of Paul
Hindemith to trombonists who are required to have a certain amount of skill
before attempting other works by the composer specifically for the trombone.
As the
instructor, I find it valuable for students to listen to a variety of
recordings. The first recording I recommend to students is Niall Brown, Hindemith for Cello and Piano. This is a strong representation of the
options the cello and piano have and the student trombonists can learn from the
string interpretation. I usually ask students to find at least three cello
recordings before listening to trombone recordings of the work. The trombone recordings I recommend include
the Ron Barron Hindemith on Trombone
and the more recent Paul Pollard Point in
Time. The Paul Pollard recording is especially useful to students working
on tone production in the low range. If they are struggling I often pair Point in Time with Pollard’s many online
videos about daily routine and tone production.
A number
of technical challenges are present in this work for students to work on. There
are several sections of duple against triple rhythms. Students will need to
work on the rhythm away from the trombone, usually with a metronome. These
passages must be very strict because the piano continues in the duple meter
without a change. Additionally, the work helps initiate work in the valve for
tenor trombonists and double valve dexterity for bass trombonists. I recommend
students use false tones to help open up the first and second partial passages,
especially at the end of each movement at a low dynamic level. Students should
also be able to buzz the passages if possible, not at dynamics marked, but to
be sure the vibrations are heard in the head. Because this is a cello work,
there are no breath markings and some of the phrases are out of control for
many student trombonists. I try to work with students to make rational breath
choices that are musical when possible. This is also a fine chance to work on
breath control in the low range with many students. The musical issues that
present themselves to students can vary, some students are ready for the
challenge and others not. I find that listening to many recordings helps most
students. The work is also very vocal, so having a student sing passages, even
an octave up, can help with dynamic and color choices.
Wednesday, November 4, 2015
Brass Choir
As students at Luther College are preparing to perform on the brass ensembles concert, I thought it would be fun to share the performance of the mass brass choir in the Spring of 2012. The group is nearly 100 student musicians in the Luther College Center for Faith and Life performing Toccata Athalanta, by Aurelio Bonelli. Pretty cool!
Tuesday, November 3, 2015
Entrepreneurship
http://21cm.org/magazine/sounding-board/2015/11/01/entrepreneurship-and-the-artist-revolutionary/
I recently found this article about entrepreneurship and artistry. The article discusses the lack of differences between the two words and what this can mean for musicians. Check it out and see what you think. I think this describes my understanding of art and shows that as artists we really need to spend time walking that line between our "day gig" and creating something new and experimentation.
I recently found this article about entrepreneurship and artistry. The article discusses the lack of differences between the two words and what this can mean for musicians. Check it out and see what you think. I think this describes my understanding of art and shows that as artists we really need to spend time walking that line between our "day gig" and creating something new and experimentation.
Monday, October 26, 2015
Jazz Curriculum, Changes and Thoughts
I've been thinking about how I teach jazz in applied lessons. Every semester I run into a problem: my students are eager to learn tunes that they really aren't ready to execute. Particularly when transcribing the solos and learning changes for improv.
I want to keep my students involved in learning jazz and excited to do so. Often students get discouraged when involved in big band or combo chamber groups because they aren't quite at the same prepared place as some other students. I've been rethinking my curriculum and trying to organize it just a bit more, hopefully easing some of the transitional materials for students will be better. Check out what I've created and feel free to leave comments, I'm interested especially in what tunes other professors are having students learn and why.
Thanks!
I want to keep my students involved in learning jazz and excited to do so. Often students get discouraged when involved in big band or combo chamber groups because they aren't quite at the same prepared place as some other students. I've been rethinking my curriculum and trying to organize it just a bit more, hopefully easing some of the transitional materials for students will be better. Check out what I've created and feel free to leave comments, I'm interested especially in what tunes other professors are having students learn and why.
Thanks!
In addition to following this course of
study, students interested in jazz are expected to enroll in Jazz Combo Chamber
Ensemble (insert course number) for a total of 3 semesters. Students with a jazz emphasis on the music
major are expected to enroll in Jazz Combo Chamber Ensemble for a total of 6
semesters.
Year One:
- Jazz
Literature
o Basic Chords Handout
o Maiden Voyage, vol. 54 (Aebersold)
o Patterns for Jazz (for bass clef
instruments) (Coker, Casale, Campbell, Greene)
o Lip Slur Melodies (Edwards)
o Jazz Fragments: for the beginning improviser
(Elkjer, Robert)
o Doodle Studies and Etudes
(McChesney)
o Melodious Etudes for Trombone (Rochut)
o Intermediate Jazz Conception for
Trombone (Snidero)
o Trombonisms (Watrous)
§ Specific
useful studies, intro to multi tongue, ghost notes
o The Real Book
All of Me (Basie)
All the Things you Are (Kern)
Blue Bossa
(Dorham)
Summertime
(DuBose Hayward and Gershwin)
Take the A Train
(Ellington/Strayhorn)
Out of Nowhere (Green)
Bye Bye Blackbird
(Henderson)
Cantaloupe Island (Hancock)
Autumn Leaves
(Kosma/Mercer)
Straight, No Chaser (Monk),
slow tempo version
o Recordings (applicable to Real Book
selections)
- Jazz
Software
o iReal Pro App
(sheet music and play along MIDI for Jazz Improvisation). Technimo LLC.
- Jazz
Duets
o Famous Jazz Duets for Trombone and Bass
Trombone (OR two tenor trombones) Vol. 1-3
(Aldcroft)
o Beginning Jazz Duets (Aldcroft)
o Double Dip, Twenty Dynamite Duets for
two Trombones (Davis)
o Bone Kill
(Davis)
o Just Add Trombone
(Davis, Feder)
o Ten Duets for Tenor Trombone
(Pederson)
o Ten Duets for Bass Trombone (Pederson)
o Ten Duets for Tenor and Bass Trombone
(Pederson)
- Transcription
Projects (adding rhythm changes)
o Kind of Blue
(Davis)
o Solar (Davis)
o Soul Stirrin
(Green, Benny)
o Footprints
(Shorter)
o Cantaloupe Island
(Hancock)
o Chameleon (Hancock)
o Tune Up (Davis)
o
Satin
Doll (Mercer)
o Minor Blues
(Johnson)
- Recordings
to listen to for style
Wycliffe Gordon- instructional videos
on YouTube.
Robin Eubanks
Frank Rosolino
Carl Fontana
Bob Brookmeyer
Conrad Herwig
J.J. Johnson
Jack Teagarden
Year Two:
- Jazz
Literature
o Basic Chords Handout
o II, V, I (Aebersold)
o Contemporary Techniques for the
Trombone (Vol. 1, Foundation Exercises for Jazz)
(Baker)
o Lip Slurs (Edwards)
o Patterns for Jazz (for bass clef
instruments) (Coker, Casale, Campbell, Greene)
o Doodle Studies and Etudes
(McChesney)
o Melodious Etudes for Trombone (Rochut)
o Jazz Conception for Bass Trombone
(Snidero)
o Jazz Conception for Tenor Trombone
(Snidero)
o Sight Reading Jazz (Bass Clef) (Taylor)
o The Real Book, Bass Clef
All Blues (Davis)
All Blues (Davis)
All of Me
(Basie)
Anthropology (Gillespie)
Blue Bossa
(Dorham)
Summertime
(DuBose Hayward and Gershwin)
Take the A Train
(Ellington/Strayhorn)
Out of Nowhere (Green)
Bye Bye Blackbird
(Henderson)
Cantaloupe Island (Hancock)
Autumn Leaves
(Kosma/Mercer)
Satin Doll
(Mercer)
o Recordings (applicable to Real Book
selections)
- Jazz
Software
o iReal Pro App
(sheet music and play along MIDI for Jazz Improvisation)
- Jazz
Duets
o Famous Jazz Duets for Trombone and Bass
Trombone (OR two tenor trombones) Vol. 1-3
(Aldcroft)
o Beginning Jazz Duets (Aldcroft)
o Double Dip, Twenty Dynamite Duets for
two Trombones (Davis)
o Bone Kill
(Davis)
o Just Add Trombone
(Davis, Feder)
o Ten Duets for Tenor Trombone
(Pederson)
o Ten Duets for Bass Trombone (Pederson)
o Ten Duets for Tenor and Bass Trombone
(Pederson)
- Transcription
Projects
o My Funny Valentine,
Proof Positive (Johnson)
o Minor Blues,
Proof Positive (Johnson)
o Kind of Blue
(Davis)
o Soul Stirrin’ Soul
Stirrin’ (Green, Benny)
o Blues March Meet
the Jazz Sextet (Fuller)
o Alone Together, Gallery
(McKee, Paul)
o Blue Monk, New
Friends (Knepper)
- Listening
resources
Curtis
Fuller
Tommy Dorsey
Jack Teagarden
Kai Winding
Slide Hampton
Urbie Green
Wayne Henderson
Year Three:
- Jazz
Literature
o Killer Joe (Aebersold)
o Patterns for Jazz (Coker)
o Sight Reading Jazz (Bass Clef) (Taylor)
o Doodle Studies and Etudes
(McChesney)
o Reading Key Jazz Rhythms
(Lipsius)
o Basic Chords Handout
o Real Book
§ Charts
assigned by need and level
A Night in Tunisia
Fly Me to the Moon
Footprints
Michelle
Ornanthology
Confirmation
Scrapple from the Apple
- Jazz
Software
o iReal Pro App
(sheet music and play along MIDI for Jazz Improvisation)
- Duets
o Bonezilla (Davis)
o Family Tree (Davis)
o Trombone Institute of Technology (Davis)
- Transcriptions
and Tunes Based on Skill Level and Theory Knowledge
o As
assigned with listening projects
§ Examples:
o Blue Room, The Sermon (Fuller)
o Solitude, Ellington Songbook (Johnson)
o A Day in Copenhagen, (Hampton)
o Blue Monk, New Friends (Wesley)
Curtis
Fuller
Conrad
Herwig
J.J. Johnson
Frank Rosolino
Carl Fontana
Paul Desmond
Ray Anderson
Robin Eubanks
George Lewis
Conrad Herwig
Jimmy Cleveland
Year Four:
Materials in year four are dependent on
student level and expertise. Students
should have a strong understanding of chord progressions and jazz
listening. Chamber ensemble work (Combo)
is the key to continuing performance and improvisation learning.
- Jazz
Literature
o How to Improvise (Aebersold)
o Jazz Pedagogy, for teachers and students
(Baker)
o Patterns for Jazz (Coker)
o 24 Jazz Etudes (Gale, J.)
o Dance Band Reading (Raph)
o Real Book
§ Charts
assigned by need and level
A Night in Tunisia
Cottontail
Days of Wine and Roses
Fly Me to the Moon
Footprints
Girl from Ipanema
Groovin’ High
Michelle
Ornanthology
Confirmation
Scrapple from the Apple
- Jazz
Software
o iReal Pro App
(sheet music and play along MIDI for Jazz Improvisation)
- Transcriptions
and Tunes Based on Skill Level and Theory Knowledge
o As
assigned with listening projects
§ Examples:
o Echoes of Harlem, Right There (Turre)
o Reelin’ and Rockin’ (Dickenson)
o A Caddy for Daddy (Fuller)
- Listening
and other transcription examples
Ray
Anderson
Curtis
Fuller
J.J.
Johnson
Carl Fontana
Frank Rosolino
Bill Reichenbach
Trombone Shorty
Jiggs Wigham
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