The following are my thoughts on the five trombone solos I think undergrad trombonists should learn. I'm a big proponent of students learning solo literature, so this by no means is the list of the ONLY five solos a student should learn.
Concerto for Trombone, Rimsky-Korsakov
This solo is part of the list of common audition repertoire. Many high school students learn it for college level studio entrance auditions. Because so many students know the work and have worked through the long list of intricate technical and musical challenges, I think it is important for all students to at least spend a semester on it if not perform the work.
Part of what makes the Rimsky-Korsakov so interesting is that it is one of the few trombone solos from a major composer. This makes the work interesting to younger students who want to play major compositions. It is also seen as a high quality work by trained and untrained audiences alike. Many students will need to perform the work for competitions and other auditions in their career, it is best to start working on it early.
I have found with younger students that this work is a great way to introduce the key of Gb. The outer movements are in Bb with the inner moment in Gb. The students are not necessarily overwhelmed by such a "complex" key with simple keys for the outer movements. The work is also a great opportunity for students to learn "alternate" or "rational" slide positions, keeping as many things that make sense in the same partial and getting into the second partial with the valve some. Students will quickly learn to be comfortable with Bb in fifth position and the lower Bb with the valve. Some other technical challenges students will find include the fast, repeated articulations and coordination between articulation and slide movement. There are candenzi included, which can be a new concept to some students. I also find I spend a good deal of time with students discussing the musical places to breath (different from printed version), articulation symbols and the portato included.
I recommend a few recordings for students to listen to and learn from:
Brevet, Per. Music for Trombone and Piano
Lenthe, Carl. The Audition Window
Thoughts of Love, Arthur Pryor
Many students come to my studio and know nothing about the history of trombone and park bands. I think this style is important, so I like teaching Pryor, even though I rarely program any of his works on a recital of my own. This is a specific style, that can be difficult for students to learn because it is at times so far away from "orchestral" style. I think this work specifically lends to memorization and student performances with summer bands. It is a great competition and recital work and can even give students some exposure to performing with a small bore tenor trombone.
The technical challenges included range from just the simple style and disjunct playing of a Pryor work to the range needed (both high and low). There are some improvisational elements and the articulation needs to be a fast single tongue when possible.
Recordings I recommend to students:
Zalkind, Larry. New Sousa Band Recordings
Pryor, Arthur. Trombone Soloist of the Sousa Band
Baker, Brett. Monument
Bousfield, Ian. Pryor Engagement
Drei Leichte Stücke, Paul Hindemith
These three easy pieces by Hindemith is a great introduction to the bass trombone for tenor trombonists, or playing in the valve for tenor trombonists. I've found it works well for having students work on a secondary instrument, which is important to do in todays market. It is also a great introduction to Hindemith and his style of tonality. I find an additional pro for teaching this work is getting my students to listen to and study cellists! It makes a giant different in sound concept and how they listen in chamber music and orchestra.
These positive examples can also be challenges for students. Performing in a string like fashion, some of the duple vs. triple rhythms Hindemith uses and some of the low range issues younger students may have.
Recordings:
Niall Brown, Hindemith for Cello and Piano
Paul Pollard, Point in Time
Ron Barron, Hindemith on Trombone
Concerto, Wagenseil
What a great introduction to the alto trombone for a student, and a great way to continue studying the classical repertoire! The articulation and style of the alto trombone combined with the need for a cadenza is great practice for students. I have collected several cadenzi for students to study and use if they like. I also encourage them to write or improvise their own if they feel comfortable. There are a few range issues for some students along with the issues of learning the alto trombone for those unfamiliar. The ornamentation can be foreign, but I think listening to good recordings can really help with that.
Recordings:
Brainier Slokar, Posanekonzerte
Alain Trudel, Trombone Concerti
Jörgen Van Rijien, Sackbutt
Concerto, Ferdinand David
Again, this work is on nearly every orchestral audition. I think it is good for students to become comfortable with it early. The rhythmic issues with this work make it extremely difficult, with many recordings not really playing the opening rhythm the same or correct. I think Memorization can be helpful along with learning classical style. Many students want to play this work in an "orchestral" manner when it really is a concerto, so helping them to add color and style to the music is important.
The dotted eighth and sixteenth rhythm can be hard. There is a triplet conversion that is important for students to find and get right and the cadenza can be a new idea. Finally, both the high and low range of this work helps many students become more comfortable in a wider range!
Recordings:
Jay Friedman, blog post with trombone recording
Michel Becquet, la Musique de l'air
Carl Lenthe, At the Audition Window
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