W21TB - Standard of Excellence Book Only - Book 1 - Trombone (Standard of Excellence Series) 0849759382

Citation preview

ombone

Practice Journal Week Date

Assignment/Goal

Sun.

Mon.

Tues.

Wed.

Thurs.

Fri.

1

2

3

4 5

6 7

8

•

9

10 11

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16 17 18

19

20 21

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24 25 26 27 28 29 30 31

32 33 34

35 36 W21TB

Musical instruments on the cover provided courtesy of the C. Leblanc Corporation, Kenosha, Wisconsin, U.S.A.

Sat.

Total

K)K

1

-Trombone

Standard of Excellence Comprehensive Band Method By Bruce Pearson

Dear Student: to the wonderful world of instrumental music. The moment you pick up your trombone, you will begin an exciting adventure that is filled with challenges and rewards. If you study carefully and practice regularly, you will quickly discover the joy and satisfaction of playing beautiful music for yourself, your family, your friends, or a concert audience.

Welcome

I

hope you have many rewarding years of music-making.

Best wishes,

&ncu

ri. ^a^soa^

Practicing Make

-

the key to

EXCELLENCE!

practicing part of your daily schedule.

plenty of time for

If

you plan

it

as

you do any other

activity,

you

will find

it.

same place every day. Choose a place where you can concentrate on making warm-up routine, including long tones and simple technical an athlete, you need to warm-up your mind and muscles before you begin performing. every practice session. Keep track of your practice time and progress on the front cover

Try to practice

in

the

music. Start with a regular and familiar exercises.

Like

Set goals for

Practice Journal. Practice the hard spots

in

your lesson assignment and band music over and over,

them perfectly. Spend time practicing both alone and with the

STANDARD OF EXCELLENCE

until

you can play

recorded accompani-

ments. At the end of each practice session, play something fun.

ISBN 0-8497-5938-2

© 1993

Neil A. Kjos

Music Company, 4380 Jutland Drive, San Diego,

International copyright secured. All rights reserved.

Printed

in

California.

the U.S.A.

WARNING! Governments of

new

music.

Please

around the world provide copyright laws to encourage composition and publication this music without permission is breaking the copyright law and is subject to penalties. copyright laws. Do not copy or reproduce the contents of this book in any way. Thank you!

Anyone copying

do not

violate

IgOS NEIL A. KJOS MUSIC COMPANY, PUBLISHER

W21TB

Putting

Your Trombone Together BELL SECTION

water key

tuning slide

MOUTHPIECE

:n=:3

/

mouthpiece receiver

SLIDE SECTION

slide lock

STEP! Open your

case

right side up.

Lock your

slide.

STEP 2 Hold the

bell

section

in

your

left

hand. Point the

bell

toward

the floor with the receiver to the right.

STEP 3 Hold the

slide section

in your right hand with down. Put the longer side of the

by the braces

the "U" of the slide section

slide section into the bell receiver.

Make

between the two sections. The exact angle mined by the size of your hand.

a "V" angle will

be detei

^ STEP 4 Tighten the lock that holds the two sections together. Put the mouthpiece into the mouthpiece receiver with your right

hand.

STEP 5 Rest the

tip

the inner slide.

W21TB

of the slide on the floor. Unlock the slide and

slide.

Place 5 or 6 drops of slide

oil

on each

lift

inner

Move the slide up and down to evenly spread the oil.

Preparing

To

Play STEP1 Sit

up

straight

on the edge of your

chair.

STEP 2

Hue your left thumb around the bell brace. your

left

Place the other

hand around the first slide brace. Place index finger on or near the mouthpiece.

fingers of

your

left

STEP 3 With your right hand, hold the bottom of the slide brace with the thumb, index, and middle fingers.

STEP 4 Keep your

right wrist flexible.

STEP 5 Your elbows should be away from your body.

Playing

Your Trombone

STEP! Shape the inside of your mouth as if saying "oh." Bring your lips

together as

if

saying "em."

STEP 2 Your lips should have firm corners but a relaxed center. Your chin should be flat and pointed. STEP 3 Take a full breath of air and blow, creating a relaxed, buzzing tone.

STEP 4 While buzzing, place the mouthpiece over the buzz with equal amounts of the mouthpiece on the upper and lower lips.

STEP 5 Put the full

mouthpiece into the mouthpiece receiver. Take a air and play a long, steady tone.

breath of

Caring For Your

Trombone STEP1 After playing, depress the water key to drain the excess

water from your trombone. Lock your instrument with a

STEP 2 Remove

the

soft,

STEP 3 Grease your tuning

Wipe off your

clean cloth.

mouthpiece and put and latch

carefully in the case

slide.

it

and your trombone

it.

slide regularly.

W21TB

—

For Trombones & Brass Only BASS CLEF

TIME

WHOLE

SIGNATURE

NOTE

:

Bar Lines

Ledger Line

4=4 counts 4

fc

):

S

each measure

in

A 4

HHf

WHOLE REST

t

A whole

note gets

A whole

rest gets

4 counts

in

£ time.

4 counts

in

A

flat

^^

Staff

o

| time.

o-

•Measures

b

one

(l>)

lowers the pitch of a note It remains in effect

half step.

for the entire

WHAT DO YOU When you will

HEAR?

^

B

play your instrument, you

probably play one of these two notes:

F

or

*)•

°

—:

^^^

measure.

WHAT NEXT? Ask your teacher which note you are playing: If your natural note is B!>, start on page 4. If your natural note is F, start on page 5.

THE FIRST NOTE Bflat(Bb)

* «-

s

Bt>

>-»-

>-o-

The number indicates what position

^*-

4*

to use.

A double

bar line m.nks the vnd of the music.

THE SECOND NOTE c

c

xc

TEA FOR

m

xc

XC

TWO o

>-**-

xc

>-**-

THE THIRD NOTE D

a

-o-

^

m

D ~o-

-*+-

-**-

-**-

THREE OF A KIND

THREE'S

m

XC

•»-

XC

-«-

xc

COMPANY

TT~

^

-*»-

-o-

TOP BRASS

W21TB

«-

xc

-o-

-o-

For Trombones & Brass Only BASS CLEF

TIME

4

WHOLE

SIGNATURE

2.

NOTE

:

Baj Lines

Ledgei Line.

-1=4

counts

in

\

each

measure

•\

S]

4 |;

^ ./ j

REST

^ Mivki Meas irpc

A whole

whole note gets

4 counts

Stafl

WHOLE

^

in \

4

time.




TIME FOR D

rest gets

| time.

4 counts

in f

^o-

—-*.

one

"I

Uj,

(Vj

lowers the pitch of a note It remains in effect

half step.

measure.

for the entire

B>

time.

BAND

m

-o-

A whole

in

A flat

-» B

note gets

4 counts

m

=$1

FLAT

A whole

D -+-

-**-

The number indicates what position

-*-

-**-

A double

to use.

bar line marks the v\u\ ol the music.

THE FUN CONTINUES c

c

xe

xe

XE

XE

WHOLE LOTTA COUNTING

S

Write

Q

-*+-

-*»-

xe

^*-

When you

-«-

o *+see a page

number followed by an

arrow,

/ *
fr^i'rTr i

J

1

'»

J

J»r

i

J

J

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3 ERIE CANAL CAPERS

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-**-

a

American Work Song

^m

tf

m m m zz»

Jl

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gp

I

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t

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Traditional

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jyi

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l

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Little

(1

756

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1

791

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C-T

the missing notes for "Twinkle, Twinkle,

GO

i

S

m in

r

Wolfgang Amadeus Mozart

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Draw

2.

,

SEARCH

*s=S ?

J

r

-

J

1897)

rr

i

a LAUGHING SONG Round

W'S

-

Star" before

you

play.

FOR EXCELLENCE! j

n ?-j nn,i r

rrr

'

i

r

i

r

rr/r

jtj^ ^ J

r

i

i

lllt

»

r

^^ j

r

cr »

*

W21TB

16

3£f

KEY SIGNATURE

This key signature flats, all E's

as E

means

flats,

and

play all

all

B's as

A's as

B

A flats.

J

2a CLIMBING STAIRS Aflat(Ab)

&

P^ ffi

\v

zm

^^

m

•

Higher notes are easier with faster

air.

BINGO

V

J

:

l

"f

f

fbJN »

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l

AniciK an Folk Song

r

r

i

J

J

J

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^

"(^

l

m't

m

m

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r

'ir

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•H THERE'S THE SAME MUSIC IN THE AIR •

^

BROTHER MARTIN Round

Latin

-

2.

l.

2

P

£

f

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f

/>

>

3.

221

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Wj

f

/ Australian Folk

THE LITTLE FISH

rrr rrr JJ '

/

Draw

American Folk Song

in

a breath

GO FOR

s

"When Love

J

mark

at the

J

I

p r

j?' J '

rrr

Kind"

r

r

i

r

r

rr

S3

end of each phrase.

Czech

EXCELLENCE! Is

'

Song

cP

^P

/

Folk

Song

^m W21TB

# # 18

A

NATURAL

natural sign cancels a

remains

It

in effect for

or a sharp.

flat

the entire measure.

5

WAR/V A\flat(Ai>) flat (A

Aj>

i>)

I

I

,

9' i

9' i

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Try playing this

L^

J.

r

I

J-JiJ ..n

J

1

,

,

Ji J J

1

tJ.

i»

1

^ H

J

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I

,

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I

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,

J

i

,

1

,

3

J.

1,

r J.n — J

v..it

J

*

i

J

changed by the

LULLABY -Duet

^

r.

gjggf

#

I

^^ £

I




2 /

J J

»

J

x

I

i

^

ff

i

/ -H-

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r"r

J

|

S

Z

.*

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r

>

S

GO

slur

J

|

^^r

r

i

ff

n

^ Chinese Folk Song

mm? im

Ss

Z

>

Page 40

'j

Write an S under each

J

r'r

S nW

'> ,\

>

Edvard Grieg (1843- 1907)

J

OH MING COURT

-H-

French Folk Song

MORNING MOOD

w

33

.

*+

y

»w

>

m

m

tie

'

r

u

m ^^

m

P

and a T under the

rj

^

before you play.

FOR EXCELLENCE!

v.,i

r

Ji^J J7^i ^J i

,

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r

J

jii,j

i

J-

*

u

J^[;Ji j]Jf ^ i

,

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P^E

#

S? i£NE#

m W21TB

20

SAWMILL CREEK Solo with Piano

Accompaniment Bruce Pearson

Trombone

S

^

f >"»l IJNi Piano

I

/

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Ai

t

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Sa

2

1

n*

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3

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if

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a

fW IS *^F

ff /

^

Go

rcrr

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back

to the

U

i

3=^=?

10

*

'

I

f

IS

17

m m m

P

1=2

18

^ 19

JN

^P B^

•^ P^ P§§

PP

!>s

12

w /

IF

^BB

*=*=«

44 ;7 3

J

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repeat sign.

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16

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first

f^

11

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ii.

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(b.

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21

LONG

Rest the

REST Count:

j

1

2^-4

2

4

}

number

Part of the section plays the top notes

DIVISI

part of the section plays the

UNISON

of measures

indicated.

and bottom notes.

Mills

lll\

'^vr

MONTEGO

r

r

Everyone plays the same notes.

BAY Calypso Song (b. 1961)

Band Arrangement

S^

H

-4

1

m

10

*

->

r

r

r

r c-T

^

12

J

«

17

#

18

8

7

13

20

19

24

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lunis.

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1st

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b

time

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26

25

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28

27

div.

&

m

rJ

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31

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r

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/ 2

£

>

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/ 8

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p

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r

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p

(9

2.

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^

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25

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Pi

13

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Elledge

12

,

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1 m

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1

(b.

Chuck

11

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-2

Bruce Pearson

P2

=f

9

7

_4*-4,

l

arr.

(9-

J

> > >

P^P

>

REGAL MARCH

> >

>

34

Band Arrangement

Wi.c

a

> >>

1.

-

'

30

^

1

2

> >>

1.

29

2

22

-

,

*-#

r r

i

21

1

div.

2nd time -/> ,

8

£=

/

23

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.

15-16

£=

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err jj

r

i

14.

*

Jf

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J

4

.

Chuck

arr.

W2

r

^^ 27

28 -fi^

23

i ^ 29

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0-

i

> > >>>

rrcr

>

>

r

r

i

24

i

>

'

r

2 r=

30

i

f

^r

>

> >

W21TB

22

03 WARM-UP A-w

hs^

-«-

3=E

/ 23 FULL OF HOT AIR A

B

flat

(Bb)

iV /'

a

t

*T

'

,

3

U

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r>«

a

H

»

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r?

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p

DANZA GIOVANNI

S

CN

*

4£

1

I

Bb

A r

Italian Folk

^g

1S^

^

(9

/ iiij

Bb

MAJOR SCALE

Vi

J

J

SKILL

I

f

mm 2

fi

(

Arpeggio

^m [J2 THE

-&-

holds

2

'

£ MAN ON

Song

«» -«+-

THE FLYING TRAPEZE

George Leybourne (1842

-

1884)

M^ nr 12,

'h\'i

j

i

u'rr

i

rrnrJJir JU?r

m W

^f^gf i

h.K k to the lust repeat sign.

EE

(

om| your

w J%

i

rr

Using the given rhythms, draw

in

/]

'

'

r

i

|

j

r

ni^Ji^'"

notes to complete the melody.

Title

and play your


lM

1

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Hi

6

?

I

J

J

— — —®—*-—

H^ r Jr J

# I

(9

4

6

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Jj'uJ

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£

1

23

= ^

KEY SIGNATURE \

This key signature

means

all

B's as

p^

E

E

v$

f r r

J

J

f

i

i

f

pr pif

?

J r f r

^

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3

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MAJOR SCALE

F

f r'r

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r

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SONG

E73 SAILOR'S -

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Chords

5

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Page 40

«

"

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t'r 'r

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e

R. I'ciullon (d.

jH |UST BY ACCIDENT

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flats.

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BARCAROLLE

*

B

LOOK SHARP

1

'

play

^_

Tutti

'

V

w

_^

w

-

m

-

V

r^ "3

—

«^

/ B3 GO FOR "This

EXCELLENCE!

American Folk Song

Old Man"

> > >

''MM M'Ufff

^^

lJflrlrJJ, .J

PP l

W21TB

24

DA CAPO AL FINE (D. C. AL FINE)

SHARP

it

^F»

F

Go

back

to the beginning

and play

until

A

the Fine.

It

sharp (|) raises the pitch of a note one half step. remains in effect for the entire measure.

^

WARM-UP

^^

/ Try playing this

Ufl IN

x: -o-

f

z~

f

r\ -O-

warm-up on your mouthpiece.

THE POCKET

'^r

W ^^

F

r

i

cj

r

/

ir

r

i

r

r

r

ir

r

i

(9

crcj

i

POCKET CHANGE

wr

i^g

J

i

r

r

r

^

cj

i

/

S S IZJ

I

STRICTLY BUSINESS h»-4>

r

/ SMOOTH

a

te=fe

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V

r

m.

r

>

i

^

i

SAILING

P

#=F

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pipi?

ti

/>

ROSES FROM THE SOUTH

lohann Strauss,

|r.

>

Pf^p

S I

i»

(

)*))

¥^

p-

i>

(1825

/ k^-k

44

r

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r

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l

T

THEME FROM "HANSEL AND CRETEL"

,

I

,

Engelbert

.

£2

Humperdinck (1854- 1921) D.C. al Fine

^S gP^F

_

i

Fine

,

#=F

? •

n

i

rrr /

FOR TROMBONES ONLY

^^ F

sharp (M)

^

F#

?«

/ W21TB

|^»f

pq xc |

pp

iF^Fff r

i

t

-o-

r r

'

r r r

25

THAT'S A

\JA

'^ i'MrM'KrrrTr i

'

rr

i

/ POLLY WOLLY

113

DOODLE

American Folk Song

uunn

p

m

clap

-e-+

*

stomp

*

m*

K-

r~r

VOLGA BOAT SONG

jVJ

Page 40

^z

*>

L

;

r

-ji

r

lj

i

r

'

/

kT

T

Page 40

^

^§ gp^g foot

^

WRAP

J

.

,.

^J2

rr m*

J

J

^

Australian Folk

1.

S

!

sp^

'^

-

r

r

Song

2.

»

/

,:

Russian Folk Song

mill

KOOKABURRA Round

Jl

^

f

i

r

3.

cLCjr lit

j r

4.

lll;

GO FOR

ir

EXCELLENCE!

Tielman Susato

(1

500?

-

1561?)

"Ronde"

'^'

U

-0

r

f 7

b

'

r

p-

cr qj

£

^

Lr

i

r

r

r

/'

W21TB

—

X

26

A

SINGLE

single eighth note

EIGHTH NOTE

j) =

A

DOTTED QUARTER NOTE WARM-UP

Wi

r

1/2

long as a quarter note.

count

dot after a note adds half the value of the note.

j.

1+1/2 = 1+1/2 =

1

1/2

counts

Band Arrangement

-

ff Jf|" /

Try playing this

half as

is

^^

-o-

r\

-o-

P?

P2

-**-

warm-up on your mouthpiece.

SHORT CUT

i^^i

3^

ff=F£

§

£3=3

?

/

nn

clap

XLD. Write

in

—*—

-U

X-

*

n n

— — —»x

x

nn

—X-

*—*

i

3T

'

J

S

-«*-

^ £•

2

IT

=fe

^ 331

f

TOP DRAWER Duet -

A.

Si f

331

k

-O-

>^j rr rr

2

ir

p

r

/

ED

HOME ON

wd

THE RANGE

jut

r

'^J-rnr Circle the notes

i

Page 41

Daniel

p2

r

cj-

r

/

r

B.

isS^ £ f

|:;

ij-

r

r

i

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Glossary/Index Accent (p.19)>

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Accidentals (pp.6, 18, 24)||,|>,l|. Allegro (p.28)

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(p.28)

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Arpeggio (pp.22-23, 28, 42) Articulation (pp.15, 19, 39)

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.

.

.

.

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attack the note louder sharp,

.

Mason, Lowell

quick and

lively

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Bar Line (pp.4-6)

.

.

.

notes of a chord played one at a time

Mezzo

type of attack used to play a note or

Mezzo Piano

F Clef; read

&

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(p.7)

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scale of half steps

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same

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Crescendo

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(p.29)

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Amadeus

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7

or sharp

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American composer/author

Phrase

musical thought or sentence

(p.8)

1942)

(b.

soft (p.

2).

J.S. (p.1

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note or notes that

15)

.

.

.

Repeat Sign pp.9, 20)

first

American composer (1822-1893) 1867)

(d.

repeal from beginning or repeal

I

i

before

measure

American composer

Poulton, G.R. (p.23). until

flat

French composer (7879-7880)

(p.1 9) '/'

full

and play

composer

cancels a

Pearson, Bruce

Pierpont,

to the beginning

French composer (1682-1738)

Austrian

composer (16741-1707)

as \

soft

(pp.15,

28,31)

Pick-Up Note(s)

gradually play louder

.

Mouret, |ean-|oseph (p.38)

Piano \p.\7)p

time (p.42)

medium

moderate speed

One-Measure Repeat

take a breath

two or more pitches sounded

.

Offenbach, Jacques (p.23)

German composer (1770-1827) German composer (1833-1897)

Chord (pp.22-23, 28)

nip

(p.28)

Natural (p.18)

lines; also

as a "bar"

medium loud

iff

(p.28)

Mozart, Wolfgang

by bassoon, trombone,

bass

Brahms, Johannes

Forte (p.28)

Moderato

baritone, tuba, timpani,

Beethoven, Ludwig van (p.29)

space between two bar

known

divides the music staff into measures

.

=§E

EEE

(pp.4-6)

measures indicated

of

American composer (1792-1872)

(p.33)

moderately slow

group of notes

Bass Clef (pp. 4-6)

number

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(p.21)

or natural

flat,

:

si

||

Fine

the

Decrescendo

(p.29)

Divisi (p.21

of music

gradually play softer

Ritardando

part of the section plays the top notes

Root, George

and

(pp.12, 30)

fifth

(p 16)

F.

.

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note of a scale; chord

built

on

fifth

Gioacchinn

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(pp.4-6)

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(pp.1

Chuck

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.

composer

h

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1-

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1904)

1st

(p.9)

/TS

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191

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(pp. 19-20)

play 1st ending

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Frost,

Robert

(p.

18)

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Theme

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M

p. 25)

.

(p.24)

the

at

(7854-/ 92

distance

Introduction (p.32)

section of music that precedes the first

Kelley, Daniel E. (p.27)

.

.

.

Key Signature (pp.11, 16,23)

500?- 156

main musical idea

in

a piece of music

as (pp.4-6, 9 10, 17)

stated right after the clef;

.

throughout a piece of music

Variation (pp.28, 31)

short lines

first

note of a scale, chord

(p.21)

.

.

.

.

English

composer (1842-1884)

Lip Slur (pp.19, 22-24, 26-29, 35, 38-41

slurring

two notes with the same

fingering or slide position

built

on

first

repeated musical idea which has been

changed

in

some way from

the original

staff

Leybourne, George (p.22)

tells

everyone plays same notes and rhythms

slightly

used to extend the

bottom number

note thai receives

everyone plays

Tutti (p.9)

Unison

Ledger Line (pp.4-6)

Ol

note of a scale

key signatures change certain notes

slow

played

ouni

Tonic (pp.12, 30).

American composer (7843-7905)

Largo (p.33)

h incisure',

yoi.

theme

flats

pitch, tied notes are

in

I

between two notes

sharps or

lop

same

connects two notes of

one unbroken note

1

Interval

on

of music

line that

Time Signature

same time

buill

(7

:

different notes played or

German composer

hord

t

.

.

the

sung

Humperdinck, Engelbert

1 1

fourth nolo of a scale

31,33).

two or more

is

composer (1825-1899)

W)

(pp.7, 9-10, 12, 18, 21-23.

26-28, 30-33, 38)

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German composer (7685-7759)

pilches

sei iion plays

Austrian

|r

Susato, Ticlman

Handel, George Frideric (pp.27, 36-37)

Harmony

Muuvs, Johann

Tempo

1942)

step

On whic h music

loud (b.

'.'

wir

American composer/author

Norwegian composer (1843-1907)

'

American compose) (/854-I9J2)

step

Grieg, Edvard (p.1 9)

note

,i

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Start

Subdominant (pp

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\>

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Solo p.9

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first

piti

line (hat

nl

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2nd ending

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19

arranged from lowighest to lowest

noli

to play

hold note or rest longer than

repeat music, skip

Flat (pp.4-6)

IS

p|

the rj

S„l,

instrument

Fermata

imposer (7792-7868)

iion of pitches

loudness or softness of music

(pp.12, 21, 34, 38)

American compose) publisher

est to hig

marks the end of the music )

tempo

gradually slow the

kale

note of a scale

Dvorak, Antonin (p.33

signs

(7820-1895)

part of the section plays the

bottom notes

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(ritard. or rit.)

between repeal

Work, Henry C.

(p.35)

American composer (1832-1884)

47

146

148

153

151

155

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notes

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notes

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rhythm notes

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rhythm

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104

position

115

111

106

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dynamics

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rhythm

notes

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84

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48

THE TROMBONE Trombone History unique because it is the only modern instrument that uses a slide. The trombone's ancestor In is the tromba, a long trumpet of the Middle Ages. Italian, the word trombone means large tromba. An English ancestor of the trombone was the sackbut, a

The trombone

is

type of slide instrument.

The trombone of today is basically the same as it was when it appeared in 1 450. By 1 500, Nuremberg, Germany was the center of trombone making. Since the trombone was the only brass instrument of the time that could play any note of the scale, composers gradually found it to be a very useful instrument. At first, the trombone was played primarily in town concert bands and used in church to accompany

By thel 700's the trombones were added to Mozart and other great classical composers wrote for the trombone in operas and Finally, by 1850, trombones were sacred works. singing. military

regular

bands.

members

of the

symphony

orchestra.

Parts

were written for alto, tenor, and bass trombone. The addition of the valve attachment to the trombone in the early 1 900's allowed the lower notes to be played

more

3

m

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easily.

Today, trombones are played in bands, orchestras, jazz bands, brass ensembles, and popular music groups.

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Kit

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slide oil

tuning slide grease

mutes

pencil

method book

band music

music stand

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Slightly

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