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Thirds 2 th Th Common Chord 35 Dominant 7th Chord D Minor Harmonic Natural 37H c= Melodic ess-711“ Thirds Common Chord Diminished 7th Chord Ab Major ess-7445 — EE —— “ simite = =n Thirds Common Chord Dominant 7th Chord _ 0s Die Se = = SoS eS F Minor hea tomes 49 Melodic 855-71Diminished 7th Chord Major 855-717 Trombonists may omit slurs in No.59 855-7418 Thirds Common Chord 61 Dominant 7th Chord A Minor Natural Harmonie Melodic Thirds os Fe Diminished 7th Chord 855-71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 ability. Care- ful cttention to the marks of expression is essential to effective use of the material. Pencil the technically difficult passages and devote extra time to their mastery. In rhythmic music in the more rapid tempi (marches, dances, etc.), tones that are equal divisions of the best are played somewhat detached (staccato). Tones that equal a beat or are multiples of a beat ore held full value. “Tones followed by rests dre usually held full value. The latter should be especially observed in slow music as well, Moderato BORTNIANSKY 5 a HOHMANN Allegro voy '# Numbers above notes indicate trombone positions, 855-7120 Moderato Gari 855-71arti Allegretto Tempo | + trattenuto = ritardando 955-7122 Andante religieux ARIE Moderato 855-71ATT Allegro giusto ¢ 855-71SELTNER 855-7125 SAINT- JACOME Moderato af 855-7126 NIEMANN, Allegro > 7) ng leeiero 855-7127 De Gouy ‘Tempo di Bolero 855-7128 GATTI 855-7129 BONNISSEAU —— Andantino grazioso 13 855-7130 ess-7134 cARNAUD Vase «d= 72) 8 2 > Fine] 4 P Allegro moderato Folk Song eS ~,*> le fer > A 1532 Allegretto grazioso eatt 855-7133 Andante appassionato garti 255-7134 HOHMANN, Allegretto ess-7135 Gatti Andantino 19 ly deticato Sank ae Se oe | stents | yy a dels A ‘+ stentando = retarding the tempo 855-74Play all detached eighth notes in this exercise somewhat staccato. SAINT- JACOME Allegro Baritones only, 855-71855-71Allegretto se 20 mp ‘j CARNAUD Andante affettuoso (d= 6a) ———————_ p doide ——— |= 4% Trombones only. ‘& Boritones only. 855-7139 Tempot RS Andantino connerre thee 5 b, a p sempre legato 4 Trombones only: 855-7140 BONNISSE AU Vivace 855-71at Gatti 855-7142 ass-71WAGNER Marziale 255-7155-7145 De Gour Andante sostenuto — 9 Kop eNO ape aes Baritones only. 855-7146 Andante CORNETTE 4 Trombones only 55-7147 CORNETTE Agitoto 26 55-71Allegro 2 ‘4* Trombones only 985-71Studies in Articulation ° In all exercises where no tempo is indicated the student should ploy the study as rapidly as is consisten t with tonal control and technical accuracy. The first practice on each exercise should be done very slowly in order that the articulation may be carefully observed In allegro tempi figures similor to ="S== should be performed SPHT= etc. The figure rs = 5 aan, should be ploves =a The slur is a difficult arti bbe outward when playing an passage(Ex.il). culation on the slide trombone. Whenever possible the motion of the slide should ascending slurred passage (Ex.1) and inward when playing o descending slurred anh 4 52 ass 1 See u Te sesaae When it is not possible to move the slide as recommended above, the tones under the slur should be tongued as lightly os possible, fully sustcined, and free of any trace of glissando. See Ex.lll. 855-71stereree pa 855-715t Allegro 855-71Moderato 855-7183 855-7134 ess-71Furioso a sempre stacoato 855-71—~ only. only. * Boritone #4 Trombone 855-71se Trombone only. 855-71Con moto 855-71* Baritone only. «Trombone only. 855-7160 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 flexibility of the embouchure. Adhere strictly to the fingerings given. Trombone positions will be indicated above the notes. Positions] 1 [Fingering i 855-71essen62 855-71Position Studies for Trombone” The studies in this section have a two-fold purpos st, 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. Care must be token to maintain the same quality of tone in ploying a note in its various positions. These exercises should be practiced daily until mastered and must then be memorized. 5 ‘#8 Trombone only, 55.7164 Musical Ornamentation (embellishments) The following treatment of ornamentation is by no means complete. itis presented here 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 tril ever, from the standpoint of the students’ musical development, it is desirable that he be fami their interpretation. Refer to the trombone outline for exercises to be studied. How- r with The Trill (shake) The trill (or shake) consists of the rapid alternation 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. SS == SS ja a a ea ea eae a %* Baritone only. 855-716s Grace Notes (Appoggiatura) The grace notes are Indicated by notes of a smaller size. They may be divided into two classe: long and short. Long grace notes 4 oe 4 ba deg bee from “Serenade” Haydn Andante cantabile > cele Pp mf SA eS) es In instrumental music of recent composition the short grace notes should occupy as little time as possible and that value is taken preceding the principal note. They may be single,double, triple gr quadruple, as the case may be. The single short Grace note is printed as a small eighth note with a stroke through Its hook. It is not to be accented. Use trill fingerings when fundamental finger — ings are too difficult Short grace notes 5 5 Allegretto ARBAN : a! 255-71Allegro The Mordent The short mordent (s#) consists of a single rapid alternation of the principal note with its lower ‘auxiliary. Two or more alternations are executed in the long mordent. The inverted mordent (w#) 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. Short Mordent Long Mordent oo » ® Aa ae “aw “ aw 15 #* Boritone only. 855-7167 Short inverted mordent Long inverted mordent ae wd a a aw an 16 ARBAN D.C. al Fine In trlle of sufficient length a epecil ending is generally used whether indicated or not sepSe#= 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. Ext Ex.2 tr 18 * Beritone only ess-7468 The Turn (Gruppetto) The turn consists of four tones: the next scale tone above the principal tone, the principal tone itself, the tone below the principal tone, and the principal tone again. When the turn os 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. 4,2,3,40nd 5) 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 is then played with the last note of the turn taking tie 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. Ext Ex.2 Ex.3 Ex.4 Ex.S Ex.6 Ex.7 x8 Sometimes an accidental sign occurs with the turn, and 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 ore usually played quickly, and the fourth tone is then held until the time value of the note hos 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 m2 ~~ x3 Ex4 —sS NN 25 855-7469 ARBAN Allegretto % Boritone only. 855-71to) SOLOS CROSS AND CROWN Solo Trombone % or Baritone CARLETON L. COLBY Andante Religioso 3 SoG rit. P atempo =— crese. —— P crese. Copyright MCMXXIX by Rubank Inc., Chicago, III. Copyright Renewed International Copyright Secured 855-71n Calm As the Night Solo Trombone ¥ or Baritone Andante = At ———— P crese. wT atempo —= Pe rt¢————atemps S con motto —== - ——— Ft Copyright MCMXLI by Rubank, Inc.,Chicago, III. Copyright Renewed International Copyright Secured ess-7472 FRIENDS Solo Trombone 9 or Baritone WALTZ CAPRICE CLAY SMITH Waltz tempo Tempo di Valse ts Bg es to a ———— ‘tempo —— — or rT La — Copyright MCMXXXI by Robank,Ine., Chicago, Il. a Copyright Renewed International Copyright Secured73 Cantique de Noel Solo Trombone 9° ADOLPHE ADAM : D. or Baritone Transcribed by G.E. Holmes Andante (40) =—_— P rade Copyright MCMXXXIX by Rubark Inc., Chicago. Ill. Copyright Renewed International Copyright Secured 855-71-PL," Awakening of Spring Solo Trombone ¥ Romance or Baritone Andante con espressione Piano 52 : ~ — Pit tempo Sole om. poe —a a >= —— fy ee Deo rit pay NS Copyright MCMXLI by Rubanks Inc.,Chicage, Ill. Copyright Renewed International Copyright Secured ess-71cid Solo Trombone 9: Berceuse or Baritone OSKAR BOHME, Op. 7 Andante 4 — Stomp Piu mosso, ee PEP Copyright MCMXLI by Rubank, Ine., Chicago, Ill. International Copyright Secured Copyright R 855-71‘abit ad lik onoAt pleaaue: not In trict time ‘Made (a Docnonennoaho be played by Doth Instruments, Se Ril ‘Mtegretto ssocecncse-Dutnutive of alegre: moderately fa A8@8F0 (ANP) oomnivelyy Dink: FADIA IRndante conn ow movement: moderately slow. Ananntine Diminutive of undante: atricly. slower than an angantins ante: but often Used in che Feverae sone, A olacere “At pleasure: equivalent to ad Mbitum, Apnassionaio (Appass.)-Impesstonea eit iNeryr Allegro asset, very rapiaty, fetacen TIT Rune or bein what follows without pausing, Brians “showy: sparing: brlltant, Brio, con naaaWith meh apele cadensa (end) Crencendo (ereae) rete ta ». Dotee (aot, Doletesime Duet oF Dub Blogante, Enharmonic 2 (Be) Dat Sleno (D. 8) Diminvende (aim) Fortissimo. (#. Forsand (t2 3) Graslone on Loco "email eaded tine above or below ‘Antlgborste Aorta paseage Introduced an an em= CIITA preawvret ad Ub ‘A supplement atthe end of & compeiton. COTW ae ‘Swelling; Increasing in loudness, SCIUTIEFom the beginning. ‘From the tan. Gradually sorter. ‘irided, "ench part to be played by m separate Sottiy: sweety “Nery sweetly and softly. “A composition for two performers, Blegant: eracetul “AWK In piteh, But different in notation. ‘With expression. ‘The ond. os ‘Accent atronely, almintshing instantly 0 ery loud, Sracetally, ‘The fret degree of the cea low. between Andante and Largs. In the same time. (or tempo). concep placer play” ae writen, no loner an octave ccna Magestically: dignifed, Mag E1oF€ nnn MAJOR Rey. MareatonwovnucnAarked Meszo-plano” (mp) oorcuModerately sett Morendo Allegro moder ‘OF wreitton characters, mules? sounds By mo ObbtHEAte on Smale Noe” or eine. Generany Indleating an easter metho Ottave ava, Paso (a) connnnnnTRe sign indleatiog a pause or rest, Piacere, ct plenure Planlssime (opi Very softly Panel Ohare Pi “Allegtomsnmee More quickly. Poco or Un poconnnns-A Ite Primo (imo) ete by itt, auest Rallentando (Pall).n.-Gradually slower Replica ne Repetition. Senza repltes, without repeats, Rintorsando”(efz) 02 With special emphant Ritardando (rit). Gradually slower and now Ritenute on In slower time—not pradually slower. See cnn Pottow on: tm similar tyle, Sempltce Simply: anaftected Senza “Awithowt. Sense sordino, without mute, Storsando (at) Perelbiy: with eudden emphasle Simile II Hie manners Smorsando (amore)... Diminishing in sound, Equivalent to Morendo SLCICRor one pertormer only. Bele for al, B0880 vowwnnnrnnnnn-BelOW; Under. Sotto voce, in a aubdued tone, Spiritowmcnnsnann= Spin Com Splito with apie. Stemtando 7 “Dragging or retarding the tempo. retto OF sitelia. An increase of apeed, Plu eeretto, taste, Facet minnsnnnnnnnte silent” Signifen that an instrument or voe ine, tinged a omitted uring the movers: Tenuto (em donuHeld for the fall yelwes ‘rranauilio coo Quletly. ‘remolande, Tremolo a tremalous fluctuation of tone, Tro crremenncch piece of munle for three performers ‘Triple onsen, REOUP pf UAEEG notes to he Performed In the tin PEPPO n ‘Topi too mich, Allegre, ma non tF0ppo. not t DUE en Ail; al'the tnstromente, of a malody by means of bn Tashi, vt nd ladle Changee' ana ee Yet066 re Quek; rapid: ewite Viva mes With vivactys BPlgRE: aplitad. Volt Subiia GW, S)laturn over quickly, RUBANK, Ine., Miarni