Slide Position and Fingering Chart

Trombone slide positions: Euphonium fingers: 7 J***"^! 3 6 l l3

4

ifts

G
4

tjfes
3

i/Ai
1 0 ' S

S
7

W - i b ( W * * * 1 1 2 2

1 * 1

^"'1
3

l "^l'r"
L

I - I'"
0

I"
J

1
1

1
2
3

I
0 1(3) :?>

1
J
.2(4)

1 ^
. 1(3) ^

'

v
3

.M

V a . *.< f<M : *

tw

rj

i Slide positions in brackets are alternate ones, which can be used on occasions to facilitate technical passages. The % before a figure indicates that the position is slightly short, and the [j that it is longer than normal. Fingerings in brackets are alternatives, and in the square brackets are those to be usedon a 4 valved instrument 1

O(J)

0(1)

2 3

1 * ' Position

G
2nd

-V
:mty

^
3'

3
z\ 8
:

(c
4

th

M
i r - j

M te
fcuphJ

[ t ,

g ^i
]

ih

6'"
IT

ih The bracketed notes are not usually produced in these positions or with these valves.

The beginner must learn to sustain and control the sounds on the instrument, and must therefore practise long notes. Stress has been put on this in all the early studies. Long -note practice develops breathing, control, and good sound. In No. 1 count 4 slowly on each note and bar of rest, and repeat every two bars at least three times before proceeding to the next note. Make sure each note is attacked (tongued) and released cleanly. To stop the sound it is necessary only to discontinue blowing, and no action of the tongue is required. This Study should be practised at a level forte, with a full, sustained sound, with a crescendo and diminuendo (p<f>p), and vice-versa (f>p<f). Always blow through the instrument, not into it.

h.

0
1
1

This study and Nos. 2-5 should also be practised using the following rhythms instead of semibreves (whole notes).
C

In the early stages of playing some students will be able to produce the notes F downwards, while others will play upwards to 3?. In the first case series 'a' should be practised first, and in the second case series *b\ If the student plays B? to B? with equal ease, Nos. 2 5 should be worked in the order written. Still count slowly and don't forget the rests. Try to observe the dynamic markings, but do not
blow too loudly.

3
a

4
a

9 c

In No. 6 the notes are changed without any assistance from the valves or slide, so the lips have to do all the work by tightening or relaxing. Note that for this exercise F is sometimes played in the 6th position, or with valves 1 8- 3. and that E is played in the 7th position, or with valves 1,283.

ri

*.t

**

'

i l J

'f "
8 Chorale

-]

! u.

9 Solemn F l o u r i s h

mp
-IX

mp

mp

10 L a m e n t

r /'\ *t.
H

Fn T
h

i\

P
1

11 2 3 4

1/

mp Mi

'f

~3l '

1 i

r Y

tZ~

r-rH^T
P rf -

= t = * i

^1F

- .

t V r
m/1

V
T

8 In No. 11 we dispense with rests at the end of phrases, so breaths should be taken as marked (y). It is most important that breaths are taken in the correct places (i.e. at the end of phrases), or the sense of the music is destroyed. 1 1 F r e n c h Folk T u n e

i r r

13 T a l u s ' C a n o n

r
P

I Tr
r+

s
r

14 The O l d H u n d r e d t h

" f 'ir r ir t r
pip

Try to play this tune without taking a breath where the tick is in brackets.

15 W a l t z

ia J- i f
rmp

ir
I I

In No 16 crotchets (quarter notes) are introduced. Make sure each note is tongued cleanly, and that the long notes are given their full value. Do not play too fast 16

r i - ir rr iTW iy J J i ^ ii
mf

17

ii 1 1 Vrrrr i r,h ny
b

r r

Mi

18

irrrr r i*rrrr i r r y i r s

10 19 G e r m a n F o l k T u n e

i J i a i J UJ' irtr ir'r i r'r l ' v r irr M

J J j J J L

I"JI,J-

2 0 C z e c h Folk T u n e

21 T h e C a r m a n ' s W h i s t l e i W i l l i a m B y r d )

m
7

r ir r ir r i r i * rr
IJ'T

m
i r ^ ^
i

" r r irr

ITf

2 2 T h e m e from the " S u r p r i s e S y m p h o n y ' ( H a y d n ) Andante

a

w r r frrr i^rtrr I U J i' rr fr

r r Tr

as
2 3 Minuet (Arne)

b.

^ r T - r r r T T 7 T

ir ' r r
r r

irru^xm

irr Mr r r i r ^ ^

24

mf.

Jrt H"rr M
*

UJ-ilgE
5

J -

irrr I T

ir l
T

2 5 Jubilate (Old Russian Hymn)

r

r l rJr l,-r*rJhJ l i
r

f u " i, 'Trrr l'rJ>J

T f

2 6 Sicilian Melody

rrrr ir r ir n
i i i f rrr ri
1

i>- i

In No. 27 some notes are joined by a slur ( . * * ) . Notes joined in this way are not articulated alter the initial attack. Move the slide or valves quickly while keeping the air moving through the tube. (See note to No. 36)

r 27

R oussoau s D r e a m

| F 1

= 1

1 ll

I ' I

12 Practise No. 28 as No. 1. Do not progress to a higher note until it can be produced with comfort and without effort. Never force or strain for high notes. The range will increase naturally as the muscles strengthen with regular practice. To produce the lower notes the jaw should be protruded slightly. 2 8 E x t e n d i n g the range a. b.

h. w ,

2 9 Bi major acale & a r p e g g i o (AH scales & arpeggios MUST be memorised )

VHJ ii

r r

ifTir r i

irr irr i r M M
r

/ JTI Fin \n

3 0 G m i n o r m e l o d i e ecale & a r p e g g i o

'vj,IN-llrT li I l

ir'M'rr^nijl
i

'I,

ri
f r

ir

iij

G m i n o r h a r m o n i c acale

whfU Ji

IT n

irT \ -yi
H

i,u i

31 S t u d y i n Bt major

4mm

Alla marge P - PJ*- ^

r irririrrrVrfrirrmrrrrif

3 2 Study in G minor Lento

1
1 1 1

mf

r 1
r

11

\w ji^um

1
3 3 Puer Nobis ( 1 5 C e n t u r y Carol)
t h

IJ j j I

r
3 4 P a v a n a (Delibes)

nrr? ir rrnrr^#Mf irr'r i 'rr i r ^

r 1

3 5 M a r c h for C l a r i o n s Allegro ma non troppo

V > >

n r r n r r i i i u y r i r r r I n if
>
>

This sign is an accent, and notes so marked must be tongued harder.

14 No. 36. When slurring from one note to another, the initial note must be tongued, and the air stream continued through the note change. When moving from one note to another, the slide must be moved quickly or the valves put down or let up quickly, whether the music is fast or slow, or the change will not be clean. When two or more valves are used simultaneously they must move together, not after each other. This is even more essential when slurring. 3 6 Slurring Study

mf
f

m
1

v\

_li41 r J

r"f 1 ft i

j , a JJ | J 1 4 ' 1 i r r r'r*r rr
ff
tTi
1
|
1 1 1 1

No. 37 introduces quavers {eighth notes). There are two quavers to each beat so count 'one and two and' carefully as marked, and make certain the notes are cleanly tongued and equal in length and volume. Make sure that the tongue and slide or fingers always work together. 37 182 3ft4

e r re r r rrr * f
B

err

38

^ m ^ i ^ ^ - T f

39

1=1

15 4 0 Goe from my w i n d o w ( O l d Engliah)

>

41 T h e Q u a i l ( F r e n c h F o l k Song) Andantino

p ^ :
R I

LEI;
2

4 2 H u n g a r i a n F o l k Song
o

m i l f i c-rrr
4 3

1 1

r irj Tang

44
r

^
r

w% j J i J3|j rj

iJrjr cr i

rrr irn' r
f

Iti
45 Se careful to differentiate betwee ri slurred a nrf tongued i

Allegro

iy.\,w -

A ^ j ^ f - rrriv u ur ffi^ L r rrr>ir

u

^'jprrJ=LL=r I !L[fr Glr

r P P

F tfi r I ff Jr=\
: 11

1
>J

-J11_ / If fffit

-=i
>fpii

r J

-p-gjfr

invi w f r r i'r r r ircrr i m f r K f l T IT r r i

t n i * - 1 [J 1

46 M e n u e t ( M i c h i e l Parent) Allegretto

II

U - - z b z f c = ^

1 1 I I -I

.vi.p p fr>rfff1P' \ r r r 1 ^ T f r r 1 f y T r r 1 p r 1 = p-Fi u ij :-Bb= r r _ i,r yp i r^f=T f , f i r p f f / i p r y r i^ rrr i t 7 r TF 1 1 i i ' r * i rr H T M M rp IT -ii

j
tl:

1 1

1 1

47 M y Love's an A r b u tus ( I r i s h F o l k Song) Andante ->j--j ^HTJ [J .vi,.

fr\f U fr h r ? r r r 1
1

1 r'J J J I J " ' r, 1J J , r 1

-j * * ^= Lp r> - ^ j L ^ j n

mp ~-

'

r f - 4 - f ' r

iP

^
r

.
1y

i 1
[J

ir

fa

>v-j.rpfr ^ U U
w

ir |

r r [J

ipff U 1

~rr7r

rr |-fi J J -)i .j d d = 1

17

48 Allegro<Telemann)
/

r r i nn V ^ f
f r r r

1.

ir r l'ili'
49 Extending the range
41-

r r r i-uTL;
f

3 XX

1 i -

6 4
=1

XX

Wf ,

1 1 ' I - 4 1 - *:

50 Eh major acale and arpeggio

MI.| r ir r i r r i d i
e

f \T
m

51 C minor melodie scale and arpeggio

'MnJ J If f
r

te

18 No. 52 is designed to strengthen the facial and lip muscles, and the slurs have to be made without the assistance of any change of valve or slide. When slurring upwards the lip muscles are Tightened and the back of the tongue should be raised, as though making the sounds 'AAHH-EEEE'. Play this study very slowly, and use the alternative lingerings or positions as marked. Relax In the rest bars.

52

S l u r r i n g S t u d y (use fingerings and slide positions as marked)

Adagio

Study No 6 can now be practised slurred instead of tongued.

In No 53 be careful to give the tenuto (-) notes their full value and make the staccato notes (.) short. 53 S t u d y i n Eb major Allegretto

miri^tf^tfr^
poco fegato h - h r

i f r r-PTr

FT-]"l i=t
l

^-OLL-Sfl>rrfffrr
-mri.']j i i
1

i i J

ft , rihrtr
k
1

11 n u n

ii i i i [ J

ittir-.

\ r t i * t * f

No. 54 is in ; time (compound time), and here the beat is a dotted crotchet, which is divided into threes instead of twos as in previous studies.

19

54

Study in C minor mf L crac

'.ffrriTiffr j ^ Q i r ^ n y M-I L U I
mf cresc. J

If No. 55 is found to bo too strenuous to play complete, it should be practised in two separate sections (as marked a and b). 55 M i n u e t t f r o m the 'Royal F i r e w o r k s Music'< H a n d e l ) Allegro marziale

fJif

Jircrr^t-t-rL;nfrrr ifff ir
:
> > >

Fine

rrrr'rrrrrr ^
cresc poco J puco

56 M i n u e t (J. S . B a c h ) Moderato

iiiTi/T ii'Tf icc/r i r r ir*T

J J

^ ^

I i | T \f\ ' i|1r

TOUrr

irT

< ^*m
iS

20 No 57 should be played very smoothly, so attention must be paid to clean, smooth fingering or slide movement. It is advisable to practise slowly at first, and gradually work the study up to tempo, as the student becomes more conversant with it. 57 C h r o m a t i c S t u d y

58 D o t t e d c r o t c h e t s , f o l l o w e d by quaver

w^fnrcrrrir[rrcrirr^ irprr ircrr i r c r r ^

59

MI

prin.r ii wir>f

\ftri\nt i

r r r

USJ

60 A l l t h r o u g h the N i g h t ( W e l s h A i r )

rr r if pr r if f?rr i r ^ J ir r p i r ^ ^

21 61 T r u m p e t P r o c e s s i o n a l Allegro pomposo

r rr Pirirrrirnr<wM^i r.rrirtrr ifcrr' P

r r

XI-

62 F major scale and arpeggio

r r irf \U

f T if r irr J irr i m
issi

111

irr irf i a

63 D m i n o r melodic scale and a r p e g g i o

D m i n o r h a r m o n i c scale
flag

r r iT f

if

1 1 1 - tjj
r [r
;

I,..
=

22

dti

il'rr

mp

'htitt i f i f n r lfrf if f|f ir i ir i

In No. 65 the beat is divided by a jerky rhythm ^ [ ^ 5 7 ? ] . Make certain that the semiquaver (sixteenth note) is always short enough, as often this rhythm is played incorrectly in a lazy fashion (ie. J Jj instead of J""J ). It must be crisp and martial.

65 S t u d y in D m i n o r Tempo di marcia jyuf' rj>.,j*

^ I j f ' f f lTr-Jf I CUT

ll'JgS

23 66 A u s t r i a n C a r o l
Andantino

mp

in n

n T r r irr"?
mp

m/

r iff

.ffrf

30

' 'rr? irrrr i r r r ir

r?ir

i f;rcr'rir f?ir fjir

67 D a v i d of the W h i t e Rock ( W e l s h T u n e ) Largo e molto legato

ffirrTjrj
4 =

mp espress.

r ffr I r Lr Cf I r h f - L ? C ? ir & 1
P P
68 C a p t a i n Morgan's M a r c h ( W e l s h A i r ) Allegro ; ^

T-

r,ff f'-rf'f-^lfffr r irrr f

#

fUjfflfa

rr i
r

rrf

-I

69 F i g a r o ' s A r i a ( M o z a r t )

24 70 A S t u d y and T u n e in c o m p o u n d t i m e Allegretto

> \ & ifjr efj i L X ' Q j " Q j L U ILD Ur i

Pii
i ^ t x j I'II'H v i r r r r r t n m ' n m m
1

ir a i J. i
71 A T r u m p e t A i r (18th C e n t u r y ) Allegro declamato j

r'JTLfr i r U J - J T J ^ T r f r i Hiiii

72 S l u r r i n g

S t u d y /i/se fingerings

or positions as marked!

Lento i

The bracketed notes in No. 73 are probably above the range of the student at this stage of his development, so should be omitted unless they can be produced with ease.

73

Ab major scale a n d arpeggio

$3*4 1%

1 1 . 1

rirfiff'ff'i

BJjgii 1 wrii ri
r

I^VI
f

ir i ^i
r F

1 l'e 1 1 1 1 -1

74

F m i n o r melodic scale and arpeggio

1 1

' V M J I -,
I'I
f t r

I1

i " i 1 I ii r i r if*r if f 1 1
1 1 1 1 j 1 1

' . ' . I
F m i n o r h a r m o n i c scale

rf

iff,, I,

ii 111 j 1 1

J lJ J j I I " I r f Iff iff \ f f 1 m i

> rfi f r

iri 1

1'
1

jii

26 The rhythm is often played incorrectly, and it may help the student to sing the word AM-STER-DAM to it before playing No. 75 and to think this while playing. 75 S t u d y i n At major Allegretto

rurt rr-fir I T ^ M j t o n ^ ^ g ^ r itis 1 us / ^ rnq^g ') ! H P TI* P H ti . . . j - l ' i M I ;

;

m- mm m[ *-m-.

, !, ,,i m r
v L

ni-m-r^^
r r r

''K'Tlr

f rf C 1 ' r, r*?t 1 lr p r J'1 - -P-P11 E1 T Trr*'r-rrrr '-^

1 1r

1 rjrrrri

M > f'ffin LJf-Y ir

ir*\uit= IJJ3IJ.

No. 76 is not as easy as it may look. It should be lyrical in style, and some thought should be given to interpretation and phrasing. Make sure the slurs are always clean and smooth. Think and listen.

76 S t u d y i n F m i n o r Adagio

p espress

&&Tr

ir l ' - T O t

*J)

27

pp

77

W e s t e r i n g H o m e ' S c o t t i s h Folk D a n c e ) Allegretto

r rr r i C-rrJir^
r

D.C

78 G a v o t t e (J. S. B a c h ) Tempo di Gavotta

rf4ffif"n?rlIr rfrnrcrr rrirfr

feftfrwi
D.C.

US

79 C h r o m a t i c Study
Allegro ma non troppo

Jt

The single tongue is very often neglected, although it is one of the most important assets of good brass playing. Double and triple tonguing should never be used to replace the single tongue except in phrases which are too fast for clean articulation. No. 80. and similar studies, can and should be used as daily practice routines.

)i.H4 rirrffTf trrrrrr < irrrrffff ' j yi i 1 1 1 L i x i err imfM^

;

8 0 Tonguing Stu

sempre stacc

H | 1 1 1 1 UL;

mf

ny

11 11

-tm

1 ffPPmm J irrnrr*
1

UiU* f*P*far T f f F fn j = -

rrncdTtrt -b ^ ^ s | | M u

^ I

*K: iy L mm mmm mar ~1

p' r x E T ' r uc&=

irrrrrrfTj rn i

81 L e g a t o S t u d y
Andante

82 T r u m p e t T u n e ( P u r c e l l ) Allegro marziale

i f f f giLn.Tr i
f r

r f

r r i rrrfr i f f f

^ f f r f r intrffrr . f f f . r r r t r rftrffy-.

i , , f f f fiffrfPr iffYfffrrirMr irfffffff|rrr.|

r
mf f

A trill is introduced at the end of the first stanza of No. 83; this should be ignored by trombone students. It should be practised alone, before being inserted into the tune, making sure that the notes are even. Take care that the vafves always go right down and up again. A trill should be played from a long tube to a short tube when possible, so often it is advisable to use alternative fingerings to ensure the natural sharpening of the tube (i.e. when trilling from D to Efr played I.)y

ft
r

'

D should be =

83 A T r u m p e t T u n e 'The D u k e of M a r l b o r o u g h ' s M a r c h ' (Jeremiah Clarke) Allegro marziale

f r if rr | f f f r i Y | r f r f f |
f

irrrrrf|ffrr,|fii
f f if i i m . r ,,f f ,f r , f rr
f r

Fine

i n ^ i * ^
D.C.

In No. 84 each bar should be repealed at least four times, and should, at first, be practised slowly. Make sure that each phrase is even. These exercises are planned to develop the independence of the fingers, especially the naturally weak third finger, and should become daily routine practice; while designed primarily for valve instruments, the trombonist will find them beneficial to develop slide flexibility. 8 4 Fingering Exercises

? ?Pt

b i n ^LT-Lr #r j .l - I , H a ^ MI, r r rs
1

T H , JJJ J r # r * i i 1

ii- ni] jnzn -, =n

L

ii.. rTUJhJ i.i 1

1 H. 'ir. .

'

"cm L L L J
j f o i l ^ . T i
i1

, 1 1 r i . rra T JT3^=^ I 1-

v "
s

1 w - #

.II . r - 5 ^ 3 = = H = =
s.

'

i ' ri
, 1 _1 1

i i
1

'"1

I I I
1

i f

7r, 11 h1
1

Valve) ! 3 ! 3 ? 3 J 3

V Q I T J L E L T ' I-

O3O3O3O3

1 1

r -ii i L r r ^ = L
:
;0

nrr77

Shde 1 6 1 $ 1 6 1

1 i irruir
!

h J a ^ J a ^ a ^ J

85 C major scale and arpeggio

mi

ir r

ir r i ir r ir r ir if r i a

iJ

> J

M r ir r i
86

A m i n o r m e l o d i c scale and a r p e g g i o

=11
A m i n o r h a r m o n i c scale

m J
87

I.I

ir~r

IT

r i ir T i r i

u 11

S t u d y in C major Allegretto

No. 88 may be found difficult at first, so practise slowly to begin with, but always play rhythmically.

88 S t u d y i n A m i n o r Allegretto alla giga

'ii m n r i i O j i u i r n f i i i i j i L i ^ i r i i r T i i

89 G a u d e a m u s I g i t u r ( S t u d e n t S o n g ) Maestoso

>

^ f r f - h ^ f r I r fr r i fft

rr r i ffefca

> rrr f ifrf f r * f ,Trf

90 T h e T r o u t ( S c h u b e r t ) Allegretto

|rj ff.rrf i
f

mm
mp

33 91 S o l v e i g a S o n g ( G r i e g ) Andante con espress.

i if rrf ffi ^ri-f. i >f?rftifgr-1:

r c
rail.

a tempo

ral

-tei

1 9

^ irtraJ ittfttr itcrgf ifg

Cff iCtf^^trr

irrizrifftff iffTEtp

In No. 93 two new notes are introduced. Fs and G. If these notes prove to be too high play D for Fs and E? for G. Never strain to play, or force, high notes, as irreparable harm can be caused As the muscles strengthen with use and practice, the range will develop and extend naturally.

93 S a r a b a n d e <Corelli> Adagio

^ r x a ' C 4 J i U 1 I

rf P i T " f n r r r r ir, if,. , i . ,^fif?f iff-f d

= ~ M' *| mp ^ *

di -1 4 Fi^- -p

| ii | w

wr P i * f f r ir^HH
94 T h e B l a c k b i r d I W e l s h A i r ) Andantino

mp

poco crttsc

95 S c a n d i n a v i a n F o l k Song Allegretto r r -f

35
9 e

M ^ l

'

"

e M

^te'(Mozart)

poco nt.

a tempo
cresc

The student may experience a slight soreness at the root of the tongue during th practice of No. 97 and similar studies, as more or less dormant muscles are be'e used and exercised. All muscles must be fatigued to strengthen them. mg 97 T o n g u i n g Study

mp

99 I n t e r v a l

Study

Tempo di menuetto

TTrrff if rf ifr n r
r r

ir ir
r

~ 1 1 1 i
I I_'H
I'I

' . r r r if rf\f | f f|^ f|ffYir Ji

>
r r h r

'f ' i
r

i i h r,
r r

> r, n r, H f r i r
>r
, J ,

fr rir J r i J T ^
f

> Lf C J ty i ^ O u

M "

i j f f r f ir i i

37 100 Slurring
Andantino

Study

101

M y H e a r t . E v e r F a i t h f u l < J . S Bach)

38 102 T h e L a s s w i t h the D e l i c a t e A i r ( M i c h a e l A r n e ) Andantino ma con moto

r igf e r ? iru t.'rr r ii7 f \

r

irjf rr/ifig

if? i ir rrfrir Pnrffif

rrrf ' = = /

poco erese.

103 S i l e n t W o r s h i p ( H a n d e l ) Andante

trtf

ti f r 1F i ffiir*-tfjffrTrf

fl

i r Agi

Fine

[ficrfjfiu i| fr e rm
104 S e l l i n g e r ' s R o u n d ( O l d E n g l i s h 1 6 Allegretto
t h

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FIRST T U N E S A N D STUDIES FOR THE TROMBONE OR EUPHONIUM

(BASS CLEF)

FIRST TUNES DIES FOR THE TROMBONE OR EUPHONIUM

(Bass Clef)

PREFACE
This book has been planned to supply elementary material for the beginner of all ages. The tunes and studies develop steadily, and one or two can be mastered each week over a period of a year to eighteen months. They have been devised to give musical satisfaction, as well as providing a serious basis for technical development. No space has been wasted on rudiments of music: the book concentrates on material which will teach the student how to play his instrument. The explanatory notes have been kept as short as possible, and the student should seek some professional tuition and advice, especially in the early stages of playing. Bad faults in note production and embouchure are often difficult to rectify once they get a hold I would like to thank my many friends and colleagues who have made suggestions for this book, and also, in discussion and argument over the years, have assisted in bringing the ideas enclosed to fruition. Particular acknowledgement is due to Arthur Wilson, principal trombone of the New Philharmonia Orchestra, and Professor of Trombone at the Royal College of Music, London, for much helpful advice in preparing this bass clef edition.
Bram Wiggins

C Oxford Unrversity Press 1976

Oxford University Press

Music Department. 44 Conduit Street. London W1R ODE Printed in Great Britain