”“ " Ced.

8-308-â27“ '

Chart of Slide Trombone Bostons

and Baritone Fingerings
The air within a trombono or baritone (or any other instr timent with a cup mouthpiece) may be made
to vibrate as a whole or in fractions of its leng th by varying the tension of the player's lips. The vari-
ous pitches thus produced in each of the seven slide positions (and valve combinations are indicated in
the to flowing table:

(Finger ing for

bari tone in F ractions by which Air in Instrument Vibrates
parentheses )
Whole Halves . Thirds Fourths , Fif ths : Sixths ,Sevenths Eightlis ;Ninths ;Tenths
Pedal
tones
rarely : below
used
1st Posi tion BC
SIide all the way
in
(Open- no valves) ' . G§ : Bb Aj : C ; D
B AF
2rid Posit ion -
Slide extended
about 3 Vg inches
(2nd valve)
' A . CjDâ . E . G : A B C#
Dt
3rd Position - Ah
Slide extended
about 7 inches
flst valve)

4th Position-
Slide extended
about IU inches
fist and 2nd,or 3rd)

5th Position- Slide

exteiided about
15inches f2nd and
3rd)

6th Position- Slide

extended about 19
Pt inches list and
D# F
3rd )
7th Position- Slide
extended _ about
23inches '1st, 2od
and 3rd valves i
@ AF B D

hOTE: All tones produced by the air vibrating in sevenths are flat and must be cor rected by malting
the position for that tone about an inch shorter. This, of course, is impossible in 1st position on trombone
and in all finger ings on baritone. The baritone player must chose a different fingering tor the requi red
tone or force it into tune with his lips . The latter is seldom satisfactory.

C op}- r ig hi ñ tC if X X U'III , bv Rub an k , Inc ., Chir ag o , Cop yrig ht Re newe d

IU .
- Irtern at iona1 C ops- ri ght Sec ured
 EVENTUAL PRINGIPLFS
of
Good Ina4rnmen4al Performance

GOOD TONE is necessary in order that one'a playing be pleasing to the listener ae well aa the player. Good
tone can be produced only when the instrument ia in good playing condition, equipped witb the correct type
of mouthpiece and played with the correct embouehure.

l8T08 lTl0fi: When two successive tonea of different pitcb are produced, it ia necessary that each
tone be in tune with the other , relative to the interval being played.

TU8E: The player muat develop and train hia ear so that a differenoe of pitch can be di Btinguished
when playing with others .

tiOTE VG LUE S: The player must develop a rhythmic aenae ao ma to give proper value to tones aa
represented by the written notes .

BR EITHIh0 18D PHit 1 SlltG: Each is usually dependent on the other. Sinoe teachers of wind instru -
ments differ on the methods of breathing, no special method is advocated, but it soon becomes evident
to all playera that in order to get good muaioal phrasing, it is neoeaaary to breathe properly and in the
proper plane a of a oompos it ion . It will be to the pupils advantage to spend muoh time and effort on thia
phaBe of playing and take serious ly all suggestions given by the teacher .

EIPRESSI 0h MARlf S : Expression marks in music are considered just aa important aa punctual ion
in proBe and poetry . GoOd phrasing is the performance of music that has been properly punctuated.Ex-
pression mar ks put oharacter into a mass of notea and if properly observed, will produce saltsfying mu -
aioal effects .
RELAllTlOh A8D PROPER POSITl0fl OF BODY A8D HA 8DS: Whether playing in standing or sitting po
- aition, it is neoeaaary that the body be erect and relaxed . Relaxation is the seeret to the
aooomplishment of auccesa in many other profeaaions and tradea .'the arma must be relaxed, the elbowa
away from I he body and the hands assuming a rest ful position on the instrume nt.

SUFFlP•lEHT TlkE FOR PRACTICE: Since different pupils require different types and lengths of practice
periods, the objective that every pupil should establish is :‘I will maeter the assigned task whether it I akea
or 0 hours!’ the accomplishment of a task ie far more important than the time that it consume a .

Pfl0P£R CARE OF THE lfiSTRUMEtiT: Carelessness in the handling of an instrument is the most prevalent.
handicap to the progress of young players. No pupil can expect to produce good reaultB if the instrument iB
in poor playing condition.The instrument must be handled carefully and when a disorder ia diaoovered, have
fl remedied immediately. CODBtant attention as to the condition of an instrument will pay dividends in the end.

SQL ATTITUDE OF TEfiSHER fi8D PUPIL: In order that the musical results be aatiBfaotory,boththe pu-
pd z 1 teacher must be interested in their task,and must have a perfect understanding of what that task is .
ther oust umlerstand the learning capacities of the pupil so that the pupil in turn will g-etthe type
M m of instruction that he will uivlerstand and be able to master .
 fi . Have the instrument in good mechanical condition , namely, valves well moistened or oiled and sl i dev
prriperly lubr icated .
3. One of the important essentials in the pe rformance oI music is a sound rhythmic ooncepti o n . Whe n
this oonc eptIon is established , correct playing will rebult at sight .
3. In playing the suoee eding studies , special attention met be plaoed on the proper adjustment of the
embouchere . Not all players are able to attain the same type of embouohere ,but the one that produces the
best and easiest results must be diseove red by both the teacher and student .
4. H hyth ms in this iesson are fundamental, and their mastery will make playing fluent and comprehensive.

5. A quick shift of the slide in trombon e playing is esse ntial at all time s . Think of throwing the slid e
when shif tiny away f'rom first position and of rolling it back when shifting it toward first position. The
slide should stop for every tone regardless of how fast or how slow the passage .
Tromb one positions appear below t he notes .
Ba Yitone fingerings appear ab‹›ve t he n otes
.

EDMAJOR
And ante

F MACOR
Moderato

M o d e rato

Ma derato
 NO'TE AND REST VALUES
The various sections of this lesson are concerned not only with notes but with rests as we11 . It is
just as important to be able to count and feel rests as it is to play and feel the notes .

Ab MAJOR
Moderato

idod erato

i ode rato

V ode rate
 HARKS IFEXPRESSIONANDTIIEIRUSE
PIANISS IMO ........... ..............Very soft FORTISSIMO ............. .............Very loud
PIANO ........................ p......................... Soft FOR’fE ....-......... . . J........................Loud
JYIEZZO PIANO....... p..........Medium soft MEZZO FORTE .......›nJ........ Medium loud

In playing a tone on a brass instrument,unless otherwise marked , it should be he Id at t he same

level of volume , or in other words , the volume should not increase or diminish . 'Phis type of a t one
will be indicated by means of parallel lines, thus:--------------------The distance between the parallel lines
will be a guage as to the difference of volume to be used.

DAILY LONG NONE S'TUDTES

Bh MAJOR

The following exercise should be played daily . Think of a big tone when playing this exercise.Prao -
tise it at the beginning of each practice period .
EbM OR

Eb MAJOR _

6
 STUDIES IN EXPRESSION
found GraduaMons
Gresoendo (creso.) Gradually louder Deeresoendo(decreso.) or Diminuendo (dim.) Gradually softer

In playing a cresee ndo or a diminuendo the pitch of the tone must not be changed . It is a commo n
fault of especially young players, to play flat when playing loud and sharp when playing softly.
In order to play the sound graduations or nuances correctly, it is necessary that the quality of the
tone is not affeote d , but retain its rich and mellow fullness. ONLY THE VOLUME SHOULD GHANGE .

When a note is followed by one or more shorter notes,the shorter notes are played with one half the
volume of the longer note .There are exceptions to this rule ,but it is a good policy to learn to p lay all
phrases as mentioned, sinoe the majority of all music played in this way will be properly performed. Players
interested in the fundamentals of solo playing will be greatly aided by adhering to this principle .

° BLUE BELLS OF SCO'TLAND

Moderate

* €• So . 2 and No . 3 ss paneros, wr•. te in the vari ozs volevies re 9nired for each note and mea sure . This v-ill
aequaint W m.th the sound g-cdna.tions neee ssary in the plny ing of s i mple sorigs
 Legato Study
The expression marks as indicated in all musio are actually a part of that musio and considered as
important as the notes . 'Po use expression marks even at the first reading of new musio is a good hab-
it to acquire.

k E GAIO (with auxiliary positions for tran bone)

SOLO — GLIDING

E\ MAJOR C MINOR (Melodic

 Etude Expressivo ’.ed ,108a°
Play all notea with full volume .
Andante

An4ante

ETDDE EXPREBBIVO
Andante

9
 Accents
The rinforzando (>) is plaoe d over a note for the purpose of bringing out that particular tone more
strongly than the other tones in the same sequence . The rinforzando or accent punctuates the important
notes of a measure or sequence .

moderate

A€€ENTETLVE
Moderato
 Crusader's Hymn
'Praditional
A ndante

NOT THE DAYIS OVER BARNBY

SIOW) g
 Staccato Studies
As written

As played

M oderato LIGMTTONGUINOETUDE

, Moderato
MELODY

€RORD ETUDE
All eg ro

a2
 Staccato Etudes

CRORD STUDY

BTACCATOTONGUINGETUDE

j3
 Rapid Scale Study
Moderato

Alle gro mode rato

Mod erato
SGALE AND CBORD DRILL

Andante LEGA'FO E'FUDE

 Scale and Interval Studies

SCAELE NUDE
Mo derato

STA€€ATO FTUDE

B\ MAJOR G MINOR Melodic)

16
 1

Minor Studies Ced. 8-308

EF JOR SGALE

C MINOR SCALE . (Zfarmoni ) 7th step raised ascending and descending.

G MINOR SCALE . (Melodic) fith and 7th steps raised ascend'ng. Normal tones descending.

ELUDE INT bIINOR

Moderato

simile

fi'TUDEGIN hfINOR
Andante

17
 There's Music in the Air
A ndante

OAVOTTEP IN MAJOR

18
 l

Syncopation

O SYNCOPA'TION
§toéerato

SYNCOPA'FION ELUDE
Allegro moderato

19
 6/8 Rhythm

RAPID SLIDE STTIF'P E NUDE

E'FUDE for LEGATO andS'FACCA'FO PLAYING

Moderate

20
 Triplet Studies

H oderato
MELODY IN %8 IME

M oderato
MELODY IN / 'TIME

M oderat
a MELODY IN /g 'TIME

’IEGITNIGAL E'IUOE
Allegro

21
 Af Major Studies
M oderato

Bring out the lower tones

Aâ MAJOR S CAL E

STAGCATOINTERVALSTUDY
TemodiBaia

LEGATO STUDY
Slowly

F MINOR SCALE (Hel.$j

22
 Lip Slurs
Whe n two suocessive notes of differs nt pitch are slurred without the change of valves or slide, it is
oalled a lip slur. L ip slur exercises will appear in many of the suooeeding lessons and are intended for
the purpose of developing lip flexibility, strengthening the musole s of the lips and face . At first the
muscles of the face will tire rather quickly, but with daily practice will beoome strong and flexible thus
making the playing cleaner and easier. Do not hinder the flexib ility of the lips by pressing them to o
tightly against the mouthpiece . Ttaily practice of lip slurs is the procedure followed by all good pr o
ressional brass instrument players .
 Chromatic Studies
Moderato

Moderato

M a derato

€MROMATIG LODIES

Allegro

24
 Then You’ll Remember Me
From the 0 pe ra “Bohemian G ir I ”
BALFE
Andante

r'it.

And ante BRAHMS

25
 Dotted Eighth Note Studies

DO'PTED EIGH.'I'H. NO'TE S'TUDY

Moderato

moderate
Ghristmaa Carol

Moderato INTERVAL S'TUDY

OBTANNENBAUM
And ante

27
 Chord and Scale Studies
G MAJOR CHORD

G MAJOR SCALE

Moderato

SCALEeodCONNE€TINGGWORDS

Moderato

28
 Memories
Sta ltz Ced. 8-J08-627
In sag styl e - Aeo

Rubato

TMIENYOU I REYOUNG
And ante

29
 G Major Studies

A ndante LEGATO POLO

Allegro moderato ””ORD

ñe e

E MINOR S GALE Melodic

30
 G Major Studies

Slow

LIP SLUR STUDY

A ndante LEGATO POLO

”ItORD ACCEN'P STUDY

Allegro moderate

EMINOR S GALE Helodir,)

 G Major Studies

LIP SLUR STUDY

A ndante LEGATO GOLO

EMINORSGALE

30
 Rhythmic Development

No.S

RELATIONSHIP OF 6/8 A 't8

ALLEGRO 3/8 TIME

Tempo di Yalse
 Technical Studies
DANCENod

Tempo di Waltz
DANGENo.S

CWORD AND SIZE DRILL

Moderato

Moderate

LIPSLURSFORDAILVPRACTIGE

CTfROMA’FIC CALE
G CHROMATIC SCALE
 Duet
Allegro mo derato

Tempo de Waltz WALTZ

33
 Cmd 8-308-627 Syncopation Studies
AIIegPO

Moderato

4
 Dt Major Studies
DVMAjORSGALE

D) JOR GWORDSTUDY

LONG LONGAGO
A ndante

Moderate

ELUDE IN D9
fi oderato

36
 GF Major Studles
” had. 8-308-627“

GF MAJOR G HORD

GF MAJOR SGALE

And ante
LONGLONGAGO

RAPID 'FONGUING E'¥UDE

Moderate

37
 Scale and Chord Etude
M oderato

TECHNICAL ELUDE

Allegro
POLKA

D CH£iOMAT1C SCALE

38
 Technical Studies
TERYALANDS€ALE ETUDE No.I
Moderate

ELUDE No.R
Moderato

Moderato
ETUDENo.S
 Scale Studies

No.S
Moderato
 Chord and Interval Etudes
ETUDE No.l
Ma derato

ETUDE No.S
Mo derato

loderat a ETUDE No.3

ETUMNo.4
Moderate

RF CHROMATIC SCALE
Sharpshooter's March
M E TALO
 In the Gloaming
HAR R I S ON

a tempo
«i c'cel.

a tempo
 Ced. 8-308-637

a tempo

Steal Away
Negro Spiritual
“ C-cd 8-308-627!

Major and Relative Minor Scales

FMAJOR
D MINOR (Natural

D MINOR (Melodic),

Bâ MAJOR G MINOR (Naf«rof)

G MINOR (Heladio)

Eâ MAJOR C MINOR (Hatvzal)

C MINOR (harmonic C MINOR (Melodic)

A›JOR

F MINOR (Zf‹srmonic F MINOR (Melodic)

Dâ MAJOR
Bâ MINOR (Hat Inf)

BIMINOR /Mwm‹m ) B\ MINOR (Helod!e)

G9 MAyOR
EF MINOR (Hatal)

Ef MINOR (Melodic)

47
 c d
’’”’’ ” major and Relative Minor Scales
0MA]OR A MINOR (School)

A MINOR (M'eIodie )

GJOR
E MINOR (Hatvr‹u!)

E MINOR (Ha z'mouie) E MINOR (Melodic j

DMA]OR B MINOR (Natat)

A MAJOR
FI MINOR (Natural)

F§ MINOR (Melodic)

E MAyOR C1 MINOR (Jnfuro/)

Cg MINOR (Melodic

B MAJOR MINOR (Tatu all

Gt MINOR (Wefozft‹r)