Handbook for

Low Brass Techniques

Mus. 136
Compiled by John S. Mindeman
Associate Professor of Trombone & Euphonium
Western Illinois University
 Acknowledgements

The compiler of this handbook would like to thank the following for use of their material:
Douglas Yeo (yeodoug.com) for photos of serpents, Jim Beckel for his “trombone tips”,
Tim Olt for his breathing master class, memory.loc.gov for photos of Civil War era
bands and instruments, horn-u-copia.net for use of photos of antique instruments,
euphstudy.com for use of instrument photos, Brian Kay and apollobrass.com for use of
fingering charts, theconcertband.com for mouthpiece images, and all the great low brass
performer/teachers he has had the pleasure to work with over the years.
 The Trombone
We learn to do something by doing it. There is no other way.
-John Holt

In the middle of difficulty lies opportunity.

-Albert Einstein
 5
The Trombone

The trombone is a brass instrument – essentially a long folded tube of brass with a cup
mouthpiece at one end, and a flared bell at the other. And, like all other instruments of
the brass family, the trombone is played by blowing a column of air past the lips, setting
up a “buzz” or vibration. The player blows and buzzes into the cup-shaped mouthpiece,
and the resulting sound is amplified and refined or “colored” by the brass tubing. As
with all brass instruments, the length of the tube determines the instrument’s fundamental
pitch. In the case of the trombone, it is B flat. Unlike the other brasses, which have
piston or rotary valves, the telescoping hand slide of the trombone allows it to play
chromatically through the range of the instrument. There are seven positions on the
trombone slide, each ! step apart in pitch. Each slide position has its own harmonic
series – B flat in 1st position, A in 2nd, A flat in 3rd, etc.

The trombone is a non-transposing instrument; its music is written in concert pitch.

However, trombonists must become familiar with different clefs. The bulk of trombone
music is written in bass clef, but there is much music written in tenor clef, alto clef, and
even treble clef.

The basic instrument of the trombone family is the tenor trombone (pictured below), but
there are other members of the trombone family such as the bass trombone, the alto
trombone, the contrabass, and the soprano trombone. Below is shown the basic parts of
the tenor trombone, along with a diagram of roughly where on the slide each position is
found.

Tuning slide Bell Water key

Mouthpiece Braces Slide

Slide positions: 1st 2nd 3rd 4th 5th 6th 7th

 Trombone Position Chart
bBb
w wA bAbw œG bGb
œ # œF# œF œE
Lip Setting #8 ?
b Ab
œ wG b Gb
w # F#w œF
"Octaves"

œE bEbœ œD
Lip Setting #7 ?
"Sevenths"

wF wE bEbw wD bDbœ # œC# œC

Notes are very flat.

œB
Adjust slide higher.

Lip Setting #6 ?
"Fifths"

wD #C#w b Db
w wC wB bBb
œ œA bAbœ #G#
œ
Lip Setting #5 ?
"Thirds"

? w
b wA bAbw wG bGbw # F#w œ œ
Bb F E
Lip Setting #4
"Octaves"

? w w bw w bw #w w w
F E Eb D Db C# C B
Lip Setting #3
"Fifths"

? bBb
w w bw
A Ab G Gb F# F E
Lip Setting #2
"Octaves"
w bw #w w w
Lip Setting #1 ? Bb A Ab G Gb F# F E

"Fundamentals"
bw w bw w bw #w w w
Positions: 1 2 3 4 5 6 7
From the Intermediate Trombone Method by Brian Kay
www.apollobrass.com
 7
Harmonic Series for Trombone
$ #** $# # #
# #
"! # $#
$#
$#
1st position

# ** # # %#
%# #
" # #
#
#
2nd position

$ # ** $# $# #
# $#
" $# $#
$#
$#

#
3rd position
# ** # #
# #
" # #
#
#

$# $#
4th position
$# $ # ** $#
" $# $#
$#
$#
$#
5th position
$ # ** # # #
# #
" # #
#
#
6th position
# ** # %# %#
" %# #
#
# #
#
7th position
**(The 7th partial of the harmonic series is too flat to be useable in the given position)
 8
Assembly and Care
Since the trombone comes in two distinct pieces, some attention should be given to the
proper assembly and care of the horn. Set the instrument case on the floor and open it.
Observe how the instrument sits in the case (it will need to be returned to the case the
same way!). Take the slide out of the case by both ends – do not pull by the slide tubes.
Special care is needed with the slide because it is the most delicate part of the instrument
– if it is dented or bent in any way, it will not function as it should, even if repaired.
When cleaning and greasing the slide, separate the two slides, putting the outer
slide gently back in the case. Gently wipe the inner slide tubes with a clean cloth. Apply
a bit of slide cream on the stockings (ends) and spread it thinly with your hand. Wipe the
remainder of the grease from your hand on the upper part of the inner slide tubes. Spray
the tubes with a fine mist of water, and insert the inner slide back into the outer slide.
Move the slide back and forth to spread the slide grease evenly over the slide tubes.
Remember, too much slide grease will leave the action gummy and slow; too little grease
will leave the slide dry and scratchy. Either way, the slide will not function efficiently.

To assemble the horn, set the slide, bumper end, on the floor, and hold by the slide
braces. Then take the bell out of the case by grasping the bell where it meets the bell
brace. Insert the bell receiver onto the longer part of the hand slide, create a 90 degree
angle between the bell and the slide, and tighten the nut.

Holding Positions
When holding the trombone, all the weight of the instrument should be borne by the left
hand. This leaves the right hand free to manipulate the slide freely. Below are shown the
proper left and right hand positions for holding the trombone. The left hand should grip
the horn securely, but not too tightly, with the thumb around the bell brace, and the
fingers curled around the slide brace. For the right hand, lightly but securely grip the
slide brace between the thumb and first two fingers. The palm of the right hand should
be facing toward the player. This allows the wrist to be relaxed when moving the slide.

Left hand position Right hand position

More detailed information on the care of instruments is in chapter one of Edward

Kleinhammer’s book The Art of Trombone Playing.
 9
Posture
In playing any instrument, but especially a wind instrument, it is important to have
correct posture. Bad posture results in technique problems, breathing and blowing
problems, and general body tension that interferes with efficient playing and beautiful
sound.

One key to good posture is to always keep the chest up and out for proper breathing.
When seated, sit as if you were standing, balancing the weight of your body over the
hipbones so the muscles of the torso are relaxed for correct breathing. Here are some
other hints about good posture:

*Feet flat on the floor and straight

*Sitting upright towards the edge of your chair
*Back straight, but not arched
*Shoulders back, down, and relaxed
*Face to the horizon

When standing, stand tall, with your weight balanced over your feet – then you can
remain balanced and flexible, and the torso can be relaxed in order to take full breaths.
Balance the trombone on your left shoulder, and do not grip the instrument too tightly.
Remember that the goal is to remain as relaxed as possible, eliminating as much muscle
tension as possible, in order to breathe and play naturally and efficiently. Below are
examples of good posture and position, both sitting and standing.

Breathing and Blowing

To produce a good sound on any brass instrument, taking full, relaxed breaths is
essential. Low brass instruments require a lot air – inhaling and exhaling – to sustain the
tone. To get a concept of the correct manner of breathing, think of inhaling a large
amount of air with an open and relaxed throat – just the way we do when we yawn.
Practice this, noticing how your chest and lower abdomen expand, and how the throat is
open (remember good posture!). Practice inhaling this way, and then blow a healthy,
steady stream of air as you exhale. Direct the stream of air to a certain place in front of
you – your music stand, the wall, etc. Take a sheet of paper and hold it out in front of
you at arm’s length, then breath fully and blow a directed stream of air so that the paper
 10

moves or stands out as you are blowing. This represents the amount of air that should be
flowing past your lips, and into the instrument. There are also various tools the player
can use to aid in developing good, full, relaxed breathing. One of these is the breathing
tube – simply a pvc pipe coupling, !” in diameter, available at you local hardware store.
Breathing through this tube helps to open and relax the throat for maximum inhalation.
The other tool is the Voldyne: a lung exercise machine developed by hospitals for
pneumonia patients. You may see (and order one if you wish) one of these at
www.windsongpress.com.

Embouchure/Buzzing the Mouthpiece

The sound of the trombone is created by vibration – vibration of the lips inside a cup
mouthpiece. We refer to the lips as the embouchure. The basic formation of the
embouchure is in the shape of the letter “M”. Put your lips together naturally in an “M”
shape (be careful not to pinch or press the lips together with force). Then, with your
embouchure in this formation, simply blow a stream of air through the lips. This will
create a “poo” sound. Keep the natural, non-tense “M” setting while you blow. Try this
several times, varying the speed of your air stream.

Next, take the mouthpiece, and put it to your lips in the center of your embouchure, with
roughly 50% of the mouthpiece on the upper lip, and 50% on the lower. Form the natural
“M” embouchure, press the mouthpiece against the lips to create a seal, and then simply
blow a stream of air through the lips as you did before. If the lips are together when you
blow, a buzz should sound. Try this process several times – mouthpiece to the lips,
breathe, form embouchure, and blow an air stream. With practice, you should be making
a clear buzzing sound. At first, it does not matter what pitch comes out - just practice
breathing and buzzing until it feels more natural. As you get used to this process, try
buzzing different pitches – higher or lower that your initial one. Or try sliding the pitch
up and down as you blow and buzz. You can also try playing a pitch on a keyboard
somewhere in the octave below middle C, and match the pitch with your buzz. The pitch
of the buzz depends on the relative firmness or relaxedness of your embouchure muscles,
coupled with the speed and volume of air you are blowing.

*If you have trouble getting a buzz, check on or more of the following:
-Are you taking a full breath and blowing a good stream of air?
-Is your throat relaxed and open when you blow?
-Is your embouchure in a natural “M” formation, with lips together
when you blow?
-Are you pinching or pressing the lips too hard together? Relax them.
-Try using more or less mouthpiece pressure against the lips.
**Below are pictured correct embouchure placement and embouchure formation for the
trombone and the baritone horn or euphonium.
 11

A good embouchure formation for the euphonium is the same as

that for playing the trombone.

Articulation
The basic articulation we will use is called marcato, which is a clear initial attack to the
note you play. To produce a clear articulation (the attack, or “front” of the note), We use
the syllable “tah”. Say this syllable with your tongue (but don’t vocalize it) when you
begin to blow/buzz. Practice repeating it several times in a row on the mouthpiece alone,
using the same pitch, and then with different pitches.

As with any new activity, it takes time and repetition for most people learn it and feel
comfortable with it. Don’t get discouraged! Remember that we strive to make breathing,
blowing, embouchure formation, buzzing – in short, everything as natural, simple, and
done with as much ease as possible.

As Michael Mulcahy, trombonist with the Chicago Symphony said:

“Good trombone playing is extremely simple; bad trombone playing,
extremely complicated.”

We are now ready to begin playing the trombone itself. The next few pages contain
exercises, melodies, scales, arpeggios, and advice to help you gain a certain amount of
mastery over this unwieldy instrument. Your success will likely depend on the amount of
time you devote to practice.
 12
Beginning Exercises for Trombone
1. Take full, relaxed breaths, then blow freely
2. Sit upright, relax you shoulders, don't arch your back
3. Hold the instrument lightly but firmly in the left hand
4. Right hand is free to move the slide
5. Use marcato ("tah") articulation to initiate each note
6. Buzz each line on the mouthpiece alone, then play

% %
$ $ ' ' ' ' $
Slowly
"! # # # & & & & # #
(1st position)

% %
" $ $ $
(# (# (# (& & (& & (# (' ' ' ' (#

% % %
" & & # ' ' # ' ' $
(# (& & (' ' (' ' (#

% %
" (# (# ($
# (& & (& & ($
# (' ' ' ' ($
#

% % (' %
" (& & # & & (# ' ' ' (# ' (' ' ' $
#

% % (' %
" (& & & (# ' ' (# ' (' ' $
(# (& (' (' (#
**The exercises above can be played in each of the seven positions of the trombone slide.

Slide position reference: Write in the correct slide position under the notes in the following line.

" (& )& & *& & (& )& (#

(& )& & *& &

%
Use your metronome to keep steady time and to coordinate slide movement.
% % $
" & & & (& & & & (& & & & &
& (&
 13

1. & & & (

"! # '# # $# %# #
$# %# $# $# $# $# $# $#

& &
) ') ) ) ) $) ) ) ) $) ) ) ) $) (
2.
" ) ') %) ) #

$ ) ) $ ) ) & $) & (
) $ ) ) $ ) ) ) ) $) $) ) ) $) $) ) ) $) $) )
3.
"
$) $$

4. B flat major scale

"$ ) ) ) #& ) ) ) #
$ # ) ) ) ) ) ) # * # ) ) ) )
# *

) ) ) ) ) ) ) )
5.
"$ ) ) ) ) ) )
$ ) ) + ) ) ) + ) ) + + + + +

# ) ) ) ) ) ) & & ) ) ) (
"$
$ * ) ) ) ) ) ) ) # ) ) ) ) ) , %%
)

6. Expanding the range & & (

" * *
$# # $# # $# # # '# # '# # $#
# #
(
# & #
# '# & # '# # # $# # & $# # $# (
" $# %# #

& &
') ) ') ) $# $) ) $) ) $) )
7. Chromatic scale on B flat
" ) ') ) ') ) ) * ) $) ) $) ) $)
$) %)

8. Rapid articulation
& &
" ( - ))))))))) ))))))))) ))))))))) ))))))))) )))))))))
$, $$ .

& & (
" $ )))) ))))) ))))))))) ) )) ) )) ) )) ) )) ) )) !
$ ))))))))) ) )) #
 14

Easy Melodies for Trombone

% % % % $! % % % '% $ !
W. H. Monk

% % $
1. Abide With Me
" #! $ % % $ $ & $ $ &
#!

( *
" ## $ % % $ $ % % % % $! & $ % % % % % % $ $ !
) !

% % $ % % % % $! % % % % % % % % % % % $!
2. Chester Wm. Billings
" ## ! $ $ & $ &
!

(
"#$ % % $ % % % % % % $! &
%! % % % % %
%%% % % % % %
# +

( (
%! % % $
(
"#* $ %% % % %
3. Austrian folk song

# )
,
### ! -
%
% %! + % % %! %% %
% % +
+

!
( (
% % % % % $!
%%%%% * !% % % % % % % % % % % %
4. "Ode to Joy"
"# $ % %
Beethoven

## + % % !

( ( (
" # %! % $ % % % % % % % % % % % % %! % $ % % % % % %%% %
## + +

(
"# % %%% % % % % % % % % % % % % % % % %! % *
$ ,
## $ + #!

" ,% % % % % % % % %! % % % % % $!
% % %
5. "My Country 'tis of Thee"

#! %! +
+

%! % % % % % % % %! % % $!
% % % %! % % % % % *
" + + %
# +
 15

The Mouthpiece

Mouthpieces for trombones and euphoniums are usually made of brass, with either a silver or
gold plating. Some companies use solid silver or stainless steel. The basic parts of the
trombone/euphonium mouthpiece are:

1. The cup
In general, a large diameter, deeper cup allows for a fuller sound, and darkens tone,
especially in the low register. A smaller diameter, shallower cup brightens tone, and
improves response, especially in the high register. Some mouthpieces will have a
bowl-shaped cup; some will tend to be more V-shaped. The size, shape, and depth of
the cup also influences intonation.
2. The rim
The shape and size of the rim has the most significant effect on flexibility and
endurance. In general, a wide rim may increase endurance, but it reduces flexibility.
A narrower rim increases flexibility and range, but reduces endurance. A round rim
contour improves comfort, while a flat, sharp rim increases brilliance and precision of
attack.
3. The backbore (taper)
Various combinations of size and taper tend to make the tone darker or more brilliant,
may raise or lower the pitch in one or more registers, and changes the amount of
resistance a player experiences while blowing.
4. The throat
A large throat generally increases blowing freedom, volume, and a darker, fuller tone.
A smaller throat increases resistance, endurance, faster response, and tonal brilliance.
5. The shank
Trombone, baritone, and euphonium mouthpieces are made with different size
shanks, corresponding to the different bore sizes of the instruments.
 16

Although there are many companies that manufacture mouthpieces, three brands find the most
use among trombonists and euphonium players today. These brands are Bach, Schilke, and
Denis Wick. Each company has their own numbering system for identifying the size and
characteristics of individual mouthpieces.

The Bach system:

Mouthpieces are given a number to identify cup size. The larger the number, the smaller
the cup size. A Bach 12C mouthpiece will have a smaller cup than a Bach 7C. The letter
following the number designates the cup depth. A “C” cup designation means medium depth;
“G” stands for deep, etc. You will also find mouthpieces with no letter designation.

The Schilke system:

This system is the reverse of the Bach system. The larger the number, the larger the cup
size. For example, a Schilke 46 will have a much smaller cup than a Schilke 51. The Schilke
Company also uses letters to identify cup depth. If there is no letter, the cup is standard depth.
“C” means the cup is a bit shallower, “B” means it is shallower still, “D” signifies deep, etc.

The Denis Wick system:

Like Bach, the Wick numbering system is set up so that the larger cup mouthpieces
receive a smaller number. For example, a Wick 6BL will have a smaller cup than a Wick 4BL.
In Wick’s system, “B” designates cup depth, and “L” designates a large shank.

Other mouthpiece makers of importance are Stork, Giardinelli, Karl Hammond, Greg Black,
Monette, Doug Elliott, Yamaha, King, and Conn.

In general, a beginning trombone or baritone/euphonium student should use a medium to

medium-small mouthpiece – somewhere between a Bach 12C and 7C, for example. If the
student is big physically for his or her age, however, a Bach 6 1/2AL might be appropriate. The
corresponding Schilke numbers would be between 45 and 47. More advanced players can use
larger sizes, such as the 6 1/2AL, 5GS, or 5G. Many symphony players will a 5G or Schilke 51.
Bass trombonists will typically use a Bach 1 or 1 1/2G, or a Schilke 59 or 60. Players who
specialize in jazz or commercial playing usually prefer the smaller sizes, such as the 12C, 11C,
or 7C. Here are some mouthpiece suggestions:

Tenor Trombone
Beginner Intermediate Advanced
Bach 12 or 11 Bach 7C or 6 1/2AL Bach 6 !, 5G, 4G, (11, 12)
Schilke 46 or 47 Schilke 47 or 50 Schilke 50 or 51
Denis Wick 9BS Denis Wick 6BS, 6BL Denis Wick 5AL, 4AL,
Yamaha 45C2 Yamaha 48 (12CS)
Yamaha 51C4 or 52

Bass Trombone
Intermediate Advanced
Bach 3G Bach 1 1/2G, 1G
Schilke 58 Schilke 59 or 60
Denis Wick 3AL Denis Wick 2AL, 1AL
Yahama 58 Yamaha 59 or 60
 17

Euphonium
Beginner Intermediate Advanced
Bach 7 Bach 6 1/2AL Bach 5G, 3G
Schilke 46D Schilke 46D Schilke 51D, 52E2
Denis Wick 6BY, 6BM, Denis Wick 6’s Denis Wick 4AY, AM, AL,
or 6BL or SM5 or SM4, SM3
Yamaha 48 Yamaha 51B or 48D Yamaha 51D

**It is wise to obtain a mouthpiece comparison chart for your records. These can be found at
some music stores, by writing the manufacturers, or by visiting the following websites:
www.markjacobsmusic.com/Mpiece.htm
www.hickeys.com/pages/mpcecomp.htm
www.militarymusician.com/xcart/pages.php?pageid=4

**You may wish to find out more detailed information.

Good sources on the web are:
www.schilkemusic.com/MouthpieceCatalog-02.html
www.selmer.com/selmracc/mthpmenu.htm
www.abimusic.com/brmpcfaq.htm
www.mouthpieceexpress.com
 18

Executing Slurs On The Trombone

Until now, we have been using the marcato (“Tah”) attack exclusively to begin a note on the
trombone. Executing slurs on the trombone is slightly more complex an action than on the other
brass instruments. The reason for this, of course, is the slide. There are three basic ways to
produce a slur on the trombone:

1. Legato Tonguing
Using a “legato” articulation helps soften the attack of any given note. It is a lighter style
of tonguing, employing a “Dah” or “Lah” syllable instead of the “Tah” attack. In general, the
tongue simply makes a light flip towards the roof of the mouth, similar to the Spanish
pronunciation of the letter “R” – “ere”. When a player sustains the tone with good breath flow
and employs this style of articulation, the result is a smooth transition between notes.

2. Natural Slurs (“against-the-grain” or “cross-grain”)

A natural slur on the trombone occurs when the slide and pitch movement is in opposite
directions. In these cases, it is not necessary for the player to articulate at all. If a player moves
from bass clef fourth line F up a step to fourth space G, for example, all that is required to make
a slur is to keep the air stream flowing. A natural break between harmonic series occurs,
creating a smooth articulation – no tongue is needed.

3. Lip Slurs
Lip slurs are executed by embouchure and breath alone – no tongue is needed at all. A
lip slur occurs between any two notes that are in the same slide position. In other words, it
occurs between notes that are in the same harmonic series on the trombone.

*What is true and essential when slurring on the trombone is the need to keep the air stream
flowing. Good, uninterrupted airflow ensures that the notes will be sustained AND connected –
which is what we want in any slur.

*Any musical passage you encounter marked with a slurred articulation will likely mean you will
use a combination of all three of the above types of slurs.
 19
Legato Tonguing
1.
"! # # # # $ % &# # # # &$ % # # # # $ % # # # #
Tah da da da da etc.

" $
2.
&$ $ &$ &# # # # &$ $ $
% &# # # # &$ % % %

" $ # # # # $
% % &$ $ &$ % &# # # # &$ % &&

# # # # # # # #
3.
"& # # # # # # # % # # # # $ %
& # $

"&# # # # $ % # # # # # # # # # # # #
& # # # # $ % )
'
(

# $
# # # # # # # # # # #
4.
" &' # # # # # # # # $ * *
&(#

"&# # # # # # $ * # # # # # # # # # !
& # # # # $ * # # $ ++

" # #### # #### # #### $ # # ### # #### # #### $

5.
* *

# #### # #### # ## $
" # # * # #### # #### # ##
# #

" $! ## # ##### ####

&& ! # # # # # ###
6.
# $ % # ) ++

# # # # # # # # # #
" # # # # # # #
7.
# # # $ % # # )
 20
Legato Melodies

"#!$ % % $ $
1.
$ % % % % $ $ % % $ % % % % %
## % $! & #

% % % % % % % % $! % % % % % % %
2.
" % % % % $ &
#

" % % % % $ % % $! % % % % % % % % % $! &
#

" %! % % % %! % $ !
% % % %
!!
3.
%! % % %! % % %
# ' % $ & '
' '

" % % % % %! % % % %! % % % %! % % %! % $ !
# ' ' % $ & (
' '

$ % % % %% % % % $ % % % %%
" % $ % $
4.
% $!

" % % % % $! % % % $ % % % % % % )% $ % % $ % %
% %

" $ % %% % % % 5.
# % %%%%%% %%%%% % % %%%%%%
% $! & ## *

" # %%% $ %%% %%% %%% % % % %%% % % %%% % %%%%%%%%

##

" # % % % % % % % % % % % % % % % % % % % % % % % % % %%% %% +
$
##
 21
Lip Slurs for Trombone
Buzz on the mouthpiece alone, then play on the instrument

#! #!
$# ! % $& & & & $# !
1.
"! # # % $# % & & %
# $& &

" $#
2.
# #! # # $# ! $& & & & $# ! & $& & & # !
% % % %

" $# $# ! $& & & & $# !

$# ! $# !
3.
# % $# # % % $& & & & %

& $& & & & & $& $& & & & &
4.
" ' ' ' '
$& $# & # $& $# & #

$& & & $#

$& $& &
5.
" & & &
$& $#
'
& #
' & & & ' $& '
& #

" & & & # '

$& $& & $# ' & & & # ' $& $& & $# '
& $& & $&

& $& & $& #

& $& & $&
6.
" & & & # ' & & & &
& & # ' $& $# $&
&

*& & *& & *# & $& ,(

" & & & & & & $& $& $& + ' %
Etc., to 7th position

& # & $& $# & )

&
" ( $& & & $& $& & $& $& , ) $& & $&
7. 8.
& & &
& #!
) $& & $& & & & & )
$& &

" & & * & - & $& $& & & $& $& $& & & *& & ,
&
& $& & $& & & &
& .
 22

Natural or "cross-grain" Slurs

# #! % % % % #!
1.
"! # $ $ # &# #! $ % &% % % #! $

% % % % #!
'# ! $ '% % % % '# !
" % &% &% % #!
2.
'# # $ $ $

" '% % % % '# ! '% % % % '# ! % % &% % # !

$ '% % % % '# ! $ $ $

#! #! '# !
$ !! !! $ !! !! $ !! !! % % % # ! $ !!
3. Alternate positions
" # # # # '# # %
1 6 1 2 6 2 1 -5 1 1 4 6 4 1

% % % '# !
" !!'% $ !! '' )( % % % % % % #
% % % %
4. Natural slur/lip slur combination

$ % % # $ % % %
1 3 +4 3 1

% %
"'% % % # $ % % % % % $ % % % % % % % % % ! )
' # % % # )

* % * *
% % % %
5.
" ') % % % %
')% % % % % % % % % % % %
% % % % % #

" ' % % % % '% % % % '% +% # $ % &% +% % % &% %

% % #!
6.

' , $
6

!
% ' % % % % ' % % #!
"' % % +% '% % % & % % % % #
' $ , $ $
-5
 23

Staccato

" ! #$ & #$ & #$ & #$ & ' #$ & #$ & #$ & #$ & ' )#$ & #$ & #$ & #$ & )'
1.

% % % % ( ( (
% % % % % % % %

" #$ & #$ & #$ & #$ & ' * * * *

( )#$ & #$ & #$ & #$ & )' ( #$ & #$ & #$ & #$ & ' (
% % % % % % % %

" *& *& *& *& * * * * - .. + #$ #$ #$ #$ # #$ #$ #$ #$ #

2.
#$ #$ #$ #$ ' ( )#$ & #$ & #$ & #$ & )' ( ,

$ $ #$ #$ #$ #$ # #$ #$ #$ #$ # #$ #$ #$ #$
" .. #$ #$ #$ #$ # #$ #$ # # # # #$ #$ #$ #$ # #$ #$ #$ #$ #

$ $ $ $ $ $ $ $ $ $ $ #$ #$ #$ #$ $ #$ #$ #$ #$
# #$ #$ #$ #$ #$
" .. ' - $ $ $ $ $ # # # # # #
3.
0 /
))) , # # # # #1 2&
# # # # # 2&
1 2& 1 2& 1 2& 1 2&
1

$$$$$ $$$$$
" ) # # # # #1 2 & # # # # #1 2 & #$ #$ #$ #$ #$ 2 & #$ #$ #$ #$ #$ 2 & #$ #$ #$ #$ #$ 2 & #$ #$ #$ -
'
)) 1 1 1 #$ )) !

$ $ $ $
" ) !!! * & #$ & #$ & #% & #% & #$ & #$ & #$ & $ #$ #$ # # #$ #$ #$ ! 0 !!
4.

))))
(in any key)

) #$ % % % % % # ' 3 3

#$ #$ #$ #$ $ #$ $
#$ #$ #$ # # #$ #$ '
5.
" ))
) ) #$ #$ #$ #$ #$ #$ #$ #$ ' ( # #
#$ $ $ #
$ ' ( (

$ $
" ) ) #$ #$ #$ #$ # #$ #$ #$ ' $# #$ #$ #$ # #$ #$ #$ ' #$ # # # # #
-
)) ( ( $ $ $ $ #$ $ #$ ' ( 4444

" 3 3 3 3 3 3 3 3 3 3

" 3 3 3 3 3 3 3 3 3
 24

Advanced Melodies for Trombone

& $ $ &
" # ! $! $ $ $ $ $ $ $ $ $ $ $ $$' !! $ $ $ $ $ $ $ $ $ $
1. Andante Haydn

## %
mf mp

& $! $ $ $
" # $ $ $! $ ($ ! $% ' % $ $! $ $ $ $ & $ $ $ $ $ $ $ $ $
& $$$$ $
## % % $ $$
cresc. mf

$! $ $ $ $ & $! $ $
$ $! $
&
$ $$$$$$ $ $$ +
, =88
$ $
2.
"# % )
Beethoven

## % ' #* - . % %
f rit... ff

&
$ $! $ $!
&
$ $ $ $! & $ $ $ $ $ $ $ $
&
$$$$
" $! % % $ $($ $ $ $ $
# % %

& ($ $ !
% $ $! $ $!
$ $ $ & $ $! & $
" $ $ $ $ $!
# $ ($ $ $ $ $ % % . ##### !

$! $ $ $ $ $ $
+ $ +
- $ $ $ $ $ $ $! $ $ $ $ $ $ $ $ $ $
3.
" ##! /
### %
mf

! ! ! ! !$ ! $ #$! $ ! Grieg
" ## $ $ $ + $ $! $ $ + ! $! $ #$! $
4.
$ $
### $ $ $ $ ' ### $ $ $
pp

$
" simile
# $ $ $ $$$$ $$$$' $ $ #$ $ $ $ #$ $
$$$$ $
$ $$
$$$$ $
##

" # $$$$$ $ 00 !! $ $ $ $ $ $ $ $ $ $ ' $ $ ' $$$$$

5. * *
## $
mf

" 00 $ $ $ $ $ $ $ ' !!
* (Perform as a round)

$ $ $ ' 1 1 1 1 1
 25

Thoughts On Articulation And Attack

…As stated before, the tongue plays absolutely no role in sound production. Its only job
in relation to trombone (or euphonium) playing is to articulate. Think of it as a tool for adding
“punctuation marks” to a sentence – it’s the embouchure in combination with the air stream,
which actually form “words”. As with every other aspect of playing, a constant, steady air
stream is essential to proper articulation. When tonguing, think of a continuous air stream with
occasional interruptions. Do not stop the air stream with the tongue!! To articulate each note,
simply “flick” the tongue up to the roof of the mouth causing a little “dent” in the air stream.
The tongue should never stop while in contact with the roof of the mouth – it should just touch
and immediately retreat to its original position. Work for a continuous, smooth, steady sound.
From the Trombone Handbook by David Vining

Articulation – by Gail Eugene Wilson, Arizona State University

Many young players fall into the habit of using the tongue to stop notes. This abrupt “slap” can
go undetected when section playing might mask the offensive sound. The degree of slap at the
end of the notes can vary, but the effect is not desirable. It may take a long time to correct this
habit, however some students may make progress in just a few weeks. In order to
improve/correct the problem, have the student play a note and suck in at the end of the note.
This will encourage the student not to place his/her tongue back behind the top teeth to stop the
tone. Once this feeling has been achieved, then try to stop the note by just stopping the air –
nothing should move. If this concept does not work, try having the student think of being frozen
and nothing can move at the end of the notes. The notes may sag at the end, but this sound will
disappear with time and concentration. Another thing that can be tried is to have the student pull
the instrument off his/her face. The feeling of ending notes without the tongue is the same with
all three procedures. With the tongue cut-off in use, the articulation is interfering with the tone.
Legato -- The tongue must be used to break the glissando. Use the tongue when the slide and the
pitch are moving in the same direction. It is not needed when the slide and pitch are moving in
opposite directions. Keep up a continuous stream of air. Synchronize the tongue and slide.
Attack -- The attack consists of three separate actions:
1. The placement of the tongue
2. Compression of air behind the tongue
3. The release of the air by pulling the tongue down and back – be certain to project the
air into the horn, not just to the embouchure.
The basic normal attack should give a clean start to the tone but add no sound of its own.
The attack must never affect tone quality. Tongued passages must have the same quality
as long tones or legato.
Types of attack:
Normal = ”Tah” – sharp, clear (marcato)
Legato = “Dah” or “Lah” – smooth, dull
Back of the tongue = “Kah” (used for multiple tonguing)
 26

Tenor and Alto Clef Transposition

The trombone is, again, a non-transposing brass instrument (reading concert pitch), but
often trombone music is written in clefs other than bass, such as tenor, alto, or even treble.
Composers and arrangers like to use tenor and alto clefs for trombone parts because it
reduces the amount of ledger lines used. Below is a transposition chart for your reference.
The notes shown in the bass clef are the same as the ones directly above in tenor clef, which
are the same as the ones directly above in alto clef.

Tenor clef notes are written a 5th away from the bass clef. What was an F in the bass clef
becomes a middle C in the tenor clef. What was a B flat on the top of the bass clef staff now
becomes a high F in the tenor clef. Writing in alto clef simply moves the notes down one
line or space. Middle C in tenor clef becomes high E in alto clef.

It is best to learn to read in the clef instead of constantly thinking in bass and transposing, or
writing the note name over the note. When you see a note on the fourth line in tenor clef, think
of it as a C, not as the note a fifth above F in bass clef. This will aid your reading skills, and
improve your overall musicianship.

" " " "

" " " "
! " " " "
" " " "
Bass Clef
#
" " " "

" " " "

" " " "
Tenor Clef
# " " " "
" " " "
#
" " " "

" " " "

" " " "
Alto Clef
# " " " "
!
" " " "
" " " "
 The Baritone Horn
And Euphonium
Aim at nothing and you will succeed.
-Anon.

I am always doing that which I cannot do, in order that I may learn how to do it.
-Pablo Picasso
 29
The Euphonium & Baritone Horn

Like the trombone, the baritone horn and the euphonium are members of the brass family
– usually constructed of brass, and producing their sound by buzzing the lips into a cup
mouthpiece. These two instruments are closely related, both relatively large, with a tenor
or baritone (medium low) range – almost exactly the range of the tenor trombone. The
size of the mouthpiece, and the width of the tubing (bore size) are also very similar to the
trombone. For example, baritones usually accept small shank mouthpieces, euphoniums
accept large. Just as the trombone lengthens its slide to lower the pitch, the valves of the
euphonium or baritone add extra lengths of tubing to the instrument to alter the pitch.
The various fingering combinations (valves depressed) make it possible for the
instrument to play chromatically throughout its range. Each valve combination has its
own harmonic series, just as each position of the trombone slide has its own harmonic
series. Below is pictured a four-valve euphonium and its different parts.

Valves Bell Mouthpiece

Valve Slides Tuning Slide Leadpipe

 30

Illustrated here is the correct holding position for the euphonium

Tuba/Euphonium ensemble from Indiana University: take note of both

posture and holding position displayed by these players

Some major manufacturers of baritones and euphoniums are: Yamaha, Besson, Willson,
Meinl & Weston, Nirchl, Boosey & Hawkes, and for students, Yamaha, Jupiter, Allora,
& Schiller. To find out more, visit www.wwbw.com and view their inventory.

The following pages contain fingering and harmonic series charts, and exercises and
melodies to practice. You will notice that these horns blow differently than a trombone;
there is more resistance, or “back pressure”. Most students find the baritone and
euphonium easier to play than the trombone, but it may take some time to have facility
with the valves. Be sure to practice slowly at first, with a metronome. Check your
posture occasionally while doing these exercises, and remind yourself to always take full,
relaxed breaths.
 Euphonium Fingering Chart
b Bb
w wA bAbw wG bGb
w # wF# œF œE
Lip Setting #8 ?
b Ab
œ œG b Gb
œ #F#œ œF
"Octaves"

œE bEbœ œD
Lip Setting #7 ?
"Sevenths"

wF wE bEbw wD bDbœ # œC# œC

Notes are very flat.

Lip Setting #6 ? œB
"Fifths"

wD #C#w b Db
w wC wB bBb
œ œA bAbœ #G#
œ
Lip Setting #5 ?
"Thirds"

? w
b wA bAbw wG bGbw # F#w œ œ
Bb F E
Lip Setting #4
"Octaves"

? w w bw w bw #w w
F E Eb D Db C# C B
Lip Setting #3
"Fifths"
w

? b Bb
w
A Ab G Gb F# F E
Lip Setting #2
"Octaves"
w bw w bw #w w w
Lip Setting #1 ? Bb A Ab G Gb F# F E

"Fundamentals"
bw w bw w bw #w w w
Fingering: 0 2 1 1-2 2-3 1-3 1-2-3 or
or 2-4
4
From the Intermediate Euphonium Method by Brian Kay
www.apollobrass.com
 32

Harmonic Series for Euphonium/Baritone

$ #** $# # #
# #
"! # $#
$#
$#
Valves: 0

# ** # # %#
%# #
" # #
#
#
#
Valves: 2
$ # ** $# $#
# $#
" $# $#
$#
$#

#
Valves: 1
# ** # #
# #
" # #
#
#
Valves: 12
$ # ** $# $# $#
$# $#
" $# $#
$#
$#
Valves: 23

$ # ** # # #
# #
" # #
#
#
Valves: 13 or 4
# ** # %# %#
" %# #
#
# #
#
Valves: 123 or 24
**(The 7th partial of the harmonic series is too flat to be useable in the given position)
 33

Beginning Exercises for Euphonium or Baritone

1. Take full, relaxed breaths.
2. Sit upright with shoulders relaxed.
3. Hold (cradle) the instrument with the left arm.
4. Right hand and fingers are free and relaxed
5. Use marcato ("tah") articulation to initiate each note.
6. Buzz each line on the mouthpiece alone, then play.

% %
$ $ ' ' ' ' $
Slowly
"! # # # & & & & # #
Valves: 0

% %
" $ $ $
(# (# (# (& & (& & (# (' ' ' ' (#

% % %
" & & # ' ' # ' ' $
(# (& & (' ' (' ' (#

% %
" (# (# ($
# (& & (& & ($
# (' ' ' ' ($
#

% % (' %
" (& & # & & (# ' ' ' (# ' (' ' ' $
#

% % (' %
" (& & & (# ' ' (# ' (' ' $
(# (& (' (' (#
**The exercises above can be played using each of the seven valve combinations (harmonic series)

(#
Fingering reference: Write in the correct fingering (valve combination) under the notes in the following line.

" (& )& & *& & (& )&

(& )& & *& &

%
Use your metronome to keep steady time and to coordinate tongue and fingers.
% % $
" & & & (& & & & (& & & & &
& (&
 34

1. & & & (

"! # '# # $# %# #
$# %# $# $# $# $# $# $#

& &
) ') ) ) ) $) ) ) ) $) ) ) ) $) (
2.
" ) ') %) ) #

$ ) ) $ ) ) & $) & (
) $ ) ) $ ) ) ) ) $) $) ) ) $) $) ) ) $) $) )
3.
"
$) $$

4. B flat major scale

"$ ) ) ) #& ) ) ) #
$ # ) ) ) ) ) ) # * # ) ) ) )
# *

) ) ) ) ) ) ) )
5.
"$ ) ) ) ) ) )
$ ) ) + ) ) ) + ) ) + + + + +

# ) ) ) ) ) ) & & ) ) ) (
"$
$ * ) ) ) ) ) ) ) # ) ) ) ) ) , %%
)

6. Expanding the range & & (

" * *
$# # $# # $# # # '# # '# # $#
# #
(
# & #
# '# & # '# # # $# # & $# # $# (
" $# %# #

& &
') ) ') ) $# $) ) $) ) $) )
7. Chromatic scale on B flat
" ) ') ) ') ) ) * ) $) ) $) ) $)
$) %)

8. Rapid articulation
& &
" ( - ))))))))) ))))))))) ))))))))) ))))))))) )))))))))
$, $$ .

& & (
" $ )))) ))))) ))))))))) ) )) ) )) ) )) ) )) ) )) !
$ ))))))))) ) )) #
 35

Easy Melodies for Euphonium or Baritone

% % % % $! % % % '% $ !
W. H. Monk

% % $
1. Abide With Me
" #! $ % % $ $ & $ $ &
#!

( *
" ## $ % % $ $ % % % % $! & $ % % % % % % $ $ !
) !

% % $ % % % % $! % % % % % % % % % % % $!
2. Chester Wm. Billings
" ## ! $ $ & $ &
!

(
"#$ % % $ % % % % % % $! &
%! % % % % %
%%% % % % % %
# +

( (
%! % % $
(
"#* $ %% % % %
3. Austrian folk song

# )
,
### ! -
%
% %! + % % %! %% %
% % +
+

!
( (
% % % % % $!
%%%%% * !% % % % % % % % % % % %
4. "Ode to Joy"
"# $ % %
Beethoven

## + % % !

( ( (
" # %! % $ % % % % % % % % % % % % %! % $ % % % % % %%% %
## + +

(
"# % %%% % % % % % % % % % % % % % % % %! % *
$ ,
## $ + #!

" ,% % % % % % % % %! % % % % % $!
% % %
5. "My Country 'tis of Thee"

#! %! +
+

%! % % % % % % % %! % % $!
% % % %! % % % % % *
" + + %
# +
 36

Baritone or Euphonium?

There are several differences between the baritone horn and the euphonium. You can see
these differences clearly in the two pictures above. The picture on the left is a three-
valve baritone horn, the one on the right, a three-valve euphonium. The physical
differences are:
*Bore size: the baritone usually has a smaller bore than the euphonium – meaning
that its tubing has a smaller diameter.
*The baritone has a more cylindrical bore than the euphonium.
Tracing its tubing from the mouthpiece receiver, notice how the tubing
on the baritone stays basically the same width until the beginning of the
bell flare (the bottom curve).
*The euphonium is a conical bore instrument – its tubing gets gradually wider
through the entire length of the instrument.
*The baritone has a smaller bell that does not have as wide a flare as the
euphonium.
One difference we cannot see is the difference in tone. The baritone has a somewhat
lighter, and a bit brighter tone quality than the euphonium. Because of the conical bore,
the euphonium has a mellower, darker, fuller tone quality. Euphoniums are usually made
with four valves, the baritone with three. But there are three valve euphoniums (above),
and four valve baritones. Often student (beginner) euphoniums are made with three
valves. Below are some images showing the variety of designs of the baritone horn and
euphonium.
 37

Top left: baritone by Sterling (UK), top right: a U.S. made baritone, middle left: a rotary
valve euphonium by Meinl (Ger.), middle right: double-bell euphonium, unknown maker
(likely U.S.), bottom: two views of a compensating euphonium by Schiller
 38

The Compensating System

We have found that there are inherent problems with the intonation of the baritone horn
and euphonium. In 1874, David Blaikley of the Boosey company in England, devised a
system whereby intonation could be somewhat improved by adding small extra loops of
tubing to each valve. When the fourth, or master valve is depressed, it then opens up this
extra tubing, allowing that small extra length to help correct the intonation. Most
professional euphoniums today are built with the compensating valve. These are usually
four-valve instruments, but there are four-valve non-compensating euphoniums. Two
examples from Yamaha are below. You can find an excellent article explaining in detail
the four valve compensating system at www.dwerden.com/eu-articles-comp.cfm.

YEP-321 non-compensating YEP-642 compensating

A four-valve compensating euphonium by Boosey & Hawkes

 39

Intonation Problems
Unlike the trombone, the baritone and euphonium are valved instruments. As stated above,
each valve, when depressed, opens a small length of tubing which alters the pitch of the
instrument 1/2 step (second valve), 1 whole step (first valve), or 1 and 1/2 steps (third valve).
However, due to the design of the instrument, some of the valve combinations (fingerings) are
slightly out of tune, and some are noticeably out of tune. In order to play these notes in tune,
we must adjust the pitch (up or down) with the embouchure. This is called "lipping" a note.
Obviously, a player cannot adjust a note when it lies within a fast passage, but only when the
note is of longer duration. Below is a chart of the general intonation tendencies of the baritone
or euphonium. It explains which valve combinations are out of tune, in which direction, and to
what degree. The fingerings are printed above the notes, and the Roman numerals I - IV below
the notes indicate the degree of out-of-tuneness
I = slightly out of tune
II = increasingly out of tune
III = very noticeably out of tune
IV = extremely out of tune

"!
123 13 23 12 1 2 0 13
$
123

$ #$ $ #$ $ %$ &$
$
# - II # - IV # - III
# - IV # - III % - III

" #23$ $ $ #$
23
$
12
#1$ $
2
$ #$
12 1 2 0

% - III # - II # -I # -I # -I % - III # - II

$ #$ $ #$
1
$
2
$0 # 23$
" %$ &$
0 12 1 2 0

% - II % - III % - III % - III # - III # - III # - III % - III

$ %$
0
$ # $1
12 2

" ' ' ' '

# - III

The notes most affected are:

%( &( ( (
" ( %( &( ( (
( ( (
( (
Sharp

( #( ( #(
" #( ' ' ' '
#(
Flat
 40
Slurring and Legato Tonguing
1.
"! # # # # $ % &# # # # &$ % # # # # $ % # # # #
Tah da da da da etc.

" $
2.
&$ $ &$ &# # # # &$ $ $
% &# # # # &$ % % %
Tah ah ah etc.

" $ # # # # $
% % &$ $ &$ % &# # # # &$ % &&

# # # # # # # #
3.
"& # # # # # # # % # # # # $ %
& # $

"&# # # # $ % # # # # # # # # # # # #
& # # # # $ % )
'
(

# $
# # # # # # # # # # #
4.
" &' # # # # # # # # $ * *
&(#

"&# # # # # # $ * # # # # # # # # # !
& # # # # $ * # # $ ++

" # #### # #### # #### $ # # ### # #### # #### $

5.
* *

# #### # #### # ## $
" # # * # #### # #### # ##
# #

" $! ## # ##### ####

&& ! # # # # # ###
6.
# $ % # ) ++

# # # # # # # # # #
" # # # # # # #
7.
# # # $ % # # )
 41
Lip slurs for Baritone or Euphonium
Buzz on the mouthpiece alone, then play on the instrument

#! #!
$# ! % $& & & & $# !
1.
"! # # % $# % & & %
# $& &

" $#
2.
# #! # # $# ! $& & & & $# ! & $& & & # !
% % % %

" $# $# ! $& & & & $# !

$# ! $# !
3.
# % $# # % % $& & & & %

& $& & & & & $& $& & & & &
4.
" ' ' ' '
$& $# & # $& $# & #
0 2 1 12

$& & & $#

$& $& &
5.
" & & &
$& $#
'
& #
' & & & ' $& '
& #
23 13 or 4 123 or 24

" & & & # '

$& $& & $# ' & & & # ' $& $& & $# '
& $& & $&

& $& & $& #

& $& & $&
6.
" & & & # ' & & & &
& & # ' $& $# $&
&

*& & *& & *# & ,(

" & & & & & & $& $& $& $&
Etc., to
+ ' %
& # & $& $# & )

&
" ( $& & & $& $& & $& $& , ) $& & $&
7. 8.
& & &
& #!
) $& & $& & & & & )
$& &

" & & * & - & $& $& & & $& $& $& & & *& & ,
&
& $& & $& & & &
& .
 42

Slurred Melodies

"#!$ % % $ $
1.
$ % % % % $ $ % % $ % % % % %
## % $! & #

% % % % % % % % $! % % % % % % %
2.
" % % % % $ &
#

" % % % % $ % % $! % % % % % % % % % $! &
#

" %! % % % %! % $ !
% % % %
!!
3.
%! % % %! % % %
# ' % $ & '
' '

" % % % % %! % % % %! % % % %! % % %! % $ !
# ' ' % $ & (
' '

$ % % % %% % % % $ % % % %%
" % $ % $
4.
% $!

" % % % % $! % % % $ % % % % % % )% $ % % $ % %
% %

" $ % %% % % % 5.
# % %%%%%% %%%%% % % %%%%%%
% $! & ## *

" # %%% $ %%% %%% %%% % % % %%% % % %%% % %%%%%%%%

##

" # % % % % % % % % % % % % % % % % % % % % % % % % % %%% %% +
$
##
 43

Staccato

" ! #$ & #$ & #$ & #$ & ' #$ & #$ & #$ & #$ & ' )#$ & #$ & #$ & #$ & )'
1.

% % % % ( ( (
% % % % % % % %

" #$ & #$ & #$ & #$ & ' * * * *

( )#$ & #$ & #$ & #$ & )' ( #$ & #$ & #$ & #$ & ' (
% % % % % % % %

" *& *& *& *& * * * * - .. + #$ #$ #$ #$ # #$ #$ #$ #$ #

2.
#$ #$ #$ #$ ' ( )#$ & #$ & #$ & #$ & )' ( ,

$ $ #$ #$ #$ #$ # #$ #$ #$ #$ # #$ #$ #$ #$
" .. #$ #$ #$ #$ # #$ #$ # # # # #$ #$ #$ #$ # #$ #$ #$ #$ #

$ $ $ $ $ $ $ $ $ $ $ #$ #$ #$ #$ $ #$ #$ #$ #$
# #$ #$ #$ #$ #$
" .. ' - $ $ $ $ $ # # # # # #
3.
0 /
))) , # # # # #1 2&
# # # # # 2&
1 2& 1 2& 1 2& 1 2&
1

$$$$$ $$$$$
" ) # # # # #1 2 & # # # # #1 2 & #$ #$ #$ #$ #$ 2 & #$ #$ #$ #$ #$ 2 & #$ #$ #$ #$ #$ 2 & #$ #$ #$ -
'
)) 1 1 1 #$ )) !

$ $ $ $
" ) !!! * & #$ & #$ & #% & #% & #$ & #$ & #$ & $ #$ #$ # # #$ #$ #$ ! 0 !!
4.

))))
(in any key)

) #$ % % % % % # ' 3 3

#$ #$ #$ #$ $ #$ $
#$ #$ #$ # # #$ #$ '
5.
" ))
) ) #$ #$ #$ #$ #$ #$ #$ #$ ' ( # #
#$ $ $ #
$ ' ( (

$ $
" ) ) #$ #$ #$ #$ # #$ #$ #$ ' $# #$ #$ #$ # #$ #$ #$ ' #$ # # # # #
-
)) ( ( $ $ $ $ #$ $ #$ ' ( 4444

" 3 3 3 3 3 3 3 3 3 3

" 3 3 3 3 3 3 3 3 3
 44

Advanced Melodies for Euphonium or Baritone

& $ $ &
" # ! $! $ $ $ $ $ $ $ $ $ $ $ $$' !! $ $ $ $ $ $ $ $ $ $
1. Andante Haydn

## %
mf mp

& $! $ $ $
" # $ $ $! $ ($ ! $% ' % $ $! $ $ $ $ & $ $ $ $ $ $ $ $ $
& $$$$ $
## % % $ $$
cresc. mf

$! $ $ $ $ & $! $ $
$ $! $
&
$ $$$$$$ $ $$ +
, =88
$ $
2.
"# % )
Beethoven

## % ' #* - . % %
f rit... ff

&
$ $! $ $!
&
$ $ $ $! & $ $ $ $ $ $ $ $
&
$$$$
" $! % % $ $($ $ $ $ $
# % %

& ($ $ !
% $ $! $ $!
$ $ $ & $ $! & $
" $ $ $ $ $!
# $ ($ $ $ $ $ % % . ##### !

$! $ $ $ $ $ $
+ $ +
- $ $ $ $ $ $ $! $ $ $ $ $ $ $ $ $ $
3.
" ##! /
### %
mf

! ! ! ! !$ ! $ #$! $ ! Grieg
" ## $ $ $ + $ $! $ $ + ! $! $ #$! $
4.
$ $
### $ $ $ $ ' ### $ $ $
pp

$
" simile
# $ $ $ $$$$ $$$$' $ $ #$ $ $ $ #$ $
$$$$ $
$ $$
$$$$ $
##

" # $$$$$ $ 00 !! $ $ $ $ $ $ $ $ $ $ ' $ $ ' $$$$$

5. * *
## $
mf

" 00 $ $ $ $ $ $ $ ' !!
* (Perform as a round)

$ $ $ ' 1 1 1 1 1
 The Tuba
You can't put a wimp on a Tuba, and expect it to play.
-Harvey Phillips

The tuba player is normally a stocky, bearded guy whose hobby is plumbing; the only
member of the orchestra who bowls over 250 and gets his deer every year and changes
his own oil. In his locker downstairs, he keeps a pair of lederhosen for free-lance jobs.
Anyway, there's only one tuba in the bunch and he's it.

- Garrison Keillor from "A Young Lutheran's Guide to the Orchestra"

 Tuba Fingering Chart
? bw wA bAbw wG bGb
w # wF# œF œ
Bb E
Lip Setting #8
"Octaves"

? bœ œ bGbœ #F#œ œF œ bœ œ
Ab G E
Lip Setting #7 Eb D

"Sevenths"
Notes are very flat.

? wF wE bw w bœ #œ
C#
œ œ
Eb D Db C B
Lip Setting #6
"Fifths"

? wD #w bw w
C# Db C B
w
Bb
bœ
A Ab G#

œ bœ #œ
Lip Setting #5
"Thirds"

? A G Gb F# F E
bw
Bb Ab
Lip Setting #4
"Octaves"
w bw w bw #w œ œ
? F E Eb D Db C# C B

w
Lip Setting #3
"Fifths" w bw w bw #w w w
Lip Setting #2 ? Bb A Ab G Gb F# F E

bw w bw w bw #w w w
"Octaves"

Lip Setting #1 ? Bb A Ab G Gb F# F E

"Fundamentals"

bw w bw w bw #w w w
Fingering: 0 2 1 1-2 2-3 1-3 1-2-3
or or
4 2-4
From the Intermediate Tuba Method by Brian Kay
www.apollobrass.com
 48

Beginning Exercises for BB flat Tuba

"! $ $ $ $ $ $ $ $ $ $ $ $ $ $
# # %# # &# # &# # %#
# %# # %# %# 0 12 1 2 0
0 2 1 12 23 13 23
123 0
1.
" ( ( ( (
' ' ' ' # &' ' ' ' &# ' ' ' ' # %' ' ' ' )#

" $
)' ' ' ' # ( %' ' ' ' %# ( ( (
' ' ' ' # ' ' ' ' #

" ( ( ( (
%' ' ' ' %# ' ' ' ' # %' ' ' ' %# ' ' ' ' #

%# ! * %' ' %# !
" $ 2.
( * %# *
%' ' ' ' %#!
# ' '
' ' ' ' #

%# ! * %' ' %# !
" * ' ' * %# *
# # #! ' ' #! %# %' ' # #

#! ' ' ' ' #! %# ! %' % ' ' ' %# !

" * * * *
%# % # # #

" $ 3. Interval study

* %# # %# %# %# %# %# %#
#! # %# # #

" $
%# %# %# %# %# %# + +
%# # %# # )# %#

%% !! # ' ' #!
!!
4. B flat major scale
" + ' ' ' ' '
* + ))
' ' # ' ' '
$ $ $ $ $ $ $ $
5. Extending the range

" ' $ $ $ $ $ $
%' )' ' &' ' %' )' %' ' *
0 12 1 2 0 1 2 0
%' ' %' ' %' #! %' ' %#!
0 2 1 12 23 13
 49

6. Lip Slurs (buzz and play)

"! & & & &
$# # # # $% # # # # % $# $ # # # $% # # # # %

" '
& & $# # # # $% & # (# # # % &
$# $ # # # $% # # # # %

" '
$# # # # $% & & & &
# # # # % $# $# # # $% # # # # % $

7. Articulation
" & # & #
$ ######## % #### ### % #### ### % &

" #
$ #### ### % & ##### #
# # %!
) $$ # # # # # # # % &
#

"$ & & )

$ ### ######## $
##### % #### ### %
# %!
8.
" & )
$ # # # # # # # %! # # # # # # # # # # # # #
# # # %!

"
$$$ # # # # # # # #
9.
)
$% # # %! # # # # # # # # # %!

$ $ # # # # # ! #* %
"$
# # # # # # # # # # # # #! #* % # # # #

" $$ '
$ # ### # # ### # # # # # # # # *
# # # # # # # #! # % $
%

" !! !!
10. Staccato
$ ##### ) #+ #+ #+ #+ # ) #+ #+ #+ #+ # ) #+ #+ #+ #+ # ) #+ #+ #+ #+ %
+ + + +
 50

Advanced Melodies for Tuba

%! % % % % % % % % % % % % $ % ! % % % % % % % %! %&
"#! & &
1. A la Marcia

# #! $ $
$
mf

2. Andante
"#
##
'
## ! (
3
$
3

% % $ % $ % $ %%% % % % % % %
% $ %%%
mf

"# 3
# % % %! %%% % % %
% % % %! % % % % $ %! % % % % $ % $

"# * 3. Moderato

### ) %+ % %+ %+
%! % $!
# % % %+ % % #%+ % % %+# % % %
% % $ % %
%+ + + + + + + % %
%+ + + + +
mp

"#
# # %+ % % $ % % #%+ % % %+# % % %+ %+ %+ %+ %+ %+ %+ %+ % % % #####
+ %+ + %+ %+ %+ %+ + %+ + + % %
+ +
%
+ +, ,

" ## & &

4. Adagio

% ! % %! % $ ! % % %! %
# # # %! % $ & & & - & &
%! % $ %! $
% %! % $
mp

" ##
### - !! % ! % $ % % $ % % % % $! - !! & &
$! . %! $
% %! % $
mf-pp mp

" ##
# # # ! %& %! %&
& %! % $ %! % % % $! - / '
#!
% % $! %! $
% . .
cresc. mf

!
% !
5.
" '%
Vivo 1.

# ! % % %+ %+ $ - % % % %+0%+ $ % %%% % $
%
+ % % % %
+ %+ %+ $ + +
f %+ +

"
2.
*
% $!
#%%% / / / / / /
 53

Low Brass Pedagogy

What’s Important
Buy copies, read and digest the information found in the following four books:

Johnson: Brass Performance and Pedagogy

Kleinhammer: The Art of Trombone Playing
Nelson: Also Sprach Arnold Jacobs
Farkas: The Art of Brass Playing

These are the finest books available to help you understand the particular issues essential
to fine low brass playing. They will also help you understand what is essential to
communicate to beginner, intermediate, and advanced low brass players. They can be
your most important guides to excellence in your teaching.

The First Lesson

As a teacher, it is important to know what you are about to teach, to be clear and concise,
and to be flexible and able to “think on your feet.” Here are some suggestions and a
proposed outline of what to include in a beginner’s first lesson.

**Check the student’s instrument to make sure it’s in working order.

**Have in mind what you wish to accomplish in the lesson, but don’t make any rigid
plans. Remember, every student is different – he or she will respond differently, and
each will have his or her own set of needs.

**Your primary goal in the first lesson is to help the student produce a sound.
-Begin with breathing, blowing
Demonstrate a full, relaxed breath – then let the student do it.
Demonstrate blowing a free, energized airstream – then the student
-Start with the mouthpiece alone
-Explain about vibration – the buzz – air passing through the lips
-Embouchure formation
M shape
Blow air through the lips (“poo”)
Sustain the airflow – blow outward
Use visual examples: e.g. holding the paper out in front at arm’s length
-Take mouthpiece: teacher demonstrate placement on the lips
-Demonstrate a buzz on the mouthpiece – pitch not important
*teacher modeling is very important
-Student should then try: place mouthpiece on the lips, take a breath,
form the “M”, and blow.
A buzz should come out!
 54

-If student is successful making a buzz, then have him/her sustain the buzz for a
longer period of time.
-Add articulation: “too” instead of “poo”.
-Demonstrate, then let the student slide the buzz up and down to hear and
understand the concept and the feel of pitch changes.
-Try to have the student match pitch on the mouthpiece.
**During all this, keep reminding the student to breathe deeply and blow air freely.

**Then move to the instrument!

-Show correct manner of assembling the instrument (talk about care of horn also),
and correct holding position and posture.
-Duplicate on the instrument what was done on the mouthpiece (simplicity!)
Sustain a sound – pitch not important at first
Then try for specific pitch (middle F on the trombone, for example)
Try other notes (higher/lower) in the same harmonic series – that is,
in the same position or with the same fingering.
Gradually introduce fingerings or slide positions for other notes.
**Again, keep reminding the student to breathe deeply, and blow freely and with
a relaxed throat.
-You as the teacher can be the best example of this for the student!

**Have some simple practice sheets ready for the student to keep and work with.
 55

Common Problems Of Young Players

1. Equipment
In poor working condition
Instrument is not the appropriate size/model for the student
Wrong size mouthpiece
2. Breathing
Shallow
Tight, tense
(The student must form the habit of taking full, relaxed breaths.)
3. Blowing
Squeezing, forcing, bearing down
Tight, tense throat
Tongue placed too high, or rigidly articulating – obstructing airflow
(Relax and open the throat while blowing! Buzzing the mouthpiece alone
is good therapy for this problem.)
4. Articulation
Tongue action too heavy, tongue too rigid
Tongue cuts off airflow between notes
Improper use of the tongue in general for articulation styles
Poor coordination of the tongue with the slide (or fingers)
(The student should use a light, “tip-of-the-tongue” articulation, and
keep the air flowing.)
5. Embouchure
Pinching or puckering
Embouchure corners too loose – cheeks puffed out
Failing to have the embouchure set before playing the note – rather,
blowing the lips into position
(The student should remember that a firm embouchure always functions
more efficiently and vibrates better. Buzzing the mouthpiece alone
is also good therapy for this problem.)
6. Posture
Slouching, or failing to sit upright (“Sit as if you were standing”)
Poor manner of holding the instrument
(Good posture is important for efficient and easy playing – Bad posture
is a hindrance to good breathing and blowing.)
 56
Selected Scales for Trombone and Euphonium
"! # # # # # # # # # # # # # # # #
C major
# # $ # # $ %

" # # # # # # # # # # %%
F major

%# # # # # # $ # # #
# $

"% # # # # # # # # # # # # # # #
B flat major

% # # # $ # # $ %%%

# # # # # # # # # # # #
"% # # # # # # $ # # $ %%%%
E flat major

%%

" %% # # # # # # # # # # &
A flat major

%% # # # # # # $ # # #
# $

"& # # # # # # # # # # &&
G major
# #
# # # # # # $ # # $

" && # # # # # # # # # # # #
# # $ # # # # &&&
# #
D major
$

" &&& # # # # # # # # # #
A major
# #
# # # # # # $ # # $ %

" # # # # # # # # # # # #
# # $ # # # # #
%%%
d nat. minor

% # $

"% # # # # # # # # # # # # # # # #
c nat. minor

%% # # $ # # $ '''

" # # # # # # # # # # &
a nat. minor
# #
# # # # # # $ # # $

"& # # # #
e nat. minor
# # # # # # # #
# # $ # # # # #
# $
 57
Selected Scales for Tuba
" ! $ $ $ $ $ $
F major

#! $ $ $ $ $ $ $ $ $ $ &
$ $ % $ $ %

"
C major

$ $ $ $ $ $ $ $ $ $ $ $ ##
$ $ $ $ $ $ % $ $ %

"#
B flat major

# $ $ $ $ $ $ $ $ $ $ $ $ ###
$ $ $ $ $ $ % $ $ %

"#
E flat major

## $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ #####
$ % $ $ %

" ## ''
D flat major

### $ $ $ $ $ $ $ $ $ $ $ $ $ $
$ $ $ $ % $ $ %

" '' '''

D major

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
$ % $ %

" ''' '

A major

$ $ $ $ $ $ $ $ $ $ $ $
$ $ $ $ $ $ % $ $ %
"'
e nat. minor

$ $ $ $ $ $ $ $ $ $ $ $ #
$ $ $ $ $ $ % $ $ %

"
d harm. minor

# $ $ '$ $ '$ $ $ $ $ $ $ $ ###

$ $ $ $ $ $ % $ $ %

"# '
c mel. minor

## $ &$ &$ $ #$ #$ $ $ $ $ $ $
$ $ $ $ $ $ % $ $ %

"' $ $ % $ $ $ $
G major (2 octaves)

$ $ $ $ $ $ $ $
$ $ $ $
$ $ $ $
"' %
$ $ $ $ % $ $ $ $
%
(
$ $ % % $ $ $ $
%!
 58

Slide and Fingering Technique Exercises

Exercise #1: Keep steady time with a metronome. Wait until the last possible instant to move the
slide to the next position (note). Coordinate the tongue with the slide.

Exercise #2: Keep strict time. Move the slide quickly, precisely, and in rhythm. Coordinate the
tongue with the slide. Vary the type of articulation used (marcato, legato, staccato).
**These may be played in any key.

Exercises #3, #4: For Baritone or Euphonium only. Keep steady time. Play both tongued and slurred.

$! $!
$!
" #! !
1.
$! $!
# $ % $! % % $! % % % % %

" # $! $! $! $!
$! $!
# % % % % % $! % % ###

2.
"# $ $ $ $ $! % & & & & & & & & $! %
##

" # & & & & & & & & & & & & & & & & $! & & & & & & & & & & & & & & & & $!
## % % ((( '

"'
3.
#&(&#&(&#$ (& & & & $ & #& & & $ )& & & & $ & #& & & $ )& & & & $

" &&&&$ &)&(&)&($ )& & & & $ & #& & & $ )& & & & $ & #& & & $ #$ !
% !

" ! #& &#& &)& &)& &#$

4.
& &#& &)& &)& & $
#& &#& &)& &)& & $ #&(& &)& &#& &#&#$

" &)& &)& &#& &#&($

5.

#&(& & &#&(& & &#$ (& &)&(& & &)&(& $ &)& & &(&)& & &($

" )& &#& & & & & & $ &#&(&#& & &(&#& $ #&(& & &#&(& & &#$ (& &#& & & & & & $ $! %

Selected Tenor and Bass
Trombone Methods
Tenor Trbn. Method Books
Beginner:
Remington: Warm-Up Exercises
Arban: Complete Method
Cimera/Hovey: Method for Trbn.
Rubank/Long: Elementary Method
Fink: Introducing Legato
Intermediate:
Remington: Warm-Up Exercises
Kopprasch: 60 Selected Studies Bk. 1
Arban: Complete Method
Blume: 36 Studies
Cimera: 79 Studies
Pederson: Elementary Technical
Studies
Hering: 40 Etudes
Fink: Studies in Legato
Fink: Introducing the F Attachment
Voxman: Selected Studies
Rochut: Melodious Etudes, Bk. 1
Fink: Introducing the Tenor Clef
Advanced:
Schlossberg: Daily Drills and
Technical Studies
Kopprasch: 60 Sel. Studies Bks. 1,2
Arban: Complete Method
Vernon: The “Singing” Approach to
The Trombone
Voxman: Selected Studies
Tyrrell: 40 Progressive Studies
Rochut: Melodious Etudes, Bks. 1, 2, 3
Bitsch: 15 Rhythmic Studies
Fink: Introducing the Alto Clef
Boutry: 12 Etudes
Blazevich: Clef Studies
Maxted: 20 Studies (clef studies,
high range studies)
59
Bass Trbn. Method Books
Beginner:
Ostrander: Method for Bass Trbn.
Roberts/Tanner: Let’s Play Bass Trbn.
Intermediate:
Ostrander: Basic Studies
Kopprasch/Fote: Selected Studies
Blume/Fink: 36 Studies
Ostrander: Melodious Etudes
Gillis: 70 Progressive Studies
Advanced:
Ostrander: Melodious Etudes
Ostrander: Shifting Meter Studies
Grigoriev: 24 Studies
Gillis: 20 Etudes
Kahila: Semester of Study
Raph: Double-Valve Bass Trombone
Vernon: A “Singing” Approach to
The Trombone
*All serious intermediate and advanced
trombonists should read and be familiar
with The Art of Trombone Playing by
Edward Kleinhammer.

Graded Solo Literature for Tenor
and Bass Trombone
Grade 1 Solos, Tenor Trombone
Buchtel: At the Ball
Buchtel: Fandango
Buchtel: Pied Piper
Tanner: Soloist Folio
Bach/Fitzgerald: Bist du
bei mir
Watts: Beginning Trombone
Solos
Grade 2 Solos, Tenor Trombone
Lawton: The Young
Trombonist, Vol. 1
Smith: First Solos for the
Trombone Player
Snell: Belwin Master Solos
(Easy)
Barnes: Trombone Album
Mendelssohn: If With All
Your Hearts
Vandercook: Emerald
Vandercook: Ruby
Vandercook: Turquoise
Buchtel: Jovial Mood
Watts: Easy Trombone Solos
Grade 3 Solos, Tenor Trombone
Barnes: Arioso & Caprice
Lawton: The Young
Trombonist Vols. 2, 3
Berlioz: Recitative & Prayer
Ostransky: Two Spanish Dances
Vandercook: Garnet
Vandercook: Topaz
Cimera: Victoria
Fox: Andante & March
Johnson: Pastel Prairies
Burgstahler: Triumphant
Trombone
60
Grade 4 Solos, Tenor Trombone
Hasse: Hasse Suite
Voxman: Concert & Contest
Collection
Ropartz: Andante et Allegro
Bakaleinikoff: Andante
Cantabile
Pryor: La Petite Suzanne
Smith: Solos for the Trombone
Player
Cimera: Caprice Charmante
Rachmaninov: Vocalise
Grade 5 Solos, Tenor Trombone
Guilmant: Morceau
Symphonique
Graefe: Grand Concerto
David: Concertino
Barat: Andante et Allegro
Pryor: Thoughts of Love
Pryor: Annie Laurie
Blazevich: Concert Sketch #5
Simons: Atlantic Zephyrs
Dubois: Cortege
Bigot: Impromptu
Saint-Saens: Cavatine
Weber: Romance
Wagenseil: Concerto (alto trbn.)
Sulek: Sonata (Vox Gabrieli)
Rimsky-Korsakov: Concerto
Grade 6 Solos, Tenor Trombone
Bozza: Ballade
Ewazen: Sonata
Serocki: Sonatina
Jacob: Concerto
Pryor: Blue Bells of Scotland
Pryor: Fantastic Polka

Grade 6 Solos, cont’d.
Peaslee: Arrows of Time
Hindemith: Sonate
Salzedo: Piece Concertante
Albrechtsberger: Concerto (alto)
Grondahl: Concerto
Tomasi: Concerto
Casterede: Sonatine
Creston: Fantasy
Milhaud: Concertino d’Hiver
Unaccompanied Tenor Trombone
Solos
Intermediate / Difficult
Bernstein: Elegy for Mippy II
Bach/Brown: Six Cello Suites
(or the original cello edition)
Bourgeois: Coat de Bone
Arnold: Fantasy
Mitsuoka: Two Moments
Yoshioka: Extase
Telemann: 12 Fantasies
Crespo: Improvisation I
Rabe: Basta
Selected Bass Trombone Solo
Literature
Intermediate (grade 4 or 5):
Jacob: Cameos
Bozza: Allegro et Finale
Frescobaldi: Canzonas
Tcherepnine: Andante
Hartley: Arioso
Hindemith: Drei Leichte Stucke
Langford: Proclamation
Barat: Introduction and Serenade
McCarty: Sonata
McKay: Suite
Stevens: Sonatina
Still/Yeo: Romance
61
Advanced (grade 6):
Bozza: New Orleans
Lebedev: Concerto in One Mvt.
Casterede: Fantasie Concertante
Ewazen: Concerto
Ewazen: Ballade
Spillman: Concerto
George: Concerto
Koetsier: Allegro Maestoso
Bozza: Andante et Allegro
Wilder: Sonata
White: Tetra Ergon
Vaughan Williams: Concerto in
F minor (orig. tuba)
Unaccompanied Bass Trombone Solos
Intermediate / Difficult
Adler: Canto II
Bach/Marstellar: 6 Cello Suites
(or the original cello edition)
Culver: Suite
Hartley: Sonata Breve
Fetter: Variations on Palestrina’s
Dona Nobis Pacem
Hidas: Meditation
Raph: Rock
Premru: Prelude & Dance
 62
Selected Method Books and Graded
Solos for Euphonium and Tuba

Baritone/Euphonium Methods Grade 6 solos:

Beginning: Barat: Introduction et Serenade
Arban/Randall: Complete Method Barat: Morceau de Concours
Long: Rubank Elementary Method Arban: Variations on the Carnival
Clarke/Gordon: Technical Studies of Venice
Bowman: Practical Hints on Clarke: Bride of the Waves
Playing the Baritone Pryor: Blue Bells of Scotland
Intermediate: Curnow: Symphonic Variants
Arban: Complete Method White: Lyric Suite
Clarke/Gordon: Technical Studies Jacob: Fantasia
Blume: 36 Studies Bach, Jan: Concert Variants
Rochut: Melodious Etudes, Bk. 1 Wilder: Concerto
Mueller: Technical Studies, 2 vols. Sparke: Pantomime
Kopprasch: 60 Selected Studies
Voxman: Selected Studies **This is a selected list only. There are,
Advanced: of course, many more methods and solos
Arban: Complete Method available. You are encouraged to do
Bitsch: 15 Etudes de Rythme your own study of baritone and
Tyrrell: 40 Progressive Studies euphonium literature.
Rochut: Melodious Etudes, Bk. 2
Charlier: 32 Etudes de *Do not neglect the trumpet and cornet
Perfectionement solo literature. Many (such as the solos
Mueller: Technical Studies vol. 3 of Herbert L. Clarke) are adaptable for,
and sound great on, euphonium.
Baritone/Euphonium Solos
Grade 1 through 4:
See corresponding list for the
trombone
Grade 5 solos:
Barat: Andante et Allegro
Capuzzi: Andante and Rondo
Guilmant: Morceau Symphonique
Handel/Fitzgerald: Aria con
Variazione
Pryor: Annie Laurie
Clarke: Stars In a Velvety Sky
Senaille: Allegro Spiritoso
Simon: Willow Echoes
Voxman: Concert & Contest
Collection
Sparke: Song for Ina
 63
Tuba Methods
Beginning: Grade 4 – 5 solos cont.:
Beeler: Method, Bk. 1 Hartley: Sonatina
Hovey: Rubank Elementary Method Vaughan Williams: Six Studies
Bell: Foundation for Tuba Playing on English Folk Songs
Arban/Prescott: Method, 1st & 2nd Sibbing: Sonata
Year Haddad: Suite for Tuba
Intermediate: Grade 6 solos:
Bobo: Mastering the Tuba Barat: Introduction & Dance
Bordogni: 43 Bel Canto Studies Broughton: Sonata
Gower/Voxman: Rubank Advanced Bourgeois: Concerto
Method, 2 vols. Gregson: Concerto
Vasiliev: 24 Melodious Etudes Hindemith: Sonate
Pares: Scales Horovitz: Concerto
Advanced: Lebedev: Concerto In One Mvt.
Arban: Famous Method Vaughan Williams: Concerto
Blazhevich: 70 Studies White: Sonata
Jacobs: Low Register Studies Wilder: Sonata
Gallay: 30 Studies
Kuehn: 28 Advanced Studies **This is a selected list only. There are,
Kopprasch: 60 Selected Studies of course, many more methods and solos
available. You are encouraged to do
Tuba Solos your own study of the tuba literature.
Grades 1 - 3 solos:
Adams: The Holy City
Bell: Low Down Bass
Buchtel: At the Ball
Fote: Tubadour
Bach: Air and Bouree
Schumann: Jolly Farmer
Handel: Honor and Arms
Handel: Air from Judas Maccabeus
Daellenbach: Beginning Tuba Solos
Daellenbach: Easy Tuba Solos
Grades 4 – 5 solos:
Arnold: Fantasy for Tuba
Beethoven/Bell: Variations on a
Theme by Handel
Capuzzi: Andante and Rondo
Fletcher: BB flat Bass Solos
Jacob: Tuba Suite
Voxman: Concert and Contest
Collection
Perantoni: Master Solos
Hartley: Suite (unaccompanied)
 64
BASICS OF TROMBONE TECHNIQUE

Posture

When standing, stand up straight, look straight ahead of you. Breathe normally, relax
your shoulders.

When you sit and play, sit upright, as if you were standing. Stand from the waist up, sit
from the waist down, with feet flat on the floor in front of you. Your posture from the
waist up should be the same as when standing. Your goal is to stand or sit strong, proud,
yet relaxed.

Use a mirror to check your posture. Look at your face, neck, shoulders, and waist. Take
a full deep breath and let it out slowly.

Holding the Instrument

Hold the instrument’s weight entirely in the left hand and move the slide with the right
hand. The slide hand does not hold the instrument, but only moves the slide. Holding the
instrument up with the slide hand can harm the instrument, and makes it harder to move
the slide freely. Grasp the hand slide brace between the thumb and first two fingers of
the right hand.

Breathing and Blowing

Breathe full, relaxed breaths through the mouth. If you breathe through your nose you
are limiting your air capacity, and therefore your tone production. Inhale as if you were
yawning – an open throated, full breath.
Blow with the throat open and relaxed. Blow, don’t squeeze, force, or bear down. Blow
more like a sigh – fast air movement, not high pressure. Once you attack a note, let your
air go immediately – don’t hold it in. Blow a steady air stream.

Mouthpiece Buzzing

Buzz specific notes on your mouthpiece a few minutes or more each day. Listen for a
good buzz, one that is clear, not airy, and take care to keep your embouchure corners firm
and your throat relaxed as you blow.
Buzz melodies on the mouthpiece. This is good ear training and helps to build
embouchure sensitivity and breath control. Plus, it’s fun.

Buzz any note. While buzzing, slowly pull the mouthpiece away from your lips until you
feel the connection end. Your goal is to learn how much mouthpiece pressure is enough
for good sound without applying too much pressure. This will help with many things,
including tone production and high range.
 65
Tonguing (Articulation)

To achieve a clean attack on any note, use the syllable “tah”. Use “tip of the tongue”
articulation. When you say, “tip”, you can feel where the tongue should be placed for
clear, crisp tonguing. Tongue action should be quick, whether playing whole notes or
16th notes – be careful not to “hammer” the attack.

For legato, be sure to keep the tongue action quick and light – somewhere between “dah”
and “lah” syllable, and generally with a placement higher in the mouth.

Keep your air stream constantly flowing while articulating. Drop the tongue to the
bottom of the mouth immediately after the articulation. Feel your steady air stream cause
the tip of the tongue to fall out of the way.

Slide Technique

Hold the slide properly. Grasp the slide brace firmly, but not too tightly, between the
thumb and first two fingers of your right hand. Make sure to use wrist motion and arm
motion when moving the slide – this will help make the movement quick and smooth.

Moving the slide while playing should be a quick, precise action. Always move the slide
in rhythm. Do not “slide through” the positions – STOP the slide at each note you wish
to play. Trace a straight line when moving the slide – don’t allow the bell to move with
the slide.

Coordinate the tongue perfectly with the slide movement. In other words, when you
articulate a note, your slide must be in exactly the right position at exactly the same time.

Recommended Method Books

Arban: Complete Method for the Trombone/Baritone

Kopprasch: 60 Selected Studies for Trombone, Book 1
Fink: Studies In Legato; or Rochut: Melodious Etudes, Book 1 (more advanced)
Remington: Warm-Up Exercises
Kleinhammer: The Art of Trombone Playing

Study privately with a good teacher!

John S. Mindeman
Associate Professor of Trombone/Euphonium
Western Illinois University
JS-Mindeman@wiu.edu

**Thanks to George Krem, Edward Kleinhammer, Arnold Jacobs, and Max Perkoff for
ideas and inspiration.
 66
BASICS OF BARITONE/EUPHONIUM TECHNIQUE

Posture

When standing, stand up straight, look straight ahead of you. Breathe normally, relax
your shoulders.

When you sit and play, sit upright, as if you were standing. Stand from the waist up; sit
from the waist down, with feet flat on the floor in front of you. Your posture from the
waist up should be the same as when standing. Your goal is to stand or sit strong, proud,
yet relaxed.

Use a mirror to check your posture. Look at your face, neck, shoulders, and waist. Take
a full deep breath and let it out slowly.

Holding the Instrument

Hold the instrument’s weight primarily with the left arm and hand. Holding too much of
the weight of the instrument with the right hand (the fingering hand) will make fingering
much more difficult. Fingers should be curved to meet the valve caps.

Bring the instrument up to your face – do not lean your face down to reach the
mouthpiece. Remember to sit tall in your chair.

As you play, feel your elbows “floating”. This helps to eliminate tension in your arms.

Breathing and Blowing

Breathe full, relaxed breaths through the mouth. If you breathe through your nose you
are limiting your air capacity, and therefore your tone production. Inhale as if you were
yawning – an open throated, full breath.

Blow with the throat open and relaxed. Blow, don’t squeeze, force, or bear down. Blow
more like a sigh – fast air movement, not high pressure. Once you attack a note, let your
air go immediately – don’t hold it in. Blow a steady air stream.

Mouthpiece Buzzing

Buzz specific notes on your mouthpiece a few minutes or more each day. Listen for a
good buzz, one that is clear, not airy, and take care to keep your embouchure corners firm
and your throat relaxed as you blow.

Buzz melodies on the mouthpiece. This is good ear training and helps to build
embouchure sensitivity and breath control. Plus, it’s fun.
 67
Buzz any note. While buzzing, slowly pull the mouthpiece away from your lips until you
feel the connection end. Your goal is to learn how much mouthpiece pressure is enough
for good sound without applying too much pressure. This will help with many things,
including tone production and high range.

Tonguing

Use “tip of the tongue” articulation. When you say, “tip”, you can feel where the tongue
should be placed for clear, crisp tonguing.

Tongue action should be quick, whether playing whole notes or 16th notes – be careful
not to “hammer” the attack.

For legato, be sure to keep the tongue action quick and light – somewhere between “dah”
and “lah”, and generally with a placement higher in the mouth.

Keep your air stream constantly flowing while articulating. Drop the tongue to the
bottom of the mouth immediately after the articulation. Feel your steady air stream cause
the tip of the tongue to fall out of the way.

Finger Technique

Remember to curve the fingers to meet the valve caps, and take care that your right hand
does not become too tight or tense. Remember that the weight of the horn must be borne
by the left arm. Don’t try to hold the horn up with the fingering hand.

Fingering should be a quick, precise action. Always finger in rhythm. The “up stroke”
of the fingering should be as quick, precise, and rhythmic as the “down stroke”.
Coordinate the tongue perfectly with the fingerings.

Recommended Method Books

Arban: Complete Method for the Trombone/Baritone

Clarke/Gordon: Technical Studies for Cornet or Baritone (treble or bass clef)
Fink: Studies In Legato; or Rochut: Melodious Etudes, Book 1 (more advanced)
Remington: Warm-Up Exercises

Study privately with a good teacher!

John S. Mindeman
Assistant Professor of Trombone/Euphonium
Western Illinois University
JS-Mindeman@wiu.edu

**Thanks to George Krem, Edward Kleinhammer, Arnold Jacobs, and Max Perkoff for
ideas and inspiration.
 Breathing
Disclaimer: The ideas presented in this setting are gathered from many varied sources.
The validity of these exercises is arguable within the context of various instruments and
schools of thought. Feel free to take what you find valuable, and discard what you do
not.

Relaxation
1. The Big Floppy - (Fritz Kaenzig) - Allow arms to hang at sides. Begin rotating left
and right at hips, allowing arms to flop around. Breathe in for 4 counts and out for 4
counts. With this relaxed motion of arms, shoulders will generally not tense. With the
rotation at the waist, the stomach area will generally remain relaxed.

2. Relax and Release - (Tim Olt) - Take in a full breath of air. Note what your body
wishes to do at this point. Release the air. As our body wants to get rid of the air, why
do we need to add force? If we release from the lower body first, and then collapse the
chest, we expend most of our air without the addition of force. The only energy is used
on the inhalation.

Where the Air Goes

1. Cross Your Heart - (Gail Williams) - Imagine an “X” with the lines running from each
shoulder to the opposite hip. First, breathe down into the bottom triangle of the “X”.
Next, breathe into the upper triangle. Now, attempt to breathe into the right side
triangle. Then the left side triangle. This will increase consciousness of where the air is
flowing. The divide the body into top and bottom. Fill bottom first, then top, and reverse
to release air. Then fill top first, then bottom, and reverse to release. This will show
proper and improper breath feelings.

2. Arms Up - (Sam Pilafian) - With a metronome (or at least a steady count), breathe in
while raising arms for 4 beats, hold up for 4 beats, and then release air and drop arms
over 4 beats. Increase to 5, 6, 7, and 8 beats. Be careful not to employ the Valsalva
Maneuver to hold the air. This will encourage inflation and retention from the intercostal
muscles.
Turning Air Around
1. Darts - (Steven Mead) - As you inhale, follow your air to your mouth with your hand.
Visualize and act out throwing a “air dart” as you expend your air. This helps to
visualize the motion of the air column leaving the mouth.

2. Hope Breaths - (Tim Olt) - When inhaling and exhaling, form the word “hope”. The
“ho” is the inhale, forming a round oral cavity and directing the air down into the body,
and the “pe” is the attack upon the release of the air. This will help to connect the
motion of the air into the attack of the note. Especially useful with younger students.

3. One - (Arnold Jacobs) - Snapping fingers four times, inhale while raising arms. Clap
hands together at top and allow arms to drop while holding air. Do NOT close throat or
lips to hold air, but instead keep intercostal muscles expanded. Say “One”, and then
release the air. If done properly, the word “one” should be in a natural, unstressed
voice. If valsalva maneuver is employed, the “one” will sound strained.

Aperture/Oral Cavity
1. The Finger - (Steven Mead) - While inhaling, place a finger vertically across open
mouth. A dark “whoosh” should be heard. If the sound is high and “wispy”, the aperture
is too small and/or the oral cavity is closed.

2. Hee-Hoe - (Sam Pilafian) - Begin panting with mouth forming the vowel “E”. As you
continue deep panting, slowly change vowel to “O”. This will help form the correct
aperture and oral cavity, and direct the air lower into the body. CAUTION: Have a chair
behind you or do this exercise sitting down. It is common to become dizzy. Stop and
rest.

Getting Air Quickly/Efficiently

1. In 4, Out 4 - (Arnold Jacobs) - With a metronome or steady tempo, begin breathing
in for 4 beats, out for 4 beats. After several repetitions, switch to in for 3 beats, out for
4. Once you reach in for 1 and out for 4, then switch to breathing in on the last half of
beat 4 (as an eighth pick-up). Strive to breath fully on each breath.
2. Paper Trick - (Sam Green) - Hold a sheet of paper against a plate glass window or
mirror. Take a breath, and then exhale on the paper, visualizing a spot the size of a
dime. Begin to exhale, and then immediately inhale, and then exhale, etc. Once you
have started moving full air at fast turnaround speed, release paper and attempt to hold
in place with breath, breathing in rapidly before paper drops. You must take a full breath
every time. Tendency is to take diminishing breaths.

Pacing and Air Usage

1. Breathing in Thirds - (Arnold Jacobs) - Using your arm as a visualization, breath in
for one third, hold, and then release. Then breathe in for one third, hold, breathe in for
second third, hold, release one third, hold, release last third. Repeat this for all three
segments. This will help to establish consciousness of amount of air and usage.

2. In 4, Out 8 - (Sam Pilafian) - With a metronome or steady tempo, breath in for 4

beats, out for 4 beats, using arm for visualization. After several repetitions, change to in
for 4 out for 8. Then in for 8 out for 8. In for 8, out for 16, etc. Strive for in 32, out 32.
Should be at comfortable walking tempo, and may be done while walking.

Problems/ Mistakes
1. Overbreathing - The body has natural comfortable limits to breathing. We can
exceed these, but only with the addition of stress and tension. Strive to expand the
comfort zone, but also stay within the zone as much as possible. Remember: If the
feeling/effort resembles childbirth or defecation, something is wrong.

2. Valsalva Maneuver - When holding air into our body, we can do this by closing the
throat in a motion similar to saying “hut”. When the “t” is reached, the air is trapped, and
may then only be release with an explosive initiation. It is ideal to hold the throat in
more of a yawning position, very open and relaxed.

3. Shoulders - As young students, we are often told that shoulders should not move.
However, in the complete expansion of the body, the shoulders will naturally raise.
What we need to avoid is lifting and/or tensing of the shoulders to raise the chest. This
creates unnecessary tension within the chest, shoulders, and throat.
Toys and Gadgets
1. Breathing Bag - Either in 5 liter or 6 liter size. This device is used to allow various
exercises calling for deep breathing without the danger of hyperventilation. Can be
purchase through WindSong Press, or a cheap version can be made at home with a
cardboard tube (from paper towel or toilet paper), a bread bag, and some duct tape.

2. Breathing Tube - A PVC tube, may vary in length from 1 to 6 inches and diameter
from 1/2 to 1 1/2 inches from source to source. These also may be purchased from
WindSong Press, or purchased in the plumbing section of Lowes or Home Depot. This
is used to give sensation of proper open oral cavity and throat on inhalation.

3. Breath Builder - This is used to feel the sensation of inhalation and exhalation. This
is a plastic tube around 6 inches long, with a closed end, and a pingpong ball inside.
the opposite end has 3 holes of varying sizes to allow different resistances, and a tube
for breathing through. Also from Windsong Press.

4. Insipiron - An incentive inspirometer, this was designed to show how much air can
be inhaled. However, by turning upside down, one can gauge air flow on exhalation.
Can also be used to judge speed and flow of airstream. Also from WindSong Press.

5. Voldyne - Designed to gauge air capacity up to 5 liters. Has two chambers, one for
capacity, and other for pressure. Also from WindSong Press.

Valuable Breathing Resources

Books
Arnold Jacobs: Song and Wind by Brian Frederiksen. Available through WindSong
Press

Recordings
Portrait of an Artist: Arnold Jacobs on Summit Records.
Shared Reflections: The Legacy of Philip Farkas on Summit Records

Websites
Arnold Jacobs
! http://abel.hive.no/oj/musikk/trompet/ntf/jacobs.html
! http://www.missouri.edu/%7Ecceric/mclass/index.html
!
WindSong Press
! http://www.WindSongPress.com/
 Trombone Tips from Jim Beckel

10 Ways to Improve the Sound of Your Trombone Section

Often band directors have mentioned to me that they would like to have their trombone
section play with a fuller sound. There, of course, can be many reasons for this problem.

1. Equipment
My first recommendation would be one regarding the equipment that your
students are using. Many trombone players begin their study of the trombone in
grade school on a very small-bore instrument with a matching small mouthpiece,
usually a Bach 12 C or equivalent mouthpiece. While this equipment is not
necessarily a bad way to begin the study of the trombone (such equipment takes
less air to produce a sound), as the student gets bigger and hopefully learns to
breath more efficiently, a larger bore trombone and mouthpiece can aid in the
production of a larger sound. I realize that many students do not have the money
to buy a new instrument, but simply going to a larger mouthpiece can greatly
improve their sound even on a small bore horn. By the time most students are in
high school, a 6 ½ AL Bach mouthpiece or similar size mouthpiece would make it
much easier for these students to play the full range of the instrument and have a
much fuller sound. Such a mouthpiece can be purchased for $40 or less. If the
student is looking to buy a new instrument, they should first get the advice of their
private teacher. If they do not study privately, encourage them to do so.
However, a Bach 42B or Conn 88H are both good choices for a large symphonic
bore trombone. The Edwards line of trombones are also a good choice, although
an Edwards is a custom made trombone, and the cost a custom instrument new is
over $1,000 more than a good assembly-line Bach 42B or Conn 88H.

2. Basic Tongue Position

Checking your student’s airflow while playing is the second best way to improve
the sound of your trombone section. The most critical part of this is the position
of the student’s tongue while blowing. Many high school students play with a
tongue position that is too high in their mouth. Typically, I will hear students
playing with a “Tee “ syllable. This is too high of a position for the tongue and
produces a more nasal sound. Have your students say “Tee” and then with that
tongue position have them blow air onto their hand. Then have them say “Toe”
and repeat the blowing process with that tongue position onto their hand. They
will not believe the difference in the amount of airflow! Obviously, the airflow is
much greater with the lower tongue position. Next, have your students play a
middle register B flat with the “Toe“ syllable. There should be an instant
improvement in their sound. Many students will resort to the higher tongue
position to aid in the production of the higher register notes. The higher tongue
position forces the air to move faster. This faster air should come from better air
support from proper breathing instead of choking off the air in their mouth with
the partial blockage of the tongue.

Page 1
3. Proper Air Support
Make sure that your trombone students are breathing correctly. Many students
primarily breathe by raising the chest or rib cage. While this is part of the correct
breathing process, the diaphragm should play a much bigger role in supported
breathing than simple chest breathing. The breath should start with the extension
of the stomach, which engages the involuntary muscle known as our diaphragm.
Pulling this muscle down with the extension of our stomach draws air into the
lungs. Ask your students to take some deep breaths with one hand on their
stomach and the other hand on their chest. The hand on their stomach should
move first. This will help them better understand the correct process. If you can’t
breath properly without the trombone in your hand, you will have no chance of
breathing correctly while you are busy playing. Also, the simple suggestion of
remembering to breathe deeply can make a big difference in your trombone
section’s sound. Most students don’t play with enough air support because they
don’t take a big enough breath to begin a phrase.

4. Mouthpiece Buzzing
Asking your trombone students to buzz a musical phrase on their mouthpiece will
often lead to an instant improvement in the sound of your section. The old saying
“if you can’t sing it, you can’t play it” is really true. For our purposes we will
substitute the word “buzz” for “sing.” The problem is that too many students do
not accurately buzz the pitches that they are playing. The physical mechanics of
the trombone will help create a sound that is close to the correct pitch, but the
sound is often not totally centered. Such a sound is lacking many of the needed
overtones in the sound; hence the tone is deadened or dulled. Mouthpiece buzzing
is like an X-ray machine, you hear exactly what your are really doing. Accurately
buzzing the notes on the mouthpiece will immediately translate into a purer, fuller
sound on the instrument.

5. Embouchure
Make sure that your trombone students aren’t pinching off the sound with their
lips. When having your trombone section buzz on their mouthpiece make sure
that they are getting a good flow of air through the mouthpiece. They can check
this by putting their hand in front of the mouthpiece as they buzz. Part of the
problem often comes from bad habits that were formed while the student was
beginning the study of the trombone. It is very typical for beginning students to
produce a sound on the trombone by keeping the lips pressed together and forcing
an opening in the lips when they blow. Such an embouchure technique requires
less air. When students are first learning the trombone they have not yet learned
the proper way to support the sound with their air and revert to this technique to
conserve air. While they produce a sound, it is a very pinched tone. The aperture,
which is the hole created between the upper and lower lip in an embouchure,
should be open even when the player is not blowing. In other words, the blowing
of an air stream should not form this aperture; rather there is a preformed opening
in a good embouchure. This is similar to a whistling embouchure, only with a lot
less pucker; and the lips are turned slightly more inward toward the teeth. The

Page 2
 point here is to encourage your students to buzz the mouthpiece with the fullest
sound possible. A full sounding buzz will become a big sound on the trombone.

6. Good Posture and Throat Opening

Make sure that your students are not partially blocking their air with their vocal
chords. Good posture will help this. Don’t let your students play with their neck
being too far forward. You bring the trombone to you. You do not bring your
head to the trombone. Allowing your head to lean into the trombone can put a
strain on the vocal chords causing a partial closing of the larynx, which will
diminish airflow. Ask your students to blow air as if they were fogging a glass
onto their hand. The syllables of “hoe” will often create this effect. This should
produce a breath that is hot and moist because the vocal chords are totally open
and this creates a slower air column that will naturally pick up some of the body’s
heat and moisture as the air is expelled. This type of air will produce a fuller
sound in a similar way that the lower tongue position affects the sound. (See
Suggestion 2)

7. Mouthpiece Pressure
Make sure your students aren’t using too much mouthpiece pressure. This is
usually more of a problem during marching band season. While more mouthpiece
pressure will help keep the mouthpiece in place while marching, it really cuts
down on the amount of sound that will be produced. As the mouthpiece presses
harder onto the lips, the lips will tense and pucker or thicken to avoid damage to
the muscle group. This is a natural reflex response. As this muscle group tenses,
the embouchure becomes stiffer and less likely to vibrate; hence, the sound thins
and diminishes. When you warm up your band, encourage your trombone
students to lighten up on the mouthpiece pressure. Relaxing the left handgrip of
the instrument can help minimize this problem.

8. Dynamic Range and Sound Production

Don’t let your trombone section over blow their sound. There is a point of
diminishing returns. When most players play fortissimo with their best sound and
compare the actual decibel reading of that sound to their loudest sound possible,
there is usually little if any change in the actual amount of sound being produced.
The sound simply changes quality. As the student over blows their instrument
they start cutting out the lower overtones in their sound and the tone simply gets
thinner and brighter. The pitch usually also goes sharp. They should be
encouraged to increase the dynamic range of their playing, but this is done with
the daily practice of long tones, which includes crescendos and diminuendos. As
they practice this, they should strive for louder and softer sounds but never at the
expense of a good sound. This is a good place to remember the concept of a
“Toe” syllable instead of “Tee.” (See Suggestion 2) Encourage your trombone
section to play louder by thinking of a great flow of air instead of a forced, fast air
stream.

Page 3
 9. Intonation
Better intonation will make your trombone section sound fuller and louder. Three
trombone players playing a unison passage in tune will be louder than five
trombone players playing out of tune. This is basic acoustics. When pitches are
not in tune, they start to cancel each other out. While this rule obviously applies
to all sections of your band, there are a few quick fixes for your trombone section.
As already mentioned, the practice of mouthpiece buzzing should lead to better
intonation in the trombone section as your students listen more carefully. Making
your students aware of the natural tuning tendencies of their instrument should
also greatly improve their intonation. The most out of tune harmonic series on the
trombone, in the range that your students will be playing, is the 7th overtone on
the instrument. This is the high A flat above the bass clef on the trombone in first
position. This harmonic is very flat. In fact, it is so flat that you never play the
high A flat in first position. You play that note in 3rd position. The two notes that
are played on that harmonic series are the high G and F sharp. These notes need
to be played with a shorter slide position. The high G is played in a short 2nd
position and the high F sharp is played in a short 3rd position. The F harmonic
series is the second most out of tune harmonic series on the trombone. This
applies to both octaves, the F in the staff and the F above the staff. These two
harmonics are sharp on every trombone that I have ever seen. Simply making this
fact known to your trombone students should help them be more aware of their
tendency to be sharp on notes in that harmonic series. This is not as complicated
as it sounds. This is a fingertip adjustment that they should get in the habit of
making. All notes of that harmonic series are affected; F down to low B natural
in 7th position should be slightly longer. The best place to learn these adjustments
are in the warm ups that your trombone students should play every day. Getting
in the habit of making these compensations in warm-up flexibility exercises will
eventually make these fingertip adjustments second nature in their playing.

10. Private Lessons

A few of these suggestions are best implemented in private lessons, so the 10th
best way to improve the sound of your trombone section is to encourage them to
study privately with a good teacher.

I hope that a few of these ideas help your trombone section sound better.

Good luck with your students!

Jim Beckel,
Principal Trombone, Indianapolis Symphony and
Adjunct Professor of Trombone at DePauw University.

For more information about Jim Beckel, check my website at www.jimbeckelmusic.com

or my profile on www.depauw.edu .

Page 4
 Daily Routines for Trombone by Emory Remington
Transcribed by Jimmy Clark
Long Tone

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$& & & & $&

" $& & & $)
& etc. to
Remington Warmup
2
& & & & & & & & & & & $& & & & & &
Flexibility

" & $& & & & & & & $)

5. *

" + & (& & & & & & & & & & & & (& & & & &
etc. to & & & & & & &)

& & & & & &

Trills

6.
" $& & & & & & & etc. to &(& & & & & & & & & & & &

& & & & & & & & &

" $& & & & & & & & & & etc. to &(& & & & & & & & & & & & & & & & & &
3 3 3 3 3 3 3 3 3 3 3 3

& & & & & & & & & & & & & & & & & & & & & &
" $&

" etc. to & (& & & & & & & & & & & & & & & & & & & & & &

&&
6 Note Slurs
& & $& & &
" && ( & & (& & & $& $& &
7.
& &) etc. to $& $)

$& &
& & & & & & & & & & & $& & & & & & & & && &,
Flexibility
$
" !! & & & & & & &
8. * $&

& ,
" + & (& & & & & & & & & & & & (& & & & & & & & &
& & & & & & & &
&
etc. to
 Remington Warmup
3
Arpeggios
& & &
" &(& & & & & & & & & & & & $& & & & & & & & & &
9. etc. to

$& & & &

" &( & & & && & & & && && & && $& & & &&& & & &&& & & &&
& & & etc. to
3 3 3 3 3 3 3 3 3 3 3 3

, ,
Breath Control in Legato - to be played in ANY key
" '! ) ) ) ) ) ) ) ) ) ) )
10.

, ) ,
" $) ) ) ) ) ) ) $) $) ) ) )

) ) $) ) ) ) $) ) ) , )
" ) ) )

$) ) ) ) ) ) $) ,
" ) ) ) ) ) )

$) ) ) ) ) ) ) ) $) ,
" ) ) ) )

Extending the Interval in Legato - to be played in ANY key

"(((( ) ) ) ) ) ) ) ) )
11.

) ) ) )
" (((( ) ) ) ) ) ) ) )

)! $)! $& &

Security in the High Register - to be played both attacked
& & & & & $) !
and slurred
" !- & (& & (& )! $&
12. etc. to
Remington Warmup
4
Flexibility - to be played slurred and attacked

13.
" !! &$& & & & & & & & & & & & etc. to %& & & & & & & & & & & & &
Security in the High Register - to be played both attacked
$,& & $& $& &
,
&&& && & & & $) !
and slurred

" - & (& & (& )! $&

14. ! etc. to

,
& & (& (& & & & & & & &
" & (& & (& )! etc. to

$,
& & & & & & & & & $&
$) !
& & & &
" $&

Legato Tonguing - both attacked and slurred

" ! $& & & & & & & & & & & & &
15. ! etc. to
&&&&&&&&&&&&&

Legato - to be played in ANY key

"(((( && && && &&& && &&
& & && & && & & & && & && && &&& && && &&
16. etc. to

Diatonic Scales - to be played in ALL keys

"(((( & &&&&&& &&&&&&&&
17.
& &&&& &&& & &&&& &&

" (((( & & & &&&& & & & &&&&&& & & & &&&&&&&&
& &&& &&&& & && &&& & & &&

& & & & & & & & & &&& & & & & && &
(
" (( ( & & & & & & &&&& & && & & & && & & & & &