PADRONIZAÇÃO PARA ENSINO

METAIS GRAVES

TROMBONE , TROMBONITO
BARITONO , EUPHONIUM (3 PISTOS)

REGIONAL ITAPEVA
 16

RESPIRAÇÃO
Antes de começar a tentar produzir qualquer tipo de som em qualquer instrumento de sopro, é
de fundamental importância que se aprenda a respirar de maneira correta de forma a aplicar essa
respiração ao tocar. Cabe ao instrutor ser rigoroso em ensinar este tópico a seus alunos. A prática da
respiração deve ser feita diariamente antes de abrir o estojo do instrumento e essa prática será para a
vida toda.
O processo respiratório é realizado de forma simples e natural com apenas dois atos: inspirar
(“puxar” o ar para dentro dos pulmões) e expirar ou exalar (soltar o ar que entrou nos pulmões). Mas,
até que o ar chegue aos pulmões, é necessário que percorra um longo caminho. Todo esse processo do
ar acontece através de um sistema chamado Sistema Respiratório.
O sistema respiratório é formado por dois pulmões, as fossas nasais, a boca, a faringe, a
laringe, a traqueia, os brônquios, os bronquíolos e os alvéolos.

Veja ilustração do sistema respiratório (figura 1).

18
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Todo ser humano respira desde o primeiro até o último segundo de vida sem que ninguém lhe
ensine. Respirar é um processo natural e é uma das funções mais importantes do corpo. Porém,
quando se trata de tocar um instrumento de sopro ou de cantar, a respiração que utilizamos em nosso
cotidiano não é suficiente para a realização dessas atividades.
É necessário que se estude como respirar corretamente de maneira a aplicar estes estudos na
realização de tais atividades. O músico que toca instrumento de sopro ou canta precisa ter em mente
que, além de tocar ou cantar, o corpo necessita do ar para manter seu bom funcionamento.
O primeiro treinamento respiratório que se deve fazer : como ter uma respiração completa.
Para a maioria das pessoas acontece o seguinte: quando se pede para alguém não treinado fazer uma
respiração profunda, nota-se que esse alguém estufa o tórax de maneira à quase “explodir”.
Percebe-se que essa não foi uma respiração completa porque foi utilizada apenas uma parte
dos pulmões.
Para que a respiração seja completa, é necessário que se imagine que está “enchendo a barriga
de ar” e depois o “tórax”. (Foi dito para imaginar porque é impossível encher a barriga ou o tórax de
ar. O ar só vai para um local: os pulmões).
Entre os diversos músculos que envolvem o ato de respirar, existe um que é o mais importante
entre eles. Esse músculo é o diafragma. O diafragma é classicamente descrito como um músculo
delgado e achatado, que separa a cavidade torácica da cavidade abdominal.

Veja (figura 2) na próxima página:

19
 18

Quando inspiramos de maneira correta, o diafragma desce, aumentando a cavidade do peito e

diminuindo a pressão interna do ar, que por consequência, entra nos pulmões.
Pode-se observar também que os órgãos do corpo logo abaixo do diafragma ficam com menor
espaço, o que causa uma expansão do diâmetro da cintura. A expansão da cintura é um resultado da
contração do diafragma no momento da inspiração.
A respiração está para os instrumentos de sopro assim como o arco está para o violino e os
demais instrumentos da família das cordas. Um dos primeiros ensinamentos que um aluno de violino
recebe é como se deve trabalhar o arco, porque, para produzir som o violinista dependerá totalmente
dos exercícios realizados com o arco.
Do mesmo modo, os instrumentistas de sopro dependerão exclusivamente do ar para conseguir
produzir qualquer tipo de som.
Levando tudo isso para a prática, é o momento de vivenciar alguns exercícios de respiração
para serem aplicados ao tocar.

20
 19

EXERCÍCIOS

1- Com o dedo indicador encostado nos lábios veja abaixo (figura 3), faça inspirações e
expirações lentas e profundas. Respire sempre pela boca mantendo os cantos relaxados. Pronuncie
WÔW ao inspirar e THÔW ao expirar.

2-Encoste o dedo indicador nos lábios (como na figura acima) mantendo os cantos da boca
relaxados. Agora, pela boca, faça uma inspiração de 5 tempos seguida de uma expiração de 5 tempos.
Ao inspirar, pronuncie a palavra WÔW.
Ao expirar, pronuncie a palavra THÔW (veja o exercício na figura abaixo).

21
 20

3- Usando o mesmo compasso do exercício anterior, o exercício a seguir é realizado com

movimento dos braços para cima. Inspire pronunciando WÔW, expire pronunciando THÔW. Durante
a inspiração, vá elevando os braços de maneira que no 5º tempo estejam acima da cabeça. Expire os 5
tempos com os braços nesta posição. Agora retorne e repita o processo por 6 vezes. Veja abaixo
(figura 4).

4- Os próximos 4 exercícios são realizados com o mesmo princípio do exercício 1 (com o dedo
indicador encostado nos lábios). A proposta é que, na pausa, se consiga inspirar toda a capacidade de
ar dos pulmões. Na figura da nota solte o ar com controle de maneira que se expire até a última figura.
Ajuste o metrônomo com a semínima igual a 55. Veja os exercícios abaixo.

22
21

23
 DIGITAÇÃO TROMBONE , BOMBARDINO E TUBACc (DÓ)3 PISTOS

:“‘; ?
F© G G© A A© B C C© D

w #w w w #w w
#w w #w
·‚ „ ·„ ‚„ ·‚ · ‚ ‡ · ‚„ ·„
w #w w
D© F F© G G© A A© B
w #w
10 E
? #w w w #w
‚„ ·‚ · ‚ ‡ ‚„ ·‚ · ‚
„
19
C
w
C©
#w w
D
#w
D©
w
E
w
F
#F©w w
G #G©w
?
‡ ·‚ · ‚ ‡ · ‚ ‡ ‚„
28 w #w w w w w bw w bw
?
·‚ · ‚ ‡ ‡ ‚ · ·‚ ‚„
w bw nw w bw w bw w w
37
?
‡ ‚ · ‡ ‚ · ·‚ ‡ ‚

? bw w bw w bw
46
w w bw
· ·‚ ‚„ ‡ ‚ · ·‚ ‚„
54
? w bw w w bw w bw w bw
·„ ·‚ „ ‡ ‚ · ·‚ ‚„ ·„ ·‚ „
63
? ∑ ∑ ∑ ∑ ∑
CCB
 DIGITAÇÃO TROMBONE , BOMBARDINO E TUBA EM Bb (SIb) 3 PISTOS
3

:“‘; ?
68 E F F© G G© A A© B C

w #w w #w w w
w w #w
·‚ „ ·„ ‚„ ·‚ · ‚ ‡ · ‚„ ·„
„
w
C© D D© E F F© G G© A
w #w
77
? #w w #w w w #w
‚„ ·‚ · ‚ ‡ ‚„ ·‚ · ‚
„ „
A© B
w w
C
#w
C©
w
D
#D©w w
E w
F #F©w
? #w
86

‡ ·‚ · ‚ ‡ · ‚ ‡ ‚„
„
95 w #w w #w bw w bw w bw
?
·‚ · ‚ ‡ ‡ ‚ · ·‚ ‚„
„ „
104 w w bw w bw w w bw w
?
‡ ‚ · ‡ ‚ · ·‚ ‡ ‚
„

? bw w bw
113
w w bw w bw w
· ·‚ ‚„ ‡ ‚ · ·‚ ‚„ ·„
„ „
122
?
w bw w bw w bw w
·‚ „ ‡ ‚ ·
w
·‚ ‚„ ·„ ·‚„
„
130
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
CCB
 MÉTODOS PARA ENSINO
METAIS GRAVES (3PISTOS)
TROMBONE , TROMBONITO
BARITONO , EUPHONIUM (3 PISTOS)
ESTUDAR ATÉ O FINAL DA PAGINA 50
RUBANK EDUCATIONAl. LIBRARY

RUBANK

TROMBONE OR
BARITONE
NEWELL H. LONG

MHAL-LEONARD'
 Chart of Slide Trombone Positions

and Baritone Fingerings

The air within a trombone or baritone (or any other instrument with a cup mouthpiece) may be made
to vibrate as a whole or in fractions of its length by varying the tension of the player's lips. The vari­
ous pitches thus produced in each of the seven slide positions (and valve combinations) are indicated in
the following table:

(Fingering for
baritone in Fractions by which Air in Instrument Vibrates
parentheses)
Whole ; Halves l Thirds lFourths ; Fifths ; Sixths lSeventhslEightlrs jNinths h'enths

n. -e­
:.n.

C
I
:D
I
-e-
- b~l
.l#u -!
-'

I f
B c# D~

<>
F C F A C 1Eb D#i F
-e­
E .Q. ~
(, i#n ~oi 0

0
-e­
E B E G# A~ B D E
-0-.

NOTE; All tones produced by the air vibrating in sevenths are flat and must be corrected by making
the position for that tone about an inch shorter. This, of course, is impossible in 1st position on trombone
and in all fingerings on baritone. The baritone player must chose a different fingering for the required
tone or force it into tune with his lips. The latter is seldom satisfactory.

Copyright,MCMXXXIV, by Rubank, Inc.•Chicago, Ill. Copyright Renewed

International Copyright Secured
2
 LESSON 1
Whole Notes
~, ~
Count 1 2 34 1 2 3 4

1
F
~)= C e I
rest

1st position trombone

- e
- e
- e
­ I
(0) open baritone

bJ3.. f1a
z".
2
1st
(0)

6 ~
kn
- ~
- G
n

4th position
- e
­ I
(~) 1st and 2nd vahes

8
3rd position
(t)

10

11
Key
Signature

:n: .0. e :n:

12 2: b1i, c :n: e e :n:
I
Copyright, MCMXXXIV, by Rubank, Inc., Chicago, III Copyright Renewed
Rubank Elem. Meth. for 'll'om. 01' Bill'.
47 International Copyright Secured
:1
LESSON 2

Whole Notes and Half Notes

4 ;J:~bb c
F IT
I,
!r IT
n
Ir r I 0
40

I)
II

5 !J:~hk C Ii
- D
0

4th position
- 0
II

I II

I - il

Ir r Ir I I r IT I r r I
0 (9
~:~~ b e
6 C2
I r I II
I II

!!

r r I r IT I r r I r r Ir r I

C2
n
7 9:~lzb e II IT I 1\
;

n I 0 It t IF r o 1\ :

Russian Air

 LESSON 3

Quarter Notes
~
Count 1 2 3 4 1 2 3 4

1 9: ~\ err r riD I [ [ r rIo 1r EErIo I

2 9: ~bb c r FFr I r r I r L r r I r r ![ r[ r I Ii II
~

Count 1 2 3 4

3 2: ~"b c r Fr I[rt IFrEE .0 !rrEEI n =I

C
-e- 0 0

~
-e- 0
4 2: ~b& (j 0
I Ii II
3rd position
(1)

5 'h\ err r Ir r [j Ir r r r I <> Ir rr I .. I

6 -): ~bb err r r I Ii r r FIn
! F ! F• E E E I 0
I

7 fhkb C Er [j Ir ~ r IErr IrE ~ IrE F- Ir r F- I

89:~kb C F- r Ire in IF r IU F IF r IE ~r 1mErr EI~
9 9: ~bb c I) 0 I r [I Ii-e­
ILrlrrrrlnl1
Lightly Row

10 2: ~b& err r Ir rr IFr r r IFrr IFF r Ir[r IF' r FI• I I) I

2: ~bb rr r r Ir FIT IEFFF IF[IT I rrr Irr r Ir r I· F I Ii I

Folk Melody

11 9: ~kb c mr Er Ir r Irrr ElF r cr ImEm r Ir F: IrFrEI .. I

Rubank Elem. Meth. for ~ lorn. or Bar. 47 5
LESSON 4

Extending the Range - Sixth Position

D
2. o o o
I I 0
II
1st posi tion
~
(0)
1 2 3 4

3 2: ~I)b (' 0

1st position
I - I 0

6th position
- I 0

1st
I 6th
e
I 0

1st
J
0

6th
II
C B flat
4 2: ~"& C E r 0
I rr II

6th position
(§)
I 0

1st
I 0

6th
I I)
I 0
lst position
(0)
]

Count 3 4 ,
Take a breath only where there is a ,- comma or breathing mark.
, , ,
;1: ~\ ~ ~ ~ r IFr r r Irr r r IIT rr I~ rr r IFr J FIrr r ~ I r . I
10 ~hlili II F: ~ L Ij J F I .. I .. 'I F: rr Ir t r I t j II I
Rubank Elem. Meth. for Trom. or Ba.r.
6
 LESSON 5
Dotted Half Notes - % Measure
Count 1 2 3
~
1 2 3 , ,

, !h&& r I r. [" I J . ~.j 'I r' e'

9 L" I
r

.,
2' 3
.~ b
r r I;~ . ,I F: [I E
b =. ,IE [I r . j r F·L r' 1 II

4 ~h&b 9 g r Ir F: Ir J r IF' 1rEI r f I[r ElF' I

Hursley ,

o 9: ~I'b 2 r r r Ir r r f r r r IF' ,IEFFIr EF Ire ~ I r' I

~}bllb. Er E IF [IF rl IT" j[rrlE Elrrr I r' I

Merry Widow Waltz

>] 2: ~\ ~ J r I r r I j r Ir 2 '
Fir I P' 1 rC7F'r' 'I tie LEHAR

playas one note

SJ:;\ j m ~
~.
E r57T?r' 'I
-):, I, r ~
I~ ~
I ~.
I F' II
'f?
~ I~ I 57T? "
F~F'

9:~\'h r r] r r I r r I r 'J IF' rc I r~J5D'F' Ii

Lovely Evening
®
7 fIJi~I, aCD
~ rP FIF r r IF FIFEr IF r IP-::f---­
~OTE: Lovely Evening may be played as a round by two or three trombones or baritones.

Elem. Meth. for Trom. or har. 47 7

LESSON 6 Key of B-flat - Two flats

A (natural), -e-
,0 I
, ..Q..
'If
o I o 1+= IT I
0

II
2nd position
(2)

4 tH'1l t F r FIr: f f 'I f r r r: If r: r 'I r E r ~

~ ,. ,
=:rJ> r r r r I r F r; IJ r r IrJ iT Ir r r IrJ r rg

5 #j.hB ~ ~ f'- r I r F r+ tr= r r t I f r F IFEr f I

At Pierrot's Door

R ub&.,J;: Elem, :\Ieth, fer Trone B" :-_ 8

 LESSON 7
Ties and Accidentals

note

1 = 4;:,,~. = =­

Count 1 2 3 4 .n..
2

~ ~. ~' E' ~
3 :J: ~Il ~ r ! L" I f3 r I := r! r- r! r r L If r I r I [' Ir r I
~ , , ~ --:---' ~~
:h lz
r If r IF r IJ J J Ir J k r I IT" Ir r I tit CL=tJ
~"" , ~,
. .t2..

4 :J\~ (j r Icrrl>r It- FIl>r F~rr Ii r IfFr r IerF Fir El>r~r I r,' I
3rd 2nd
(1) (2)

~ r r 1~r:J IT IF rr I to r r !~r
= r
uArr F Iri!'~ I =1
~ ~D ~.
5 ').01>'
(l h
tl b
_ r Fj Ir0 Ir Irto J Itot r IE:J r IE~rr =Fr I:rrr'-r-WL-----II
d I
61

Abide With Me

6 =2% 1\ l
--
rr It~ rEF
I Fr I I r rr IF r 1Ft F ~r _ I &==g
7
U
tl)
II
why? 4

~J= &';f, r rr I r r Irrr rio I r Fr Ir r ~ r I r r I oj

Ruballk Elem. Meth. for Tl'Om. or Bal; 47 9
LESSON 8

Eighth Notes

accent -;:::..
:> :> :>
o :> :> 0 :> o
I I
0

1 2: ~\, B o Q
o

I 0 I
Count ®1 2 &3 4 ®1 2&3 4 & 1 m @ 1 2 & 34 @ 1 2 3 & 123

2 t)= ~b " II: [ Ur[ ~II: [ U[ U t 0 :11: rUE :11 i r [ U IE' :11

3
:h~ Il r aE rIE crE tlrEf[ t Ir EEe I' arE IffflZr It EEt r I

Vr;b r Ur IFCFF r I[ar J Irur J IrEfr IJlJJ r Irur FI

:h~ ELEE tittLe 119:~"1,1l EcrrcrltrF ItEEtEEILr t I

5
..

Long, Long Ago

7
..

Ruba.:tk Elerc. :.'det:-_ for TroIr_ Dr Bu. 47 10

 LESSON 9

% Measure

Count o 1 2 1---2 eli) 1 & 2 & 1---2 CD 1 & 2 1---2 @) 1 2 & 1 2

. 9: ~\, ~ II: EEl E :11: j r j j J E :11: uri E :11: r cr I r r :1

, ;1: ~~ r r I tEl r r I IT Ir r I F r I r J I E
:h~ r fir r I~r r I r- IE r I r t I r t I IT I

3 2: atb ~ r IrrrFI r
F r IF
.9:&\ r r I r r Ir FC r I r I r r I r r IIT rr r I r
9: rb r rLr It r ItEl r r I F r I F r I LErr I r- II

Hungarian Dance

. 9:~b ~ Her ILLFt Ir t I r I ffH Ifrr r If E I

th~
4

F Fit-, 1=r ulE It LJ I fa I j Ef I r I r

Crambambuli

5 2: ~!t ~ rsr rI rI U IErE! IErElI;J

IcrcF r I IT
9: ~It L:Err: }
I ~ LEr I, rr r Ir rr r I t r IrtLL It EJ~I
r I
American Folk Song

6 2:~&b ~ F cr Ir tf IF rrr I IT :11 rrr r Ij FrFir J I e I

7 ~hbb i rrErlFEFrlrnfCClar :lluFrIBr ILLEr Ilr;cil
Rubank Elem. Meth. for 'hom. or Bar. 47 11
LESSON 10
Dotted Quarter and Eighth Notes

Count ® 1 2 & 34 ® 1 2 & 34 @ @ ®

1 2:&b ell: rUE :11: rl:r®E :11: r' Vr :11: f" 2r r :11: r r'R I :1
Measures and @) sound the same
0

Stars of the Summer Night WOODBURY

2 2:~1,& 1\ IT qr L Ir' H Ir t r It' vr IF: rEI L' H r I

!}:~kb L' ~ L rI .. I - ! IT' r It' ~ cr I .. ~
All Through the Night

3 2\\ II r' r
VJ r I Vr J I J r' V I .. :!IE r r LIE Lr t !
2\'1, r r r r Ir' p r r Ir' pJ r !r V r J I J r vi" I
Auld Lang Syne

4 2:~'1, II J Ir- H t Ir Vr r Ir' ~ r LIrE I L' H r Ir Vr t I

2: ~I'h r' ;fiJ J IE' r IL' Pm r I[' ~ rEI L' rn r Lie r IL' ~ t r I
5
America the Beautiful
2: &I'br' Vr F !r' J\J W1 r' I 9:&" r I r' Vr r Ir' )W r 1r [ F IT 4
B
B (natural)

2:~1, b' r I[' Vr r Ir ;fiJ EIgLEe ,rr I C r Ir GrC IL' H r I

4th posItIon
(f)
2: [;h r IT F r I IT' r I r' VF r 1r' pr r I F r r r ! r. il
America

6 r r r Ir' ~ r 1Fr r !F' pr Ir r r I r' I r r r [

;J: [;!'!, ¥

"):~kb L' gEl r r r !C'p H ocr r I t' gL !fJ rr r IF:' !

2
 LESSON 11
Half and Quarter Rests

Count
0~
1 2 3 4
~ ®~ ~
1 2 3 4
CD 1 2 3 4
~
1 2 3 4
@
1 2 3 4 1
~-
2 3 4

Rest Rest ~eSt Rest Rt:ost Rest Rest

- 9: ~h (1 r rFl !rr FII r FE, 1rFFl ;reF l 1J [e I I[ er eIr Lf r I I

3 flO' B e*F *llFrrIFlSrlrl-lr*r*l*rErIC11rlr*- I

:J:~b ~crFElrr-I~Lfrrlrr. IlITrr IH:*rlfrcrlrdili

~ :HIi II - j I- J I*FI F Ii Lf P 1- l= 1- ~ I~ r II i cr rill

o 9-~' -\ B 'E I·r~a

;, I !:I r ~ r~ 110 ~
til ~ r FI F V 1- 'mE t 6J, *I
6 2: Wb ~ F HIE ~ i Ir 1 r 1f ri I F l i Ir H Ir i qr ! rr i I
6th

Swan Song from "Lohengrin" WAGNER

7 2: a' & " l rr' PIIT I r I E r I IT - * I r r' vI r' r I r' Lr I r l r I

2:~!rb ~' r I~ r IE' r I L , I 0' 0
Ir' vE Edt' " ' m m
Ef I r' l I r--I v!
:J-- &I b
it r Fir Et I r
, , , '
l! - *. I
l (I I- l r I r I r I r' FI 0
1
Rubank Elem, Met,h. for 'I'rom. 01' Bal'. 47 13
LESSON 12

Eighth Note Rhythms

E-flat
Count 1 & 2 & 34 ;;rn ~ . . .... .... f:.:e: ~.... f!:
1 thG& 1\ CCerr I rr rr r I~ g IF r It L ,r: f
....
If F f4 3r
(1)
L
pos.
I

2 2: ~Ii, II rE E r1' r ct r '[ E EO g, EO LEt I cr t EE I t rtf ,

fh,frtftltEU ,rtttrltErr ,em [£rIEUr I

~: 'i, tEE E:F lEEr F 'E EEEr '[ Er;J 'E r r 11 IrS: t I

German Folk Song

3 2: ~\ i EEr IEt Uri EO EE 'Er cr r,tr EI11m'[f [f Ef I r-' I

4 :Ni, II EF r * E'IT E * m ,Ef L * t ,r1 f * QEO ,r Err ~E ,
;>:1>\ t lit ~E Imcrt ~r 1Err t ,fe at ,tJ a[ 'a qr tlE

Reuben, Reuben

~: ~Ij, rr r m I r t r t r f r
qEO E 'r t r r r: r let ert r I
'}:O\ J F cEcE'J [r Jlr J JJJJ'r J JJJJ,J J JJJU, r J F !
Duets 1 and·2 on page 47 may be introduced a:
14 this time,
 LESSON" 13
Extending Lo,ver Range

A G F

2nd position 4th position 6th position

(2)
(~) (§)

r
- ihb ~ ~ FEI Ir" ~ J I J IFE Fir" Ir" j\jJ I J. IE r r I r" I

9:;' j. I:J J J I r' IJJ. ) IF' IJ J J I r' IJ J. ~ IF' Ir r r I r' I

B ?: If i , ~ It r Ir r Irr J I, Fir r Ir J IU U II r Ir p
W r J 1& J 1* r Ir J Ir J In J 1* J Ir J IJ J Ia J I

J fhb 1\ J rr J IJ Ef rEI ra J r IEl! r i Ir f f r Ir Err ~ I

2: IJz t J J t I r Ll r * Ir J J r I r tl J J U Er J IJ ~ J l I
5 - ••

n"* JJJ J lJuJ*I,crtrltrf,ptrftltrrq

o No, John
English Folk Song

9: ~h r n J J IJ r J J IJ J J I r r J Ir :J :0 J I :J . II

Rubank Elem. Meth. for Trom. or Bar. 47 15

REFERENCE PAGE
Chromatic Scale
Ex.2 and Ex.3 on this page should be played; the others are optional.

1 'J 1\ kt
1st
r r r I~r r r
2nd 3rd 4th
!bE
5th
r F r 'r r hr- ~r r &~ FI J J j
1st 2nd 3rd 4th ith 6th 7th
(0) (2) (1) (1)
2
(2)'
,3
(0) (2) (1) (1 )
2 m m (~)
3
® E

=2: &J J
1st
a a IbJ a
2nd 3rd
OJ
4th
I&J J J J IJ J
5th 6th 7th
j
6th
I~J J J ] I,] ] ~ I
5th 4th 3rd 2nd
(0) (2) (1) (i) @ (A) (i) (§) (~) (i) (1) (2)

@' 3@

?1 r
~
J J J J IJ J DJ I ~ F IF·~ Ir r r
1st 7th 6th 5th 4th 3rd 2nd 1st
1 1mr
5th
F F I#r
4th 3rd
rr 2nd
I
(O) ,I), (1) (2) (1) (1) (2) (0) (?') (21) (1) (2)
(~ 3,3, 2 3 '

@ # E F b b@
fl-rrrr Irn#r Iff LEiEr 1((Etlfr r ,nnrr Iksrg

1st 4th 3rd 2nd 1st 3rd 2nd 1st 2nd 3rd 1st 2nd 3rd 4th 1st
(0) (i) (1) (2) (0) (1) (2) (0) (2) (1) (0) (2) (i) (1) (0)

o
B_F .~ r
F sharp

2 !):
5th
(~)
 LESSON 14
llIore Accidentals - 5th Position

Make them sound the same

pp 6th 1st 6 1
(1) (0) m (0)

(;) (0) (;) (0)

3
~'*
1 5 1 5
(0) (~) (0) (~) (~) (0) (~) (~)
samesound
_"". I 1:: ... ~ • I ... b~
4 - v ...
I I ! I I
Name the positions before

you play this exercise

\3)

!l~ F'F r ~F I Fr IT Qr r ~r Irbr r IF"F r ~F I~ PFr II

I

5 - 9= ~jl i
2i-·
0 r I EqrEI I* EqF~ r Ir ~ r I* r E E r gt+d
(medium VOlume)
II 111

tHE j F IP F r * It r r F I r ~r r Ia r I'r F IF" ~ r

q
q
I
6-....r.

~rIJ
~::±:±====:r:t=-r- JJ JJ IJ l l II
These two measures have
March of the Giants same sound
p Fsharp I "'I..------:"I---rl
7 9=~ t J F
f
I. r r ~ r r Ir j
(loud) with firm tone
I/,J J ~ JJ IJ J J+ J IuJ# rib j 'r I
5 I' 5

:J> h •~ • m (ij)
~h r- &r IbJ &r IJ r Ir LJ= Fr Ir rPr t IF.Fr U IIT J ~
Rubank Elem. Meth, for Trom, or Bar.. 47 17
LESSON 14 - B Supplementary Songs with Accidentals
and Review of Rhythms

Go Down, Moses
, --,----,11 2
r--11 , I
1fHo £f Ir r r r Ir r r IFF -r r IF, F:II II I F~"
,
I Heard the Bells on Christmas Day

2 ~n\1! pL IL" .~ L t I r p r'qr It f r- r Itar' r I

•9:~r r" PF r I L" P F 'r I t rr r IF" p F I

(2) t

Et It t r 'I r Er Ir f r: 'I r L riO II

There's Music in the Air

11 . ' /12 ,I
4~·~~~~~~~~~~
f
,
Eroica
Adapted from Finale of Beethoven's Third Symphony

5~~~~~~~~~~
i'lf

2:~ uri r t r IW n IF * Ir F If" qp Ir:r ~U IF *

 LESSON 15
Eighth Rest
l' (~)
~

Count @ 1 & 2 & ® 1 &2 & @ 1 & 2 & @1&2 & ® 12&3&4 1234 &

- f):l&b; II:rjr, :11:'jrr :11:j,r, :11:z€,r :II:B r'pptJ l :11:[' '~:II

f): V' !4 zrrtr; ,r e"Je r ,r r 'z rt ~ ,r l5 I\' CEr,r r I

~: V' Z L!r ~r ,rLEF 17 EL tr ,ij J:J 'z rrue Ihe trIT IzIT 9C bt IEl t I
3 2: &1, B E, § ,I,
~ i' k' I I t I 1E j r ' ~ "k' I r" vr I
~H' &tz v~ l 'zE~rr r Ir: iC If: j' ~ If f ltrlf ziff I
ILz FzSn 0 &: r, pz liz EEr E r I r: i ~
..ll

2: V' - I
Theme from Oberon Overture WEBER

F' I[' ,ip Ibr f , J 1 t ~ 'r' H , .~ II

~&
7
' t9 ' Z
4 5 II P II, i= P II 2 . ' , I J l zI
I 1 f' V I r z ' p: II I vIr ~ r
rEr I Fi a. 7 QI
Night of Love Waltz FOX

~, E ~ ~ ~ E ba ~~' '~
IFr I IIT F! r' Ir I I ~ r I I r t r Ir 17 I r rQ
h
9: 0' IT'
'* '*
2: U'
* NOTE:
r Er Ibflr t I IT I-e I fTr' r r I to' , f I fit l U
Tie brings effect of the accidental into the next measure, but for the tied note only.
Rubank Elem. Meth. for TnHl. ,11 H,ii'. 47 19
LESSON 16

Key of F - One Flat

E natural
.n. .e- n
o ­
1 9: ~ B 0 I 'i I 0 I I II
p...:::j,f==- p-=::.jj'=- p--=jj'=- p-==jj'=- p 8t'mz'le 2nd
(2)

E natural
Octaves

3 j}:~ ~ Fr t IE r L irf!r ! r ItEr Irff If~f I ~~

2: ~ ee f If rei L r be I r IrE r IrtF I Fr r I IT" I

Air from "Zampa" HEROL:::

6 ih Ii FErr EIF LEE flF ErE r Ir LFr EltF EctlE Elf'

Blue Bells Of Scotland

7 ~2: & 11 f I[ f L ji r IT Irr r r IE.' r IfEr I r r t~

Eubank Elem. l\1eth, foX' Trom, or Bar. 47 20

 LESSOK li
6/8 Measure - Six Counts to the Measure
fb\ .~ 0 ~ ~ I'{P
01 2 3 4 5 6 \V 12 3456 1..::::/ 123456 ~ 123 @1r ..; , 3 4 56

1 3): ~ ~ r r Er j r :11: r rEv :11: r' r' :11: r' 1ft I PP 7 7 :11

I FE F I I I I r r I' I I I I I II -;---------1

;1\ err ~rcr It t Itcrrrr Ie [ IEEE ttr IE' E'

2:& rrr&rrrl ~ . J., l~~ ~ :OJ ! ~ ..
~ I~ ~~ :I r.
. I ~i!r'
~.!~ ~ ;~ J ~ J I 7.j It

3 2: ~ ~ r #p r P II ~p I Ir Pr vIr JsJ. I J iJ1J J) I J J J J. d

9:~ (r::&rE
_ r !(Prt It r rEm br Ir r &r ~.. I J D·
_L SI eft! r . II
French Pastoral J\tIelody

4 2:~ ~ ~ WE ~ If@n; If pr ~ IEVP~ Ir 'il z:l1l )rtFIr srrr I

Wake, 0 Wake from "F allS t" GOUNOD

. . Eg
5 9: & ~ E HEr I E' J I w r r €I r :11 r i Ef Ir VJ wI

2: ~ r r Fr i I r :11 Fbe Err E Ir' J il' IEvE rI E' I

Petite Chanson FRENCH

6~

Rubank Elem. Meth. fOl· 1wrn. or Bar. 47 21

LESSON 18

Key of A flat - Four Flats

(~) (~)

1 9: U~f B r r Ir r Ie 5th
J I j j I J J I J JI r r IF r I
(~) (~) (~)

:h\& F r IF f If f If f If 2nd
r IF f IF- F IJ r- Inll

(2)

2 2: @)' i J" r I ~ rJ )1 I J 7 J F I j. ) Ii r I' r Er I r

2: WV J. V J r r J, E c r I F IF" 0 Ie r Idl r r I r­
2:01 r" V I e r I, Eft I f If k Ir r I, CC} I r II

-----. -----.

Count 1 2 3 4 5 6 1 23 4 56

3 2:W#~ zE1fCrILaf"I,UEfflrot IzEErrCleJc"I

2:i# ,aEEe ItO L" I' Cl!F Cric Jr" I z a EU IJ JJ. I

4 '):W# 1\ crcrrt JEfrEt f Ifcre lerC J IrEar r I

2:wV rFrfE r IC r CJ IF J J J IjJj;J J Id W];;; r IF Fc r ,
2:~I»ctff ,fctftC ,frEer e IFrece r 'FJCn
Alma Mater

P,,-,!oaeJ;: Dem. ~!ett. for Tram. or Bar. 47 22

 LESSON 19
AlIa Breve . (Cut Time)
C indicates % measure ¢ indicates % measure
r:::\ Two -Four ~ t1)\ Two - Two __ @ AlIa Breve __
\.V Count 1 2 1 2 \V 1 2 1 2 1 2 1 2

1 ~:~:e o:X:~e;l~:
are counted alike
2:~ ~ rEI r I fJ:& ~ IT rio 112:~ ~ IT roll
---...,. >- >- n.
...--...0.. >­ >­
.c... .....-....
>­
o ..n. .n .0. .Q... .Q..
Q Q

==- I-==. I­ I
-=-- -==:::

3 2:0,"~ r: t~ IIT Q r IF(~r I II I t~ j I\1 bJ I W(P,J I

k
o

:h¥ f 13 Ij r IF L ,J r IFr 1ft I -- It r I13 ~r IC"r I .. I

Count 1 & 2 & 1 2

4 2:~1~ WJJW I@ r Irrrr Irlr I-rrr IELF Ir tt, n

I

5 !;): W'b It
fl ~ r I Ell r Fr Irill ~r r I II
rrlF r IFF I
t):r" f fflt t IEft,r F IF hEIr r IrCrE I-IT r ,

2: ij r rEI r j ! r Er 1 r j 1 J rr I J ~ Ib JJJ r I I) II

6 2.
.~ I~
r· 1 & 2 &
r l r I I l l , F,r 11F1E !lr*rIIJ,F l*rrrlF IF l I

Polish Folk Song

7 '): i!'V., r r Er 1-,

Same as pre­
r r rEI F j :11 r rtf ,f r t
ceding measure

fn~f rEtf lEtt IrrCr 1- 'rreE 'E ~ ~

If additional drill on AHa Breve is desired, review Lessons 4 and 11 playing those exercises in AHa Breve - ¢.
Rubank Elem. Meth. for Trom. or Bar. 47 23
LESSON 20
Key of C - No Flats or Sharps

I ~ I[E I - I ~ 1- IShE I"

B natural B natural

1 2:1\ - '9 ,.. IF ;J I $h I

(~) ~ ..e.
2: n 10Ij)lol);)loq I.dr.
I I
E natural) n I 0 I n I IT IT I II

Prayer of Thanksgiving
Netherlands Air

mf
::>~~

r
::>

:~
i): r ~. iii~ I i.~ ff I b~ I. f r
IF.. - r I. ~r f i [ ,L ! I! l I
Silent Night

;~uit F; r~61
pp
Yo Irs r Ir r r' ,r Qtu IrJ Er' ]
GRlJBER

2: r pCtE ,c-rCr' It G[kr ,f" E, I Eirr-it I @ ~ I

24

 LESSON 21
% Measure - Two Counts to the Measure
'Practice this lesson slowly, counting six to each measure, before trying it in two counts .

...-.....-,. ~ ~,~ /--.. ~ ,,-.....~ ~

123 4 56 12345~
1 2 3 4 5 6 (;:\ 1 2 3 4 56 @ 1 2 3 4 5 6 fa\ 1 2 3 4 5 6 123456
Count 0 1 2 f2 ~ 1 2 0 1 2 d 1 2 ~ 1 2 12

1 ;>:g 11:[' [' c· :11: jr,-jjr:lI:r PE P:1I:j"ijj"ij :11:1 ki[ V I [' :11
1

2 'h\~ 2 r' r' I [' 1* FE tt I f' IL' tit: II pC £1 r

. . E ~. . .
:7: ~\~ ~ r 0I r 11 ~ F I = II Vr pI r ltD r ~ I E
~

:hV urrer IrpE' ItffcEfl f vf IrEr r, IrErr'l~rOfC'IrvF' I

*Row, Row, Row Your Boat

3 tN'~ 2°C' c' Iror' ~~r pi@' !fffrrrlrrrrrrlrvLPI r' I

* Three Blind Mice f-l\
CD ~ 0
4 :7:M c'r'l J, IF'F'I J. I[FP I r' IL'F~lf4vlfvrt:E1
@)
:7: t crt ~ Ifntrr If H ~ Iffrerr If ~r PIr' r' I J I

High Barbary Sea Chantey

5 9: Mr VIr LSI r rsir WE SIL'l ~ IUGi! r1 sir ~f ~ IUp I

9: f tif VIf pC V It pf PIr 'I VIr or PIr of v-I E' r vI r' I

6 9:~b Urrrrrr Irk~lrErrrrlrjjLplrrrEErlrercrlrrrrpW'1I

Pop! Goes the Weasel ::>

7 thkb ~ r s:r 0IcErr i/1lr~ro IF' r' Irvr plrFrr'1 W~'r vlC'F' I
9:~&b fWrvlrfrr' IEkiltf lorVIEEf'lfnL vlF' C' I
* Note: May be played as a round by 2, 3, or 4 instruments.
Ruba,l1k Elem. Meth. for Trom. or Bar. 47 25
LESSON 22
Review of Five Keys and Accidentals
Practice Exercise 1 slowly (6 counts) at first; when familiar with it, try it faster (2 counts)

1 ;J: ~b ~ r prr f! IFJiJ oJ> IJ $iii] I!r .v I"" IE ~ m IJ JE ~ I

;h~J J1tDIEH" Irvrfflf¥rSIC Sfnfltfr- ~
Practice Exercise 2 in 4 counts at first; later try the aHa breve (2 counts)

A dot over a note, or under a note, means that it is to be played staccato, that is, cut the note short,
releasing the tone almost as soon as it starts.

. . .

..
3 2:~,~ i l EE 1!1r It erial IPriIUQrgltt§glr- ~ I
.' >­

~ ~ ~ ••
r et:! Ig,J Ir Ef IijL1 rIC Cli Et qcr Itt EJ' IJ. ' I
t-" " ••

2: ,,~

4 ;J: II J r r It 'i P:t Fir 'i ~ E rifF Er Ir r r It 'i fi t f I

2: t 'i ~ r ~r I-(llr r It r r IF'I PJ J IJ 'i J\J rifE r ~ I

5:2i\~r Elrcrlr rlVrr 1m ElrrrIFt,Ett't l

Review LESSON 17, page 21, counting two to the measure.

EleT!':.. ~th. for Trnm. roy Ear. 47
RubiLhJ;: 26
 LESSON 23

Sixteenth Notes

•
Coun t
®1 2 3 4
'"' ® 1 & 2 & 3 4
- ®1 + & + 2 &3 4
-@ 1 &+ 2 & 34
-0 1 &+ 2 &+ 3 4
-
1 9:W B II: rrr :11: j j r r r :11: j r r r Ef r :11: j F! E1 r :11: r &f r ElF:11
2 ':j}z II L Sf E:! rt Ir trtJt r I r Ef riO Pm I r ct r r r- I

Reveille
Played entirely with 4th position (valves 1 & 2)

3 ?:! , leer tE I ~ ICbJ'd I r dE I r Er@1 . . Ir ~-El

r r I ro ~I
Pine

./J.8. al F£ne
Adjutant's Call

4 ':1 U§d:: 1 ~ Iftcdl#f~r Irye I Yo Iftftdl#fbrm II

Theme from Symphony
::> HAYDN

5 9: at~ 9 r
.ff
,5f j Fir ,5f j r I F j Ef j rI F 6f EJI r 'Ef r rI
::>

Accent tongue more forcefully than other notes

>­

,:~ CiUfflfEtftfflr ElerUI r Itourerrl ~.

pp
II

Variation On Adeste Fideles

6 r IjFfCfrF! ~retLE-rl
9:~f e
>- >-~ ~UEFWEr€
1 mirFI r Eff1rFl
>->- • ->->- >->­

f >->->-
::>
>- .f t:..
>- >-
::> ::>::>
>- >- >- >­
f):~ rFL=iCC"Er E&lEt Ir~C'r g'c:E IcFfl1-&&nCt+t$EEfdl

::>
L
::> ::>
§ ~
::>

?:~ :6f==FFt'aIOOu¥~JI'EfEErt I[&lEEr ll~EtErEd

rf>- • >- >- >- >- >- >-

::>
::>::> >­

>-
Rubanlr Elem. Meth. for Trom. or Bar. 47 27
LESSON 24

Dotted Eighth and Sixteenth Notes

......... V ./ ......... 'V' ./

sound the same sound the same

2
9:1':1 ElF Itfr IE'lUllifr lur IEfr IBcJlElF I

9:~ E"trJlL'!Ctl$E'ftil@r ItffflfllE 19r/ nilar I

fh El a IOf F I bO! rJ I£t E Ir.tr Iftf I a 13 I r 9

3 ftC rr EIl E- r Irt r£ r Il [j ~ I rt r£ r I~ Ei;J I

f): B

~: r-trcfr JlarEF~ 1[,rt F ICtC!f IC!rrfEEILbt"bt 4

Battle Hymn of the Republic

 LESSON 25
Lip Slurs without Slide Shifts
Increase the tension of the lips, drawing the corners of the mouth back toward the cheeks to slur to a
higher tone; loosen the lips to slur to a lower tone. Tongue only the first note under each slur - .

a l~'
"too ee 00"

1 7):1l r?G?t t IOJ}- i NQr}· ~ I I I

~~. ~~. i IJFlir ~ I @j
6th 6th 1st 6th
l(" ~
"too ee" "too 00))

2
~
;):4) X r· z=
I ~. I IT . I ~ I ~ I ~. I IT . ~
I~· I f F r I "J. II

3 Count
t}: 6 WIi rT Ir ~ §l r: t-I-I ~#tr-r 1E'ft'1 En~#-r§rlfr
. g§cftl r 'B 1

To the Colors
11g- 112 ~ ~
4 ;I: .. "'" . .1
I" II:hll f111:fgriDlrElrt1l r::::!r1l fJ
...... 1
(bNEWmr l
6th 6th 6th (Play throughout in 6th position valves 1 and 3)

Fine J). C. al Fi'ne

Mountain Song

5 ,:Uj) I g I B1 L't I bilell r r I r ,r

I ~IL- F I (3fr 'vl

':$ U C:l1 r r If Ect: I r L If,{ E! I r r I E j)' Ir d

Celeste Aida
VERDI
Count 6

6 r· LEf Ir' [, Ir' E;rJ I r' [, Jr' l r: rIr 'F IF' t ~ j qrI
9: a,~ 'I I

----~. ~ ~
':i"~ er Ir' r u: Ir I I t 11 r P' EEY It cE r rn IF' r ~ I
Mo' __

'J

Rllbank Elem. Meth. for Trom. or Bar. 47 29

LESSON 26

Key of D-flat - Five Flats

2
.•

~h\ aftErI rr Iqt: gacr It bfr Ir bfU-~If: Mt: Eft: a I

• ~ (b)

Sweet and Low

BARNEY
S-
too too-ee
• . /--;
5 9: WVt
Count 6
H r t' I r V
~.
r' I
I
~E
T r qFir r' I rr' I r r.
~

fNifg ftc r fir- r I {Fr t: rr I t:fr r I fEr t:E r Irfqrrr I

9:i\ rrrr fir- qr-I~r Hi rI r H"t r IfidE Er~E IPc r r" I

4th 2nd

P..-':':: ,,::k E~e!:l. ~~:l: :(r IT::::. :r B~:. 47 30 ·U) (2)

 LESSON 27
Lip Slurs of Three Tones

"too - ee - 00" ~

Ipry I" IrT~ I <> Ir r t 1ft I .. I r5Etii I

......-::---..

1 9:11 ..
Play this entire exercise in 4th position (Valves land 2)
"t oo-ee-oo-ee-ee-oo-oo "

Wr rIref I(fF' CIrrr I(fir Ir t 1ft Ire r LI"

~ ~

9: g

2 ill WI@i I~ID Ell l~tITi IqED Ed I~- I

9:H
6th (1) 5th @ 4th (~) _ _ __

9: ~w WIktIfr IgEE? WIc?fi- I tID LEt I ffffr- II

3rd (1) 2nd (2) 1st (0) _ _ _ __

a9:i#~ 11 r- ~ r F' I rn I r P' rei rrr I~r ~ r r Irn I

;J:~~~
14
r" f rEI
= : F~ E F r I i/-~ ! ~
~ F r I rAr IF- ~ F' r I F'....-::---..
CF: I
9:UV~ gF'" ~ Lr I E!t I f~' f fir f1 Fir r r r I t~ r FI
9\\, =f§r r I=Vr FI ==Ir vr r Ir IT I r- vrr I rWIr ~ I
#~ ~" ~~"
f9
r
2nd 5th 2nd 1st 5th 1st 5th - - I

English May Dance

4 n\" Il II: r: u CC I r I r ~ r ~J tf r tr I r r F F'

9:wk
&~
r: f1E1r IUttar If al1 c-t l f ~ rill
IJ. C. at Fzne

Slavic Hymn

Ur r I r rn r rFIUrglCr
9:~ i .~
9:~ U r r Ir r n
5 - -­ - ­
ff f ' -II j} F CIC:L r r I

,I rrlffffrr I --("
Ct ~ IrE ~ II
Rubank Elem. Meth. for Trom. or Bar. 47 31
LESSON 28

Lip Slurs with Slide Shifts of One Position

too ee 00
:> :>:>..---:---.... :>....---:----. :>~

1 fl B 0
1st
I 0
6th
I IT IT I
6th
r' 1I r
1st
IT I
2nd
r· l I r ~r I r' t I
1st
:>~:>
:>
,:>~- e .
:>~

~ I J? I r r I r L I r I I
:>

7)= haeM
F
Pro *I flij" l 1~;ffJW
1 , 6th 6th .
:>~ :> :>~:>~

5th 6th

Lullaby
BRAHMS
 LESSON 29

Key of G - One Sharp

~ E
1 - f):# e :' I 0 I IT I
Q .e- n
I riO I r IT
(#)
I n

(#)

2 ?11b EFLFIHfE IHfrlF~f IrfrflfrELlttttfl n I

:H EFHIEctr- IFrrrlFErr IrrJrlrJJJIJJJJrl rlr I

:):1 ~ r'fr nr cr: f 11 rt r It rr f 111 At r I#ru-Ell nEIr E1 f I
;;n rrrtlrEPf ItrfLltttflttrtlftUlccrEFI [ill

3
" I f r"
:,rll\ F Ie rr ij etE ICiClE r If fE
=rl=r " Ilfl 9 ["

fH etrcrrlGt=EiFJ IF f=?IC falur . 6th

Elm IDiUL II
Love's Old Sweet Song MOLLOY

4 !J:I!l EEf rEI Gt Err IFbt F' P' IE1UE I r cr: r P' IITa IT I
fJ·.t-g"#Er·FJ
" cr bp~ f I Fr FF;r I r E£ rJ•c£ I r f1

I # Fir"

fH .. 112 aErlrtlEtrtlL'lctrFlfE lE1rFTA

~

f;l:' Q' Er Ir fig FrI E It~q tiE r I r FrIr rIcr E g I r- ']

33 6th
Rubank Elem. Meth. for Trom. or Bal'. 47
LESSON 30-C
Four Characteristic Studies
May be used as tests
Moderato
>­

P I

p
@~

-9' ,
3

>­ -,

m p

Moderato (2 beats per ~easure)

• I"':\. a tern
. po.

36

 LESSON 31

Three Minor Keys

D Minor

Harmonic Minor Scale Melodic Minor Scale

L ~ # (~) 9 #
1 ,:~ B r r rEI r r 11 =r r r IEIT r I r r r IErr of I
~ 9f b ~
;1:~ r I r r r r Ir r r I n
I= L r I Er- #~ I I <i

2 fh ~ r INvtl er 0=1 r#~ r Ir r IJ gLlI r affl¥te Ir ¥ I

-II . - . , _.

B-flat Minor

~n*1i Eflr glCUr ~Im rd~lq~HH frElret ~

" (~)
3
I
-SJ:Q'
.rb r Qr F g I Frr-'
~ I J. J. IJ~J~J~· I r ~ J } I Jj J J. II

4 9:~\\ B lrdj)Jrl ~r ~r FIElL! [rEfI ar~crfI [I frYfrl@t trr I

2:k!i ~Etcrfrrr IJia}Jrer IrnHrd ~rgJ;1 r;ce BJJ IbI'rr crell
F Minor

5 ':fh~ Il CrJ tq ~ r [IT IJf iLL; Ig§r ;;J IJ r ~ EL!I (~J~;J I

':W# J r 'err'l}J ~J Ir J ,m IJlqr §H If r 'letl f¥-~yfJl
Song of the Volga Boatmen
Russian
Slowy
I

6 il\\¥ Il
p -
Et'"If'er 11 Yo I{t [cre let ep :II}" Herr Ir r p :11
':full~EFrrILrtFerJEtrp ~JJW p I; r fflW liJ!2Q I

Rubank Elem. Meth. foJ:' Trom. OJ:' Bar. 47 37

 Legato Playing

In preceding lessons the slur mark --... hlis been used only to indicate lip slurs. It has however, a more
general meaning and when it appears over a group of notes it signifies that these notes are to be played
as a musical unit or phrase and that the tone of the instrument in passing from one note to another will be
as smooth as possible. The same meaning is expressed by the word legato written at the beginning of a
melody or phrase.

To play legato on most wind instruments it is merely necessary to tongue the first note under the slur
and sustain the tone while passing from one note to the next without additional tongue attacks. The flow of
air through the instrument is uninterrupted during the slur. If this procedure were followed for the slide
trombone, glissandos ("smears") would be produced between tones on the same harmonic (See Position
Chart. page 2) To avoid these "smears" and acquire a legato style of trombone playing the following
rules should be observed.

1. Use a soft tongue attack. Instead of using the rather explosive "too;' attack with a light "doo" syllable.

2. Shift the slide quickly between notes and make the interruption in tone while the slide is being shift­
ed as slight as possible. Recontinue the tone after the shift with a very light "doo" attack.

3. When two notes of different pitches are connected by a slur and can be played with the same slide
position, the lip slur should be used if the player can use it smoothly.

4. The lip slur should also be used when the slide shifts just one position, in or out, and the tone skips
up or down more than a half step (semitone).

Examples of skips effective as lip slurs

f): Ir91'E I 67 ,!(l; I Fa I IT

,...--~
l~rQ II
2nd 2nd 4th 4th 3rd 2nd 4th 5th 2nd 1st 3rd 4th

5. Sometimes it is possible to lip slur a skip wben the slide moves two positions in or out provided that,
if the slide moves out, the change is to a higher tone, and if the slide moves in, the change is to a lower tone.

~~ ~~~

Examples 9: r I {7r I IT I rCJf, II

2nd 4th 1st 3rd 3rd 1st 4th 2nd
6. By being familiar with the different positions in which the same note may be played (See Chart, page 2)
the player can choose less common positions for some of the notes in order that lip slurs may be introduced
to improve the legato playing.

"doo doo doo" lip slur. "doo doD dod' lip slur.
........---- ...--.......

?= r rf ...
III r f
=
::11---­
I F F41
4th 1st 4th 4th 5th 4th
II
1st 4th 1st 4th

38
~

LESSON 32
Legato Playing
(Notes to be connected by lip slurs are marked r--1. Those which may be connected by the more difficult
~i? slurs explained in Rule 5 on the preceding page are marked ... ·· ... )

::> ,
::> ::> -& e
1 -.:;.
ff too too too too::> too too ::> too mf aoo aoo aoo.. ~~~ .... aoo ee 00

€ --=== ~., ~~"h

flat IT
::>
fir ::>::>
IT I r
#::> n
I IT IT I IT I IT 'j

ff 11ff~ aoo 00 00 00 ee aoo 00

?:~ ~ F I f §r- I f j
-
I .. I Q I f$, I f1
::> mf doo 00 doo aOO doo 00
2D doo
II
Swanee River FOSTER

~----?::::::rf--::r:0fEfill~ rV¥ IElii'

?:~ Co
5th
r rTIl d'f [ t r I ( ! Cf Fine
In the Gloaming
1ft r tiL" *II
.D. 8. al Ft"ne

.----_-.=.;:..:;HARRISON
i: ~ ~ r:-\t__
===~::::::::::;;;;r~;;:;:::::l."":::::-~--'II ~ l
8?:~ I !J t r It ~I r riff IWL ill :IEfifpr"iR I~ I

I .....

F
€ ~ t!!:-
2: ~ r11 r tr fF7r IF' gIrF I I & I£ r IF r I£ ~ Ir IT IF r I
----;--- /'7 f!:. fL t!:-
E L
4th
;;: t!:-. -::-..., ..-....

;h.
--- ~1 ~m--
r r I r [t} Ir fiB a I = I JJ Ir G' ~ I F II

slower - - - - {"

Santa Lucia
~ Italian

,:i!t j rc~~~~ ~
PI¥= IQ ~ 1=-
-il is- f" ~~
~ 'jT'§!r mUS :1\
Ef r~ it,. UIt U U
4

5tfi
g~ ~
':5M:===I;Q Irc I~ r I frjflt±Fgll==:1i f=11

N.7.> r

Theme from "Pathetic Symphony"

-= __

5 ?=¥; (! -
~~ {f' ~g ~~---
Va=! rtrt= ~I F ~=E:tE rF c· ~ IF r~1 r -g
......r
Tschaikowsky

Ruba.nk Elem. Meth. for Tram. or Bar. 47 39

LESSON 33

Triplets

F-sharp G
.j,j.
+to. Q­
o - -
1 ..
;J'- Ij
n
'* 3rd '* 2nd
I n I <> II

(~) (5)

Count 01 2 & 3 4 ®1 2++ 3 4 @ 1 2++3 4++:t2"34@ 1 & 2++3401 2++f4

2 !}:; n [[f[ [:II:[rrrE

3
r:1:[ [rrE rrEI 3 3
<> :11: [fjr[IT:II:l rerIT =11
3 3

::::> .::::> ::::> .. .::::>

..
::::> 3 ::::> 3 ::::> 3

3 3
::::> .::::>
::::> • ::::>
.".. L::::> 1fIf-::::>

8 8 fIJ3

Old Welsh Hymn

r IE tgCm Ifut¥fEir ME i
Fme

mf
I fCEft E I r 3
fift3
rn I (ill?
n. c. at
I
8 FZlw

Thenle from "Lohengrin"

Theme from Fourth Symphony

SCHUMANN
Slow~ --........
6~~~~~~~~~~
3 8

Triplets Abreviated May be written

.5
II
8 8 8 /j

* Xote: The two notes should be played with the slide positions shortened about an inch to bring them in tune.
 LESSON 34

~% and %Measures
fa' Phrase written in triplets fblSame phrase written in ~ measure.
\.::;J ,.... ~ \!V 8 ~ ~
Count 1 2 3 4 12341234 1 2 3 4 12341234

1 flUt! B ree ere eeeerrl r rrl 011 ~):~1,~ lr rrr rrr rrr rrr, rt'ri
3 3 3 3
o· II
3 4 1 2

Count 1

2 2(1 rrftltmfVr lR-gfEfIE~ffr IJ,t'F,rl

~~ ~ , .~~~
1l\ t H j:'1 r= tV)11 JJb I tti E#r FE!EFj =n ~
' ,',
<5 n
~r-
Andante Cantabile From Fifth Symphony

ruin?- ~
Legato .-.-. ....... TSCHAIKOWSKY

3 ?W I" riTTfF' @iEt' (cfiC'C'C'C'1 L'r

~.

4 ffig If F IffI I F P Ff II : FI I F P F II j j t j j r' ,tr t OJ II r' '7 Vf

:> • :>".......--..,

Count 3 1~2 3 $l-~

• . Ei ~~ - .
, .II!. ~~ '. _____ _

5 ~h&1I F ,Irl r EII r ==1 Efll#rE' rftlt:;:t' 1=1

1

'
1- .". ~~ ~
?a· qe f EVI =t t Egl-n' &&&1 f~~' ttC';1 r"' vI OJal JdI
Theme from Ride of the Walkyries
WAGNER
.-.-.
6 ?:at\ II ) Ir'!' r rr~ F'I r:r Fgr-I r'r r f d Fid t' t '1 ~ IE: rL'r'l
5th l;:;J~_-=---------------------
Rubank Elem. Meth. for Trom. 01' Bar. 47 41
LESSON 35

Rapid Tongue Attack

Abreviations used in this lesson: t = U {=ar r=~

8

1
.. >­

---..

Count 1 2 & 3 +& + 1 2 3

..
4 ~.~~~~~
 LESSON 36

Broken Chords and Lip Slurs

>-
'E' .

1 _9:" Q rEr IrE rEI Fr

. '. >- >- >->-~>-
r I r r (selbe f r~2 I J r~J
b""'--'" >­

~>- >­
• n";'. >- . >- >- h~ >- "!!:. ~ 1"-"" - ~

? =E I'IF-- r:~r ~~==r n:~r~J

~r=r r~r r l~r&W r r I~ r r~~~ L
~J I~r he=br= I
...

9: n'EfrlfrDJJ Ir~r 1r=r'EtFlrW1fr IProLE I

9: rr e~rlE r erite it l(tEEfler r J IJ Fe:J II

A "Warming- up" Lip Slur Exercise

2 9:~ ritrl riFt I

II
6th
(~)
rrry ErrrIFr rOO] I 5U:h!~Pi?;~:;n:'t
(~) (!) (1) (2) (0)

Study in Lip Slurs

3 2:W H EVE I EIr'~ r [ r I~r'[ rrijErlbrVEr r vIr v l![f I~r PLijCrl I

5ili 4ili

!J!V~GTrgI0l"T,flfal
6t~_ W
5th _
I Yo l,tTrttfl~uWI
Fine
1,
4th _ _
~ ~ r-.:t!-~ r.: r-- P --.".­ .fL
91 ,f.¥t:frI2[]rnrlfttF lit 'btbl:t Ifflg=rU I

?~~MrfiEi-lfir"lrrrtrl~r'i£¥;I!E1@1 Ettjl,~ I

W,iffij I l,qff[rrI'tM,rij 1\§Nn,rrr" I

1, Yo
D. C. al Pine
Buba.nk RIeDl. lIIIeth for Trom. or Bar. 47 43
LESSON 37

Four Notes to One Count

2 ;l:WV!jl - j I:J oJ Irr ~ r Ir HI J rt:EEFI ~ UmmEl tF reefiEr - I

,:~? _flqf:rlrrErl~eclrrCEt-rlrrErEtI-Frml~FJ-1
q~ :eJ ~

Arkansas Traveler
,
3 ,:~; 1i IEr rr g I£J r r lEE m m IH er £J ImEE r gJ
;l:~ n tf Ifret cr
rfr r I r c;'@7IEjEr r Er IFE er U I
 <: .<: <:
<:
• . <: <<:. "<: <:<: • . -- <:<: <:"
. -."<:
<:
.
.... 4···· q .... <:<:q<:<:~ ~
':!:. ff fo -== ~ - = ==--a
I or ItJ 4all~ 4g '1! 14@(ti~11 ( o@£§1 oJ I j o~ ¥4@ f:i'i
a -=$ /1/1, = - ==-- a
8£ NOSS:!!'1

 Wearing of the Green

- _ .. • t _ a 2 both Fi _ _ _ _

German Waltz

.
·
,

;H 1· r r d· r r I{r r 1t ~ r Iff r I pfJ~l :11

Drink To Me Only With Thine Eyes

7 P legato

··
IFine
...~
.. 1":\ .. !II.. ~ ~ .fIl- 11'-. ..
~ ~~
........, ===­
··
.. ..
~
.~~~ .,..~
--=::::::,
~'
-flt-.
rit
__ .

l....I...I - J). C. at Fzne

R:.:.:; ::k El rD. ~etLfcr T'Cm.01 Bn, 47 48
 Integer Vitae

..
Andante
r:;;
-- r- ,...
- - r~ ...,

,1
l
,
,
f ,.., - -- .­
L_ __ 11'-11_

...&1'
L' 17"
.L.
I
..,. 1'>' ., . ..,... • n T ..... • T 1" 12'"

\
I 0.'
~
2'
b.
- I
• L _
--.
1':\
:J\;"").'
~ ,
r­ • - • .e1 0
::r
I
7' -1

--
-

1':\

I rz: ,
r- .
t::
11#-.

Scandinavian Dance

Fast :::> :::>

:::> ~

{) mf:::> :::> :::>

::::,.. ::::,..

:::>
:::>~ :::>
~ Meno mosso
I .
I .L. •••.~

,
,
.,..
::> ::>
111-~
­
::>
.--...... . . ::> ::>

Fine
81Jwothty
- • .. 41- -

::>
::> ::>

a tempo
::> ::>

J). C. at Fz'n e
Rubank Elem.Meth.for Trom.or Bal'. 47 49
 Two Part Invention
Moderato

>­ >­
I!- ~ ~ .,...,.,. . . .;.~
··
I":) "t9- 19- ~
- ..;. ;? f2.

f p
10
I >- >- I

··
:0;

f >- >- I =F T

p . . .

>- ... ..........

>­ p
.
:::::.. >­ >­ :::::..

f:-." .,...
• >­
:. 19- -(iiJ­ .f2- r: q~ f!:- -f2- H-6'­ ..Q..

I
··
p
:::::..
) >- :::::.. ::19- ,. - I >­ >­ >­ >- . I
··
~

I I I I I
f

··
,..~~ .,.. .p­
>­
b~ :::::..:::::..
,. . ~ ~~b~ ~ :::::.. .~~f!: 12 :::::..
......

f p
. . . . . . . >­ :::::.. >-:::::.. >­ :::::.. :::::.. >­ .
·· ~
I I I I T I
f

50

 QUARTETS

Ode from "Pirates of Penzance"

SULLIVAN

1st& 2nd~: .. . : t i t .. .(g- ~ :f2:. _ 6- 1'9- 1"2 ~ ~• .a.. ~:

.........

"TT

··
Melody in 2nd Trom.
1 p
3rd& 4thf l
.. I .. ~ I I I " Cl I I I i I
. .f!rj
··
c;. •

J;:J!'
::Z'T'
.L
.fIII-.,.
t=F-~~
~,

-t9­ '" 1'9-J ! Jj

.
IJJ
;'. ,- ~ ...
1":\
T

'{' I

-
I ::>
1.­ ::>
.
- ­
::>
n 11...., t9­ I 1 I " n n
I"":'.
..L. ·· . c;
:l
I I

Choral

BACH
I"":'. I"":'. 1":\
....
t- t""­ _ 1'1 • .,....
~ .Jt"P"" r r- r- t- t;­ """"­

1st ··
p
= :: -. f
t "f:- ~.,. IlL -fIl-1± .. 1":\ f! ~ fIl­ .,.. .,.
-
I"":'.
. I"":'.
2nd ·· ··
2
p
fIl- _ _
• I"":'. ~~.
-
=~~ f'-
I'- I'-~ ...
= f
I"":'.

3rd ·· ·
p . f
=. :: -I"":'.
I"":'. I"":'.
•
··
I

4th . ·
r - I I

....
·· .- -- . f • , 11 . . . . _ ~~.n ~ ­ t-t-t-
I"":'.
­
p
~"f:- ~ = = ~~~ fA-.". JP. it.. I"":'.
··
,I ~

=
··
p
I'- ... 1fJ- .,.. fL 1fJ-.0 .,.!'- ",.. ..
-
:f! ~ ~~,. 11±~ ~ .­ I"":'.

p
,I"":'.
- = I"":'. I"":'.
··
I

'--' .... -
Rubank Elem.Meth.for Trom.or Bar.47 51
 Stars of the Summer Night
WOODBURY
1st
··
~ ~,~ ~ J. JI rr 2- ... J. J~ ~ ..., -!-.~
~.
f--, IlL • .­

--
I I
I
3rd
P -===== ~ J=
2nd
·
, rr h• • J--==:=-:
,
~ .
. --
4th I Y' I V I I I I I ~
.Q.. ,-----.-e­
• .~ ~ J t#:
!
Ill. -e- 1if- -ft"'
··
I :::::==­ PP-=:::. ==--7Jif PP

·,
~ .1 .!:l.. ~ I I 1\ I I ) i I I 1Fi1
I f
rttrr
Trombone Quartet from "Pathetic Symphony"
I
I l rtt ir --- ­
~ ~:
~ b ~
'~:
-=----- ~IL
TSCHAIKOWSKY
1st &2nd t: '$ .. ~ -fit: ~~.- h. ~.-

·· I

P -=::. mp===­ P p- F mp :::::::­ p pp- P ::::::=-­ pp ppp pppp ppppp

3rd&4th ...., it ...., ~ I I ~ J
··
I
. 1'\
I
L I.

~
- I I:J

r-J!f "---' "---' -~- "--"

Exerpt from Overture to "The Mastersingers"

Adapted for 3 Trombones WAGNER
1st & 3rd

~ :

··
1'.:1 (r 1'.:1 .. ~!R- ~!~ ....... ... ~ ... . ... ~

.. =
I ··
I - I
-­ 'fI'-f/l-.,.
....=
.......
-­ .­
....1::

....... I
- -
·
....... •• b• .­ . rr n-' ; - J I I 1':"\
· . ...
... ~

-
. I I UI =~
r
I

-
I I

-­
I

·
,
.,.. .­ .."..
I
1'.:1 1'.:1 ..­ --­
-FFF­

::""l
 From the RUBANK EDUCATIONAL
-'e4 LIBRARY

RUBANK ELEMENTARY METHODS

A Series of Graded Fundamental Courses for

Individual or Like-Instrument Class 'nstruction

FLUTE (Piccolo) Petersen El-> or BBb BASS (Tuba) . Hovey

CLARINET . Hovey DRUMS . . . . . • • Yoder
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TYMPANI .. . Whistler
SAXOPHONE Hovey GUITAR (Spanish) • DePressles

CORNET or TRUMPET Robinson VIOLIN · Potter

FRENCH HORN (Ei:> Alto-Mellophone) VIOLA . . . . · Ward

Skornicka CElLO . . . . .Ward
TROMBONE or BARITONE · . Long STRING BASS. · Ward

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A Series of Graded Follow Up Courses for

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flUTE (Piccolo) · Skornicka-Petersen TROMBONE or BARITONE
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· . Skornicka-Miller
E;, or BBl:> BASS (Tuba)
OBOE Skornicka-Koebner
· . . . . . . Skornicka-Boltz
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CORNET or TRUMPET . . Skornicka VIOLIN . Potter

I
FRENCH HORN (Eb Alto-Mellophonel VIOLA . . . . . . . • . . . Ward
. . . . . . Skornicka-Erdman CElLO. · Ward

~
!
RUBANK ADVANCED METHODS
!I
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· . . . . . . Gower-Voxman
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