Tradition of Excellence Trombone Book 1

7/23/2019 Tradition of Excellence Trombone Book 1

http://slidepdf.com/reader/full/tradition-of-excellence-trombone-book-1 1/12

Trombone

Position

Chort

The

number indicates rvhat position to use.

-

=

a

shortened slide position.

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W61T

of

I I

e

n

cc'

;:il,;'x;:t*

Bruce Pearson &

Ryan

Nowlin

Student:

to

your

study of the trombone-an exciting

adventure filled

with rewards and challenges. Through

careful

study

regular

practice, you

will

quickly discover the

joy

and satisfaction ofplaying beautiful

music for yoursel{,

your family, you

or

a

concert

audience.

wish you many

rewarding

years

of trombone

playing.

6,r,*

4*

?$4vke

&

't*--'

Book 1

Bruce Pearson

Ryan

Nowlin

tnteractive Pracrice-the

key

to

EXcELLENcE

Make your practice

sessions

as fulfilling

and productive

as

possible

by

frequentlyvisiting

your Irteracttue Practic

Stvdio

Studio

at

www.kjos.com/ips.

0

e

9"

6

Hear

each

piece and play along You can even

change

the speed. All recorded accompaniments

can also be played from the DVD.

Create

recordings ofyourplaying that you

can

save

and email to friends,

family,

and

your teacher.

Learn to

play

your first notes, care

for your

trombone, and overcome challenges as you

progress.

Trombone

video

lessons

feature Kyle

Ross

Covington and can also be viewed from

the DVD.

Use the

MusicWriter Touch software to complete

wriften

exercises and

compose

your own music.

Download audio and

video files to

your

computer

and use them onyourportable

media device.

Access your

saved

recordings

for playback and

sharing.

Use the

Tuner/Metronome during

everypractice

session

to improve

your pitch and

rhythm.

Keeo an

eve out for fun Extras:

stories

behind

/

th.

,orrgr,'.l"ssical and world music recordings,

,

\

practice tips,

a

practice

journal,

and more

smortm-, :,;

Trailition

olE rcerlerrce

is available in SmartMusic.

To subscribe go to

www.smartmusic.com.

ISBN

10r

0-8497-7063-7

'

ISBN 13:

978

-0-8497-7063'0

O20ro KiosMusic Press, Neil A. KiosMusic

Comp.ay, Dtutdburor,43S2]utland

Drive, San Diego

'

Callfotni^,92117.

lnternational

copyright secured.AII

rights reserved. Printed in U.S.A.

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For

more

detailed

instruction,

be

sure to view

the

video

Lessons

in you

r Tradition

of

Excellence

Interactive

Practice

studio

ot on the

DVD.

More

lessons

are

available

every,i-"

yo"

,"""tii,

i.orr.

.

bell

brace

-

BELL

SECTION

I

lil

-

bell

slide

A

|

"

/l

lock

'

I

braces

I

tun ing

slide

MOUTHPIECE

-

slide

lock

sections

together

XK*

the

rec-eiver.

,n

{^n'

k

o rri(

"ce

re

ce i

ve

r

Hold

the

slide

section

by

the

braces

in

your

right

hand.

The

taller

side

ofthe

slide

section

should

be

positioned

t-owards

you.

Hold

the

bell

section

in your

left

hand.

place

the

receiver

ofthe

bell section

over

the taller

side

of the slide

section

makins

a

..V...

Tighten

the

lock

l

4)

Insert

ihe

that.holds

the.two

.

L [-

mouthpiece

into

SLIDE

SECTION

I

Water

key

I

I

.lriif

'

--\

Gently

twisr

rhe

#

mouthpiece

into

place,

but

not

too

*:_

.

tightly.

1)

Sit

up straight

at the

edge

ofyour

chair

with

your

feet

flat

on the

floor.

2)

Place

your

left

thumb

around

the

bell

brace

and

place

your

left

index

finger

on or

near

th

stem

ofthe

mouthpiece.

3) Place

the

remaining

fingers

ofyour

left

hand

around

the

first

slide

brace.

4) Grasp

the

second

slide

brace

with

your

righ

thumb,

index,

and

middle

6ngers

wirh

thi

.

thumb

on

top

and

two

fingeri

underneath.

5) Bring

the instrument

to

your

mouth,

resling

on your

left

shoulder.

6) Your

Ieft

w_rist

should

be straight

and

in line

wlth

your

torearm.

Your right

wrist

should

remain

Ilexible.

Keep

your

elbows

away

from

your

body.



the Trombone Away

Depress the water

key and

blow

(not

buzz)

through

the trombone

to

empty excess

water.

Wipe

of the trombone

with a soft,

clean cloth.

Remove the mouthpiece

and place

it in the case.

Unscrew the

lock

that

holds the two

sections

together,

remove the

bell

section and place

it

in the

case.

Clean

the slide, then lock

it and place

it

in the

case. Latch

the case.

1) Moisten

your lips

and shape the

inside

of

your mouth

and

throat as

ifyou

are saying

"oh"

Bring your lips

together

as

if saying

"em."

2)

Take

a

full breath

ofair

through

your mouth

and

blow

through

closed

1ips,

creating

a

relaxed

buzz.

3)

Remove

the mouthpiece

from the

instrument

and

hold

it by the

shank.

Without

using too

much

pressure,

place

the mouthpiece

over the

center

ofthe buzz

with

equal

amounts

ofthe

mouthpiece

on the

upper and

lower lip.

Use

a mirror

to

checkyour

embouchure.

4)

Take

a full

breath

ofair

through

your

mouth and play

a

long, steady

buzz.

5)

Complete

the

Mouthpiece

Workout

by

watching

the

video lesson

and

playing

along

with the

recorded

accompaniment

(see

page

1 for

details).

oiling

the

Slide

(Daity)

1) Unlock

and

carefully extend

the slide

until the

tops

ofthe

stockings

are

exposed.

(The

stockings

are

the

raised

part ofthe

inner slide.)

2)

Place

5

or 6 drops

ofslide

oil on both stockings.

3)

Move the

slide

up

and

down to

evenly

spread

the

oil.

Greasing

the Tuning

Slide

(Regularly)

1) Remove

the tuning

slide

from

the instrument.

2)

Remove

existing

grease

by

wiping

the

slide

with a rag.

3)

Apply a generous

amount

ofgrease

to the

tuning

slide.

4) Iniart

th;

tuning

slide

back

into

the

trombone

and

move

it

in

and

out ofthe

instrument

to

work in the grease.

offthe

excess

grease

with a

ra .



bar

lhe

=

o

th

ta

III

J

UI

rn

E

00

oiu

IIJ

z

o

00

=

o

#

ledgerlines

-

slines D+

When

you

play

your instrument, you

will

probably

play

one

ofthese two notes:

music alphabet

-

first

seven

letters of the alphabeq these

note

names are assigned

to

the

lines

and

spaces

ofthe staff

accidental

-

symbol that

alters the

pitch

ofa

note until the end

ofthe

measure

flat

-

lowers the

f,

pitch ofa note

one

halfstep

interval

*

distance between two

pitches

halfstep

-

smallest

interval

used

in

Western musicl on a

piano

keyboar4

it

is

the distance

from

one

key

to

the

very next

key-white

or

black

B flat (Bb)

-...-*\

-

LdrFEr..

El

+sP"ca

B'--r Bb

4

=

number ofcounts

per measu

4

=

type ofnote

(.])

that

gets

on

o

whole note

=

4

counts ofsoun

whole rest

=

4

counts ofsilenc

Ask

your

teacher

which

note you

are p

Ifyour natural note

is

Bt,

start

on

page

Ifyour

natural note is

F,

start on

page

D..r orFd.f

ffi

m

To

enhance practicing,

use

the

recorded accompaniments, video lessons, and more provided

in your Trailition oJ Excelle

lnteractiue

Prcctice

Studio.

See

page

1

for more information.

1 . The First Note

) How is your posture?

B'

2.The

Second

Note

c

)Are

you

using

plenty

ofair?

B

-l

I

XF

FA

>5

IO

cE

r.,

rtaff&

barline

atcidental,

I

fr-

-

ft

o

counting

I

2

3

4

other counting

(t

3.

Music

in Motion

I

Are

you playing with

a

good embouchure?

4. All Together,

Now

) How

is

your hand position?

D

5. Mr.

Whole

Note

Takes

a Walk

>Write

the note names beneath

the music before you

play.



---

t"tt"t"t

--.--

-

ledgerliDes

i-E

aspaces

6nal

music

alDbabet

-

first

seven Ietters

of

rhe

alphabet:

Lhese-note

nam'es

are

assigned

to the

lines

and

sPace5

ofthe

statt

accialental

-

symb;lthat

alters

the

pitch

ofa

note

until

the

end

ofthe

measure

4

=

number

ofcounts

Per

measure

4

-

rype

ofnote

(J)

rhat

gets

one

count

ry"w

E

----+

Eb

interval

-

distance

between

two

pitches

halfstep

-

smallest

intervalused

in

We'<tern

music;

on

a

Pjano

keYboard,

it is

the

distance

from

one

key to

the

very

next

keY-white

or

black

To enhance

practicing,

use

the

recorded

accompaniments,

video

lessons,

and

more

provided

in yov

Ttailition

oJExcellence

;':cractiue

Practice

Studio.

See

Page

1

for

more

information'

1. The

First

Note

)

How

is

your posture?

flat

-

Iowers

the

pitch

ofa

note

one

halfsteP

whole

note

=

4

counts

ofsound

in

e

whole

rest

=

4

counts

of

silence

in

f;

fr

rO

counting

1

2

3

4

other

counting

2.

The Second

Note

)

Are

you using

PIentY

ofair?

3.

Music

in Motion

)

Are

you

playing

with

a good

embouchure?

4.

All

Together,

Now

)

How

is

your

hand

Position?

E flat

(E:)

5. Mr.

Whole

Note

Takes

a

Walk

> Write the

note

names

beneath

the

music

before

you

play'



0

z

(

0

J

J

l

II

^"'i""*:,':,'"*,tl'Ji::ii:",ff::

:ll'ir:'.*x',f

ii:ila"-

ffi

I

To enhance

practicing,

use

the recorded

accompaniments, video lessons,

and more provided

in yol;- Tradition

of Excelle

Interactive

Practice

Stadio.

See

page

I

for more

information.

etaff&

bal lines

t--

one

halfstep

1. Away

We Go

D

barsorF

dd

_.-

-*\

-

lcdt€r|tu.'

-tu."r,.

-b:,'tn.

bar line

stafr

E 0at

(El)

ledgerliDes

=

5litres D+

IE

+"p**

E

*--|

Eb

interval

-

distance between two pitches

halfstep

-

smallest interval

used

in

Western

musici on a

piano

keyboard,

it

is the distance from

one key to

the

very

next

key-white

or black

)

How

is

your

posture?

=

number ofcounts per

measu

=

type

ofnote (J)

that

gets

one

whole note

=

4

counts ofsoun

whole rest

=

4

counts

ofsilenc

f"=

U

o

counting

1

4

other

counting

.A

r9

=iJ

3*

fre

{,.J

r*,

aaiaentat,f

2.

GOing

Up?

)Are

you

playing

with

a

steady

air stream to produce

a

smooth,

even sound?

Eb

3.

Count Me

ln

)

1)

Write the counting under

the music. 2)

Clap the rhythm.

3)

Sing the notes

using

"too,"

the note names,

or solfdge.

4)

Play

4.

Higher

Ground

F

)Are

you

playing

with

a good

ernbouchure?

5.Ivioving

Around

f?@

)

Write

the note names

beneath the

music before you play.

) Here is how

to draw a

bass

clef.

)

Draw eight

bass

clefs on

your

own, Be sure

to draw the dots on both

sides

of

the fourth

(F)

line.

)

z)



o

h.Ifmte

=

2

couDts ofsouad in

f;

halfrest

=

2 counts of silence

in

f,

t

brearima*-

take a breath

sighl-readiry

-

pla),ing

or singing a piece

of

music

for the first

time

duet

-

piece

of music

featuring two

diferent

parts played

or sung

together

'l

l :

armony

-

two

or more notes played

T.DeepBreaths

@

or sung

at the same time

4qt

)

(O

counting 1

z 3

4

other counting

8. Rhythm

Time

>

t)

Write the counting and clap the rhythm before

you

play.

2) Play on the note D

(Concert

D).

RHYTHM SruDrEs:

p.

44,

#'t-4

9.

Half

Note Rock

,

'10.

Sight-Reoding

Chollenge:

Steppin'

)

Always

carefully

inspect

music before

you

sight-read

it.

,

-

Duet

,

1 1.

El

Camino Mariachi

)

Count, clap, sing, and playl The B part is

shaded

for easier

reading.

B.

,

12.

Cuckoo

ry@

Traditional

4

Play

5

Ljsten

6

PIay

)

Practice with the recorded accompaniment.

Listen in measures 1,

3, 5,

and

7.

Irr

measures

2, 4, 6,

and

8,

echo what you

heard.

Your starting notes

are

shown

7

Listen

3

Play



dg

z:*

F>

tJ

ti

20.

Go

TeltAunt

Rhodie

(rE

a

a,

)

quarternote

=

I

count

ofsound

in

{

quarter

rest

=

l

count

ofsilence

in

fl

-Nt

a

a

I

l

)

ro

counting

I

2

iz

4

other

counting

--

American

Folk

Son

B flat

(

14.

Rhythm

Time

>

1)

Write

the

counting

and

clap

the

rhythm

before

you

play.

2)

play

on

the

note

D

(Concert

D)

15.

Rising

Rhythms

)

Start

each

note

bywhispering

the

word,,too.,,

RHYTBM

STUD|ES: p.

44,

#5-17

16.

Stepping

Stones

)

Keep

the

air

moving.

18.

ln

a

Minor

Mood

c

)

Count,

clap,

sing,

and

play

)

19.

Hot

Cross

Buns

) When

playing

low

notes,

keep

the inside

ofyour

mouth

open

and

your

teeth

apart.

,

Engli

Folk

So

b

)

l)

Draw

a bass

clefat

the

beginning

ofthe

stafl

2)

Trace

the

notes,

accidental,

and

rests,

and

draw

three

more

ofeach.

17.

Rain,

Rain

Traditio



Soli

-

a small group

or

section

plays

or

sings

Tutti

-

er-eryone plays or sings

:

I

repeat sign

-

play or sing the music again

22.

Little

Robin Redbreast

.

1

st Phrase

e

coomon time

=

t

phrase

-

musical sentence,

often 4 or 8

measures long

round

-

song

in which the

same

part is

played

or

sung

bytwo or more groups

starting at different

times

composition

-

creation ofmusic

that canbe

performed later, usually

from written notation

Traditional

Solo

I

Tutti

.-2nd

Phrase

Solo

SoIo

-

onl,r-

one

person

plays or silgs

23.

Skill Builder: Merrily

We

Roll Along

)

Count, clap,

sing, and play When you

reach

the

Traditional

end

ofthe

song,

repeat once from the beginning.

,,

24.ltsy

BitsySpider

-

Round

)Addbracketsto

the

phrases.

Trad

itional

how

rn

25.

A

La Rueda

Soli

(woodwinds)

I

Soli

(brass/percussion)

Spanish

Folk Song

)

B.

,

,)

,

26.

Love

Somebody

-

Duet

2T.GoodKingWenceslas

g @

Solo/Soli

Traditional

,

Traditiona

English Caro

Tutti

Tutti

Solo/Soli

>

1) Draw

a

bass

clef.

2) Complete and

playyour

composition.

- -

Composer



articlldkE

-

tTp€ of

atlack used to play

a

note or group

ofnotes

shr

-

articnlatin

tbat con-oects

notes of

drr./R rt

pitches;

hdi:ates

a

rerl

smooth

sound with

oElF the first

note tongued

G

-6lro

=r-

ne-measure repeat sign

-

play or sing

the previous measure again

doooo

>When

slurring,

move your slide quickly.

,

31 . Camptown

Ra(es

>

Draw the

missing

notes

in

the ovals before you play.

,

f/

S*r*n

,ouu.

^nerm,

fir,r

srear

popr,tar

Stephen

ll

x#,i|,:::;',::::":"';"::":,',:,:?::"i:;::;;;i.?,"J^

(826

| ,'

Amencan Lo

Solo/Soli

Tutti

32. Skill

Builder )

Add

brackets to show the phrases.

29.

Warm-up:

Serenity

-

Ro

und

6*

>l*T;Xir1T".lruep-ositionon

notes that

are slurred.ltmayb

o,

A,

€)_

-

il""dltonePrivateLessonpriortoplavingth';:

too

doo

too

30.

Chop Builder

33.

London

Bridge

-

Duet

)Are you using a

"doo"

tongue position when

slurring?

English Fo

34.

The Frog's

Song

-

Round

t

@

)Areyouslurring?

Japanese Fo

too doo

too doo too doo doo doo

Mlsrrnrr.rc

ExcrueNcE:

p.38,

B-

)

,

)Move

the

slide

very quickly as

you

tongue.

Tongue only the first note

ofeach slur.

W51TB

oh too oh oo too doo too doo



11

=

two

counts

per

measure

=

quarter note gets one couDt

e,

,4

a

I

d

counting

1 2

other counting

q2

7=

za

)z

oo

t,|J

sharp

(fl)or

flat

(r)

signs placed

after

a

clef

In these key signatures,

play or sing:

no

sharos

evervF

as

everv

B

as everyB

as B flat,

or flats

'

F shirp

B flai

everY

E as E

flat

tie

-

marking that

connects

notes

of

the

same

pitch

to make

one

longer note

36,

Rhythm Time

>

1) Write

the

counting

and clap the

rhythm

before

you

play. 2) Play

on the

note C

(Concert

C).

Rxvnm

Sruores:

p.

44,

#1a-2oip.

46,#4143

37.

Two

Step

)

Circle the notes changed

by

the BI

maior

(Concert

B[ major) key signature,

highlighted

in

purple.

A'

38.

Sight-Reading Chollenge:

Shoo

Fly

39. Russian

Folk Song

-

Duet

f/ffi

ou,,

a,

d

ged nu

si

c

h i s to

r

y's

llf

Cto"i,ot

o"ano.'ntrc

Perads'

American Folk Song

Ludwig van

Beethoven

(1770-1827\

German Composer

B.

)

40,

San

Sereni

l@

)

Addbrackets

to show

the

phrases.

Puerto

Rican

Folk Song

) Add

the notes

and

rests together

to find the number

ofcounts.

A quarter

note

gets one

count

Documents

Tradition of Excellence Trombone Book 1