Helpful Information for North Allegheny High School Euphoniums
High School and University Audition Repertoire
Methods and Studies
Level 3
Arban, Method, Carl Fischer
Bordogni, Melodious Etudes for Trombone, Carl Fischer
Fink, From Treble Clef to Bass Clef Baritone, Accura
Gower, Rubank Advanced Method Book II, Rubank
Pares, Pares Scales for Trombone or Baritone, Rubank
Phillips, Silver Burdett – Instrumental Series, Silver Burdett
Rubank, Rubank Soloist Folio for Trombone or Baritone with Piano Accompaniment, Rubank
Schlossberg, Daily Drills & Technical Studies for Trombone, Baron
Voxman, Selected Duets, Books I & II, Rubank
Voxman, Selected Studies for Baritone, Rubank
Level 4
Arban, Method, Carl Fischer
Blume, Thirty-One Studies for Trombone, Fischer
Bordogni-Rochut, Melodious Etudes, Book I, Fischer
Fink, Introducing the Alto Clef, Accura
Fink, Introducing the Tenor Clef, Accura
Voxman, Selected Studies, Rubank
Charlier, Trente-Six Etudes Transcendantes, Leduc
Gower, Rubank Advanced Method for Trombone or Baritone, Vol. I, Rubank
Grigoriev, 24 Studies for Bass Trombone or Trombone withy F Attachment, International
Pares, Pares Scales for Trombone or Baritione, Rubank
Phillips, Silver Burdett—Instrumental Series, Silver Burdette
Rubank, Rubank Soloist Folio for Trombone or Baritone with Piano Accompaniment, Rubank
Schlossberg, Daily Drills & Technical Studies for Trumpet, for Trombone, Baron
Voxman, Selected Studies for Baritone, Rubank
Level 5
Amsden, Duets, Barnhouse
Arbans, Method, Fischer
Blazhevich, Clef Studies, Fischer
Bordogni-Rochut, Melodious Etudes, Book I, Fischer
Kopprasch, Sixty Studies, Book I, Fischer
Remington, Warmup Studies, Accura
Tyrell, Forty Progressive Etudes for Trombone, Boosey
Bodet, Seize Etudes de Virtuosite D’Apres J.S. Bach Pour Trompette, Leduc
Charlier, Trente-Six Etudes Transcendantes, Leduc
Gillis, 20 Etudes for Bass Trombone with F Attachment, Southern
Gillis, 70 Progressive Studies for the Modern Bass Trombonist, Rubank
Gower, Rubank Advanced Method for Trombone or Baritione, Vol. II, Rubank
Kopprasch, Sixty Selected Studies, Fischer
Sclossberg, Daily Drills & Technical Studies for Trumpet, for Trombone, Baron
Voxman, Selected Studies for Baritone, Rubank
Level 6
Arban, Method, Fischer
Bach, Six Cello Suites, International
Blazhevich, Concert Duets, Belwin
Bordogni-Rochut, Melodious Etudes, Book II, Fischer
Bordogni-Rochut, Melodious Etudes, Book III, Fischer
Bousquet, Thirty-Six Celebrated Studies, Fischer
Charlier, Thirty-Two Etudes de Perfectionement, Lemoine
Clarke, Technical Studies, Fischer
Kopprasch, Sixty Studies, Book II, Fischer
La Fosse, School of Sight Reading, Book V, Baron
Ostrander, Shifting Meter Studies, King
Remington, Warm-up Studies, Accura
Schlossberg, Daily Drills & Technical Studies, Baron
Bodet, Seize Etudes de Virtuosite D’Apres J.S. Bach Pour Trompette, Leduc
Dubois, Quatorze Etudes, Leduc
Schlossberg, Daily Drills & Technical Studies for Trumpet, for Trombone, Baron
Solos
Levels 3-4
Alary, Contest Pieces (Morceau De Concours), Cundy-Bettone
Bach, J.S., Arioso from Cantata No. 56, Schirmer
Bach, For He That Is Mighty from the “Magnificat,” Kendor
Bach-Beversdorf, Tis Thee I Would Be Praising, Southern
Bach-Figert, For He That Is Mighty, Kendor
Bach-Fitzgerald, Du Bist Bei Mir, Belwin-Mills
Bach- Ostrander, Patron of the Wind, Editions Musicus
Barat, Andante et Allegro, Cund-Bettoney, International & Southern
Barat, Fantaisie, Leduc
Beach, Suite, Associated Music Pub.
Berlioz-Smith, Recitative and Prayer, Presser
Bernstein, Elegy for Mippy II, Schirmer
Boda, Sonatina, W.D. Stuart
Boutry, Tubaroque, Leduc
Cimera, Waltz Helen, Belwin-Mills
Corelli, Sonata VIII, Kendor
Dubois, Cortege, Leduc
Frescobaldi, Canzoni, Ludwig
Frescobaldi, Toccata, International
Galliard, Sonata No. 2, McCinnis & Marx
Guilmant, Morceau Symphonique, Warner
Handel, Andante and Allegro, Southern
Handel, Honor and Arms from Samson, Edition Musicus
Handel, Wher’er You Walk from Semele, Boosey & Hawkes
Handel-Ostrander, Arm, Arm Ye Brave, Edition Musicus
Hartley, Arioso, Fema
Haydn, Air and Allegro, Rubank
Haydn-Schuman, Adagio from the Cello Concerto, Warner
Hindemith, Drei Leichte Stucke, Schott
Hutchinson, Sonatina, Fischer
Johnson, Soliloquy, In Three-Four, Rubank
Kreisler, Sonatina, Southern
Marcello, Sonate for Tuba, Basse Solo, Baritione or Euphonium in Bb with Piano, Elkan
Marcello, Sonata in F Major, International
Marcello, Sonata in G Minor, International
Marcello-Ostrander, Sonata in G Minor, International
Martin, Elegy, Fischer
McKay, Ariette and Capriccio, Boston
McKay, Concert Solo Sonatine, Boston
McKay, Suite, University Music Press
Mozart, Ave Verum Corpus, Elkan
Mozart, Concert Rondo in E-flat Major, K. 371, Southern
Mozart, Rondo from Concerto in Bb (K. 191), Kendor
Muller, Praeludium, Chorale, Variations and Fugue, Edition Musicus
Pryor, Annie Laurie, Ludwig
Pryor, La Petite Suzanne, Fischer
Pryor, The Patriot, Fischer
Rimsky-Korsakov, Concerto, International & Leeds
Rossini, Inflammatus from Stabat Mater, Fischer
Rousseau, Piece Concertante, Cundy-Bettoney
Saint-Saens, Cavatine, Op. 144, Editions Durand & Cie
Telemann, Sonata No. 1 in, Bb Major, International
Vivaldi, Praeludium in C Minor, Edition Musicus
Vivaldi, Sonata No. 1 in Bb Major, International
Walter, Jabberwocky, Rubank
White, Dance and Aria, Shawnee
Levels 5-6
Adler, Canto II, Oxford University Press
Bach, Cello Suite No. 1 in G Major, Schirmer
Bach, Sonata No. 1, Southern
Bach, Suite No. 4 for Unaccompanied Cello, Schirmer
Bach-Lafosse, Cello Suite No. 1, Leduc
Bach-Lafosse, Cello Suite No.2, Leduc
Barat, Morceau De Concours, Leduc
Barat, Remminiscences de Navarre, Leduc
Bassett, Suite, Robert King
Bassett, Sonata, Robert King
Bitsch, Intermezzo, Leduc
Bonneau, Capriccio, Leduc
Boutry, Tubacchanale, Leduc
Bozza, Allegro et Finale, Leduc
Bozza, Ballad Op. 62, Leduc
Bozza, New Orleans, Leduc
Bozza, Prelude et Allegro, Leduc
Casterede, Sonatine, Leduc
Clarke, The Bride of the Waves, Witmark
Cope, Three Pieces for Trombone with F Attachment, Brass Press
Corelli, Sonata in D Major, International
Corelli, Sonata in F Major, International
Corelli, Sonata No. 9 in A Major, International
Corelli, Sonata in D Minor for Cello and Piano, International
Corelli-Brown, Sonata in F Major, International
David, Concertino, Op. 4, International
Davison, Sonata, Shawnee
Dedrick, Inspiration, Almitra
Dutilleux, Choral Cadence et Fugato, Leduc
Fasch, Sonata, McGinnis & Marx
Galliard, Sonata I, McGinnis & Marx
Galliard, Sonata III, McGinnis & Marx
Galliard-Clark, Sonata No. 2, McGinnis & Marx
Galliard-Clark, Sonata No. 4, McGinnis & Marx
Grondahl, Concert, Giovanni
Handel, Aria Con Variazoni, Leduc
Handel, Concerto in F Minor, Southern
Hartley, Sonata Concertante, Fema
Hartley, Suite, Elkan-Vogel
Hindemith, Sonata, Schott
Jacob, Concerto, Mills
Jones, Sonatina, Fema
Larsson, Concertino, Op. 45, No. 7, Carl Gehrmans Musikforlag
Lebedev, Concert Allegro, University of Michigan Press
Lebedev, Concerto in One Movement, Edition Musicus
Macello, Sonata in A Minor, International
Marcello, Sonata in F Major, International
Martelli, Dialogue, Op. 100, Editions Max Eschig
McKay, Sonata, Remick
Mozart, Concerto in Bb Major (K. 191), International
Presser, Sonatina, Tenuto
Pryor, Blue Bells of Scotland Air and Variations, Fischer
Pryor, Thoughts of Love, Fischer
Rimsky-Korsakov, Concerto for Trombone and Band, International
Sanders, Sonata in E-flat, Warner
Senaille, Introduction and Allegro Spiritoso, Hinrichsen Edition
Serocki, Sonatina, Polskie Wydawnietwo Muzyczne
Spillman, Concerto, Edition Musicus
Spillman, Two Songs, Edition Musicus
Stevens, Sonatina, Southern
Telemann, Fantasie No. 2 in F Minor, Fischer
Telemann, Fantasie No. 3 in C Minor, Fischer
Telemann, Fantasie No. 12 in B Minor, Fischer
Vivaldi, Concerto in A Minor, Editions Musicus
Vivaldi, Sonata No. 1 in B-flat Major, International
Vivaldi, Sonata No. 5 in E Minor, International
Vivaldi, Sonata No. 6 in B-flat Major, International
White, Sonata, Southern
White, Tetra Ergon, Brass Press
Wilder, Sonata, Margun
Selecting a Step-Up Trombone
Selecting any step-up instrument should be a personal and hands-on process. The same instrument will feel and play differently for musicians. Try a number of instruments out before you purchase one. Often instrument makers will allow you to order instruments on consignment so that you can try them out before you buy. I know a lot of musicians that actually go to the factory to try out and purchase their instruments. Below is a guide to buying intermediate and professional model instruments, it is in no way a complete list and only a few recommendations to get you started.
Intermediate Trombones
Blessing Artist Models B7 and B8
Getzen 1036F (F-Attachment)
Blessing Artists Series B78 (F-Attachment)
Getzen Capri Model 525F (F-Attachemnt)
Getzen 725
Professional Trombones
Yamaha Model 1201
Getzen 1047F
Bach 42BO
Bach 36
Conn 88-H
Besson BE944R
Selecting a Mouthpiece
1. Rim: Narrow rim greater flexibility, less endurance
Wide rim greater endurance, less flexibility. Players with soft fleshy lips find this useful.
Flat rim comfortable, but holds the lips keeping them immobile
Medium-wide rim greatest compromise between flexibility and endurance
2. Bite: Sharp bite greater accuracy, less flexibility, but less endurance
Round bite greater flexibility, greater endurance, but less accuracy
3. Cup Diameter: Wide cup low register easier and upper register more difficult
Narrow cup upper register easier and lower register more difficult
4. Cup Depth: Deep cup darker sound, lower register more responsive, upper register flatter, and more difficult
Shallow cup brighter sound, upper register more responsive, and lower register less responsive
Recommended Mouthpieces
The following is a complied list of recommended mouthpieces for the beginning to the advanced brass player. It is VERY important to remember that a mouthpiece is a very personal choice and the student should try a variety of mouthpieces out before purchasing one. As the student progresses there will be the need for the student to purchase a different mouthpiece. For example a junior or senior in high school that has been playing since fifth grade should NOT be playing on a beginner mouthpiece as this will affect the student’s tone, intonation, and air usage. This is only a partial list.
Trombone
Vincent Bach 12C (small), beginning
Vincent Bach 7C (medium), intermediate
Vincent Bach 6 ½ AL Symphony tenor, advanced
Vincent Bach 5 GS Symphony tenor, advanced
Vincent Bach 5 G Symphony, tenor, advanced
Vincent Bach 3 G small bass, advanced
Vincent Bach 2 G medium bass, advanced
Vincent Bach 1 G large bass, advanced
Other Recommended Trombone Mouthpieces
Vincent Bach 11C, beginning
Schilke 47, beginning
Schilke 48, beginning
Schilke 49, beginning
Vincent Bach 6 ½ AL, Intermediate
Schilke 50, intermediate
Schilke 51, advanced
Schilke, 5B, advanced
Schilke, 51D, advanced
Schilke, 52D, advanced
Schilke, 52E2, advanced
Reynolds-Pottag 6D, advanced
Most Frequently Used Mutes
Plunger – often a standard toilet plunger without the handle, used in jazz and all idioms of music to produce the effect of opening and closing the sound. A “+” above the notes tells the performer to close the plunger over the bell, while and “0” means to open the plunger by pulling it away from the bell.
Prixy Mute – used exclusively for jazz; produces a softer, strident tone quality. Its smaller size allows the use of a plunger.
Cup Mute – produces a mellow sound and is used for special effect in jazz, ensemble solos, orchestra, and band. It usually plays slightly flatter when inserted.
Straight Mute – used as the standard mute in all idioms of music. It has a strident quality and plays sharp when inserted. If music calls for unspecified muted section, “con sordino,” the straight mute is used.
Harmon Mute – used almost exclusively in jazz and for special effects in all other idioms. It comes in two parts with an inserted stem that gives the instrument a secondary bell. By using the hand open and closed over the stem bell, a “wa-wah” effect is produced. If the stem is taken out, the tone has a “buzzy” quality.
Whisper Mute – looks like a straight mute with holes in it. It is designed to play extremely soft, allowing the musician to practice in situations where normal volume is prohibited.
Private Lessons and Practice Suggestions
What can my lesson be?
A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.
A chance to correct basic technical problems and to learn new an better ways to solve challenges that the instruments and music present.
A chance to learn new repertoire and to learn about repertoire yet to be studied.
A chance to be a part of a community of players on your instruments; to learn and grow with them. Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.
Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond. As your performing ability improves, so does your satisfaction with music making.
Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems. You cannot “cram” for a lesson or performance; it does not work. Put in the time each and everyday. It shows when you get on stage. There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time. Most stage fright and tension problems are a result of poor/irregular preparation. Here is a basic list of practice goals:
a. Determine your semester goals. Then determine your weekly goals.
b. Decide what you must do today (today’s goals) to realize the weekly goal. Be very specific.
c. Warm-up. This can and should consist of a wide variety of techniques and styles. Feel free to vary you warm-up from day to day.
d. Practice individual patterns or sections of the music that need the most attention.
e. Take a brief rest. Walk away from the instrument to get something to drink and to refresh your mind. This should be brief so as to not lose your focus.
f. Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.
g. Review problem spots from the run-through.
h. Review previous etudes or repertoire.
i. Do some sight-reading. The best way to learn to read is with another player. This can be either duets or playing the same thing together. Sight-reading alone is not nearly as beneficial.
j. Decide on tomorrow’s goals.
k. Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through. If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.
l. Think about the following quotes everyday:
o Nothing happens but unless first a dream
o Go for it! Life is not a dress rehearsal
o All gave some, but some give all. Which am I?
Duets – Find another musician to play with. You can also play solos and etudes together. This is one of the best ways to improve sight-reading, and it’s a good time.
Listening – Find recordings of professionals that play your instrument and other Instruments. Go and hear as many live performances as you can!
Join Your Professional Association – Make an effort to purchase a membership to your applied professional association, The International Tuba and Euphonium Association at www.iteaonline.org. . They will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.
Buying Your Own Music – You should buy and own as much music for your instrument as you can afford. Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.