RUBANK EDUCATIONAL LI RARY No. 39 RUBANK WEVWOL TROMBONE ox BARITONE NEWELL H. LONG PUT ae MS Coane eC eee rath)Chart of Slide Trombone Positions and Baritone Fingerings Fate a nh & trombone or taritove (or any other instrument with a cup mouthpiece) may be mado | tae raid 38 2 hole or in fractions of ‘es teng th by varying the tonsion of the player's Yipe The wan the Puedes tis produced im each of the seven side positions (and valve combinations] ars indicated ta the following: table: (Fingering for baritone in Fractions by which Air in Tnstrument parentheses) : 5 Fo Pedal tones rarely feat 1st Position 3 Siide ail te =! yy in (Opens no valves) bs 2nd Positio | Siite extended =A ] aout 33 inches = j (2nd valve) = BCE DE: 3rd Position Ab j Slide extended =p —A* : shout 73 inches = 3 ‘ist vaio) = s th Positon- : Slids extended 2 ig ‘tout a1 tes = 25 fet and Seder ed ve Sth Position- 33 Slide extended = = fe abont 15% inches i ——— ae ‘and and 3rd) FHL agith Gi e of 6th Position- i ie be pa! ig Sliae extended 3 32 aout 98 tos — : lise and Sea F F 7th Position Slide extended “ep E— about 23% ince =. a. NOTE: , All tones produced ty the air vibrating in sevonths are flat and must bo corrected by making Ter cirrist feat (es SbeeE Rn Mook Worker. This, of comes, in kapearin ie aoc pectin vce anc in all fingerings on baritone. The baritone player must chose a differant fingering for the requi red tone or force it into tune with his Tips. The latter is seldom satistactory. Copyright. MCMXXXIV, by Rubank, Ine, Chicago, It. Copyright Renewed International Copyright Secured 2LESSON 1 Whole Notes Count 1234 1234 Fr rest ; = Tat position trombone (0) "open boritone B flat be. bo 2 o Anat ‘Bed position a wt valve bon bo. & Gib position fy Ist and 2ed valves E fat = 4 Sr position Toy Signature 2 Copyright, MCBOOKKIY, by Ruban, Ine, Chicago Ii Copyright Renowad intersationl Copright SecuredLESSON 2 Whole Notes and Half Notes D “th position RepeatLESSON 3 Quarter Notes Coumt 1234 1234 a = es Lightly Row » DEE frre : Folk Melody “ Raback Bem Meth fr Loom or ba 47 8LESSON 4 Extending the Range - Sixth Position D = 2 2 Tet position ~ © Tat position ‘th position ist om 1 ‘oth ‘8h position it «6th @ Count 3 4 A A ; BEETHOVEN ‘Take a breath only where there is a 9~ comma or breathing mark 2 2 Mebeek Mem Meth fr Tram, or Ba, 7LESSON 5 Dotted Half Notes - 3 Measure Merry Widow Waltz LEHAR ping a8 one noke Lovely Evening ® NOTE: Lovely Evening may be played as a round by (wo oF three tfosbones or baritone, aback lem Meth for Trom. or bar, 47 aLESSON 6 Key of B-flat - Two flats Aoatura) yg pas ag veaion At Pierrot’s Door 2 Rubask Fete Mek fi Trom cr Bar 8ea LESSON 7 Ties and Accidentals = Soff Tgp St —LESSON 8 Eighth Notes ® 128341 283 48 1234 Fine DS. al Fine Rabank Wem, Meth for Trom or Bar 47 10Lesson 9 24 Measure tare Orr 1291 28 12 Hungarian Dance Crambambuli American Folk Song Rabaak Hem Meth for Iromor Bar 47 "LESSON 10 Dotted Quarter and Eighth Notes cout 1 2¢54® m © ® ® | ep Eare aes ‘Measures (@) and © sound the same Stars of the Summer Night WOODBURY All Through the Night Auld Lang Syne 5 America the Beautiful _ SSS] Sie ee i es B Gatural) “aii position w foftioptoptses America aback Rlem Meth ter Trom, ov ar 4 2LESSON 11 Half and Quarter Rests cou 4 OD Or 234 T2341 234 1 Dee {SR d ‘Rest, ‘Rest a it Rest, Rest Rest » Sear prrratepat Se alters See er tate ees th WAGNER Swan Song from “Lohengrin” Wash Kiem Me for Tremor Mar, 42 3LESSON 12 Eighth Note Rhythms Count 1&2 & 34 German Folk Song Reuben, Reuben Duets 1 and.2 on page 47 may be introduced at bank Wem, Meth for trom. or Bar. 47 4 this time,Extending Lower Range = A So. z Fad postion 4th position ‘ @ © No, John English Folk Song Rabeak Hem. Meth for Trom. or Bar. 47 8REFERENCE PAGE Chromatic Scale Ex.2 and Ex.3 on this page should be played; the others are optional it aa @@ th GIs aad Sek hth! Sth 7th oe * % @ © & ww a @ @ @ eet eth] gm Nm atest oS 7 8 6 @ oe © VT oO Y e @ ste aoe eg On eg gg lt ra ad od oo Oo. ue = 8 a «a cyt @, sek 2 3 Is 4th Grd 2nd Ist ard nd dat nd Grd tet Ord Ged 4th Ist oP 8 oe oO So ee eee Oo © Fsap grat © cot — Fstarp©csharp pet OPM er 2 sm sh Bh | Sth) Sth zal ® @ @ ‘3 ®) @ e Eee ew tere t SA igen” Pe 3 Bie pinenite Oia stp = fete: = Tee et ies KNOT: Eifect of an“accidental” lasts throughout the measure snloss cancelled by another “accidental” ASSIGNMENT-—"Writ fe portion (or ingering) ope esh ate i Bx. 4 and 5. ik » Repeat Hem. Met. for Trem. or Bar. 47 6More Accidentals — 5th Position LESSON 14 Mal lem sound the same pitch PP (very soft) oh om 6 ® © Oo Gftat laces 5 1s 's o@ © @ a © @ @ ‘samesound ‘Name the positions before ‘you play this exercise ( TF (medium volume) Mareh of the Giants ms iowa see he oe Babarp————-—— 1S = = F (loud) with firm tone } @ Rubenk Kiem, Mek, for Trom. or Rar 47 ”——— Lesson 4-8 Supplementary Songs with Accidentals and Review of Rhythms Go Down, Moses 2 : pete) » How Can I Leave Thee Eroiea Adapted from Finale of Beethoverls Third Symphony ahank Kiem. Meth for From or Bas. 47 8ho. ES LESSON 15 Eighth Rest aa cout: 02691828 O1e2eG1028® t2asea 3a 2 Sree Fox 4 NOTE: Tie brings effect of the accidental into the next measure, but for the tied note only. Robash Blew, Meth. fr T Be 9LESSON 16 Key of F - One Flat E natural = 2 = P= = PM = pI P= vimile Be E natural Octaves 2nd Air from “Zampa” HEROLD 6 = Blue Bells Of Scotland SKobank Elem, Moreton Troms, or Bar, 47 20Lesson 17 6% Measure - Six Counts to the Measure 6 a ~ = @ ®- Qi23456 Orsiss © RMS TROT 24 5c 3 fees : = + = = : SS # couxop Petite Chanson FRENCH 1 aLESSON 18 Key of A flat - Four Flats w w te a. w Tad o Comt 123456 123456 College Song Fine DS. al Fine ubank Hem. Meth for Trom. oF Bar, 47LESSON 19 Alla Breve - (Cat Time) © indicates 4% measure @ indicates 7% measure ‘Two-Pour Two-Two Alla Breve ~ rl fe) O) eae te) © Ser fas Each of these = 1 three ‘examples 7 7 are counted alike & Cout 1 & 2& 1 2 1828 Same as pre ceeding measure additional drill on Atla Breve is desired, review Lessons 4 and ft playing those exercises in Atla Breve -¢. Vabank Fler. Mets, tor Tiom.cr Bar aLESSON 20 Key of C- No Flats or Sharps og Bamtural Prayer of Thanksgiving Netherlands Air Silent Night Count 12 &3 456 CRUBER oPLESSON 21 6% Measure - Two Counts to the Measure Practice this lesson slowly, counting six to each measure, before trying it in two counts. £23458 123486 123456 123486 123456 . 133486 12486 1 2)'@1 2° @1 2 2 Count @1 2 £2 ® 2 ©1 1 *Row_ Row, Row Your Boat Dee *Three Blind Mice 2 ® 2 ®, High Barbary Sea Chastey 2% Note: May be plaved as a round by 2, dor 4 instruments, Rabeck Enmm, Meth for Trem or Bar, #7 si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) Practice Exercise 2 in 4 counts at first; later try the alla 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, Review LESSON 17, page 21, counting two to the measure aban Elem Met for Tem, oe Bar 7 =LESSON 23 Sixteenth Notes cout O12 41 wre Or saa aT 1 ere TOs a2 4H Hi Reveille Played entirely with 4th position (valves 1&2) DS.al Fine Adjutant's Call t tet, Theme from Symphony HAYDN F Accent tongue more forcefully than other notes e Echo. 2P Variation On Adeste Fideles Seeeriepek Rabash Rem, Meth for Trom.or Bar. 47 aLESSON 24 Dotted Eighth and Sixteenth Notes ® ® @ ® CL ®© wound the same Sound the same Largo from “New World Symphony” DVORAK Gold Motive eee Battle Hymn of the Republic bach Blom. Mecb for Teom or Bar 7 28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 —. “too jee 00” “too___ 00” “too 00” th To the Colors 2 6th 6th6th (Play throughout in 6th position valves lend 9) Mountain Song Celeste AidaLESSON 26 Key of D-flat- Five Flats Sweet and Low too too-e0 eee Count 6 On) Rabenk Wem Meth for Trom.or Bas. 47 30LESSON 27 Lip Slurs of Three Tones “to0-06-00" a Play this entire exercise in 4th position (Valves land 2) “too-eeoo: o-oo” So (yy ele le ee 3d @) 2nd) tt 2nd Sth 2nd st 5th tot ‘Sth English May Dance D.6. al Fino Slavic Hymn abeak Mem, Meth for Tram or Bar. 47 atLESSON 28 Lip Slurs with Slide Shifts of One Position a ist 2nd st 5th 6th KFS Ge esl ee Oe Sth The Ash Grove sy eTemce Rar 2 Raveck Elem M6Key of G Love's Old - One Sharp Seo) 6th Sweet Song LESSON 29 @ MOLLOY othSyncopation (Repeat alla breve @) be Little "Liza JaneOY Syneopation (continued) VESSON 90-8 Tyree times — tat time 4/4; 2nd and 3rd times; MaMonzze Bohemian Dance Lively Three times — st tie 4g; 2ed nd Se tines $y Montes The Old Ark’s A-Moverin’ Negro Spiritual Moderato 2 Sos 0 This may be tried ia after Woroughly learned in moderate 4/4 On 2 oF ? SUISSE EE Spree iit pe ton ar ie i Joshua Fit De Battle of Jericho SS ss. Negro Spiritual ES Mhip sie 1 Werk this out at a slow tempo, counting the time carefully, before trying it at a rapid tempo, Bekask Hem Meth. for rom. or Bar 47 asSON 30+ ee Four Characteristic Studies May be used as tests ModeratoLESSON 3t Three Minor Keys D Minor Harmonie Minor Seale Melodie Minor ® F Minor Song of the Volga Boatmen | Slowly asian oH Pf F ft ef P i. Rebask Hem Meth for Trom or Bar 7 7Legato Playing In preceding lessons the slur mark —~ bas 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 fas 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 fair 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 witha light “doo” syllable, 2. Shift the slide quickly between nates 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 cau be played with the same slide position, the Hip 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 Fosition, in or out, and the tone skips ap oF down more than a half step (semitone). Examples of skips effective as lip slurs i cam mae 2nd 2nd 4th «4th «= Sed nd ath Sth nd st, Sed th 5. Sometimes it is possible to lip slur askip when 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. — bea Examples 2nd th ist rd 3rd st 4th nd 6, By being familiar with the different positions in which the same note may be played (See Chart, page2) 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, “400 doo doo” lip slur o_fo0_ de psiun Ist 4th ist 4h 4m ist ath 4b Sth 4thLESSON 92 Legato Playing (Notes tobe connected by lip slur are marked—>.Thase which may be connected by the more difficult tip slurs explained in Rulo § on the preceding page are marked to too too Yoo too Sf too ta rogcomm ade Swanee River Foster doo doo cc Fine DS al Pine HARRISON Theme from“Pathetic Symphony” ‘Techaikowsky Ramah Kiem Meth for Trom or Bar «7 39LESSON 33 Triplets Fsturp & ao eis £ 2 2 1 * aed * Ded 3) @ cout @1 243401 2443 4 ©1 2443 444 1291O 1 & 24451 24454 ana ; Old Welsh Hymn a 7 FDOal Fine of 7 Theme from “Lohengrin” cae Vivace Th fi Fourth eme from Fourth Symphony sutmanw Sw Foc el a Feat ES F F Triplets Abreviated My be written z 4 Note: The two notes should be plared with the slide positions shortened about ani back Kom Moth fer Tremor Ber 40 0 bring them i: tare.LESSON 34 2 and 9 Measures Phrase written in triplets, Same phrase written in 12 measure, Count “1 2 3 4 1234 1234 On 23 4 Mizaa ipa Andante Cantabile From Fifth Symphony Ae ee Legato eee, go Gokewe ep KEe St 2G? 7 2) _ ae Maresto Air from “Faust’ Theme from Ride of the Walkyries WAGNER by 3h hesLESSON 35 Rapid Tongue Attack Abreviations ein thin Teams pp Peer Frecer Count 1 2 & 3+at i23 Robenk lem. Meth for Trom or Bar aLESSON 36 Broken Chords and Lip Slurs A“Warming-up” Lip Slur Exercise oe oo OK Repeat in those positions sendin Bed 2nd tot e——_—_—_______—_—— _ 2ooee Study in Lip Slurs Slowly Babaak Hlem. Math for Trom. or Bar. 47 sLESSON 37 Four Notes to One Count Arkansas Traveler ‘obask Elem. Meth for Trom or Bar. €2 “4as LESSON 38 Complex Rhythms Slowly S wishes Rabaak Wl Meth far Prom or Mae “6LESSON 39 High Notes - Clefs Acfiat s 2 ba Bad Tet “as o Ss rad sharper ashary =z zet ‘Tho five examples at the right show how the same phrase looks when written in five different clefs, Al five sound and are played the "BASS CLEF-The usual trombone clef. Notice the differences in key ‘TREBLE CLEF-CONCERT KEY- Knowledge of this clef useful signatures and“aceidoutals!” for playing from vocal music. How many lines and spaces higher =X for lower than bass clef is each of the others written? TREBLE CLEF TRANSPOSED for Bb instrument. Much used by baritonists; formerly by trombonists. See if you can figure out a meth-. od of your own for reading each one = of these clefs. TENOR CLEF-Used in symphony orchestra trombone parts and in some European band editions, ALTO. CLEF- Once used for 1st trombone parte in symphony orchestra musicy no longer so used dank Bim. Meth for Tremor Bar aeDUETS For 2 Trombones, 2 Baritones, or Trombone and Baritone Polish Folk Song Andante Slowly My Faith Looks Up to Thee Old Black Joe ££ ee Very Slowly PP af a “F 2d) Dad 1 mf SS > . fat 4 did ob ebanh Rlem.Meth for Tromor Bar. 47 aWearing of the Green Lively of German Waltz Moderato P P Drink To Me Only With Thine Eyes 2 D.G.al Fine lem. met for Tromer Bar 42 oInteger Vitae Andante Scandinavian Dance Fast. a s 7 SEN, e Meno mosso Smoothly Rebanh Blew. Methfor Tromor Bar. 4? oeTwo Part Invention Moderato > t molto rit,QUARTETS Ode from “Pirates of Penzance” SULLIVAN ist& 2nd ge 1 Le a Melody in| 2nd Trom. ard 4th | e ist 2nd 3ed athStars of the Summer Night WOODBURY Trombone Quartet from “Pathetic Symphony" : bey oe TSCHAIKOWSKY tet &2nd Z: : : a = a pnp |p pep | prep | ppppp 3rd ath Exerpt from Overture to “The Mastersingers” Adapted for 3 Trombones WAGNER 15 & 3rd 5 Yana” Meth.for Frome Mar