Ear Training for Trombone Contents

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Amy Emerald Townsend
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1 Ear Training for Trombone Contents Introduction I - Preliminary Studies 1. Basic Pitch Matching 2. Basic Pitch Matching 3. Basic Pitch Matching with no rest before singing 4. Basic Pitch Matching Scale-wise 5. Two Familiar Songs 6. Ode to Joy II - Intermediate Studies 7. Scale-wise C Major 8. Scale-wise Major/minor 9. Scale-wise A-flat Major 10. Amazing Grace 11. Scale-wise A-flat Major (Fast) 12. Scale-wise C Major and a minor 13. Scale-wise E-flat Major - Singing every other note 14. Scale-wise A Major 15. Danny Boy 16. Scale-wise Major/minor - Singing every other note 17. Scales and Arpeggios 18. e minor Chant 19. d dorian Chant 20. O Come, O Come Emmanuel III - Advanced Studies 21. E-flat Arpeggio 22. Major/minor Scales 23. Sonata in F, first movement Marcello 24. I-IV-V Scales/Arpeggios/Thirds D Major/b minor 26. F Major Etude 27. Natural Slurs 28. Gift to be Simple 29. Circle of Fourths 30. Interval Study 31. F Major Intervals 32. Diminished Triads 33. Octatonic 34. Whole Tone

2 IV - Intervals 35. Scale-wise Widening Intervals 36. Chromatic Widening Intervals 37. Chromatic 38. Thirds 39. Thirds 40. Fourths 41. Fifths 42. Ascending Sixths 43. Descending Sixths 44. Ascending Sevenths 45. Descending Sevenths 46. Tritones 47. Wide Intervals 48. Random Intervals V - Arpeggios 49. Major 50. Major 51. Minor 52. Major and minor 53. Major and minor 54. I-IV-V 55. I-IV-ii-V 56. I-IV-V Inverted 57. ii-v-i Jazz Style 58. Diminished 59. Augmented 60. Dominant Seventh Chords 61. Seventh Chords 62. Mixed Arpeggios VI - Melodious Etudes Bordogni/Rochut 63. #2 64. #5 (transposed to B-flat) 65. #6 66. # #15 VII - Orchestral Excerpts 68. Tuba Mirum from Requiem Mozart 69. Adagio from Symphony #3 (Organ) St. Saens 70. Hungarian March Berlioz 71. Bolero Ravel

3 Introduction Listening is a vital skill for trombonists. When trombonists listen well, intonation, accuracy, tone, style and articulation benefit. Ear Training for Trombone is designed to develop trombonists listening skills to improve all aspects of their playing. Arnold Jacobs (famous brass pedagogue and former tubist in the Chicago Symphony) said Pitch is not in the lips, but in the brain. When we sing, we have no choice but to rely upon our brain to determine the accuracy of the pitch. The sung pitch is a true reflection of the pitch that is in the brain, without the complication of producing that pitch on the instrument. When we play trombone, however, the accuracy of the pitch can be adversely affected by the technique of the instrument. Trombonists should place the slide with the same degree of pitch awareness as when singing and this book seeks to develop this awareness by combining the singing voice with playing. When playing the etudes in this book, always sing the correct pitch in tune. If at any time there is a question about the accuracy of a sung pitch, check the sung note by playing it on the trombone or on a piano and then try the passage again with the singing. Improving one s ability to recognize subtle inaccuracies in the sung pitch translates to a heightened awareness of intonation and slide placement on trombone. The first 34 etudes of Ear Training for Trombone are progressive in difficulty. To begin, choose the section from these etudes which best suits your current ability and work forward from there. The remainder of the book is a compilation of intervals, arpeggios, Melodious Etudes (Bordogni/Rochut) and orchestral excerpts. Directions: When singing, hold the trombone up to the lips as though playing but allow a small space in between the lips and the mouthpiece for the sound of the voice to escape. Do not sing through the instrument. When singing, place the slide in exactly the right position as though playing. When singing, the tone quality of the voice is not important; the pitch is. When singing, if there is no articulation indicated in the music, use the syllable da or ta to duplicate playing as much as possible. If there is an articulation mark in the music, reflect it with the singing. The vocal range has been kept narrow in order to accommodate as many voice types as possible. If the range is too high or low, transpose the singing up or down an octave as needed and continue to place the slide in the written octave. Learn to switch smoothly back and forth between playing and singing. The less interruption in the transition between the two, the more effective these etudes will be. Think harmonically. Determine the function of the pitch within the musical context in order to improve accuracy. Pitch is in the brain, not the lips. Think of the lips as vocal chords and continue to sing in your head as you play. Teachers: To encourage students to sing accurately, play along as the student sings.

5 = Sing and finger Basic Pitch Matching Scale-wise 4. q = 100? # 4 3? #. Ó? #. Ó. Ó? #. Ó. Ó? #.. Ó Ó? #.. Ó Ó? #. Ó. Ó? #. Ó. Ó

6 = Sing and finger F Major Etude 26. q k = 69-88? 6 b ? b

7 = Sing and finger Ascending Sixths 42. q = Repeat if needed b b b.. n. b b.. b. n b.. b. n b.. n. b b.. b. n b.. b. n

Music Department Columbia University Ear Training Curriculum, Fall 2012 Sing and Play at the Piano Face the Music

Music Department Columbia University Ear Training Curriculum, Fall 2012 and at the Piano Face the Music Students are required to perform at the keyboard simultaneously singing and playing exercises in