{"id":148,"date":"2015-12-20T03:25:26","date_gmt":"2015-12-20T03:25:26","guid":{"rendered":"https:\/\/fs.wp.odu.edu\/jhall\/?page_id=148"},"modified":"2025-12-23T14:12:38","modified_gmt":"2025-12-23T19:12:38","slug":"levels-and-materials-of-study-bass-trombone","status":"publish","type":"page","link":"https:\/\/fs.wp.odu.edu\/jhall\/trombone-and-euphonium\/levels-and-materials-of-study-bass-trombone\/","title":{"rendered":"Levels and Materials of Study &#8211; Bass Trombone"},"content":{"rendered":"<div id=\"pl-148\"  class=\"panel-layout\" ><div id=\"pg-148-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-148-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-148-0-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"0\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>The student specializing in bass trombone with double valves will follow the same general course outlined for each level listed for tenor trombone, with the following additions\/substitutions to the curriculum. Jazz Studies majors will use the same methods and repertoire listed for tenor trombone.<\/p>\n<p>METHODS<br \/>\nAharoni <em>New Method for the Modern Bass Trombone<br \/>\n<\/em>Bernard <em>Methode Complete pour Trombone Basse<br \/>\n<\/em>Dijk <em>Ben's Basics<\/em><br \/>\nOstrander <em>The F-Attachment and the Bass Trombone<br \/>\n<\/em>Ostrander <em>Method for Bass Trombone<br \/>\n<\/em>Roberts-Tanner<em> Let's Play Bass Trombone <\/em><\/p>\n<p>STUDIES<br \/>\nBach\/Lusk <em>Suites for Violincello<br \/>\n<\/em>Bernard <em>Etudes et Exercises<br \/>\n<\/em>Blazhevich\/King <em>70 Studies <\/em>(Tuba) 2 vols.<br \/>\nBlume\/Fink <em>36 Studies for Trombone with F-Attachment<br \/>\n<\/em>Bordogni\/Ostrander <em>Melodious Etudes for Bass Trombone<br \/>\n<\/em>Bordogni\/Roberts <em>43 Bel Canto Studies<\/em> (Tuba)<br \/>\nDelgiudice <em>Douze Etudes . . .<br \/>\n<\/em>Fink <em>Studies in Legato for Bass Trombone, Tuba<br \/>\n<\/em>Gillis <em>20 Etudes<br \/>\n<\/em>Gillis <em>70 Progressive Etudes<br \/>\n<\/em>Grigoriev\/Ostrander <em>24 Studies<br \/>\n<\/em>Maenz Zwanzig<em> Studien<br \/>\n<\/em>Naulais <em>Etudes vari\u00e9es sur la Virtuosit\u00e9, le Style et le Rythme Vols.1,2<\/em><br \/>\nOstrander <em>Double-valve Low Tone Studies<br \/>\n<\/em>Ostrander <em>Shifting Meter Studies<br \/>\n<\/em>Faulisse <em>Warm-ups and Daily Drills<br \/>\n<\/em>Pederson (Elem., Interm., Adv.) <em>Etudes for Bass Trombone<br \/>\n<\/em>Raph <em>26 Studies<br \/>\n<\/em>Rode <em>15 Caprices<br \/>\n<\/em>Stephanofsky\/Brown <em>20 Studies<br \/>\n<\/em>Tyrrell <em>40 Etudes<\/em> (Tuba, and\/or E-flat Tuba)<br \/>\nVasiliev <em>24 Melodious Studies <\/em><\/p>\n<p>REPRESENTATIVE SOLO MATERIALS<\/p>\n<p><strong>MUSA 139, 140<br \/>\n<\/strong>Barat<em> Introduction &amp; Sarabande<br \/>\n<\/em>Beaucamp <em>Cortege<\/em><br \/>\nBoutry <em>Tubaroque<\/em><br \/>\nDedrick <em>Petite Suite<br \/>\n<\/em>Hartley <em>Arioso<\/em><br \/>\nMcKay <em>Concert Solo Sonatine <\/em><\/p>\n<p><strong>\u00a0MUSA 239, 240<br \/>\n<\/strong>Bach-Bell <em>Air and Bouree<br \/>\n<\/em>Frescobaldi <em>Canzoni<\/em><br \/>\nHindemith <em>Drei Leichte Stucke<br \/>\n<\/em>Lieb <em>Concertino Basso<br \/>\n<\/em>Lischka <em>Drei Skizzen <\/em><\/p>\n<p><strong>FIRST AND SECOND SEMESTERS <\/strong><\/p>\n<p><strong>MUSA 141, 142, 151, 152<br \/>\n<\/strong>Bitsch <em>Impromptu<\/em><br \/>\nBrown <em>Meditation, Recitative, Lied and Final<br \/>\n<\/em>Johnston <em>Revelstoke Impressions<br \/>\n<\/em>Marcello-Brown <em>Sonata in G Major<br \/>\n<\/em>Presser <em>Three Folktales<br \/>\n<\/em>Raph <em>Rock<\/em><br \/>\nTomasi <em>Etre ou ne pas etre <\/em><\/p>\n<p><strong>THIRD AND FOURTH SEMESTERS<\/strong><\/p>\n<p><strong>MUSA 241, 242, 251, 252<br \/>\n<\/strong>Bach\/Marsteller <em>Cello Suite No.1, <\/em>or Lusk<br \/>\nBarat <em>Reminiscences de Navarre<br \/>\n<\/em>Bozza<em> Allegro et Finale<br \/>\n<\/em>Bozza<em> Prelude et Allegro<br \/>\n<\/em>Capuzzi\/Catelinet<em> Andante and Rondo<br \/>\n<\/em>Hartley <em>Suite<\/em><br \/>\nLebedev <em>Concerto in One Movement<br \/>\n<\/em>Vaughan Williams <em>Romanza<\/em> from <em>Tuba<\/em> <em>Concert<\/em><\/p>\n<p><strong>FIFTH AND SIXTH SEMESTERS <\/strong><\/p>\n<p><strong>MUSA 341, 342, 351, 352<br \/>\n<\/strong>Bach <em>Cello Suite No.3, <\/em>Lusk<br \/>\nBeversdorf <em>Sonata for Tuba<br \/>\n<\/em>Dedrick <em>Prelude and March<br \/>\n<\/em>Ewazen <em>Rhapsody<\/em><br \/>\nPersichetti <em>Serenade No.12 <\/em>for Tuba<br \/>\nRaph <em>Caprice<\/em><br \/>\nDefaye\/Knaub <em>Deux Danses<br \/>\n<\/em>Ross <em>Prelude, Finale, and Big Apple<br \/>\n<\/em>Vaughn Williams <em>Concerto for Tuba <\/em><\/p>\n<p><strong>SEVENTH AND EIGHTH SEMESTERS<\/strong><\/p>\n<p><strong>MUSA 441, 442, 451, 452<br \/>\n<\/strong>Adler <em>Canto II<br \/>\n<\/em>Bach <em>Cello Suit No.4, <\/em>Lusk<br \/>\nBigot <em>Carillon et Bourdon<\/em><br \/>\nBozza <em>New Orleans<br \/>\n<\/em>Cope <em>Three Pieces for Trombone with F-Attachment<br \/>\n<\/em>Dedrick <em>Inspiration<\/em><br \/>\nHartley <em>Sonata<\/em> <em>Breve<\/em><br \/>\nSpillman <em>Concert<\/em> and <em>Two Songs<br \/>\n<\/em>White <em>Tetra Ergon<br \/>\n<\/em>Wilder <em>Sonata<\/em><\/p>\n<p><strong>MUSA 651, 652<br \/>\n<\/strong>See lists from lower levels. Also the preparation of the various degree recitals required by the program of study.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>The student specializing in bass trombone with double valves will follow the same general course outlined for each level listed for tenor trombone, with the following additions\/substitutions to the curriculum. Jazz Studies majors will use the same methods and repertoire&#8230; <a class=\"more-link\" href=\"https:\/\/fs.wp.odu.edu\/jhall\/trombone-and-euphonium\/levels-and-materials-of-study-bass-trombone\/\">Continue Reading &rarr;<\/a><\/p>\n","protected":false},"author":1221,"featured_media":0,"parent":84,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"_links":{"self":[{"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/pages\/148"}],"collection":[{"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/users\/1221"}],"replies":[{"embeddable":true,"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/comments?post=148"}],"version-history":[{"count":3,"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/pages\/148\/revisions"}],"predecessor-version":[{"id":1462,"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/pages\/148\/revisions\/1462"}],"up":[{"embeddable":true,"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/pages\/84"}],"wp:attachment":[{"href":"https:\/\/fs.wp.odu.edu\/jhall\/wp-json\/wp\/v2\/media?parent=148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}