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Alto Trombone Tutor Vol 1
Benny Sluchin has done a superb job of collecting numerous studies, etudes, solos, and duos for various instruments and making them available for the alto trombonist. These prove to be invaluable source material to assist the developing as well as proficient alto trombonist. Many of the etudes originate with composers well known to trombonists, Bordogni, Bleger, and Kopprasch to name a few.
Volume one is intended for students learning the alto and forms a solid basis for playing the instrument. The etudes become progressively more difficult throughout the book and into volume two. Volume three is largely duets that focus on intonation while the last volume consists of solos transcribed from various sources. This set of books is a must for those interested in learning or furthering their playing on the alto trombone.
Volume 1. This first volume of 130 pages includes text in French and English dealing with different types of high trombones including the soprano, F alto, E-flat alto, D-flat alto and the alto valve trombone. It also discusses practical problems, overtones, glissandi, trills etc. The music is comprised of the following etudes: Cornette: Exercises, Scales and Short Studies taken from his Méthode de Trombone alto, ténor et basse ca.1841, which also includes duets; Cornette: 20 Lessons taken from his Méthode de Tromboneca.1831; Bordogni: 24 Vocalises; Bléger: 31 Studies taken from his Méthode de Trombone á Coulisse ca.1883. This volume provides a valuable method for learning the alto trombone but it is also recommended for tenor players interested in improving their alto clef reading.
Volume 2. The second volume contains 66 etudes and includes a preface in French and English. Its material originates in 19th century historical brass pedagogical sources, slightly more advanced than volume one. Users will find various articulations and clefs. The music includes: 24 Selected Studies by Georg Kopprasch (ca.1800- ca.1833) from his 60 Études pour le Cor alto Op.5; twelve vocalises by Marco Bordogni (1789-1856) from his book in Eighteen studies by Ambroise Thomas (1811-1896) from his Léçons de Solfége á changements des clef composes pour les examens & concours duConservatoire de Musique; and twelve duets by W. A. Mozart originally the 12 Duos pour deux Cors (1786) here arranged for alto and tenor trombones. Sluchin indicates the availability of piano accompaniments for the Bordogni vocalises. The Thomas pieces use various clefs including alto, tenor, bass, and treble. The Mozart duets all use alto clef for the first part and bass clef for the second part; the first part has a range of f-g2.
Volume 3. In this volume Sluchin continues the use of duets as a means of furthering study of the alto trombone. The sources are pieces with unspecified instrumentation, or for two horns, or two string instruments. Alto clef is used exclusively in the first parts of these 16 duets. Clefs for the second parts vary, Beethoven, Ciconia, Dauprat, Kopprasch use bass clef, the Guami pieces use tenor, while the Corrette and Stamitz are in alto clef. Sluchin indicates the level of playing ability is advanced. Besides range considerations there are many technical passages that will challenge the more advanced player. The preface is provided in both French and English and includes valuable program notes. Duets and ranges:
Beethoven, L. van (1770-1827)
Sonastensatz from Duett mit zwei obligaten Augenglasern, A-flat-f2.
Ciconia, Johannés (c.1335-1411) I Cani Suono Fuora, c1-e2; Per Quella Strada,a-flat-a-flat1.
Corrette, Michel (1709-1795) Sonata in C Major from Sonata pour deux violoncelles,part 1 c-f2, part 2 c-d2.
Dauprat, Louis-François (1781-1868) 1erDuo in E-flat Major from 6 Duos opus 13pour cor alto et cor basse en mi-flat, g-e-flat2.
Guami, Francesco (1543-c.1602) Ricercare 1, b-e2 and Ricercare 6, c1-e2 from Ricercari a due voci.
Kopprasch, Wenzel (ca.1750-1832) 8 duos from 8 Duos Concertants pour deux Cors, g-e-flat2.
Stamitz, Carl (1745-1891) Duo II in E-flat Major from 6 Duette für 2 Violen, part 1 c-f2, part 2 c-f2.
Volume 4. In this volume Sluchin selects 16 solos and 2 chamber works from 18th and 19th century horn literature. Only solo parts are given so the performer will need to find the original works in order to perform them. No indication is given of which editions were used as the basis for the transcriptions. The preface in French and English provides little helpful information. The Haydn Concertos, Stamitz, and Reinecke all have a few, less then a dozen, notes in bass clef.
Danzi, Franz (1763-1826) Concerto in Eflat,b-flat-f2.
Förster, Christoph (1693-1745) Concerto in E-flat, e-flat-f2.
Haydn, Joseph (1732-1809) Concerto No. 1 in D, Hob VIId: 3, D-e2.Concerto No. 2 in D, Hob VIId: 4, D-b1.
Hoffmeister, Franz Anton (1754-1812) Horn Quintet in E-flat, B-flat-c2.
Mozart, W.A. (1756-1791) Concerto No. 1 in D, K.412+514, a-b1.
Concerto No. 2 in E-flat K.417, B-flat-e-flat2.
Concerto No. 3 in E-flat K.447, B-flat-c2.
Concerto No. 4 in E-flat K.495, B-flat-e-flat2.
Concerto Movement in E, K.494a, g-sharp-e2.
Horn Quintet in E-flat K.407 (386c), B-flat-e-flat2.
Rondo in E-flat K.371, B-flat-b-flat1.
Neruda, Jan Krtitel Jiri (c. 1708-1780) Concerto in E-flat, e-flat-b-flat1.
Quantz, Johann Joachim (1697-1773) Concerto in E-flat, e-flat-e-flat2.
Reinecke, Carl (1824-1910) Notturno, e-flat-d-flat2.
Rosetti, Francesco Antonio (1750-1792) Concerto No.2 in E-flat, B-flat-d2.
Stamitz, Carl (1845-1801) Concerto in E flat,B-flat-e-flat2.
Strauss, Franz (1822-1905) Concerto Op. 8, e-flat-e-flat2.
- Robert Kehle
Pittsburg State University
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