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There are 39 articles matching your criteria. Below are results 21 through 30.
Orchestral Excerpts for the Tenor Trombonist: Mozart, Tuba Mirum 
Tuba Mirum, from W.A. Mozart's "Requiem Mass", is used in virtually all orchestral auditions as a measure of a player's legato style and musically expressive capabilities. We are often asked why Mozart used the trombone as a solo instrument in this movement, but a quick perusal of sacred choral works of the pre-classic and baroque periods reveals plenty of precedent for this choice.


Orchestral Excerpts for the Tenor Trombonist: Overture to Tannhauser 
The sound, rhythm, and intonation are crucial to the correct performance of Tannhšuser. The two main sections, rehearsal letters "A" and "M," are quite similar, but their differences should to be observed very carefully. One would be wise to learn both passages thoroughly for an audition.


Orchestral Excerpts for the Tenor Trombonist: Ride of the Valkyrie 
In order to prepare this excerpt, I suggest starting with several recordings. Be sure to not tempi, style of articulation, rhythmic accuracy, and placement of accents. After listening with score in hand, start practicing the excerpt slowly, with a metronome or a Dr. Beat, setting the metronome on a subdivision of eighth notes.


Orchestral Excerpts for the Tenor Trombonist: Rimsky-Korsakov, Russian Easter Overture 
One of the most famous orchestral excerpt for the second trombone is The Russian Easter Overture, by Nicolai Rimsky-Korsakov. The work is based on themes from the musical tradition of the Russian Orthodox church, with the solo tenor trombonist (now, second trombonist) representing the medieval chant of a priest. The composer marks the solo "a piena voce" - at full voice; thus, the solo should be interpreted as a vocalist would.


Orchestral Excerpts for the Tenor Trombonist: Saint-SaŽns - Symphony No. 3 
This deceptive excerpt gives the trombonists a chance to show off the many, many hours spent in the Rochut book!


Orchestral Excerpts for the Tenor Trombonist: Schubert, Symphony No. 9 in C Major 
Though rare on auditions, this work is frequently performed and recorded by orchestras. On older recordings it may be referred to as the 7th symphony. This numbering inconsistency is due to the large number of Schubert's works left unpublished at his death, which has made putting these compositions in chronological order very difficult. The subtitle, "Great C Major," is almost always included, and makes finding recordings easy.


Orchestral Excerpts for the Tenor Trombonist: Schumann Symphony No. 3 
This challenging excerpt is among the most requested passages in orchestral trombone auditions. Usually only the first 8 bars are requested , but the rest of the piece is tricky also, and it would not be unfair of them to ask for more.


Orchestral Excerpts for the Tenor Trombonist: Till Eulenspiegel 
When practicing the first solo, you should be careful to bring out the humor that is in the work. This is hard to do if you try to play too loud, but a light touch with a rapid decay on each note will give this passage the lithe, carefree quality that is desired. The rhythm here is very important. Take care not to 'crush' the last eighth of each triplet into the first eighth the succeeding triplet. If you do, the rhythm will acquire a limp that ultimately robs the passage of an even, forward drive.


Orchestral Excerpts for the Tenor Trombonist: William Tell Overture 
With all the fast and technical excerpts, it is important to realize that sound should still be of prime importance. As you practise this excerpt, try taking a sound bite (snapshot) of your tone and ask yourself if it is the best tone that you can possibly play.


Out of the Case: A Little Less about the Trombone, A Little More About Music. 
A series of anecdotes (or teaching stories) both from my own personal experiences and the folklore of jazz, regarding the inner aspects of playing music.


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