Ear Training for Trombone

David Vining

Soft Cover

Instrumentation: Trombone
Item Number: WF83
Number of Pages: 64
Publisher: Carl Fischer Music
Print Status: In Print

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Quick Overview

Ear Training for Trombone is one of the first methods to integrate performance on the instrument with singing to enable the player to internalize the music. Written by David Vining, a leading brass educator with extensive orchestral, chamber, and solo performance experience, Ear Training for Trombone is a comprehensive and progressively organized method for improving the ear of students on any brass instrument. In turn, this brings marked improvement in tone, intonation, pitch accuracy, and musical understanding. The book contains more than 70 exercises in pitch, scales, arpeggios, and intervals, including melodious etudes and orchestral excerpts. A brass equivalent of the ear training method is long overdue, and this book is appropriate for not only young students, but brass students of all ages.

Ear Training for Trombone

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Foreword by John Marcellus
Introduction
About David Vining
I. Preliminary Studies
I. 1. Basic Pitch Matching (1)
I. 2. Basic Pitch Matching (2)
I. 3. Basic Pitch Matching with No Rest Before Singing
I. 4. Basic Pitch Matching: Scale-wise
I. 5. Two Familiar Songs
I. 6. Ode to Joy from Symphony No. 9
II. Intermediate Studies
II. 7. Scale-wise C Major
II. 8. Scale-wise Major/Minor
II. Scale-wise Ab Major
II. 10. Amazing Grace
II. 11. Scale-wise Ab Major
II. 12. Scale-wise C Major and A Minor
II. 13. Scale-wise Eb Major: Singing Every Other Note
II. 14. Scale-wise A Major
II. 15. Danny Boy
II. 16. Scale-wise Major/Minor: Singing Every Other Note
II. 17. Scales and Arpeggios
II. 18. E-Minor Chant
II. 19. D-Dorian Chant
II. 20. O Come, O Come Emmanuel
III. Advanced Studies
III. 21. Eb Major Arpeggio
III. 22. Major/Minor Scales
III. 23. Sonata in F (Movement I)
III. 25. Scales/Arpeggios/Thirds: D Major/B Minor
III. 26. Etude in F Major
III. 27. Natural Slurs
III. 28. 'Tis the Gift to be Simple
III. 29. Circle of Fourths
III. 30. Interval Study
III. 31. F Major Intervals
III. 32. Diminished Triads
III. 33. Octatonic Scale
III. 34. Whole Tone Scale
IV. Intervals
IV. 35. Scale-wise Widening Intervals
IV. 36. Chromatic Widening Intervals
IV. 37. Chromatic Intervals
IV. 38. Thirds (1)
IV. 39. Thirds (2)
IV. 40. Fourths
IV. 41. Fifths
IV. 42. Ascending Sixths
IV. 43. Descending Sixths
IV. 44. Ascending Sevenths
IV. 45. Descending Sevenths
IV. 46. Tritones
IV. 47. Wide Intervals
IV. 48. Random Intervals
V. Arpeggios
V. 49. Major Arpeggios (1)
V. 50. Major Arpeggios (2)
V. 51. Minor Arpeggios
V. 52. Major and Minor Arpeggios (1)
V. 53. Major and Minor Arpeggios (2)
V. 54. I-IV-V7
V. 55. I-IV-ii-V7
V. 56. I-IV-V Inverted
V. 57. ii-V-I Jazz Style
V. 58. Diminished Arpeggios
V. 59. Augmented Argpeggios
V. 60. Dominant-Seventh Arpeggios
V. 61. Seventh Arpeggios
V. 62. Mixed Arpeggios
VI. Melodious Etudes: Bordogni
VI. 63. No. 2
VI. 64. No. 5
VI. 65. No. 6
VI. 66. No. 12
VI. 67. No. 15
VII. Orchestral Excerpts
VII. 68. "Tuba Mirum" from Requiem, K. 626
VII. 69. "Adagio" from Symphony No. 3 (Organ)
VII. 70. "Hungarian March" from Le Damnation de Faust, Op. 24
VII. 71. Bolero