UW at Eau Claire: Music 165 and 365 Applied Trombone

^{Instructor: Professor Phil Ostrander Telephone: (8)36-4156}

^{Office: HFA 239, office hours tba Email: ostranpa@uwec.edu}

^{Teacher Commitment: I have an open door policy in my office. You are welcome to stop by at any time and talk over any questions you may have. If you hear me practicing Bolero, please wait until the end, stifle your laughing and knock. Remember, the pressure is on me as a teacher to provide you with every possible tool I can to help you. I expect myself to “deliver” to you every lesson. I will also keep track of what you do in the studio and in ensembles. Most important, I care about you as human beings and wish for you to become responsible caring adults. Even you bass trombonists.}

^{Course Expectations: There are many important areas of study pertinent to the development of the consummate musician. Regardless of your major, your number one goal at Eau Claire should be to become the best performer you can on you major instrument. This will benefit you in all areas of your musical and personal life. The correlation between successful performance and disciplined practice is undeniable. Talent will help you, but in the end it is dedicated hard work that is the hallmark of the strongest musician.}

^{Course Requirements: Metronome and spiral bound notebook for lesson assignments. After each lesson, write in the book what you learned, not what I said. Buy required etudes, solos and excerpts promptly (Hickey’s Music Center has everything you would want @ 1-800-hickeys or www.hickeys.com). Arrive at your lesson warmed up both earlier in the day and immediately preceding the lesson. NO EXCEPTIONS. It’s ok to bring something new to the lesson that was not assigned.}

^{Additional requirements: All private trombone students will be required to attend trombone ensemble/studio class. This experience is paramount in supplementing your private lessons. Check your email regularly, this will be our method of communication!}

^{Additional Materials (not required): Pocket-size music dictionary, video-camera}

^{Grading Procedures: You will receive a grade for each lesson. The grades will be averaged at the end of the semester. The following factors will contribute towards your lesson grade: overall musical progress, regular practice, lesson preparation and attendance. There will be a playing exam or jury at the close of each semester.}

^{Attendance: Attendance is mandatory for all lessons. If you have to miss a lesson, please email, phone, write, telegraph or contact me in person with a minimum of 24 hours advance notice. Unexcused lessons will not be rescheduled. Give enough notice, I am happy to reschedule. If you miss a lesson for any reason without prior notification, you will fail that lesson. Expect to hear from me if you are absent from a lesson. Be punctual as it will affect your grade. Please knock on the door at your lesson time.}

^{Suggestions regarding effective practice:}

^{· Listen to what’s coming out of that bell. Hopefully it’s not your tongue:)}

^{· Warm up, warm down and take breaks. Rome was not built in one day.}

^{· Start with something on which you sound good. Confidence is everything.}

^{· Vary your warm up and practice. Repetitive practice leads to boredom.}

^{· Try it slower, faster, softer, louder. Try it down an octave, or up.}

^{· Buy and use Four Greatest Teachers: Metronome, Tuner, Mirror, Tape-recorder.}

^{· Match your technical studies to areas of your playing that could be better.}

^{· Most people don’t practice eight hours a day. Be efficient and split up sessions.}

^{· Budget your practice time, don’t be afraid to move on, but don’t gloss over.}

^{· Practice every day. When taking a day off, don’t go anywhere near the horn.}

^{· Don’t practice hungry or tired and practice first before anything else.}

^{· Pay attention to your posture: stand up straight, relax the arms and hands.}

· Relax and blow air, it’s fuel for the car. Breathe deep.

^{Other keys to musical success:}

^{· Avoid excessive self-deprication, it’s damaging to you and others don’t care.}

^{· Accept compliments graciously.}

^{· Play everything: orchestra, opera, wind or jazz ensemble, brass ensemble, jazz combo, brass quintet, rock, wedding bands, new music, circus, rodeo:), klezmer. Beware county bands. One hint: the more you like it, the less it will pay.}

^{· Listen to good music all the time. Every day.}

^{· Build a library of trombone music, sight-read something new every day.}

^{· Get together and play duets, trios and quartets. Play with anyone.}

^{· Stage presence is important: smile, bow, look good, acknowledge your pianist.}

^{· The more prepared you are, the less nervous you will be.}

^{· Your current and future students will benefit from your hard work now.}

^{In addition, your other courses are of vast importance to the development of your musical being. Ace your theory, history, sightsinging and methods classes (Aside: oboe class is also important, even if it seems to work against trombone playing on many different levels). Be supremely prepared for your ensemble work. Eau Claire can provide you with extraordinarily meaningful large ensemble and chamber music experience if you seek out and create opportunities for yourself.}

^{Recitals: I encourage you to schedule recitals at any point (required or not). They provide a great goal for lessons. You can consider joint recitals as well. They could be at schools, churches, nursing homes, prisons, etc. Please let me know in advance when and where your recital and dress rehearsal are so I can be there!! Choose your repertoire early and secure a good pianist well in advance.}

^{Representative Repertoire}

^{Freshman Year:}

^{Etudes: Bordogni, 120 Melodius Etudes, Kopprasch 60 Technical Studies, Hering 40 Progressive Etudes for Trombone (remedial), Tyrrell 40 Progressive Studies for Trombone, Lafosse Tenor Clef Book A, Tyrrell Advanced Studies for Bb Bass (bass), Vernon A Singing Approach to Trombone (bass and tenor)}

^{Solos: Guilmant Morceau Symphonique, Rimsky-Korsakov Concerto for Trombone and Band, Larrsson Concertino, Galliard Solo Sonatas, Lieb Concertino Basso (bass)}

^{Scales: (Always memorized) First semester - All major scales. Two octave Eb, E -> Bb}

^{and one octave remaining. Eight note at M.M. = 120, no flubs.}

^{Second semester - All melodic, harmonic and natural minor scales. Required}

^{etude and sight reading in tenor clef}

^{Sophomore Year:}

^{Etudes: Bordogni, 120 Melodius Etudes, Kopprasch 60 Technical Studies, Aharoni New Method for the Modern Bass Trombone, Fink Introducing the Alto Clef, Schlossberg Method for trombone, Stephanovsky 20 Studies for Bass Trombone, Uber 30 Concert Etudes for Bass Trombone, Cimera 73 Advanced Tuba Studies (bass), Gale 20 Jazz Etudes}

^{Solos: Hindemith Sonata, David Concertino, Saint-Saens Cavatine, Salzedo Concertante, Serocki Sonatina, Lebedev Concerto for Bass Trombone, Jacob Cameos (bass)}

^{Scales: First semester - Modal scales played in succession: C Ionian, C dorian, etc.}

^{Second semester - Diminished scales in succession: C half-whole, C whole-half,}

^{Whole tone scales, Required etude and sight reading in alto clef.}

^{Junior Year}

^{Etudes: Blazevich Tenor and Bass Trombone Studies, Boutry Ten Difficult Etudes, Lafosse Books B-E, Raph The Double Valve Bass Trombone, Grigoriev - 50 Etudes for Tuba (bass), Grigoriev 78 Studies for Tuba (bass), Sear Etudes for Tuba (bass)}

^{Solos: Grohndahl Concerto, Bozza Ballade, Jacob Concerto, Wilder Sonata (tenor), Wagenseil Concerto (alto), Wilder Sonata (bass), White Tetra Ergon (bass)}

^{Patterns: First semester - ten ii-V-I patterns in all twelve keys in time and memorized}

^{Second semester - jazz transcription project}

^{Senior Year:}

^{Etudes: Bitsch 15 Rhythmic Etudes, Bozza 30 Etude Caprices, Telemann Sequences,}

^{Solos: Tomasi Concerto, Casterede Sonatine, Albrechtsberger Concerto (alto), Defaye Deux Danses, Milhaud Concertino, Tomasi Etre Ou Ne Pas Etre (bass trombone),}

^{White Dance and Aria (bass trombone)}

^{Excerpts: As assigned}

^{Project: Research Project/Paper}

Goals: Lessons are designed to fulfill some of the 11 goals of the University. This course will help you develop an

3. ability to inquire, think, and analyze.

6. historical consciousness.

9. appreciation of the arts.