mÉtodo bram wiggins

7/29/2019 MTODO BRAM WIGGINS

1/38

S l id e P o s i t i o n a n d F i n g e r i n g C h a r tTrombone slide positions: 7 6 5Euphonium fingers: J* * * " ^! 3 l 4l 3

i f t s G t j fes i / A i S4 3 2 1 7

8 W - i b ( W * * * 'S1 12 2 0 I 1*1

^ " ' 1 l L " ^ l ' r " I - I'" I" 1 1 I 1 1 ^3 2 ' 2 0 J 1 2 0 J .v . M Va.*.


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The beginner must learn to sustain and control the sounds on the instrument, andmust therefore practise long notes. Stress has been put on this in all the earlystudies. Long -note practice develops breathing, control, and good sound.In No. 1 count 4 slowly on each note and bar of rest, and repeat every two bars at

least three times before proceeding to the next note. Make sure each note isattacked (tongued) and released cleanly. To stop the sound it is necessary only todiscontinue bl owing, and no action of the tongue is required.This Study should be practised at a level forte, with a full, sustained sound, witha crescendo and diminuendo (pp), and vice-versa (f>p


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63a

b

4a9 c

In No. 6 the notes are changed without any assistance from the valves or slide, sothe lips have to do all the work by tightening or relaxing. Note that for this exerciseF is sometimes played in the 6 th position, or with valves 1 8- 3 . and that E is playedin the 7th position, or with valves 1 , 2 8 3 .6

r im


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* .t ** 1 ' i , i l J 1 M

' f " -] * ! u. 1

8 C h o r a l e

9 S o l e m n F l o u r i s h

m p

-IX

mp mp

10 L a m e n tF n h T P

r / ' \ H* t .1 1 2 3 4 1/~ 3l 1 f tZ~ r- rH^T = t = * i q i \

mp

Mi

1 ' f ' i r Y- . t V r r i Vr- T

P 1^ 1 F f * !m/ 1 - P


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8In No. 11 we d ispense with rests at the end of phrases, so breaths should betaken as marked ( y). It is most important that breaths are taken in the correctplaces (i.e. at t h e e n d of phrases), or the sense of the music i s destroyed.

11 F r e n c h F o l k T u n e i r r

1 3 T a l u s ' C a n o n

r IT r sP r+ r 314 T h e O l d H u n d r e d t h

" f ' ir r i r t rp i p

Try t o play this tune without taking a breath where the tick is in brackets.


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1 5 W a l t zi a J- i f i r

rmp

I I

In No 16 crotchets (quarter notes) are introduced. Make sure each note istongued cleanly, and that the long notes are given their full value. Do not playtoo fast1 6 r i - ir rr iTW iy J J i ^ ii

mf

1 7 i i 11 Vrrrr i br,h ny r r M i

1 8

i rrrrr i* rrrr i r r y i r s


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1 01 9 G e r m a n F o l k T u n ei J J J i a i J J UJ i r t r i r' r iJr' r lv r i rr LM

f I " JI , J-2 0 C z e c h F o l k T u n e

2 1 T h e C a r m a n 's W h i s t l e i W i l l i a m B y r d )m r i r r i r r i r i* r r m7 "r r i r r IJ' T i J ^ I Tf i r ^ ^ i2 2 T h e m e f r o m t h e " S u r p r i s e S y m p h o n y ' ( H a y d n )a A n da n t ew r r r r frrr i^rtrr I U J i ' Tr rr f rb .as2 3 M i n u e t ( A r n e )

^ r T - r r r T T 7 T ir r ' r r r i r r u ^ x mi r r M r r r i r ^ ^


8/38

2 4 n

mf.

J -

Jrt H" rr M U J - i l g E* 5 r i r r r I T i r T l

2 5 J u b i l a t e (Old R u s s i a n H y m n )r r l r rJr l,-r* rJhJ l i f u " T i, ' Trrr l' rJ>J I

2 6 S i c i l i a n M e l o d yrrrr ir r ir n

i i i f 1 r r r b r i J J i>- iIn No. 27 some notes are joined by a slur (.*-* ). Notes joined in this way are notarticulated alter the initial attack. Move the slide or valves quickly while keeping theair moving through the tube. (See note to No. 36)

r 2 7 Roussoau s D r e a mV | F 1 = 11 1 l l II


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1 2Practise No. 28 as No. 1. Do not progress to a higher note unti l it can be produced with comfort and without effort. Never force or strain for high notes. Therange will increase naturally as the muscles strengthen with regular practice. Toproduce the lower notes t h e jaw should b e protruded slightly.

2 8 E x t e n d i n g t h e r a n g ea. b. c d

m h. w ,

2 9 Bi m a j o r a c a l e & a r p e g g i o (AH scales&arpeggios MUST be memorised )V H J i i r r i f T i r r i i r r i rr i r r M M i

7 ^ / JT Fi n \ n3 0 Gm i n o r m e l o d i e e c a l e & a r p e g g i o' v j , I N - l l r T l i I l i r ' M ' r r ^ n i j l lm 'I, r i ir i i i j iG m i n o r h a r m o n i c a c a l ew h f U J i f r IT n i rT \ H-yi i,u i i


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3 1 St ud y i n Bt majo rAl la m a r g e P - PJ* - ^4mm r i r r i r i r r r V r f r i r r m r r r r i f

3 2 S t u d y i n G m i n o rLento

1 1 1 1 1 r 1 1 1 1 1 1 1 \ wmf1 r IJ j j I j i ^ u m

3 3 P u e r No b i s ( 1 5 t h C e n t u r y Ca r o l ) r3 4 P a v a n a (D e l i b e s )w n r r ? ir r r n r r ^ # M f irr' r i r' rr i r 1 ^3 5 M a r c h f o r C l a r i o n sAl legro ma non troppo V > >

n r r n r r i i i u y r i r r r I n if i>This sign i s a n accent, and notes so marked must b e tongued harder.


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14No. 36. When slurring from one note to another, the initial note must be tongued,and theair stream continued through the note change. When moving from onenote to another, the slide must be moved quickl y or the valves put down or let upquickly, whether the music is fast or slow, or the change will not be clean. Whentwo or more valves are used simultaneously they must move together, not aftereach other. This is even more essential when slurring.

3 6 S l u r r i n g S t u d y

mf mr"f 1 t i ff tT 1 j |, a J J | J1 fv\ 1_li41 r-J 1 i r r r' r* r 1 rr 1 ' 11

No. 37 introduces quavers {eighth notes). There are two quavers to each beat socount ' one and two and' carefully as marked, and make certain the notes arecleanly tongued and equal in length and volume. Make sure that the tongue andslide or fingers always work together.3 7

1 82 3 t4

B I err Berr err rrr *f

3 8^ m ^ i ^ ^ - T f r r r r i i ^ f f f e

3 9 1 =1r4


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4 0 G o e f r o m m y w i n d o w ( O l d E n g l i a h )1 5

> 41 TheQ u a i l ( F r e n c h F o l k S o n g )Andant ino I^ : R I LEI;

4 2 H u n g a r i a n F o l k S o n g2 o

m i l f i c-rrr 11 r ir j Tang4 3

4 4 ^ ^w% j Ji r J3| j r j r i Jrj r cr i J rrr irn' f r


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Iti45 Se careful to differentiate betweeAllegroi y .\ ,w - r P F t f i r I f f PJ r = \

ri slurred anrf tongued1 -=i

^ ' jprrJ=LL=r I !L[frr ur r r> ir rriv i r ffi Glr>J

1 r J / f fffit-J11 _

-p-gjfr > f p i i-A-f- r u u : 1 1 Li n v i

46 M e n u e t ( M i c h i e l P a r e n t )Al legret tow f r r i'r r r i rc r r imfrKf lT IT r r i t n i * -.v i.p p f r > r f f f1 [ J 1 II U - - z b z f c = ^ 1 1 I I -I1P' \ r r r 1 ^ T f r r 1 f y T r r 1p r 1

t l :i , r ryp ibr^ f=T= p-Fiu i j : - B b = r r _f , P f i rp f f / i p ry r i^ rrr i t 7 r TF1 1 i i ' r *47 M y Love ' s an A r b uAndante->j--j fr\ f fh

i rr1 HTM R 1 1 U 1 1 1 U 1 M rp IT -iit u s ( I r i sh Fo l k S o n g )

r ? r r r 1 r ' J J J I J "' , 1J J , r 1^ HTJ [J U 1 1mp - .. v i , . r f - 4 - f

U ' u -j * * ^= Lp - ^ j L ^ j n

' r i P ^ . i 1 1 r > i r f r fa>v-j.rpfr ir r r ip f f r ~ r r 7 r rr -fi J J -)^ U w U ! | [ J U 1 : 1 y [ J | . j d d = 1


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1748 Allegro


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18No. 52 is designed to strengthen the facial and li p muscles, and the slurs have tobe made without the assistance of any change of valve or slide. When slurringupwards the lip muscles are Tghtened and the back of the tongue should be raised,as though making the sounds ' AAHH-EEEE' . Play this study very slowly, and usethe alternative lingerings or positions as marked. Relax In the rest bars.

5 2 S l u r r i n g Study (use fingerings and slide positions as marked)Adagio

Study No 6 can now be practised slurred instead of tongued.

In No 53 be careful to give the tenuto (-) notes their ful l value and make thestaccato notes (.) short.

5 3 S t ud y i n Eb ma jo rAllegrettom i r i ^ t f ^ t f r ^poco fegato

h - h r i f r r - P T r i FT-]" l i = t^ - O L L - S f l > r r f f f r r f t , k r i h r t r i t t i r - .-mri.']j i i 1 i i J i 1 11 n u n i i i i i i [ J \ r t * t * f l

No. 54 is in ; time (compound time), and here the beat is a dotted crotchet,which is divided into threes instead of twos as in previous studies.


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1 95 4 S t u d y i n C m i n o rmf L crac

' . f f r r i T i f f r j ^ Q i r^n y M - I L U Imf cresc. J

If No. 5 5 is found to b o too strenuous to play complete, it should be practised intwo separate sections (as marked a a n d b).55 M i n u e t t f r o m the ' R o ya l Fi r e w o r k s M u si c ' < H a n d e l )Allegro marziale

f J i f Ji r c r r ^ t - t - r L; n f r r r i f f f i r :Fine

> > >

rrrr' rrrrrr ^cresc pocoJpuco

56 M i n u e t (J. S . B a c h )Moderatoi i i T i / T J i i ' T f icc/r i J rr ir*TJ i I J 1 ^ ^I i| T \ f \ ' i| 1r TOUrr i rTJ < i S^ *m


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20No 57 should be played very smoothly, so attention must be paid to clean,smooth fingering or slide movement. It is advisable to practise slowly at first, andgradually work the study up to tempo, as the student becomes more conversantwith it.

57 Ch r o m a t i c S t u d y

5 8 D o t t e d c r o t c h e t s , f o l l o w e d b y q u a v er

w^ fn rc rr ri r [ r rc ri r r ^ irprr i rcrr i r c r r ^59

M I prin.r ii wir>f \ ftri\ nt i r r r U S J I60 A l l t h r o u g h t h e N i g h t ( W e l s h A i r )

rr r i f pr r i f f?rr i r ^ J ir r p i r ^ ^
http://ftri/nthttp://ftri/nthttp://ftri/nt


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2161 T r u m p e t P r o c e s s i o n a lAllegro pomposo

r rr Pi rirrrirnr


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22

dti i l 'rrmp

' htitt i f i f n r l f r f i f f| f ir i ir iIn No. 6 5 the beat i s divided by a jerky rhythm ^ [ 57?] . Make certain thatthe semiquaver (sixteenth note) is always short enough, as often this rhythm isplayed incorrectly in a lazy fashion (ie. J Jj instead of J""J ). It must be crisp andmartial.

65 S t u d y i n D m in o rTempo di marcia

j y u f ' r j- >.,j*

^ I j f ' f f lTr-Jf I CUT ll'JgS


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236 6 A u s t r i a n C a r o lAndantinoi n n nTrr irr" ? r i f f . f f r f

m p m/ 3 0 ' ' r r? i r r r r i r r r ir r?ir Sm p

i f;rcr' rir f?ir fjir ffirrTjrj6 7 Da v i d o f t h e Wh i t e R o ck ( W e l s h Tune)Largo e molto legato

4 = mp espress.

r ffr I r Lr Cf I rh f - L ? C ? i r & 1P P

6 8 Ca p t a i n M o rga n' s M a r c h ( W e l s h A i r )Al legroT-r;,ff^f' -rf' f-^ lfffr r i rrr # f fUjfflfa

r r r i r r f -I6 9 Fi g a ro ' s A r i a ( M o z a r t )


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247 0 A S t u d y and Tun e i n c o m p o u n d t i m eAl legretto> \ & ifjr efj i L X ' Q j "Q L U I L D Ur i

P i ii 1 ^ txj I' II' H virrrrrt n m ' n m m

ir a i J. i71 A Tr u m p e t A i r (1 8 t h C e n t u r y )Al legro declamato j r' JTLfr i rU J- JTJ^ T r f r i

H i i i i72 S l u r r i n g Study / i/ se fingerings or positions as marked!Lento

i


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The bracketed notes in No. 7 3 are probably above the range of the student at thisstage of his development, so should be omitted unless they can be producedwith ease.7 3 A b m a j o r s c a l e a n d a r p e g g i o $3*4 1%v 11.1 r i r f i f f ' f f ' i 1B J j g i i 1 w r i i r r i i r r i F ^ i I VI 1 l' e 1111 -174 F m i n o r m e l o d i c s c a l e a n d a r p e g g i o' V M J I1-,1 I1- 1 i"i 1 I ii r i f r if* r if f 1 1

I I f t r \ r r I 111 1 j 1 1

'..I rf 1 i f f ,, I, ii 111 j 1 1F m i n o r h a r m o n i c s c a l eJ lJ J j I I " Ir f Iff i f f \ 1 m

i i f r i ri 1 11 ' ji i


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26The rhythm is often played incorrectly, and it may help the student to singthe word AM-STER-DAM to it before playing No. 75 and to think this whileplaying.

7 5 S t u d y i n At majorAllegrettoj t o n ^ ^ g ^ r i t i s 1 us/ ^' ) ; ! H P TI* P Hm- mmm[ *-m-. ti . . . j -

rurt rr-fir I T ^ Ml ' i M I ; rnq g

,v !, L,,i m r ni-m- r ^ ^''K'Tlrfrf C 1 ' r, r*?t 1 lr pr J 1 r r r r - - P - P - 1 rjrrrri11 E 1 T 1 Trr*r-rrrr1 '-^M>f'ffin LJf-Y ir i r *\ u i t= IJJ3IJ.

No. 76 is not as easy as it may look. It should be lyrical in style, and some thoughtshould be given to interpretation and phrasing. Make sure the slurs are alwaysclean and smooth. Think and listen.

7 6 S t u d y i n F m i n o rAdagio

pespress

&&Tr ir l '-TOt *J) ii


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27

pp

77 W e s t e r i n g H o m e ' S c o t t i s h Fo l k D a n c e )Al legret to

r rr r r i C-rrJir D.Cm78 G a v o t t e (J. S . Ba ch )Tempo di Gavotta

rf4ffif" n?rlIr rfrnrcrr rrirfr feftfrwiD.C.


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US79 C h r o m a t i c S t u d yAllegro ma non troppo

Jt

The single tongue is very often neglected, although it is one of the most important assets of good brass playing. Double and triple tonguing should never be usedto replace the single tongue except in phrases which are too fast for clean articulation. No. 80. and similar studies, can and should be used as daily practice routines.

8 0 T o n g u i n g Stu;)i.H4 rirrffTf


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81 L e g a t o S t u d yAndante

82 T r u m p e t T u n e ( P u r c e l l )Allegro marzial e

i f f f giLn.Trf i r f r r i rrrfr ifff |^ffrfr r intrffrr .fff . rr r tr r f tr f fy-. i,,ff f fiffrfPr iffYfffrrirMrrirfffffff|rrr.|

mf f

A trill is introduced at the end of the first stanza of No. 83 ; this should be ignoredby trombone students. It should be practised alone, before being inserted into thetune, making sure that the notes are even. Take care that the vafves always go rightdown and up again. A trill should be played from a long tube to a short tube whenpossible, so often it is advisable to use alternative fingerings to ensure the naturalsharpening of the tube (i.e. when trilling from D to Efr ft Dshould beplayed I.)- - r ' =
http://ln.tr/http://ln.tr/http://ln.tr/


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83 A T r u m p e t Tune ' The D u k e of M a r l b o ro u gh ' s M a r c h '( J e r e m i a h C l a r k e )Allegro marzialef r if rr |fffriY| f rfrff|

irrrrrf|ffrr,|fii U Finef f if i i m . r r i n ^

,,f f ,f r,f rrf i * ^ D.C.

In No. 84 each bar should be repealed at least four times, and should, at first, bepractised slowly. Make sure that each phrase is even. These exercises are plannedto develop the independence of the fingers, especially the naturally weak thirdfinger, and should become daily routine practice; while designed primarily forvalve instruments, the trombonist will find them beneficial to develop slideflexibility.

8 4 F i n g e r i n g E x e r c i s e sT H , J J J Jr # r * i i ii-Lni] jnzn -, =n

? ?Pt r r rsb in LT-Lr1

# r j.l - I , H a ^ M I , ii.. rTUJhJ i.i 11 H . ' i r . . ,11 i i . rra JT3 = I

' 11 " c m LLLJ1 r v "T1 j f o i l ^ . T i .II . r - 5 ^ 3 = = H= = 1- n w - # s . s

7r,11 h1 nrr77' i ' r i i i ' " 1 i- I I I i f 1, 1 _ 1 1 1 1 1 1 1Valve) ! 3 ! 3 ? 3 J 3 O 3 O 3 O 3 O 3VQTJLELTI - i ! irru i r ;r - i i iLrr =L1 0 h J a ^ J a ^ a ^ JShde 1 6 1 $ 1 6 1


28/38

85 C ma jo r sca le and a rp egg io

m J ir r ir r i ir r ir r ir r iJ >JIM r i r r i if r i a 8 6 A m i n o r m e l o d i c s ca l e a n d a rp e g g i o

=11A m i n o r h a rm o n i c s c al e

m J I.I J ir~ r IT r i ir Ti r i u 1187 S t ud y in C ma j o r

Al legretto


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No. 88 may be found difficult at first, so practise slowly to begin with, but alwaysplay rhythmically.

8 8 S t u d y i n A m i n o rAllegretto a l la giga

' ii m n r i i O j i u i r n f i i i i j i L i ^ i r i i r Ti i

8 9 G a u d e a m u s I g i t u r ( S t u d e n t S o n g )Maestoso >

^ f r f - h ^ f r Ir f r r i f t rr r i ffefc> rrr f ifrf f r* f ,Trf | rjf ff.rrf i90 The Trout ( S c h u b e r t )

Allegrettom mmp


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3391 S o l v e i g a S o n g ( G r i e g )Andante con espress.

i if rrf ffirail. a tempo^ri-f.ric>f?rftifgr-1: ral- t e i 19

^ irtraJ ittfttr itcrgf ifgCf f i C t f ^ ^ t r r irrizrifftff iffTEtp

In No. 93 two new notes are introduced. Fs and G. If these notes prove to be toohigh play D for Fsand E? for G. Never strain to play, or force, high notes, as irreparable harm can be caused As the muscles strengthen with use and practice, therange will develop and extend naturally.


31/38

9 3 S a r a b a n d e < C o r e l l i >Adagior f PT"fnrrr r ir, if,. , i -pdi^ r x a ' C 4 J i U 1 I . ,^fif?f iff-f d J Fi ^ - -1 4mp ^ * wr P*ffr ir HH

=~ M' *| - | i i | w

9 4 The B l a c k b i r d I W e l s h A i r )Andant ino

mp pococrttsc

9 5 S c a n d i n a v i a n Fo l k S o n gAl legret to r r - f


32/38

9 e M ^ l d ^ h e r ' a S n g f r m " T h e M a * i c ^ t e ' ( M o z a r t )3 5

pocont. a tempo

cresc

emgThestudent may experience a slight soreness a t the root of the tongue during thpractice of No. 97 and similar studies, as more or less dormant muscles are be'used and exercised. All muscles must b e fatigued to strengthen them.

97 T o n g u i n g S t u d y

m

mp


33/38

9 9 I n t e r v a l S t u d yTempo di menuetto

TTrrff if rf ifr n r ir ir ~ 111 i . r r r r r if rf\ f | f rf| ^ f| ffYr Ji>r r h r ' f r ' i r i r i r h r, I I _ ' H I' I >>rr, n r, H f r i r f r f rir Jr i J T ^,J> Lf C J ty i ^ O u M" i j f frf ir i i


34/38

3 71 0 0 S l u r r i n g S t u d yAndantino

1 0 1 M y H e a r t . E v e r F a i t h f u l < J . S B a c h )


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3 8102 The Lass w i t h t he D e l i c a t e A i r ( M i c h a e l A r n e )

Andantin o ma con motor igf e r? i r u irjf rr/ifigt . 'rr r ii7 r f \ i f ? i ir rrfr ir Pnrff i f poco ere e.

rrrf ' = = / m1 03 S i l e n t W o r s h i p ( H a n d e l )Andante

Finetr t f t i f r 1F i ffiir* -tfjffrTrf f l i rAgi[ficrfjfiu i| fr er m rrrr "1 04 S e l l i n g e r ' s R o u n d ( O l d En g l i s h 1 6 t h C e n t u r y )Allegretto er i r En ir pfjf i r e l f i

mr I rT i r Ir1 orrTT F I r. rrrrr i r- u mD.C.r p I r p to i rrrf IcJrr p L C I 11 r rr ^ !


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3 91 0 5 M i n u e t < J e r e m i a h C l a r k e )Allegretto

TIP ^r m T i l r , f r . l r r f ^

1 0 6 T r u m p e t T u n e ( J o h n S t a n l ey )

m p

rese

H d r j c A m t * * , h u h . F v i i i J


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F I R S T T U N E SA N D S T U D I E S F O RT H E T R O M B O N EO R E U P H O N I U M( B A S S C L E F )


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F I R S T T U N E SD I ES FORT H ET R O M B O N EO R E U P H O N I U M(Bass Clef)

P R E F A C EThis book has been planned to supply elementary material for the beginner of allages. The tunes and studies develop steadily, and one or two can be mastered eachweek over a period of a year to eighteen months. They have been devised to give

musical satisfaction, as well as providing a serious basis for technical development.No space has been wasted on rudiments of music: the book concentrates onmaterial which wi l l teach the student how to play his instrument. The explanatorynotes have been kept as short as possible, and the student should seek some professional tui tion and advice, especially in the early stages of playing. Bad faults innote production and embouchure are often diff icult to rectify once they get a holdI woul d like to thank mymany friends and colleagues who have made suggestions for this book, and also, in discussion and argument over the years, haveassisted in bringing the ideas enclosed to fruition. Particular acknowledgement isdue to Arthur Wilson, principal trombone of the New Philharmonia Orchestra, andProfessor of Trombone at the Royal College of Music, London, for much helpfuladvice in preparing this bass clef edition.

Bram Wggins

C Oxford Unrversity Press 1976

mÉtodo bram wiggins

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