Etude 1:

Page 6-7, No. 5, G Major, No. 5
Tempo: Dotted quarter note 54 - 64
Play: beginning to end
Errata: none

Performance Guide:

Care should be taken in this etude to keep the rhythm accurate. The ties that are written throughout this etude from the quarter notes to the sixteenth notes are to be counted correctly and not just felt when you think it is time to leave the tie. Also, the rhythm of eighth note and quarter note can be easily be counted incorrectly. It would be a good idea to practice this etude with a metronome from the very beginning.

The accents are not to be over done. Just a little push of air at the front of the notes should do.

In the B section, the player should again work for a crispness of articulation (especially in the lower register), tongue and slide coordination, careful tuning while playing fast, etc. Be very careful of the tuning in the B section. It is all centerd around e minor.

There can be some musical playing done as well if the player will follow the line of notes - crescendoing while going up and decrescendoing while going lower.

There can be a lot of opportunity to use the the second valve on the independent bass trombone throughout this etude.

Etude 2:

Page 19, No. 17, E Major, No. 17
Tempo: Quarter note 60 - 68
Play: beginning to end
Errata: none

Performance Guide:

This etude will give the player a chance to play very musically. There are many places where crescendos and decrescendos can be added to bring out the lines of the etude. Each player will have to work on their breathing as it relates to the phrases. I would suggest that at the tempos selected, that the player breathe every two measures throughout the etude. The breath after the double dotted quarter notes will fall exactly on the second half of beat two every time.

The B, or Animato section tempos are 70 - 76. The second A section should return to the original tempo.

Care should also be given to make sure that a difference can be heard in doing the different slurs that are marked on the page. The slurs that have the staccatos under them should have just a little harder legato tongue to make them have a little more definition at the front of the note. The slurs that are just the slur mark only should be made to be as smooth as possible. That would be to keep the air as long through the note as possible while starting the note with the lightest legato tongue and moving the slide at the exact time the tongue works.

Every player should work on the muscle control to play the range that is in this etude. Daily flexibility work is a must. There should be no embouchure shifts done to play to the high G#s. The tone quality should remain even throughout the entire three octave range.

There can be a lot of opportunity to use the the second valve on the independent bass trombone throughout this etude.

Etude 3:

Page 5, No. 4, D Minor, No. 4
Tempo: Quarter note 84 - 96
Play: beginning to end
Errata: none

Performance Guide:

This etude, as is with all the etudes in this book, is written in an A-B-A form. The A sections are to be played with a crispness of articulation that makes the etude move forward. The B section should be a definite contrast in style with the use of the tenuto markings. The tempo should not change at all in the B section.

The player should work on a number of basic fundamentals in working on this etude. Those would be clean, precise tonguing (especially in the lower register), tongue-slide coordination, tuning while playing at a fast tempo, and a changing of styles between the staccatos of the A sections and the tenutos of the B section.

The low D in measure 32 does not and should not have a fermata over it. There should be more dynamic interest added to this etude beyond the markings that are already written.

There can be a lot of opportunity to use the the second valve on the independent bass trombone throughout this etude.