(Selected from the Vocalises of Marco Bordogn). By Giovanni Marco Bordogni (1789-1856). Edited by Alan Raph. For trombone. Method book and CD. 96 pages. Published by Carl Fischer

By Jean-Baptiste Arban. Arranged by Alan Raph. For Trombone or Baritone Horn BC. Published by Carl Fischer

For all brass instruments. Composed by Bai Lin. Instructional Method. Full score (study). With Standard notation. 40 pages. Carl Fischer #BQ00038. Published by Carl Fischer

Solos for Trombone by Arthur Willard Pryor (1870-1942). For Tenor Solo, Piano. Solo part. Standard notation. 64 pages. Published by Carl Fischer

By Jean-Baptiste Arban. Arranged by Robert E. Foster. trombone or baritone B.C. Published by Carl Fischer.

For Trombone. Composed by Sigmund Hering. SWS - affix CD on cover 3. Back To School. Softcover. With Standard notation. Carl Fischer Music #O4441X. Published by Carl Fischer Music

By V. Cornette. Arranged by Jerome N. Procter. For Trombone. Published by Carl Fischer.

Sacred Instrumental Solos for Worship and Performance (Trombone Book - Audio CD Included). By Charles H. Gabriel; Chester Allen; Daniel Towner; Joseph Barnby; Luther B. Bridgers; Robert Carter; Robert Lowry; William B. Bradbury; William Gardiner. Arranged by Gary Hallquist. For Tenor. Score and Audio CD. 15 pages. Published by Carl Fischer.

Composed by C. Kopprasch. Instructional book for Trombone. 27 pages. Published by Carl Fischer.

Selected from The Vocalises of Marco Bordogni. Composed by Joannes Rochut. Arranged by Joannes Rochut. Softcover. With Standard notation. 79 pages. Carl Fischer #O001596. Published by Carl Fischer

(Selected from the Vocalises of Marco Bordogni). By Giovanni Marco Bordogni (1789-1856). Edited by Alan Raph. Arranged by Joannes Rochut. For trombone. 68 pages. Published by Carl Fischer

By Georg Philipp Telemann. Arranged by Alan Raph. For Trombone. Published by Carl Fischer.

By Giuseppe Concone. Arranged by John Shoemaker. For Trombone. Published by Carl Fischer.

By Arban/Prescott. For Trombone or Baritone. Trombone or Baritone. Published by Carl Fischer.

Technical Studies for Bass Clef Instruments (For Bass Clef Instruments). By Herbert L. Clarke (1867-1945). Edited by Claude Gordon. Arranged by William B. Knevitt. For Bass Clef Instruments. Student book. Standard notation. 53 pages. Published by Carl Fischer

(Transcribed and Edited by Larry Clark). Composed by Johann Sebastian Bach (1685- 1750). Edited by Larry Clark. Score - performance. 48 pages. Published by Carl Fischer

Composed by W. Jonathan Gresham. With Standard notation. 36 pages. Carl Fischer #BQ00063. Published by Carl Fischer

(Warmups and Technical Studies for the Developing Performer - Trombone, Book 2). By Andrew Balent Quincy C. Hilliard. Arranged by Andrew Balent Quincy C. Hilliard. For Tenor. Sounds Spectacular. Student book. Standard notation. 16 pages. Published by Carl Fischer

Compiled by Andrew Balent. For trombone solo and baritone solo. Format: trombone/baritone solo book. With standard notation. Classical. Series: Carl Fischer Festival Performance Solos. 9x12 inches. Published by Carl Fischer.

14 Best-Selling Pieces from the Band Series. By Various. Edited by Andrew Balent. Arranged by Andrew Balent. For Tenor I. This edition: 1st Trombone. Level: Grade 2. Part. 16 pages. Published by Carl Fischer.

Chamber Music trombone

SKU: CF.W2687

For Trombone. Composed by Jean-Baptiste Arban. Edited by Alan Raph. SWS. Collection - Performance. With Standard notation. 32 pages. Carl Fischer Music #W2687. Published by Carl Fischer Music (CF.W2687).

ISBN 9781491150955. UPC: 680160908455. 9x12 inches.

This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trombone, edited by Alan Raph, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.
The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) willend. There are things which appear clear enough when stated verbally but which when writtendown on paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech norword can clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level ofperfection, should above all things, always try to hear good music well interpreted. Theymust seek out, among singers and instrumentalists, the most illustrious models, and by doingthis purify their taste, develop their sentiments, and bring themselves as near as possible tothat which is beautiful. Perhaps then the innate spark which may someday be destined todemonstrate their own talent, will reveal itself and render them worthy of being, in their turn,cited and imitated in the future.