Trombone For Pleasure

TROMBONE FOR PLEASURE
In compiling this syllabus the New Zealand Music Examinations Board has endeavoured to use readily available and affordable
editions as indicated in the text. The Board has used each book to the fullest extent possible, however any edition is acceptable.
Editions are mentioned solely as a means of identification, and any standard edition will be accepted.
New Zealand music is available from SOUNZ, the Centre for New Zealand Music, Level 1, 39 Cambridge Terrance, Wellington,
6001. Tel 04-8018602, Fax 04-801 8604, infor@sounz.org.nz.
Examination Music
Entrants may not use photocopies for performance (other than for facilitating page turns) in examinations, as this is prohibited
by the Copyright Act. All Level Two, Three, Four, Five and Six entrants must hand copies of all pieces being performed to the
examiner together with their examination slip when they enter the examination room. It is recommended that Level One entrants
also hand in copies. Entrants should not play repeats in examinations, however any da capo must be played.
Co-Requisites
There are no additional theory requirements for Grades 6-8.
Improvisation
Credit will be awarded for appropriate improvisation. It is acknowledged that within some of the styles presented improvisation
will be appropriate. Care however must be taken to maintaim the works musical integrity and level of difficulty. A copy of the work
with the improvisation section marked must be brought to the examination for use by the examiner.
Entrants changing from Performance Trombone to Trombone for Pleasure
Entrants in Performance Trombone are permitted to swap to the Trombone for Pleasure syllabus by presenting three pieces by
three different composers two of which must be in the Performance Trombone syllabus of the same grade. Entrants should advise
the examiner of the change when they enter the examination room and mark the appropriate box on their examination slip.
Syllabus Repertoire
Three pieces are to be presented. The programme must show a variety of styles by three different composers. A minimum of two
pieces are to be from the NZMEB syllabus list. The third piece may be an own choice piece and should be at a similar level to
those already in the syllabus. The syllabus repertoire lists may be used as a source for an own choice piece. Entrants must bring
a copy of the own choice piece to the examination for the examiner to refer to.
NZMEB TROMBONE FOR PLEASURE 2010
Musicianship
LEVEL ONE
Preliminary
To join in and clap the beats in simple duple or triple time, to a harmonized passage played by the examiner and to continue
clapping the beats when the music stops.
To clap or tap at sight, a simple written rhythm, in simple time.
Example:
4 n
4
To visually recognize step or skip movement (seconds and thirds) over three notes within the compass of a fifth. We
suggest entrants use their own pieces to develop fluency.
Example:
43 n
Grade One
To recognize written combined step/skip movements over 3 notes within the compass of a fifth. We suggest entrants use
their own pieces to develop fluency.
Example:
3 n
4
To clap or tap at sight, a simple written rhythm, in simple time.

Example:
3 n
4
To play the same pattern as a given melody using only 2nds and 3rds within the compass of a fifth in the key of B major.
Example:
3
4 n
To aurally identify major seconds and major thirds (number only), played twice by the examiner. Entrants may sing or hum
the notes before answering.
To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
42 n
Grade Two
To visually recognize any written interval within the compass of a fifth. We suggest entrants use their own pieces to develop
fluency Example:
43 n
To clap or tap at sight, a simple written rhythm in simple time. May include crotchet rests and quavers.
Example:
4 n
4
n n n
To play the same pattern as a given melody in the keys of B or A major.

Example:
4
4 n
n n n
To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner.
Entrants may sing or hum the notes before answering.
To echo clap a short rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
3 n
4
n n n
n n n
n n n
n n n
Grade Three
To visually recognize written intervals within the octave at sight. We suggest entrants use their own pieces to develop
fluency.
Example:
3 n
4
To clap or tap at sight, a simple written rhythm, in simple time. In addition to the rhythmic figures in previous grades, dotted

n n
crotchets, quavers and minim rests may be included. Example:
4 n
4
n n n n
n
n n n
To play the same rhythm pattern as a melody within the compass of an octave in the keys of D or Eb major.
Example:
4 n
4
n n n n n
n n

n n n
To aurally identify major and perfect intervals up to and including perfect fifths (number only) played twice by the examiner.
To aurally identify root position triads as major or minor (notes sounded together) played twice by the examiner.
To echo clap a short rhythm pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
4 n
4

n n
n n n n
n

n n
n n n n
LEVEL TWO
Grade Four
To clap or tap at sight, a written four bar rhythm, in simple time or compound duple. In addition to the rhythmic figures in
previous grades, semiquavers, dotted quavers and quaver ests may be added.
Examples:

44 n n n n n n n n n n n n n n n n n n n n n n n n n n

68 n n n n n n n n n n n n n n n
n
To name the tonic key.

To play a given melody in the keys of F or D major.
4 n n n n n n n n n n n n n n n n n n n n n n n
4
n

6 n n n n n n n n n n n n n n n
8
n

Examples:
To name the tonic key and transpose the melody up one tone.
To aurally identify major and perfect intervals up to and including major sixths, (number only) played twice by the examiner.
To echo clap a rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
43 n n n
n
n n n
Grade Five
To clap or tap at sight, a written four bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous
grades, triplets and tied notes may be added.
Examples:
3
3
4 n n n n n n n n n n n n n n n n n n n n n n n n
4

n n n n n n n n n n n n n n n n n
6 n
8

To play a given melody in the keys of D major or Eb major.
Examples:
4 n
4 nn n n n
6 n
8
n n n
D
n n n n n n
nn n
n

n n n
3
V
3
I
B
E

n
n n n n n n n n n
n n n n

n nnnn
To give the letter names for both triads of the perfect cadence as marked.
To transpose the melody down one semitone or up one tone.
To aurally identify by quality and number major and perfect intervals up to and including a perfect octave, played twice by
the examiner. Entrants may sing or hum the notes before answering.
To echo clap a four bar rhythmic pattern clapped once by the examiner. A second attempt will be allowed if necessary.
Example:
86 n n n n n n n

n n n n
nnn n n

n
LEVEL THREE
Grade Six
To clap or tap at sight, a written eight bar rhythm, in simple or compound time. In addition to the rhythmic figures in previous
grades, syncopation may be added.
Examples:

44 n n n n n n n n n n n

5
n n n n n n n n n n n

68 n n n n n n n n n n n n
5
n n n n n n n n
nnn n nnn n n n
n n
n nnn nnn n n n

n n n n n n n n nnnnn
n n n n n n
n n n
To name the tonic key of the melody.

To name the final cadence as perfect or plagal and to name the letter names for both triads.
To transpose the melody up one tone or down one semitone.
To play a given melody in the keys or G or A major.
Examples:
3
2 nn n n n
4 n
n n n n n n n nnn n nnn n nn n
n n n n
n

4 n n n n
n n n

n n n
4
3
To aurally identify by quality and number, all major and perfect intervals up to and including a perfect octave, played twice
by the examiner. Entrants may sing or hum the notes before answering.
To aurally identify root position triads as major, minor, or augmented (notes sounded together) played twice by the examiner.
LEVEL FOUR
Grade Seven
To clap or tap at sight, a written rhythm in simple or compound time. In addition to the rhythmic figures in previous grades,
syncopation may be added.
Examples:

43 n n n n n n n n n n n n n n n n n n n n n n n n n
3
n nn n nnnnn n n n nnnnn n n nnnnn nnn n

n

89 n n n n n n n n n n n n n n n n n n n n n n n n n n
n

n n n
n n n n nnnnn

n n n n nnn n n
n n n n

n


To play given melody in the keys of B major/minor or E major/minor.
Examples:
n n n *n *

4
n

n
n n
4 n n n n n n
5
*
*

n
n
n n n
n n
n n
n
n
*
n
n
*

n
n
n
n n n*

4 n n n

n n nn

*
Identify the first cadence as imperfect or interrupted and the second cadence as perfect or plagal (*).
Give the letter names of all triads forming cadences.
Transpose the melody up a tone or down a semitone
To aurally identify by quality and number all major and perfect intervals, and minor thirds, up to and including a perfect
octave, played twice by the examiner. Entrants may sing or hum the notes before answering.
To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by
the examiner.
Grade Eight
To clap or tap at sight, a written eight bar rhythm, in any time signature.
Examples:

98 n n n n n n n n

5
n n n n n n n n

5 n n n n nn nnn
4

5
n n n n n n n n n n
n n
2
n n n n n n n n n n
2

n n n n n n n n n n
n n n n n n n n n n n n

n n n n n n n n n n

nn

Entrants will be given half a minute to sight an orchestral excerpt provided by the examiner and then to play it from the
score
Entrants will be given an additional minute and a half to memorize the excerpt before replaying it.
To aurally identify by quality and number all major and perfect intervals, minor thirds and sixths, up to and including a
perfect octave, played twice by the examiner. Entrants may sing or hum the notes before answering.
To aurally identify root position triads as major, minor, augmented or diminished (notes sounded together) played twice by
the examiner.
Musical Knowledge
In practical examinations examiners will ask entrants questions on the following aspects of list pieces (excluding study list)
Level One - Preliminary to Grade 3
The notes, rests, signs, terms and titles of pieces.
Keys or tonalities in which the pieces are written.
Level Two - Grades 4 and 5
Modulations which occur in the pieces at main cadence points.
Broad formal structure of pieces.
Name the period and give its time frame.
Give the nationality of composers.
Level Three - Grade 6
Modulations which occur in the pieces.
Broad formal structure and analysis of the pieces.
Some knowledge of the period and stylistic characteristics.
Some knowledge of the composers.
Level Four - Grades 7 and 8
Keys and tonalities in which the pieces are written.
Broad knowledge of the structure and analysis of the pieces.
Broad knowledge of the period and stylistic characteristics of the pieces.
Some knowledge of the composers of the pieces presented for examination including range of repertoire and major
contributions to the development of musical style.
Level Five - Associate Diploma
Detailed knowledge of the structure and analysis of the pieces.
Detailed knowledge of the period and stylistic characteristics of the pieces.
Knowledge of other works by the composers of the pieces presented for examination with emphasis on the repertoire for
the entrants instrument/voice.
Knowledge of the development of the entrants instrument through the various musical periods, and how the development
of the instrument affected the composers writing.
Level Six - Licentiate Diploma
Detailed knowledge of the structure and analysis of the pieces.
Detailed knowledge of the period and stylistic characteristics of the pieces.
Knowledge of other works by the composers of the pieces presented for examination with special reference to their major
works.
Knowledge of the development of the entrants instrument through the various musical periods, and how the development
of the instrument affected the composers writing.
CRITERIA and DESCRIPTORS

Level 1 - Preliminary to Grade 3
Processes are limited in range, repetitive and familiar, employing recall and a narrow range of knowledge and cognitive skills.
These are applied in activities which are closely supervised by the teacher.
Examiners will use these criteria in assessing all level 1 entrants.
Comfortable and well balanced posture

Appropriate hand and arm position.
Beginning to acquire:
Accurate and prompt performance from memory of all technical work

Performance of the technical work at the minimum tempo or faster
Awareness of underlying pulse in the pieces
Awareness of the dynamic range of the instrument
Accurate and fluent performance of pieces
Awareness and control of dynamics, tempo and articulations
Awareness of intonation and breath support
Awareness of clear and even tone
Preliminary
1. Exercise
Five note exercise based on B major scale, (B, C, D E, D C B)
Tempo - ascending and descending minimum metronome speed 60, one note per beat
2. Pieces
Any 3 pieces from a recognised trombone tutor book comprising a minimum of 5 different notes and a minimum of 12 bars
length. Piano accompaniment is optional.
Recommended tutor books E 2000 for Trombone Book 1, Abracadabra for Trombone Book 1
3. Musicianship
4. Musical Knowledge
Grade 1
1. Scales
B
B
B
B
B
Major
Harmonic Minor
Chromatic
Major Arpeggio
Minor Arpeggio
Sustained note
Any one note of the B major scale held for at least 6 seconds, at mf
Articulation - All scales to be played ascending and descending one octave only within the required range. All scales
and arpeggios to be played: all tongued/all slurred
Range - Inclusive as shown:

Tempo - Ascending and descending minimum metronome speed 76, one note per beat
2. Pieces - Three pieces to be chosen, one from each list, plus one study list piece
Anon
Anon?
Arban
Arban
No 12, p 10 or Third Study p 17

Russian Dance
No 2 or 3, p 17
Study
Bailey
Mr Smooth
Baring-Gould
Bartok
Eudoxia
Play
Bates
Brumby
Boogie, or Dutch View

Twilight Hymn
Coombes
Croft
Davis
Trotting Trombone
St. Anne
Dynamic Study
Diabelli
Dorsey
The Joker
Exercise
Ed. Langey Nightingale

Endresen
No 1 A Small Step
Study No 1
Fisher
Pebble Beach
Fitzen Hargen
Russian Song Without Words No 1
Holley
Rain Time
Kirnberger
Komm, o komm, du Geist des Leben
Koechlin
La Ceinture de Noces
McKimm
Love in the Garden
The Trombone, Bass Clef, Boosey & Hawkes

Winners Galore for Trombone Brass Wind 0121BC
Arban?s Famous Method for Trombone, Fischer
Orchestral Brass Trombone Book, Series 1, Allans
Publishing
Brass Book; C version in Bass Clef, Series 1, Allans
Publishing
The Young Trombonist Bk 1, ed. Lawton, OUP
Time Pieces for Trombone Vol 1, arr Harris & Miller,
Associated Board
Key Notes, Bass Clef, Brass Wind
Publishing
Publishing
The Magic Trombone arr. Hare, Boosey
Publishing
Easy Jazzy ?Tudes, Warwick
Supplementary Studies for Trombone, Rubank
HL04470640
Publishing
First
Book
of
Trombone
Solos,
ed
Goodwin/Pearson, Faber
Publishing
Orchestral Brass Trombone Book, Series !, Allans
Publishing
Time Pieces for Trombone Vol 1, arr Harris & Miller,
Associated Board
Publishing
10
McPherson
Tonguing Study, or Legato Study
Pie Cantiones
Pollard
Unto us a Boy is Born

Sounding the Distant Bells
Ramskill
Ross
Homewood Trail or Sand Dance

Bush Suite
Russian Folk Song Arr

Gout
Tallis
Easter Hymn
Trad
The Barley Break
Trad
When the Saints
Trad/Bach
Vom Himmel hoch
Tschaikovsky
Chanson Russe
God Grant We Grace

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Publishing
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Publishing
3. Musicianship
11
Grade 2
1. Scales
G, A
G, A
G, A
G, A
G, A
Major
Harmonic Minor
Chromatic
Major Arpeggio
Minor Arpeggio
Sustained note
Any one note of the B major scale held for at least 8 seconds, with crescendo and
decrecendo (p - f - p)
Major scales, 1 octave ascending. Each note to be held for two beats (tongued only).
Breathe every 8 beats or 4 notes
Sustained scale
Articulation - All scales to be played ascending and descending one octave only within the required range. All scales
and arpeggios to be played: all tongued/all slurred
2. Pieces - Three pieces to be chosen, by three different composers.
Arban
Arban
No 14, or 17, p 20 -21

Study
Bach, W. F
Air
Bailey
Little Swinger or Rocket Up
Bartok
Bates
Blazhevich
Slovakian Folk Tune

Quito
Study
Boyce
Largo Andante
Broadstock
Danny?s Song
Brumby
Berceause
Butterworth
Clarke
Gino?s Tune
Minuet
Clarke-Jones
Para Gliding
Coombes
Davis
Shadows
Study
De Visser
One Extra Minute
Dreyfus
The Doll?s House
Ed. Langey
Falla
No 33, p 13
Cancion

Publishing
Publishing
Publishing
The Magic Trombone arr. Hare, Boosey
Keynotes, Bass Clef, Brass Wind
Publishing
Time Pieces for Trombone, vol 1, arr Harris &
Miller,Associated Board
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
Time Pieces for Trombone, Vol 1 arr Harris & Miller,
Associated Board
12
Fitzenhagen
Air Slave
Foster
Massa?s in the Cold Cold Ground
Gross
Hare
Brass in Three, A Little Hymn, or Brass

Fun, any one
Variations on Goe from ny Window
Holborne
The Fruits of Love
Holley
Contemporary Study
Holst
Theme
Langey
Study
MacInnes
The Bean
Marcello
Grave
McPherson
Study No 1, 2, or 3, any one
Morley
Now is the Month of May
Nightingale
Sweelinck
No 2, Siesta, Siesta
Allein Gott in der Hoh sei Ehr
Trad
Trad
In dolce jubilo or Llwyn On

Skye Boat Song

Publishing
Publishing
Publishing
Publishing
First
Book
of
Trombone
Solos
ed.
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
The Young Trombonist, Book 1, ed Lawton, OUP
Publishing
3. Musicianship
13
Grade 3
1. Scales
E, D
E, D
E, D
E, D
E, D
E, D
Major
Harmonic Minor
Melodic Minor
Chromatic
Major Arpeggio
Minor Arpeggio
Sustained note
Any one note of the D major scale held for at least 8 seconds, with crescendo and
Major scales, 1 octave (first octave) ascending. Each note to be held for two beats
(tongued only). Breathe every 8 beats or 4 notes
Sustained scale
Articulation - All scales to be played ascending and descending one octave within the required range.
All scales and arpeggios to be played: all tongued/all slurred

2. Pieces - Three pieces to be chosen, by three different composers
Arban
Arban
No 30 or No 32 p 24
Study
Bach
Menuett II
Bailey
Bailey
Moonlight Air or Snappy Rag

Soft Winds or Cool It
Blake
Walking in the Air
Blazhevich
Study
Blodgett
Rapid Tonguing
Brodbeck
Speak Easy
Brumby
In Memoriam
Corelli
Prelude
Davis
Articulation Study
Ed Gout
Ed Langey
Giordani
Blues
No 26 or No 27 , p 12
Caro mia ben
Gottschalk
Hail Columbia
Greenbaum
Outward Bound
Handel
Verdi Prati

Publishing
Publishing
Jazz Incorporated Vol 1, Bailey
Publishing
First
Book
of
Trombone
Solos
ed.
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
The Really Easy Trombone Book, Faber
First Solos for the Trombone Player ed Smith,
Schirmer
Second
Book
of
Trombone
Solos
ed.
Publishing
The Young Trombonist, Book 2 ed Lawton, OUP
14
Heinichen
Adagio
Holley
Potato Flower
Kinyon
Folk Song Blues
Marcello
Largo
McKenzie
Jazz Study
McPherson
Study No 1, No 2, or No 3
Nelhybel
Allegro marcato
Nightingale
Pachelbel
No 13 Slinky
Sarabande
Pearson
End Titles
Pearson
Rag Trade
Purcell
Trumpet Tune
Ross
Ballade
Saint-Saen
Royal March of the Lion
Schubert
Litany
Trad
Trad
No 5, or No 8
The Lachlan Tigers
Verdi
Chorus of the hebrew Slaves
Webber
Memory

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Publishing
Publishing
Publishing
Publishing
First
Book
of
Trombone
Solos
ed.
Second
Book
of
Trombone
Solos
ed.
First
Book
of
Trombone
Solos
ed.
Publishing
Publishing
Publishing
Schirmer
Publishing
Publishing
First
Book
of
Trombone
Solos
ed.
3. Musicianship
15

Level 2 - Grades 4 and 5
Processes are moderate in range, established and familiar, employing basic operational skills using readily available information.
These are applied in directed activities which are supervised by the teacher. Learners have some responsibility for quantity and
quality.
Comfortable and well balanced posture and comfortable relationship with the instrument.
Appropriate and comfortable hand and arm position with fingers close to the keys.
Technical facility, sufficient to allow:
Rhythmic stability
Developing controlled co-ordination of the hands and tongue
Controlled, clear, even legato and tone
Accurate and prompt performance from memory of all technical work

at the minimum tempo or faster
A developing sense of pulse to allow accurate performance of rhythmic figures
Accurate and fluent performance of pieces with appropriate breath control and tone
Awareness and control of dynamics and tempo
The ability to articulate legato and staccato textures as required
Awareness of phrasing
Generally secure intonation and breath support.
A developing awareness of fine pitch discrimination.
A developing ability of vibrato.
To demonstrate the ability to tune the instrument.
16
Grade 4
1. Scales
F, D
F, D
F, D
F, D
F, D
F, D
F, D
Major
Harmonic Minor
Melodic Minor
Chromatic
Major Scales in Thirds
Major Arpeggio
Minor Arpeggio
Sustained note
Sustained scale
Articulation - All scales to be played ascending and descending one or two octave(s) within the required range. All
scales and arpeggios to be played: all tongued/ all slurred/ two slurred, two tongued
Anon
Trumpet March
Arban
Arban
No 47, p 28, or no 48, p 29

Study
Arne
Largo
Bach
Bach
Bist du bei Mir

Sarabande
Bailey
Bailey
Blue Mood or Devil May Care

Ightly Latin
Bassano
Galliard
Blazhevich
Study
Boismortier
Rigaudon
Brahms
Two Songs
Brodbeck
Busy Body
Brumby
Song of the Bard
Campbell
Stillness
Clarke
Studies

Publishing
Publishing
Publishing
Jazz Incorporated Vol 1, Bailey
Publishing
First Book of Trombone Solos, Goodwin/Pearson,
Faber
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
17
Corelli
Minuet
Cornelius
Davis
The Kings
Style Study
Deyfus
Nullabor Hideout
Ed Langey
Ed Wedgwood
Fontana
Any three to count as one work: No 2,

3, 4, 6, 9, 13, 15, p 53
No 3, No 4, or No 7
Sonata, No 4
Galliard
Andantino
Galliard
Menuet Alternat
Gershwin
Summertime
Goss
Dance
Handel
Handel
Air from Concerto Grosso

Le Rejouissance: Allegro
Handel
March
Holley
Holley
Contemporary Study, Modern Study,

or Bright Study
Soft Sun
Marcello
Largo
McKenzie
Mixed Berries
McPherson
Chromaticc Study
Mendlessohn
Moussorgsky
If With All Your Hearts or Theme from

Italian Symphony
Promenade
Nightingale
Parry
Ross
No 17, The Shout

Repton
Caprice
Schubert
Theme from Symphony No 5
Tchaikovsky
Theme from Rococo Variations
Trad
Trad
Wedgwood
Captain Morgans Battle Song

Ye Banks and Braes
Tequila Sunrise

Publishing
The Young Trombonist, ed Lawton, OUP
Publishing
Publishing
Jazzin About, Faber
Second
Book
of
Trombone
Solos
ed.
Publishing
Schirmer
A Little Light Music for Trombone, arr Iveson, Brass
Wind
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
Publishing
Schirmer
Publishing
The Young Trombonist, ed Lawton, OUP
Publishing
Schirmer
First Book of Trombone Solos, Goodwin/Pearson,
Faber
Publishing
3. Musicianship
18
Grade 5
1. Scales
D, E
D, E
D, E
D, E
D, E
D, E
D, E
D, E
Major
Harmonic Minor
Melodic Minor
Chromatic
Major Arpeggio
Minor Arpeggio
Dominant Sevenths (arpeggio only)
Sustained note
Sustained scale
Articulation - All scales to be played ascending and descending one or two octave(s) within the required range.
All scales and arpeggios to be played: all tongued/ all slurred/ two slurred, two tongued
Tempo - Ascending and descending minimum metronome speed 96, two notes per beat
Arban
Bach
Bailey
De Fesch
No 18, p 35, No 32, p 41,or No 38, p

43
Herzlick thut mich verlagen
Stokers Siding or Jumbuck Jive
Minuet No 9, first repeat required
Ed Langey
Eichman
No 2, p 64 and No 10, p 68
Serial Piece
Franck
Galliard
Godard
Panis Angelicus
Alla Siciliano
Berceuse de Jocelyn
Heller
A Sweet trip
Kopprasch
Marcello
No 7 and No 9
Allegro from Sonata No 1
Mendlessohn
Ravel
Theme
from
the
Reformation
Symphony
Song of the Comptois Clock
Shostakovich
Waltz
Wagenseil
Second Movement of Concerto for

Trombone

Jazz Incorporated, Vol 1, Bailey
Second
Book
of
Trombone
Solos
ed.
Schirmer
Solos for the Trombone Player ed Smith, Schirmer
Trombone Solo Album, ed laycock, Boosey and
Hawkes
Schirmer
60 Studies Vol 1, Hofmeister
Second
Book
of
Trombone
Solos
ed.
Schirmer
Second
Book
of
Trombone
Solos
ed.
Schirmer
3. Musicianship
19
Level 3 - Grade 6
Processes require a range of developing skills within a range of familiar contexts. These are applied using relevant theoretical
knowledge, interpretative skills, discretion and judgment within a range of known responses to familiar problems. Although
activities are directed by the teacher, learners have significant responsibility for the quantity and quality of output.
Comfortable and well balanced posture demonstrating considerable ease in the relationship with the instrument.
Appropriate hand and arm position and use of alternative fingerings where appropriate.
Technical facility, to allow:
Accurate and prompt performance from memory of all technical work at the minimum tempo or faster
Increasing control of co-ordination of the hands and tongue
A well developed sense of pulse to allow accurate performance of rhythmic figures.

Increased control of variations in tempo, tone and articulations
A developing sense of phrasing, style and ornamentation as appropriate to each musical period.
Increased awareness of intonation and breath support
Increased awareness of fine pitch discrimination.
Increased ability of vibrato.
Able to tune the instrument with competence.
20
Grade 6
1. Scales
A, G
A, G,
A, G,
A, G,
A, G,
A, G,
A, G,
A, G,
A, G,
A, G,
Major
Harmonic Minor
Melodic Minor
Chromatic
Whole Tone Scale
Major Arpeggios and Broken Chord
Minor Arpeggios and Broken Chord
Diminished Sevenths (arpeggio only, beginning on the note)
Double Tonguing
Sustained note
B major, 1 octave (ascending and descending). 2 semi-quavers on each note

Any one note of the E major scale held for at least 12 seconds, with crescendo and
decrecendo (p - ff - p)
Major scales, 1 octave (upper octave) ascending. Each note to be held for two beats
Sustained scale
Articulation - All scales to be played ascending and descending one or two octave(s) within the required range.
All scales and arpeggios to be played: all tongued/ all slurred/ two slurred, two tongued/ slurred pairs

Tempo - Ascending and descending minimum metronome speed 120, two notes per beat
Arban
Bach
Bach, J S arr Lafosse
Bailey
Coe
Corelli
Ed Langey
Galliard
Gounod
Gregson
Handel
Jacob
Kopprasch
Lusher
Marcello
Marcello
Nightingale
No 2, pp 205-206
Arioso
Gigue from Cello Suite No 1
Wily Bossa
Variations on ?The Ash Grove?
Theme and variations 2 and 4.
Preludio
No 16 and No 17, p 72 or No 23 and
No 24, p 75 or No 4, p 89 or No 5, p 90
Sonata No 3, 1st and 2nd movements
Lend me your Aid from La Reine de
Saba
Divertimento for Trombone and Piano,
1st mvmt only
Adagio Cantabile
Trombone Sonata, 1st mvmt only
No 14, 15, 22 or 25 and 26
No. 4, No 6, or No 11
Sonata in A minor for cello, 1st and
2nd movements
Sonata in E minor, any two contrasting
movements
No 24, Joot Hoot

Suites for Tenor Trombone, Le Duc
Jazz Incorporated, vol 1, Bailey
OUP
IMC
Trombone Solo Album, ed laycock, Boosey and
Hawkes
Chappell
Emerson
Sixty Studies, Vol 1, IMC
Don Lushers Trombone Album, Boosey and
Hawkes
IMC, Peeters, Schirmer

Easy Jazzy Tudes, Warwick
21
Ridout
Rimsky-Korsakov
Shostakovich
Telemann
Sonata,
1st and 3rd mvmts
(unaccompanied)
Andante Cantabile
Four Preludes, any one mvmt.
Sonata in F minor
Emerson
Ed. Musicus
Second
Book
of
Trombone
Solos
ed.
3. Musicianship

Level 4 - Grades 7 and 8
Processes require a wide range of technical skills involving a considerable choice of procedures in a variety of familiar and
un-familiar contexts. The learning demands a broad knowledge base incorporating some theoretical concepts and analytical
interpretation of information. The learning demand requires informed judgment within a range of innovative responses to concrete
but often unfamiliar problems. Learners have complete responsibility for the quantity and quality of output under broad guidance
and evaluation from their teacher.
In addition to those criteria at level 1, 2, & 3 the entrants will demonstrate:
Accurate and fluent performance throughout.

Rhythmic stability and vitality.
A full exploration of the dynamic range of the instrument.
A confident projection of the style and character of chosen works.
Sensitivity to subtleties of nuance, rubato and ornamentation.
A well developed aural awareness and reliable intonation.
A well developed awareness of fine pitch discrimination.
A competent use of vibrato for musical expression.
22
Grade 7
1. Scales
E, B
E, B
E, B
E, B
E, B
E, B
E, B
E, B
E, B
E, B
Major
Harmonic Minor
Melodic Minor
Chromatic
Whole Tone Scale
Double Tonguing
Sustained note
F major, 2 octaves (ascending and descending). 2 semi-quavers on each note

Any one note of the F major scale held for at least 14 seconds, with crescendo and
decrecendo (pp - ff - pp)
Sustained scale
Articulation - All scales to be played ascending and descending two octaves within the required range, otherwise only
one octave is necessary.

Tempo - Ascending and descending minimum metronome speed 72, four notes per beat
Arban
Corelli
Ed Langey
Granados
Guilmant
Handel
Haydn
Hindemith
Horovitz
Kopprasch
Reiche
Rimsky-Korsakov
Schroder
Serocki
No 1, p 204 or No 8, p 214
Courante from Cello Suite No 1 or
Prelude from Cello Suite No 3
Sonata in A major, Op 5, ed Brown
No 21,p 73, No 22, p 74, No 25, p 76,
or No 28, p 79
Madrigal in A minor
Concertpiece, Op 88
Concerto in F minor, any 2 contrasting
mvmts
Adagio
Sonata, 4th mvmt
Adam-Blues
No 17
Rondo
Concerto, 1st and 2nd mvmts
Andante Cantabile
Sonatine for Trombone and Piano, 1st
mvmt

IMC
IMC
IMC or Solos for the Trombone Player, ed Smith,
Schirmer
IMC
Solos for the Trombone Player, ed Smith, Schirmer
Schott
Novello
Solos for the Trombone Player, ed Smith, Schirmer
Boosey and Hawkes
Hansen
Moeck
3. Musicianship
23
Grade 8
1. Scales
B, C
B, C
B, C
B, C
B, C
B, C
B, C
B, C
B, C
B, C
Major
Harmonic Minor
Melodic Minor
Chromatic
Whole Tone Scale
Dominant Sevenths of the major keys (arpeggio only)
Double Tonguing
Triple Tonguing
Sustained note
B major, 2 octaves (ascending and descending). 2 semi-quavers on each note

C major, one octave ascending and descending. Triplet on each note
Any one note in the range held for at least 14 seconds, with crescendo and
decrecendo (pp - ff - pp)
Sustained scale
Articulation - All scales to be played ascending and descending two octaves within the required range, otherwise only
one octave is necessary.
Tempo - Ascending and descending minimum metronome speed 80, four notes per beat
Arban
Arnold
Bozza
Corelli
Corelli
Handel
Kopprasch
Mancini
Marcello
Pryor
Rimsky- Korsakov
Saint-Saen
Schumann
No 3, pp 206-208, No 6, pp 211-212,
No 9, pp 215-216, or No 11, pp218219
Fantasy for Trombone
Courante from Cello Suite No 2, or
Allemande from Cello Suite No 4
Hommage a Bach
Sonata in D minor, ed Gibson
Sonata in F, Op 5, ed Brown
Concerto in F minor
No 38, 45, 48, or 51
The Pink Panther, arr Frankenpohl
Sonata No 2 in E minor, any two
contrasting mvmts
Blue Bells of Scotland
Trombone Concerto, 2nd and 3rd
mvmts
Cavatine
Romance Op 94, no 2 ,for Trombone
and Piano
Faber
Leduc
IMC
IMC
IMC
Kendor
Schirmer
Fischer
Brass Wind
Durand
Brass Wind
24
Telemann
Fantasia in A minor No 1
Von Webber
Romanza Appassionata
Twelve Fantasias for Unaccompanied Trombone, ed

Ralph, Fischer
Fischer
3. Musicianship
25

Trombone For Pleasure

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TROMBONE FOR PLEASURE

NZMEB TROMBONE FOR PLEASURE 2010

To clap or tap at sight, a simple written rhythm, in simple time.

NZMEB TROMBONE FOR PLEASURE 2010

To play the same pattern as a given melody in the keys of B or A major.

crotchets, quavers and minim rests may be included. Example:

NZMEB TROMBONE FOR PLEASURE 2010

To name the tonic key.

To name the tonic key.

NZMEB TROMBONE FOR PLEASURE 2010

To name the tonic key of the melody.

NZMEB TROMBONE FOR PLEASURE 2010

n  nn n nnnnn n n n nnnnn n n nnnnn nnn n

To name the tonic key.

NZMEB TROMBONE FOR PLEASURE 2010

NZMEB TROMBONE FOR PLEASURE 2010

NZMEB TROMBONE FOR PLEASURE 2010

CRITERIA and DESCRIPTORS

Comfortable and well balanced posture

Accurate and prompt performance from memory of all technical work

NZMEB TROMBONE FOR PLEASURE 2010

No 12, p 10 or Third Study p 17

Boogie, or Dutch View

Ed. Langey Nightingale

Russian Song Without Words No 1

Komm, o komm, du Geist des Leben

Love in the Garden

NZMEB TROMBONE FOR PLEASURE 2010

The Trombone, Bass Clef, Boosey & Hawkes

Tonguing Study, or Legato Study

Unto us a Boy is Born

Homewood Trail or Sand Dance

Russian Folk Song Arr

The Barley Break

When the Saints

Vom Himmel hoch

God Grant We Grace

Brass Book; C version in Bass Clef, Series 1, Allans

NZMEB TROMBONE FOR PLEASURE 2010

Range - Inclusive as shown:

No 14, or 17, p 20 -21

Little Swinger or Rocket Up

Slovakian Folk Tune

One Extra Minute

The Doll?s House

NZMEB TROMBONE FOR PLEASURE 2010

Arban?s Famous Method for Trombone, Fischer

Massa?s in the Cold Cold Ground

Brass in Three, A Little Hymn, or Brass

The Fruits of Love

Study No 1, 2, or 3, any one

Now is the Month of May

In dolce jubilo or Llwyn On

Orchestral Brass Trombone Book, Series 1, Allans

NZMEB TROMBONE FOR PLEASURE 2010

Range - Inclusive as shown:

Moonlight Air or Snappy Rag

Walking in the Air

NZMEB TROMBONE FOR PLEASURE 2010

Arban?s Famous Method for Trombone, Fischer

Folk Song Blues

Royal March of the Lion

Chorus of the hebrew Slaves

n nn n nnnnn n n n nnnnn n n nnnnn nnn n