THIRTY-SIX STUDIES FOR TROMBONE with F Attachment Arranged and Edited by Reginald H. Fink CARL FISC! IERe {82 Cooper Savare, N 04259PREFACE In order that the trombonist may develop a conmand of the complete range of the instrument, the following exercises should be used along with the original “Thirty-Six Studies for Trombone” by 0. Blume. Since the stand- tard version is not edited for trombones with F attachments, the student will have to observe the editings and rules for usage of the thumb valve herein and apply them to the standard Blume books. The following chart shows the lat and 2nd overtones of the F attachment. The numbers below the notes represent the approximate tenor-trombone slide positions. 1_inF ~ebe ure Ss 12 b3b% 6 b7 If the attachment slide is extended one semitone it becomes an attachment in E. The following chart shows the Ist and 2nd overtones of the E attachment. The numbers below the notes represent the approximate tenor- trombone slide positions. 2 inE SS 3s 12 530 6 With the exception of Exercise 15 in this book all the exercises are to be played with the attachment tuned in F. It has been my experience that new students on an F-attachment: trombone tend to overuse the valve for the notes C, B, F, and E, and to avoid using the valve for Bb, A, Ab, and G. The editings are designed to ex- pose the technical possibilities of the F attachment. AYV over a note indicates that the note should be played using the valve to engage the F attachment. No indication is given with these notes as to what slide position to use — the student should memorize the above charts before proceeding. Tne nunbers indicate tenor-trombone slide po- sitions without using the valve. When the V or the nunbers are enclosed in parentheses this indicates that the editing is probably the best way of performing it, but that it is open to some question depending on the speed of the exercise and the technical advancement of the player. Those notes below low E and above pedal Bb can only be played with the valve and therefore are not marked. Every variation of articulation, dynamics, nuance, rhythm, tempo, and general style, as outlined in the thirteen sections of Exercise I, should be applied tocach section of the exercise. A change in one of the afore- mentioned styles is often the difference between an easy and a difficult exercise, The student who does not adopt every variation to each exer- cise risks developing an incomplete command of the instrument. There fore, wherever possible, the variations should be applied to the ensuing etudes as well. Reginald H. Fink3 a3/a4 Detaché d-60,90,20 ~ v v —— Ta, of Maestoso 2g60,50,20 ae 1¢24% s¥0r>. sEEET 6 v vovey Vv (OG) i Copyright © MCMLN by Cat Fisch, ne, Now York Interational Copyright Secured Allright reserved inclulng perorming rights112820wa020Allegro assai v v pom fAllegro assai Vv v Peat sfoat: oe. = y 84 Moderato d. v 7 SES waa20Allegro dz120 82010van20 Moderato d=1 un12 Allegro assai 49613, Scherzando 4-8 ao > 3020Andante con moto nae2018 Allegro non troppo #=108 Sn ¢ 616 @=108 6 og Allegro agitato 6Allegromarcia #=96296 Allegro marcia woa20Allegretto J=100 6 19 a8201 20 Allegro moderato ¢=108Allegro J=36 15.4 Valve ink: ?? ee eg Sg v 2y v_&22 Allegro non troppo ¢= Vv > | —— || fmm \jv- setModerato #=96 18. 4%25 { Scherzando =00 (‘0 SESS26 2 Allegro ¢: S Cc mf27ozoi 30 2u vy, WiVvVVy Wy 3020at Andante cantabile a 23. PWW! 32 Allegro marcato ail se2033. Allegretto J=92= re fe Vv =o 6 = P 1 pre Allegro Ji180 wa82035Allegro 48%37 Allegro vivace #*138 130208 Andante 4=80 ve gee tgveeAndante =80 ot 64a 66 =100 5 Allegretto ¢ veoe20>| f 8 & o > N é > / " ne 7 | 4 7 > > Cy 8 ® | 8 > e > | te > Q 5 > a 4 : 4 > & Zw . 200 5lor) wv) 120 a vw Allegro risoluto w 44 wan20