abstract: The purpose of this project was to provide a pedagogical resource for students and teachers that highlights selected transcriptions of former Los Angeles Philharmonic principal trombonist Ralph Sauer (b. 1944), and how those works can be used in an applied instruction setting. The compositions include Bartók’s Romanian Folk Dances, Debussy’s Syrinx, Pergolesi’s Sinfonia in F, Sonata in B-flat by Mozart, and Saint-Saëns The Nightingale. The sections dealing with pedagogical concepts are presented as conversationally as possible to facilitate ease of understanding by teachers of any background and level. Educators who are not trombonists or are otherwise not wholly familiar with the presented repertoire can still able to borrow phrasing directly from the document. The musical examples enable teachers to quickly identify sections of the work that may prove useful to students. At the time of this writing, there are no commercially available recordings of the chosen pieces as they appear from the publisher. Therefore, the recording is intended to render the music exactly as it is printed in the published version, and to be as free of personal musical interpretation as possible. The works were chosen to cover a range of ability levels, from early college through the graduate level. All the included pieces are published, as of July 2019, and available for purchase online from Cherry Classics Music. / Dissertation/Thesis / Musical Examples / Doctoral Dissertation Music 2019

This dissertation is an examination of Divertimento for Solo Trombone and Wind Band by renowned wind band composer and conductor Jack Stamp. The result of this study is the illumination of a 21st-century composition for solo trombone and band that is made accessible for future performers, accomplished by constructing original musical exercises that are influenced by current trombone pedagogical materials that have either been edited, annotated or created by current performers and pedagogues such as Joseph Alessi, Brad Edwards and Michael Mulcahy. The piece also incorporates 20th -century American wind band influences. The careful selection of pedagogical materials serves the purpose of making this challenging solo accessible for the advanced academic trombonist and can serve as a template for surveying advanced literature of the present and future. Additionally, the pedagogical materials selected for use in this dissertation were considered based on their value in the present academic trombone repertory. Thus, this performance guide reflects on the validity of the modern trombone pedagogical literature to guide a performer's study, interpretation, and performance of a 21st-century work for solo trombone.

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The three recitals consisted of performances of original eighteenth, nineteenth and twentieth century solo works for trombone with the exception of Lyric Suite for Euphonium and Piano by Donald White, Divertimento for Trumpet, Trombone and Piano by Boris Blacher, and Dialogue and Dance for Trombone and Tuba by Newel Kay Brown. The premiere performance of Straight As An Arrow for B-flat-F Trombone and Prepared Tape by Ronn Cox and Dean Crocker was also included. After presenting a brief biography and discussing Gordon Jacob's (1895-1984) stylistic influences, the lecture continues with a Tonal, Motivic and Formal analysis of his three works for solo tenor trombone: Concerto for Trombone and Orchestra, Concertino for Trombone and Wind Orchestra, and the Trombone Sonata. Tonality, modality, polymodality and free association of pitches are elements that are present at one time or another in these compositions. Jacob's inclination for using the folk song style is evident in his writing, especially in the slow movements. Introductions, transition areas, and secondary themes, with tonally ambiguous harmonies and instrumental concepts of melodies, create a tension that is released by the return to tonality in the areas that follow. Treatment of rhythmic and melodic motives helps produce the special quality found in Gordon Jacob's compositions. Over half the themes in the works being investigated are built around motivic development. Neoclassicism results from the use of forms rooted in earlier centuries, but the choice of key centers gives these forms a new life. Jacob's composition of absolute music, as well as his use of the older compositional techniques of parallel harmonies and slow introductions, reflect neoclassical practices. The performance of Jacob's pieces is facilitated by his use of musical materials idiomatic to the instrument.

The selected works by the composers studied in this thesis might well stand as illustrative of the normal development of the use of the bass trombone near the close of the nineteenth century. Although notable progress was made by the cited composers in increasing the bass trombone's usefulness in the orchestra, each composer also continued to use the bass trombone as it had been used in previous years, such as in doubling bass parts, harmonic backgrounds, and for strong rhythmic punctuations.

The primary objectives of this paper are to deal with Stravinsky's use of the trombone and to study the different methods of scoring for the instrument which he has employed in his works. In order to make this discussion more meaningful, the first chapter contains a brief history of the use and the development of the instrument from the fifteenth century up until 1900. In the second chapter Stravinsky's major works are divided into three periods, and each is individually discussed. The general characteristics common to the related major works are pointed out to provide an understanding of each period. The remainder of the paper is devoted to a study of Stravinsky's trombone scoring in three of his major works, one from each period. A concluding chapter summarizes his writing for the trombone as exemplified by these three works, and surveys the scoring for trombone in some of his other works.

This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years. The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung. The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.

Neste momento delicado, delineado pela multiplicação de cursos de trombone por todo o país, muitos professores encontram-se despreparados e, todavia, cientes da iminente necessidade da atualização das técnicas trombonísticas como um elemento motivador e transformador de sua ação docente. Diante dessa expectativa em relação à informação educacional, percebem-se o quanto estes estão desamparados e se colocam na busca da solução mágica para resolver essa situação profissional problemática: a disponibilidade de material didático em língua portuguesa. Somado a isso, há um outro fator: a formação inicial precária desse professor. Formação esta com base num sistema fragmentado de ensino, onde ainda prevalece o esquema tradicionalista e oral de transmissão de conhecimentos. É nesse ponto que nossa pesquisa entra como um unificador de procedimentos, com saída plausível para a aquisição de novas competências exigidas pela integração dos conhecimentos atualizados internacionalmente à prática educacional. Nosso trabalho dará um panorama educacional atual, utilizando-se dos escritos de Edward Kleinhammer e Denis Wick, dentre outros. Estes nos fornecerão subsídios para a compreensão do ensino e, portanto, do professor, que não só participa mas interfere através do meio que emprega. Usaremos elementos básicos de Arnold Jacobs e Keith Johnson para se entender a formação do professor. A pesquisa divide-se em três partes: na primeira, discorre-se sobre um apanhado histórico. Iniciar-se-á quando os chifres foram substituídos por ligas de metal estes, a princípio reto, e, numa fase posterior, já retorcidos. Com a evolução musical, novas formas de arranjos foram necessárias. Estas, feitas para um número maior de vozes. Houve a necessidade de um instrumento de metal de tamanho maior, podendo, assim, ter mais extensão na direção dos graves. Essa variedade criou o trombone. Na segunda parte, confrontam-se diferentes opiniões sobre tópicos da arte de tocar trombone (escolha do instrumento; bocal; cuidados, limpeza e lubrificação; surdinas; respiração; embocadura; glissando e posições do êmbolo; articulação; como estudar e literatura específica). Na terceira e última parte, serão analisados 19 currículos universitários 12 prevalecerão de cinco países (Brasil, Venezuela, Estados Unidos, Inglaterra e Austrália). Os resultados obtidos surpreendem pela inovação nos projetos elaborados, na sutil prática pedagógica e na organização de um coletivo influente no próprio ensino do instrumento. / Trombone courses are currently multiplying throughout the country. This is a decisive momentmany professors find themselves unprepared and aware of the immediate need to update their trombone technique to motivate and transform their teaching. They need support in the form of educational information and seek a \"magical\" solution to this professional problem: teaching material in Portuguese. There is also another problem: the precarious initial education of the professor himself, including an education based on a fragmented teaching system where traditionalist methods and the oral transmission of knowledge still prevail. The purpose of this dissertation is to unify procedures, providing a plausible alternative for the acquisition of new skills through integration of and access to updated, internationally recognized knowledge on teaching. This study provides a panorama of current teaching methods based on the writing of Edward Kleinhammer and Denis Wick, among others. These works will provide a basis for the understanding of teaching and, therefore, of the teacher, who both participates and intervenes through the methods used. We will use the basic concepts of Arnold Jacobs and Keith Johnson to understand the education of the teacher. This study is divided into three parts: the first provides historical background. It begins when animal horns were replaced by metal alloysinitially straight, but later shaped. Musical evolution required new arrangements for a larger number of voices. A larger brass instrument was needed to cover the lower registers. This variety resulted in the trombone. The second part compares different opinions on the various aspects of the art of trombone playing (choosing an instrument; mouthpiece; care, cleaning and lubrication; mutes; breathing; embouchure; glissando and slide positions; tonguing; how to study and specific literature). The third and last part analyzes 19 university courses in five countries (Brazil, Venezuela, United States, United Kingdom and Australia), focusing specifically on 12. The results obtained are surprising in the innovation employed in their planning, their subtle teaching practices and the organization of an influential group of trombone teachers.