Studio Handbook/Syllabus

The purpose of the studio handbook/syllabus is to provide to students with clear guidelines and instructions regarding required materials, studio objectives, course design and policies, possible topics and events, grades, curriculum, repertoire, and many more. Use the links below to navigate through the different sections of the handbook; or download your own PDF version of the entire handbook.


General Information

Location: MUS, Room 232
Time: M 11:00-11:50AM and Private Lesson
Professor: Moisés Paiewonsky
Office: MUS, Room 127
Office Hours: M-F 7:00-7:50AM
Office Phone: 520.621.7021
Cell Phone: 734.709.6521


Required Materials

  • 1) Professional Grade Instrument and Mouthpiece
  • 2) Metronome
  • 3) Tuner
  • 4) Recording Device to Record Daily Practicing
  • 5) Arban (Alessi/Bowman or Mantia) – Complete Method for Trombone and Euphonium
  • 6) Bordogni/Rochut – Melodious Etudes for Trombone (Book 1)
  • 7) Marsteller – Basic Routines
  • 8) Stevens/Bowman – Scale & Arpeggio Routines
  • 9) Blazhevich – Clef Studies (Tenor)
  • 10) Vernon – Singing Approach to Brass Playing (Bass)
  • 11) Lesson Notebook/Studio Handbook

Other methods, etude books, solos, etc. are assigned on an individual basis. Students are required to legally obtain these materials within two weeks of their assignment unless arrangements have been made with the professor. Cost of these materials and accompanist fees for recitals (see Course Design/Policies) are ongoing expenses which each student must be prepared to meet throughout the duration of each term.

Students are responsible for the care and maintenance of their instruments. Your instrument and its case should always be clean and in excellent working condition. A well-prepared student will keep a pencil, slide lube, valve lube, a spray bottle of water, a mouthpiece brush, a mini screwdriver, and a small Allen wrench in his/her case. In addition, students should be familiar with how to disassemble and clean their instruments properly.



  • 1) Facilitate the development of each student to the highest level of musical artistry that he/she is capable of/aspires to; and at least to the minimal level appropriate to that student’s area of concentration (see Year-to-Year Curriculum Benchmarks by Course)
  • 2) Learn to perform in public with poise and confidence
  • 3) Gain knowledge and insight into pedagogical principles, appropriate repertoire (i.e., etudes, solos, orchestral excerpts, jazz standards), and teaching strategies relevant to the trombone and music in general

In addition, this course will serve to combine and apply the knowledge and skills being learned and developed in the theory, literature, history, and education areas in order to prepare and perform music at a professional level. Further and more specific goals and/or expectations can be found in the Course Design/Policies and Course Grading sections of this syllabus.

In order to meet these objectives, it is understood that students will practice individually 2-4 hours per day at least 6 days per week. (Ensemble rehearsals do not count as practicing.)


Course Design/Policies

Each student is given a 50-minute lesson each week. In addition, all students meet together in a weekly studio class of equal length (see Course Topics/Events). Students are REQUIRED to participate in ensembles. These ensembles contribute vitally to student development. Trombone ensembles will vary somewhat from semester to semester but generally may include: trombone choir, trombone collective, and/or trombone chamber groups. While lessons are individualized to match each student’s unique abilities and learning style, the course sequence follows a general progression from emphasis on fundamentals to the development of a performing repertoire that, for graduate and undergraduate music majors and minors, culminates in one or two solo recitals.

Students are required to arrive at lessons, master classes, and rehearsals in a timely manner, warmed up, and prepared (this means that you have practiced the material; have all appropriate music, mutes, horns, pencil, etc.; and are ready to play). When it is time for your lesson, please knock on the studio door. If students are not prepared for their lesson, they may be dismissed early.

It is imperative that students practice 2-4 hours per day if they are to become successful trombonists and musicians. Do not attempt to “cram” for your lessons. Steady progress is achieved by daily, diligent practice. Students are expected to keep some written record of and to audio record their daily practice frequently. This will help speed up the learning process on key fundamentals and concepts of playing.

Studio Access: The studio will be available and open during the day to all students if I am present.

The studio will only be available when I am not present to students with keys. Only juniors, seniors, and graduate students will be given keys to the studio. The following “after hours” studio use rules will apply:

  • 1) The door is always to remain closed and locked
  • 2) The studio is to be left exactly as I left it (this includes both materials and facilities)

If at any time I feel that this privilege has been violated in any way, I will collect the keys and access to the studio will be limited to the day time hours only. If a student loses his/her key, he/she will be required to pay not only for its replacement, but also for a change of lock on the door and new keys to for everyone who had keys. Upon leaving The University of Arizona, students must return their keys to the studio. Failure to do so will result in the flagging of academic records and the loss of this privilege for the remaining studio members.

The studio computer will be available to students for listening and play-along purposes. It will contain an extensive iTunes library of recordings and play-along materials and will be connected to the studio sound system. The computer will have two user names: one will be my personal name (password protected) and the other will be the public studio name. The public studio user name will not be password protected and will grant access only to the iTunes library.

The sheet music library will consist of my personal solo, ensemble, etude, and jazz materials. There will be five excel spreadsheet files: one for solo literature, one for method/etude book materials, one for trombone ensembles, one for brass ensembles, and one for jazz materials. These can be sorted by author, title, or category to make browsing easier. These items will be available for checkout ONLY when I am present. At all other times, these items will remain in the filing cabinets under lock and key. Students may only check these materials out one at a time for two weeks at a time (maximum). Students are encouraged to purchase their own copies of materials from the library which they have found desirable to own.

The quartet and orchestral binders will always be available and will never be locked away. These binders may only be taken and used in their entirety. Individual sheet music is not to be removed from these binders for extended use at any time. Students may only photocopy materials out of these binders with my permission for practice purposes. The binders can only be taken and used for one day. Every morning, they must be in their place in the studio and in tact. Students are encouraged to purchase their own copies of materials from these binders which they have found desirable to own.

Performance Project: All graduate and undergraduate music majors are required to perform at least once a semester in a studio class, studio recital, area recital, general student recital, or other approved venue. Repertoire will be selected from works studied in the studio during the current or previous semester and will include a piano accompaniment. Chamber music is acceptable if the student’s part is of significant soloistic substance. Unaccompanied or electro-acoustic works may be performed with approval of the instructor. Students are required to schedule at least one lesson with their accompanist and/or chamber ensemble prior to performing.

Final Jury Examination: This consists of performing before a panel of three or more faculty members. The student will bring to the exam a repertoire sheet listing materials studied during the semester. The exam will begin with a selection of the student’s choice. Following this, members of the jury will select items from the list. Questions may be asked concerning musical terms, style, or structure of the works played. The exam may last up to 15 minutes. Junior and Senior Recitals and other approved performances may act as a substitute for the Final Jury Examination at the professor’s discretion.

Portfolios: A portfolio is the best way I know to maintain a complete and comprehensive record of student learning and achievement. I will form and maintain a portfolio for each student during his/her tenure at The University of Arizona. This portfolio will contain, but is not limited to, the following materials:

  • 1) Personal Information Sheet (to be completed and updated yearly and used on the Trombone Studio Website)
  • 2) Current Photo (to be used on the Trombone Studio Website)
  • 3) Current Curriculum Vitae and/or Resumé
  • 4) Current Biography
  • 5) Up-to-date Repertoire Sheet (including solo, etude, chamber music literature, etc.)
  • 6) Lesson Notes
  • 7) Audio/Video Recordings of Lessons
  • 8) Programs of Performances
  • 9) Audio/Video Recordings of Performances

If at any time a student would like to add something to his/her portfolio or obtain a copy of something within his/her portfolio, he/she can do so by simply requesting so while I am present. Upon departure from The University of Arizona, each student will be given a copy of his/her portfolio to use in applying for other schools and/or jobs and for his/her own personal use.

Attendance/Tardiness Policy:

Students are expected to be at every class, lesson, and studio activity/performance. Just as professors cannot miss days without advance notice, neither can students in this course. Any absences without prior notice will result in an unexcused absence. Even if the student is sick the morning of class, advance notice must be given. Excused absences are sickness, death in the family, or university sponsored events. All other reasons for absence are subject to the professor’s discretion.

Each unexcused absence (this includes lessons, master classes, and studio activities/performances) will result in the lowering of the final grade by one letter grade. Each unexcused tardy will count as half an unexcused absence. Remember, “ON TIME IS LATE,” so be early! Four unexcused absences or failure to appear at a required jury exam or other studio performance will result in automatic failure of the course.

In accordance with university policy, all holidays or special events observed by organized religions will be honored for those students who show affiliation with that particular religion. Absences pre-approved by the UA Dean of Students (or Dean’s designee) will be honored.

Makeup Lesson Policy:

Makeup lessons are arranged only for excused absences. It is this professor’s highest priority to ensure that each student receives the appropriate amount of instruction each term. If a student misses a lesson, it is his/her responsibility to contact the professor and reschedule.

Classroom Behavior Policy:

The use of "smart" devices during class with the purpose of enriching and supplementing the learning experience will be permitted. If at any point I feel that you are using a “smart” device for purposes outside of the aforementioned, you will be asked to leave and given an unexcused absence for that day of class.

It is expected that you will exhibit ethical behavior concerning your work in this class. Students are expected to do their own work, use their own words in papers, and to reference outside sources appropriately. Failure to uphold the standards of academic honesty as described in the UA Code of Academic Integrity will result in the appropriate disciplinary action.

The University seeks to promote a safe environment where students and employees may participate in the educational process without compromising their health, safety or welfare. The Arizona Board of Regents' Student Code of Conduct, ABOR Policy 5-308, prohibits threats of physical harm to any member of the University community, including to one's self. Threatening behavior can harm and disrupt the University, its community and its families.

Students Requesting Accommodations Due to Disabilities:

Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to the Instructor when requesting accommodation. For more information, please visit the UA Disability Resources page.


Possible Topics/Events

Each studio class will have one or more specific topics/foci relating to trombone playing and/or teaching. Students will be informed of these at least one week prior to the class and will be expected to prepare accordingly. Possible topics, areas of focus, and events include:

  • 1) Etude Coachings
  • 2) Solo Coachings
  • 3) Orchestral Coachings (Individual)
  • 4) Jazz Solo Coachings
  • 5) Orchestral Coachings (Section)
  • 6) Chamber Coachings
  • 7) Jazz Ensemble Coachings
  • 8) Warming Up/Routines
  • 9) Articulation
  • 10) Range
  • 11) Intonation
  • 12) Equipment
  • 13) Performance Anxiety
  • 14) Extended Techniques (Repertoire)
  • 15) Repertoire
  • 16) Recordings
  • 17) Improvisation/Scales
  • 18) Professional Development
  • 19) Mock Interview
  • 20) Mock Orchestral Audition
  • 21) Studio Concerto Competition

This is only a preliminary list of possible topics/events. It will be at the professor’s discretion when and which of these topics/events will occur. For the coachings, students will be assigned to specific sections and/or pieces in a fair and balanced rotation.

Each term, there will be either a Studio Concerto Competition or a Mock Orchestral Audition. The repertoire for these will be chosen by the professor. These will be blind and will be judged sometimes by studio members and other times by musicians outside of the studio. Prizes for these will be announced prior to the audition.


Course Grading

Distribution (Fall):

  • Studio Grade: 50%
  • Final Exam: 50%

Distribution (Spring):

  • Studio Grade: 25%
  • Final Exam: 25%
  • Jury: 50%

The Studio Grade is determined from:

  • 1) Quality and productivity of lesson work which reflect:
    • a) Active participation with an open, positive attitude during lessons and studio class
    • b) Satisfactory preparation of all assigned materials as given weekly
    • c) Satisfactory progress in physical conditioning, basic playing skills, and artistry
  • 2) Artistic quality of required recital performances
  • 3) Participation and support of ALL studio activities which includes:
    • a) Attendance of all on-campus recitals by members of the studio and/or the professor
    • b) Attendance at scheduled master classes by guest artists designated by the professor

The Jury Grade is determined from:

  • 1) The average of grades of jury members

*PRIORITIES AND COMMITMENT: All full-time students must give University courses first priority over all outside activities such as employment and social organizations. Absences will not be excused for those reasons. Please make sure employers, fraternities, sororities, etc. understand and agree to this. That being said, one of the University’s goals, as an educational institution, is to support each student’s endeavor to become a young professional in his/her specific field. Therefore, exceptions to this will be at the professor’s discretion and will only be made if and only if the student notifies the professor in a timely and professional manner.

General Grade Profiles (any or all of these may apply to your earned grade):
A = Preparation is consistently outstanding; progressing in all areas; executing material appropriate to your level and area of concentration; no unexcused absences or excessive excused absences
B = Preparation is generally satisfactory and occasionally outstanding; progressing in most areas; playing material appropriate to your level and area of concentration OR making rapid progress in overcoming deficiencies; one unexcused absence
C = Occasionally prepared; minimal progress and/or extremely deficient in fundamentals; little to no support or participation in studio activities; two unexcused absences
D = Usually unprepared; little to no progress; no support or participation in studio activities; three unexcused absences
E = Never prepared; no progress; four or more unexcused absences

*Please note that grades are approximate and the final grade is at the discretion of the instructor.


Year-to-Year Curriculum Benchmarks by Course

First Year – MUSI 185:

  • • Development of a consistent warm-up/routine
  • • Development of a characteristic tone
  • • Development of satisfactory legato and detached articulation styles
  • • • Range security up to C5 and down to E2
  • • All major and natural minor scales and arpeggios in one octave
  • • Chromatic scale in one octave
  • • Ability to play with consistently good intonation
  • • Fluency in reading tenor clef
  • • Development of satisfactory sight reading skills

Representative Tenor Trombone Solo Literature:

  • Benson – Aubade
  • Handel – Honor & Arms
  • Handel – Wher’er You Walk
  • Hasse – Suite
  • Berlioz – Recitative & Prayer
  • Rossini – Inflamatus
  • Gailliard – Sonata nos. 1, 2, 5
  • Marcello – Sonata III
  • Marcello – Sonata in C
  • Marcello – Sonata in E minor
  • Handel – Sonata no. 3
  • Ropartz – Andante et Allegro
  • De La Nux – Concert Piece
  • Telemann – Sonata in F minor
  • Still – Romance
  • Ridout – Concertino
  • Mozart – Concert Rondo, K. 371
  • Mozart – Concerto in B-flat, K. 191
  • Klingbeil – Three Movements
  • Bernstein – Elegy for Mippy II (unaccomp.)
  • Jacob – Sonata
  • Guilmant – Morceau Symphonique
  • Barat – Andante et Allegro
  • Skolnik – Little Suite in A-flat
  • Saint-Saens – Cavatine
  • Cesare – Canzon “La Hieronyma” (King edition)
  • Handel – Concerto in F minor
  • Albinoni – Concerto in D minor
  • Albrechtsberger – Concerto
  • Rimsky-Korsakov – Concerto
  • Pryor – Thoughts of Love
  • Kalinkowitsch – Elegia “Memories of Shostakovich”

Representative Bass Trombone Solo Literature:

  • Hartley – Arioso
  • Hindemith – 3 Leichte Stucke
  • Albinoni – Adagio in Fa majeur
  • Hoffman – Trigger Treat
  • Bariller – Hans de Schonceloch
  • Tcherepnin – Andante for Tuba
  • Muller – Praeludium, Chorale, Variations and Fugue
  • Siekmann – Concerto for Bass Trombone
  • Siekmann – Rhapsody on Pennsylvania Dutch Songs
  • Lieb – Concertino Basso
  • Vaughan Williams – Six Studies in English Folk Songs
  • Lassen – Zwei Fantasie Stucke

Representative Jazz Tunes:

  • A Night in Tunisia
  • All the Things You Are
  • Alone Together
  • Autumn Leaves
  • Autumn in New York
  • Bessie’s Blues
  • Blue Bossa
  • Blue Monk
  • Body and Soul
  • Dear Old Stockholm
  • Four
  • Green Dolphin Street
  • Have You Met Miss Jones
  • Indiana
  • It Don’t Mean a Thing
  • Just Friends
  • Limehouse Blues
  • Lullaby of Birdland
  • Misty
  • My Funny Valentine
  • One Note Samba
  • Oleo
  • Perdido
  • Satin Doll
  • Solar
  • So What
  • Stella by Starlight
  • Sweet Georgia Brown
  • Take the “A” Train
  • Tune Up
  • What Is This Thing Called Love

Second Year – MUSI 285:

  • • Multiple articulation tonguing technique on repeated notes
  • • Range security up to D5 and down to D2
  • • All major, natural minor, and harmonic minor scales and arpeggios in two octaves and in arpeggiated thirds
  • • Chromatic scale in two octaves
  • • Fluency in reading alto clef
  • • Ability to play simple tunes by ear in any key
  • • Continued progress and refinement in all technical and artistic aspects of brass playing

Representative Tenor Trombone Solo Literature:

  • Vaughan Williams – Six Studies in English Folksong
  • Jorgensen – Romance, op. 21
  • Rousseau – Piece Concertante
  • White – Sonata
  • Whear – Sonata
  • Genzmer – Sonata
  • Kenny – Fanfare (unaccomp.)
  • Sanders – Sonata
  • Davison – Sonata
  • Monaco – Second Sonata
  • Weber – Romance
  • Mahler – Solo from Symphony no. 3 (Ostrander)
  • Salzedo – Piece Concertante
  • Pergolesi – Sinfonia
  • Nordheim – The Hunting of the Snark (unaccomp.)
  • Tomasi - Danse Sacree
  • Larsson – Concertino
  • McKay – Sonata no. 1
  • Stojowski – Fantaisie
  • Jongen – Aria and Polonaise
  • Beethoven – Seven Variations (theme from Magic Flute)
  • Frackenpohl – Variations on a Theme of Shostakovich
  • Corwell – Distant Images (with tape)
  • Ross – Cyptical Tryptich
  • Cook – Bolivar
  • Wagenseil – Concerto
  • Rossini/Liszt – Cujus Animam (with organ)
  • David – Concertino
  • Pryor – Blue Bells of Scotland
  • Buss – Trek!
  • Cage – Solo for Sliding Trombone (unaccomp.)
  • Jorgensen – Suite
  • Bassett – Sonata
  • Stevens – Sonatina

Representative Bass Trombone Solo Literature:

  • Tuthill – Fantasia for Tuba or Bass Trombone
  • White – Tetra Ergon
  • McCarty – Sonata for Bass Trombone
  • Lanatier – Introduction, Romance and Allegro
  • Spillman – Two Songs
  • Tchaikovsky – Melodrama
  • Dossett – Trilogy
  • Stevens – Sonatina
  • Bach – Cello Suites
  • Telemann – Flute Fantasies
  • Nelhybel – Concerto for Bass Trombone
  • Lebedev – Concerto in One Movement

Representative Jazz Tunes:

  • All Blues
  • All of Me
  • Anthropology
  • Blues for Alice
  • Blue Train
  • But Beautiful
  • Cottontail
  • Days of Wine and Roses, The
  • Fly Me to the Moon
  • Footprints
  • Girl from Ipanema, The
  • Groovin’ High
  • How High the Moon
  • I Can’t Get Started
  • I’ll Remember April
  • I Love You
  • Lady Bird
  • Michelle
  • My Foolish Heart
  • My Romance
  • Night and Day
  • Recordame
  • Seven Steps to Heaven
  • Sidewinder
  • Straight, No Chaser
  • Sugar
  • They Can’t Take That Away From Me
  • West Coast Blues
  • When I Fall in Love
  • Yesterday
  • You Are the Sunshine of My Life

Third Year – MUSI 385:

  • • Multiple articulation technique on scalar passages
  • • Range security up to Eb5 and down to C2
  • • All major, natural minor, harmonic minor, and melodic minor scales and arpeggios in two octaves and in arpeggiated thirds
  • • Chromatic scale in three octaves
  • • All diminished arpeggios and augmented arpeggios in two octaves
  • • Development of jazz style and articulation
  • • Continued progress and refinement in all technical and artistic aspects of brass playing
  • • Ability to prepare and perform a successful full or half recital (as per specific degree requirements)

Representative Tenor Trombone Solo Literature:

  • Dutilleux – Chorale, Cadence, & Fugato
  • Chambers – 3 B’s (unaccomp.)
  • Serocki – Sonatina
  • Ferro – Daybreak
  • Ferro – Midday
  • Ferro – Midnight
  • Ferro – Sunset
  • Milhaud – Concertino d’Hiver
  • Hartley – Sonata Concertante
  • Phillips – T. Rex (with tape)
  • Ewazen – Sonata
  • Asia – Dream Sequence 1 (unaccomp.)
  • Eben – Two Invocations (with organ)
  • Hindemith – Sonate
  • Stevens – Sonata
  • Sulek – Sonata “Vox Gabrieli”
  • Holst – Duo Concertante (with organ)
  • Wilder – Sonata for Trombone
  • Persichetti – Parable (unaccomp.)
  • Grondahl – Concerto
  • Duckworth – Statements & Interludes
  • Bozza – Ballade
  • Boutry – Capriccio
  • Schumann – Three Romances
  • Bourgeois - Coat de Bone (unaccomp.)
  • Glazanov – Chant du Menestrel
  • Howarth – Concerto
  • F. Strauss – Notturno, op. 7 (Lawrence)
  • Debussy – Beau Soir
  • Crespo – Improvisation Nr. 1 (unaccomp.)
  • Saint-Saens – Le Cygne
  • Massenet – Meditation from “Thais” (Hartman)

Representative Bass Trombone Solo Literature:

  • Lebedev – Concerto Allegro
  • Shostakovich – Adagio from "Limpid Stream"
  • Sachse – Concertino
  • Spillman – Concerto
  • Ewazen – Ballade for Bass Trombone
  • George – Concerto
  • Jacob – Cameos
  • Galliard - Six Sonatas
  • Fetter – Spain
  • Wilder – Sonata
  • Hidas – Meditation (unaccomp.)
  • Koopman – Canzone (with CD)

Representative Jazz Tunes:

  • Au Privave
  • Chega De Saudade
  • Confirmation
  • Corcovado
  • Donna Lee
  • Easy Living
  • Freddie the Freeloader
  • Half Nelson
  • Honeysuckle Rose
  • Hot House
  • Impressions
  • In a Sentimental Mood
  • Jeanine
  • Jordu
  • Lazy Bird
  • Like Someone in Love
  • Maiden Voyage
  • Mood Indigo
  • My Favorite Things
  • Nardis
  • Prelude to a Kiss
  • Shadow of Your Smile
  • Someday My Prince Will Come
  • Song for My Father
  • Sophisticated Lady
  • Stompin’ at the Savoy
  • There Is No Greater Love
  • There Will Never Be Another You
  • Well You Needn’t
  • Woody’n You
  • Yes or No
  • Yesterdays

Fourth Year – MUSI 485:

  • • Multiple articulation technique on arpeggiated passages
  • • Range security up to F5 and down to Bb1
  • • All major, natural minor, harmonic minor, melodic minor, diminished, and whole tone scales and arpeggios in three octaves (where possible) and in arpeggiated thirds
  • • Ability to construct and execute modal scales from aforementioned scales and knowledge of their usage in improvisation
  • • Ability to improvise over standard, jazz chord progressions
  • • Ability to audition competitively for a professional band or orchestra, a graduate program in a reputable college or conservatory, and/or in national or international level competitions
  • • Continued progress, refinement, and mastery in all technical and artistic aspects of brass playing
  • • Ability to prepare and perform a successful full recital of advanced level repertoire at a quality appropriate to a developing professional level performer

Representative Tenor Trombone Solo Literature:

  • Casterede – Sonatine
  • Bolter – Arctic Emanations
  • Dorsey – Trombonology
  • Goldstein – Colloquy
  • Tomasi – Concerto
  • Arnold – Fantasy for Trombone (unaccomp.)
  • Krenek – Five Pieces
  • Walker – Concerto
  • Bloch – Symphony
  • Martin – Ballade
  • Appermont – Colors
  • Filas – Sonata
  • Jacob – Concerto
  • Rota – Concerto
  • Plog – Three Miniatures
  • Rabe – Basta (unaccomp.)
  • Bourgeois - Fantasy Pieces (unaccomp.)
  • Berio – Sequenza V (unaccomp.)
  • Xenakis - Keren (unaccomp.)
  • Lynn – Doollallynastics (unaccomp.)
  • Defaye – Deux Dances
  • Ewazen – Visions of Light
  • Bizet/Elkjer – Carmen Fantasy
  • de Meij – T-Bone Concerto
  • Creston – Fantasy
  • Chavez – Concerto
  • Bourgeois – Concerto
  • Peaslee – Arrows of Time
  • Schuller – Eine Kleine Posaunedmusik
  • de Frumerie – Sonat (or Concerto)
  • Rouse – Trombone Concerto

Representative Bass Trombone Solo Literature:

  • Hartley – Sonata Breve (unaccomp.)
  • Ewazen – Concertino
  • Ewazen – Concerto
  • Ewazen – Rhapsody
  • Bach - Flute Partita
  • Casterede – Fantasie Concertante
  • Boutry – Tubachhanale
  • Bozza – Theme Varie
  • Bozza – New Orleans
  • Duckworth – Statements and Interludes
  • Frank – Variations on Barnacle Bill the Sailor
  • Markey – Variations on “Turkey in the Straw”
  • Schnyder – Sonata
  • Zwilich – Concerto

Representative Jazz Tunes:

  • Airegin
  • Angel Eyes
  • Black Orpheus
  • Bluesette
  • Boplicity
  • Ceora
  • Chelsea Bridge
  • Cherokee
  • Daahoud
  • Desafinado
  • Dolphin Dance
  • Epistrophy
  • Freedom Jazz Dance
  • Giant Steps
  • I Mean You
  • Invitation
  • I Remember Clifford
  • Joy Spring
  • Lush Life
  • Meditation
  • Moment’s Notice
  • Mr. P.C.
  • Naima
  • Nica’s Dream
  • Ornithology
  • Out of Nowhere
  • ‘Round Midnight
  • Scrapple from the Apple
  • Some Skunk Funk
  • Spain
  • Speak No Evil
  • Stolen Moments
  • Summer Samba
  • Take Five
  • Teach Me Tonight
  • Wave
  • When Sunny Gets Blue


Keys to Being a Successful Student

Students are strongly encouraged to write down long-term and short-term goals for themselves. They should consult these goals regularly, measure their progress, adjusting as needed. As students progress, they are increasingly expected to select their own repertoire. For the most part, students should follow the guidelines in the course of study. However, students are welcome to suggest materials of their own choosing. In these choices, students should seek a well-rounded balance of the following elements:

  • 1) Exercises, etudes, solos, and excerpts
  • 2) Styles of playing: smooth/lyrical, fast/technical, sustained (loud or soft), and jazz
  • 3) Music to be polished over several weeks vs. music to be prepared within a week

In addition, students are encouraged to get together with other students to play duets, trios, quartets, etc. Students who show creativity in their practicing also tend to develop their skills more quickly and efficiently. Examples of this may include: devising personal exercises, arranging music, or even composing music.

A model student exhibits the following characteristics:

  • 1) Practices diligently and possesses hunger for knowledge and improvement
  • 2) Takes every aspect of his/her career at UA seriously
  • 3) Accepts suggestions and criticism gracefully and non-defensively
  • 4) Is always prepared for lessons and always has something ready to perform
  • 5) Exhibits flexibility and a positive attitude
  • 6) Listens to fine recordings and reads about the instrument every day
  • 7) Is helpful and supportive to others in the UA low brass community
  • 8) Browses numerous resources looking for new literature
  • 9) Plays “offensively” not “defensively”
  • 10) Is curious about technology and how it can be of great benefit


Letters of Recommendation

Many of you will ask me for letters of recommendation. I take these letters very seriously and write letters that are specific to each student. I try not to follow a form letter and paste in the student’s name. Since each letter is drafted from scratch, I require at least two weeks notice to complete the letter.


Note About Professional Affiliations/Memberships

The importance of supporting one's professional associations cannot be overemphasized. As an example, the International Trombone Association (ITA) has been and remains critically important in the dissemination of vital information regarding all trombone-related facts and activities. From orchestral to jazz, pedagogy to performance, and historical to current events, its value is inestimable. It is therefore expected that each applied trombone student will (and will certainly want to) join ITA, if not already a member. You can access online membership by going to the ITA website or by emailing


Suggested Supplemental Materials

These items would make a great addition to any trombonist's library and come highly recommended. Any of them may also become required materials in future semesters.


  • Aharoni - New Method for Bass Trombone
  • Appert – A Progressive Study of Multiphonics
  • Baker, B. – Method
  • Baker, D. – Contemporary Techniques (6 Books)
  • Baker, D. – How to Play Bebop
  • Baker, D. – Improvisational Patterns (4 Books)
  • Baker, D. – A New Approach to Ear Training for Jazz Musicians
  • Berger – Contemporary Jazz Studies
  • Bitsch – Rhythmical Studies (15)
  • Blazhevich – Sequences
  • Blazhevich – Studies (70)
  • Blokker – Oefeningen voor Trombone (out of print)
  • Blume – Studies (36)
  • Bollinger - Valve Technique for Bass Trombone
  • Bona – Rhythm Articulation
  • Boone – Multiphonic Etudes (5)
  • Boone – Studio Etudes (15), vol. 1
  • Bourgeois - Fantasy Pieces
  • Bordogni/Rochut - Melodious Etudes for Trombone (Book 2)
  • Bordogni/Rochut - Melodious Etudes for Trombone (Book 3)
  • Bordogni/Schwartz - Vocalises (w/CD) vols. 1, 2, 3, 4, 5, 6
  • Bozza – Etudes-Caprices (13)
  • Bozza – Studies in Form of Improvisation (18)
  • Bozza – Studies in Karnatic Modes (11)
  • Brubeck, D.W. - Stereograms (20)
  • Busser/Couillaud – Etudes Melodiques (12)
  • Campbell – Contemporary Etudes (30)
  • Charlier – Etudes de Perfectionement (32)
  • Cimera – Phrasing Studies (55) (out of print)
  • Cimera – Seventy-Nine Trombone Studies
  • Colin – Advanced Lip Flexibilities
  • Colley – Tune Up System
  • Concone – Legato Studies (40)
  • Edwards – Introductory Studies in Tenor & Alto Clef
  • Edwards – Lip Slurs
  • Ellefson – Scale Pyramid
  • Ellefson – Warm-ups
  • Fedchock – Jazz Solos
  • Fink – Introducing the Alto Clef
  • Fink – Studies in Legato for Bass Trombone/Tuba
  • Fink/Slama – Melodic Technic
  • Gale – Jazz Etudes (24) (w/CD)
  • Gillis - Etudes for Bass Trombone with Double–Valve (20)
  • Gillis - Progressive Studies (70)
  • Grigoriev - Studies (24)
  • Haerle – Scales for Jazz Improvisation
  • Holcombe – Intermediate Jazz Etudes (12) (w/CD)
  • Hunter – Complete Jazz Styles
  • Johnson – Exercises & Etudes for the Jazz Trombonist
  • Johnson – The J.J. Johnson Collection
  • Johnson – J.J. Johnson Solos
  • Kahila – Advanced Studies for Trombone (alto clef)
  • Knaub – Technical Studies for Bass Trombone
  • Kopprasch/Brown – Selected Studies vols. 1 & 2
  • Lemmon – Studies
  • Lilore – Learnin' the Blues
  • Lipner – From Lead Sheets to Hip Solos
  • Maenz – Studies for Bass Trombone/Tuba (20)
  • Maxted – Studies (high register etudes)
  • McChesney – Doodle Studies & Etudes (w/CD)
  • Mole – 100 Jazz Breaks
  • Mueller – Technical Studies
  • Nagel – Trombone Studies in Contemporary Music
  • Nightingale - Undertones (20)
  • Ostrander – Method for Bass Trombone
  • Ostrander/Williams – Double-Valve Bass Trombone Low Tone Studies
  • Pederson – Elementary Etudes for Bass Trombone
  • Pederson – Unaccompanied Solos for Trombone
  • Pichaureau – Atonal Studies (20)
  • Pilafian/Sheridan – The Brass Gym
  • Pilafian/Sheridan – The Breathing Gym
  • Pryor – Exercises for Lip Development
  • Raph – Dance Band Reading and Interpretation
  • Raph – Diversified Trombone Etudes
  • Remington – Warm-Up Exercises
  • Rosolino – Fond Memories Of...
  • Sauer – Orchestral Etudes (20)
  • Schlossberg – Daily Drills
  • Schwartz – Breakfast (w/CD)
  • Senon – Etudes Rythmo-Techniques (25)
  • Snedecor – Lyrical Etudes
  • Snidero – Easy Jazz Conception (w/CD)
  • Snidero – Jazz Conception (w/CD)
  • Stacy – Stacy’s Studies
  • Tyrell – Progressive Studies (40)
  • Uber – Etudes (30)
  • Uber – Melodic Concepts vols. 1 & 2
  • Uber – Symphonic Studies in Alto Clef
  • Vernon – Singing Approach to Brass Playing
  • Vining – Daily Routines
  • Watrous/Raph – Trombonisms
  • Wikler – Jazz Etudes (60)
  • Winding – Kai Winding Jazz Trombone Solos


  • Amsden – Practice Duets
  • Bach/Boone – Concert Duets
  • Bach/Miller – Two-Part Inventions (15)
  • Baker, D. – Modern Jazz Duets
  • Blazhevich – Concert Duets
  • Blume – Duets (12)
  • Bordogni/Bowles – Contrapuntal Duets
  • Bower – Bop Duets
  • Bush – Duets in the Modern Jazz Idiom
  • Ervin – Counterparts (20) to Rochut
  • Karlin – Duets in Jazz: Jazz Phrasing
  • LaPorta – Jazz Duets (15)
  • Miller – Trombone Duets (33)
  • Mozart/Powell – Duets (11)
  • Perlaki – Trombone Duos
  • Ritt – Melodious Accompaniment
  • Robbins – Classical Duets
  • Tanner – Trombone Duets
  • Telemann – Canonic Sonatas
  • Telemann/Lawrence/Welcomer – Sonatas vols. 1 & 2
  • Vining – Long Tone Duets

Texts and Periodicals:

  • Baker, B. – Tenor Trombone Handbook
  • Begel – A Modern Guide for Trombonists and Other Musicians
  • Ervin – Rangebuilding on the Trombone
  • Farkas – The Art of Brass Playing
  • Farkas – The Art of Musicianship
  • Fink – Trombonist’s Handbook
  • Frederiksen – Arnold Jacobs, Song & Wind
  • International Trombone Association Journals
  • Kleinhammer – The Art of Trombone Playing
  • Lewis – Broken Embouchures
  • Raph - Double-Valve Bass Trombone
  • Sloan - Orchestral Recordings for Low Brass
  • Stewart – The Legacy of a Master: Arnold Jacobs
  • Stewart – The Legacy of a Master: Philip Farkas
  • Vining – What Every Trombonist Needs to Know About the Body
  • Wick – Trombone Technique
  • Winding – Yoga for Musicians and Other Special People (difficult/expensive to find)
The University of Arizona (UA) School of Music's Trombone Studio and Choir Page under the direction of Assistant Professor Moises Paiewonsky (website managed by Moises Paiewonsky)