M-JP-TRB2

Practical Classes

11

1

30

One 50-minute lesson per week

26 hours

282 hours

Completion of M-JP-TRB1.

See Competencies Matrix.

Further mastering and developing all skills and knowledge demanded of professional musicians, as well as expanding the students' personal interests and taste in music.

The contents of the main subject lessons are in line with the partly self-chosen band and theory lessons such as analysis.

KNOWLEDGE:
Textbooks on trombone technique (learning contents, problem-solving):
Reginald Fink: The Trombonist's Handbook
Edward Kleinhammer: The Art of Trombone Playing
Fred Fox: Essentials of Brass Playing
Philip Farkas: The Art of Brass Playing
Malte Burba: Brass Masterclass
Malte Burba: Teach Your Body to Blow
Denis Wick: Trombone Technique
Heinz Fadle: Auf der Suche nach einer gewissen Leichtichkeit
Bart van Lier: Coördinatie trainingsprogramma voor trombone
IMPROVISAITON TECHNIQUE (THEORY/CONCEPTS/APPROACH):
Mark Levine: The Jazz Theory Book
Hal Crook: How to Improvise
Jerry Coker: Elements of the Jazz Language
David Baker: Jazz Improvisation
Hal Crook: Ready, Aim, Improvise!
Ramon Ricker Improvisation Series (4 volumes)
Sigi Busch: Improvisation im Jazz
UNDERSTANDING:
Individual use of study techniques.
Self-assessing strength/weaknesses and study progress.
Studying self-expression, artistic and musical identity.
RELEVANT TEXTBOOKS:
Barry Green /Timothy Gallwey: The Inner Game of Music / Innerlijk musiceren
David Liebman: Self-Portrait of a Jazz-Artist
Kenny Werner: Effortless Mastery
Tom de Vree: Didaktiek van de instrumentale en vocale muziekles
Derek Bailey: Improvisation: Its Nature and Practice in Music
Mark A. Giesecke: Clever üben, sinnvoll proben, erfolgreich vorspielen
Peter Schwarzenbach / Brigitte Bryner-Kronjäger: Üben ist doof
Francis Schneider: Üben, was ist das eigentlich?
Richard Provost: The Art of Practice
SKILLS:
Solid command of all the basic playing and improvising skills).
Further developing trombone technique.
Independently processing, organizing and applying the instructions given in the individual main subject lessons.
Learning to perform in various bands and performance settings.
Big band: learning to occasionally play first trombone parts in addition to second and third trombone parts.
40 or more jazz standards by heart.
TECHNIQUE:
Various warm-up programs.
Daily technical study: Slokar, Kleinhammer, van Lier, Caruso.
Embouchure exercises: Malte Burba, Bart van Lier.
Breathing technique: Bram Balfoort: Houding, adem en keel / Ademen wij vanzelf?
Ilse Middendorf: De ervaarbare adem
Attitude:
Further developing a professional attitude as musician.
Process evaluation, product evaluation, self-assessment of study approach.
Personal and artistic growth, cultural interests.
Observation: learning to observe, listen and evaluate.
Critizing others and one's own performance in a constructive manner.

Individual lessons and (as agreed with the instructor) big band lessons, group lessons and section rehearsals

Methods:
TECHNIQUE:
Bart van Lier: Coördinatie trainingsprogramma voor trombone
Mark Nightingale: The Warm-Up Book
Ed Neumeister: Trombone Technique Through Music
Branimir Slokar: Daily Drills
Edward Kleinhammer: Daily Exercises
Carmine Caruso: Musical Calisthenics for Brass
Malte Burba: Brass Masterclass
CLASSICAL ÉTUDES:
F.Vobaron: 34 études, 40 études
H. W. Tyrell: 40 progressive études
Makovecz: selected studies vol 2.
N. La Vista: 13 studi melodici
G. Pichaureau: 21 études techniques générale
M. Bordogni: Melodious Études vol.2 & vol. 3 (Tezak ed.)
IMPROVISATION:
Shelton Berg: The Goal Note Method
Roman Ricker: The Developing Improviser vol. 4)
James Hosay / Jilt Jansma: Jazz Rock USA
Jerry Bergonzi: Pentatonics (vol. 2), Jazzline (vol. 3)
Mark Nightingale: Get Prepared!
Mark Nightingale: 20 Jazz Etudes for Trombone
Mark Nightingale: Multiplicity
Kenny Werner: Effortless Mastery (video)
Material:
Acquiring a basic set of trombone mutes price range: €100 - €150
Straight mute (Humes & Berg, Jo-Ral, or Tom Crown)
Cup mute (Humes & Berg, Jo-Ral)
Bucket mute (Peter Gane, Jo-Ral)
Plunger (Gamma, Praxis) and pixie mute (Humes & Berg)
Optional: wah-wah mute (Harmon), solo-tone and clear-tone mute,
practice mute (e.g., Silent Brass System, Yamaha)

Organizing a performance (band, repertoire, rehearsals) as part of the annual Jazz & Pop student concert; independently organizing a performance (five pieces) as part of the transition exam audition.

Assessment by the main subject instructor at the end of each semester. A technical exam (an audition for a panel consisting of three examiners) is part of the assessment procedure.

The student should have mastered the elements described under Aims. Specific criteria are: creativity, expression, improvisation, technique, sound, intonation, timing, reading skills, repertoire knowledge, progress, self-reflection, session participation, attitude and lesson preparation.
Technical exam: the student should have sufficiently mastered the elements noted under Content.

The student has completed this module if being awarded a minimum grade of 5.5 by the instructor as well as for the technical exam at the end of the second semester.

At the end of both semesters the instructor fills out an assessment form designed specifically for this module. Assessment is comprised of a verbal evaluation and a concluding grade. The instructor reviews this assessment with the student during the first subsequent lesson.

During the spring semester a technical exam is part of the assessment procedure. Examiners use an outline of relevant criteria to assess students, with the average grade being used as the final grade.

Assessment at the end of the autumn semester is formative and expressed in terms of satisfactory/unsatisfactory. It indicates a student's progress in this module. No ECs are awarded and there is no resit. Modules can only be absolved, and ECs awarded, after the end of the spring semester.

See the Education and Assessment Plan.