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8315294
Lemke, Jeffrey Jon
FRENCH TENOR TROMBONE SOLO LITERATURE AND PEDAGOGY

SINCE 1.836
A.Mus.D.
The University ofArizona
University .
Microfilms
International
3OON.ZeebRoad,AnnArbor.MI48106
Copyright 1983
by
Lemke, Jeffrey Jon
All Rights Reserved
1983
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-""
FRENCH TENOR TROMBONE

SOLO LITERATURE AND
PEDAGOGY SINCE 1836
by
Jeffrey Jon Lemke
A Dissertation Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS

WITH A MAJOR IN MUSIC EDUCATION
In the Graduate College
THE UNIVERSITY OF ARIZONA
198 3
Copyright 1983 Jeffrey Jon Lemke
THE UNIVERSITY OF ARIZONA

GRADUATE COLLEGE
As members of the Final Examination Committee, we certify that we have read

the dissertation prepared by
entitled
Jeffrey Jon Lemke
French Tenor Trombone Solo Literature and Pedagogy Since 1836
and recommend that it be accepted as fulfilling the dissertation requirement

for the Degree of
Doctor of Musical Arts
Date
Date
Date
Final approval and acceptance of this dissertation is contingent upon the
candidate's submission of the final copy of the dissertation to the Graduate
College.
I hereby certify that I have read this dissertation prepared under my
direction and recommend that it be accepted as fulfilling the dissertation
requirement.
STATEMENT BY AUTHOR
This dissertation has been submitted in partial fulfillment

of requirements for an advanced degree at The University of Arizona
and is deposited in the University Library to be made available to
borrowers under rules of the Library.
Brief quotations from this dissertation are allowable without
special permission, provided that accurate acknowledgement of source
is made. Requests for permission for extended quotation from or
reproduction of this manuscript in whole or in part may be granted by
the copyright holder.
ACKNOWLEDGEMENTS
The author is indebted to many individuals for the part
they have contributed toward making the study possible.
Special
acknowledgement is given to all the members of the University of

Arizona dissertation committee:
Dr. Koste Belcheff, Chairman of the
committee, for his guidance and insight both in preparation and

accomplishment of the project; Professor Thomas Ervin for his
encouragement and advice, and for giving so freely of his time
and effort throughout the entire program of study; and
Dr. O. M. Hartsell for his conscientious help and editorial
assistance.
The author also wishes to convey gratitude to Professor
Elizabeth Ervin and Mr. Dorman Smith who supplied him with information which would otherwise have been completely unobtainable.
Of course, I am indebted to my parents John and Isla Mae
for a lifetime of unfailing concern, help and encouragement.
Finally, for assisting me in the preparation of the final
form, and for his persistent attention to details large and small,
I express my warm appreciation to my typist - Steven Crofts.
iii
TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS
vi
ABSTRACT
viii
CHAPTER
1.
INTRODUCTION
2.
THE PARIS CONSERVATORY
Founding
Professors of Trombone
Antoine-Guillaumie Dieppo
Paul Delisse
Louis Allard
Henri Couillaud
Andre Lafosse
Gerard Pichaureau
Conclusion
3.
THE CONTEST SOLOS
15
17
20
25
36
43
45
Origin and Purpose

.
The Contest and the First Prize
The Trombone Contest Solos .
Composers of Contest Solos
Sonatine by Jacques Casterede
4.
5
8
11
ANNOTATIONS OF FRENCH TENOR TROHBONE SOLO LITERATURE .

The Discussion Outline
Trombone Solos
Discography
Recordings
iv
45
48
53
61
71
83
83
92
156
159
TABLE OF CONTENTS--Continued
Page
CHAPTER
5.
OTHER INFLUENCES ON FRENCH TRO}mONE PEDAGOGY
177
French Public School Instruction in Music

French National Conservatories
Conservatoire de Toulouse
Conservatoire d'Angers
Ecoles ~iunicipales de Musique
Conservatoire de Musique, Ville de Strasbourg
Trombone Instruction at the National and
Municipal Conservatories
French Music Publishers
6.
SUMMARY
~~
APPENDIX A:
CONCLUSIONS
..
....
APPENDIX C:
ADDRESSES OF PUBLISHERS
SELECTED BIBLIOGRAPHY
. ..
....
185
192
COMPOSER BIOGRAPHIES
184
187
LIST OF FRENCH TENOR TROMBONE METHODS

AND ETUDE MATERIALS
APPENDIX B:
177
180
181
182
183
183
202
....
217
223
LIST OF ILLUSTRATIONS
Figure
Page
Henri Couillaud, Etudes de StyZe d'apres Bordogni,
p. 7, no. 5, measures 1-9
21
Benri Couillaud, Vingt Etudes de Perfectionnement,

p. 5, no. 4, measures 1-7
22
Henri Couillaud, Trente Etudes Modernes, p. 2, no. 1,

measures 1-9

23
Henri Couillaud, Trente Etudes Modernes, p. 2, no. 19,

measures 1-26
23
Henri Couillaud, Methode de Trombone a CouZisse, p. 32,

no. 1, measures 1-25
25
6.
Henri Couillaud, Methode de Trombone a CouZisse, p. 44
25
7.
Andre Lafosse, Vade Mecum du Trombone, p. 11, no. 11,

measures 1-16 .
35
Gerard Pichaureau, Vingt-et-une-Etudes, p. 11, no. 11,

measures 10-23

38
Gerard Pichaureau, Vingt Etudes, p. 20, no. 20,

measures 1-15
38
1.
2.
3.
4.
5.
8.
9.
10.
Gerard Pichaureau, Vingt Etudes, p. 10, no.

measures 19-32
,,,
J.U,
39
Gerard Pichaureau, Vingt-Quatre Etudes pour Trombone

(Special Legato Studies), p. 8, no. 7, measures 1-12
41
Gerard Pichaureau and Claude Pichaureau, Vingt Etudes

AtonaZes, p. 2, no. 1, measures 1-16 .
42
Gerard Pichaureau and Claude Pichaureau, Vingt Etudes

Ator~Zes, p. 13, no. 17, measures 1-3
42
14.
Jacques Casterede, Sonatine, movement I, measures 1-17
72
15.
73
11.
12.
13.
vi
vii
LIST OF ILLUSTRATIONS--Continued
Figure
Page
16.
73
17.
74
18.
19.
Jacques Casterede, Sonatine, movement II, measures 1-15
20.
76
2l.
76
22.
77
23.
77
24.
Jacques Casterede, Sonatine, movement III, measures 1-8
78
25.
Jacques Casterede, Sonatine, movement III, measures
79
26.
79
27.
80
28.
81
29.
82
74
75
.
28-33
ABSTRACT
This study was intended to acquaint trombonists with the
vast amount of French solo literature and pedagogical materials
available, as well as to promote an understanding of their origins
and uses.
The dissertation is divided into two major sections:
(1) the history of the Paris Conservatory and its trombone teachers;
(2) a comprehensive catalog of solos and etude materials.
The Paris Conservatory, the prototype for the modern
conservatory, is an important aspect of the historical overview.
Specifically created at the end of the eighteenth century to raise
the standards of French music, it has combined a conservative
musical atmosphere, a faculty of artist-teachers, and rigorous
requirements into a training program which has received international
acclaim.
An essential part of the Conservatory's training program are
annual instrumental competitions held for each instrument.
In the
case of the trombone, commissioned contest solos originated in 1897

with the Solo de Concert, No.2 by Paul Vidal.
Since 1897, fifty-one
composers have been commissioned to write a total of fifty-eight

trombone solos as contest pieces.
These fifty-one composers, most of
whom were themselves students at the Conservatory, are among the

most noted musicians France has produced.
viii
All the trombone contest
ix
solos are listed in Chapter 4, and each solo has been graded as to
degree of difficulty according to the European rating system.
The first official teacher of trombone at the Conservatory
was Antoine-Guillaumie Dieppo, the most celebrated French trombonist
of his time.
Since his tenure as a teacher at the Conservatory
(1830-1871), all subsequent professors of trombone have been products

of the system.
France's educational program is centrally administered and
trains all deserving students.
National examinations administered
at the end of secondary study serve as the determinant factor for

the eligibility of students to higher levels of education.
Instru-
mental music study in French public schools is sorely neglected, and

often requested by educators.
This literature is monumental, too little known, and largely
misunderstood.
It should be included in all trombone curricula.
CHAPTER 1
I}'''TRODUCTION
In examining the repertoire of the brass performer, it is
obvious that only a limited choice of solo literature and pedagogical
materials are available.
This especially is true of the trombonist.
In recent years, the numerous books about the trombone by Vern

Kagarice, Robin Gregory, Thomas Everett, James Roberts, and Denis
Wick--to say nothing of the many doctoral dissertations, pamphlets,
and articles by other writers--indicate that trombonists, both
professional and amateur, have had a desire for more knowledge about
their instrument.
These writings, although well done, have yielded
little information about the French trombone literature and pedagogy

of the nineteenth and twentieth centuries and almost nothing about
the famous Paris Conservatory.
This institution (more accurately,
the Conservatoire National Superieur de Musique) has received international acclaim because of its conservative atmosphere, artist
faculty, rigorous requirements, and competitive entrance auditions.
It is the principal purpose of-this study to acquaint the
trombonist with the vast amount of French solo literature and
pedagogical materials available to the tenor trombonist, and to
promote an understanding of their origins and uses.
This study is concerned with the developments in trombone
literature at the Conservatoire National de Musique de Paris, from
1
2
1836 to the present.
A better understanding of music curricula and
pedagogy of France will effect a more enlightened use of the materials

presently in use in trombone studios across this nation.
Most of the
French etude materials for the trombone deal in preparing the student
to comprehend and perform music from the common-practice period
(1750-1900).
Hence, the performer frequently finds himself ill-
equipped to meet the demands of the contemporary composer.
Although
the amount of etude material related to contemporary music increases

each year, the vast majority is a result of the teachings at the
Conservatoire National de Musique de Paris or as a direct result of
the solos the Conservatory commissions.
Hereafter the Conservatoire
National de Musigue de Paris will be referred to as the Conservatory.

Each year the Conservatory commissions composers to write
contest solos for all the wind, string, and percussion instruments
taught at the Conservatory.
It is the performance of this contest
solo, before a jury of eminent musicians, which determines the awarding

of the Premier Prix, or First Prize.
with a
sPQ~ific
Since they have been composed
intent, to test performers, one might expect them to
be simply technical showpieces.
A close examination of the literature
reveals that, while a few of the solos may fall into this category,
most of the compositions are of a more profound nature.
In France, the composers who wrote these contest solos for
trombone were closely associated with the virtuoso performers on the
instrument.
These composers, with few exceptions, had been students
at the Conservatory and were exposed to a tradition of quality trombone

playing.
This tradition was established largely through the artistic
efforts of the professors of trombone who have included Dieppo,

Delisse, Allard, Couillaud, Lafosse and Pichaureau.
These musicians
called international attention to their playing and teaching.
It is
evident that the composers of the contest solos were influenced by

these performers when writing their compositions for the trombone.
Acquainting the reader with these musical compositions,
spanning a period of almost 150 years, is no easy task.
In order that
this study be as comprehensive as possible, it is divided into two

major sections, each having a specific purpose.
The first section
introduces the reader to the origin and history of these compositions,

necessary for a good understanding of the second.
The second section
presents the actual solos and etude materials which are available or
have been available in the past.
The list of these materials will include only
wor~,"
ically designed to be performed on the "tenor trombone".
specif-
Although the
use of the F attachment would make the performance easier at times,

all of the compositions discussed will be performable without the
F attachment.
The collection of materials for this study was begun early
in 1982 and was concluded in January 1983.
A thorough search of the
solo literature and etude editions for the trombone was made by
researching publishers' catalogs, music periodicals, literature
listings in books dealing with the trombone, and materials presently
available through the International Trombone Association Resource
Library.
The writer also corresponded with publishers in an effort
to learn of recent publications which might contain literature
4
pertinent to this topic.
From this, a comprehensive list of study
and solo literature with pertinent information was compiled.
Although
every effort was made to make this report as complete as possible,

one could assume that there may be items not discussed or presented.
Some of the materials which are discussed are out of print, either
temporarily or indefinitely.
CHAPTER 2
THE PARIS CONSERVATORY
Founding
In the period preceding the French Revolution (1789-1799),
the scarcity of outstanding native composers, vocalists, and instrumentalists was attributed by some authorities to the inadequate
system of music training existing at that time.
In addition, there
was a general influence on all aspects of music in France by her

neighboring countries.
Entire Italian opera companies toured France
and met with enormous popular success.
France could boast of a
number of remarkable virtuosi on wind and string instruments, but

Germany was regarded as the birthplace of instrumental artists,
and many German musicians were imported to perform in the various
opera orchestras of the day. 3
The teaching of music in France was
accomplished mainly by the cathedral schools and music corps

attached to the various military regiments.
The cathedral schools
lConstant Pierre, Le Conservatoire National de Musiaue et de

Declamation; Documents Historigues et Administratifs Recuei11is ou
Reconstitues Par Constant Pierre (Paris: Imprimerie National,
1900), p. 189.
York:
2
Arthur Hervey, French Music in the XIXth Century (New
E. P. Dutton and Company, 1903), p. 27.
3p .
1erre, p. 187.
4p 1erre,
.
pp. 190-191.
5
sought to instruct students in vocal music in order to develop the

proficiency needed to perform in religious rites, while the army had
as its goal the development of musicians capable of
military fetes and governmental ceremonies.
the music instruction was poor.
On
~erforming
for
Having this as a goal,
the advice of Francois-Joseph Gossec, and in an effort
to upgrade the quality of native French singers, Louis XVI founded

the Ecole Royale de Chant (Royal School of Vocal Music) in 1784.
With Gossec as its director, the royal school had the purpose of
Lraining singers, both men and women, for the French opera stage.
Five years later (July
17B9)~
the Garde Nationale Parisienne (Paris
National Guard) was set up by the Parisian people with Bernard Sarrette
as its director.
Sarrette's music corps, and the training prcgram which
it included, was so superior to previous military attempts at promoting music that the grateful city government of Paris instituted the
Ecole Gratuite de Musigue de la Garde Nationale Parisienne (Free
School of Music of the Paris National Guard) in 1792.
By 1792, France had two established schools of music, each

under government control, and each concentrated upon a particular
aspect of music.
The independent existence of these schools was
short-lived, however, for on August 3, 1795, they merged into the
5p .
1erre, p. 190.
6Jaques-Gabriel Prod'homme and E. de Crauzat, Les Menus

Plaisirs du Roi L'Ecole Royale et Le Conservatoire de Musigue
(Paris: Librairie Delagrave, 1929), p. 100.
7Pierre, pp. Bl-83.
Conservatoire de Musique.
Sarrette was appointed director of the new
institution, and Gossec was named a professor of composition and one

of five Inspecteurs de l'enseignement (Supervisors of Education).8
The main purpose of the Conservatory was "to educate artists for
concerts, military bands and theatres of the French Republic.,,9
The decree which established the Conservatory also contained
provisions for its organization.
The Conservatory was to be composed
of 115 artists and established in the commune of Paris in order to

carry out the instruction of music.
were two-fold:
The duties of the institution
performance and instruction being "entrusted with
molding students in all phases of the arts of music".10
Six hundred
students of both sexes were to receive free instruction, chosen

proportionately from all the provinces.
The supervision of all
instruction and administration of the Conservatory was delegated to

the Supervisors of Education, along with four additional professors
named by the artists of the Conservatory.
A national library of music
was established at the Conservatory and was to contain a complete

collection of scores and other musical works as well as a collection
of ancient and foreign instruments.
8p .
l.erre, pp. 129-130.
9August Corbet, "Ccnservatory," Grove's Dictionary of Music

and Musicians (New York: St. Martin's Press, Inc., 1959), II, p. 412.
lOp'l.erre, pp. 124-125.
8
Professors of Trombone
Seventy-two artist-musicians from the Garde Nationale and
the thirteen professors of the Ecole Royale de Chant comprised the
first faculty of the Conservatory.
Their ranks were increased to the
required 115 by the addition of thirty new professors selected, as

authorized, by means of a competitive contest held on November 22,
1795.
11
The original Conservatory faculty was organized to carry out
the duties of both instruction and performance.
For the purpose of
instruction, the 115 professors included the following: 12

ENSEIGNEMENT (TEACHING)
Professeurs
Solfege
Clarinette
Flute
Hautbois (oboe)
Basson (bassoon)
Cor (premier) (1st horn)
Cor (second) (2nd horn)
Trompette (trumpet)
*Trombone

Serpent
Buccini (long trumpet)
Tubae corvae (tuba)
Timbalier (kettledrum)
Violin
Basse (bass)
Contre-basse (double-bass)
Clavecin (harpsichord)
Orgue
Vocalisation
Chant simple (vocal music beginning)
Chant dec lame (vocal music)
Accompagnement (instrumental accompaniment)
Composition

14
19
6
5
12
6
6
2
1
4
1
1
4
1
6
1
3
4
2
3
7
Total 115
11Pierre, pp. 128-129.
12p.~erre, p. 124.
For public performance the 115 professors were organized in the

following manner:
13
EXECUTION (PERFORMANCE)
Professeurs
Compositeurs dirigeant l'execution
(Composers for Performance)
Chef d'orchestre executant (Conductor)
Clarinettes

Flutes
Cors (premier)
Cors (second)

Bassons
Serpents

*Trombones

Trompettes
Tubae corvae (tuba)

Buccini
Timbaliers (timpanist)
Cymbaliers (cymbal-player)
Tambours (drummer)
Triangles (triangle)
Grosses caisses (bass drum)
Non-executans employes a diriger les eleves
chantant ou executant dans les fetes
publiques (Non-Performance Employees to
Direct Student Vocal Ensembles at Concerts)
Total
5
1
30
10
6
18
8
3
4
2
2
2
2
2
2
10
115
The large number of professors assigned to teach a particular

instrument is explained by the fact that their duties during the
early days of the Conservatory were primarily those of performance
rather than instruction.
But as the patriotic fervor of the
revolutionary period subsided, the demand for musical performance

at public festivals also subsided.
By 1808, the function as a per-
former was completely omitted from the duties of the Conservatory
13Pierre, p. 124.
10
professors, and their main responsibility was that of instruction.
14
Also occurring at this time was the standardization of orchestral

instrumentation.
These factors led to a reorganization of the
Conservatory professors, and by 1822 the faculty was reduced to the

following: 15
PERSONNEL ENSEIGNANT (TEACHING PERSONNEL)
Professeurs
Composition Lyrique et Style (Vocal
Composition)
Contrpoint et Fugue (counterpoint and fugue)
Harmonie (harmony) .
Accompagnement Practique (Instrumental
Accompaniment)
Classe de Basse Chiffree (Figured Bass)
Solfege . . . . . . . . . . . . . . . . .. .
Chant (vocal music)
. .
Declamation Lyrique (Opera Theatre)
Piano

Orgue
Violin
Violincelle
Flute
Hautbois
Clarinette
Basson
.
Cor

Declamation Speciale (Professional Opera)
Total
3
2
1
1
1
15
11
1
6
1
4
2
1
1
1
1
1
6
57
It should be noted that a trombone instructor was not hired following

this reorganization.
14p l.erre,
.
p. 237.
15Pierre. p. 418.
11
Antoine-Guillaumie Dieppo
From the date 1822, it was to be fourteen years before the
Conservatory assigned an official professor of trombone.
after:
This came
16
1826:
1827:
1833:
1833:
1836:
Harpe
Contrebasse
Cor a pistons (horn with valves)
Trompette a pistons (trumpet with valves)
Trombone a coulisse (slide trombone)
The first official teacher of trombone at the Conservatory was

Antoine-Guillaumie Dieppo (1808-1878), the most celebrated French
trombonist of his time.
However, he was not the first teacher of
trombone at the Conservatory as is stated by Andre Lafosse:

It is to Cherubini that we owe the creation, in 1833, of
a trombone class at the Conservatory. The first professor,
Felix Vobaron, left some studies and duos concertants which,
notwithstanding their somewhat mediocre musical qualities,
have rendered great service in the training of trombone
players. It would appear that Vobaron was only on trial as
a teacher, for according to Constant Pierre, the r1rst
official teacher, appointed three years later in 1836, was
Antoine Dieppo, born at Amesfort (Holland).17
From a Dutch regimental band, Antoine Dieppo went to Paris
as a clarinetist.
However, this did not last long, and in due course
he became the principal trombonist with the Paris Opera (1835-1867) and
the Conservatoire concerts, solo trombonist with Musard and Jullien,
and the first official professor of trombone at the Conservatory
(1836-1871).
It was while in these responsible and influential
16Daniele Pistone, La Musigue en France de la Revolution a

1900 (Paris: H. Champion, 1979), pp. 36-37.
(Paris:
17Andre Lafosse, Traite de Pedagogie Du Trombone a Coulisse

Alphonse Leduc, 1955), p. 16.
12
positions that he guided the slide trombone through its days of peril
before the challenge of valved trombones.
He was an excellent player,
as is brought out by Andre Lafosse:

Berlioz honors him with a laudatory mention in his memoirs,
in connection with an important trombone solo included in his
"Symphonie funebre et triomphale", performed on August 1,
1844 during a massive concert bringing together 1,022 performers, orchestra and choirs, for the closing of the
Exhibition of industrial products. I8
This concert, and in particular this selection, becomes important in
the struggle between the use of the valve trombone (trombone a pistons)
and the slide trombone (trombone a coulisse), a piece for which, on
account of the scarcity of efficient slide trombonists, the composer
felt obliged to have published as an alternative part arranged for alto
valved trombone in F.
become popular
fo~
Berlioz writes that the valve trombone had
performing solos, but on many occasions Dieppo
had proved the slide trombone (tenor) was its equal in this function.
Berlioz states:
The valve trombone with valves is frequently employed for
solo melodies. Well phrased, such a melody can display much
charm; but it is an error to assume that the same melody
would not sound just as well if played on a slide trombone-as has been frequently demonstrated with success by
A. Dieppo. 19
Possibly, Dieppo's culminating triumph was in 1873 when he was
able to restore teaching of the slide trombone at the Gymnase Militaire,
where for some years he had been forced by the authorities to teach
I8Lafosse, p. 16.
I9Hector Berlioz, Treatise On Instrumentation, revised and
enlarged by Richard Strauss, transcribed by Theodore Front (New
York: Kalmus, 1948), p. 33.
13
Adolph Sax's six-valved system, exclusively.
"In face of the failure
of the trombone with three valves, Sax made a trombone with six
independent valves, each one corresponding to a position of the slide
trombone, the valves not being used for the seventh position .,20
Dieppo and his unofficial predecessor, Felix Vobaron, left
two of the earliest nineteenth-century trombone methods that exist
today.
Both of these methods did little to advance the trombone
technically, but both are interesting as historical works, with the

method developed by Dieppo giving us insight into his teaching
priorities and descriptions of the instrument on which he played.
In his Methode de Trombone (Paris, c. 1840)21 Dieppo gives some
dimensions which show that he used a slide tenor trombone of small
proportions:
bore lcm (.4in.) and bell, l2cm (4.7ins.).
The French
instruments were played with a characteristic funnel-shaped mouthpiece.
22
An ex~~ination of the index reveals the areas which
Dieppo found important to stress in his teaching.
20
23
Lafosse, p. 15.
2lRepr~nte
.
d by Car I F'~sc h
er, I
nco '~n 1902
22Anthony Baines, Brass Instruments:
Development (London: Faber, 1976), p. 243.
Their History and
23Antoine Dieppo, Dieppo's Complete Method for the Slide

and Valve Trombone (Chicago: Carl Fischer, Inc., 1902), p. 1.
14
Index
Rudiments of Music
Table of Positions on the Slide Trombone
Description & Position of the Trombone
Explanation of Signs

Lessons and Exercises .
Scales for the Valve Trombone

Exercises for the Valve Trombone

Major Scales

Minor Scales

Chromatic Scale

Scales on Intervals

Exercises
8 Progressive Studies
Portamento
Slurs

Notes on Several Shifts (alternate possible)
Staccato
. . .
Appoggiatura

Shake (trill)
Gruppetto

The Shade (crescendo and decrescendo)
Lesson on Art of Phrasing

32 Melodies by Vobaron .
6 Duets .
The Art of Phrasing (100 Classic, Operatic,
and Popular Melodies)
9 Progressive Studies
3 Operatic Fantasias
The Metronome
13
14
14-15
16
28
29-39
40
41
42
43
47
53
59
60
60
61
62
62
64
64
65
. 66
106
118
145
152
158
It is interesting to read some of Dieppo's observations concerning the

following aspects of brass playing, and in particular, the trombone.
On the subject of mouthpiece placement, he wrote:
The mouthpiece is to be placed in the center of the mouth
resting a little more on the upper lip, breathing from
the corners of the mouth and not through the mouthpiece.
To obtain the high notes press the mouthpiece against the
lips, which contract themselves to allow less wind to pass
than for the low notes which require more parting of the
lips and less pressure. 24
24D~eppo, p. 15
o
15
He also states his views on the subject of tongue placement during
the act of tonguing (contrary to modern pedagogical teachings):
"To produce the note the tongue will press against the opening of
the lips and swiftly retire, giving passage to the wind into the
mouthpiece, taking care not to let it escape through the corners of
the mouth; the tongue is to repeat this action for every detached
note.,,25
In conclusion, Antoine Dieppo is a very important figure
during the inception of the study of trombone at the Conservatory,
be it slide or valve.
Beginning in the year 1859 and concluding in
1870, Dieppo taught valve trombone in addition to his duties as

teacher of slide tenor trombone.
This was a recognized class of
study at the Conservatory, complete with its own students and contest
solos.
To sum up Dieppo's views on the trombone, he states:
The pupil will be wise to study each lesson and exercise

before attempting to play all the notes. By doing thus he
will arrive at a real knowledge of his instrument; otherwise he will never be able to occupy a position as a
trombone player in an orchestra or band, but like a beginner,
who wishes to play before knowing all the necessary terms
and uses of the principals of music, he will remain--an
amateur. 26
Paul De1isse
One of Dieppo's pupils at the Conservatory, Paul Lespagne
(1817-1888), known under his pseudonym of Paul De1isse, succeeded
Dieppo in 1871.
27
An excellent musician, Delisse won his Premiere
25 D~eppo,
.
p. 15
26Dieppo, p. 16.
27Lafosse, p. 17.
16
Prix in 1841 and made his career as a trombonist with the Societe des
Concerts du Conservatoire and at the Qoera-Comigue.
It was under his
direction that the trombone began to emerge as a solo instrument of

great flexibility and originality.
This was accomplished by tran-
scribing the works of the great composers of the past for the trombone.
As Andre Lafosse points out:
He was the first to have the idea of transcribing the works

of the great composers, thus bringing within the reach of
trombonists the wonderful schooling in style offered by
the works of Haydn, Mozart, Beethoven and J. S. Bach-works which have contributed so much to the making of our
pianists and string players. 28
During Delisse's tenure as the trombone teacher (1871-1888), the
course
1y base d on t h ese
f study was a 1most exc 1 us~ve
..
transcr~pt~ons.
Delisse was technically very accomplished as a performer

and did much to increase the technical and flexibility potential of
the trombone.
As his predecessor and teacher before him had done,
he fought hard for the supremacy of the slide trombone over the valve
trombone.
At the time of the dispute between the partisans of the valve
trombone and the slide trombone, he was the ardent defender
of the latter instrument. With the help of his talent, he
could emphasize and help emerge triumphant the incomparable
tonal qualities of the slide trombone, and by his very
finished technique he could demonstrate that quick passages
were not entirely unattainable on it. 30
28
29
30
Lafosse, p. 17.
Lafosse, p. 17.
Lafosse, p. 17.
29
17
Paul Delisse left no known original method or etude materials, so
it must be assumed that his teaching was based on
lii~
numerous
transcriptions and possibly the use of Dieppo's or Vobaron's Methode.

There is no evidence
to confirm or deny this statement, but his
transcriptions do offer difficulties found challenging even by

today's standards.
Louis Allard
Delisse's successor, Louis Allard (b. 1852), stayed at
the Conservatory from 1888 to 1925.
Allard succeeded Delisse at
the Societe des Concerts du Conservatoire, the Opera-Comique, and

in the trombone class.
He carried on the teachings of Paul Delisse
and applied himself to the study of works which Delisse had left
behind him.
31
It was during his tenure that the solo trombone
received some of its first quality works written specifically for

trombone and piano.
These works were written as contest pieces for
the instrument by commissioned composers or members of the Conservatory

faculty and were to be performed as part of the graduation requirements.
Because of their nature as test pieces, they became more difficult each
year and taxed the technical capabilities of the instrument.
This
greatly contributed to raising the level of performance accomplished

by the trombone students at the Conservatory.
In specific reference to the teaching that was taking
place during the years when Allard was the trombone instructor,
31
Lafosse, p. 17.
18
An ton Hansen (f at h er
. Scand1naV1a
. ) 32 g1ves
.
f tromb one p1 ay1ng

1n
us
some insight in his own words:

Great was my delight when I got to know the French literature
"pom:' Ie trombone". What music it was! Not commonplace
tunes with commonplace variations, but genuine music. And
it was no wonder that the works were good, because for a long
time the best French composers had been commissioned to compose solo pieces for the annual examinations of the Paris
Conservatoire. 33
Through correspondence, he contacted Professor Allard in 1920 and
told him he was going to visit Paris the following summer to observe
Professor Allard's teaching methods and meet the French trombonists.
Hansen arrived in Paris in the summer of 1921 and visited Emile
Lauga of the Paris Opera.
In the first few days after Hansen's
arrival in Paris, Lauga introduced him to Professor Allard who was

to give a demonstration lesson.
There were five students in the class
at the time, and they were all preparing the solo by Philippe
Gaubert for the forthcoming examination.
Hansen writes:
What surprised me was that all the students played on the

same instrlli~ent--I found it disconcerting--although they
all used their own mouthpiece. What I particularly
admired about these people was their fantastic endurance
which came from doing many hours practice everyday.34
Other than teaching and performing, Louis Allard's greatest
contribution to the study of trombone was his transcription of the
valve cornet method of Jean-Baptiste Arban for the trombone.
32
The
Per Gade, "Anton Hansen (1877-1947); Father of Trombone

Playing i~ Scandinavia," Brass Bulletin, vol. 27 (1979) :27-40;
vol. 28 (1979):13-28; vol. 29 (1980);81-94, p. 27.
33
34
Gade, p. 85.
Gade, pp. 89-90.
19
original cornet method was published in 1864, four years before Arban
was appointed Professor at the Conservatory.
The conclusion one
comes to, in looking at the pedagogical effect the method had on

the teaching of brass instruments in the latter part of the
nineteenth-century, is that Arban had great difficulties in conveying
his knowledge in written form.
One discovers he was not able to
express what actually was happening and why it worked in his own
playing.
On the subject of mouthpiece placement he writes:
"The
mouthpiece must be put in the middle of the mouth, two thirds on

- an d one t h 1r
- d on t h e upper 1-1p ,,35
t h e 1 ower 1 1p
He only justifies
this position by the fact that it personally suits him best.

adds:
He
"To make high notes it is necessary to 'exert a certain pressure
on the lips . you must pu11 t h e corners
knowledge of breathing is also confusing:
f t h e mout h
,,36
Arban's
" the stomach must not
be expanded, on the contrary it must go up at one and the same time

as the chest grows through the effect of inspiration.,,37
Another important project started by Allard, and one which
still has a great bearing on the pedagogical materials and approaches
to the trombone, is his transcriptions of many of the vocalises by
Marco Bordogni and Willent Bordogni.
These vocalises did not play a
role while Allard was a teacher of trombone at the Conservatory since
35Jean-Pierre Mathez, "Jean-Baptiste Arban (1825-1889),"

Brass Bulletin, vol. 15 (1976), p. 17.
36
Mathez, p. 17.
37Mathez, p. 17.
20
they were published in 1925, the year he left the Conservatory.
Under
the guidance of his pupil and successor, Henri Coui11aud, these

voca1ises became a part of the curriculum of study at the Conservatory.
Henri Coui11aud
Henri Coui11aud (b. 1878), born at Bourg-la-Reine (Seine),
was an eminent trombonist who was concurrently a soloist with the
Societe des Concerts du Conservatoire, the Opera, and the Band of
the Garde Repub1icaine.
He succeeded Louis Allard in 1925 as
professor of trombone at the Conservatory.
During his schooling
at the Conservatory, he received his Premiere Prix in 1900.
His
performing with these ensembles continued the performer/teacher

criteria for employment at the Conservatory which started with the
appointment of Antoine Dieppo in 1836.
His selection also follows
the pattern of being a former student and graduate of the

Conservatory which started with Paul Delisse.
Coui11aud continued many of the traditions of teaching the
trombone which were implemented by his predecessors.
During his
tenure at the Conservatory (1925-1948), his output of materials

for trombone was devoted to etude studies.
We don't find his name
associated with solo works for trombone, largely because of the

increased amount of quality solos resulting from the annual contests.
His etudes do show two distinct pedagogical qualities; one, the
continuance of transcribing the voca1ises of the contemporary masters
for use on the trombone; and two, starting a tradition of composing
original etude mE.terials that isolate and work on specific technical
problems.
21
The materials which reflect the older tradition of transcribing works for use by the trombone appear during Couillaud's
early years at the Conservatory.
His Etudes de StyZe d'apres Bordogni
in three volumes and his Vingt-Six Etudes Techniques d'apres Bordogni

were both published in 1927.
Both of these include a variety of tonal
etudes in detached and legato tonguing style.
The materials in each
edition are set up in progressive order from the moderately difficult

to difficult level.
Figure 1.
Henri Couillaud, Etudes de StyZe

p. 7, no. 5,
measures 1-9.
d'apres Bordogni,
During the next two years (1928 and 1929), he compiled the
Pieces MeZodiques in three volumes, including original pieces for

trombone and vocalises by Dukas, Gaubert, Lefebre, Paray, Buesser,
and other French composers who were contemporaries of Couillaud.
This
was the first volume assembled by a Conservatory teacher of trombone

which incorporated a wide variety of composers and styles in a single
work.
This signaled the need of trombone students of the Conservatory
to expand their grasp of musical styles on their instrument.
The
major influence of French Impressionism characterizes these etudes,
22
including short rapid legato flourishes, legato chromatic figures and
modal writing.
In 1929, Couillaud began to transcribe cello etudes for use in
his trombone lessons.
His work, Vingt Etudes de Perfeationnement,
is taken from the cello etudes of Dotzauer, Duport, and Lee.
Each
study focuses on one pedagogical problem area to be mastered by the

student, such as continuous arpeggios in triplet-figures or strong,
accented articulation at a slow tempo.
IV
Figure 2.
Henri Couillaud, Vingt Etudes de

Perfeationnement, p. 5. no. 4,
measures 1-7.
This work signifies a major crossroad in trombone education, progressing from using materials designed for vocal training to examining
and using etudes designed for other instruments.
Due to the increased
need for technique by the trombonist at the Conservatory, looking to

the other instruments was a natural idea.
Not until late in Couillaud's career at the Conservatory de
we see exercises composed by him expressly for the trombone.
The
first of this type to be published, Exeraises Progressifs (1937),

contains studies divided into three parts.
Parts I and II treat
23
scales in both major and minor keys and is composed in eighth and
sixteenth-note rhythmic patterns.
Part III is comprised of vocalises
in a tonal style and not transcribed from any known vocal studies.
With the publishing in 1946 of his Trente Etudes Moder~es, we find
the diatonic scale exercises for trombone, composed by former teacher
Paul Delisse, appearing in print for the first time.
L Etudes sur la gamme de Delisse

~
EJ arc. trrnEa Ed f: roo I aT i I Ufsrrlgrltfl
Vt
majPur
Figure 3.
>
Henri Couillaud, Trente Etudes

Modernes, p. 2, no. 1,
measures 1-9.
Following these exercises, Couillaud included thirty technical studies

in which we find meter changes incorporated within a single study
Rtf
J'
I,' IRCil' III
>-
fffQnc-wrSil, Ii
0 rEd ItJ1 "III
Figure 4.
>.
Henri Couillaud, Trente Etudes

Modernes, p. 34, no. 19,
measures 1-26.
24
As the book progresses, they become more complex by introducing unusual

meters while the melodic content becomes more angular and includes
intervallic progressions which are difficult to hear and play.
With the publishing in 1943 of Couillaud's Tpaits DiffiaiZes
Tipes d'oeuvpes Symphoniques et Dramatiques poup Tpombone begins the

study of trombone excerpts at the Conservatory.
This is a collection
of ten excerpts of varying importance, ranging from Ravel's BoZepo to

works of Pierne, Schmitt, and Tomasi. 38
The majority of excerpts
represented French born composers, reflecting the nationalistic flavor

of the country.
As Dieppo had done before him, Henri Couillaud compiled a

method for trombone.
This work, Methode de Tpombone a CouZisse,
is different from Dieppo's in that it only covers the slide trombone

and does not mention the valve trombone in its discussion of techniques.
In addition to the material written for trombone study, intermediate
to advanced duets are also presented to be used in the course of study.
This study is similar in approach to the Dieppo method by including
positions for many of the beginning exercises; however, it progresses
well beyond the point commonly found in American methods.
38James Roberts, Annotated Guide to Orchestral Excerpts for

Trombone (Lebanon, Indiana: Studio Publications Recording, 1980), p. 20.
25
En MI Mlnea... Ton re!&tif de Sol IIajeur
Ne pas oablier de monter Ie Sol aigu un pea plus ha.ut que 1& 2! position.
4.4
:',
&.
&_
Figure 5.
r'
IrF rrIrF rt I r t rI t r I
nalrnrlt
:):1"
4.
_ _ 4
4_. 4
4_.
Henri Couillaud, Methode de Trombone

a CouZisse, p. 32, no. 1, measures 1-25.
He includes a section on double and triple tonguing, introducing the

double tonguing exercises first and advocating a "tu-ku tu-ku" method.
Also of interest is his method of teaching slurring or legato tonguing.
The use of a unified type of tongue approach is advocated, using the
"du" tongue on every note of the phrase, including the initial attack.
:'" r--
j;:;
..
!z.
II
IT
d.. dIl
rI
dIl d1I
I
d1I
Figure 6.
:E' r
d.. d ..
Ird..
dIl
d..
II
:t t
4..
f t f f
dIl
dIl
d1I
II
d..
Henri Couillaud, Methode de Trombone

a CouZisse, p. 44.
Unfortunately, the method does not always progress in a logical

progression of material difficulty.
It clearly shows the author's
lack of pedagogical understanding in compiling this edition.

Andre Lafosse
Andre Lafosse, born in Marly-Ie-Roi in 1890, is the next
in the line of performer/teachers who were employed at the Conservatory
to teach trombone (1948-1960).
He is the first teacher who was not a
26
direct student of his predecessor.
Lafosse was a pupil of Louis
Allard in the early 1900's and not a student of Henri Couillaud, as

one would suspect.
In addition to his teaching duties, he also was
a member of the Paris Opera and the Lamoureux Orchestra.

In conjunction with traditions which had already been
established, Lafosse continued transcribing solos of other instruments for use by the trombone student.
The first of these, and perhaps
the most important, is his edition of Johann Sebastian Bach's Suites
Pour VioZonceZZe SeuZ (1946).
This incomplete set of suites is
transposed a major fourth higher than the original notation, making

the range more appropriate for greater technical and musical possibilities.
Lafosse edited the suites in terms of articulation markings,
dynamic markings, and alternate positions.

P~other
his
Conce~to
transcription of great importance to the trombone is
in F
written for oboe).
Mino~
(1948), by George Fredrick Handel (originally
This piece was transcribed during Lafosse's first
year at the Conservatory (1948) and reflects the continued search for
materials applicable for use by the trombone from the literature of
other instruments.
Lafosse wrote his most important and influencial work twentyseven years before his employment by the Conservatory.
His Methode
CompZete de Trombone a CouZisse (1921), is one of the most complete

and thorough method books to be compiled by a Conservatory instructor
of trombone.
In conjunction with his Methode, Lafosse wrote a book to
explain the various pedagogical facts contained within the Methode.
27
Entitled iraite de Pedagogie du Tpombone a CouZisse (1956), it is a

product of the Pedagogic Studies program instituted at the Conservatory
by its director Claude Delvincourt.
As Lafosse states in his intro-
duct ion to the book:

each professor in a specialized subject was invited to
instruct his pupils in a training course. The present work,
which is the outcome of this exercise, aims at g~v~ng
instruction to all who plan to teach the trombone. It is
the sum of the observations and experience of many years of
teaching. The articles in this Treatise correspond to these
of my Method. Reference to the numbers and pages of the
Method is made whenever necessary. This Treatise is a true
guide, a sort of working plan which allows a constant progress, leaving nothing indefinite. It points out the faults
most frequently encountered among the majority of students
in certain details of their technique, and judicious means
by which various faults can be corrected. 39
Due to its complete explanation, this combination of Methode
and subsequent guide gives us a very informative and factual insight
into Lafosse's pedagogical methods and philosophies.
His view of a
teacher's responsibilities and qualities include:

unlimited patience and the faculty of being able to
repeat without ever tiring the same explanations, which
although understood are rarely applied at once. To preserve their mastery of the instrument, in order to be able
to give practical examples in sound, which in some cases
are more efficacious than any dissertation. Finally, to
be imbued with an educating spirit, limited not only to
music, but remaining besides anxious to understand the
mentality of the young pupils entrusted to them for
instruction. 40
Of interest to the trombonist are sections on trombone history, the
instruments of the trombone family, and the invention of the valve.
39
40
Lafosse, p. 6.
Lafosse, p. 7.
28
Since the Methode is designed in a sequential progression in respect

to the introduction of skills, this discussion will logically follow
the same path.
In writing about the placement of the mouthpiece, Lafosse
states that it:
is on the middle of the mouth (the mouthpiece bearing more
on the upper than on the lower lip to play high notes, and
more on the lower than on the upper lip to play low notes).
These indications are not absolute, and the placing of the
mouthpiece is a matter that often varies with the
performer. 41
He further wrote that in order to produce a sound, the player must:
take a deep breath, stretch the lips on the teeth, place
the mouthpiece on the lips, put the tip of the tongue between
the lips opposite the mouthpiece, then draw the tongue sharply
back while pronouncing the syllable "Tu". Next keep the
tongue back, and let the breath flow out. The "Tu" should be
energetic and not like "Du". The student must practice this
emission, which is fundamental, and strive after the utmost
sharpness of attack, which should be as clean-cut as the stroke
of a hammer on a bell. 42
Having the above as background and reference material,
Lafosse int.erj ects some observations on the characteristics of
pupils:
To play the trombone, one should be big and strong enough
to have sufficient lung capacity and length of arm to
allow the use of the seventh position, which is found at
the far end of the slide, and measures a span of nearly
60 cm. As in all branches of education, the trombone does
not escape the following rule: the younger the pupil,
the easier it is for him to assimilate what one wishes to
41Andre Lafosse, Methode Complete de Trombone, vol. I (Paris:

Alphonse Leduc, 1921), p. XI.
42
Lafosse, p. XII.
29
teach him. In any case, it is as well to take this latter
consideration into account, for the regulations of the
Paris Conservatory for the age limit for entrance to the
Trombone Class at 23 years. 43
He also explains the approach taken with someone who starts without
proper tutoring or under the direction of another instructor:
When called upon to teach a pupil who started in this way,
it is indispensable to make him review the very beginning
of his technique, so as to correct right away the errors
perceived. Thus, apart from the way in which they will
react, there is little difference between taking on a
beginner in the proper sense and a student who has been
partly initiated. 44
Lafosse advocated his technique and philosophy of building
all trombone skills on a firm foundation:
Providing that the mouthpiece and the instrument are suitable,
there is good cause, so as not to build on sand, to make the
beginner acquire a faultless fundamental production: an
attack as clear and incisive as that of a hammer on a bell,
a diminuendo absolutely regular according to the note value.
The practice of this production should follow, applying the
same principles to all the exercises concerning the study of
the chart of the seven positions. When he has arrived at this
point, the student should have mastered this fundamental
emission and should know the essentials of the tablature
relating to his instrument. 45
Following this foundation, the next step is the acquisition of
technique:
43
Lafosse, Traite de Pedagogie, pp. 20-21.
44
Lafosse, Traite de Pedagogie, p. 21.
45
30
The general rule in developing technique is to plan the
work ahead, while continuing the study of what has gone
before, according to the student's abilities. The weak
points must, of course, be stressed. The best way of
maintaining all that has been acquired is to add to each
new emission, once acquired, the study of scales applying
these various emissions. 46 .
Of importance to all trombonists, is the subject of legato
playing.
Lafosse comments that:
After the fundamental attack, the most important acquisition

for which the trombonist must strive is Legato. On the
contrary, his attention must be fixed on the necessity of
playing legato well. Without a perfect legato, style remains
a dead-letter, and, in spite of all the player's goodwill, he
remains incapable of moving his audience. After the first
note of legato, the other notes must be emitted by a special
tonguing, which corresponds more or less to the syllable
"Na", this syllable marking the spot in the mouth where the
tongue must be placed for this production. It requires a
great deal of practice to do this successfully. The natural
irregularities of the column of air, harshness, and glissandi
are more or less easy to suppress, and necessitate the
judicious use of this syllable for their correction. All
the notes comprised within a phrase should have a similar
and absolutely even production. Therefore, at the beginning
it is a good idea to accentuate this syllable quite clearly,
in order to avoid faltering joins. 47
To continue with his fundamental approach to the teaching
of the trombone, Lafosse states:
The study of scales forming the most efficacious fundamental work, it is important to let the pupil know, that
when arrived at that point, and during his whole career,
he should consider such study the foundation of his daily
task and tax himself 48
A section of this Methode includes exercises designed to
allow the trombonist to work on specific problems encountered in
46 Lafosse,
47
48
Traite de Pedagogie, pp. 27-28.

Lafosse, Methode, vol. II, p. 68.
31
the contest solos.
This is the first evidence that we can document
in the change from preparing a student pedagogically in terms of

increasing his techniques in order to perform the contest solos to
designing actual etudes to facilitate technical and musical
complexities found in specific contest solos.
the Methode (Volume II)
pieces.
Lafosse states:
On pages 191-208 of
is found a series of studies on the test
"Any perspicacious teacher can write a
few lines of music to make a difficulty more accessible, first

presenting it in a simplified form, then, by imperceptible modifications, making it more difficult.
before the original passage.,,49
The pupil will then be at ease
The actual solos examined in these
sections are:
SoZo de Conaours - P. V. de la Nux (1900. 1919)

SoZo de BaaheZet - A. Bachelet (1901, 1925)
Fantaisie - Stojowski (1905, 1914)
Pieae en Mib - H. Busser (1907, 1920)
Pieae en MiP - J. Guy Ropartz (1908)
Moraeau Symphonique - Ph. Gaubert (1912, 1921, 1937)
CantabiZe et SaherzandO - H. Busser (1913, 1924. 1936)
Etude de Conaert - H. Busser (1927)
Impromptu - E. Bigot (1931, 1943)
DoubZes sur un ChoraZ - R. Duclos (1939, 1945)
491afosse, Traite de Pedagogie, p. 47.
32
Lafosse states in relation to these exercises:
These studies are based on the principal difficulties that are
to be met with in the solos the most frequently adopted for
the competitions at the Paris Conservatory. All the technical
difficulties therein are well developed. There, the rapid
passages are more abundant, the arpeggios more extended, and
sometimes the transposition compels to more suppleness of
slide and to more firmness of lips. Besides excellent
technical results, the practice of these studies shall lead
the pupil to an easy performance of the solos to which they
refer. 50
A section found at the end of Volume II is devoted to
"Difficult Passages From Symphonic and Dramatic Work" (more commonly
referred to as orchestral excerpts).
This continues a pedagogical
technique first instituted by Henri Couillaud in his Traits DiffiaiZes
Tires d'oeuvres Symphoniques et Dramatiques Pour Trombone.
Lafosse's
use of many French compositions in this section is similar to what

Couillaud had done--once again reflecting the nationalistic flavor
found in France.
An important aspect of a
s~udents
treats the topic of sight reading.
training at the Conservatory
Lafosse wrote:
The study of sight-reading should be undertaken from the

very beginning of learning the trombone, proportioning
the difficulties according to the instrumental technique
that has been acquired. The skill of the instrumental sightreader depends on hOt.. good a solfegiste he is. To sight-read
well, one must be master of one's technique, and always read
ahead of what one is playing, that is to say, one should
read several bars at a time; this is indispensable when passing
from one line to another. This facility can only be developed
by constant practice. One has only to forget that one should
read in advance to stumble at the first difficulty encountered.
To care only about playing the notes is insufficient. One
must also think of observing phrasing and expression, of
giving the piece the character desired by the composer and
respecting the tempo indicated. The memory should be
50
Lafosse, Methode, vol. II, p. 191.
33
trustworthy enough to forget neither the key signature nor
an accidental affecting a note at the beginning of a bar,
which is valid for all similar notes in' that bar.
Following a mistake, one should have the presence of mind
not to stop to look for its cause, but on the contrary,
continue without hesitation, renewing the flow as promptly
as possible. 51
In reaction to a need for a sight-reading text for use by his
trombone students at the Conservatory, Lafosse compiled his SchooZ of
Sight-Reading and StyZe for Tenor Trombone in five volumes (1949).

This excellent collection ranges from relatively easy to very
difficult etude material.
Each volume contains thirty half-page
studies written in manuscript which is sometimes difficult to decipher.

Lafosse comments in his introduction to the work:
The mastery of sight-reading demands much practice and
requires a large number of exercises, particularly new
ones. Unfortunately, these exercises are non-existent.
The student has resorted heretofore to solfeggio or
vocalise studies which are more or less adaptable to the
technique of the instrument and are unsatisfactory inasmuch
as they are not written in the proper keys and often are
not new to the student who may have read or sung them.
The aim of these five folios is to remedy this deficiency
for the trombonist. 52
These five books, A, B, C, D and E contain 30 lessons each:
A- Bass clef
B Bass & Tenor clef
C Bass & Tenor clef
D Bass & Tenor clef
E
in 30 lessons
(10 lessons in Alto clef)
(10 lessons in Alto & Tenor clef)
(10 lessons in Alto, Tenor & Bass clef)
51
Easy
Medium difficult
Difficult
Very difficult
Extremely difficult
52Andre Lafosse, School of Sight Reading, Vols. I-V

(New York: M. Baron Company, 1948), p.2.
34
In discussing the approach the student should consider when approaching
these exercises, Lafosse gives us a good insight into both his and the
Conservatory's view on the skill of sight-reading:
First, look at the beginning of the lesson only (key
signature, tonality, measures) ascertaining the tempo,
then attack, striving to read ahead; in other words, he
must focus his eyes on the measure following the one played
and even those further ahead if the tempo is rapid. The
first reading should be completed from beginning to end without stop, despite any errors committed during this reading.
It is too late and useless to analyse what caused the errors.
Looking back would only invite further mistakes in what is to
follow. At all cost the student must continue on to the very
last note without any alteration of tempo, which must be
rigorously maintained. After this first attempt, the student
will attentively look at the passages which caused him to
stumble; he will study them for a few minutes, then start a
second rendition which should normally be a good deal better
than the first. If he does not succeed in obtaining a perfect
performance this second time, he should repeat the above procedure, examining the troublesome passages; then begin again
a third time and so on, until he achieves perfection in every
respect: nuances, chromatic alterations, pure intonation,
the full value of each note, breathing, style, tone quality,
etc. insofar as the composer's intent. 53
Lafosse addressed the new pedagogical treatment of preparing
the Conservatory student for specific technical and musical complexities found in the contest solos when he issued his Vade Meaum du
Trombone (1956).
As he states in the introductory paragraphs:
This Vade Meaum is intended principally for students preparing for advanced examinations, particularly the January
Examination of the Paris Conservatoire. It will also be a
valuable guide to those who, having completed their studies,
wish to keep up their technique. Trombone players intending
to become teachers will find in this Vade Maaum, in conjunction
with the Teaching Treatise which accompanies our Grand Complete
Method, texts that will be of use to them throughout their
53
Lafosse, School of Sight Reading, p. 2.
35
career; lastly~ candidates for teaching posts in the French

provincial conservatories will also find in it all the data
that is indispensable for the profession which they hope
to take up.54
This volume is divided into three sections.
of technical etudes in major and minor
chromatic
Part one is comprised

diminished
scales~
and scale patterns in thirds.
scales~
sevenths~
In part two the
author presents a scale of one octave in sixteenth-notes.
Each degree
of the scale is then the starting point for a further, sequential

scale.
Each scale is followed by its chords; major, minor,
diminished, and augmented.
Alle"ro
J~ d. 80 tOO
Vt "'.j.ur. C ,br
Ii
~ ~
:=.
J JlllPI'Oi WI flFWI J i" 1JIlet l pml f!lSI J J" I

=f
~
f
=-
C.ojor
nrf>
:>
:>
Figure 7.
>
:> .I!!::i
""
"""-
Andre Lafosse, Vade Meawn du
Trombone, p. 11, no. 1, measures 1-16.

Part three consists of twenty-six medium-difficult studies covering
the main technical areas of trombone playing.
This section includes
staccato exercises, legato studies, studies in varied articulations,

arpeggio studies, interval studies, etc.
The concluding studies
include several etudes comprised of transcriptions of pieces in

varied styles by Schubert, Bach, Vivaldi, and Tartini.
54Andre Lafosse, Vade Mecum du Tromboniste (Paris:

Leduc, 1956), p. 3.
Alphonse
36
Andre Lafosse, therefore, was a major force in the pedagogical
revolution that was going on in France.
By addressing the problems
and shortcomings of trombone playing and teaching, he was able to

bring the level of both to a higher plateau not reached by any of his
predecessors.
It is a tribute to him that a good portion of his
pedagogical teachings and etudes are still a major force in the field
today.
Gerard Pichaureau
The final trombone instructor of the Conservatory to be
discussed here, Gerard Pichaureau, is also the incumbent.
Starting
in 1960, he took over the responsibility of educating the aspiring

trombonists attending the Conservatory.
Pichaureau continued the
pattern of being an active performer in addition to his duties as an

educator.
His credentials include solo trombonist with the Band of the
Garde Republicaine and Societe des Concerts du Conservatoire.

Pichaureau's pedagogical output consists of original etude
materials designed specifically for use in the trombone studio.
Since
the quality and quantity of trombone solo materials had greatly

increased because of the yearly contest competitions, it was not
necessary for Pichaureau to compose or transcribe solo materials from
other instrument groups.
He also did not need to transcribe etude
materials from other instrument groupings since his predecessors and

other French trombonists
the trombone.
had left a large wealth of materials for
37
Pichaureau's major output for the trombone is etudes designed
to increase a player's technical expertise, in direct relation to the
advanced skills needed to perform the newly composed contest solos.
His first work, published during his first year at the Conservatory,
is entitled Trente
Studies, 1960).
and minor key.
Re~reations
en Forme D'Etudes (30 Recreative
It consists of short etudes written in every major

The melodic writing contains irregular phrase-lengths
and unusual melodic turns, developing both legato technique and

detached playing.
The last five exercises of this study are pre-
paratory work designed to introduce the next etude book produced in

1960.
As Pichaureau states:
"The studies no. 25 to 30 will help
the student to achieve the level of the 21 Studies for Trombone General Technique, which could be considered as the compulsory sequel
to this book.,,55
The next study in Pichaureau's pedagogical plan, Vingt-et-une
Etudes (Twenty-one Studies - General Technique, 1960), is set up

progressively and concentrates on technical studies in all keys and
in many different styles.
Although the melodic content of these
studies is basically tonal, several of them involve contemporary

techniques, including:
odd meters, irregular divisions of the beat,
uneven note groupings, disjunct melodic passages and wide intervals.
(Paris:
55Gerard Pichaureau, 30 Recreations en Forme d'Etudes

Alphonse Leduc, 1963), p. 14.
38
Figure 8.
rnarcalo ma 606in1WtO
I~J dJJ-r
cresCo
riur I J 1111?iJ JJ ,I
Gerard Pichaureau, Vingt-et-uneEtudes, p. 11, no. 11, measures 10-23.
Pichaureau maintained a sense of pedagogical progression

when he produced his next etude book, Vingt
1963).
E~~des
(Twenty Studies,
It is suggested in the second half of the complete title
of this work that it be used following completion of the Vingt-et-une
Etudes.
These studies progress from medium difficult to difficult,
taking the trombonist to extreme technical limits.
They are written
in unusual meters and often include difficult, superimposed rhythmic

patterns.
There are several etudes in odd meter, including meter

332
signatures such as l' 16 and 16
Figure 9.
Gerard Pichaureau, Vingt Etudes,

p. 20, no. 20, measures 1-15.
39
The most obvious usage of contemporary melodic style includes wide
intervallic skips and disjunct melodic contours.
"!f
crt' _
'0 OJ} D
Figure 10.
Gerard Pichaureau, Vingt Etudes,

p. 10, no. 10, measures 19-32.
Pichaureau also extended the range requirements and tessitura of

the etude material, therefore, challenging the trombone player in
ways similar to the trends of the contest solos.
Also appearing in 1963 is his Trente Etudes Dans Tous Les
Tons (Thiry Studies in Every Tonality).
As he states about these
exercises:
These thirty studies, technically very difficult, are meant
for students of the highest degrees. Each study should be
practised slowly and thoroughly, meaning that one should
not try to master it perfectly in a few days, but go on to
the next and then to the following, as all of them, each
written in a different tonality, hold the same difficulties
concerning rhythm and technique. I suggest they should be
practised by one per week and, the cycles finished, one will
be surprised by the results when taking up again those studies
which could only be attacked superficially a few months
before. 56
(Paris:
56Gerard Pichauieau, Trent Etudes Dans Tous Les Tons

Alphonse Leduc, 1963), p. i.
40
Pedagogically, he deals with rapid legato passages, multiple tonguing,

extreme ranges (both high and low), unusual meters, changing meters,
rapid chromatic passages, and wide skips.
The next material composed by Pichaureau, PreambuZe (Preamble,
1971), concentrates on the younger or less experienced trombonist.
It
contains traditional lip slurs, scale patterns and a daily routine

complete with warm-up studies.
Towards the end of the book, changing
meters are introduced in conjunction with relatively difficult

intermediate passages requiring good flexibility and control.
The latest edition produced by Pichaureau, Vingt-Quatre
Etudes Pour Trombone (Special Legato Studies, 1978), is a book of

slur and legato studies arranged in a non-progressive order.
Pichaureau's purpose for this material is to:
" keep the player
'in form' through the suppleness of lip, of tongue and of arm.
It
is directed to trombonists already in possession of the technical

fundamentals of 'LEGATO,."S 7
Designed for players who already possess
good fundamentals of legato playing, each etude deals with one legato
problem, and that explains why it can be used in any progression of
exercises.
57 Gerard Pichaureau, Vingt-Quatre Etudes Pour Trombone Tenor

(Special Legato Studies) (Paris: Alphonse Leduc, 1978), p. 1.
41
Mt ad Ub. ADdaal2. Alle&reno
7 :",
i1fs!ijfiDjIPfrjt,Q;tifidJtfiJnl
P'''''
l'
-==::::..
====---
,tiftiJ%tiiBO ffliU',1lij[ A ~ I
Figure 11.
Gerard Pichaureau, Vingt-Quatre Etudes

Pour Trombone (Special Legato Studies),
p. 8, no. 7, measures 1-12.
With the use of more "Twentieth-century" techniques being

employed in the contest solos, Gerard Pichaureau collaborated with
Claude Pichaureau58 to produce Vingt Etudes AtonaZes (20 Atonal
Studies, 1972).
The twenty atonal etudes in this volume acquaint
the student with a wide variety of techniques prevalent in contemporary

music.
Starting at a moderate level of difficulty, the first several
etudes present few rhythmic or metric difficulties.
58
See page 212 under Claude Pichaureau in Biographies of

Composers for a description.
42
'e f If
It.
J. III
M_ _ AQra_ce
A.
Ir d
It.
FI
Simile
Ie f
Ilf ~t; r
Figure 12.
Gerard Pichaureau and Claude

Pichaureau, Vingt Etudes AtonaZes,
p. 2, no. 1, measures 1-16.
As the book progresses, the writing includes:
frequent and abrupt
dynamic changes, "new" notation, quarter tones, aleatoric effects,

special mutings, complex rhythms, and rapid articulation changes.
Buff'onesca I
ID'~ . .
g+
/1'
Plunger
,.
(~ns
Saurd.
stc"~)
+0
;;
11'
,;-
l'
I l'
( ",p~."I_)
l'
!i:i :a
"/Ii
' Ii-
j*
~ II": ~.
...1I:!:
I~
Ii
Ii
=1
/ ==--z.:=
l'
Dedaho. \'1m
1-
:>
+0
-f
/1'
...
p-,,.
Flatt.
Caprld_
,.
:>
P~r /
Plunle<
rapidemenl
"b+~.
Sourd. l'khe
>-
~-----~
)
Figure 13.
; ;
Gerard Pichaureau and Claude

Pichaureau, Vingt Etudes AtonaZes,
p. 13, no. 17, measures 1-3.
e!
/
43
Several of the etudes involving more unusual contemporary techniques

are preceded by editorial comment relating to that technique:
"These 'vectorial' alterations indicate quarter tones lower or higher.
It is advisable to begin by practising without taking them into
account. 11 59
It is with this book that the trombonist is brought
up to date with recent pedagogical materials.

Many other French composers and trombonists have produced
materials which are of invaluable worth to the study of the trombone.
It is true that they could be placed in logical order and have been
used to show the progression of French etude and method materials
for the trombone from 1836 to present.
However, they have merely
been a reflection of the work done at the Conservatory and are usually
a product of a writer who was directly associated with the Conservatory
as a student of trombone, composition or some other instrument.
It was
therefore important to trace the pedagogical progression of study

materials for the trombone to take it from the starting point of few
technical demands to the level of technical and musical competencies
required by the trombone student of the Conservatory in the 1980's.
Conclusion
We have seen the professors of trombone at the Conservatory
being products of the system that they went back into to teach in,
all performers in their own right, and progressing the pedagogical
trend of the trombone--using only those materials of his predecessor
that would be of value.
The materials, themselves, have developed
59Claude Pichaureau and Gerard Pichaureau, Vingt Etudes

Atonales (Paris: Alphonse Leduc, 1972), p. 8.
44
from methods designed for both slide and valve trombone, to
transcribing the solos of other instruments for the trombone, to
transcribing etude materials from other instrument families for use
by the trombone student.
This was followed by designing original
etude exercises for the trombone, based on the technical and musical
competencies required to perform the various contest solos of the
time, and going from simple tonal etudes to very complex and
difficult etudes requiring knowledge and skill dealing with atonal
music.
It has always been the teacher/performer trombone instructors
at the Conservatory that have realized and implemented these

pedagogical innovations.
One last comment about the French method books.
French
method books tend to progress very quickly and usually include a

similar format of scales, lip slurs, interval studies, and arpeggios.
French publishers such as Alphonse Leduc have generally made little
attempt to make their books appealing for the very young player in
terms of color design format, interesting "song" material, or a slow
progression of material.
This may be due to the nature of having
French students studying music theory before the instrument, or it

may be that the French are not as concerned with motivational factors
or student drop-outs.
CHAPTER 3
THE CONTEST SOLOS
While the Conservatory may be dedicated to the ideal of
instructing students in all phases of music, it appears it has
achieved its most productive results in the area of instrumental
performance. 60
Its' conservative atmosphere, artist faculty, and
competitive entrance auditions all have contributed to the excellence

of its instrumental_training program.
A major part of this program
is the use of various instrumental solos known as the "contest solos".

Origin and Purpose
The culmination of a student's study at the Paris Conservatory
is the attempt to win a Premier Prix (First Prize) within the limit of
five years' time or before reaching the maximum age.
Although it
has varied through the years, the age of admission to the Conservatory
has been very low in comparison to American standards for higher
education.
In 1878 the minimum age was set at nine and the maximum
at twenty-two.
61
Presently the minimum age of admission is ten and
the maximum varying according to the particular specialization, the
60JosePh"John Caringi, "The Clarinet Contest Solos of the Paris

Conservatory With A Performance Analysis of Selected Compositions"
(Columbia University, 1963), p. 27.
61 p :l.erre,
"
p. 262.
45
46
trombone being twenty-five.
Each specialization also has a maximum
length of time for completion: 62
Course
Maximum
age
Solfege
Harmony: Test section,
Elementary section, Advanced section
Counterpoint
Fugue
Composition
Piano accompaniment
Organ and improvisation
History of music
Singing: men, women
Dance: men, women
Piano: elementary section,
advanced section
Harp
Violin: elementary section,
advanced section
Viola
Cello: elementary section,
advanced section
Double bass
Flute, oboe, clarinet, saxophone
Bassoon, horn, trumpet, trombone
Kettledrum and percussions
Conducting
Chamber music
17
16
22, 24
26
28
32
25
30
32
28, 25
20, 18
19
20
22
19
20
24
21
22
26
20
25
24
32
32
Maximum length
of course
4 years
4
4, 5
4
4
5
5
3
4
5
4
5
5
4
5
4
5
5
5
3
4
?
At the completion of a course, the student is not eligible

for graduation, as the term is employed in the United States.
Instead,
he will enter a contest held each year for all courses offered at the
Conservatory and competes for a First Prize in his specialty.
The
student may, on his professor's recommendation. take part in the

contest before the limit of his course has expired, but he will not
62Car~ng~,
. . p. 28
47
be allowed to compete after the time period has eXPired.
63
A trom-
bonist, then, admitted to the Conservatory at the age of twenty, would

have to attain his First Prize by the age of twenty-four.
A First Prize is awarded, in the case of the piano, harp,
string, woodwind, brass and percussion instruments, on the ability of
the student to
pe~form
a selected solo before a jury.
The solo used
in the competition is termed either morceau de concours (contest

piece) or solo de concours (contest solo).
(The word morceau meaning
bit, piece or morsel, thereby used to denote a shorter composition.)

Originally, the compositions selected as contest solos were either
chosen from existing literature or composed by the professor in charge
of teaching that particular instrument.
More recently, however,
composers have been commissioned to write the contest Pieces.
64
The earliest contest solos documented for use at the

Conservatory were in the year 1818.
E-fZat by Dussek), violin
(Conce~to
(First Concerto by Romberg).65
They were for piano (Concerto in
in D minor by Viotti) and cello
Contest solos probably were used for
earlier competitions than this since First Prizes were awarded in 1797
in clavecin, violin, cello, oboe, clarinet, flute, horn and bassoon.
o6
Although the original use of the contest solos was limited to

their performance at the annual competitions, in recent years they
have served another purpose.
63
. .
Car1ng1, p. 28.
64
. .
Car1ng1, p. 29.
Mar.y of the contest solos are now
65 p .
1erre, pp. 584, 607, 615.
66 p .
1erre, p. 511.
48
included in the required material studied by the instrumental students
at the Conservatory.
An American bassoonist enrolled at the Conserva-
tory noted the solos studied by the bassoon class in a half year's
time.
Of the ten compositions he listed, five of them were composed
"67
speC1"f"1ca11y as contest p1eces.
The Contest and the First Prize

Throughout the history of the Conservatory, various subjects
or classes have been occasionally introduced to the instrumentalist.
These subjects have included the history of music, musical analysis,
orchestral classes, and chamber music classes, in addition to
" an d t.e
h stud y
so If egg10
"1nstrument. 68
0 fan
These diverse activities
have only enjoyed brief periods of acceptance at the Conservatory with

the study of solfeggio and the students instrument being stressed.
Presently, the young student is given three lessons weekly on his
instrument, each about three hours in length.
All the students of a
particular instrument report to the teacher at the same time, observing

each other from a sitting position on a bench while the professor
teaches one student at a time.
The individual student and professor
both stand during the approximate thirty minutes of lesson time

devoted to each student. 69
67 Ben Spieler, "From Par"is," l.J"oodwind, vol. 3 (}farch 1951),

p. 13.
68 Car1ng1,
" " p. 31 .
69 George E. WaIn, "Conservatoire National de Paris; Impressions
Gained From A Recent Visit," Instrumentalist, vol. 12, no. 1
(September 1957), p. 98.
49
In addition to his weekly sessions on his instrument, the

student also has three classes in solfeggio, each one hour in length,
and an hour of music history, meeting once a week.
70
The French word
for solfeggio (an Italian term, meaning an exercise for voice using
syllables) is sOlfege and it has a much different meaning from the
original Italian word.
71
In the French context, it includes reading
.
..
mUS1C,
ear-tra1n1ng
an d t h e ru d1ments
fmUS1C.
72
The culmination of a Conservatory student's studies is the

attempt to win a First Prize.
Before a student is permitted to
perform in the final competition, he must first qualify in solfege,

. 1 ana1
andS1g
h t-rea d1ng W1t
. h t h e 1nstrument.
.
73
mUS1ca
YS1S
The first
year students are required to take solfege and musical analysis in

addition to the master classes for their instrument.
The ideal goal
is for the student to pass these courses at the end of the first
year, in order to have more time to spend on sight-reading and the
.
per f ormance requ1rements
0 f t h
e1r c h
osen1nstrument. 74
70Car1ng1,
. . p. 31
71 Car1ng1,
. . p. 31
72 Eric B10m, "Solfege," Grove's Dictionary of Music and

Musicians (New York: St. Martin's Press, Inc., 1959), VII,
pp. 877-878.
73 Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An
Annotated Bibliography (Bloomington, Indiana: University Press,
1981), p. 174Harry R. Gee, "A Survey of Diploma Solos Used for Clarinet
at the Paris Conservatory," School Musician, vol. 50, no. 10
(June/July 1979), p. 10.
50
When the professor feels a student has the necessary skill,
he is entered in the annual competition held in the
~a~ly
June, and performs the selected solo before a jury.75
part of
If the jury
fails to award the student a First Prize, he may be granted a Second

Prize, a Premier Accessit (first honorable mention), or a Deuxieme
Accessit (second honorable mention) and must wait until the
following year to compete again.
Generally, a student who wins a
Second Prize is expected to win a First Prize in the next competition.
76
Paul Delisse, a professor of trombone at the Conservatory,
won a Second Prize in 1840, and attained the First Prize the following
year. 77
Charles-Michel Blanchere, one of France's outstanding
trombonists, won a Premier Accessit in 1872, a Second Prize in 1873,

and a First Prize in 1375.
78
Occasionally, a very gifted student may be awarded a First

Prize after only a short period of study at the Conservatory. 79
Phillipe Gaubert, a distinguished flutist and composer, accomplished
this feat, attaining a First Prize in flute in his first attempt at
t h e age
f ~f teen. 80
0f
75
Gaubert's case is more the exception than the
Gee, Clarinet Solos, p. 1.
76 Car~ng~,
. . p. 33
77 p .
~erre,
p. 736.
78 p ~erre,
.
p. 701.
79 Car~ng~,
. . p. 33
BOp.~erre, p. 761.
51
rule, for it normally takes the full length of a course to win a
First Prize, with many students never attaining this goal.
81
The French consider the annual competitions an essential

part
system 0 fmus~c
e d ucat~on.
.
82
f t h e~r
An extract from the
Journal of Paris (1799), quoted by Constant Pierre, states, "the

distribution of prizes among the
Conservatory
students each year
gives proof of their progress and of the merit of the professors

who direct them.,,83
In 1818 a Committee of Instruction composed of
Conservatory professors declared:

the opinion
"The Committee is unanimously of
that the annual contests are an indispensable
necessity they are a sort of reckoning which the administration

gives to the public, and without them there would no longer be a
school. ,,84George WaIn puts the competition in perspective when he
states:
"Trying for the coveted First Prize and a First Prize with
Honors is a grim and serious business because the students' future

professional careers depend largely upon the outcome.
.
car.r~es
tremen d ous
. .~n
prest~ge
..
atta~n~ng
A First Prize
Ipos~t~on.
,,85
a f uture ore h
estra
In accordance with tradition, the students who enter the

competition are given the selected solo one month before it is to be
81Car~ng~,
. . p. 33 .
82Car~ng~,
. . pp. 33 - 34 .
83p .
~erre,
p. 761.
84 p ~erre,
.
p. 322.
85
WaIn, p. 99.
52
performed.
They must learn the solo, memorize it and rehearse it
with the piano accompaniment all during this one month period of time.
Unlike some compositions, the professors help the students as much as
possible.
The professors are being indirectly tested, since the
number of First Prize winners turned out by a professor must certainly

teach'1ng. 86
re fl ect upon h 1S
Students participating in the final competition are judged on

their musical interpretation, technique, sonority, and intonation.
On the day of the competition, the audience (classmates, present and
former pupils and professional musicians) gathers to listen to the
sessions.
All of the candidates play the selected contest solo for
the jury.
The jury usually consists of one administrator, the
composer (if possible) and five instrumentalists of whom at least

two have no connection with the Conservatory.
They first decide
whether or not to award each prize, with the jury chairman announcing
the results.
The First Prize winner leaves the Conservatory ready to
start on a professional career and leaves one place in the class

vacant (there are only twelve students of trombone at the Conservatory
at anyone time).
This vacancy will be filled by a contest for
admission held in early October.
87
The First Prize winners before 1817 received, in addition to

t h e h onor
.
. 1 rewar.
d 88
f t h e Pr1ze,
a mater1a
This reward took the
86 Car1ng1,
. . p. 34
87Michel DeBost, "Woodwind World's Paris Correspondent,"
Woodwind World, vol. 4, no. 11 (1963), p. 12.
88 Car1ng1,
. . p. 35
53
form of musical instruments of French manufacture. 89
Beginning in
1818 the rewards were reduced, and while the string players still
received instruments, all of the other First Prize winners were
presented with varying amounts of money: 90
Instrument
Number of Francs
.
Violoncello
Violin
200
300
Piano
100
Flute
100
.
Clarinet
.
Horn . .
Oboe
Bassoon
100
100
100
100
In 1892 rewards were eliminated, and the First Prize has

since remained an award of honor.
91
While the First Prize no longer
includes material rewards, it still is viewed as the highest goal of

the Conservatory students.
The Trombone Contest Solos
The custom of using a particular work annually has been in
practice fer the trombone class at the Paris Conservatory since 1842.
92
The titles of these early contest solos, as well as the names of their
composers are still
know~
89 p .
p. 234.
90 p .
p. 323.
~erre,
~erre,
91Pierre, p. 387.
92p.~erre, p. 652.
today.
However, most of these contest solos
54
(1842-1897) are not obtainable, except Cavatine by Jules Demersseman
which was the required solo in 1877 and 1888. 93
While neither World
War I nor World War II interrupted the annual competitions (except the
trombone and several other instruments), the Franco-Prussian War caused
a suspension of all the contests in 1871, and no contest solos were
employed for that year.
94
Below are listed the examination pieces from 1842 to 1896.

An asterisk indicates solos which were used more than once.
Year
1842
1843
1844
1845
1846
1847
1848
1849
1850
1851
1852
1853
1854
1855
1856
1857
1858
1859
1860
1861
1862
1863
1864
1865
1866
Title
*SoZo
Air Varie
*SoZo
Fantaisie
*SoZo
*SoZo
*SoZo
Fantaisie
*SoZo
*SoZo
Concertino
SoZo
*SoZo
SoZo
SoZo
*SoZo
Concerto
*SoZo
*SoZo
*SoZo
*SoZo
SoZo en mi flat
*SoZo
*SoZo
BoZo
Composer
Antoine Dieppo
Joseph Klose
Andre Verroust
Antoine Dieppo
Andre Verroust
Andre Verroust
Andre Verroust
Andre Verroust
Andre Verroust
Antoine Dieppo
Louis Girard
Bello in
Antoine Dieppo
Charles Gounod
Theodore LaBarre
Henri Potier
Charles Gounod
Antoine Dieppo
~toine Dieppo
Henri Potier
Henri Potier
Jules Demersseman
Antoine Dieppo
Antoine Dieppo
Francois Bazin
93Glenn P. Smith, "Paris National Conservatory Contest Pieces

for Trombone," Journal of the International Trombone Association,
vol. 5 (1977), p. 23.
94Pierre, p. 511.
..
55
Year
1867
1868
1869
1870
1871
1872
1873
1874
1875
1876
1877
1878
1879
1880
1881
1882
::'883
1884
1885
1886
1887
1888
1889
1890
1891
1892
1893
1894
1895
1896
Title
*SoZo
*SoZo
SoZo
Concerto
----------no aontest---------SoZo de Concours
Ail' Varie Sur "Za Pirate"
SoZo de Concert en si flat
*SoZo de ConcoU!'s
*ler SoZo de Concert
*Cavatine
*"Le CarnavaZ de Venise 11
Concerto (leI' SoZo)
*SoZo de Concours
Ail' Var. Sur. Naahabee
*SoZo de Concours
se SoZo
*SoZo de Concours
SoZo (Andante et AUegro)
*ler SoZo de Conaert
*Cavatine
SoZo de Concov~s
Grand SoZo
*"Le CarnavaZ de Venise"
Cavatine en SoZ
SoZo de Concours en re flat
leI' SoZo de Concours
SoZo en si flat mineur
Composer
Antoine Dieppo
Antoine Dieppo
Cressonnois
Jules Metra
Alexandre Fessy
Georges Berr
Jules Demersseman
Jules Demersseman
Jules Demersseman
Jules Demersseman
Jules Demersseman
Jules Demersseman
Jules Demersseman
G. F. Handel
Jules Demersseman
Jules Demersseman
Jules Demersseman
Jules DeL'.ersseman
Hedwige Chretien
Jules Demersseman
Jules Demersseman
Grat Barthe
Jules Demersseman
Hedwige Chretien
Jules Demersseman
Jules Demersseman
Grat Barthe
Jules Demersseman
Hedwige Chretien
Between the years of 1859 and 1870, the valve trombone was
recognized as having its own set of contest pieces.
.
95
the o
f 1 .l.ow~ng:
95pierre, p. 682.
They included
56
Title
Year
1859
1860
1861
1862
1863
1864
1865
1866
1867
1868
1869
1870
Composer
So 1,0 en fa
So 1,0 en ut
So 1,0
Air Varie
So 1,0 en mi mineur
So 1,0
So 1,0
So 1,0
So 1,0
*So7,o
*SoZo
*SoZo
Andre Verroust
Antoine Dieppo
Andre Verroust
Retch
Jules Demersseman
Jules Demersseman
Henri Potier
Francois Bazin
Jean Baptiste Arban
Antoine Dieppo
Antoine Dieppo
Antoine Dieppo
The earliest qualifications noted in the annals of the

Conservatory governing the choice of contest pieces was in 1817.
96
In that year Perne, then Director of the Conservatory, and Cherubini,

serving as a professor of composition, recommended that the contest
pieces for the various instruments be selected by the respective
professors and approved by a Committee of Instruction composed of the
Director and the Professors of Composition. 97
for wind
instrume~ts
The early contest solos
weroe, for the most part, composed by their pro-
fessors, at least until the latter part of the nineteenth century.

It appears that many of the early professors of wind instruments were
not only expected to be performers and teachers, but in addition, were
.
f or t h"
ca11e d upon to compose contest p1eces
e1r 1nstruments. 98
Historians agree that opera occupied the great interest in

the eighteenth and nineteenth centuries in Paris.
96 Car1ng1,
. . p. 39
97Pierre, p. 321.
98 Car1ng1,
. . p. 40 .
Although the
57
Franco-Prussian War generated a lot of patriotic feeling toward
military bands and a great deal of pedagogical activity at the
Conservatory during the second half of the nineteenth century, the
amount of wind instrumental composition is rather small. 99
Most of
the solos chosen for the examinations at the Conservatory between

1897 and 1918 reflected the taste of the operatic and vocal composers.
The year 1897 marked the most significant change in the contest
solos at the Conservatory, for this was the first year in which a
composer was specifically commissioned to write a solo expressly for
use as the trombone Morceau de Concours.
SoLo de
Coneert~
The commissioned work was
No. 2 by Paul Vidal, a noted French composer.
The
trombone solos from 1897 to 1918 are as follows:

Year
1897
1898
1899
1900
1901
1902
1903
1904
1905
1906
1907
1908
1909
1910
1911
1912
1913
1914
19151917
1918
Title
SoLo de Coneert~ No. 2

*Pieae Conaertante
*SoLo de Trombone
*SoLo de Conaours
*Moraeau de Coneours
*Moraeau Symphonique
SoLo de Coneours
Moraeau de Conaours
*Fantaisie
*SoLo de Trombone
*Pi~ae en mi b~moL~ Ope 55
Pi~ae en mi b~moL
SoLo de Coneert
Pi~ae de Conaertante
ALLegro de Conaert~ Op. 81
*CantabiLe et SaherzandO
*Fantaisie
----------no aontest---------Coneertante
*Pi~ae
99 Gee , Clarinet Solos, p. 17.
Composer
Paul Vidal
Samuel Rousseau
Georges-Jean Pfeiffer
Paul V. de la Nux
Alfred Bachelet
Alexander Guilmant
B. Croce-Spinelli
Edmond J. Missa
Sigismond Stojowski
Georges-Jean Pfeiffer
Henri Busser
J. Guy Ropartz
Theodore Dubois
Carlos Salzedo
Eugene Cools
Philippe Gaubert
Henri Busser
Sigismond Stojowski
Samuel Rosseau
58
Myers wrote:
From 1900 to the beginning of the second World War, France,
more than any other country, represented all that was best
and most vital in twentieth-century music. It would indeed
be no exaggeration to say that during this period French
music and modern music had. become synonymous; and the
period saw a rare flowering of genius as well as of many
great and varied talents. 100
The trombone solos used between World War I and World War II
are as follows:
101
Title
1919
1920
1921
1922
1923
1924
1925
1926
1927
1928
1929
1930
1931
1932
1933
1934
1935
1936
1937
1938
1939
1940
19411942
1943
1944
1945
Composer
*SoZo de Conaov~s
*Pieae en mi bemoZ~ Gp. 55
Davatine~ Gp. 144
*Pieae en mi bemoZ
*CantabiZe et Saherzando
*Moraeau de Conaours
*Pieae Conaertante
Etude de Conaert
*Pieae en mi bemoZ
Legende
*Impromptu
Fantaisie
Phoebus VaPiations~ Gp. B?
SoZo de Conaours
*Andante et AZZegro
*CantabiZe et Saherzando
Impromptu
*DoubZes sur un ChoraZ
*Andante et AZZegro
Paul V. de la Nux
Henri Busser
Philippe Gaubert
Camille Saint-Saens
Joseph Ed. Barat
Henri Busser
Alfred Bachelet
Samuel Rousseau
Henri Busser
Alexander Guilmant
Joseph Ed. Barat
Charles Tournemire
Eugene Bigot
Yvonne Desportes
Henri Busser
Jules Marzellier
Joseph Ed. Barat
Henri Busser
Philippe Gaubert
Jean Clergue
Rene Duclos
Joseph Ed. Barat
----------no aontest---------*Impromptu
BaUade
*DoubZes sur un ChoraZ
Eugene Bigot
Eugene Bozza
Rene Duclos
100Rollo H. Myers, Modern French Music, From Faure to Boulez

(New York: Praeger Publishers, 1971), p. 199.
101Glenn P. Smith, "Paris National Conservatory Contest Pieces
for Trombone," Journal of the International Trombone Association,
vol. 5 (1977), p. 24.
59
Creativity in France was not slowed by the events of World
War II.
The rationing of gas, electricity, and other items brought
the public in closer contact with music events during the occupation
of Paris, where a brilliant musical life flourished; although it was
understandably more German than French.
102
The contest solos became
quite intricate, and they made more strenuous technical demands.

Of these solos, Joseph Caringi expresses this opinion:
The extreme difficulties encountered in the more contemporary
contest solos may, of course, be attributed to the simple
fact that standards of performance are consistently being
raised. But a more subtle reason may account, in part, for
the complex and demanding characteristics of the recent
competition pieces. The French school of wind playing,
which formerly stressed beautiful tone and phrasing, has now
placed its emphasis on the more mechanical aspects or
performance. 103
During this time, the composers of the contest solos were
allowed to write longer works with greater technical demands.
Due to their nature as test pieces, these solos tended to become
longer, more difficult, and further taxed the technical capabilities
of the trombone.
Because this emphasis on greater length and
difficulty, it is only natural that composers began to think in

terms of larger compositional forms.
In the last forty years, an
increased number of concertos for trombone and orchestra were

written by French composers.
In addition to the commissioned works for the Conservatory's
solo de concours, several worthwhile solo and chamber music compositions
102Gee , Clarinet Solos, p. 63.
103Car~ng~,
. . p. 88
60
were written for the trombone.
One of these, Sonatine by Jacques
Casterede for trombone and piano, will be examined more closely

starting on page 71.
The trombone" contest solos for the years 1946 and 1976
.
~nc
1 u de the o
f 11 ow~ng:
.
104
Year
Title
Composer
1946
1947
1948
1949
1950
1951
1952
1953
1954
1955
1956
1957
1958
1959
1960
1961
1962
1963
1964
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
1975
1976
Capriccio
Hialmar
Sa Majeste le Trombone
Variations
Choral~ Cadence et Fugato
Concertina
Pastorale Heroique
Petite Suite
Concertino
Piece de Concert
Concerto
Capriccio
Fanfare~ Andante et Allegro
BaUade
Fantaisie Lyrique
Introduction et Allegro
Rhapsodie
Concerto
AZlegro (1st mvt. of Concerto)
PZain-Chant et Allegretto
Mouvements
CouZissiana
Largo et Toccata
Scherzo et Final
Ricercare
Impulsions
Mouvement
M.A.sique
Chant et Danse
Parcours
Silences
Paul Bonneau
Raymond Loucheur
Rene Duclos
Eugene Bigot
Henri Dutilleux
Michel Spisak
Claude Pascal
Serge Baude
Jose Berghmans
Pierre Lepetit
Henri Tomasi
Roger Boutry
Maurice Franck
Frank Martin
Jules Selmer-Collery
Geroges Hugon
Jeanine Rueff
Roger Boutry
Alain Weber
Alfred Desenclos
Claude Arrieu
Marcel Dautremet
Pierick Houdy
Jean Aria Aubain
Marcel Bitsch
Charles Chaynes
Jean-Michel Defaye
Edith Lejet
Jacques Bondon
Pierre Durand
Jean-Paul Rieunier
104 Sm~L.
'-h , p. 24 .
61
After 1970, the contest format was changed.
now consisted of two works:
The competition
one contemporary which has been
commissioned for the competition and will have its first performance
on the day of the competition, and one "classical" work from the list
of competition pieces drawn up some years ago.
The works required
for the trombone competition for the school year 1980-1981 included:
Var'iations by Eugene Bigot ("Classical", 1949)

Trois Car'aateres by Odette Gartenlaub (contemporary)
It should be noted that, whether for financial reasons or because
of the number of candidates, works were commissioned in 1982 only
for the following brasses:
trumpet, cornet and trombone.
Composers of Contest Solos

In France, the composers who wrote the contest solos for
trombone were closely associated with virtuoso performers on the
instrument.
These composers, with few exceptions, had been students
at the Paris Conservatory, and were exposed to a tradition of super-
105
trombone p1
ay1ng.
1 at1ve
Since 1897, fifty-one composers have
been commissioned to write a total of fifty-eight trombone solos as

contest pieces.
Of the fifty-one composers, many were recipients
of the Prix de Rome. France's "supreme reward" for musical composition.

Thirteen of the composers of the trombone contest solos
produced works which, apparently because of their suitability as
contest pieces, were used in two or more competitions.
105
Caringi, p. xi.
62
Composer
Contest Solo
Competitions
Samuel Rousseau
G.-J. Pfeiffer
Paul V. de la Nux
Alfred Bachelet
Alexander Guilmant
Sigismond Stojowski
Henri Busser
Philippe Gaubert
Henri Busser
Joseph Ed. Barat
Eugene Bigot
Joseph Ed. Barat
Rene Duclos
Pieae Conceptante
SoZo de Tpombone
SoZo de Concoups
Mopaeau de Concoups
Mopaeau Symphonique
Fantaisie
Pieae en mi bemoZ~ op. 55
Mopaeau Symphonique
CantabiZe et Sahepzando
Pieae en mi bemoZ
Imppomptu
Andante et AZZegpo
DoubZes SUP un ChopaZ
1898,1918,1926
1899,1906
1900,1919
1901,1925
1902,1928
1905,1914
1907,1920
1912,1921,1937
1913,1924,1936
1923,1929
1931,1943
1935,1940
1939,1945
In addition to composing, some of the composers have been

noted conductors, organists, concert artists, critics, accompanists,
and professors.
A more detailed description about the composers of
the contest pieces will be found in Appendix B.

With a new contest solo commissioned nearly every year, the
list has expanded until it constitutes one of the main sources of
repertory for the present-day trombone student.
Naturally, there
are mixed opinions regarding the musical merits of some of these

contest solos.
106
The extreme musical and technical demands placed
upon the trombonist in these compositions make their performance

pos~ible
by only the most highly skilled musicians.
This is not
to suggest that all the contest solos are of such great difficulty.
Indeed, the writer has successfully taught several of the solos to
students of junior high school age.
Rather, the suggestion here is
that some of the solos are of such a degree of difficulty, especially
106 Sm~t
. h , p. 23.
63
those commissioned since 1960, that their appeal would be only to a
limited number of trombonists.
During the 1971-1972 school year, Merrill E. Brown collected
information about the music being performed on student recitals.
The
data gathered from the recital programs was analyzed, tabulated and
published under the title of Wind and Percussion Literature Performed
in College Student Recitals (1971-1972).
In examining this list, it
provides a convenient and comprehensive method of determining what

contest solos are being performed.
It also indicates a basic
repertoire for the trombone recitalist. 107

order of frequency of performance.
The solos listed are in
The following information about
each solo is recorded:

1) Total number of performances.
2) Number of performances on "general" recitals.
These
were programs which gave no indication of being either

a "senior" or "gr"aduate" recital.
3) Number of performances on recitals specified as a
"senior" recital.
4) Number of performances on recitals specified as a
"graduate" recital.
These included both masters and
doctoral recitals.
No breakdown was attempted because
of the limited number of such programs and the inability
107Merrill E. Brown, Wind and Percussion Literature Performed

in College Student Recitals; 1971-1972 (Toledo, Ohio: Merrill E.
Brown, 1974), p. 7.
64
many times to determine which level of performance was
represented.
106
5) Contest solos have been identified with an asterisk (*)

before the name of the composer-composition, with the
date(s) it was used as a contest solos.
6) Non-contest solos, but written by French composers, have
been identified with a plus (+) before the name of the
composer-composition.
Trombone Solos
Number of Performances
Number of Different Compositions
Number of Different Composers
994
292
202
Listed in order of frequency of performances

Composition
Hindemith, Sonata
*Guilmant, 110rceau Symphonique, Op. 88
(1902, 1928)
*Barat, Andante et Allegro (1935, 1940)
Jacob, Concerto
Sanders, Sonata in E~
McKay, Sonata
Rimsky-Korsakov, Concerto
Davison, Sonata
Gailliard, Sonata No. 3.in F Major
Serocki, Sonatine
Galliard, Sonata No. 1 in A Minor
Blazhevich, Concert Sketch (Piece) No. 5
*Bozza, Ba'.lade, Ope 62 (1944)
Bernstein, Elegy for }lippy I I
Telemann, Sonata in F Minor
+Casterede, Sonatine
Haydn, Adagio, from Concerto for Cello
106
Brown, pp. 9-10.
Total
Perf
Gen
Sen
Grad
41
34
23
23
11
10
7
1
26
22
21
20
19
18
17
17
16
14
14
13
13
12
12
19
12
10
12
16
10
11
13
12
11
9
9
6
6
9
7
8
10
6
3
4
5
2
3
2
3
4
3
2
3
2
1
2
4
1
2
1
1
2
4
4
65
Total
Perf
Composition
Larsson, Concertino, Ope 45, No. 7
Marcello, B., Sonata in F Major
*Saint-Saens, Cavatine, Ope 144 (1922)
Giffels, Sonata
+Handel, Concerto in Fa Mineur
Marcello, B., Sonata in A Minor
Presser, Sonatina
Wagenseil, Concerto
Galliard, Sonata Nc. 5 in D Minor
Galliard, Sonata No. 6 in C Major
Jones, Robert W., Sonatina
Stevens, Sonata
Corelli, Sonata in F Major, Ope 5
Creston s Fantasy, Ope 42
David, F., Concertino, Ope 4
Marcello, B., Sonata in G Minor
Monaco, Sonata
Nelhybel, Suite
VIvaldi, Sonata No. 3 in A Minor
Weber, C. M., Romanza Appassionata
Whear, Sonata
Bassett, Sonata
Faure, G., Apres un Reve (After a Dream)
Galliard, Sonata No. 4 in E Minor
Hartley, Sonata Concertante
Krenek, Five Pieces
Marcello, B., Sonata in E Minor
*Tomasi, Concerto (1956)
Vivaldi, Sonata No. 5 in E Minor
Vivaldi, Sonata No. 6 in
Major
Bach, J. S., Haste, Ye Shepherds
Bach, J. S., Suite No.4 for Unaccompanied
Cello
Bach, J. S., Tis Thee I would Be Praising,
from Christmas Oratorio
Berio, Sequenza V
Berlioz, Recitative and Prayer, from 2nd Mvt.
of Grand Symphony for Band, Ope 15
Blazhevich, Concerto No. 2
Druckman, Animus I for Trombone and Prepared
Tape
Grafe, Grand Concerto
+Milhaud, Concertino d'Hiver
Mozart, Concerto in
Major (Bassoon) (KI91)
+Ropartz, Andante et Allegro
Shostakovich, Four Preludes
AlDrechtsberger, Concerto
BD
Bb
Gen
Sen
Grad
10
. 10
10
6
4
915
3
9
9
963
954
9
414
871
844
852
1
833
2
752
743
761
734
7
412
732
2
734
734
743
6
213
641
1
641
1
622
2
6
213
624
6
312
624
6
312
532
513
531
531
1
1
522
5
5
5
212
541
532
522
1
5
5
541
421
1
66
Total
Perf
Composition
Gen
Sen
1
1
--
Bach, J. S., Arioso, from Cantata No. 156

Beach, Suite
+Bozza, Allegro et Finale
Corelli, Sonata No. 7 in D Minor, for Cello
+Defay, Jean-Michel, Deux Danses
*Dutilleux, Choral, Cadence et Fugato (1950)
Frackenpohl, Pastorale
Galliard, Sonata No. 2 in G Major
Grondahl, Concerto
Kreisler, A. von, Sonatina
Marcello, B., Sonata in G }~jor
*Missa, Morceau de Concours (1904)
Racbmaninioff, Vocalise, Ope 34, No. 14
Takacs, Sonate fur Tenorhorn und Klavier,
Ope 59
Vivaldi, Concerto in A Minor
Whi~e, Donald, Sonata
Alary, Marceau de Concours (Concert Piece)
Boda, Sonatina
Cimera, Concerto
Corelli, Sonata in G Minor
Denmark, Scene de Concert
*Gaubert, Morceau Symphonique (1912, :;21,
1937)
Gillis, Don, Dialogue
Magnan, Concerto
Marcello, B., Sonata in ~ Y~jor
*Martin, Frank, Ballade (1959)
+Morel, Piece in F Minor
*Nux, de la, Concert Piece (1900, 1919)
+Porret, 6 Esquisses (selections from)
Presser, Wm., Part ita for Solo Trombone
Ravel, Piece en forme de Habanera
Reiche, Eugen, Concert Piece No. 2
Roy, K. G., Sonata, Ope 13
*Stojowski, Fantaisie (1905, 1914)
Telemann, Sonata in A }linor
Tcherepnin, Andante
+Tomasi, Danse Sacree
Uber, Autumn Sketches, Ope 56
Vivaldi, Sonata No. 1 in
Major
Watson, Walter, Sonatina
Alexander, Sonata
*Aubain, Aria, Scherzo et Finale (1969)
Bach, J. S., Arioso, from Piano Concerto
in F Minor
*Barat, Piece en Mi Bemol (1923, 1929)
BO
4
4
1
1
4
4
4
4
4
3
2
2
2
1
4
4
3
3
4
3
3
1
2
2
Grad
2
3
1
1
2
2
2
3
1
1
1
3
3
1
2
3
3
3
3
2
2
1
2
3
3
3
3
3
3
3
2
2
1
1
3
1
1
2
1
1
1
1
1
1
1
1
1
1
2
1
1
2
2
2
1
67
Composition
Bassett, Suite
Bozza, New Orleans
+Bozza, Prelude et Allegro
Bozza, Theme Varie
Brown, N. K., Sonata
Bruckner, Ave Maria
*Busser, Piece en Mi Bemel (1907, 1920)
Busser, Trois Etudes Melodiques
+Clerisse, Priere
+Clerisse, Theme de Concours
Corelli, Prelude and Minuet
Cowell, Hymn and Fuging Tune No. 13
Domazlicky, Concerto, Op. 35
+Dondeyne, Cantabile and Caprice
*Dubois, T., Solo de Concert (Concert
Piece (1909)
Erb, and then, toward the end for
Trombone and Tape
Erickson, B., General Speech for Trombone
Solo (costume and lighting effects)
*Franck, Fanfare, Andante et Allegro (1958)
Frescaboldi, Toccata
Gliere, Nocturne, Op. 35, No. 10
Handel, Every Valley, from the Messiah
Handel, Sonata No. 6 for Violin and Piano
Hindemith, Trauermusik
Hutchinson, Sonatina
Imbrie, Three Sketches
Johnson, C. W., Monophonic Mural
Jong, de, Aanraking (Contrast) for Solo
Trombone
Koepke, Prelude and Fanfaronade
Marcello, B., Sonata No.3
*Mazellier, Solo de Concours (1934)
}1endelssohn, It is Enough
Ostransky, Concertino
Ostransky, Concerto Miniature
Pryor, Blue Bells of Scotland
Pryor, Thoughts of Love
Ross, Cryptical Triptych
*Rousseau, Piece Concertante (1898,
1918, 1926)
Russell, Sonata (in One Movement), Op. 24
*Salzedo, Piece Concertante, Op. 27 (1910)
Simons, G., Atlantic Zephyrs
Stevens, Sonatina
Telemann, Sonata
Whatley, Contrasts
Total
Perf
Gen
Sen
2
2
2
2
2
2
2
2
2
1
1
1
1
1
1
2
1
2
1
1
1
1
2
2
2
1
2
2
2
2
2
2
2
2
1
1
1
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
1
1
2
2
2
2
2
1
1
1
2
2
2
2
2
2
2
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
Grad
68
Composition
Wilder, Sonata
Zador, Concerto
Adair, Sonata
Adam, Antique Airs (Posti11ians Air)
Alschausky, Mephisto
Alette, Sonata
+Ame11er, Kryptos
Arne, Sonata No. 5
Bach, C. P. E., Unaccompanied Flute Sonata
in A Hinor
Bach, J. S., Air from Suite No.3
Bach, J. S., Air
Bach~ J. S., Endure, Endure
Bach, J. S., Sarabande
Bach, J. S., Suite No.1 for Violoncello
Baka1einikoff, Meditation
Barta, Koncertino
Beaucamp, Cortege
Be11stedt, Napoli
Berlioz, H., Unknown Isle
Blatter, Five Sketches
B1azhevich, Concerto No. 10
B1azhevich, Concert Etude, No. 17
Bocca1ari, Fantasia di Concerto
*Bonneau, Capriccio (1946)
+Boutry, Choral Varie
Boutry, Le Style
Brown, C., Meditation
Brown, P., Abredis
Bruch, Kol Nidrei
Bucci, Concerto for a Singing Instrument
B~rgstah1er, Ricercata Secondo, Ope 1
Casterede, Fantaisie Concertante
Cage, Solo for Sliding Trombone
Childs, Sonata for Solo Trombone
Chopin, Nocturne in F Minor
Cimera, Hungarian Concertino
Concone, Vocalise
Cords, Romanze
Core11i, Preludio (Violin Sonata in F)
*Croce-Spinel1i, Solo de Concours (1903)
Debussy, Air de Lia (L'Enfant Prodigue)
Debussy, Mando1ine
+Defossez, Concerto
Dillon, Concertpiece
+Dubois, P. M., Cornemuse
+Dubois, P. H., Cortege
Total
Perf
Gen
Sen
Grad
211
211
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
69
Composition
+Dubois, P. M., Deux Marches
+Dubois, P. M., Suite
*Duclos, Sa Majeste Le Trombone (194~)
Duquesne, Elegie
Fasch, Sonata
Faure, G., En Priere
Faure, G., Pavane, Op. 50
Faure, G., Sicilienne, Op. 78
Finney, Elegy aI?-d }farch
Galliard, Adagio-Allegro-Adagio
Galliard, Siciliano and Menuet
Galliard, Trombone Sonatas
Gardner, Romanza
Gatlin, Sonata
George, Concerto Grosso No.3, N. 149
Germani, Sonata
Gerschwin, Blues, from An American in Paris
Geissler, Sonatine
Glazounov, Troubadour
Gower, Sonatina
Gower, Three Short Pieces
Handel, Adagio Cantabile
Handel, The Enemy Said, Air from Israel
to Egypt
Handel, Aria
Handel, Arm, Arm, Ye Brave, from Judas
Maccabaeus
Handel, Baroque Suite
Handel, Sarabande and Vivace
Handel, Sonata for Viola de gamba and
Cembalo Concertato
Handel, Where E'er You Walk, from Semele
.Hasse, Hasse Suite
Haydn, Aria and Allegro
He~ry, Passacaglia and Fugue
Hindemith, Drei Leichte Stucke
Hostetter, The Seventh Seal
Jackson, Dance
Jannery, Three Essays
Kai, Legende
Kelly, Sonata, Op. 19
Kunkel, Concertino
+Leclercq, Concertino
Link, Sonatine
Liszt, Consolation
Luening, Sonata
Massenet, Elegie
Masso, Suite for Locise
Total
Perf
--1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
Gen
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
Grad
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
Sen
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
70
Total
Perf
McKay, Arietta and Capriccio
McKay, Concert Solo Sonatine
Moran, Bombardments No. 4 for Trombone
and Tape
Mouquet, Legende Heroique
Mozart, Concert Aria
Mozart, Concerto No. 1 in D Major (Horn)
(K412)
Mozart, Sonata
Muller, Praeludium, Chorale, Variatons and
Fugue
Nestico, Reflective Mood
Novakovsky, Concertino
Ott, Toccata
+Pares, Crepusclue (Twilight)
Paudert, Fantasie Y~zaile
Phillips, Concert Piece
+Poot, Impromptu
Pryor~ Loves Enchantment
Purcell, Suite in F 11ajor
Purcell, When I Am Laid to Earth
Rawlings, A Hiatus
+Reutter, Ostinato
Rivard, Sonata
*Rueff, Rhapsodie (1962)
Saint-Saens, Amour viens aider, from Samson
and Delilah
Satie, Gymnopedie No. 1
Schubert, Pause (An Art Song)
Schubert, Suite of Lieder
Schumann, Seven Songs from Dichterliebe
Semler-Collery, Barcarolle et Chanson
Bachique
Serocki, Koncert
Simon, S., Sonatine
Spillman, Concerto
Stekke, Variations, Ope 24
Stevens: Three Pieces
Stout, D., Allo Circo
Stroede, Recital Piece
Tanner, Aria
Tartini, Adagio, G Major
Telemann, Vivace and Allegro
Tenaglia, Aria
Townsend, Chamber Concerto No. 2
Trevarthen, Sonata
Tuthill, Phantasy Piece, Ope 10, No. 2
Uber, Four Sketches
Gen
1
1
1
1
1
1
1
1
1
1
Sen
Grad
1
1
1
1
1
1
1
1
1
1
1
i
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
71
Total
Perf
Composition
Underwood, Theme and Variations
Vaughan Williams, Six Studies in English
Folk Song
Vi11a-Lobos, Aria (Cantilena), from
Bachianas Brasi1eiras No. S
Vincent, Elegy
Vivaldi, Sonata No. 2 in F Major
Vivaldi, Suite in C Minor
Wagensei1, Concerto in A Major
Wagner, R., Evening Star
Webber, Suite in F }~jor
Weber, A., Concerto
Yoshioka, Extase
Gen
Sen
1
1
1
1
1
1
1
1
1
Grad
1
1
1
1
1
1
1
1
It can be seen by thi"s study that trombone solo literature

produced by the French, and more specifically the solos resulting from
the annual competitions, plays a major role in the literature being
used by American trombonists on recital programs.
Sonatine by Jacques Casterede

Even though the contest solos produced a great influence on
the literature of the trombone, the writer feels the most significant
work to come out of France for the trombone was not commissioned for
use at the annual competition.
Casterede in 1958.
It is Sonatine, written by Jacques
This intense composition is musically and
physically demanding, but one which is extremely rewarding to perform.

Jacques Casterede won the Prix de Rome in 1954 and is currently a
professor of music at the Paris Conservatory.
The title, Sonatine, does not refer to a small scale work,
but perhaps to a composition with a lighthearted treatment of thematic
material.
Mr. Casterede provides the following commentary on his work:
72
The Sonatine for trombone and piano is a part of a series of

sonatas for wind instruments and piano that I wrote between
1955 and 1958. The title Sonatine is indicative of the fact
that it is not only a trombone solo with piano accompaniment,
but a dialogue in which the two instrumentalists are equals-the piano part being just as difficult and important as the
trombone part. Each movement brings to the fore a particular
aspect of the trombone: The brilliance of sound of the
first movement projecting a gay, robust music with a vigor
that is sometimes rugged. The softness and melodic continuity
show that the trombone can sing with just as much sensitivity
as a stringed instrument. Finally, in the third movement,
one hears the influence of jazz. Syncopated rhythms are
superimposed over a chorale, tying together through the
episodes two very different aspects of this magnificent
instrument. 108
The first movement, AZZegpo vivo, opens with a stately
"2
t h eme ~n
2 meter
measure
~n
"h
~t
""
" 4
3 and a f"~na 1
t h ree ~nterm~ttent
measures ~n
4.
Uri r r r r hY ff J II r r r r I
~
.. r t 1m r
Figure 14.
Jacques Casterede, Sonatine,

movement I, measures 1-17.
Casterede activates the harmony of his first movement by use of

contrary motion in the outer voices.
In the following example from
the opening measures, the ascending bass line (G, A, B, C) combined
108J acques Casterede,

' ,
Jacket Notes, M"~
~ves Andepson p~
vays
SZide Tpombone Again, Crystal Records, S385, n.d.
"
H~s
73
with t,he descending treble line establish the key center of C major.
The bass line is harmonized with quartal harmony arranged in fifths
and the treble line with quartal harmony in fourths.
AllelrJ"o vivo
PIANO
Figure 15.
J=tsZ

The second theme is much more sustained and expressive than the first,
which provides an effective contrast.
A device used in this Lheme
by Casterede is a rhythmic motive in the accompaniment part which

compliments the melodic motive
o~
the trombone part.
This occurs
starting in measure fifty-five with unexpected entrances of a fournote motive in the piano part.
p espress. e $ost.
Figure 16.

Casterede uses accents and subtle changes of meter to create his

rhythmic style for this movement.
The first theme, Figure No. 14,
is completely symmetrical, except for the fourth and eighth measures
74
having one less beat than the other measures, thereby setting the G
in the fourth measure as a completion of the first phrase and a pick-up
to the next, creating an elision.
He also uses strong accents in
passages of the same meter to create a metric feeling different from

that which is indicated.
I~
Figure 17.

The final measures of this movement again uses the technique

of harmonic extension by use of converging outer lines.
The bass
line, harmonized in fourths, ascends chromatically from G to C.
Over
this progression a single descending chromatic motive unfolds, also

ending on C.
The trombone ascends from the middle of these two lines
diatonically to a high C.
Figure 18.

75
What Casterede has achieved in this passage is a three-part texture
in which all of the voices are differentiated by reason of timbre,
register and mode.
composers.
The ending illustrates a practice of many modern
The complete tonic triad is withheld and reserved for the
conclusion of the final movement.

The second movement, Andante, is in binary form and capitalizes
on the lyrical possibilities of the trombone.
It is the writer's
opinion that it is one of the most beautiful slow movements in the

entire trombone repertoire.
The harmonies are exclusively tertian
and present an effective contrast to the mixed sonorities of the outer

two movements.
The principal theme in the key of A is twenty-four
measures long and contains two parts.
The first half of the theme
opens slowly in a fifteen measure double period.
Figure 19.
;dffj
ltil
Ir
ern fr ,
01 tj1

movement II, measures 1-15.
The second half of this theme (nine measures) completes the full
statement of the melody and is constructed around sequential statements of motives derived from the first eight measures.
76
-S.
j
Figure 20.

This nine-measure theme is then repeated on a different tonal level by

the piano.
This completes a small binary statement of thirty-three
measures, made up of two similar but complimentary themes.
This
first section is just part of a much larger binary scheme.

The second section begins with the original melody transposed
down a whole
step~
This corresponds to the first eight measure period,
although its presentation is now more complex, occurring in canon at

the fifteenth.
Figure 21.

At this point, instead of the expected second period, a new inverted

version of the first four measures appears.
77
Figure 22.

The phrasing ceases to remain regular and a small development section

takes place, using sequences and new combinations of old motives.
This
development section continues for eighteen measures, at which time the

second period enters.
This period concludes the movement with a
complete eight measure statement combined with a motive taken from the
first measure of the original melody.
Figure 23.

78
The last movement, AZZegro, begins with a motive that incorporates a mordent.
The first theme, which is somewhat chromatic,
establishes C as a tonal center.
It is accompanied by the piano with
a rhythmic motive which enters on an upbeat and finishes on the downbeat .
..-.. .........
Figure 24.
",-..-
..

III, measures 1-8.
mo~ement
Part of the rhythmic drive in this movement results from the independent
development of this motive, with a partial or complete statement of it
occurring at irregular intervals of time.
While the first motive has
melodic and rhythmtc direction, the second motive is entirely

percussive and acts as a total contrast to the legato statement of
the second theme in the trombone.
79
Figure 25.

movement III, measures 28-33.
After a brief transition,the trombone begins what appears to be the

first theme accompanied by motive one, but five measures later the
material changes into an expressive legato passage which resembles
the general contour of the second theme.
-.-------.--
..-------Figure 26.
,-,-----=-

80
In measure sixty-two, the piano enters with the varied second theme
and accompanies itself with motive two.
Figure 27.

The original second theme returns once more in the exposition

accompanied by motive two in a legato presentation, but with a more
dissonant harmony.
The development section concerns itself neither with the
rhythmic motives nor the second theme which has already had elaborate
treatment.
Rather, the piano accompaniment contains a complex,
contrapuntal development of the first theme over a new chorale theme

in the trombone.
81
Figure 28.

mov"ement III, measures 108-122.
The recapitulation brings back the first theme together with motive
one, and the variant of the second theme combined with the original,
percussive version of motive two.
The very last notes of the trombone
part contain the essential rhythmic aspects of both motives, while the
piano accompaniment ends with a complete C major triad.
82
Figure 29.

III, measures 203-206.
~ovement
It is interesting to note that Casterede reserves the complete tonic

triad for the very end in order to achieve a total sense of finality.
CHAPTER 4
ANNOTATIONS OF FRENCH TENOR TROl1BONE SOLO LITERATURE
This study presents the published solos for trombone since
1836 written by French trained composers, or written by composers
of other c01lntries, specifically for use as a Contest Solo of the
Paris Conservatory.
Despite the attempt to provide a complete
listing, there may be works that have been unintentionally omitted.

Unfortunately, it was impossible to obtain some compositions due to
lack of response from publishers and composers.
The compilation of materials should be an asset to both
trombone teachers and performers in selecting literature for solo
performance.
At the time this project was begun, there was little
information available to the performer/teacher about the Contest

Solos, not to mention annotated bibliographic=.
Because of a lack
of knowledge, the teacher and performer may be reluctant to order

new materials, sight unseen.
As a result, many worthy solos may have
been exclused from the trombonist's repertoire simply because of omission.
The Discussion Outline

The discussion of each work included herein is presented in
three main sections (A, B and C).
The first section contains infor-
mation of a descriptive and dedicatory nature, the second contains
83
84
analytical information, with the third being used for general comments
concerning the particular work.
The following outline provides a
detailed description of the study/discussion outline with an explanation of each item covered in the main sections.
A.
Descriptive and Dedicatory Information

1.
Composer (composer's dates where available) and Editor:

gives composer's name and dates plus
othe~s
responsible
for the editing or arranging of the work.

2.
Title:
gives complete title of the work with opus number
and any subtitles.

3.
Publisher and Publishing Date:
gives publisher of the
work and the date of publication or copyright.
The
addresses of the publishers are listed in Appendix C

This appendix includes a cross-reference of foreign
publishers and their United States agents, as well as
publishing companies that have changed names and/or
ownership.
In cases where details are incomplete, an
indication of "No Date" is given.

4.
Duration:
gives approximate length of time, in minutes
and seconds, required to perform the work.
Although
the works have been timed, utilizing indicated metronome markings and observing all repeat signs, timings
should be considered approximate.
85
5.
Range:
gives the following pitch designation system employed
in the Harvard Dictionary and "widely used elsewhere".109
2:
gva
oJ
(Pedal) C.
eo
c'
~
Ii
c2
c)
This section is only concerned with the highest and lowest

pitches in the work, and not the general tessitura of the
work.
Notes in parenthesis indicate optional high or low
notes that some composers include.

6.
Degree of Difficulty:
this space contains the assigning of
a grade level for the trombone part.
The grading system
used is the European method of assigning degree levels.

It is as follows:
Easy
Grade 1-3
Moderately Difficult
Grade 4-6
Difficult
Grade 7-9
Breakdown by American School Levels

Elementary
Grade 1-2
Junior High
Grade 2-3"
Senior High
Grade 3-6
College and Conservatory
Grade 6-8
Professional/Virtuoso
Grade
The trombone with an F attachment is not necessary for the

solos annotated in this category.
While all the tenor
trombone solos can be handled with a straight tenor

109Willi Apel, Harvard Dictionary of Music (Cambridge,
}fussachusetts: Belknap Press of Harvard University Press, 1969), p. 679.
86
trombone, the F attachment will prove helpful for many of

the works, particularly those in the advanced grade levels.
Following the number designation, the
"+"
will indicate that
the degree of difficulty was assigned by the publisher and

not the author.
7.
Clefs Used:
gives the name of the clefs used in the
work.
8.
Mutes:
gives the name of the mutes required in the
performance of the work.

9.
Unusual Performance Techniques:
gives a listing of the
performance techniques encountered in the piece of a

difficult or unusual nature.
Included within this section
will be indications of a cadenza employed within the solo.

Because of the great number of new performance techniques
associated with new music today, a listing of the techniques found in the works of this document should facilitate
the understanding of not only the various terms used but
also the performance of these works.
They are used by
composers to achieve new colors and textures which otherwise would not be possible.
The following is an alphabetical
listing of the performance techniques of an unusual nature

that may be found in the works represented in this study:
a.
Approximate Pitch:
(also termed indeterminate pitch)
pitches that approximate, or are close to regular
87
pitches and are usually notated with an "X" or similar

mark on the staff. 110
b.
Cadenza:
a passage or section in the style of a
brilliant improvisation, giving the performer a chance

to exhibit his technical mastery.
c.
Flutter-tonguing:
111
a rough, growling sound produced
by a fluttering movement of the tongue as the tone

is sustained. 112
d.
Glissando:
moving from one pitch to another through
all the intermediate pitches without an articulated

interruption.
or contoured (
Glissandos may be even (
).
The glissando is a
simple and effective maneuver on the trombone,

provided the pitches involved are within the same
partial and slide direction.
If not, however, they
may be approximated by two separate slide movements.

Glissandos may be up or down but the majority are in
the upward direction.
While portamento is the correct
term for this effect, glissando is in more common usage. 113
1l0Thomas E. Senff, "An Annotated Bibliography of the

Unaccompanied Solo Repertoire For Trombone," (University of
Illinois at Urbana-Champaign, 1976), p. 7.
1l1Apel , p. 40.
112Senff, p. 8.
113 Sen ff, p. 8.
88
e.
Lip Shakes:
same as lip trills but are usually of
wider intervals. 114

f.
Lip Trills:
trills played solely with the lip between
two closest harmonics in the same slide position. lIS

g.
Mordent:
a term used "for two ornaments involving
the alternation of a main note with its upper or

lower neighbor.
h.
Multiphonics:
the simultaneous production of two or
more tones by playing one pitch and singing another.

Two pitches may be heard easily and often three or
four pitches will result from certain intervals
correctly tuned to produce the different tones.
It
is much more usual to have the pitch to be sung above

the played pitch, as the reverse situation with the
sung pitch below the played pitch is extremely difficult
and in some cases impossible due to the limited vocal
range. 116
i.
Quarter-tones:
.
sem~tones
Il4 Senff , p. 9.
I1S Senff , p. 9.
116 Senff , p. 9.
117 Senff, p. 9.
pitches of a quarter-step between the
f t h e Western d
' sea1 e. 117
~aton~c
89
j.
Quarter-tone Bends:
the bending or altering of pitch
a quarter-tone away (usually lower) from the original

pitch while sustaining the tone. 118
k.
Random Pitch Selection:
playing pitches at random,
either from a set of given pitches or any pitches of

the performer's choice.
10.
Recordings:
this space is for any commercial recording(s)
of the work, having a number which refers to the discography found starting on page 159 of this document.
11.
Dedication:
this space is for indicating whom, or for
what purpose, these solos have been commissioned.
The
dedications have been included, when they exist, as a

possible means of helping to identify the general purpose
of the solo.
B.
Analytical Information
1.
Style:
used to indicate what style(s) the various movements,
or if only one movement, the various types within the movement, will be encountered by the performer.
This will
indicate such terms as andante, largo, allegro, etc.

2.
Meter:
indicates the meters used within
t~e
movement or
section being discussed.

3.
Tempo Indicaticn:
noted.
118Senff, p. 9.
indicates the metronome markings when
90
4.
Measures:
used to show the number of measures contained
within each section or movement of the selection in discussion.

5.
Total Measures:
used to show the grand total of all the
measures of the selection in discussion.

C.
General Comments:
this space is for the author's comments
concerning the difficulty of the work and any facts or observations not covered in other discussions.
Example:
Many of the published transcriptions for
trombone and piano were originally composed with

orchestral or band accompaniment.
The annotation
includes a listing of the instrumentation of the band

or orchestra scores in the cases when that information
was available.
When an asterisk (*) precedes the composer's name, it indicates this
was one of the Solo de Concours or contest solos of the Paris
Conservatory.
The dates for which it was used will be indicated
within the General Comments section of the discussion outline.

In presenting the solos surveyed, labels for each item have
been omitted in the interest of space and to avoid redundancy.
To
clarify items which appear for each solo listing, the following sample
comp1et~
format is presented:
Composer (birth and death dates, when known)

Bozza, Eugene.
Title
BaZZade 3 Gp. 62
(1905-
).
91
Publisher and Publishing Date
Alphonse Leduc, 1944
Duration
9 min.
Range
F
to ~2
Degree of Difficulty
D7+ (D stands for Difficulty)
Clefs Used
Tenor & Bass
~lutes
Straight Mute
Unusual Performance Techniques
Cadenza/Glissandi
Recordings
R34,36 (R stands for Recording)
The above information will appear as follows:
*BOZZA, Eugene. (1905). B~ZZade~ Gp. 62.
9 min. F to dP2. D7+. Tenor & Bass.
Cadenza/Glissandi. R34,36.
Dedication-:-
Alphonse Leduc, 1944.

Straight Mute.
Henri Couillaud, Professeur au Conservatoire

National de Paris.
92
Style/Meter/Tempo!Mea5~res
Andantino Ma Non
Troppo/~,~/
J=
66/56 measures
Maestoso/ /12 measures

4
Dolce/: / ) = 108/30 measures
Allegro MOderato/:/
4
Large/ /5 measures
4
= 96-100/34 measures
Total:
137 measures
Since the majority of the earliest solos do not exist in any

form, this study will only deal with those solos which can be documented
as having been published for use by trombonists outside of the Paris
Conservatory.
There is a new output of solos still being published,
but those works contained within this section comprise works issued
before February 1, 1983.
Trombone Solos
AMELLER, Andre. (19122 min., 30 sec.
Dedication:
Andante
E,) .
Hauter-ive.
to ep1.
Cordialement
Espressivo/~/
J=
D2.
a Jean

Bass.
Arnoult.
60-66/54 measures.
This piece was originally composed for the bass trombone,

but it is annotated here since it can also be played
effectively on a tenor trombone.
AMELLER, Andre. (1912). Krptos. Hinrichsen Edition, 1958.
5 min, 45 sec. B~1 to bb. D7. Tenor & Bass. Straight
Mute.
Dedication:
Paul Bernard, Professeur au Conservatoire

National Superieur de Musique de Paris.
Rene Poinsard, Professuer au Conservatoire
National de Musique Dijon.
Maurice Smith, Trombone Professor at the
Royal College of Music, London.
93
Largamente - feel free
Largo/~/ }=
SCherzando/;/
63/19 measures
J=6104/60 measures
J'=
Lento Espressivo/ /
3 5 4 S -b
Come Prima/ 4 '4'4/
,=
92/24 measures
63/34 measures
Total:
AMELLER, Andre. (19121 min., 20 sec.
Ohio.
).
Bi- (Bb 1 opt.)

3
137 measures
Editions Billaudot, 1977.

to gl. D2. Tenor & Bass.
--\
Allegro Moderato/ 1 j= 126/18 measures

4
Anante Espressivolt/
= 76/22 measures
Total:
AMELLER, Andre. (19122 min. F to Fl.
Dedication:
D2.
OUvet.
Editions Philippo, 1977.
Bass.
Cordialement
Andante Fieramente/: /
40 measures
a Monsieur
Roland Beaulieu.
SO/40 measures
AMELLER, Andre. (1912). Riviere du Loup.

2 min. A to c~2. -D3. Bass & Tenor.
Dedication:
Cordialement
Marcato Assai MOderato/t/

AMELLER, Andre. (19122 min. G to fl.
).
Dl.
a Claude
Claquesin.
1;= 84/46 measures
Utah.
Bass.
J= 92/20 measures
Calmo, Con Espressione/:/ J= 72/8 measures
MOderato/il J= 92/12 measures Moderato/:I
Total:
40 measures
94
).
ARRIEU, Claude. (19031 min. f to ~2.
D6.
Conte D'Hiver.
Tenor & Bass.
Allegretto/~/
= 104/32 measures
*ARRIEU, Claude. (1903). Mouvements. Amphion Editions Musicales,

1966. 7 min., 30 secs. G to c 2 . D7. Tenor & Bass.
Quasi/ Cadenza .
Dedication:
Gerard Pichaureau.
2 4 6
Andante/ 3 '4'4'4/
i / ;1 =
Allegro/~
3 2
Moderato/ 45 '4'4/
4 3 2
Allegro/ 4 '4'4'
= 56-60/56 measures
80/32 measures
= 108/32 measures
/ ~= 80/65 measures
Total:
185 measures
This was the Paris Conservatory contest piece for 1966.

). Aria~ Scherzo et FinaZe.
*AUBAIN, Jean Marie. (1928Leduc, 1969. BpI to b l D8+. Tenor & Bass.
Aria
Scherzo/V
d.
Alphonse
= 80
.
11 8 9
.
F~nale/16'16'16,etc.

The Aria is legato throughout, with some difficult intervals
and sustained soft playing. It is harmonically, rhythmically
and melodically very conservative for its time. The Scherzo
is technically very difficult, including meter changes and
a legato middle section. The FinaZe moves along with many
meter changes, but is not as difficult as it may first
appear.
*rACHELET, Alfred. (1864-1944). Morceau de Concours (Concertpiece).
Alphonse Leduc/International Music Company, n.d. 7 min., 30 sec.
G to c 2 D6+. Tenor & Bass.
4
Andante Moss/ /75 measures
4
4
4
2
Tempo Moderato/ /56 measures
2
Total:
163 measures
95
This was the Paris Conservatory contest piece for 1901 and
again in 1925.
*BARAT, Joseph Edouard. (1882-1963). Andante et Allegro. Alphonse
Leduc/Cundy-Bettoney/International Music Co./Southern Music
Co. - arr. by 11arsteller, 1964/Neil A.LKjos Co. - arr. by
Forrest Buchtel, 1967. 8 min. F to bpI. D7+. Bass.
R7,14,15,22,26,28.
Dedication:
Lent/:/
H. Ccuillaud, Professeur au Conservatoire.
= 52/24 measures
Tempo I, Piu ViVO/:/
Allegro/~/
)=
.J=
72-76/34 measures
144-152/111 measures
This was the Paris Conservatory .contest piece for 1935 and
again in 1940, and has since become an established solo in
the trombone repertoire. Characterized by elegant harmonic
and melodic writing, this piece has two main contrasting
sections. The solo opens with a slow, cantible section that
gradually builds and becomes more complex. The calm section
again appears to conclude the first part. The second section
opens with a fanfare-like theme in total contrast to what
has come before. Following this statement, a more lyrical
style returns which intensifies and eventually leads back
to a final statement of the fanfare-like theme, which concludes the piece.
This frequently performed solo is one of the better examples
of nineteenth-century trombone writing in the repertoire.
A band transcription of the accompaniment can be obtained
from Southern Music Company.
*BARAT, Joseph Edouard. (1882-1963). Pieae en M. Bemol (Pieae in
E FZat). Alphonse Leduc. 6 min. F to cb 2 . D6+. Tenor &
Bass. R2.
3
Lento/ /24 measures

4 6
Andante/8/22 measures
Allegro/ 3 /122 measures
4
Total:
168 measures
again in 1929. This two-part composition is made up of a
lento introduction, an andante section in e-flat minor, and
a contrasting allegro in the parallel major. In the slow
96
first section, the melodic and harmonic materials are
chromatic and sonorous, with several subtle tempo changes.
The second part of the piece shifts to a fast allegro,
containing many eighth note scale patterns. This piece
is recommended for the trombonist ,:"ho is developing a lyric
style, as well as technical facility, but who lacks the
endurance to perform a long piece. A band transcription
of the accompaniment, made by Joe Berryman, can be obtained
from the University of Southern Mississippi.
BARILLER, Robert. (1918). L'Enterrement de Saint~ean.
Alphonse Leduc, 1960. 5 min. Al(A) to e l DI-2.
Bass.
Dedication:
Paul Bernard.
Tempo di Marcia Funebre/!/29 measures

Quasi Maestroso e Marcato/ 2 /25 measures
4
Coma prima/:/21 measures
}~
Un Poco Piu Vivo,
Total:
75 measures

BARRAINE, Elsa. (19101 min., 30 sec.
Dedication:
).
~ento.
Gb to a;1.
DS.
Editions Grass, 1967.

Tenor & Bass.
Collection "Villa Medicis" Par Les Premiers

Grands Prix de Rome de Musique.
Lent/ 2 /37 measures

4
*BAUDO, Serge.
(1927-
).
Petite Suite.
Editions Selmer, 1953.
R35.

It is currently out of print.
BAUDRIER, Emile.
ReZax.
D2+.
97
).
*BERGHMANS, Jose. (192113 min., 30 sec.

Glissandi.
~oncertino.
E to d.
D8+.
Alphonse Leduc, 1954-55.

Bass & Tenor. Lip shakes/
Aria-AllegrO-Vivace/!,:(~)
This solo is organized in three continuous movements,
utilizing driving rhythmic figures and wide melodic leaps.
The work begins with a section entitled Aria, set in a
lyric, chant-like style. This leads to a rhythmically
active allegro section whi-: t, makes use of lip shakes as
part of the melodic coloration. The final section, marked
vivaae, is similar in rhythmic style and character to the
middle section. Performance of the solo requires excellent
range and control. The most difficult part of the solo
is its high tessitura. The orchestral accompaniment parts
are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:
two
two
two
two
two
two
two
flutes
oboes
clarinets
bassoons
horns
trumpets
trombones
tuba
three timpani
percussion
xylophone
piano obligatto
strings
*BERGHMANS, Jose. (1921). La Femme a Bea>be (The Beea>ded Lady).

Alphonse Leduc, 1958. 6 min. A to a 1 D6+. Tenor & Bass.
Cadenza. R32.
3 4
Lent/ 4 '4
4 325
Allegretto/ 4 '4'4'8
4
Tempo 1/4
This solo is part of a collection of solos for various wind
instruments entitled TabZeaux Forains (Saenes From a TraveZZing
Ciraus). The parts of the complete suite are as follows:
I.
II.
III.
IV.
V.
VI.
VII.
WrestZers (for horn in F)
The Tight-Rope WaZker (for clarinet in Bb)

The Maze (for oboe)
The Bearded Lady (for trombone)
The SuZtan's Favorites (for flute)
Perfor.ming Beea>s (for bassoon)
The CaterpiZZea> (for trumpet in Cor B')
98
The one-movement work begins in a slow chant-like lyrical
style. The middle section is in a stately, moderate tempo
circus march, featuring a cadenza at its conclusion. This
cadenza acts as a connecting link, and brings back the
opening chant-like theme. The slow, smooth melody ends the
solo quietly. Although quite conventional when compared to
most twentieth-century works, it represents a style similar
to that of Francis Poulenc. The orchestral accompaniment
parts are available on rental from Alphonse Leduc. The
instrumentation of the accompaniment is as follows:
two timpani
two percussion players
strings (minimum of 6-4-3-3-2)
*BERNAUD, Alain. (1932). ExponentieZZes. Societe Editions
Musicales Internationales, 1980. 7 min., 20 sec. G1 to d 2
D8. Tenor & Bass. Cup/Straight Mute. Flutter/Glissandi.
Dedication:
Gerard Pichaureau.
Recitativo, Tempo
Lent/:,~/
.
RUbato/1i,~,:,li,~/
J= 66/58
measures
.
4 17 13 3 11
J= 72/24 measures
0
7 2 14 12
Tempo G~usto Dec~so/4'16'16'4'16'16'4'16'16/

Lent/:/
= 66/20 measures
Total:
0,=I 96/68 measures
170 measures

It contains many twentieth-century techniques, but it uses
traditional notation.
BERTHELOT, Rene. (1903Leduc. D4+.
BERTHOLON, L.
Varietes.
BESSONET, Georges.
).
Le Roi Renaud, Variations.
Alphonse Leduc.
Comme Un Air D'Opera.
Alphonse
D6+.
Editions Billaudot.
*BIGOT, Eugene. (1888-1965). I~romptu. Alphonse Leduc, 1927.

4 min., 30 sec. E to c 2 D7-8+. Bass & Tenor. R33.
Dedication:
Andre LaFosse.
99
Allegro/~
Recitative/
Allegro Agitato/ ~
Andante/t
Allegro/~
1943. The first section begins with two short recitativo
passages for solo trombone with a homophonic accompaniment,
followed by an allegro agitato section. The agitation occurs
in the broken chord patterns of the piano, while the trombone
plays a smooth, expressive melody made up of whole and half
notes. The second section is a through-composed andante,
also in a smooth~ legato style: The third section consists
of an articulated allegro section in meter, which provides
the soloist with an area for technical display and a flashy
ending. The orchestral accompaniment parts are available
on rental from Alphonse Leduc. The instrumentation of the
accompaniment is as follows:
two
two
two
two
two
flutes
oboes
clarinets
bassoons
horns
two trumpets
two timpani
harp
strings
*BIGOT, Eugene. (1888-1965).. Variations. Alphonse Leduc, 1949.

5 min., 30 sec. F to d~2. D7+. Tenor & Bass. Straight
Mute. Glissandi/Trills.
Dedication:
Andre LaFosse.
Cantabi~e/~ i J =
Comodo/ / _
4
GraCioso/~/
56/25 measures
92/41 measures
80/44 measures
SCherzando/~/ ~=
Impetuoso/~,~/
184/52 measures
J,= 168/77 ~easu~es

Total:
239 measures
100
).
*BITSCH, Marcel. (19216 min., 30 sec.

Dedication:
Ricercare.
E to bbl.
DS-9+.

Tener & Bass.
Gerard Pichaureau.
Maestoso/~/ = 54/47 measures

Allegro/~/ = 104/63 measures
ViVO/~/ J,= 112/40 measures
Andante
Allegro
MOderato/~/
J= 96/70 measures
Total:
220 measures
This was the Paris ConseTvatory contest piece for 1970.

BLEGER, Marcel.
Le Reve de Jeanne D'Arc.

).
BLEUSE, Marc. (1937Choudens.

BON,
Rene Margueritat, ca. 1900.
AccZamation Conaertino.
Editions
Canr.one. Amphion Editions Musicales, 1977. Varies.

Gil to db 2 D7. Bass, Tenor & Treble. Plunger Mute.
Glissandi/Trills/Slide Clicks.
~~dre.
This is one of a very few solos written by a French composer

for unaccompanied trombone. It features many techniques
which place it into an "avant garde" category. The notational
system is proportional, although relative note values are
used.
*BONDON, Jacques. (1927).
1974. 5 min., 30 sec.
Cadenza.
Adagio/Z,!,t/
Allegro/2,Z,z/ ;
Chant et Danse.
E to dP2.
D7.
Editions Max Eschig,

Tenor & Bass.
5S/25 measures
=
=
116-11S/90 measures
Total:
115 measures
*BONNEAU, Paul. (1918). Capriccio. Alphonse Leduc, 1946.

8 min. E to db 2 DS-9+. Tenor & Bass. Straight Mute.
Cadenza/Glissandi.
101
Dedication:
H. Couillaud, Professeur au Conservatoire

National de Paris.
Moderement Anime/!/
)=
126/57 measures
4 3
Mouvement de Blues/4'4/54 measures
J =132/ J= 120/40 measures
Anime!~/
Legerement Plus
Vif/~/
J= 126/28 measures
J= 138/Cadenza/11 measures
Lent/:/ J = 60/3 measures
Vif/~/
Vif/~/
e1 =
132-138/31 measures
Total:
224 measures
This was the Paris Conservatory contest piece for 1946. It

is a work typical of the French Impressionistic style common
during the first half of the twentieth-century. This three
part single movement piece opens with a detached quick moving
section. The middle section, entitled BZues, is a smooth
slower section, with the soloist playing in a swinging
manner, thus interpreting the notation as though it was a
jazz tune. The final section returns back to the quick
detached style of the beginning. The solo part requires
a good command of the low and high register.
). Fantaisie Conaertante. Alphonse Leduc,

BONNEAU, Paul. (19181950. 5 min., 30 sec. B to c 2 D7+. Tenor & Bass.
Robinson Mute. Flutter-Tonguing.
Dedication:

National de Paris.
2 3
Moderato/4'4/94 measures
4
Lento/ 4 /22 measures
2 3/ 45 measures
Marche / 4'4
Moderato/
/18 measures
Allegro/ /16 measures

4
Vivace/t/46 measures
Total:
241 measures
This sole utilizes chromatic materials, both melodically

and harmonically, thus suggesting an influence from the
Impressionistic era. The principal motive, an interval
of a third, appears in the first bar of the solo as part
of a fanfare-like introduction. Interspersed within the
102
fast sections of this work are short legato or moderato
sections. A Robinson mute is required during the 1ento
section of the solo. This mute is similar in appearance
and tone quality to a solo-tune mute. The fast section of
the piece returns in a march-like style, utilizing f1uttertonguing, and this style prevails to the end of the solo.
The orchestral accompaniment parts are available on rental
from Alphonse Leduc. The instrumentation of the accompaniment.is as follows:
two flutes
two oboes
two clarinets
two bassoons
alto saxophone
three horns
three trumpets
three trombones
tuba
four timpani
percussion
celesta
glockenspiel
vibraphone
harp
strings
BOUNY, Jean-Pierre.
Chanson D'Autrefois.
Editions Bi11audot,
1973. 3 min.~ 30 sec. c to fl. D2. Bass. Cadenza.
Dedication:
Prix de Composition de 1a Confederation

Musicale de France.
J - 60/20 measures
Andante/!/
J= 69/16 measures
J= 60/18 measures
Andantino/:/
Andante/~/
Total:
*BOUTRY, Roger.
6 min.
54 measures
(1932- .iii ). Capriccio. Alphonse Leduc, 1957.

Bb 1 to ~2. D7+. Tenor & Bass. Cadenza. R32.
Dedication:
Andre laFosse, Professeur au Conservatoire

National de Musique.
Al1egro/~/ J.+J = 50/24 measures

Andante/~,~,~/ J = 66-69/37 measures
Vivace/~/ ~
= 120-126/16 measures
vivace/~,~,2/ = 96-104/114 measures

presto/~/ J,= 104-108/68 measures
A Tempo/~/
= 120-126/38 measures
J.
Total:
297 measures
This was the Paris Conservatory contest piece for 1957. It

is very fragmented, both melodically and rhythmically. As
might be expected, the player must be skilled in displaying
lyrical playing, accuracy of articulation, possess a good
range, and understand many varied rhythmic patterns.
103
Andantino Ma Non Troppo/:,Z/
}~estoso/4/12
J= 66/56 measures
measures
.J= 108/30 measures

Allegro MOderato/:/ J = 96-100/34 measures
Dolce/:/
Large/!/5 measures
Total:
137 measures
This modern French showpiece has definite Impressionistic

connotations through its harmonic and melodic language.
The entire work is through-composed, with the melodies
being constructed in phrases. The trombone part is
soloistic throughout, with much of the accompaniment
being homophonic, thus more important as rhythmic ostinato
under the solo line than as melodic counterpoint. This
work is, at the same time, a parody on several symphonic
works and a serious piece. Following three short sections
in contrasting styles and characters, a long involved
cadenza appears. A long blues section, providing an
effective contrast, leads into a typical bozza-style
fast section, featuring repeated rhythmic and pitch
patterns. The orchestral accompaniment parts are available
on rental from Alphonse Leduc. The instrumentation of the
percussion
harp
strings
two horns
trumpet
trombone
timpani
flute
oboe
clarinet
bassoon
A band transcription of the accompaniment, made by Dennis

Smith, can be obtained from the University of Michigan.
BOZZA, Eugene.
(1905-
).
Ciaccona.
(1905F to c 2
).
D5+.
Hommage a Bach.
Tenor & Bass.
D6+.
BOZZA, Eugene.
5 min.
Dedication:
Monsieur Bourez, Professeur au Conservatoire

National de Valenciennes.
4
Maestoso MOderato/ /8 measures
4
4
Allegro Moderato/ /28 measures
4
4
Moderato/ /19 measures
4
Allegro Ma Non TropPo/~/72 measures
Total:
127 measures
104
).
ChoraL Varie.
BOUTRY, Roger.
D4-5+.
(1932-
BOUTRY, Roger.
7 min.
(1932- L). Concerto. Alphonse Leduc, 1963.

Bb 1 to d~2. D8+. Tenor & Bass.
Dedication:
Gerard Pichaureau, Professor at the Conservatoire

Superieur de Uusique.
The term concerto generally carries the implication of having

an orchestral accompaniment. However, this piece was
composed for trombone and piano and no orchestral accompaniment exists. Alphonse Leduc lists this solo as a contest
solo of the Paris Conservatory, but the author could find
no supporting data to verify this statement.
BOUTRY, Roger.
(1932-
).
Piece Breve.
Editions Salabert.
BOUTRY, Roger.
D6+.
(1932-
).
Trombonera.
BOZ2..<\, Eugene. (1905). ALLegro et FinaLe.

1953. 5 min. E to a 1 D5+. Bass.
Allegro
Alphonse Leduc,
Deciso/~/59 measures
Andantino/;/23 measures
2

4
Moderato/~/ = 72/18 measures
Allegro
Total:
141 measures

effectively on a tenor trombone. This French showpiece
is a standard part of the bass trombone repertoire. It
is in an A B A form, with extended unaccompanied passages
throughout.
*BOZZA, Eugene. (1905). BaZZade~ Gp. 62.
9 min. F to d'2. D7+. Tenor & Bass.
Cadenza/Glissandi. R34,36.
Dedication:

Straight Mute.

National de Paris.
105
The title of this work suggests a tribute to Johann Sebastian
Bach, but the music is not in the style of J. S. Bach.
"Neo-Baroque" with many melodic motifs similar to some Bach
materials. Harmonies are not similar, but phrases, rhythms
and texture are. The opening measure is similar to Bach's
Partita No.3 for solo violin (Preludio). The work contains
three sections; fast, slow, fast with an introduction.
BOZZA, Eugene. (1905). Prelude et Allegro. Alphonse Leduc,
1953. 5 min. E to a 1 . D5+. Bass. Cadenza.
Dedication:
Monsieur Mou1ard, Professeur de Contrebasse au

Conservatoire National de Valenciennes.
Moderato/ 4 /21 measures

4
4
Allegro Moderato/ /47.measures
4
Al1egro/:/29 measures
Total:
97 measures

effectively on a tenor trombone. This work is in three
sections, allegro, allegro moderato and allegro. The
trombonist has the opportunity to display his technical
virtuosity, initiative and imagination.
BOZZA, Eugene. (1905). Trois Essais. ~~phonse Leduc, 1977.
14 min. E to d 2 D7-S+. Tenor & Bass. Straight Mute.
Flutter/Glissandi.
43523
Al1egro/ 4 '4'4'4'S/126 measures
4
II. Calme/ /32 measures
4
3 3 5 2
III. Allegro Con MotO/ '16'16'S/73 measures
S
(Scherzando)
I.
Total:
231 measures
This piece is for trombone solo accompanied by percussion

ensemble. The instruments in the percussion ensemble include:
three chinese blocks
three cow bells
two wood blocks
two suspended cymbals
two bongos
large tam-tam
gong
bass drum with foot pedal
snare drum
triangle
tambourine
106
Essai.
BREUIL, Helene.
BROWN, Charles. (18982 min., 45 sec.

Dedication:
).
Meditation.
c to .1.
D3+.
Dl+.

Bass.
Rene Bellet.
Andaute/ /85 measures

4
*BUSSER, Henri. (1872-1973). CantabiZe et Saherzando~ Gp. 51.
Alphonse Leduc/Belwin Mills. 4 min. E to b l D7+.
Tenor & Bass. Trill.
6 9
Molto Moderato/ 47 '4'4/
= 72/26 measures
4 3
I
Allegro/ 4 '4/ ~= 126/9 measures
Piu
Allegro/~/
d.= 66/80 measures

Total:
115 measures
This was the Paris Conservatory contest piece for 1913, 1924
and 1936. The composition gives the performer the opportunity
to demonstrate his ability in musical interpretation, technique,
sonority, and intonation. The CantabiZe, written mostly in
is both expressive and sentimental. The Saherzando, built
around hard-driving rhythms, is an effective contrast to
the proceeding movement.
Z,
*BUSSER, Henri. (1872-1973). Etude de Conaert 3 Gp. 79. Alphonse

Leduc, 1927. 3 min., 30 sec. E to ~2. D8+. Tenor & Bass.
Cadenza/Lip Trill.
Dedication:
Moderato
H.
Couillaud~
Maestoso/~/ J =
Professeur au Conservatoire.
80/46 measures
Piu MOder;dO)/9 ,~/ ,J. = 72/26 measures

Tempo I /4'
= 80/21 measures
Total:
93 measures
107
*BUSSER, Henri. (1872-1973). Phoebus Variations~ Gp. 87. Alphonse
Leduc, 1965. 3 mi~.> 50 sec. E to c 2 D7+. Tenor & Bass.
Cadenza.
Dedication:
MOderato
Roger Tudesq.
Maestoso/~/
Plus Anime/:/
}foderato
112/8 measures
Marcato/~/ = 88/12
J= 72/14 measures
Andante/:;
Poco Allegro/:/
Piu
J= 92/10 measures
measures
120/17 measures
Largo/~/ ~= 84/13 measures

Total:
74 measures

*BUSSER, Henri. (1872-1973). Pi~ae en mi BemoZ (Eb FZat)~ Gp. 55.
Evette et Schaeffer, ca. 1907/Alphonse Leduc/International,
1973. 4 min., 10 sec. E to cb 2 D6+. Tenor & Bass.
Trill.
Andante Poco
Allegro/~/
Adagio/~/
J=
72/58 measures
144-152/83 measures
Total:
141 measures
again in 1920.
Sonate Conaertante.
CAPDEVILLE, Pierre. (1906-1969).

Leduc, 1966. D6+.
CASINIERE, Yves d~ la.
1958. D7+.
).
(1887-
Theme Varie.
Alphonse
Alphonse Leduc,
CASTEREDE, Jacques. (1926). Sonatine. Alphonse Leduc, 1958.

13 min. E to c 2 D7+. Tenor & Bass. Cup Mute. Mordent/
Trill. R17 ,27.
I.
II.
III.
ViVO/~,~,~/ J= 112/190 measures

4
Andante sostenuto/J ,~/ }I = 72/66 measures
Allegro
2 5 7 3
Allegro/ 2 '4'7'2/
92/206 measures
Total:
362 measures
108
This composition is both musically and physically demanding,
while at the same time being a very interesting and enjoyable
piece to listen to. The work is in three movements, the
outer two dealing with shifting meters and requiring
excellent tonal security and outstanding lip flexibility.
The second movement is one of the most beautiful slow
movements in the trombone repertoire. It deals with a
high tessitura and concludes with a cup muted passage.
The third movement begins with a motive that incorporates
a mordent, which can become a problem for some players
to execute effectively throughout the movement.
CHARLES, Claude. Cortege et Danse. Editions Musicales Transatlantiques, 1973. 4 min. F to eil. D3. Bass. Cadenza.
Dedication:
Ada gio/ ,g'j2/

Allegro/g/
Paul Bernard, Professeuer au-Conservatoire

National Superieur de Musique de Paris.
= 66/23 measures
= 144/94 measures
Total:
117 measures

*CHAYNES, Charles. (1925- - ). ImpuZsions. Alphonse Leduc, 1971.
2
7 min. BpI to db--
D8+. Cup/Harmon/Straight Mute.
Random Pitch Selection/Approximate Pitch/Flutter-Tonguing/
Multiphonics. R17.
Mr. Chaynes comments on ImpuZsions:

The work falls into four distinct sections: Slowfast-slow-fast, reminiscent of the sonata de chiesa.
The slow sections make much use of various effects,
such as singing through the instrument, tapping on
the bell or mute, and inhaling and exhaling through
the instrument. The first fast section (Allegro)
makes use of an ostinato pattern of 3 + 2 + 2 + 3
in eighth notes, from which as the section unfolds
the music deviates into slightly different variations of the pattern. The climax of the section
is a semi- _mprovisational section made up of two
boxes o~ pitches, the first lasting eight and the
second fifteen seconds. The second box also serves
109
as a transition back to the softer and more relaxed
atmosphere of the opening. The return to the final
fast section is realized by a steady buildup that
seems to achieve a high level of tension rather
quickly, but doesn't achieve release until the new
tempo is reached, backed again by an ostinato
pattern. The contrasts between the two sections of
fast and slow is based not only on tempo but also
in the use of materials: The slow movements are
also most arhythmical, very free, improvisational-the fast very pattern-oriented, one could say
neoclassical and obstinate.
CHRETIEN, Hedwige.
(1859-1944).
Grand SoZo.
Millereau, ca. 1886.
*CLERGUE, Jean. (1896-1966) . I~romptu. Henry Lemonie et cie., 1938.

5 min., 10 sec. E to c 2 D6. Tenor & Bass. Straight Mute.
Dedication:
Allegro/~/
Andante/~/
Allegro/~/

National de Paris.
J = 120/66 measures
J = 60/34 measures
J=
Piu ViVO/Z/)
120/74 measures
138/42 measures
Total:
216 measures

CLERISSE, Robert. (1699). IdyZZe. Southern Music Co., 1973.
1 D3. Bass.
2 min., 45 sac. G to
eb
MOderato/2/
MOderato/~/
J.
= 80/50 measures
J =80/36 measures
Total:
,
CLERISSE, Robert.
(1899-
).
Poeme.
86 measures
Editions Billaudot.
110
CLERISSE, Robert. (1899). PreZude et Dive~tissement. Editions

Musicales Andrieu Freres/Rubank, Inc., n.d. 4 min., 30 sec.
to gl. D4. Bass.
Gp
Andante/ /52 measures

4
Allegretto (Quasi Allegro)/~/102 measures
Total:
CLERISSE, Robert. (1899)~ Priere.
3 min., 30 sec. d to ~1. D3+.
Dedication:
154 measures
Bass.
}iorceau de Concours des Federations, Division

Elementaire.
Andante MOderato/~/68 measures

CLERISSE, Robert. (1899Leduc, n.d. 4 min.
Dedication~
).
The~e
B~ to ~1.
de Concours.
D5+.
Alphonse
Bass.
Morceau de Concours des Federations, Division

superieure.
4
Large et Soutenu/ /40 measures
4
CLOSTRE, Andrienne.
(1921-
).
Dia~ogue
II.
Editions Choudens.
-,
COHEN, Jules. (1835-1901).

Editions Billaudot.
Andante (MUsique du XIXe SieaZe).
CONSTANT, Marius. (1925Ricordi, 1977.
) Concerto "GU EZementi".
Editions
This piece was especially written as the final test

piece for the International Trombone Competition held in
Toulon, France from ~~y 22 to May 27, 1977. The concerto
is in four movements, taking its title "Gli EZementi" from
the four medieval elements--water, air, earth and fire.
This piece encompasses every technical and musical demand
that could be required of the well-schooled trombonist.
III
CONSTANT, Marius.
*COOLS,
).
(1925-
PZaisance.
(1877-1936). AZZegro de
Billaudot, n.d. 4 min., 10 sec.
R14.
Eug~ne.
Dedication:
Concert~
Op. 81.
E to c 2
D5.
Editions
Tenor & Bass.
Allard, Professeur au Conservatoire.
Allegro RisolutO/ /
Allegro/
J = 80/52 measures
=84/120 measures
Total:
172 measures

CORIOLIS, Emmanuel de.
Aria.
Alphonse Leduc.
CORIOLIS, Emmanuel de.
Quartre Piecettes.
CORIOLlS, Emmanuel de. Quartre Recreations.

4 min. C to Fl. D2+. Bass.
I.
II.
III.
IV.
MOderato/:/
MarZiale/~ /
D3-4+.
J= 72/19 measures
J = 80/40 measures
Andantino/~/.J
= 84/36 measures
Allegro/:/; = 120/24 measures

Total:
119 measures
This solo is in four movements. The rhythmic structure is

simple with the work being highly tonal and diatonic. This
work is well constructed and would be an excellent introduction for the young trombonist to the "French School" of
trombone playing.
*CROCE-SPINELLI, B. (1871-19 ). SoZo de Concours. Evette et
Schaeffer/Alphonse Leduc/Belwin-Mills, ca. 1903. 5 min.
F to c 2 D6+. Tenor & Bass. Lip Trill. R20.
4
4 2
Andante/4'4/36 measures
~~legro MOderatoi:i46 measures

Total:
99 measures
112

The solo demonstrates both legato control and detached
technical facility.
*DAUTREMET, Marcel. (1906-19 ). CouZissiana. Editions Choudens,
1 to c 2 Tenor & Bass. Straight/
1966. 7 min., 45 se~
Cup Mute. Flutter-Tonguing/Glissandi/Trills.
Bb
Lent/:/
= 54/36 measures
Vif/:,~/ J = 160/41 measures

MOderato/Z':'~/ = 88/38 measures
Vif/Z,:/
Lent/~/ ;
Vif/: ,~/
= 138/46 measures
= 50/18 measures
= 160/5 measures
Total:
184 measures

DEFAYE, Jean-Michel. (1932). Deux Danses. Alphonse Leduc, 1954.
8 min. A to F2. D8+. Tenor & Bass & Treble. Cup Mute.
Cadenza/Glissandi. R6,12,17,32,35.
Dedication:
I.
II.
Gabriel Masson, Soloist for Orchestra of the

Paris Opera.
Danse Sacree,
~ent/~/
60/76 measures
2
Danse Profane, Movement de Samba/ /44 measures

2
Total:
120 measures
About Deux Danses Mr. Defaye writes:

These two dances, dating from 1954, were written
especially for Gabriel Masson, then soloist for the
Orchestra of the Paris Opera. My main purpose was
to demonstrate the great possibilities of the
trombone. The first dance, Danse Sacree, has a
rather classical style and includes many technical
difficulties, such as large intervals, long phrases,
rapid detached notes, and overall endurance. Danse
Profane is a brilliant piece par excellence and was
inspired by jazz. Over a samba beat, the trombone
soars in the highest tessitura of the instrument.
As in the first dance, this movement poses the
problems of suppleness and endurance.
113
There is also an edition for bass trombone by Donald Knaub
and published by Alphonse Leduc.
*DEFAYE, Jean-Michel. (19326 min. E to d 2 DS+.

Cadenza/Glissandi.
Dedication:
2 3 3
).
Mouvement.
Tenor & Bass.

Straight Mute.
Gerard Pichaureau.
4'4'S/ = 132/164 measures

MOderato/!!
= 92/34 measures
Total:
198 measures

DEFOSSEZ, Rene. (190511 min., 30 sec.
I.
Scherzando
II.
"Elegie"
III.
). Concerto. Editions Metropolis, 1951.

G to c 2 (d 2 ). D6. Tenor & Bass.
Allegro/~/
J= 96-104/99 measures
Adagio/!'~/'J
Rondo/~/) =
= 60/54 measures
200/201 measures
Total:
354 measures
This solo is in three movements, combining a romantic

expressiveness with modern harmonies and dissonances.
The first movement is an ABA form, starting with a
scherzando-like introduction, followed by a slower section
consisting of block chords over a free legato line, and
concludes with a return of the opening. The second movement resembles the middle section of the first movement
in terms of legato style, harmonic texture, and general
expressiveness. The final movement resembles the first
movement, consisting of melodic materials based on fast
scale passages with added chromatic alteration. The
orchestral accompaniment parts are available on rental
from Henri Elkan music publisher.
DELBECQ, Laurent. (1905Editions Musicales.
Dedication:
) Tromboni te Robert Martin

Dl+.
Serie Tres Facile Pour Debutants.
114
Legende~
DELCROIX, Leon. (1880-1938).

Dedication:
Morceau de Concours du Conservatoire de

Liege (1921).
DELERUE, Georges. (192516 min. E to d 2

Dedication:
Ope 64. Evette et Schaefer!

Tenor & Bass.
D6+.
).
Conaerto. Editions Billaudot, 1980.

Tenor & Bass.
D6+.
Michel Becquet.
This solo is in three movements, containing many features

not typical of many of the other compositions in the
"French School" of trombone literature. There are virtually
no tempo changes, little use of changing meter, and a lower
tessitura than usual. However, it does contain its share
of running sixteenth notes that make great technical demands,
and also contains awkward leaps in either direction. This
solo seems most appropriate for the student who has aboveaverage technique and moderate endurance, but who doesn't
possess a solid high register. The orchestral accompaniment parts are available on rental from Editions Billaudot.
DELGIUDICE, Michel. (1924Musicales, n.d. D3+.
Dedication:
~lorceaux
).
Serenite.
Robert
~~rtin
Editions
de Forces Diverses.
DELISSE, Paul (ed.)/Felix Mendelssohn.

Capriaaioso BriUant~ Op. 22.
DELISSE, Paul (ed.)!Frederic Chopin.
~tillereau, ca. 1886.
(1817-1888).
ca. 1886.
~lillereau,
(1817-1888).
DELISSE, Paul (ed.)/Ludwig Van Beethoven.

Ope 20. Millereau, ca. 1882.
DELISSE, Paul (ed.)/Joseph Haydn.
Deuxieme Quatuor~ Op. 64.
Noaturne.
(1817-1883).
Trio~
(1817-1888). Trio Extrait du

Millereau, ca. 1881.
115
DELI SSE, Paul.
Piano.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
(1817-1888). 12 Transcriptions Pour Trombone et

Auguste O'Kelley, ca. 1878.
Sonate en si Bemol de Mozart

Andante et Menuet de Haydn
Theme Varie de Beethoven
Theme Varie en re Mineur de Mozart
Adagio de Mozart
Sonate en fa de Mozart
Theme Varie en Sol
Sonate en fa de Beethoven
Theme Varie Sur Judas Macchabee
Ariette de Mozart
Theme Varie en La
Theme Varie en Fa
DELISSE, Paul (ed.).
(1817-1888).
DEMERSSEMAN, Jules. (1833-1866).

Billaudot, n.d.
TyroZean Air.
Cavatine~
Ope 47.
DEMERSSEMAN, Jules. (1833-1866). Introduction et

Editions Billaudot/Belwin-Mills, n.d.
DEPELSENAlRE, Jean-Marie. (1914Editions Choudens.
).
Editions
PoZonaise~
Op.30 .
Ce Que Chantait L'Aede.
DEPELSENAlRE, Jean-Marie. (1914). PunambuZes. Editions

Musicales Transatlantiques, 1961. 3 min. A to gl. D3.
Bass.
4
DEPELSENAlRE, Jean-Marie.
Freres.
(1914-
).
Impromptu.
DEPELSENAlRE, Jean-}~rie.
Philippo.
(1914-
).
Jeux Chromatiques.
DEPELSENAlRE, Jean-Marie. (1914Editions Philippo.
).
Legende Nervienne.
Schott
Editions
116
DEPELSENAIRE, Jean-Marie. (1914Editions Philippo.
).
Le Vieux Berger Raaonte.
DEPELSENAlRE, Jean-Marie.
Leduc. D4+.
).
Prelude et Danse.
(1914-
Alphonse
*DESENCLOS, Alfred. (1912) . Plain-Chant et Allegretto.

Alphonse Leduc, 1965. 8 min. BOI to b l D8+. Tenor &
Bass. Quasi-Cadenza.
Dedication:
Gerard Pichaureau, Professeur au Conservatoire

de Pa4'is.
MOderato/:,~/J
Andante Molto
= 66/57 measures
56423
Allegretto Non Troppo V~vo/8'8'8'4'4/ ~f= 144/105 measures
Total:
162 measures

DESPORTES, Yvonne. (1907). Des Chansons Dans Za CouZisse.
Editions Billaudot~ 1981. 5 min. G to ale DS. Tenor &
Bass.
Moderato/~/
; = 72
Meno/ /
Allegro
Tempo
MOderato/~/ J =
P:imo/t/ ~ = 72 ~
.'.
'.
~-
92
>
-----,-
This solo is one movement and constrQcted in binary

form. The melodic material is modally based, primarily
mixolydian and aeolian. The challenges for the
trombonist exist in clearly defining the articula~ion
patterns, and alternating between staccato and legato
passages.
). Fantaisie in Bb. Carl Fischer,

*DESPORTES, Yvonne. (19D7Inc. 4 min., 30 sec. BpI to cb 2 D6+. Bass. Cadenza.
Andante/:/
58/14 measures
12 6 3 4 1
Allegro Scherzando/ 8 '8'4'4/ tJ = 112/52 measures
Piu Lento/:/
J=
63/18 measures
l
Allegro SCherzando/
112/20 measures
i/J=
Total:
104 measures
117

DESPORTES, Yvonne. (1907). Un Petit Air Dans Le Vent.
DESTANQUE, Guy.
Romance en re
DEWANGER, Anton.
Bass.
MineUI'.
Ope 89.
Humoresque~
DONDEYNE, Desire. (1921Leduc, 1958. D7+.
(D)
Alphonse Leduc.
Cantabi le et Capriae.
Dl-2+.
D4-5+.
Alphonse
DORSSELAER, Willy Van. A Longahamp~ ~. 117. Editions Billaudot,

1972. 2 min., 30 sec. d to d. Dl+. Bass.
Dedication:
Louis Potters, ex. trombone-solo au Stadttheater

de Colmar/Prix de Composition de la Confederation
Musicale de France, 1972.

4
DORSSELAER, Willy Van. Le Grand Dua. Editions Billaudot, 1971.
2 min., 10 sec. c to d 1 D2. Bass.
Dedication:
Albert Ehrmann/Prix de Composition de la

Confederation Musicale.

4
Allegro Decido (Grandeur)/:/
J=
Total:
92/12 measures
42 measures
DORSSELAER, Willy Van. Introduation et Allegro Martial.

Billaudot, 1964. 2 min., 30 sec. F to fl. D3.
Dedication:
Editions
Bass.
Henry Dessauvage, Professeur a L'Ecole Nationale

de Musique de Mulhouse/Prix de Composition
1964 de la Confederation Husicale de France.
118
4

4
4 \
Allegro Martial/ /
112-126/44 measures
4
Grandioso/:/7 measures
,=
Total:
DORSSELAER, Willy Van.' Jericho.
Vitgave Molenar N. V.
DORSSELAER, Willy Van. Pour Za Promotion.

2 min. d to d 1 D2. Bass.
Dedication:
75 measures
Prix de Composition de la Confederation

Musicale de France, 1971.

4
DOUAY, Jean and Christian Gouinguene. Divertissement. Editions
Bi1laudot, 1976. B~ to gpl. D4. Tenor & Bass.
This solo is a short composition that is tonal in style.
Its rhythmic struc~ure is very simple and relies on
sequential repetition to develop its material. The
composition is without tempo markings or style indications.
DOUAY, Jean and Christian Gouinguene. Theme et Variations.
Billaudot, 1976. 3 min. F to Fl. Bass.
Editions
3 Variations
This piece consists of the statement of the theme, followed
by three variations, and a restatement of the opening theme.
The first variation uses canonic imitation, while the
second variation uses the trombone as an extension of the
ideas presented in the piano. In the third variation the
trombone arpeggiates the theme in quarter notes, while
the piano plays a running eighth note figure.
DUBOIS, Pierre Max. (1930) Concerto Di t tTL' Irrespectueu:x:"
Alphonse Leduc, 1970. 16 min. Gl to d2. D7+. Tenor &
Bass. Lip Trills/Lip Smears/Flutter-Tonguing.
Dedication:
Pierre Ambach, Professeur au Conservatoire

de Bescancon.
119
I.
II.
J=
MOdere/:,~,t/ J
Al1egro/Z/
Vivo/t,~/
104/51 measures
= 86/70 measures
= 88/160 measures
4533 f\
III. Andante/ 4 '4'8'4/ _" = 76/45 measures
IV. Allegretto TranqUi110/:,~,~,~/
88/163 measures
J=
Total:
489 measures
This solo is in four movements, lacking the usual

impressionistic tendencies found in many of the other
solos of the "French School". The first movement, Allegro,
has two principal themes, each being repeated, to form an
ABBA pattern. The accompaniment of this movement is
totally with percussion instruments. The second movement
requires excellent tonguin~ facility, with meter changes
moving frequently between 4 and~. The third movement,
Andante, has a slow harmonic pattern in addition to the
legato approach of the trombone part. The final movement is similar to the second movement, featuring short
phrases as well as a delicate style. The performer needs
excellent technique, range, and flexibility to peiform
this virtuoso work. The orchestral accompaniment parts
are available on rental from Alphonse Leduc. The
timpani
percussion
strings
DUBOIS, Pierre Max. (1930). Cornemuse. Alphonse Leduc, 1961.
3 min., 30 sec. E to ab 1 D4. Bass.
4
Allegro Ben Moderato!4

DUBOIS, Pierre Max. (1930). Cortege. Alphonse Leduc, 1959.
4 min., 15 sec. Ab to gl. D6+. Tenor & Bass.
35233
I
Maestoso/ 4 (8'4'8'2)/ ..
= 92
This one movement solo provides the young trombonist with

an introduction to music with variable time signatures.
The melodic content of the solo is very simple, being based
generally in diatonic lines.
120
DUBOIS, Pierre Max. (1930). Deux Marahes. Alphonse Leduc,
1960. 6 min. F to c 2 D6+, D7+. Tenor & Bass.
4
Lento/ /SO measures
4
4
II. Allegro Moderato/ /63 measures
I.
Total:
113 measures
DUBOIS, Pierre Max. (1930). En CouZisse.

Rouge, 1969. 2 min., 30 sec. G to gl.
Editions Rideau
D3. Bass.
4
Maestoso/ /4S measures
This solo begins with a march-like theme, based in C major.

This is contrasted by a short, soft, legato section which
then returns to the opening theme.
DUBOIS, Pierre Max. (1930). Histoire da Trombone.
Billaudot, 1978. F to bbl. D5+. Tenor & Bass.
Straight Mute.
I.
II.
Rumba:
Editions
Andante
2 3
Parade:
Allegro Moderato/ 4 '8
This solo is comprised of two movements, entitled Rumba

and Parade. The RUmba consists of a stepwise lyrical theme
in the trombone with the piano playing a chordal syncopation
underneath. The middle section has the trombone and piano
exchanging rhythmic patterns, with a return of the original
theme. The Parade is march-like in character, featuring
trombone fanfares. Shifting ~ and ~ meters shape much of
this movement, adding a lopsided feeling to its march-like
form.
DUBOIS, Pierre Max. (1930Bi1laudot. D2+.
DUBOIS, Pierre
~x.
(1930-
9 Pieaes en un ReaueiZ.
40 sec.
1.
2.
3.
4.
D2+, D3+.
Polka
Romance
Intermezzo
Berceuse
).
Menuet D'Automne.
Pour Ze
Editions
Tror.~one EZementaire~
12 min.,
121
5.
6.
7.
8.
9.
DUBOIS~
en
Fo~e
(1930). Pour Ze Trombone Moyen 3 8 Pieces

D'Etudes en un RecueiZ. Alphonse Leduc~ 1967.
10
min.~
45 sec.
Pierre Max.
1.
2.
3.
4.
5.
6.
7.
8.
DUBOIS~
Air Ecissais
En Fanfare
Passepied
Petite Valse
Sicilienne
D5+.
Humoresque
Ritournelle
Fanfare
Vocalise
Burlesque
Tango
Slow
Tambourin
Pierre Max. (1930). Pour Ze Trombone Preparatoire3

Dix (10) Pieces Progressives Avec Accompagnement de Piano.
Alphonse Leduc~ 1967.

Dl+. Bass.
Dedication:
1.
2.
3.
4.
Pierre Ambach~
de Besancon.
Prof~sseur
Suite a L'Ancienne - Allegro/
4/ ,
= 120/57 measures
TranqUille/~/ J = 72/48 measures

AlIa Breve/~/ d = 69/34 measures
6.
Canon -
J=
8.
Intermede - Allegroltl
104/45 measures
Passepied - Allegretto/~/)= 72/41 ~easures
9.
Berceuse - Lento/* /
Marche -
to fl.
au Conservatoire
J = 100/32 measures
Lai - Lent/:/ J = 76/28 measures
Virelai - MOderato/ 4 / J= 80/32 measures
4
.
I
Cortega -
10.
BP
~faest~so/:/
Entree -
5.
. 7.
20 min. (2 min./piece).
J = 80/40 measures
Allegretto/~/ ~
= 63/48 measures
Total:
405 measures
122
DUBOIS, Pierre Max. (1930). Suite. Alphonse Leduc, 1965.
9 min. E to c 2 D6+, D7+. Tenor & Bass.
I.
Humoresque
Allegretto
II.
Galop-Fantaisie
Presto
III.
Pastourelle
Andante
IV.
V.
Complainte
Molto Lento
Rondeau
Allegro Moderato
*DUBOIS, Theodore. (1837-1924). So~o de Concert (Concertpieee).

Evette et Schaeffer/Alphonse Leduc/International Music Co.,
1907/1965. 5 min., 50 sec. Ab to c 2 . D6-7+. Tenor & Bass.
Dedication:
Andante/i/
L. Allard, Professeur au Conservatoire.
All. Vivo/t/
.I
72 measures
=
4 min.
152/90 measures
Total:
1 min., 50 sec.
162 measures, 5 min., 50 sec.

*DUCLOS, Rene.
.1939.
(1899-1964).
Doub~es
4 min., 45 sec.
Dedication:
Sur un
E to b 1 .
Chora~.
D7+.
Alphonse Leduc,
Tenor & Bass
H. Coui1laud, Professeur au Conservatoire.

4
Allegro MDderato/ 4 /29 measures

Allegro Scherzando/ 4 /16 measures
4
Andante Cantabile/t/29 measures
12 4
.
Allegro Moderato/ '4/26 measures
8
Total:
100 measures
again in 1945.
123
*DUCLOS~
Rene. (1899-1964). Sa Majeste Ze Trombone. Alphonse

Leduc~ 1948. 5 min., 10 sec. E to dV 2 D7+. Tenor & Bass.
Dedication:
Henri Couillaud.
Molto Lento Ed
sostenuto/~/
J = 40/37 measures
Allegretto/;/ ) = 104/20 measures
Moderato/~/8 measures
Allegro/~ / cJ.
= 100/49 measures
Total:
114 measures

*DURAND, Pierre. Paraours. Editions Rideau Rouge, 1975. 5 min.
Bb 1 to cf2. D8. Tenor, Treble & Bass. Cadenza.
Dedication:
Gerard Pichaureau.
4 564 J
Andante/2'2'2'1/ " = 48/26 measures
Allegro/~/ = 112/50 measures
Andante/~/~
48/5 measures
Total:
81 measures

*DUTILLEUX, Henri. (1916). ChoraZ, Cadence et Fugato. Alphonse
Leduc~ 1950. 5 min. Bb 1 to c 2 D8+. Tenor & Bass.
Cadenza.
Dedication:
Andre LaFosse.

The ChoraZ opens with a soft, legato statement of the
melody. In the Cadence section of the solo, the accompaniment sets up some of the subject ideas which will be
developed in the Fugato. The subject of the Fugato utilizes
a series of intervals widening from a minor second to a
minor ninth. The enG of the Pugato builds to an exciting
conclusion by the use of rapid triplets and repeated pitches
in duple groupings.
124
). EaUet POza' un Kangoza'ou.
D2+.
FICHE, Michel. (1939Billaudot, 1977.
) En Vacanaes.
FICHE, Michel and C. Pichaureau. (1939Editions Billaudot. Dl+.

Dedication:
FIEVET, Paul.
Editions
Collection de la Federation Nationale Des

Unions de Conservatoires Municipaux de Musique.
).
(1892-
Legende CeZtique.
Editions Billaudot.
(1892-19__). Fanfare~ Andante et AZZegro. Editions

Salabert, 1958. 8 min., 50 sec. B~1 to d 2 D7. Tenor &
Bass.
*F&'lliCK, Maurice.
/J
4
Allegro MOderato/ ,2
= 88/11 measures
4 4
4 3 -,
Large/ 4 '2/ J = 60/13 measures
Lent/~/ ~ = 50/75 measures
Allegro Non
Troppo/~/
; = 100/148 measures
Total:
247 measures
This was the Paris Conservatory contest piece for 1958

GABAYE, Pierre. (19301 min., 30 sec.
MOderato/~/
Vif/~/
/!/
Tempo
CompZainte.
D2+.

Bass.
= 80/60 measures
GABAYE, Pierre. (19306 min., 15 sec.

Tres
.).
d to e~l.
Primo/~I
). SpeaiaZ.
E to d 2 D8+.

Tenor & Bass. Cadenza.
= 152/94 measures
= 66/25 measures
152/52 measures
COda'!' ; = 152i19 measures

Total:
190 measures
This solo is a one movement work, structured in an ABA-Coda

form. The A sections feature fast tempos, with melodic
materials requiring double-tonguing as well as good slide
technique. The B section features a beautiful cantabile
125
melody, including a totally improvised cadenza. This
cadenza, appearing near the end of the cantabile section,
must be considered a unique point in the trombone solo
literature. The accompaniment, scored for chamber orchestra,
is available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:
two horns
three trumpets
three trcw.bones
timpani
jazz set
-cymbals, bass drum,
snare drum, and triangle
GAGNEBIN, Henri. (1886-1977).
DI-2+. Bass.
SQPabande.
celesta (or piano)

harp
guitar (ad libitum)
strings
GALIEGUE, Marcel. Essai I. Alphonse Leduc, 1976.

A to d 1 D2+. Bass.
1 min., 45 sec.
This solo is basically a two-part song form, the first

being in d minor and the second in D major. The waltzlike melody is lyrical and slow.
GALIEGUE, Marcel.
to gl.
G;
Essai II.
D3+.
Bass.

Cadenza.
2 min., 30 sec.
12 \
8/ ,. = 60
~/
) =
66-72
This solo appears to be in a type of three-part form, an A

section of a sweeping melodic nature, a B section in a more
toccata-like structure, then a cadenza, followed by a return
to A, but this time in a maestoso style. The cadenza is
noteworthy because of its avoidance of rhythmic notation
and meter. This utilizes a type of symbolic notation where
note lengths and speed are graphically indicated by placement and by relative length lines following the longer tones.
However, style and dynamics are conventially shown.
GALIEGUE, Marcel.
E to bpI.
2/ ~
~/~/ J!J
72
= "
= 72
Essai III.
D4+.
Alphonse Leduc; 1976.

Tenor & Bass. Cadenza.
2 min., 30 sec.
126
This solo appears to be in a type of three-part form, opening
with an A section of sustained legato, followed by the B in
a light staccato style, then a cadenza utilizing A motifs
with a closing section also utilizing A material. The
cadenza uses conventional rhythmic notation in contrast to
that of Eeaai II.
GALIEGUE, Marcel. Essai IV.
Tenor & Bass.
3 min.
D5-6+.
GALIEGUE, Marc el. Que 7,ques Chants, Hui t Pieaes en Quatre Cahiers.
Alphonse Leduc. Dl-2+.
Cahier I - 12.
Cahier II
Fleur de Choral
Trialogue
3.
4.
Canzone
}fanege
Cahier III - 5.
6.
Petit Choral
En Syncope
Cahier IV - 7.
8.
Romance
Deux Sur Trois
GALLET, Jean. Legende.

c to d 1 Bass.
Dedication:
1 min., 30 sec.

Musicale de France 1973.

4
Poco Piu Lento/~/ll measures
Tempo I/~/17 measures
.
Total:
GALLOTS-MONTBRUN, Raymond.
D5+. Bass.
GARTENLAUB, Odette.
D2+.
(1922-
(1918-
).
).
Rite.
64 measures
Aria.
127
GAUBERT, Philippe. (lS79-1941). CantabiZe et Scherzetto. Carl
Fischer, Inc., 1939. 5 min., 30 sec. A; to gl. Bass.
Triple Tonguing.
6 9
Lento/ S 'S/lS measures
.
12 6 2
Un Peu Plus VJ..te/ S 'S'4/S1 measures
Un Peu Moins Vite/l/33 measures
Tempo I
Vif/~/57 measures
Moins Vite/\2/ 14 measures

Total:
203 measures
*GAUBERT, Philippe. Morceau Symphonique. Alphonse Leduc/Southern

Music Co. International, 1912. 5 min. Ab to b~l. D7+.
Tenor & Bass.
Lento/
72
Allegro Moderato
This was the Paris Conservatory contest piece for 1912, 1921
and 1937. It is set in the traditional slow-fast concept
of the French Contest solos. The opening section is in a
slow legato style. The faster section, allegro moderato,
needs caution in spacing the notes. This thematic material
develops toward the concluding slow legato opening theme.
GEDALGE, Andre.
(1S56-1926). Edited by Christopher Jones.

International Music Co./Editions Salabert,
5 min., 30 sec. Bb to c 2 D6. Tenor.
Contest Piece.
1972.

4
Andante/ 4 /33 measures
4
Allegro MaestosolZ/S4 measures
Total:
GOTKOVSKY, Ida. (193314 min., 30 sec.
Cadenza.
I.
) Concerto.
E to dP2. DS.
Lyrigue
Allegro Agitato Tumultuoso
II. Dolcissimo
Dolcissimo Con Anima
III.
Final
Ostinato
lIS
~easures

Tenor & Bass. Cup Mute.
128
GOUINGUENE, Christian.
Air.
B to d 1 D6+.
Concerto. Editions Billaudot, 1975.

Tenor & Bass. R4,11.
1.
II.
III.
Editions Billaudot.
8 min.
.lUlegro
Sicilienne
Allegro Vivo
This piece is in three movements and is based upon themes

by Johann David Heinichen (1683-1729). The work is
Baroque-like in style with sequences, strong fifth
relationships, and running sixteenths used throughout.
Unfortunately there are no articulation markings contained
within this piece.
Ostinato.
Trombone Circus.
Editions Billaudot.
Editions Billaudot.
GUIDE, Richard de. (1909-1962). Suite "Les Caracteres au Trombone"~

Op. 32~ No.3. Alphonse Leduc, 1958. 8 min. Bb 1 to b 1
D6+. Tenor &-Bass. Straight Mute. Glissandi. Rl.
Dedication:
1.
Jules-de Haes, Trombone Solo de L'Orchestra

National de Belgique, Professeur de Trombone
au Conservatoire Royal D'Anvers.
Solennel
Intrada Dans Ie Style
~cien/
12
8/
J,=
66/23 measures
Funebre 4
1
Largo/ / = 50/24 measures
4
III. Burlesque
2 i
Andantino/4/ ~ = 76/20 measures
II.
Menu
MOss/~/
I/~/ ~
Sentimental
I
Tempo
IV.
V.
Largo/,~2/
Triomphant
I
Deciso/ 44 / _
J. = 56/16 measures
= 76/16 measures
,.= 46/22 measures
69/25 measures
Total:
146 measures
129
GUILMANT, Alexandre. (1837-1911). Concert Piece~ Op. 88.
national Music Co., n.d./G. Schirmer, Inc., 1963.
Inter-
*GUILMANT, Alexandre.
(1837-1911). Edited by E. Falaguerra.

Op. 88. Warner Brothers Publications,
Inc./Belwin-Mills, 1937. 6 min. BpI to c. 2 D5. Bass/
International Bass & Tenor. Cadenza. R8,9,13,15,16,19,
28,32.
Morceau
Symphonique~
Andante sostenuto/:/
Allegro MOderato/Z/
-1 = 63/38 measures
.)=
104/120 measures
Total:
158 measures
This was the Paris Conservatory contest piece for 1902

and again in 1928. This solo represents one of the most
frequently performed compositions in the trombonist's
repertoire. The single-movement work, in two principal
parts, restates each theme in a condensed version at the
end. The opening section establishes a lyrical, cantabile
character in e-flat minor. Following a short cadenza, the
allegro section drastically changes the style to a more
disjunct feeling. This is an excellent work for the
development of endurance, style, articulation, and
rhythmic stability. A band transcription of the accompaniment by W. Sheppard can be obtained from Carl Fischer.
Inc. Two other publications are also available from Pro-Arte
Publications and Big Hill Music Press. An orchestral version
of the accompaniment is available from Interlochen Press.
) . Largo et Toccata. Alphonse Leduc,
*HOUDY, Pierick. (19291968. 4 min., 10 sec. E to c.2 D7-8+. Tenor & Bass.
~/ cal =
~I
~/
~/
40/25 measures
6= 56-60/40 measures
d 40/6 measures
= 64-76/37 measures
Total:
108 measures
130
).
HUGON, Georges. (1904atlantiques.
Elegie.
Editions Musicales Trans-
*HUGON, Georges. (1904). Introduction et Allegro. Editions

Musicales Transatlantiques, 1961. 13 min. A~l to d 2
D8. Tenor & Bass. Straight Mute. Flutter Tonguing/
Glissandi/Cadenza.
4 2 3 5 6 ,
Lent/4'4'4'4'4/* = 52/25 measures
3 2 4
/~,z,t/
Allegro/4'4'4/ , = 144/44 measures

126/25 measures
41
/4'4'4/
_
" 2
Allegro/2,~/ )
104/52 measures
144/34 measures
Total:
180 measures

KATARZYNSKI, Raymond (ed.)/Johann Sebastian Bach. Suites Pout'
Violoncelle SeuZ. Alphonse Leduc, 1977. FtOC4. D7.
Bass.
This edition contains Suites I through IV, all in the
bass clef. Suite I bas been transposed up a fourth
from G to C major. Suite II is transposed up a third
from the original. Suite III is transposed up a fourth
from C to F major and Suite IV is transposed up a
fourth from E-flat to A-flat major. Suite IV contains
the Sarabande and Gigue of Suite V and the Cout'ante of
Suite VI. Suites V and VI are not included in their
entirety. This edition is very similar to theone of
Andre LaFossess, only it is totally in the bass clef.
LAFOSSE, Andre (ed.)/George Frederic Handel. (1890).
Concerto en fa Mineur. Alphonse Leduc/Southern ~lusic Co.,
1948. 9 min. 30 sec. F to ~1. D7+. Tenor & Bass.
I.
II.
III.
IV.
Grave/:/
Allegro/:/
72/28 measures
Largo/t/)
Allegro/~/;
= 104/48 measures
52/42 measures
= 100/70 measures
Total:
188 measures
131
Composed in 1703 by George Frederick Handel (1685-1759),
this concerto was originally for oboe and chamber
orchestra and played in G Minor. This transcription is
presented in F Minor as a more practical key for the
trombone. This concerto is a comparatively early work,
composed when Handel was playing t~e violin in the
Hamburg Opera House and beginning to think of composing
Italian-style operas, such as were popular in Hamburg.
Handel throughout his career would be little interested
in the three-movement concerto form, as taken up by
Albinoni, Vivaldi and Bach. This work is in the more
conservative four-movement form, as developed by
Corelli, but at the same time it has a typically
Handelian solidity, inspiration and melodic strength.
The opening Grave, in typical dotted rhythm, leads into
an Allegro which is imitative in form and not strictly
fugal. A Sarabande of symmetrical phrase lengths is
followed by a final Allegro, the opening theme of which
is basically the same as that of the Organ Concerto~
Op. 4~ No.3, second movement. It is a combination of
fugal and concerto grosso principals structurally.
LAFOSSE, Andre (ed.)/Johann Sebastian Bach.
(1890-
Suites de J. S. Baah Pour VioZonaeZZe SeuZ.

Leduc, 1946. E to c 2 Tenor & Bass.
).
Alphonse
This edition of the suites is transposed a major fourth

higher than the original notation and incomplete. LaFosse
has edited the suites in terms of articulation markings,
dynamic markings, and alternate positions.
). Trois Pieaes de StyZe. Alphonse
LAFOSSE, Andre (ed.). (1890to c 2 D7+. Tenor & Bass.
Leduc, 1956. 5 min., 30 sec.
Mordents.
Bb
I.
Giuseppe Tartini - Andante Cantabile/!/19 measures
II.
Franz Schubert - AdagioJ~/36 measures
III.
Antonio Vivaldi - Sonate (Fragments)

Largo/i/
Allegro/V
= 56/35 measures
= 100/25 measures
Total:
115 measures
132
Cho~aZe V~ie.
LAMY, Fernand. (1881-1966).

D3+. Tenor & Bass.
LANCEN, Serge. (1922Billaudot, 1965.
Glissandi.
Dedication:
).
Menuet Pour Un Oza>s.
3 min., 45 sec.
Menuet-Allegretto/~/
Conee~tino.
Dedication:
= 86/78 measures
Dedication:
96 measures
Alphonse Leduc.
D7+.
Tenor & Bass.
Morceau de Concours du Conservatoire D'Anvers.
LEGRON, Leon. G~ave et CantiZene.

3 min., 30 sec. B, to e 1 .
AMichel

D2. Bass.
Fiche.
J= 52/32 measures
Cantilene/~/
Grave/~/
Editions
D4. Bass.
measures
Total:
Grave/t/
G to gl.

Musicale de France (1965).
Andante/~/ J= 42/18
LECLERCQ, Edgard.
= 96/32 measures
J = 52/12 measures
Total:
76 measures
This short work is in the common one movement style of

slow-fast-slow. The major emphasis of the piece concerns
itself with controlled legato playing. The key of B-flat
major predominates with a short piano interlude in D-flat
major.
*LEJET, Edith. (1941). MUsique. Editions Francaises de Musique,
1974.
4 min., 30 sec. ApI to indefinite. D9. Bass.
Plunger Mute. ~ Tonal/Flutter-Tonguing/Glissandi/Large
Vibrato/Approximate Rhythms.
Dedication:
4 5
Gerard Pichaureau.
4'4/80 measures
133
It is a difficult piece requiring many changes of mood
and the ability to project them through the instrument.
It is also made more difficult due to the extreme range,
frequent large intervallic skips, and changes from
traditional notation to proportional notation.
Reait Pour un Debutant.
LEMAIRE, Jean. (1854-1928).

Bi1laudot. D1+.
Dedication:
Editions
Collection de la Federation Nationale des

Unions de Conservatoires Municipaux de Musique.
*LEPETIT, Pierre. (1893-19 ). Pieae de Conae~t. Alphonse Leduc,

1955. 6 min. E to-d 2 D7+. Tenor & Bass.
Dedication:
MOderato/! /
Andre LaFosse.
= 76/14 measures
~ 80/39
MOdere/~/
Tres Lent/!/ ;
Allegro Tres
Un Peu Plus Vitae/Z/

Plus
Vite/~/
measures
= 96/64 measures
= 112/20 measures
= 116/35 measures
Total:
172 measures

LLAGRE, Dartagnan.
Souvenir de CaZais.
LOUCHEUR, Raymond.
1947.
(1899-19__).
LOUVIER, Alain.
D3+.
(1945-
).
Editions Billaudot.
HiaZmar.
Editions Durand & CIE.,
Hydre A Cinq Tetes.
Alphonse Leduc,
MARIE, Jean-Marie. (1917). Labyrinthes (Au. Grde).

Editions Musicales, 1975.
Amphion
134
).
*MARTIN, Frank. (18907 min., 30 sec.

Dedication:
BaZZade.
BpI to d2.
D7.
Universal Edition, 1940.

Tenor & Bass. RI0,24.
Concours National Suisse D'Execution Musicale

Geneve 1940.
J=
Largamente/Andante/~,~/
72/17 measures
TranqUillo/~,~/
54/39 measures
Allegro Giusto/~i ~ = 116/142 measures
J=
Vivace
Assai/~/
Grandioso/ZI
Piu
184/72 measures
= 160/24 measures
Mosso/~I ~,=
Molto
66/42 measures
Largamente/~/ )=
76/11 measures
Total:
347 measures
This was the Paris Conservatory contest piece for 1959,

written for trombone and piano in 1940 and transcribed
for orchestra in 1941. The work opens with an accompanied
passage for trombone in a fanfare-like style. Although
the solo features ballad qualities, it also provides some
technical sections. The melodic construction is often
motivic, but phrases can be found in passages of the
slower tempi. The accompanying textures are contrapuntal, but much of the accompaniment is more important
as rhythmic foundations for the solo line than as linear
counterpoint. The.orchestral accompaniment parts are
available on rental from Theodore Presser Company. The
two
two
two
two
two
flutes
oboes
clarinets
bassoons
horns
two trumpets
two trombones
timpani
piano
strings
MASSIS, Amable. (1893). Impromptu ~Version A: Facile,

Version B: Moyenne Force, Version C: Difficite).
Alphonse Leduc, 1949. 3 min., 50 sec. B to af1/F to all
E to btl. D3/D5/D7. Tenor & Bass. Cadenza.
Version A,B,C - Allegro MOderato/1,ZI
= 88/78 measures
This solo is very unique due to its three versions for

use by the trombonist. The first version is labeled
"easy", the second "medium", and the third "difficult".
135
Each version becomes progressively more difficult through
the use of rhythmic, melodic and range complexities.
The piano accompaniment remains the same for each trombone
version of the solo.
~\t~~T,
Edmond. (188i). Petites Inventions 3 Op. 213 No. S.

Editions Max Eschig, 1966.
Jules. (1879-1959). SoZo de Concours in B Minor.
Alphonse Leduc/International, 1960. 6 min., 50 sec.
to b l D7+. Tenor & Bass. Straight Mute.
~MAZELLIER,
P'
Dedication:
Andante

National de Musique de Paris.
EspresSiVo/~/ J= 54/62
Allegro RiSOlutO/:/
J=
measures
100/84 measures
Total:
146 measures

MEYER, Jean-Michel.
et Cie.
MIGNION, Rene.
3 min.
(1910-
).
CordeZineete.
Andante et-AZZegro.
c to gl.
Dedication:
Andante/!/
Allegro/~/)
D2.
Bass.

= 63/30 measures
100/50 measures
Total:
MIGNION, Rene.
4 min.
CantabiZe et Minuetto.
A to fl.
Dedication:
I.
II.
Henri Lemoine
D3+.
80 measures
Bass.
Dupart, Professeur au Conservatoire de

Bordeaux.
Cantabile - Andante/:/ )
= 60/30 measures
Menuetto/~/; = 96-100/65
measures
Total:
95 measures
136
While this is not a major work for trombone, it has many

pedagogical values. The rather narrow range and rhythmic
simplicity make this selection accessible to the young
trombonist.
MIGNION, Rene. Reverie et BaZade. Editions Billaudot, 1966.
3 min., 50 sec. cf to fl. D3. Bass.
Dedication:
Prix de Compos~tion de la Confederation

Andantino/~/
MOderato/~/
J=
65/44 measures
85/50 measures
Total:
94 measures
MIGNION, Rene. Serenade et BaZade MoseZZanes. Editions Billaudot,

to fl. D2+. Bass.
1978. 3 min., 15 sec.
Bp
Dedication:
Andante/:/
Gilles Senon, Professeur au Conservatoire

de Metz.
= 60/24 measures
MOderato/~/ J = 80-84/44
measures
Total:
68 measures
MILHAUD, Darius. (1892-1974). Conaertino D'Hiver. Associated

Music Publishers, Inc., 1955. 11 min., 30 sec. E to c 2
D7. Tenor & Bass. Straight Mute. Flutter/Glissandi.
R18,23,25.
Dedication:
Davis Shuman and Hunterdon County Art Center.
Anime/~/~ =
86/104 measures
Tres
MOdere/~/ ; = 86/84
Anime/;/~
measures
= 86/104 measures
Total:
292 measures
Although performed as a continuous one-movement piece,

its three large sections function as three separate
movements. The movements are entitled, Anime, Tres
Modere, and Anime, in terenary form. The first and third
movements use the same melodic material and are in a highly
disjunct, non-diatonic intervallic style. The melodic
137
construction is phrase oriented, but the phrases are not
always clearly defined because of the disjunct nature of
the intervallic style. The middle section is quite slow
and long because of the slow rhythmic motion. The two
strong features of this work are its audience appeal and
the technical challenge it presents to the trombonist.
Written with string accompaniment. the parts are available
from Robert King Music Company. The specific instrumentation of the accompanying string orchestra is as follows:
violin I and II
viola
violoncello
double bass
*MISSA, Edmond Jean Louis. (1861-1910). Morceau de Concours.

Evette et Schaeffer/Alphonse Leduc, 1904/1959. 3 min.,
30 sec.
to c 2 D7+. Bass & Tenor.
BP
Dedication:
Louis Allard.
Moderato Ben Marcato/ /13 measures

4
Plus Lent et Expressif/t/22 measures
2
Allegretto/ /30 measures
4
Plus Lent et Expressif/t/20 measures
Total:
85 measures

MOREL, Florentin. (1926). Piece en Fa Mineur. Editions
Billaudot, 1933. 5 min. G~ to c 2 D5. Tenor & Bass.
Lip Trills. R15,26.
Dedication:
Allegro
Morceau Impose au Grand Concours International

de Solistes de Lille (1933).
Allegro Moderato/ 9 /45 measures

8
Andante/~/37 measures
Allegro Deciso/~/33 measures
Total:
140 measures
138
MULLER, J. P. Concertino~Op. 6. J. Maurer Editions Musicales, 1957.

2 min., 30 sec. Er{D) to db 2 D7. Bass & Treble.
GiOCOSO/:/
= 120/36 measures
sostenuto/if
Tempo 1/:/
~ /20
measures
J = 120/32 measures
Total:
MULLER, J. P.
1960.
NIVERD, Lucien.
Concerto
(1879-1967).
Dedication:
NIVERD, Lucien.
J. Maurer Editions Musicales,
Chant MeZancoZique.
Editions Billaudot.
Six Petites Pieces de Style - No.5.
(1879-1967).
1 min., 10 sec.
Dedication:
Op. 4.
Minute~
88 measures
CompZainte.
E to b.
D3.
Editions Billaudot.
Bass.
Andantino/~/ ; = 80/33
measures
NIVERD, Lucien. (1879-1967). Historiette Dramatique. Editions

Billaudot. 1 min., 10 sec. F to d 1 D3. Bass.
Dedication:

'4
I = 76/24 measures
Modere, MelancoliQue/ / _
4
NlVERD, Lucien.
(1879-1967).
Dedication:
NlVERD, Lucien.
10 sec.
Hymne.
Editions Billaudot.
(1879-1967). Legende.
E to gil. D3.
Assez Lent/:/
4
Editions Billaudot.
46/12 measures
Largement/ /8 measures
4
Total:
20 measures
1 min.,
139
N1VERD, Lucien. (1879-1967). Romance SentimentaZe. Editions
Billaudot. 1 min., 45 sec. G to c 1 D3. Bass.
Dedication:
MOderato/:/ ;
N1VERD, Lucien.
45 sec.
76/36 measures
(1879-1967).
A to eb 1
Dedication:
D3.
Saherzetto.
Editions Billaudot.
Bass.
Vif et Leger/t/
200/48 measures
N1VERD, Raymond. (1922). Maestoso et Saherzando. Georges

Delrieu & CIE, 1969. 5 min. E to d~2(e2). DB. Tenor &
Bass.
Dedication:
Maffei, Professeur au Conservatoire de Troyes.

2

2
3
II. Scherzando/ /52 measures
4
Plus Lent/ 3 /35 measures
4
Tempo 1/3/20 measures
I.
Total:
180 measures
*NUX, Paul V. de lao (1853-1928). SoZo de Concours (Concert Pieae).

Evette et Schaeffer/Alphonse Leduc/Southern Music Co.,
1903/1961. 5 min. G to b~l. D6+. Bass. Cadenza/
Lip Trills. R7,14,21.
4
Andante/4/51
measures
Allegro/~/
/~/
J.= 60/16 measures
J.
= 72/44 measures
Total:
111 measures
again in 1919. This solo contains the typical slow legato
section followed by a fast articulated portion. A band
accompaniment is available from Carl Fischer, Inc.
140
PARES~
Gabriel. (1860-1934). Grepusaule. Editions Billaudot/

Belwin-Mills. 2 min., 15 sec. c~ to gpl. D4. Bass.
MOderato/:i68 measures
PASCAL, Claude. (1921). Improvisation en Forme de Canon.

Editions Durand & CIE, 1959.
*PASCAL, Claude. (1921). Pastora~e Heroi~ue. Editions
Durand & CIE, 1952. 5 min. BPI to cf. D5. Tenor &
Bass. Cadenza.
Dedication:
Andre LaFosse, Professeur au Conservatoire

National de Husique.
Allant/~/ J = 126/312
measures

PASCAL, Claude. (19216 min., 30 sec.
PERRIN, Jean. (1920Billaudot.
).
).
Editions Durand & CIE, 1958.

Tenor & Bass.
Sonate.
Fl to b 1
Introduction et Allegro.
Editions
*PFEIFFER, Georges-Jean. (1835-1908). SoZo de Trombone. Southern

Music Company, 1941. 7 min. F to c 2 D6. Tenor & Bass.
Trills. Cadenza.
Dedication:
U. S .A. School }lusic Competition-Festivals.
Adagio/:/66 measures
Allegro
Eroico/~/102 measures
Total:
168 measures
again in 1906. The work, in two large parts, begins with
a series of adagio sections, incorporating recitativelike cadenzas at the beginning and end of the first part.
The fast section begins with an articulated technical
passage, followed by a short expressive phrase. Following
a cadenza, a final statement of the fast theme and a short
coda complete the piece. A band trenscription of the
piano accompaniment, made by Lee Hope, is available from
the music department at the University of Notre Dame.
141
PICHAUREAU
Marine.
Claude.
Editions Rideau Rouge, 1969. 8 min.

D7. Tenor & Bass. Plunger/Harmon/Velvet Mutes.
Quarter Tones/Trills/Glissandi.
Bb r to
~2.
This solo is accompanied by violin and piano. The work

is sectional, harmonically tertian oriented, with
chromaticism and an abundance of thirteenth chords.
The texture is contrapuntal with frequent meter changes
being employed throughout. Proportional notation is
employed in some sections of the work.
). Etude de Conaert. Alphonse Leduc, 1958.
F to g. D6+. Tenor & Bass.
POOT, Marcel. (19013 min., 30 sec.

4 3 2
Allegro
,=
.,
Andante/ 4 '4'4/
Deciso/;,~/
Andante/!I
72/17 measures
126/116 measures
72/9measures
Allegro/~,~/ J =
126/18 measures
Total:
160 measures
POOT, Marcel. (1901). Impromptu. Edition Andel Vitgave/

Editions Max Eschig, 1933. 4 min. G to b 1 D6.
Tenor & Bass.
PORRET, Julien. (1896.).
1950. 5 min., 30 sec.
Dedication:
Conaerti~
Bb to
Rene Dhaene,
de Lille.
No.7.
#1.
D3.
Profeb=~l..!!"
Editions Billaudot,
Bass.
::m Conservatoire
Andantino Sans Lenteur/!/41 measures

Dolce e Poco Piu Lento/!/45 measures
Total:
86 measures
PORRET, Julien. (1896). Conaertino No. X. Editions Billaudot,

1950. 5 min., 30 sec. A to ale D4. Bass.
Dedication:
Louis Delforge, Professeur au Conservatoire

de Tours
142
Moderato e Energicamente/!/32 measures
Andantino semplice/~,!/76 measures
Total:
108 measures
PORRET, Julien.
(1896-
).
Concept No. 23.
PORRET, Julien.
(1896-
).
Conceptino No. 24.
).
Six Esquisses.
PORRET, Julien. (189610 min., 40 sec.

Dedication:
I.
E to all.
D7.
Editions Billaudot.
Editions Billaudot.
M. Baron Company, 1935.

Bass & Tenor. R19.
Baron, Musique de Chambre No.3.
Andantino/~!.J.=
60/42 measures
II. Andantino, DOlce/t/

= 60/52 measures
III. Andantino, Dolce e Con Espressionei~/ ,-= 63/26 measures
IV.
V.
VI.
MOderato/~/ J.
Andantino/4/
= 88/42 measures
J = 60/33 measures
MOderato/:,~/)
96/36 measures
Total:
231 measures
PORRET, Julien. (1896.). SoZo de Concoups No. 15.

Molenaar N.V., 1963. 2 min., 50 sec. c to e 1 .
Bass.
Dedication:
Vitgave
D2.
Pierre Ambach, Soliste au Theatre et Professeur

au Conservatoire National de Musique de Besancon.

4
PORRET, Julien. (1896). SoZo de Concoups No. 16.
Molenaar N.V., 1964. 5 min., 45 sec. F to gl.
Bass.
Allegro MOderato/t/
Allegro
~ = 120/70 measures
MOderato/~/ :J =
76/18 measures
J = 72/36 measures
Andantinod/ J= 120/43 measures
Andantino/t/
Total:
167 measures
Vitgave
D3.
143
PORRET, Julien. (1896). SoZo de Concours No. 2.9. Vitgave
MOlenaar N.V., 1964. 5 min. c to gl. D3. Bass.
Dedication:
Pierre Goigou, Professeur au Conservatoire

de Musique de Rennes.
Andantino semPlice/:/100 measures

PORRET, Julien. (1896). SoZo de Conaours No. 30. Vitgave
Molenaar N.V., 1964. 6 min., 45 sec. BpI to d 1 D4.
Bass. Cadenza.
Dedication:
Henri Dupart, Professeur au Conservatoire,

Soliste au Grand Theatre de Bo.:deaux.
Allegretto/:/
Lento/~/.J8=
J= 88/18 measures
50/57 measures
Alleg=etto/;/,J.= 96/120 measures

Total:
195 measures
PORRET, Julien. (1896). SoZo de Conaours Ro. 31.

Molenaar N.V., 1966. 4 min., 45 sec. c to fl.
Bass.
Dedication:
Vitgave
D3.
Robert Bouffier, Professeur au Conservatoire

de Musique de Toulon.
MOderatoi:/52 measures
Poco Piu Lento/:/20 measures
4
Total:
97 measures
PORRET, Julien. (1896). SoZo de Conaours No. 32. Vitgave

Molenaar N.V., 1966. 5 min., 45 sec. A to ap1. D4.
Bass.
Dedication:
Allegretto/:/
Andantino/:/
Henri Borel, Professeur au Conservatoire

National de Musique D'Arras.
J= 88/60 measures
.J= 80/40 measures
Allegretto/i/ ) = 88/22 measures

Total:
122 measures
144
RASSE, Francois. (1873-1955). Concertino. Ev~tte et Schaeffer/
Alphonse Leduc, 1921. 8 min. A~1 to bl'l. D5. Bass.
Dedication:
Morceau de Concours du Conservatoire de

Bruxelles.
4
Moderato/4
Andantino/2
Cantabile/~
Allegro Deciso/~
This work consists of four connected sections, all of which
are through-composed. The intervallic style used throughout is non-diatonic, often outlining chords, while the
melodies are constructed in- phrases which are not disjunct.
The orchestral accompaniment parts are available from the
Fleisher Collection, Catalog #748m. The instrumentation
of the accompaniment is as follows:
two
two
two
two
flutes
oboes
clarinets
bassoons
).
REICHEL, Bernard. (1901Billaudot, 1973. D3.
REUTTER, Hermann. (1900Leduc. D4+.

REUTTER, Hermann. (1900l
3 min. F to
db
J=
Poco Grave/t/
)
D3+.
two horns
two trumpets
timpani
strings
Choral 3 Canon I & II.
Etude Polyphonique.
Ostinato.
Editions
Alphonse
Bass.
60/60 measures
*RIEUNIER, Jean-Paul. (1933). Silences. Alphonse Leduc, 1976.

8 min. A,l to f2. D8+. Bass & Treble. Plunger Mute.
Multiphonics/Quarter Tones/Glissandi.
Dedication:
Gerard Pichaureau.
(Circa)/:/
= 60

It is an expressive piece requiring a sensitive performance
to bring out the contrast of material. This piece utilizes
145
many of the new music devices for trombone in a most
cohesive way, with the materials flowing together smoothly.
It will require an experienced player who has had some
experience with this idiom, multiphonics in particular.
This is the first contest piece to employ the technique
of multiphonics. It is notably late when comparing it to
the compositions of Berio, Alsi~a, and Globokar; which
used th~ technique in the mid-1960's.
RIVIERE, Jean-Pierre.
1958. D7+.
(1929-
).
Burlesque.
Alphonse Leduc,
ROBERT, Jacques. Air Noble. Editions Billaudot, 1970.

to fl. D2+. Bass.
Bb
Dedication:
Prix de Composition de la Confederation Musicale

de France 1970.
J
MOSSO/~/ J=
J=
Allegretto/i/
Un Poco Piu
Allegretto/!/
= 104-108/20 measures
116/47 measures
104-108/11 measures
Total:
ROCHE, G.
2 min.
L'Olympienne.
78 measures
Rene Margueritat, ca. 1886.
ROPARTZ, J. Guy. (1864-1955). Andante et Allegro.

,- ,I,nc. 5 min. 'A~ to a 1 Bass. R7.
Carl Fischer,
*ROPARTZ, J. Guy. (1864-1955). Piece en Mi BernoZ (E FZat Minor).

Alphonse Leduc/International ~usic Co./Belwin-Mills, 1908/
1953. 8 min. F to c 2 (ep2). D6+. Tenor. Lip Trill. R32.
Lento/!/
J= 56/48 measures
Allegro/i/ ;
= 132/118 measures
Total:
166 measures

The work contains two connected sections, marked Lento and
AlZegro. The intervallic style of the composition is
non-diatonic and the melodies are constructed in phrases.
There is little contrapuntal writing with the accompaniment
generally involving ostinato rhythmic patterns. Only the
146
orchestral score is available from the Fleischer Collection,
Catalog #747m. The instrumentation of the accompaniment
is as fJllows:
two
two
two
two
four horns
two trumpets
timpani
strings
flutes
oboes
clarinets
bassoons
ROUGERON, Philippe. Pieae en Fa. Editions Billaudot, 1978.

3 min. F co Fl. D3. Bass.
*ROUSSEAU, Samuel-Alexandre. (1853-1904). Pieae Conaertante.
Heugel et CIE/Carl Fischer, Inc. s ca. 1898/1938. 5 min.,
30 sec.
to c 2 D6. Bass. Cadenza. R15,21.
Ft
Allegro MOderato/~/86 measures

Larghetto/ 3 /42 measures
4
Allegro MOderato/~/52 measures
Total:
180 measures
This was the Paris Conservatory contest piece for the

years 1898, 1918, and 1926
*RUEFF, Jeanine. (19227 min., 10 sec.
Cadenza.
.) .
Rh.a~sodie .
B,l to d~.
D8+.

Tenor & Bass.
Quasi Recitativo/g/23 meefures

Lento Expressivo/i,~,:/
Allegretto
Allegro
.J.=
SCherzando/~/:J.=
Energico/~,g/ ~ =
92/31 measures
66/110 measures
104/76 measures
Presto/~/44 measures
Total:
284 measures

*SAINT-SAENS, Camille. (1835-1921).
Durand & ClE, 1915. 5 min.
R32.
Cavatine~
Op. 144.
ApI to d;2.
D6.
Editions
Tenor & Bass.
147
3
A1legro/ 4 /70 measures

Andantino/t/52 measures
A1legro/~/98 measures
Total:
220 measures

*SALZEoO, Carlos. (1885-1961). Pieee Concertante~ Op. 27. Alphonse
Leduc/International Music Co., 1958/n.d. 6 min., 10 sec.
c to c 2 D7+. Tenor. Straight Mute. R17,32,34.
Largo/~/ ) = 96/34 measures

Piu ViVO/~/
168/40 measures
Molto Piu Lento/~/ .J = 168/28 measures
Piu Vivo/Z/ ~.= 72/72 measures
/%/ J.= 138/41 measures
J=
Total:
215 measures

This is one of the few compositions of Salzedo that does
not include a harp. The main theme, Largo is stated by
the trombone after a short piano introduction. Upon its
immediate return, the second measure of the theme undergoes a rhythmic variation which later becomes the
principal motive of the following Piu Vivo section. The
Piu Vivo ends abruptly and the opening section returns
MoZto Piu Lento, the trombone now muted. The second
Piu Vivo leads to a true virtuosic ending.
SCIORTINO, Patrice. (1922Billaudot. D5+.
Ergies (A Paraitre).
Editions
). Fantaisie Lyrique. Editions

*SELMER-COLLERY, Jules. (1902~
Max Eschig, 1960. 7 min. BpI to 01 2 D6. Tenor & Bass.
Robinson Mute. Cadenza.
Dedication:
Andre LaFosse.
Tempo Guisto
Tempo Piu Lento
Tempo Guisto
Vivo-Coda
148
The one-movement solo begins with a long unaccompanied
cadenza in a free, improvisatory style. The composer
has created themes that sound rhyt~~cally free and
improvisatory by mixing duple and triple rhythmic figures
together, and incorporating them with a smooth melodic
style.
SENON, Gilles.
(1932-
SENON, Gilles. (19322 min., 15 sec.
).
Ambiances.
Editions Billaudot.
D6+.
). Chevauahee. Editions Billaudot, 1977.

E to gl. D3+. Bass.
6 2 9 \
Allegretto/ 8 '4'8/ ~ = 104/73 measures
This short piece utilizes a mixture of quartal and triadic

harmonies. There are numerous passages of a fanfare-like
nature with a moderate amount of chromaticism and disjunct
intervals.
SENON, Gilles. (19322 min., 20 sec.
4 2
Andan:e/ 4 '4/
SENON. Gilles.
Rll.
~ =
(1932-
). MeZodie. Editions Billaudot, 1977.

G to apl. D3+. Bass.
66/39 measures
).
Friere.
Editions Billaudot.
D6+.
This work is unusual in that the accompaniment is written

for the organ, as opposed to the traditional piano
accompaniment.
SIGNARD, Pierre (ed.)/Gioacchino Rossini. (1829-1901).
Pharaon Dans "Moise". Millereau, ca. 1885.
Air de
This work is edited for use by the valve trombone.

*SPISAK, Michel. (1914-1965). Concertino. Alphonse Leduc, 1951.
10 min. BpI to d 2 D8+. Tenor & Bass. Straight Mute.
Cadenza.
Allegro MOderato/Z/ )
Andante
)=
TranqUillo/~/
Allegro MOderato/ZI
96-100
72
96-100
149
It is a one movement work structured into an ABA formal
pattern. The work begins with a fast section which
exploits the performer's tecr~ical facility. The B
section utilizes materials from the beginning, but
with a much slower smoother style. The fast A section
returns, and following a short coda, the solo ends.
The soloist can ease some of the difficulty of this
solo by using a trombone with an F attachment. The
orchestral accompaniment parts are available on rental
from Alphonse Leduc. The instrumentation of the
flute
oboe
clarinet
bassoon
horn
trumpet
tuba
two timpani
strings
*STOJOWSKI, Sigismond. (1869-1946). Fantaisie. Evette et Schaeffer/

International/Alphonse Leduc, 1905/1972/1953. 6 min.
Bb 1 to b~l. D7+. Tenor & Bass.
Allegro Risoluto Poco Maestoso/ 4 /25 measures
4
4 4
Tempo 1/4/62 measures
Total:
126 measures
This was the Paris Conservatory contest piece in 1905

and again in 1914.
TAMBA, Akira.
Fantaisie.
EZegie et
TISNE, Antoine. (1932).

D4+.
BurZesque~
Op. 32.
D3+.
*TOMASI, Henri. (1901-1971). Concerto. Alphonse Leduc, 1956.

14 min. F to d 2 D8+. Tenor & Bass. Straight/Cup Mutes.
Cadenza.
I.
Andante et Scherzo-Valse
Lento Assai Rubato/1l,~,~/
Allegro/f/
J.= 54/66 measures
= 80/4 measures
150
Tempo di
valse/~ / J.=
60/158 measures
_.= 54/5 measures
12 3 9 6 I
Tempo I / 8 '4'8'8/
o
Subtotal:
II.
233 measures
Nocturne
4 3 5 2
I
.
Andante/ 4 '4'4'4/ .. = 60/36 measures
Temp o di Blues/:,~,~/28 measures
4
Lent/ /
52/10 measures
4
J=
Subtotal:
III.
Tambour in
Allegro
GiOCOSO/:,~,~/
Total:
74 measures
= 144/161 measures
468 measures
This was the Paris Conservatory contest piece in 1956.

The work is in three movements, and reflects a strong
Impressionistic influence through its melodic and harmonic
organization. The first movement is composed in two
connected sections and is through-composed, except for a
five measure restatement of the opening theme at the end.
The second movement, with a slow tempo involving several
short sections, is in ternary form. A tempo di blues
section, similar to some of Gershwin's writing, appears
near the end of this movement. The third movement, in
a quasi-rondo form, consists of a fast movement in an
articulated style. The orchestral accompaniment parts
are available on rental from Alphonse Leduc. The
two
two
two
two
two
two
two
TO~SI,
flutes
oboes
clarinets
bassoons
horns
trumpets
timpani
percussion
celesta
vibraphone
xylophone
harp
strings
Henri. (1901-1971). Danse Saaree. Alphonse Leduc, 1960.

3 min. (11 min., 30 sec. total). G to apl. D5. Bass &
Treble.
151
J= 52/17
measures
J
Con Moto/ 4 '4'4'8/
60/16 measures
Tempo I (Lent)/t,~,~,~/ J= 52/9 measures
Lent/~,~,l/
4 2 3 3
Total:
42 measures
This work represents one part of a collection of pieces

entitled Cinq Danses Profanes et Sacrees (Five Secular and
Ritual Dances. The five pieces for examination and performance represent five levels of difficulty that correspond
to the five years of study, according to the programs of
the Paris Conservatory and High Schools of }1usic in France.
The solo for the trombone represents the third level:
I.
II.
III.
IV.
V.
Danse
Danse
Danse
Danse
Danse
Agreste (Rustic Dance) - for oboe

Profane (Secular Danae) - for horn in F
Sacree (Ritual Dance) - for trombone
Nuptiale (Bridal Dance) - for clarinet
Guerriere (War Dance) - for bassoon
Although the solo requires only a limited amount of technical

facility and range, a mature and sensitive musician is needed
for an effective performance of this piece. The orchestral
accompaniment parts are available on rental from Alphonse
Leduc. The'instrumentation of the accompaniment is as
follows:
piano
three timpani
percussion
strings (minimum of 6-5-4-3-3)
TOULON, Jacques. Collection Enfants - Decide.

Musicales, 1978.
Robert 14artin Editions
TOULON, Jacques. Collection Enfants - Enfant de Choeur.

Martin Editions Musicales, 1978.
TOULON,
~acques.
Collection Enfants - Gai.
Robert
Robert Martin Editions
Musicales, 1978.
TOULON, Jacques. Collection Enfants - Reveur.
Editions Musicales, 1978.
Robert Martin
152
TOULON, Jacques. CoZZeation Enfants - Triste.
Musicales, 1978.
Robert Martin Editions
*TOURNEMIRE, Charles. (1870-1939). Legende. Alphonse Leduc, 1920.

2 min. B~1 to c 2 D7+. Tenor & Bass. Straight Mute.
Lip Trills.
Dedication:
Henri Couillaud.
J= 54i12 measures
Assez Largement/ii
Retenez/i/ )
= 88/4 measures
Allegro Moderato/:/
Meno/:'
.1
= 108/12 measures
= 96/16 measures
Assez Lar%ement/:,~/
= 54/14 measures
Plus Vif/ /
= 80/12 measures
4
Total:
70 measures

TOURNIER, Franz. (1923). Aereme. Editions Rideau Rouge, 1968.
5 min., 15 sec. Al to c 2 Tenor & Bass. Cadenza.
Dedication:
Solo de Concours.
Con Espressione/ 6 / ."

,~= 126/47 measures
8
GiOCOSO/ /
= 100/136 measures
Total:
UGA, Pierre.
VACHEY, Henri.
Promenade.
TWo InterZudes.
WEINER, Stanley. (19251973. D7.
).
WURMSER, Lucien. (1877-1967).

1955. 3 min., 30 sec.
Dedication:
183 measures
D3+.

Phantasy~
Op. 42.
D4+.
Editions Billaudot,
BoZo de Concours.
G to fl.
D4.
Editions Andrieu,
Bass.
Fernand Anne, President Fon Stes }Ues de

Normandie.
153
4
Largement/ /16 measures
4
4
Andantino/i/23 measures
2

Total:
WURMSER, Lucien. (1877-1967).
1956. 2 min. F to F1
Dedication:
Tendres
D3.
85 measures
Me~odies.
Editions Andrieu,
Bass.
Andrien Maltete, President de la Federation

des Societies Musicales du Sud-Ouest.
A - Lent/ /24 measures

4
4
B - Andante/ /16 measures
4
Total:
VALLIER, Jacques. (1922). Aria.
2 min. F to gl. D4. Bass.
Dedication:
40 measures
Editions Rideau Rouge, 1969.
Gerard Pichaureau.
Andantino/~/ ~=
72-76/30 measures
Allegretto/Z/ ) = 96-100/41 measures

Total:
VALLIER, Jacques.
(1922-
).
71 measures
Fantaisie.
Editions Choudens.
*VIDAL, Paul. (1863-1931). So~o de Concert No.2. Girod/Alphonse

Leduc, ca. 1897/1921. 5 min., 30 sec. G to c 2 D7+.
Tenor & Bass.
Allegro/~/ ;
= 126
Andante/~/ J. =
56
Allegro MOderato/!/
J= 126

This is a one movement work which contains three connected
sec~ions, forming an ABA pattern.
Although the tempo
indications change at the section points, a cantabile style
remains constant through the entire solo. There are no
154
unusual rhythmic complexities, and the indicated tempi
create no unusual technical difficulties. The orchestral
Leduc. The instrumentation of the accompaniment is as
follows:
two
two
two,
two
flutes
oboes
clarinets
bassoon"s
tT"'o horns
two trumpets
two timpani
strings
VILLETTE, Pierre. Fantaisie Concertante. Alphonse Leduc, 1962.

5 min., 30 sec. G to c 2 D8+. Tenor & Bass. Straight
Mute. Cadenza.
Dedication:
Paul Bernard~ Professor at the Conservatoire

National Superieur de Musique.
Andante (Quasi Adagio)/:/
= 58-60/13 measures
4 3 2
Un Peu Plus Allant (Andante)/4'4'4/ ~= 63/20 measures

Plus Lent (AdagiO)/:,~/7 measures
Vivace/:,~,~/
= 126/24 measures
Cantando/~,~/7 measures
Andante (Quasi Adagio)/:/
Vivace/:/
.=
\
58-60/6 measures
J= 126-132/20 measures
Total:
140 measures

effectively on a tenor trombone. The solo, comprised of
several short, contrasting sections, falls into two large
parts, slow and fast. The slow section is completely in
legato and expressive style, while the fast section begins
and ends in a march-like manner. The orchestral accompaniment parts are available on rental from Alphonse Leduc.
The instrumentation of the accompaniment is as follows:
flute
obo2
clarinet
bassoon
horn
trumpet
percussion
harp
strings
155
*WEBER, Alain. 0930). Concerto. Alphonse Leduc, 1964/1968.
17 min. Btl to d2. D8+. Tenor & Bass. Straight Mute.
Flutter-Tonguing/Glissandi/Lip Trills.
I.
Allegro
II.
Lento
III.
Allegro
The first movement of this work, entitled AZZegro, was the

Paris Conservatory contest piece for 1964. This work
contains three movements, and shows characteristics which
are different from most twentieth-century solos of the
"French School". An atonal harmonic organization and a
melodic organization based on a major seventh and a
tritone are some of the characteristics. The orchestral
Leduc. The instrumentation of the accompaniment is as
follows:
two flutes (second doubling piccolo)
two oboes
two clarinets
two bassoons
contrabassoon
two horns
two trumpets
two trombones
tuba
percussion
strings
ZBAR, Michel. Contaats. Heugel et Cie, 1973. Varies. ~1 to :1.

Bass. Plunger Mute. Glissandi/Flutter-Tonguing/lndefiniLe
Pitch Placement.
.
Dedication:
Commissioned by the National School of Music

in Boulogne.
This work exists on a single enlarged page, 48 inches

long and 38 inches wide. The general compositional style
is in the new music idiom. Its appearance is much like
a road map in that frames, containing musical passages,
are reached by following various paths. At the top and
bottom of the score are staves which contain music with
which the piece may begin and end, with the boxes being
situated between the two.
156
Discography
The procedure for the completion of this portion of the
project began with the compilation of a list of the author's own records
and of records available within local libraries in order to establish
what information should
b~
included in the listing of the recordings.
Also consulted was the dissertation of Edward R. Bahr entitled

A Discography of Classical Trombone/Euphonium Solo and Ensemble Music
on Long-Playing Records Distributed in the United States. completed at
the University of Oklahoma in 1980.
Specific elements necessary to
make this discography as complete as possible. and also usable to the

trombonist had to be determined.
The data pertinent to this discog-
raphy include:
1) Album Title
Example: Le Trombone Francais
2) Primary Performer
Exaruple; Barron. Ronald
3) Other Personnel
Example: Fredrik Wanger, piano
4) Physical Description--Number of Sides, Record Size.
Mono/Stereo/Quadraphonic
Example: 2s-12" stereo
5) Playing Speed
Example: 33-1/3 rpm
6) Manufacturer's Name
Example: Boston Brass
7) Issue Number
Example: BB 1001
8) Composer
Example:
Boutry. Roger
9) Composition Title
Example: Cappriaio for Trombone and Piano
157
It is important that the discography "indicates, identifies
and organizes,,119 the information in the clearest possible way.
Unfortunately, since the initial production of long-playing records,
record companies have not been required to publish the date of recording
or date of release.
Because these can easily differ to a degree and
in most instances are not obtainable, this information is not included

in the listings in this discography.
It should be noted that the
playing speed is not going to be specified since each listing is a

33-1/3 rpm long-playing record.
Since recordings by individual performers or ensembles are
often anthologies containing compositions by several different composers, the main listing of this discography occurs in alphabetical
order according to the album title.
The performer's or ensemble's name,
other soloists or ensembles, the accompanist's name or the name of

the accompanying ensemble, the ensemble conductor's name, and the
number of sides, record size, record label and number, and mono,
stereo, or quadrophonic designation are followed by the composer's
name and the title of the composition recorded.
In listings of
recordings by trombone ensembles, performers within the ensembles

are listed according to the first trombone player's name when
specified and listed alphabetically when not specified.
For clarity
and consistency each of the main entries is assembled in the following

structure: 120
119 Ba h r, p. 20.
120Ba h r, pp. 21-22.
158
Album title
Soloist's name/instrument(s)
Additional soloist's name/instrument(s)
Soloist(s) on other instruments
Accompanist (s)/instrument(s)
Conductor
(Commentary)
Ensemble title
Ensemble players' names/instrument(s)
Ensemble(s) of other instrumentation
Accompanist (s)/instrument (s)
Conductor
(Commentary)
Number of sides/record size/record label(s)/record number(s)/
mono-stereo-quadrophonic
Composer/arranger:
Composition title
**for compositions for other instruments or voice

(solo or ensemble)
The follovling is an example of a recording listed in this
structure:
Music for Trombone and Piano--}linus One--Laureate
Series Contest Solos--P~vanced Level
Friedman, Jay,. trombone
Harriet Wingreen, piano
2s-12" Husic i-linus One ~10 8058, stereo
Corelli, Arcangelo/Allen Ostrander: "Sonata in G minoT'~
Op. 5~ No. 5 from the Twelve Sonatas for Violin
and Basso continuo--second movement - "Adagio",
third movement - "Allegro"
Nux, P. V. de la: Solo de ConaoUT'S for Trombone and Piano
Rousseau, Samuel: Piece Conaertante for Trombone and Piano
159
Recordings
1.
Christer Torge - Trombone

Torge, Christer, trombone
Hans Fagius, organ
2s-12" BIS LP 138, stereo
Vivaldi: Sonata No. 1 for Trombone and Basso Continuo
C. M. von Weber: Romanze Appassionata
Guide, Richard de: Les Caracteres du Trombone
Nilsson, Thursten: Concertino per Trombone ed Organa
2.
College Band Directors National Association - Fifteenth

National Conference - 1969
Young, Raymond G., euphonium
The University of Southern l1ississippi Symphonic
Band
Marian Nowakowski, bass soloist
Alan H. Drake, conductor
2s-12" Silver Crest Records CBD-69-4, stereo
Barat, J./Joe Berryman: Piece en Mi Bemot for Tenor
Trombone
**Gossec, Fran~ois Joseph: Ctassic OVerture in C major
**Hanson, Howard/Norman Goldberg: Symphony No. 2~ Op. 30~
"Romantic" - second movement
**Mozart, Wolfgang Amadeus/Alan H. Drake: "In deisen heil'
gen Hallen" from The Magic FZute~ K. 620
**Mussorgsky, Modest/Erik Leidzen: "Coronation Scene" from
Boris Godunav
**Tubb, Monte: Concert Pieces for Band
**White, Donald: Ambrosian Hwrm Variants
3.
Concert Works and Orchestral Excerpts from Wagner, Berlioz,

}1ahler and more!
Chicago Symphony Trombone and Tuba Sections, The
Friedman, Jay, solo trombone, tenor tuba
Gilbertson, James, assistant first trombone
Crisafulli, Frank, second trombone
Kleinhammer, Edward, bass trombone
Jacobs, Arnold, tuba
2s-12" Educational Brass Recordings EBR 1000, stereo
Berlioz, Hector:
"Rakoczy (Hungarian) March" from the
Damnation of Faust~ Gp. 24 (excerpt)

Bozza, Eugene: Trois Pi~ces for Trombone Quartet
Brahms, Johannes/Richard Fote: ChoraZe PreZude~ Gp.
No.8, "Es ist ein Ros' entsprungen"
Bruckner, Anton: Symphony No. 4 in E-fZat major,
"Romantic" (excerpts from first movement)
122~
160
Bruckner, Anton: Symphony No. 8 in C minor (excerpts
from fourth movement)
Gliete, Reinhold: Symphony No. :5~ Op. 42, "Ilya Mourometz"
(excerpts from first movement)
Holst, Gustav: "Mars" from The PZanets (excerpt including
tenor tuba)
Kraines: Cho!'aZe Va!'iations, "Jesu meine Freude"
Mahler, Gustav: Symphony No.2 in C mirza!', "Resurrection"
(excerpt from fifth movement)
}Iahler, Gustav: Symphony No. :5 in D mino!' (excerpt from
first movement)
Smetana, Bedrich: "Moldau" from
VZast (excerpt)
Tchaikovsky, Peter Ilyitch: 1812 OVe!'ture~ Op. 49 (excerpt)
Tchaikovsky, Peter Ilyitch: Symphony No. 6 in B minor~
Op. 74, "Pathetique" (excerpt from fourth movement)
Tomasi, Henri: Et!'e OU ne pas Et!'e! (Monologue D'Hamlet)
for Bass Trombone and Three Trombones (tuba and
three trombones)
Verdi, Giuseppe: Nabucao OVe!'tura (excerpt)
Wagner, Richard: "Magic Fire }lusic" from Die WaZku.re
(excerpt)
Wagner, Richard: "Prelude to Act III" of Lohengz'in (excerpt)
Wagner, Richard: "Ride of the Valkyries" from Die WaZku.re
(excerpt)
Wagner, Richard: Tannhauser OVe!'ture (excerpt)
Wagner, Richard: "Wotan's Farewell" from Die WaZkUre
(excerpt)
Ma
4.
Concertos, Volume II
Rosin, Armin, trombone
Weiner Kammerorchester
Philippe Entremont, director
25-12" Telefunken 6.42532AW, stereo
Mozart: Conae!'to fo!' Trombone and O:r>ahestra in D
Gouinguene: Conae!'to fo!' Teno!' T!'ombone and St!'ings in A
Haydn: Conae!'to fo!' AZto T!'ombone and O:r>ahest!'a in D;
Larghetto in F
5.
Deutsche Posaunenkonzerte der Romantick

Nuremburg Symphony
Uri Segal, conductor
2s-12" Colosseum SM 559, stereo
David, Ferdinand: Conae!'tino in E-fZat majo!'~ Op. 4 for
Trombone and Orchestra
Grafe, Friedebald: G!'and Conae!'to in B-fZat majo!' for
161
Reiche, Eugen: Conaerto No. 2 in A major for Trombone and
Orchestra--second movement - "Adagio"
Sachze, Ernst: Concertino in B-fZat major for Trombone
and Orchestra
6.
Donald Knaub - Bass Trombone

Knaub, Donald, bass trombone
Barry Snyder, piano
2s-12" Golden Crest Records Recital Series RE 7070, stereo
Bach, Johann Sebastian/piano arrangement by Snyder:
"Gute Nacht, du Weltgetummel" from Cantata No. 27~
Wer weiss~ wie nahe mir sen Ende, BWV 27
"H5llische Schlange, wird dir nicht bange?" from
Cantata No.
40~
Dazu ist ersahienen der Sohn
GOttes~
BWV 40
"~Ierke, mein Herze, bestandig nur dies" from
Cantata No. 145~ So du mit deinen Nunde bekennest

Jesun, BWV 145
Bach, Johann Sebastian/Robert YJarstaller: "Sarabande"
from Suite No. IV in E-fZat major for VioZonaeZZo,
BWV 1010
Defay, Jean-Michel/Donald Knaub: Deux Danses for Trombone
and Piano ("Danse Saaree et Danse Profane")

Clark: "Sonata No. I" from
Galliard, Johann Ernst/John

Six Sonatas for the
a thorough-bass for
White, Donald: Tetra Ergon
and piano)
7.
Bassoon or Violoncello with

the Harpsichord
(four pieces for bass trombone
Euphonium Recital
Young, Raymond G., euphonium
.
Mrs. Raymond Young, piano
2s-12" Raymond G. Young--Personally released recording
Century 17647 (?), stereo
Barat, J. Ed.: Introduation et Danse
Barat, J. Ed.: Andante et Saherzo
Cords, G.: Rom.znze
Nux, P. V. de la: SoZo de Concours for Trombone and Piano
Ropartz, Joseph Guy: Andante and AZZegro
Rossini, Gioacchino/anonymous: "Largo al Factotum" from
The Barber of SeviZZe

Noaturne and RondoZette
Shepherd, W.:
162
8.
Euphonium Solos
Dart, Fred M., euphonium
Gertrude Kuehefuhs, piano
OMEA Contest List Recordings
2s-l2" Coronet Recording Company COR 1054
(SR4M-7275/7276), mono
Bakaleinikoff, Vladimir: Meditation
Cords: Concert Fantasie
Guilmant, Alexandre: Morceau Symphonique 3 Op. 88 for
Trombone and Piano
Haydn, Franz Joseph/anonymous: "Adagio" from Concerto
No. 2 in D major3 Op. 101, for Cello and Orchestra
Klengel, Julius: Concertino No. 1
Rossini, Gioacchino/anonymous: "Largo al Factotum" from
The Barber of SeviZZe

Semler-Collery, Jules: BarcaroZZe et Chanson Bachique
for Bass Trombone and Piano
Takacs, J.: Sonata
9.
First Choir Encores, Volume 1

Smith, Henry Charles, trombone
Philadelphia Orchestra
Gilbert Johnson, trumpet
Mason Jones, horn
Anshel Brusilov, violin
Carlton Cooley, viola
Lorne Munroe, cello
Roger Scott, bass
Eugene Ormandy, conductor
2s-12" Columbia ML 6191, mono
Columbia MS 6791, stereo
**Cooley, Carlton: ~Aria and Dance for Viola and Orchestra
**Faure, .Gabriel: EZegie 3 Op. 24, for Cello and Orchestra
Guilmant, Alexandre: Morceau Symphonique 3 Op. 88 for
**Riisager, Knudage: Concertino 3 Op. 29 for Trumpet and
Orchestra
**Saint-Saens, Camille: Morceau de Concert 3 Op. 94 for Horn
and Orchestra
**Sarasate, Pablo de: Introduction and TaranteZZe 3 Op. 43
for Violin and Orchestra
**Vanhal, Jan Baptist/Roger Scott/William Smitb: Concerto in
E major for Bass and Orchestra--first movement "Allegro Moderato"
163
10.
Frank Martin
Chamber Orchestra of Lausanne
Christiane Jaccottet, harpsichord
Sebastian Benda, piano
Frank Martin, conductor
2s-12" Candide CE 31065, stereo
Frank: EaZZade for Piano and Orchestra (1939)
Martin, Frank: EaZZade for Trombone and Orchestra (1940)
**Martin, Frank: Concerto for Harpsichord and Small Orchestra
(1951/1952)
**~~rtin,
11.
Jean Douay, Trombone et Orgue

Douay, Jean, trombone
Chalo Saint-Mars, organ
2s-12" Corelia CC78030, stereo
Bach, J. S.: Erba:rm Dich, Herre Gott
Cesare, Giovanni Martino: La Hieronyma
Gouinguene, Christian: Concerto
Senon, Gilles: Priere
Shostakovich, Dimitri: Three PreZudes
Vivaldi, Antonio: Sonata in E minor
12.
John Kitzman, Trombone

Kitzman, John, trombone
Janice Kay .Hodges, piano
2s-12" Crystal Records S386, stereo
Creston, Paul: Fantasy
Defaye, Jean-Michel: Deux Danses
Hindemith, Paul: So'nata
Pryor, Arthur: Air Varie
13.
Leonard Falcone and His Baritone

Falcone, Leonard, euphonium
Joseph Evans, piano
2s-12" Golden Crest Records Recital Series RE 7001, mono
Bach, Johann Sebastian:
"Bourree I" and "Bourree II" from
Suite No. III in C major for Violoncello, BWV 1009

Clarke, Herbert L.: From the Shores of the Mighty Pacific
DeLuca, Joseph: EeautifuZ CoZorado
Guilmant, Alexandre: Morceau Symphonique, Gp. 88 for
Trombone and Piano
Ponce, Manuel: EstreZZita
a~y
LittZe Star)
164
Ravel, Maurice/anonymous: Piece en Forme de Habanera
Senaille, J. B.: AZZegro Spiritoso
Simons, Gardell: AtZantic Zephyrs
14.
Leonard Falcone, Baritone, Volume III

Falcone, Leonard, euphonium
Joseph Evans, piano
Barat, J. Ed.: Andante et AZZegro for Trombone and Piano
Bellstadt, Herman: Napoli
Cools, Eugene: AZZegro de Concert
DeLuca, Joseph: SentimentaZe (Danse Caprice)
Donizetti, Gaetano/Russel Harvey: "Furtiva Lagrima Una"
from Act II of L'EZisir d'Amore
Haydn, Franz Joseph/Davis Shuman: "Adagio" from Concerto
No. 2 in D major~ Gp. 101 for Cello and Orchestra
Llwellyn, Edward: My Rega:1'ds
Nux, P. V. de la: SoZo de ConcOU'1'S for Trombone and Piano
15.
Lyric Trombone, The

Cryder, Richard L., trombone
Jane Cryder, piano
2s-12" Richard L. Cryder--Lawrence, Kansas/Potsdam, New
York LT 1001, stereo
Barat, J. Ed.: Andante et AZZegro for Trombone and Piano
Blazhevich, Vladislav: Concert Sketch No. 5 for Trombone
and Piano
Guilmant, Alexandre: Morceau Symphonique ~ Op. 88 for
Trombone and Piano
Hasse, Johann Adolph/Richard L. Cryder: "Ballamente" from
SoZfeggi per Mezzo Soprano deZZa ScuoZa CZassica

NapoZetana
Marchesi, Mathilda/Richard L. Cryder:
P'1'aaticaZ
"Mestizia, La" from
Pa'1't III
Piece en fa mineur for Trombone and Piano
Method~
Morel, Florentin:
Porpora, Nicola/Richard L. Cryder:
"Agilmente" from
SoZfeggi per Mezzo Soprano deZZa SauoZa CZassica

NapoZetana
Rousseau, Samuel: Piece Conaertante for Trombone and Piano
165
16.
H1dwest National Band and Orchestral Clinic - 1972

Peterson, }lichael, trombone
Elbow Lake-Wendell High School Band, Elbow Lake,
!olinnesota
Justin Swenson, comments
James D. Ployhar, Justin Swenson, Theodore W.
Thorson, guest conductors; Gordon
Peterson, conductor
4s-12" Silver Crest Records MID-72-9, stereo/quadrophonic
**Booth, H. L./Edgar Thiessen: Rambler Concert Marah3 The
**Cacavas, John: Court of Henry VIII3 OVerture
**Conley, Lloyd: FroehZiahe Weihnaahten
**Dello Joio, Norman: Variants on a Medieval Tune
**Elvey, George/Wayne Stevens: Crown Him With Many crowns
Guilmant, Alexandre/Shepard: Moraeau Symphonique 3 Op. 88
for Trombone and Band
**Hubbell, Fred M.: Marah3 BaZZad and Beguine
**}Iorrissey, John J.: OVerture AZZegro
**Ployhar, James D.: Glorious Things of Thee are Spoken
**Saint-Saens, Camille/Arthur Frackenpohl: Pas Redouble 3
Op. 86
**Smith, John Stafford: National Anthem - The Star
Spangled Banner
DutY3 Honor3 Country
**Walters, Harold L.:

17.
M1les Anderson Plays His Slide Trombone Again

Anderson, }liles, trombone
Uriko Baley, piano
Los Angeles Trombone Ensemble
Cinq Pieaes a Quatre PoW' Quator de

Trombones (1961)
Casterede, Jacques: Sonatine Pour Trombone et Piano (1958)
Chaynes, Charles: Impulsions Pour Trombone et Piano (1971)
Defaye, Jean-Michel: Deux Danses PoW' Trombone (1954)
Salzedo, Carlos: Pieae Concertante Pour Trombone et
Piano (1958)
Boutry, Roger:
18.
M11haud - The Four Seasons

Suzan, Maurice, trombone
Ensemble of the Concerts Lamoureux
Jacqueline Bonneau, piano
Joy Genevieve, piano
Szymon Goldberg, violin
Ernst Wallfisch, viola
Darius Milhaud, conductor
166
2s-12 11 Epic LC 3666, mono
Epic BC 1069, stereo
Philips 6504-111, stereo
**Milhaud, Darius: "Concertino
and Ensemble of Eight
Ensemble of Nine from
Milhaud, Darius: "Concertino
String Orchestra from
and Chamber Orchestra
19.
d'Automne" for Two Pianos

from Les Quatre Saisons
d'Ete" for Solo Viola and
Les Quatre Saisons

d'Hiver" for Trombone and
Les Quatre Saisons

de Printemps" for Violin
from Les Quatre Saisons
Music for Trombone and Piano--Music Minus One--Leureate Series

Contest Solos--Advanced Level
Brown, Keith, trombone
2s-12" }lusic 11inus One }1H0 8055, stereo
Galliard, Johann Ernest/Keith Brown: "Sonata No. I" from
Six Sonatas for the Bassoon and Violoncello with
a thorough-bass for the Harpsichord
Guilmant, Alexandre: Moraeau Symphonique~ Op. 88 for
Trombone and Piano
Porret, Julien: Esquisse No.1
Porret, Julien: Esquisse No. 2
Watson, Walter: Sonatina for Trombone and Piano--second
movement - "Adagio", first movement - "Allegro"
20.
Music for Trombone and Piano--Music Minus One--Laureate Series

Brown, Keith, trombone
2s-12" Music Minus One NMO 8057, stereo
Corelli, Arcangelo/William Gibson: "Sonata in E minor~
Op. 5~ No. 8 from the Twelve Sonatas for Violin
and Basso continuo (D minor in trombone arrangement)--third movement - "Sarabanda", fourth
movement - "Giga"
Croce-Spinelli, B.: SoZo deConaours for Trombone and Piano
Davison, John: Sonata for Trombone and Piano--first
movement - "Fantasia", second movement - "After An
English Folk Song"
Mozart, Wolfgang Amadeus/Allen Ostrander: Conaerto in
B-j1at major for Bassoon and Orchestra, K. 191-third movement - "Rondo"
167
21.
Music for Trombone and Piano--Music ~linus One--Laureate Series

Friedman, Jay, trombone
2s-12" }iusic Minus One MMO 8058, stereo
Corelli, Arcangelo/Allen Ostrander: "Sonata" in G minor~
Gp. 5~ No. 5 from the Twelve Sonatas for Violin
and Basso continuo--second movement - "Adagio",
third movement - "Allegro"
Nux, P. V. de la: SoZo de Concours for Trombone and Piano
Rousseau, Samuel: Piece Concertante for Trombone and Piano
22.
Music for Trombone and Piano--Music Minus One--Laureate Series

Brevig, Per, trombone
Judith Olson, piano
2s-12" Husic Minus One ~IO 8059, stereo
Barat, J. Ed.: Andante et Allegro for Trombone and Piano
Handel, George Frideric/Marsteller: Concerto in F minor
for Trombone and Piano--first movement - "Grave",
second movement - "Allegro" (Concerto No. 3 in
G minor for Oboe and String Orchestra)
Whear, Paul W.: Sonata for Trombone and Piano--third
movement - "Rather Fast"
White, Donald: Sonata for Trombone and Piano--first
movement - "Allegro"
23.
(no title)
Venglovsky, Victor, trombone
Leningrad Chamber Orchestra
Dmitri Bida, flute
Lev Pechersky, bassoon
Lazar Gozman, conductor
2s-12" Westminster Gold WGS 8336, stereo
Milhaud, Darius: "Concertino d'Hiver" for Trombone and
String Orchestra from Les Quatre Saisons
**}iozart, Wolfgang Amadeus: Concerto No. 2 in D major for
Flute and Orchestra, K. 314
**Villa-Lobos, Reitor: Dance of Seven Notes for Bassoon
and Chamber Orchestra
168
24.
(no title)
Shuman, Davis, trombone
WQXR Strings
Leonid Hambro, piano
2s-12" Golden Crest Record.s Recital Series RE 7011, stereo
Goeb, Roger: Concertino for Trombone and Strings (1950)
Hindemith, Paul: Sonata for Trombone and Piano (1941)
Martin, Frank: Ballade for Trombone and Piano (1940)
25.
Ralph Sauer Plays Music for Trombone by Milhaud, Persichetti,

Bassett and Pergolesi.
Sauer, Ralph, trombone
Alan de Veritch, viola
Ronald Leonard, cello
Paul Pitman, piano
Bassett, Leslie: Suite for Unaccompanied Trombone
Milhaud, Darius: "Concertino d'Hiver" for Trombone and
Piano from Les Quatre Saisons
Pergolesi, Giovanni Battista/Ralph Sauer: Sinfonia in F
major for Cello (trombone) and continuo
Persichetti, Vincent: Serenade No. 63 Op. 44 for
Trombone, Viola, and Cello
26.
Raymond G. Young, Baritone Horn

Young, Raymond G. euphonia~
Tom Fraschillo, piano
Barat, J. Ed.: Andante et Allegro for Trombone and Piano
Beach, B.: Suite for Baritone Horn and Piano
Gover, A. E.: Three Short Pieces for Baritone Horn and Piano
Hutchison, W.: Sonatina for Baritone Horn and Piano
Martin, David: Suite fer Euphonium and Piano
}furel, Florentin: Piece en fa Mineur for Trombone and Piano
27.
Recital for Trombone, A

Gillespie, Robert, trombone
Jadith Olson, piano
2s-12" MACE MCS 9112, stereo
Bernstein, Leonard: Elegy for Mippy II for Trombone alone
Casterede, Jacques: Sonatine for Trombone and Piano
Handel, George Frideric/Keith Brown: Concerto in F minor
for Trombone and Piano (Concerto No. 3 in G minor
for Oboe and String Orchestra)
169
28.
Recital Music for Trombone

Fote, Richard, trombone
Brian Dykstra, piano
Gail Davis Fote, piano
2s-12" Mark Educational Recordings, Inc./Mark Custom
Records MRS 28250, stereo
Bach, Johann Sebastian/Richard "Fote: "Air" from OVertUl'e
(Suite) No. 3 in D major for Orchestra, BWV 1068
Barat, J. Ed.: Andante et AZZeg!'o for Trombone and Piano
Guilmant, Alexandre: Moraeau Symphonique~ Op. 88 for
Trombone and Piano
Marcello, Benedetto/Richard Fote: Sonata No. III in A
minor for Cello and Basso continuo
29.
Spotlight on Brass
Orosz, Josef, alto, tenor, bass trombone, baritone horn,
euphonium
Notes by R. D. Darrell
Illustrated booklet by R. D. Darrell
Produced by Ward Botsford
(This album also contains a similar demonstration
of other brass instruments such as serpent, cornett,
horn, trumpet, cornet and tuba.)
2s-12" Vox DL 300, mono
Demonstration of scales (baritone and euphonium)
Demonstration of scales and glissando (alto, tenor, and
bass trombone)
Anonymous/Paul Delisse: TyroZean Air (tenor trombone,
open and muted)
Mussorgsky, Modest/Maurice Ravel: "Bydlo" from PiatUl'es
at an Exhibition (euphonium)
Rimsky-Korsakov, Nikolai: Conaerto for Trombone and Band
(excerpt for tenor trombone from third movement
cadenza)
Schumann, Robert: Symphony No.3 in E-fZat major~ Op. 97,
"Rhenish" (excerpt for alto trombone from fourth
movement)
Strauss, Richard: Don Quixote~ Op. 35 (excerpts for baritone
horn from Introduction and main Sancho Panza theme)
~\Tagner, Richard:
"Siegfried r s Rhine-Journey" from Die
GOtterdammerung (excerpt for bass trombone)
170
30.
Spotlight on Winds and Brass

Orosz, Josef, alto, tenor, bass trombone, baritone horn,
euphonium
Notes by R. D. Darrell
Illustrated booklet by R. D. Darrell
Produced by Ward Botsford
(This album also contains a similar demonstration
of historical and recent wind instruments and
other brass instruments.)
6s-12" Vox PLS 2, mono
Demonstration of scales (baritone and euphonium)
Demonstration of scales and glissando (alto, tenor, and
bass trombone)
Anonymous/Paul Delisse: TyroZean Air (tenor trombone, open
and muted)
Mussorgsky, Modest/}faurice Ravel: "Bydlo" from Piatwoes
at an Exhibition (euphonium)
Rimsky-Korsakov, Nikolai: Conaerto for Trombone and Band
(excerpt for tenor trombone from third movement
cadenza)
Schumann, Robert: Symphony No. 3 in E-fZat major3 Op. 97,
"Rhenish" (excerpt for alto trombone from
fourth movement)
Strauss~ Richard:
Don Quixote 3 Op. 35 (excerpts for
baritone horn from Introduction and main Sancho
Panza theme)
Wagner, Richard: "Siegfried's Rhine-Journey" from Die
Gotterdammerung (excerpt for bass trombone)
31.
Trombone Extraordinaire
Ensemble de Trombones de Paris
Becquet, Michel, trombone
Demarle, Yves, trombone
Fourquet, Jacques, trombone
}fanfrin, Alain, trombone
Milliere, Gilles, trombone
Destanque, Guy, trombone
Cerero, Maurice, trombone
Chamber Orchestra
Bernard Thomas, director
2s-12" Symphony Land SLC 181, stereo
Nilovic, Janko: Conaerto for Trombone and Orchestra
Delerue, George: MadrigaZ for Trombone Sextet
Defaye, Jean-Michel: FZuatuations for Trombone. Six
Trombones and Two Percussion
171
32.
Trombone Francais, Le
Barron, Ronald, trombone
Fredrik, Wanger, piano
2s-12" Boston Brass BB 1001, stereo
Berghmans, Jose: "Femme

Barbe, La", for Trombone and
Piano, No. 4 of the Tableaux Forains
Boutry, Roger: Capriccio for Trombone and Piano
Defay, Jean-Michel: Deux Danses for Trombone and Piano
("Danse Sacree et Danse Profane")
Guilmant, Alexandre: Morceau Symphonique~ Op. 88 for
Trombone and Piano
Ropartz, Joseph Guy: Piece en mi bemol mineur for Trombone
and Piano
Saint-Saens, Camille: Cavatina~ Op. 144 for Trombone and
Piano
Salzedo, Carlos: Piece Concertante~ Op. 27 for Trombone
and Piano
33.
Trombone Solos
Raph, Alan, bass trombone
R. Byron Griest, piano
2s-12': Coronet Recording Company COR 1407
(W4RS-3107/3108), stereo
Bach, Johann Sebastian/R. Bernard Fitzgerald: "Bist du bei
mir", Aria from the Anna Magdalena Bach Notebook,
BYV' 508
Bavicchi, John: Three Preludes for Trombone unaccompanied
Bernstein, Leonard: Elegy for Mippy II for Trombone alone
Bigot, Eugene: Impromptu for Trombone and Piano
Bordogni, Marco/Rochut: Melodious Etude No. 85 from Vocalises
for Voice and'Piano
Gliere , Reinhold/Alan Raph: !'Russian Sailor's Dance" from
The Red Poppy ~ Op. 70

Mellers, W.: GalZaird for Trombone and Piano
Mozart, Wolfgang Amadeus/Alan Raph: "Holle Rache kocht
in meines Herzen, Der," from The Magic FZute~ K.. 620
Raph, Alan: Caprice for Trombone unaccompanied
Vivaldi, Antonio/Allen Ostrander: Concerto in A minor
for Bassoon
34.
Trombone Solos
Shepherd, William, trombone
Lima, Ohio, Symphony Orchestra
J. Firszt, conductor
2s-12" Coronet Recording Company COR 3001, stereo
172
Anonymous/ J. Firszt: Londonderry Air
Bozza, Eugene: Ballade, ope 62 for Trombone and Orchestra
Larsson, Lars-Erik: Concertirw, ope 45, No. 7 for
Trombone and String Orchestra
Parrott, Ian: Concerto for Trombone and Wind Band
Salzedo, Carlos/anonymous: Piece Concertante, Op. 27 for
Trombone and Piano (Orchestra)
35.
Trombone, Volume I (Demonstrating Selmer Trombones), The

Masson, Gabriel, trombone
Serge Baudo, piano
Louis Dillies, piano
Jean-Michel Defay, piano
Quatuor de Trombones de Paris
Masson, Gabriel, first trombone
Galliegues, Marcel, second trombone
Gosset, Andre, third trombone
Allain, Rene, fourth trombone
2s-10" London LS 989, mono
Baudo, Serge: Petite Suite pour Trombone
Dondeyne, Desire: Quatuor de Trombones
Massis, Amable: Suite pour Quatre Trombones
36.
Virtuoso Trombonist, The

Smith, Dennis, trombone
Western Washington State College Wind Ensemble
Martha Goldstein, organ
William Cole, conductor
2s-12" Pandora Records PAN 2001, stereo
Bozza, Eugene/E. L. Barrow: Ballade, Op. 62 for Trombone
and Orchestra (transcribed for band)
Mahler, Gustav/Allen Ostrander: Symphony No. 3 in D minor
--trombone solo from first movement (trombone and
organ)
Michalsky, Donal: Concerto in Re for Trombone and Band
Pryor, Arthur: Blue Bells of Scotland
Simons, Gardell: Atlantic Zephyrs
173
The following entries in the discography are by trombone
ensembles made up of or under the direction of French trombonists.
1.
Baroque Dances and Diversions

Gabriel Masson Trombone Quartet
Armand Birbaum Brass Ensemble
Jean Pierre Rampal, flute
Maurice Andre, trumpet
Marcel Lagorce, trumpet
Armand Birbaum, conductor
2s-12" Mercury MG 50404, mono
Mercury SR 90404, stereo
**Albinoni, Tomaso/anonymous:
"Sonata in A major" from
Concerto "Saint Marc" for Violin and Strings

(solo trUmpet-and clarinet sextet)
**Albinoni, Tomaso/anonymous: "Suite in A major" from a
Sonata da Camer~ (brass ensemble)
**Clarke, Jeremiah/anonymous: Trumpet VoZuntary - "The
Prince of Denmark's March" (brass ensemble)
**Corelli, Arcangelo/anonymous: "Suite of Dances" from
Sonata 3 Gp. 43 No. 2 (two movements) and
(three movements) (brass ensemble)
Purcell, Henry/anonymous: "Hornpipe" from King Arthur
(No. 18) (1691) (trombone quartet)
**Purcell, Henry/anonymous: Trumpet Tunes--"~.artial Air
- Cebell - Martial Air" (brass ensemble)
**Sweelinck, Jan Piet-erszoon: Variations on "Mein junges
Leben hat ein End" (flute and strings)
**Telemann, Georg Philipp/anonymous: Divertissement in D
major for Two Trumpets and Strings
Vivaldi, Antonio/anonymous: "Suite ll from a Sonata da
Camera (trombone quartet)
2.
L'Ensemble de Trombones de Paris

L'Ensemble de Trombones de Paris
Becquet, Michel, trombone
Demarle, Yves, trombone
Milliere, Gilles, trombone
Fourquet, Jacky, trombone
Guigou, Yves, trombone
Manfrin, Alain, trombone
Verstraete, Charly, trombone
Arbion, Guy, bass trombone
Cevrero, Maurice, bass trombone
Destanque, Guy, bass trombone
Vincent Bauer, percussion
Marc Barcovitz, percussion
174
Gregory Czerkinsky, percussion
Didier Lamare, percussion
Janko Nilovic, conductor
Nilovic, Janko: DoubZe Concepto - Musique pour Sept Trombones
Nilovic, Janko: Suite BaZkanique for Seven Trombones and
Four Percussion
3.
Musiques Baroques
Gabriel Masson Trombone Quartet
Armand Birbaum Brass Ensemble
Jean Pierre Rampal, flute
Maurice Andre, trumpet
Marcel Lagorce, trumpet
Armand Birbaum, conductor
2s-12" Fontana 698509., mone
Fontana 875502, stereo
**Albinoni, Tomaso/anonymous:
"Sonata in A major" from
Conaepto "Saint MaPa" for Violin and Strings

(solo trumpet and clarinet sextet)
**Albinoni, Tomaso/anonymous: "Suite in A major" from
a Sonata da Camepa (brass ensemble)
**Clarke, Jeremiah/anonymous: TT'W7Ipet VoZuntaPY - "The
Prince of Denmark's March" (brass ensemble)
**Corelli, Arcangelo/anonymous: "Suite of Dances" from
Sonata~ Op. 4~ No. 2 (two movements) and Sonata
Op. 4~ No . .4 (three movements) (brass ensemble)
Purcell, Henry/anonymous: "Hornpipe" from King A1>t'hur
(No. 18) (1691) (trombone quartet)
**Purcell, Henry/anonymous: TT'W7Ipet Tunes--"~1artial Air
Cebell - ..artial Air" (brass ensemble)
**Sweelinck, Jan Pieterszoon: VaPiations on "Mein jungesLeben hat ein End" (flute and strings)
**Telemann, Georg Philipp/anonymous: Divertissement in D
major for Two Trumpets and Strings
Vivaldi, Antonio/anonymous: "Suite" from a Sonata da
Camepa (trombone quartet)
4.
Renaissance Music for Brass

Brass Ensemble under the direction of Gabriel Masson
Anonymous, trombones
Gabriel }1asson, conductor
2s-12" Nonesuch H-1l11, mono
Nonesuch H-71111, stereo
175
**Adson, John/anonymous: COUI'tZy Masquing Ayre No. 1 for
Cornetts and Sackbuts (1611)
**Attaingnant, Pierre/anonymous: GaZZiarde (brass ensemble)
Attaingnant, Pierre/anonymous: GaZZiarde (trombone ensemble)
**Banchieri, Adriano/anonymous: Fantasia prima
**Banchieri, Adriano/anonymous: Fantasia sesta in eao
movendo un registro
**Banchieri, Adriano/anonymous:
Fantasia undeaima in
diaZogo
**Banchieri, Adriano/anonymous:
Fantasia vigesima prima
"Intraia II" from 'Neue

MUsiaaZisahe Intraden (1608)
**Frescobaldi, Girolamo/anonymous: Canzon IV in G minor (1628)
**Franck, Helchior/anonymous:
**Gabrieli, Andrea/anonymous: "Ricercar del duodecimi to:1i"

from MadrigaZi e Riaeraari a quattro voai (1589)
**Gabrieli, Giovanni/anonymous: Canzor~ Prima a Quattro~
"La Spiri tat a "
**Scheidemann, Heinrich/anonymous: "Canzona" in F major

(1657) from Luneberg organ tablatura
**Scheidemann, Heinrich/anonymous: uPraeam~uZum" in F major
from Luneberg organ tab1atura
**Schutz, Heinrich/anonymous: Motat "Herr~ wann iah nUI'
diah habe~" from Musikalisches Exequien (1636)
**Stoltzer, Thomas/anonymous: Four Pieaes from Oato Tonorum
MeZodiae--No. 1 (Dorian), No. 2 (Hypodorian)~
No.7 (Mixolydian), No.3 (Phrygian)
5.
The Trombone, Volume I (Demonstrating Selmer Trombones)

Masson, Gabriel, trombone
Serge Baudo, piano
Louis Dillies, piano
Jean-Michel Defay, piano
Masson, Gabriel, first trombone
Galliegues, Marcel, second trombone
2s-10" London L5 989, mono
Baudo, Serge: Petite Suite pour Trombone
Dondeyne, Desire: Quatuor de Trombones
Massis, Amable: Sui te pour Quatre Trombones
176
6.
The Trombone, Volume 2

11asson, Gabriel, first trombone
Galliegues, }~rcel, second trombone
Anonymous, piano
Anonymous, guitar
Anonymous, bass
2s-10" London LD 9204, mono
Bach, Johann Sebastian/Jean Thilie: "Fugue" from Prel,ude
and Fugue in D minor for Organ, BWV 539
*Berg, Wal: Spiritual, (with guitar, bass, and piano
accompaniment)
Dondeyne, Desire: Prel,udes Rhythmiques
Dvorak, Antonin/Jean Thilde: "Danse" from Sl,a:vonia Danae 3
Series I3 Op. 463 No. 8 in G minor
Dvorak, Antonin/Jean Thilde: Humoresque for VioZin and
Piano 3 Op. 101 3 No. 7 in G-fZat major
CHAPTER 5
OTHER INFLUENCES ON FRENCH TROMBONE PEDAGOGY
French Public School Instruction in Music
The system of education in France has largely been one of
centralization since the sixteenth century, when the Jesuits organized
F renc h system
t h e~r
f e d ucat~on.
.
121
Under the rule of Napoleon, it
was dictated that the central authorities in Paris would decide all
important questions of educational policy, with minor details being
left to local discretion.
The present structure of schools in France
still operates under a Ministry of National Education.

The Ministry of National Education is divided into four
branches, each responsible for education in its own area:
secondary, technical and higher education.
primary,
Each branch has its own
administrative bureaus, and each of these tends to strengthen its own

autonomy.
A branch is responsible for:
the administration of its
schools, the management of its personnel, and the control of finances

an d
equ~pment.
122
In the field of music education, the diversity of education for

pupils and prospective teachers of music is greatly influenced by the
121Leona Belle Wilkins, "Music Education in France and The
United States: A Comparative Study of Contemporary Reforms"
(University of Michigan, 1971), p. 20.
122Wilkins, p. 23.
177
178
administrative organization to which it is assigned.
Unlike other
subjects in education, the study of music is controlled and divided

between the structural organizations of two ministries:
the Ministry
of National Education and the Ministry of Cultural Affairs.
123
Music in the elementary schools is considered one of the

weak est areas
f t h e tota I
"
mus~c
program. 124
At this level, music
is taught by the instituteurs (teachers) who have graduated from the

Ecoles Normales Primaires where the lack of adequate music training
promotes a feeling of incompetence among its graduates.
125
elementary schools, music is omitted from the curriculum.
In many
In order
to alleviate the situation, many large municipalities have established

centers where pedagogy courses are offered to graduates of conservatories or schools of music who plan to teach on the elementary level.
126
Cities such as Paris, Dijon, Grenoble, Lille, and Lyon, have special
music teachers in the elementary school.
In many rural areas, a
similar service is performed by the Centres Musicaux Ruraux. and often

the music in these rural schools is superior to that in those cities
where similar plans have not been adopted.
127
It is the responsibility
of each municipality to establish its own center, even though it often
123wilkins. p. 26.
124W~"lk"~ns. p. 27.
125wilkins, p. 27.
126Wilkins. p. 27.
127W~"lk"~ns. p. 28.
179
operates through the local branch of the national institutes of pedagogy,
o
o h are a ffol
O I ed
O l organ1zat10n. 128
1 1at es 0 f t h
e nat10na
ucat10na
wh 1C
0
Music, 'which has been a part of the secondary curriculum since

1865, is a required subject in the first cycle (from the sixth to
ninth years of study) of education.
It becomes Facultatif, or optional,
O h sc h
Oh
h
t e upper tree
years 0 f h 19
00I d
e ucat10n. 129
dur1ng
0
A small
number of students continue music study beyond Lhe ninth year, but the
absence of an Arts Option for the baccalaureat causes other subjects
to be regarded as more important, and music is sacrificed by many for
the study of these other areas during these three years.
A one hour
class per week is the total time scheduled for music which concentrates
on the teaching of voice, solfege, and the history of music.
nationally supported instrumental
prog~am
130
in the public schools of
France continues to be a dream of the futu~e.131
The most frequent
request for curriculum change is related to the inclusion of instrumental study as a part of the public school music program.
Private
instrumental study is possible in the conservatories where ensemble

group participation for children is available.
Yet in 1967, even
though the Interministerial Commission (established by the Ministry

of National Education) and professional musicians had recommended
that instrumental classes become a part of the regular curriculum,
128wilkins, p. 28.
129Wilkins, p. 28.
130Wilkins, p. 28.
131wilkins, p. 63.
180
financial pressures have impeded its inclusion as a part of the

National Education program.
French National Conservatories
Higher education in music in the Ministry of National Education
is represented by the Center for the Preparation of the CAEM (Certificat
d'Aptitude a l'Education Musicale), which is located at the Lycee de
Fontaine in Paris.
Established in 1947, the center offers a three year
course of specialization.
The CAEM examination is given in Paris each
year, and those who pass the examination are given the title of
"Professeur Titulaire" and the right to teach music education in the
secondary schools, normal schools, and conservatories of France. 132
The national conservatories and schools of fine arts are under
the supervision and directorship of the Ministry of Cultural Affairs.
The purpose of most of the conservatories of France has been the
training of performers, with the highly selective competitions and
tests used to' eliminate all students who were not considered gifted or
talented.
133
Most of the conservatories in the provinces have classes for
beginning instrumental study which admit children, but again the importance
of performance is stressed, and all beginners must enroll in classes of
solfege
before or concurrently with the study of an instrument.
If
students fail to pass prescribed tests in solfege or perfortll2 . . :.:.e, they

"h
"
are f orced to withdraw and continue study W1t
a pr1vate
teac h er. 134
132_"lk"
--W1 1ns, p. 29.
133W1."lk"1.ns, p. 30.
134W1."lk"1.ns, pp. 30-31.
181
All conservatory training is free in the national schools, and the
organization of the schools in the provinces indicates a progression
from one conservatory to another which offers more advanced work.
The completion of studies at one of the regional conservatories
indicates the completion of either the preparatory or superior degre,
and students may compete for the first, second, or third medailles
(medal) or premier prix.
If the student wishes to continue his study
leading to a higher level of performance, he may enter the Paris

Conservatory upon receiving the second or first place medal. 135
There are presently three types of nationel conservatories or
schools of fine arts in France:
(1) the twenty-three schools of fine
arts known as "succursale" (branch) of the Paris Conservatory, (2) the

national schools of music that are not "succursale", and (3) the
municipal schools of music, which are usually located in small villages
or
..
c~t~es.
136
A description of one
co~servatory
of each type will be dis-
cussed to illustrate the different levels of training permitted in

schools of music that are subsidized and approved by the national body.
Conservatoire de Toulouse
This conservatory is a large institution located in the heart
of the City of Toulouse.
It has over 1200 students, and the curriculum
consists of three different programs:
(1) the mi-temps pedagogy
program which allows talented students from the public schools to

register for music instruction spending a half-day in general education
135wilkins, pp. 113-114.
136Wilkins, p. 164.
182
and a half-day in music instruction at the conservatory, (2) the CAEM
curriculum which prepares students for the teacher certification
examination, and (3) the regular curriculum established for professional training in performance, theory, and musicology. 137
Conservatoire d'Angers
This institution has more than 1,000 students from the City of
Angers and surrounding areas in the department.
Its official function
is that of assuring music training for the area and developing the taste
or musical culture of students from the areas
advanced virtuoso training.
than fostering
Persons desiring such specialization are
usually referred to the Paris Conservatory.

of this institution occurs in the
of amateurs of all ages.
rathe~
138
cur~iculum
The unique character
developed for the training
Formal school study is culminated with the
awarding of the Diplome d'Etudes Musicales Generales which is offered

in two parts.
The first part is given at the end of the primary level
of education and involves the study of solfege, history of music, and

instrumental study.
The second part, given after the completion of
the secondary level, continues the study of the primary level subjects
and adds the study of chamber music.
The amateur study designed for
adults offers courses in solfege, ensemble music, vocal ensemble,

instrumental study, and an opportunity to audit classes in the advanced
courses of music history and analysis of forms.
for adult study.
139
137wilkins, p. 166.
13SW~"lk"~ns, pp. 167 - 168
139Wilkins, pp. 169-170.
No diploma is awarded
183
Ecoles Municipales de Musique
Practically every large city in France has its cons2rvatory
or school of music.
Those which have remained municipal institutions
develop curriculums designed to:
(1) assure musical training for the
city and its surrounding areas, (2) develop a program to improve the
musical culture of the area, and (3) offer individual instruction for
"
1
" 140 Th e d egree an d 1 eve1
1nstrumenta
stuay.
f tra1n1ng
""
" d epend ent
1S
on the budget and facilities of each institution.
Those institutions
which offer training in performance and teacher training are in the

""
141 An example of a municipal conservatory which
larger c1t1es.
offers training comparable to any national conservatory in the province
is located at Strasbourg.
Conservatoire de Musique, Ville de Strasbourg
The municipal conservatory at Strasbourg is a large music
institution with over 1,200 students.
It is an example of a
municipal conservatory which offers a broad range of music courses

and seems to maintain a budget adequately sufficient to offer a varied
and attractive program.
It attracts students of many musical interests
"prov1nces
"
.f rom the surround1ng
f France and oth er countr1es.

"142
The
study of all classical instruments, including the classical guitar,

is possible at the conservatory.
140W1"lk"1ns, p. 170.
141W-k"
1.1. 1ns, p. 170.
1
I.'"
' ... .<-Wilkins, p. 171.
184
Trombone Instruction at the
National and Municipal Conservatories
This section will be divided into three categories corresponding
to the three types of national and municipal conservatories presently
available in France.
Under each particular category will be listed
alphabetically the conservatories which offer instruction on the

trombone.
(1) "Succursales" of the Paris Conservatory
Amiens
Boulogne Sur-Mer
Cambrai
Dijon
Douai
Le Mans
Lille
Lyon
Hetz
Montpellier
Nancy
Nantes
Nimes
Orleans
Perpignan
Rennes
Roubaix
Saint-Etienne
Toulon
Toulose
Tourcoing
Tours
Valenciennes
(2) National Schools of Music, Not "Succursale"

Bayonne
Bourges
Brest
Caen
Henin-Lietard
Pau
Saint-Amand-Les-Eaux
Troyes
(3) Municipal Schools of Music

Agen
Arras
Besancon
Bordeaux
Dunkerque
Limoges
Marseille
Oran
Reims
Saint-Quentin
Strasbourg
Versailles
185
French }iusic Publishers
The major French music publishers "have cooperated with
143
composers to an extraordinary degree."
Such cooperation may be
attributed to the fact that many of the French publishing houses were
created through the efforts of professional musicians who continued to
guide the early activities of these establishments.
Four of the
publishers of the trombone contest solos were originated in this manner:

Alphonse Leduc, Heugel et Cie., Henry Lemoine et Cie., and Durand et
.
144
Cl.e.
The trombone contest solos published by these companies, as
well as those published by other firms, are proof of the high degree
of cooperation which exists between publisher and composer.
With few
exceptions, the contest solos have been extremely well reproduced,

and the clarity of musical notation leaves little to be desired.
Most
of the contest pieces, too, have been meticulously annotated, and

tempo, dynamic, and phrase markings are distinct and unambiguous.
Although the major French music publishers are known for their
releases of difficult contest pieces, efforts have also been made to
publish good original wind literature for the younger student with
more modest technical abilities.
For these developing
~rombonists,
Jean Douay and Gilles Senon have each directed a series of study and
solo collections for the publisher Editions Billaudot.
Perusal of
143Edward Burlingame Hill, Modern French Music (New York:

Houghton }tifflin Company, 1924), p, 19.
144Carl.ngl.,
. . p. 48 .
186
the catalogs of Alphonse Leduc and Durand et Cie. will also yield a
number of well-written easier materials.
Two organizations which have encouraged composers to write
original material are the Confederation Musicale de France and the
Federation Nationale des Unions de Conservatoires Municipaux de
MUsique.
These organizations have sponsored competitions for composers
and have made publication possible for worthwhile materials.
Some of
the composers and compositions which have won the Confederation

Musicale de France and published by Editions Billaudot are:
1971 (Preparatoire) Pour La Promotion by Willy Van Dorsselaer
1971 (Elementaire) Le Grand Dua by Willy Van Dorsselaer
1972 (Preparatoire) A Longahamp by Willy Van Dorsselaer
1972 (Elementaire) Andante et AZZegro by Rene Mignion
1973 (Preparatoire) Chanson D'Autrefois by Jean-Pierre Bouny
1973 (Elementaire) Leg?nde by Jean Gallet
Two of the composers and compositions which have won the Federation
Nationale des Unions de Conservatoires Municipaux de Musique and
published by Editions Billaudot are:
En Vaaanaes by Michel Fiche

Reait Pour un Debutant by Jean Lemaire
CHAPTER 6
SUMMARY AND CONCLUSIONS
It has been the principal purpose of this study to acquaint
the trombonist with the vast amount of French solo literature and
pedagogical materials available to the tenor trombonist and to promote
an understanding of their origins and uses.
In order that this study
be as comprehensive as possible, it was divided into two major sections,

each having a specific
~urpose.
The first section introduced the reader
to the origin and history, necessary for a good understanding of the

second.
The second section presented the actual solos and etude
materials which are available or have been available in the past.

The Paris Conservatory, the prototype for the modern conservatory, was created at the end of the eighteenth century specifically to
raise the standards of French music.
Before the revolution, instrumental
music had almost disappeared from the musical scene in France.
Native
French composers could scarcely be compared with those of other countries;

and, indeed, the greatest composers living in Paris at the time were all
foreigners.
The poor state of French music and musicians is attributed to
the fact that music training was, at this time, exclusively a function
of either cathedral schools or of music corps attached to military
regiments.
Music training carried out in these institutions was
limited in nature and poor in quality.

187
188
In 1795 the Convention Nationale consolidated the Ecole Royale
de Chant and the Ecole Gratuite de Musique de la Garde Nationale
?arisienne into the Conservatoire de Musique and appointed Sarrette
its director.
From its very beginning, the Conservatory was dedicated
to the instruction of students "in all phases of music".
The first
faculty of the Conservatory included the finest musicians in France,

and to this day, only the most distinguished French musicians have
taught at this national institution.
The Conservatory has combined a
conservative musical atmosphere, a faculty of artist-teachers, and

rigorous requirements into a training program which has received
international acclaim, and its students have found places in great
orchestras throughout the world.
An essential part of the Conservatory's training program are
annual instrumental competitions held for each instrument.
These
competitions, which entail the performance of a "contest solo" before

a jury, determine the awarding of First Prizes, a distinction which
is much sought for by Conservatory students.
Originally, the contest solos were reserved only for the annual
competitions, but in recent years many contest solos have been included
as required repertoire material for Conservatory professors.
The
earliest contest solos were chosen from existing literature or composed

by Conservatory professors.
More recently, however, they have been
written by commissioned composers.

In the case of the trombone, commissioned contest solos
originated in 1897 with the SoZo de
Conaert~
No. 2 by Paul Vidal.
189
Since 1897, fifty-one composers have been commissioned to write a total
of fifty-eight trombone solos as contest pieces.
These fifty-one
composers, most of whom were themselves students at the Conservatory,

are among the most noted musicians France has produced.
The early contest solos are, generally, easier works to
perform than those of recent composition.
A number of these early
solos are, in fact, within the abilities of the young student trombonist.
The more recent contest solos, because of their great
technical and musical complexities, are best reserved for performance

by the professional or near-professional trombonist.
All the trombone
contest solos may be found in Chapter 4, and each solo has been graded
as to degree of difficulty according to the European rating system;
i.e., 1, 2, 3, easy; 4, 5, 6, moderately difficult; 7, 8, 9, difficult.
The first official teacher of trombone at the Conservatory was
Antoine-Guillaumie Dieppo, the most celebrated French trombonist of
his time.
Since his tenure as a teacher at the Conservatory (1830-
1871), we have seen the subsequent profp.ssors of trombone all being

products of the system that they would eventually teach in.
The
professors, Paul Delisse (1871-1888), Louis Allard (1888-1925), Henri

Couillaud (1925-1948), Andre Lafosse (1948-1960), and Gerard Pichaureau
(1960-present), in addition to their reputations as teachers, have all
been performers in their own right.
The pedagogical materials that
they used, many being their own products, have developed from methods
designed for both slide and valve trombone, to transcribing the solos
of other instruments for the trombone, to transcribing etude materials
from other instrument families for use by the trombone student.
This
190
was followed by designing original etude exercises for the trombone,
based on the technical and musical competencies required to perform
the various contest solos of the time, and going from simple tonal
etudes to very complex and difficult etudes requiring knowledge and
skill coping with atonal music.
It has always been the teacher!
performer trombone instructors at the Conservatory that have realized

and implemented these pedagogical innovations.
The administrative organization of the educational program in
France is one of centralization which gives training to all deserving
students.
The national exaoinations administered at the end of
secondary study serve as the determinant factor for the eligibility

of students to higher levels of education.
The music classes in the
elementary and secondary schools are under the direction of the Minister
of National Educat10n.
Even within the large structure, elementary and
secondary music fall under separate departments, each of which is

responsible for music taught on its level.
Special training in the
schools of fine arts and the conservatories i the responsibility of

the Minister of Cultural Affairs.
The most frequent request for curriculum change in France is
related to the inclusion of instrumental music study as a part of
the public school program.
Private instrumental study is possible
in the conservatories where ensemble group participation for children

is available.
While it is no easy task to acquaint the reader with a 150
years of solo literature and pedagogical materials, it is hoped that
a better understanding of the French approach to instrumental (in
191
particular, trombone) music and teachings has been gained from this
document.
Although this study has been confined to the trombone,
performers on other instruments may also discover the vast resource

of materials and pedagogical approaches that have been products of
the French educational system.
APPENDIX A
LIST OF FRENCH TENOR

TROMBONE METHODS AND ETUDE MATERIALS
The objective of this section is to document trombone methods
and etude materials available to the trombone performer/teacher from
the "French School" of trombone playing.
It does not, however, contain
as in depth a look into the various entries, as was compiled earlier

in the chapter devoted to the French tenor trombone solos.
Most of the
entries presented here are described in much greater detail in a

Doctoral dissertation by Stanley P. George entitled An Annotated
Bibliography of Trombone Methods and Study Materials.
A copy of this
dissertation is available upon request from University Microfilms.

The discussion of each work included herein is presented in
two main sections (A and B).
The first section contains information
of a descriptive nature and the second is of an analytical nature.

The following provides a detailed explanation of each item covered
in the main section.
A.
Descriptive Information
1.
Composer (composer's dates where available) and editor:

gives the composer's name and dates along with anyone
responsible for the editing of the work.
2.
Title:
gives the complete title of the work with any
subtitles.
192
193
3.
Publisher and Publishing Date:
gives the name of the
publisher of the work and the date of publication or

copyright.
4.
Pages:
gives the number of pages contained within the
work.
B.
Analytical Information
1.
Range:
gives the'highest and lowest pitches in the work.
The following system is used to signify pitches in the

various octaves:
,:
8 VQ
is
- - ~
(Pedal) C.
2.
Clefs Used:
the
c'
&
eJ
~
ii
c)
c'
gives the name of the clefs used in
~Jork.
In the presentation of the methods and etude materials

surveyed, labels for each item have been omitted in the interest of
space and in order to avoid redundancy.
To clarify items which appear
for each listing, the following sample complete format is presented:

Composer (birth and death dates. when known)
Bozza, Eugene (1905-
Title
Treize Etudes Caprices

Publisher and Publishing Date
Alphonse Leduc, 1958
194
Pages
15pp.
Range
E to e 2
Clefs Used
Bass and Tenor
The above annotation would appear as follows:
BOZZA, Eugene.
Range:
Treize Etudes Capriaes.

E to e 2 .
Clefs:
Alphonse Leduc, 1958, 15pp.

Bass and Tenor.
Definitions
"Methods" refers to study materials of a progressive nature.
Beoks which are intended as beginning, intermediate, or advanced
instructional material or books that include more comprehensive studies
progressing from a beginning to an advanced level are referred to as
"methods" .145
"Etudes" refers to music designed to advance the trombonist
through a specific technique or combination of techniques such as
legato technique, use of the F attachment exercises, clef studies or
contemporary notation.
"Etudes" refers to all trombone music books
except method books and solos. 146
145George, Stan, An Annotated Bibliography of Trombone Methods

and Study Materials, p. 7.
146
George, p. 7.
195
Methods
Method Comp Zete Pou:t' Trombone ~ Trombone Basse Saxhorns

et Contrebasse. Alphonse Leduc, 1960, 136pp.
BERNARD, Paul.
FF to d 2
Range:
Clefs:
Bass.
BLEGER, Michel - M. Job. Methode de Trombone

Leduc, 1946, 99pp.
Range: E to b 1. Clefs: Bass.
CLODOMIR, Pierre Francois.
Trombone
Range:
a CouZisse~
E to a 1
CLODOMIR, Pierre Francois.
Trombone
Range:
Bass.
-1884).
VoZume II.
Clefs:
Alphonse
Methode CompZete Pou:t'
-1884).
VoZume I.
Clefs:
a CouZisse~
F to b 1
a CouZisse.
Alphonse Leduc, [n.d.], 56pp.
Methode Complete Pou:t'

Bass.
COUILLAUD, Henri. (1878). Methode de Trombone

Alphonse Leduc 1946, 92pp.
Range: E to c 2. Clefs: Bass and Tenor.
a CouZisse.
(1808). Dieppo'3,CompZete Method for the

SZide and VaZve Trombone. Carl Fischer, Inc., 1902, 158pp.
DIEPPO, Antoine.
Range:
E to d 2
FLANDRIN, Gaston.
Methode
Clefs:
Bass.
CompZ~te
de Trombone a CouZisse
Tenor~
VoZume I.
Range:
Editions Saiabert, 1910/1923, 51pp.

E to c 2 Clefs: Bass and Tenor.
FLANDRIN, Gaston.
Methode'CompZ~te
de Trombone
VoZume II.
Range:
GUILBAUT, E. Methode Facile Pou:t' Trombone

ca. 1895.
KASTNER, G. Methode
1876.
LARGARD, A.
I~
EZe~entaire
Methode de Trombone.
LAFOSSE, Andre.
II.
Range:
a Coulisse
Tenor~
Editions Salabert, 1910/1923, 109pp.

E to c 2 Clefs: Bass and Tenor.
a Pistons.
Avec Tablatu:t'e.
Imbert,
Brandus et Cie,
Ikelmer et Cie, 1877.
(1890). Methode CompZete de Trombone~ VoZumes

Alphonse Leduc, 1921, 280pp./complete.
FF to d 2 Clefs: Bass, Tenor and Alto.
LAFOSSE, Andre. Methode CompZete de Trombone a CouZisse~ VoZume III.

Range: FF ~o c 2 Clefs: Bass and Tenor.
196
}ruLLER.
Methode de Trombone
ca. 1840.
a Trois
Pistons.
J. Meissonier,
PARES, Gabriel. (1860-1934). Methode de Trombone

Editions Henri Lemoine, 1914, 45pp.
Range: E to a 1 Clefs: Bass.
a CouZisse.
TOULON, Jacques. J'apprends Ze Trombone. Editions Robert Martin,

1978, 98pp.
Range: E to d 2 Clefs: Bass and Tenor.
VOBARON, Edmond. Methode de Trombone. Editions Billaudot,
71pp.
Range: E to bbl. Clefs: Bass.
n.d. ,
Etudes
BITSCH, Marcel.
Rhythme.
Range:
(1921) - Gabriel }~sson. Quinze Etudes de

E to d 2 Clefs: Bass and Tenor.
BLEGER, Marcel. Ten Capriaes for Trombone.

Company, [n.d.], 8pp.
Range: F to bbl. Clefs: Bass.
International Music
BLEGER, Marcel. Thirty-One Studies for Trombone.

Music Company, [n.d.], 19pp.
Range: F to bbl. Clefs: Bass.
International
BLEGER, Marcel. Trente et Une Etudes. Alphonse Leduc, 1946, 19pp.

Range: E to bpI. Clefs: Bass.
BLEICHER, Jacques. Le Tromboniste Commenaant.
1980, 49pp.
Range: E to a. Clefs: Bass.
Editions M. Combre,
BORDOGNI, Marco. MeZodious Etudes for Trombone 3 Book I. Edited by

Joannes Rochut. (1881-1952). Carl Fischer, Inc., 1928, 87pp.
Range: E to b 1 . Clefs: Bass.
BORDOGNI, Y~rco. MeZodious Etudes for Trombone, Book II. Edited by
Range: E to c~. Clefs: Bass.
BORDOGNI, Marco. MeZodious Etudes for Trombone 3 Book III. Edited by
Range: E to c~. Clefs: Bass.
BOUTRY, Roger.
). Douze Etudes de Haut Perfeationnement

E to e~2. Clefs: Bass and Tenor.
(1932-
Pour Trombone.
Range:
197
BOZZA, Eugene.
Range:
(1905). Graphismes. Alphonse Leduc, 1975, 4pp.

Bp to optional. Clefs: Bass, Tenor and Treble.
BOZZA, Eugene. (1905). Onze Etudes Sur Des Modes Rarnatiques.

Alphonse Leduc, 1972. 12pp.
Range: BP to d 2 Clefs: Bass, Tenor and Treble.
BOZZA, Eugene. (19051958. 15pp.
Range: E to e 2
BUSSER, Henri.
) Treize Etudes Capriaes.

Clefs:
---
Alphonse Leduc,
Bass and Tenor.
(1872-1973) - Henri Couillaud. (1878Alphonse Leduc, 1927, 12pp.

E to b~l. Clefs: Tenor.
).
Douze
Etudes MeZodiques.
Range:
CLODOMIR, Pierre Francois. (

-1884).
Molenaar, [n.d.], 52pp.
Range: A to a 1 . Clefs: Bass.
Etudes et Exeraises.
COUILLAUD, Henri. (1878). Exer-aises Progressifs.

Leduc, 1937, 19pp.
Range: E to bbl. Clefs: Bass and Tenor.
COUILLAUD, Henri.
VoZumes
(1878-
I~ II~
).
Edition
Alphonse
Etudes de StyLe d'apres Bordogni~
and III.
Alphonse Leduc, 1927; Volume I, II p. 18; Volume III - 25pp.

Range: E to c 2 Clefs: Bass and Tenor.
(1878). Pieaes MeZodiques~ VoZumes
Alphonse-Leduc, 1946, 15po./volume.
E to b~l. Clefs: Bass and-Tenor.
COUILLAUD, Henri.
and III.
Range:
COUILLAUD, Henri. (1878). Trente Etudes Modernes.

Leduc, 1946, 51pp.
I~ II~
Alphonse
COUILLAUD, Henri. (1878). Vingt Etudes de Perfeationnement.

COUILLAUD, Henri.
(1878-
). - Louis Allard.
Six Etudes Teahniques d'apres Bordogni.

28pp.
Range:
E to b~l.
Tenor.
(1924). Douze Etudes Rhythmiques et

Editions Max Eschig, 1954, n.d. , 25pp.
FF to b~l. Clefs: Bass and Tenor.
DELGUIDICE, Michel.
MeZodiques.
Range:
Clefs:
(1852). VingtAlphonse Leduc, 1927,
198
DHELLEMMES~ Raymond. Vingt-Cing Etudes de Perfec:tionnement.
Lemoine et Cie~ 1961, 28pp.
DHELLEMMES, Raymond. Vingt-Cing Etudes Methodiques.

Lemoine et Cie 1960, 38pp.
Range: E to c 2. Clefs: Bass and Tenor.
Henry
DIEPPO, Antoine. (1808). Nine Progressive Studies.

Fischer, Inc., [n.d.], 7pp.
Range: F to d 2 Clefs: Bass and Treble.
DOUAY, Jean. (1936). L'ABC de Jeune
Editions Billaudot, 1975, 37pp.
Range: E to gl. Clefs: Bass.
DOUAY~
Henry
Tromboniste~
Carl
Volume I.
Jean. (1936). L'ABC de Jeune Tromboniste~ Volume II.

Range: E to gl. Clefs: Bass and Tenor.
DOUAY. Jean. (1936). 12 Etudes de Grande Teahnique.

Billaudot, 1977, l8pp.
Range: E to d 2 . Clefs: Tenor.
DUEOIS, Pierre Max.
(1930-
).
Diffic:ulte POUl' Trombone.

Range:
GALLAY, Jacques.
Range:
E to d 2
Clefs:
Editions
Quatorze Etudes de 140yenne

Bass and Tenor.
15 Styles de Style.
BP to
a 1
-Clefs:
Editions Billaudot, 1974, l4pp.

Bass.
GALLAY, Jacques. 12 Etudes. Editions Billaudot, 1974, l5pp.

Range: EVtoc2. Clefs: Bass.
Six Grandes Etudes Carac:teristiques POUl' Trombone

Coulisse et POUl' Trombone a Pistons. Lafleur Aine, ca. 1883.
GOUlRAND, J.
JOB, M.
Trente Airs CZassiques.

Range:
d to bpI.
Clefs:
Alphonse Leduc, 1949, l1pp.

Bass.
KATARZYNSKI, Raymond. Etude COTTTPlete des GarrlJ1les~ Book I.

Leduc, 1975, l8pp.
Range: E to e~l. Clefs: Bass and Tenor.
KATARZYNSKI, Raymond. Etude COTTTPlete des Ga:rmnes~ Book II.
Leduc, 1975, l8pp.
Range: E to f2. Clefs: Bass and Tenor.
ARBAN, Jean. Etudes Charaateristiques POUl' Trombone.
Allard (1852), and Andre LaFosse (1890Leduc, 1946, 27pp.
Range: E to bpI. Clefs: Bass.
Alphonse
Alphonse
Edited by Louis
). Alphonse
199
LAFOSSE, Andre. (1890). Sahool of Sight Reading3 Volumes I-V.
M. Baron Company, 1948, pp. 18-20/volume.
Range: E to c 2 Clefs: Bass, Tenor and Alto.
LAFOSSE, Andre. (1890). Vade Meaum du Tromboniste.
Leduc, 1956, 55pp.
Range: E to dP2. Clefs: Bass and Tenor.
Alphonse
MASSON, Gabriel.- Douze Etudes Variees. Alphonse Leduc, Cn.d.], 15pp.

PARES, Gabriel. (1860-1934). SaaZe Studies.
Rubank, Inc., 1963, 48pp.
Range: E to bbl. Clefs: Bass.
Edited by Whistler.
PICHAUREAU, Claude and Gerard Pichaureau. Vingt Etudes AtonaZes.

Range: BBp to c 2 Clefs: Bass and Tenor.
PICHAUREAU, Gerard. Preambule. Alphonse Leduc, 1971, 36pp.
Range: E to gl. Clefs: Bass.
Vingt-Quatre Etudes Pour Trombone Tenor (Speaial

Legato Studies). Alphonse Leduc, 1978, 22pp.
PICHAUREAU, Gerard.
Range:
E to c:j2.
Clef s :
Bass and Tenor.
PICHAUREAU, Gerard. Trent Etudes Dans Tous Les Tons.

Leduc, 1963, 29pp.
Range: E to f2. Clefs: Bass and Tenor.
~..lphonse
PICHAUREAU, Gerard. 30 Real'eations en FOJ.>l'Tle d'Etudes. Alphonse

Leduc, 1960, 19pp.
Range: E to a 1 (optional bPI). Clefs: Bass and Tenor.
PICHAUREAU, Gerard. Vingt-et-une Etudes de Teahnique General.
Range: E to d 2 . Clefs: Bass and Tenor.
PICHAUREAU, Gerard. Vingt Etuaes Pour Trombone. Alphonse Leduc,
1962, 20pp.
PORRET, Julien. (1896). Vingt-Quatre Deahiffrages Manusarits.
Republished by Editions Billaudot, 1960, 14pp.
Range: F to a 1 Clefs: Bass and Tenor.
RIEUNIER, Francoise. Vingt-Deux Deahiffrages Rhythmiques Instrumentaus.
Clefs: no clef.
Range: 1st line of staff
5th line of staff
200
SENON, Gilles.
Book A.
Range:
SENON, Gilles.
Book B.
Range:
Progressif~
Pi'ogressif~
Progressif~
)
(1932Le Dechiffrage ~thodique et
G to gl. Clefs: Bass.
(1932- )
Le Dechiffrage Methodique et
F to c'4*2. Clefs: Bass and Tenor.
)
(1932Le Dechiffrage ~thodique et
Editions
Book C.
Billaudot, 1980, 24pp.
Range: E to d 2 Clefs: Bass, Tenor and Alto.
SENON, Gilles.
SENON, Gilles. (19321977, 14pp.

Range: G to gl.
23 Esquisses.
).
Clefs:
---
Editions Billaudot,
Bass.
SENON, Gilles. (1932). 24 Etudes Divertissantes.

Range: F to fl. Clefs: Bass.
Editions
SENON, Gilles. (1932). 25 Etudes Rhythmo-Techniques.

Range: E to c!II.2 Clefs: Bass and Tenor.
Editions
SENON, Gilles. (1932). Vingt-Quartre Petites Etudes MeZodiques.

Range: A to a 1 Clefs: Bass.
THEVET, Lucien. Soixante-Cinq ttudes-Dechiffrages. Alphonse
Leduc, 1981, 30pp.
Range: E(c) to c 2 . Clefs: Bass and Tenor.
TOULON, Jacques. Basique
Range: AA to gl.
I~
Initiation.

1978, 14pp.
Range: CC to b 1
II~

18pp.
Range: AA to c 2
III~
Clefs:
Bass.
Technique GeneraZe.
Clefs:
Bass and Tenor.
Les Tonalities.
Clefs:
---
Alphonse Leduc,
Alphonse Leduc, 1978,
Bass and Tenor.
TOULON, Jacques. Basique IV~ StyZe et Nuance. Alphonse Leduc, 1978,

13pp.
Range: GG to ap1. Clefs: Bass and Tenor.
10 Etudes d'Apres Ze PreZude de Za Ire Suite Pour

VioZonceZZe SeuZ de J. S. Bach. Alphonse Leduc, 1976, 11pp.
TOULON, Jacques.
Range:
E to c 2
Clefs:
Bass and Tenor.
201
VOBARON, Edmond. Four Lessons and Seventeen Studies~ Opus 1.
Cundy-Carl Fischer, Inc., [n.d.J, 19pp.
Range: F to b~l. Clefs: Bass.
VOBARON, Edmond. Quarante Etudes Pour Trombone~ 1 e Suite.
Billaudot, [n.d.], 20pp.
Range: F to c 2 . Clefs: Bass.
VOBARON, Edmond. 32 CeZebrated MeZodies.
1960, 34pp.
Range: F to b,l. Clefs: Bass.
VOBARON, Edmond.
34 Etudes MeZodiques.
41pp.
Range:
E to b,l.
Clefs:
Bass.
Editions
Carl Fischer, Inc.,
Editions Billaudot, [n.d.J,
APPENDIX B
COMPOSER
AL~LLER,
BIOGP~HIES
Andre (1912). French composer, he studied composition

with Roger-Ducasse and Gaubert at the Paris Conservatory.
He was taken prisoner of war in Germany in 1940; following
the war he returned to France and became Director of the
Conservatory in Dijon.
Bass Trombone - Irish-Cante.
Publisher: Alphonse Leduc.
ARRIEU, Claude (1903) .French composer and pianist, she studied

with Marguerite Long, and composition at the Paris Conservatory
with Roger-Ducasse and Noel Gallon, receiving the Premier Prix
in 1932.
AUBAIN, Jean Marie (1928). A native of Bordeaux, Aubain first
studied at the city's National Conservatory. Among his
teachers was Roger-Ducasse, who helped him prepare for his
Grand Prix de Rome. He also won first prizes at the Paris
Conservatory in composition, analysis and counterpoint.
Aubain is the Director of the Conservatory in Versailles.
Bass Trombone - Theme et Variations.
Publisher: Amphion Editions Musicales.
BACHELET, Alfred G. (1864-1944). French composer, he studied at the
Paris Conservatory. He received the Grand Prix de Rome for
his cantata, "Cleopatre", in 1890. During World War II he
conducted the Paris Opera. In 1919 he became the Director
of the Nancy Conservatory.
B~JRAT,
Joseph Edouard (1882-1963). Already a fine saxophone player,

Barat began the study of harmony with Paul Vidal in 1898.
Upon entering the Paris Conservatory, he became a member of
the composition class of Emile Pessard. His expertise on
the saxophone led to his becoming a member of a regimental
band, and before his retirement in 1933, he became the
Director of 11usic for ~ilt:": French Army.
Bass Trombone - Int:L'rduation et Danse:> Introduation et
S~r~nade:> Moraeau de Conaours:>
de Navarre.
Publisher:
Alphonse Leduc.
202
Reminisae~~es
203
BARILLER~
Robert (1918). French composer, studied with Henri

Busser at the Paris Conservatory.
Bass Trombone - Hans de SahnokeZoah.
BARRAINE~
Elsa (1910). French composer~ she studied at the Paris

Conservatory with Paul Ducat. She received the Grand Prix
de Rome in 1929.
Bass Trombone - Chiens de PaiZZe.
Publisher: Societe des Editions Jobert.
BAUDO, Serge (1927). He studied conducting with Louis Fourestier

at the Paris Conservatory~ and theory with Jean Gallon and
Noel Gallon. He received his Premier Prix as a drummer in
1948 and as a conductor in 1949. He was employed as a
pianist and percussionist in the orchestra of the Concerts
Lamoureux. In 1967 he was appointed musical director and
conductor of the Orchestre de Paris.
BERGHMANS~
).
Jose (1921-
French composer.
BERNAUD, Alain (1932). French composer, he studied with

J. Murgier and Tony-Aubin at the Paris Conservatory.
BERTHELOT, Rene Camille (1903-
).
BIGOT, Eugene (1888-1965). French conductor and composer~ he was

a student of Gedalge and Paul Vidal at the Paris Conservatory.
Bass Trombone - CariZZon et Bourdon.
BITSCH,
~~rcel
(1921). French ccmposer~ he studied at the Paris

Conservatory with ~oel Gallon and Henri Busser and won the
Grand Prix de Rome in 1945.
Bass Trombone - Impromptu~ Intermezzo.
BLEUSE, Marc (1937-
).
BONDON, Jacques (1927). French composer~ he studied composition

with Darius Milhaud and Jear. Rivier~ harmony with Georges
Dandelot~ and counterpoint with Charles Koechlin at the
Paris Conservatory. In 1963 he formed L'Ensemble Moderne
de Paris~ of which he is president.
204
BOUTRY, Roger (1932). French pianist, conductor and composer,
studied composition with Tony-Aubin and Nadia Boulanger
at the Paris Conservatory. In 1954 he won the Grand Prix
de Rome for a cantata. In 1967 he was awarded the Georges
Bizet Prize and named Professor of Harmony at the Paris
Conservatory. In 1973 Boutry was appointed Music Director
of the Garde Republicaine.
Bass Trombone - TubaaahanaZe~ Tubaroque.
PublisheL: Alphonse Leduc.
BOZZA, Eugene (1905). French composer and conductor, he studied
violin, conducting, and composition at the Paris Conservatory.
He won first prizes in 1924 and 1930, for violin and
conducting respectively. A composition student of Henri
Busser, he was awarded, in 1934, the Grand Prix de Rome.
He held a conducting post at the Opera Comique in 1939,
and later became the director of the Conservatory in
Valenciennes. In addition to his many works for trombone
and other wind instruments, Bozza has composed an opera, a
ballet and five symphonies. Even though he is often
characterized as a French-Italian composer (the Italian
style is occasionally exhibited in the fast movements of
some of his pieces), most of his music is within the
French tradition.
Bass Trombone - Ne~ OrZeans~ Theme Varie.
BONNEAU, Paul (1918). French composer, arranger and conductor,
he studied composition at the Paris Conservatory with Noel
Gallon and Henri Busser. He later became the director of
the "Pops" Orchestra of Radio-Television Francaise, the French
National Broadcasting System.
BROWN, Charles (1898). French composer and violinist, he
studied composition with G. de Lioncourt at the Paris
Conservatory.
Bass Trombone - ReaitatiJ~ Lied et FinaZ.
BUSSER, Henri (1872-1973). Fr~nch compose~ and organist, he studied
composition at. the Paris Conservatory with Giraud, Debussy's
teacher. In 1893 he won the second Premier Prix de Rome;
also studying organ with Charles Widor. He held important
positions as an organist at St. Cloud, choir-master at the
Opera-Comique, conductor of the Grand Opera, and president
of the Academie des Beaux Arts. He returned as Professor
of Composition to the Paris Conservatory between 1930 and
1948.
, 205
CAPDEVILLE, Pierre (1906-1969). French composer and pianist, he
studied composition with Gedalge and Paul Vidal a~ the Paris
Conservatory. In addition to this, he studied composition
privately with Vincent d'Indy.
CASINIERE, Yves de la (1887). French composer, he was a
student of composition at the Paris Conservatory of Nadia
Boulanger and M. d'Ollone. He won his Grand Prix de Rome
in 1925.
,
CASTEREDE, Jacques (1926). French composer, he studied composition at the Paris Conservatory with M. Samuel Rousseau,
Simone Ple-Caussade and Tony-Aubin. In 1948 he won the
first prize in piano, in 1949 first prize in harmony, in
1953 the second prize in composition, the first prize in
analysis and esthetics and in 1954 the Grand Prix de Rome.
In 1960 he was appointed to Professor at the Paris
Conservatory and became Assistant to the Director in 1966.
Bass Trombone - Fantaisie Conceptante~ Sonatine.
~
CHAI~ES,
Charles (1925). Franch co~poser, began his student

of music at the conservatory in Toulouse (both of his parents
were mus~c~ans and professors there). Later, he continued
his studies at the Paris Conservatory as a student in
composition of Darius Milhaud. In 1951 he won his Grand
Prix de Rome, and subsequently won many prizes for his
compositions.
CHRETIEN, Hedwige (1859-1944).

CLERGUE, Jean (1896-1966). French composer and conductor, he was
a student of composition at the Paris Conservatory of Paul
Vidal, Gedalge and Vincent d'Indy.
CLERISSE, Robert (1899CLODOMIR, Pierre Francois (
).
French composer and conductor.

-1884).
CLOSTRE, Andrienne (1921). French composer, she was a student

of composition at the Paris Conservatory of Olivier Messiaen,
Henri Busser, Jean Rivier and Darius Milhaud. She won her
COHEN, Jules (1835-1901). French composer, he studied at the Paris
Conservatory, piano with Marmontel, organ with Benoist and
composition with Halevy, and received first prizes in each
of these courses. He then served as Instructor of Choral
Singing at the Paris Conservatory.
206
CONSTANT, Marius (1925). Rumanian-born French composer and
conductor, he graduated from the Bucharest Conservatory in
1944. He then went to the Paris Conservatory where he
studied conducting with Jean Fouret and composition with
Olivier Messiaen, Nadia Boulanger, and Arthur Honegger.
In 1949 he received a Premier Prix in composition from the
Paris Conservatory and a "Licence de Concert" in conducting
from the Ecole Normale de Musique de Paris. Constant has
conducted numerous top orchestras throughout the United
States and is presently Director of Ars Nova (an ensemble
of 17 musicians who specialize in presentation of
contemporary works).
COOLS, Eugene (1877-1936). French composer, he studied composition
at the Paris Conservatory with Gedalge, Faure and Widor.
~e won the Prix Crescent for his symphony in 1906, was
assistant of Gedalge at the conservatory from 1907 to
1923, and was appointed editor-in-chief for Max Eschig,
Paris music publisher.
COUILLAUD, Henri (1873). French trombonist and educator, he
was Professor of Trombone at the Paris Conservatory from
1925 to 1948. He was also soloist with the Societe des
Concerts du Conservatoire and with the Band of the Garde
Republicaine.
CROCE-SPINELLI, B. (1879-19__ ).
DAUTREMET, }furcel (1906-19__). French composer and conductor, he
was a student of Paul Dukas in composition at the Paris
Conservatory.
DEFAYE, Jean-Michel (1932). French composer, he studied
composition at the Paris Conservatory with Tony-Aubin,
Jean Gallon, Noel Gallon and Henri Challon. As a student
he won many prizes in various musical disciplines and
contests.
DEFOSSEZ, Rene (1905). Belgian composer., he studied composition
with Rasse at the Liege Conservatory, receiving the Belgian
Prix de Rome in 1935. He was then active in the years of
1936 to 1959, as conductor of the Theatre Royal de la Monnaie
in Brussels. He was an inspector of state subsidized music
schools between 1961 and 1971 and was elected a member of
the Royal Belgian Academy in 1969.
DELBECQ, Laurent (1905-
).
French composer.
207
DELCROIX, Leon (1880-1938). Belgian composer, he studied piano with
J. Wieniawski, organ with A. Mailly, and composition with
Theodore Ysaye in Brussels and Vince~'Indy in Paris.
He conducted theater orchestras in Belgium from 1909 to
1927 and then devoted his time to composition.
DELERUE, Georges (1925DELGIUDICE, Michel (1924-
).
French composer.
).
French composer and bandmaster.
DELISSE, Paul (1817-1888). French trombonist and educator, he was

Professor of Trombone at the Paris Conservatory from 1871
to 1888. H was also soloist with the Societe des Concerts
du Conservatoire and Opera-Comique.
DEMERSSEMAN, Jules (1833-1866).
DEPELSENAIRE,
Jean-}~rie
(1914-
Belgian composer and flutist.

).
French conductor and pianist.
DESENCLOS, Alfred (1912-19__). French composer, he studied com?~sition

at the Paris Conservatory with F. Bousquet. He won hi~
Grand Prix de Rome in 1942 and then was employed, starting in
1943, as the Director of the Roubaix Conservatory.
DESPORTES, Yvonne (1907). French composer, she was a
composition student at the Paris Conservatory of Paul Dukas.
She won her Prix de Rome in 1932.
DESTANQUE, Guy. French bass trombonist, he began his studies at
the Bordeaux Conservatory, Paris. He has played with the
Orchestre National Radio France and presently is bass
trombonist with the Orchestre de Paris.
DHELL&~ffiS,
Raymond.
Professor at the French Conservatory in Tourcoing.
DIEPPO, Antoine-Guillaume (1808-?). French trombonist and educator,

he was the first professor of trombone at the Paris Conservatory
from 1836-1871.
DONDEYNE, Desire (1921). French composer, she was a student of
composition at the Paris Conservatory of Jean Rivier and
Darius Milhaud.
DORSSELAER, Willy van. Professor at the L'Ecole Nationale de
Musique de Colmar.
208
DOUAY, Jean (1936). French trombonist, he was a student of
Andre Lafosse at the Paris Conservatory, acquiring the
Prix de Rome in 1958. Shortly afterwards, he was engaged
as soloist at the Radio.Orchestre of Luxemburg, which
post he exchanged in 1967 for the same one in the French
National Orchestra. He is currently Professor of Trombone
at the Conservatory:..:. Heucion.
DUBOIS, Pierre Max (1930).
French composer, he studied
composition at the Paris Conservatory with Darius Milhaud
and Jea~ Rivier. He won his Grand Prix de Rome in 1955.
Presently he is Professor of Musical Analysis at the Paris
Conservatory.
Bass Trombone - Si Trombone M'Etait Con;;e.
Publisher: Editions Max Eschig.
Bass Trombone - Piccolo Suite .
DUBOIS, Theodore (1837-1924). French organist and composer, he
studied at the Paris Conservatory; piano with Marmontel,
organ with Benoist, and composition with Bazin and Ambroise
Thomas. He won his Grand Prix de Rome in 1961, after taking
first prizes in all departments. In 1871 he was made
Professor of Harmony at the Paris Conservatory, became
Professor of Composition in 1891 and was Director of the
Paris Conservatory from 1896 to 1995.
DUCLOS, Rene (1899-1964). French composer, he was a student of
composition at the Pa1is Conservatory of Paul Dukas and
Jean Gallon.
DUTILLEUX, Henri (1916). French composer, he was a composition
student at the Paris Conservatory of Jean Gallon, Noel Gallon,
Henri Busser and }Eurice Emmanuel. He wo~ a Premier Prix
in harmony, counterpoint, and composition, and won the
Grand Prix de Rome in 1938. In 1945 he was named Director
of the Service des Illustrations Musicales de la RadioDiffusion Francaise, but renounced this position in 1963 in
order to devote his time to personal work.
FICHE, Michel (1939-
).
FIEVET, Paul (1892). French composer, he was a student of

composition at the Paris Conservatory of Vincent d'Indy.
FLANDRIN, Gaston. French trombonist, former trombone soloist with
the Band de la Garde Republicaine, Professor of Trombone
at the Conservatory in Laureat and trombone soloist with
the Concerts Colonne.
.....
209
FRANCK, Maurice (1892-19__). French composer, he was a student of
composition at the Paris Conservatory of Samuel-Rousseau
and Paul Vidal. He won the second PrL~ de Rome in 1926
and was appointed Professor at the Paris Conservatory in
1937.
GABAYE, Pierre (1930). French composer and pianist, he was
a student of composition at the Paris Conservatory of Yvonne
Desportes, S. Ple-Caussade and Tony-Aubin. He won the
Bass Trombone - TubabilZage.
GAGNEBIN, Henri (1886-1977). Swiss composer, first studied composition, organ and piano at the Geneva Conservatory from
1906 to 1908. He then enrolled at the Schola Cantorum in
Paris between 1908 to 1916, studying composition with
Vincent d'Indy, organ with Abel Decaux and Louis Vierne,
and piano with Blanche Selva. He taught music history
at Lausanne Conservatory during 1918 to 1925 and organ
and history at NeuchatelConservatory during 1924 to
1925. He was Director of the Geneva Conservatory during
1925 to 1957 and Dean of the Piano Faculty there during
1957 to 1961.
GALIEGUE, Marcel. French trombonist, president of the French
chapter of the International Trombone Association.
GALLET, Jean.
French composer.
GALLOIS-UONTBRUN, Raymond (1918). French violinist and composer,

he was a student of composition at the Paris Conservatory
of Henri Busser, Jean Gallon and Noel Gallon. He won his
Grand Prix de Rome in 1944. He has been the Director at
the Paris Conservatory since 1963.
GARTENLAUB, Odette (1922). French composer and pianist, a
student of composition at the Paris Conservatory and won
the Grand Prix de Rome. Also won a Prix de Rome in piano,
harmony and fugue. Currently a Professor of Composition
at the Paris Conservatory.
B~ss Trombone - Essai.
Publisher: Editions Rideau Rouge.
GAUBERT, Philippe (1879-1941). French conductor, composer and flutist,
he attained the Premier Prix in flute in 1894 and the second
Prix de Rome in composition in 1905. From 1919 to 1938 he
was the conductor for the Conservatoire Concerts, and in 1920
he was appointed first co~ductor at the Opera.
210
GEDALGE, Andre (1856-1926). French composer and theorist, he was a
student of composition at the Paris Conservatory of Guiraud.
He obtained the second Prix de Rome in 1885. He then
elaborated a system of counterpoint, later published as a
"Traite de la Fugue" (Paris, 1901), which became a standard
work. In 1905 he was engaged as Professor of Counterpoint
and Fugue at the Paris Conservatory; among his students
were Ravel, Enesco, Milhaud, and Honegger.
GOTKOVSKY, Ida (1933). French composer, she was a student of
composition at the Paris Conservatory of Noel Gallon and
Tony-Aubin. She won numerous awards while at the
Conservatory for writing and composition. She is a
Professor at the Conservatory, and considered as one of
France's major composers. For several successive years,
she has been selected to write competitive works for the
Conservatory.
GUIDE, Richard de (1909-1962).
GUIL}UU~T,
Alexander (1837-1911). French organist and composer,

his early musical training was from his father whom he
replaced as church organist at St. Nicholas in Boulogne in
1857. Through numerous concert tours he established himself
not only as a virtuoso of first rank, but as the head of
the modern French school of organ composers. He helped
establish the Schola Cantorum where he became Professor
of Organ and he also taught at the Paris Conservatory.
HOUDY, Pierick (1929). French composer, he was a composition

student at the Paris Conservatory of Darius Milhaud and
Jean Rivier.
RUGON, Georges (1904). French composer, he was a student of
Isidore Philipp (piano), Georges Caussade (harmony and
counterpcint), and Paul Dukas (composition) at the Paris
Conservatory. A position as Director of the Conservatory
of Boulogne-sur-Mer was followed in 1941 by an appointment
as Professor of Harmony at the Paris Conservatory and
Ecole Normale de Musique de Paris.
KATARZYNSKI, Raymond. French trombonist, trombone soloist with
Paris Opera and Professor of Trombone at the Conservatory
in Boulogne Billancourt.
LAFOSSE, Andre (1890). French trombonist and educator, he was
Professor of Trombone at the Paris Conservatory from 1948
to 1960. In addition to his teaching duties, he was also
a member of the Paris Opera and the Lamoureux Orchestra.
211
LAMY, Fernand (1881-1966). Inspector of the Arts and Letters in
Paris, Director of the Conservatory in Valenciennes, and
President of the Artistique de la Confederation Musicale
de France.
LANCEN, Serge (1922). French composer and pianist, he was a
student of composition at the Paris Conservatory of Henri
Busser, Noel Gallon and Tony-Aubin. He went to Switzerland
during World War II, and returning to Paris to continue
his studies, he obtained the Premier Prix de Rome for
composition in 1949.
LEJET, Edith (1941). French composer, she was a student of
composition at the Paris Conservatory, receiving the Grand
Prix de Rome in 1968. In 1972 she was appointed Professor
of Solfege at the Paris Conservatory.
LEMAIRE, Jean (1854-1928).
Ecole Niedermeyer.
French composer, he studied at the
LEPETIT, Pierre (1893-19__).

LOUCHEUR, Raymond (1899-19 ). French composer, he was a composition
student at the Paris Conservatory of Nadia Boulanger, Gedalge,
Paul Fauchet and Paul Vidal. He won the Grand Prix de Rome
in 1928. In 1956 he was appointed to the Director of the
Paris Conservatory.
LOUVIER, Alain (1945). French composer and conductor, he was
a student of composition at the Paris Conservatory and won
his Grand Prix de Rome in 1968.
}U\RIE, Jean-Etienne (1917). French composer, he studied
composition at the Paris Conservatory with Olivier Messiaen
and Darius Milhaud. During 1940-1941 he was Secretary of the
Chamber of Commerce and since 1949 he has been Music Director
for French radio and television.
MARTIN. Frank (1890). Swiss composer, he studied in Geneva
before coming to Paris in 1923 to study composition with
J. Laubert. He returned to Geneva in 1926 as a pianist
and harpsichordist and taught at the Institute JacquesDalcroze from 1927 to 1938. He moved to Holland in 1946
and while living there taught classes in composition at the
Cologne Hochscule fur Musik from 1950 to 1957.
}1ASSIS, Amable (1893). French composer and conductor, he was
a student of composition at the Paris Conservatory of
Gedalge and }~rcel Dupre.
11ASSON, Gabriel. French trombonist, and soloist with the opera
in Colonne.
212
li~URAT,
Edmond (1881-
).
French composer.
MAZELLIER, Jules (1879-1959). French composer and conductor, he

was a student of composition at the Paris Conservatory of
Gabriel Faure, winning the Prix de Rome in 1909. He
became conductor of the Opera National in Paris from 1918
to 1922, and was a Professor at the Paris Conservatory
for the next twenty years.
~ffiYER,
Jean-Michel (1910). French composer, a student of

composition at the Paris Conservatory of Noel Gallon.
MlLHAUD, Darius (1892-1974). French composer, he studied conducting,

violin, harmony, counterpoint, fugue, and composition at the
Paris Conservatory from 1909 to 1915. His professor of
composition at the Conservatory was Charles Widor and he
studied conducting with Vincent d'Indy. His name became
known to a larger public as a result of a newspaper
article by Henri Collet, grouping him with five other
French composers of modern tendencies (Auric, Durey, Honegger,
Poulenc and Germaine Tailleferre) under the title of Les Six.
Milhaud and his fellow French composers of Les Six are usually
credited with being pioneers of polytonality.
MISSA, Edmond Jean Louis (1861-1910). French opera composer, he
studied composition at the Paris Conservatory with
Massenet. He spent much of his career as organist at
St. Thomas d'Aquin.
}10REL, Florentin (1926de Calais.
).
Director of Harmony at Dourges Pas
NlVERD, Lucien (1879-1967). French composer, Director of the

Conservatory in Tourcoing.
NlVERD, Raymond (1922). French composer, Director of the
National School of Music in Troves.
NUX, Paul V. de la (1853-1928). French composer, was a student of
composition at the Paris Conservatory. He won the second
PARES, Gabriel (1860-1934).
French bandmaster.
PASCAL, Claude (1921). French composer, a student of composition

at the Paris Conservatory of Jean Gallon, Noel Gallon and
Henri Busser. He won his Grand Prix de Rome in 1945. He
is presently Professor of Etudes at the Paris Conservatory.
Bass Trombone - Sonata en 6 Minutes $0.
Publisher: Editions Durand et Cie.
213
PERRIN, Jean (1920-
).
Swiss composer.
PFEIFFER, Georges-Jean (1835-1908). French composer, he began his

career as a pianist, then becoming active as a music critic
in Paris. He was a member of the firm Pleyel, Wolff, et cie.,
piano makers at Paris.
PICHAUREAU, Claude. French trombonist, made his career as a trombonist, then as a Professor at the Boulogne-Billancourt
National Music School and then Director of the Limoges
National :Husic School. He is presently Professor of
"Brass Reading" at the Paris Conservatory.
Bass Trombone - Seringa.
Publisher: Editions Choudens.
PICHAUREAU, Gerard. French trombonist and ~duca~or, he is currently
Professor of Trombone at the Paris Conservatory, having been
appointed in 1960. In addition to his teaching duties, he
was also soloist with the "Band of the Garde Republicaine
and Societe des Concerts du Conservatoire.
POOT,
(1901). Belgian composer, he studied composition

at the Brussels Conservatory with Sevenants, Lunssens and
de Greef from 1916 to 1920. He was on the staff of the
Brussels Conservatory from 1938 to 1966, and its Director
from 1949 until his retirement.
}~rcel
PORRET, Julien (1896trumpeter.
).
French composer, bandmaster, and
RASSE, Francois (1873-1955). Belgian composer, he studied violin with

Eugene Ysaye at the Brussels Conservatory, winning the Belgian
Grand Prix de Rome in 1899. From 1925 to 1938 he was Director
of the Liege Conservatory.
REICHEL, Bernard (1901). Swiss composer, student of composition
of H. Suter and J. Dalcroze and in Paris of E. Levy.
REUTTER, Herman (1900). German composer" and pianist, he studied
piano and cello in Stuttgart and singing and composition at
the Munich Academy of Arts. He was for the years 1932 to
1966 the Professor of Composition at the Hochscule fur Musik
in Stuttgart.
RIEUNIER, Jean-Paul (1933). French composer, he was a student
of composition at the Bordeaux Conservatory. In 1970 he
was appointed as Professor in Charge of Public Activities
for Contemporary Music at the Paris Conseryatory.
214
). French composer, he was a student
RIVIERE, Jean-Pierre (1929of composition at the Paris Conservatory of Tony-Aubin, Nadia
Boulanger and Olivier Messiaen. He w~n the Prix de Rome
in 1957.
ROCHUT, Joannes (1881-1952). French trombonist, was a student at
the Paris Conservatory following a three year commitment
to the French Army. He played trombone with the Boston
Symphony Orchestra from 1925 to 1930. He then returned to
Paris and became Librarian of the Radio-diffusion Francaise
in 1935 and General Director of the choruses and orchestras
of the Radio-diffusion Francaise in 1935.
ROPARTZ, Guy (1864-1955). French composer, a student of composition
at the Paris Conservatory of Theodore Dubois and Massenet.
From 1894 to 1919 he was Director of the Conservatory and
Conductor of the symphony concerts at Nancy. From 1919 to
1929 he conducted the Municipal Orchestra in Strasbourg.
ROUSSEAU, Samuel-Alexandre (1853-1904). French composer, he studied
at the Paris Conservatory with Cesar Franck (organ) and
Bazin (composition). He won his Grand Prix de Rome in 1878.
In 1892 he was appointed conductor at the Theatre-Lyrique and
was for ten years chorusmaster at the Societe des Concerts du
Conservatoire and taught harmony at the Paris Conservatory.
R~EFF,
Jeanine (1922). French composer, she was a student of

composition at the Paris Conservatory of Henri Busser.
She won the Grand Prix de Rome in 1948.
Bass Trombone - Concertstueak.
SAINT-SAENS, Camille (1835-1921). French composer, he was a student

of composition at the Paris Conservatory. He spent much of
his life traveling throughout the world performing his own
works as pianist and conductor.
SALZEDO, Carlos (1885-1961). French composer, he studied piano and
harp at the Paris Conservatory, receiving the Premiere Prix
in 1901. He started his career as a solo harpist, moving
to New York in 1909. In 1921 he was co-founder, with
Edgard Varese, of the International Composer:s Guild in
New York, with the aim of promoting modern music. As a
teacher he was active at the Institute of Musical Art and
the Jui11iard Graduate School in New York, and at the
Curtis Institute of Music in Philadelphia.
SCIORTINO, Patrice (1922). French composer, student at the
Scho1a Cantorum in Paris.
215
SENLER-COLLERY, Jules (1902). French compos'er, he was a
student of Paul Vidal and Vincent d'Indy and later became
Chief Director of Navy Bands.
Bass Trombone - B~a~oZZe et Chanson Baahique~ Saxhornia.
Bass T~ombone - 2 Pieaes Breves.
Publisher: Editions Max Eschig.
SENON, Gilles (1932-
).
SIGNARD, Pierre (1829-1901).

SPISAK, }uchel (1914-1965). Polish composer, he studied music in
Katowice, then took composition with Sikorski in Warsaw and
with Nadia Boulanger in Paris, where he lived from 1937
until his death.
STOJOWSKI, Sigismond (1869-1946). Polish pianist, he was a student
of piano and composition at the Paris Conservatory from 1887
to 1889. He remained in Paris until 1906~ when he emigrated
to the United States as Head of the Piano Department at the
Institute of Musical Art in New York.
THEVET, Lucien. French hornist, Professor of Horn at the Conservatory
in V~rsailles and Horn Soloist with the Theatre National de
l'Opera and Societe des Concerts du Conservatoire.
TISNE, Antoine (1932). French composer, he was a student of
composition at the Paris Conservatory of Darius !1ilhaud and
Jean Rivier. He won the second Grand Prix de Rome in 1962.
TO}~SI,
Henri (1901-1971). French composer, he was a student of

composition at the Paris Conservatory of Paul Vidal. He
won the second Grand Prix de Rome in 1927. He served as
Husic Director of the Paris Radio, in French Indochina
from 1930 to 1935, and also conducted opera in Monte Carlo
from 1946 until 1950.
TOULON, JACQUES. French trombonist, he is soloist with the Orchestra

of Paris and Professor of Trombone at, the Conservatory in
}iontrevie-sous-Bois.
Charles (1870-1939). French organist and composer, he
was a pupil of Cesar Franck at the Paris Conservatory
winning the Premiere Prix for organ in 1891. He also
studied composition with VinCent d'Indy at the Schola
Cantorum in Paris. In 1898 he succeeded Pierne as organist
at St. Clotilde.
TOURN&~IRE,
Franz (1923). French composer, he was a student of

composition at the Paris Conservatory of Tony-Aubin and
Olivier Messiaen.
TOUFU~IER,
216
VALLIER, Jacques (1922). French composer, he was a student of
composition at the Paris Conservatory of Darius Milhaud
and A. Honneger.
VIDAL, Paul (1863-1931). French-composer and teacher, he studied
composition"atthe Paris Conservatory and won the Grand Prix
de Rome in 1883. He joined the staff of the Paris Opera
as a choral director from 1889 to 1906. He taught elementary
courses at the Paris Conservatory from 1894 until 1910,
when he was appointed Professor of Composition.
WEBER, Alain (1930). French composer, he was a student of
Olivier Messiaen. He won his Grand Prix de Rome in 1952.
Bass Trombone - SoZiZoque.
WEINER, Stanley (1925-
).
WURMSER, Lucien (1877-1967).
Belgian composer.
French composer and pianist.
ZBAR, }tichel (1942). French composer, he was a student of

Olivier Messiaen. He graduated in 1967.
Bass Trombone - Jeu 3.
APPENDIX C
ADDRESSES OF PUBLISHERS
Amphion Editions Musicales

5, Rue Jean Ferrand,
Paris VI, France
Edition Andel Uitgave
Madeliefjeslann 26
B-8400 Oostende, Belgium
Associated Music Publishers
866 Third Ave.
New York, New York
10022
M. Baron Company
Box 256, South Road
Oyster Bay, New York
Belwin-Mills
Melville, New York
11771
11746
Editions Billaudot
14 Rue de L'Echiquier
Paris 75010, France
United States Agent: Theodore
Presser Co.
Brandus et Cie.
Ph. Maquet acquired the business
on the death of Louis Brandus
Editions Choudens
38, Rue J ean-Mermoz
75008 Paris, France
United States Agent:
C.F. Peters Corp.
Editions M. Combre
24 Boulevard Poissonniere
Paris 9, France
217
218
Editions Costallat
60, Rue de L'Echiquier
75009 Paris, France
United States Agent: Theodore
Presser Company, M. Baron Company
Georges Delrieu and Cie.
Nice, France
Editions Durand and Cie.
21 Rue Vernet
75008 Paris, France
United States Agent: Elkan-Vogel
Elkan-Vogel Company, Inc.
1712 Sampson Street
Philadelphia, PA
(See Theodore Presser Company)
Enoch et Cie.
27, Boulevard des Italiens
75002 Paris, France
Editions Max Eschig
48, Rue de Rome
75008 Paris, France
United States Agent:
Music Publishers
Associated
Evette et Schaeffer
1938 Last appearance
Carl Fischer, Inc.
62 Cooper Square
New York, New York
10003
Publications Musicales Lino Florenzo

121 Rue Barthelemy Delespaul
59000, Lille, France
Editions Philippe Fougers
48: Rue de Ponthieu
75008 Paris, France
219
Editions Francaises de Musique

12, Rue Magellan
75008 Paris, France
Editions Musicales Andrieu Freres
72, Rue Rodier
Paris, 9, France
E. Girod et Cie.
March 1919 Last appearance
Editions Gras
36, Rue Pope Charpentier
LaFleche, France
H. Hamelle
22, Boulevard Malesherbes
Paris, France
Heugel et Cie.
2 Bi- , Rue Vivienne
Paris: France
Hinrichsen Edition
10-12 Baches Street
London NI 6DN, England
(373 Fourth Avenue
Ne~ York, New York)
A. Ikelmer et Cie
International Music Company
545 Fifth Avenue
NevI" York, New York
10017
Societe des Editions Jobert
44, Rue de Colisee
Paris, France
220
Alphonse Leduc Editions Musicales

175, Rue Saint Honore
75001 Paris, France
United States Agents:
Southern Music Company
M. Baron Company
Elkan-Vogel Company (See Theodore
Presser Company)
Edward B. Marks Music Corporation
(Order from Belwin-Mills)
Henri Lemoine et Cie.
17, Rue Pigalle
Paris, France
Editions de L'oiseau Lyre
122, Rue de Grenelle
75007 Paris, France
Editions Margueritat
1950 Still in existence
Robert Martin Editions Musicales
106 Grande-Rue de la Coupee
71009 Macon, France
J. Maurer Editions Musicales
Avenue du Verseau, Woluwe St.
Lambert
Brussels 1200, Belgium
J. Meissonnier
December 1860 Last appearance,
being taken over by E. Gerard et Cie.
Editions Metropolis
Van Ertbornstr. 5, 2000
Antwerpen, Belgium
Utigave Molenaar, N.V.
Wormerveer: Holland
221
Editions Musicales Transatlantiques

14, Avenue Hoche
75008 Paris, France
United States Agent: Theodore Presser
Company
Musica Rara
Le Traversier
Chemin de la Buire
84170 Monteux, France
Pierre Noel, Editeur
24, Boulevard Poissoniere
75009 Paris, France
O'Kelly
Les Editions Ouvrieres
12, Avenue Soeur-Roselic
Paris 13, France
C.F. Peters Corporation
373 Park Avenue, South
New York, New York
10016
Philioop
24, Boulevard Poissonniere
75009 Paris, France
Edi~ions
Theodore Presser Company

Presser Place
Bryn Mawr, PA
19010
Editions Ricordi
3, Rue Roquepine
Paris, France
Editions Rideau Rouge
24, Rue de Longchamp
Paris, 16, France
222
Rubank, Inc.
16215 N.W. 15th Avenue
Miami, Flordia
33169
Editions Salabert
575 Madison Avenue
New York, New York
10022
(22 Rue Chauchat
75009 Paris, France)
G. Schirmer, Inc.
866 3rd Avenue
New York, New York
10022
Schola Cantorum
76, Rue des Saints-Peres
75007 Paris, France
Schott Freres
30, RUe Saint Jean
Brussels, Belgium
Editions Selmer
18, Rue la Fontaine au Roi
75011 Paris, France
Societe Editions Musicales Internationales
5, Rue Lincoln
75008 Paris, France
Southern Music Company
Box 329
San Antonio, Texas
78292
Symphony Land
4 Rue P. Dupont
75010 Paris, France
Universal Edition
Vienna, Austria
Warner Brothers P~blications, Inc.
265 Secaucus Road
Secaucus, New Jersey
07090
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INFORMATION TO USERS

Lemke, Jeffrey Jon

FRENCH TENOR TROMBONE SOLO LITERATURE AND PEDAGOGY

The University ofArizona

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FRENCH TENOR TROMBONE

A Dissertation Submitted to the Faculty of the

DOCTOR OF MUSICAL ARTS

THE UNIVERSITY OF ARIZONA

Copyright 1983 Jeffrey Jon Lemke

THE UNIVERSITY OF ARIZONA

As members of the Final Examination Committee, we certify that we have read

Jeffrey Jon Lemke

French Tenor Trombone Solo Literature and Pedagogy Since 1836

and recommend that it be accepted as fulfilling the dissertation requirement

Doctor of Musical Arts

This dissertation has been submitted in partial fulfillment

acknowledgement is given to all the members of the University of

Dr. Koste Belcheff, Chairman of the

committee, for his guidance and insight both in preparation and

THE PARIS CONSERVATORY

THE CONTEST SOLOS

Origin and Purpose

ANNOTATIONS OF FRENCH TENOR TROHBONE SOLO LITERATURE .

OTHER INFLUENCES ON FRENCH TRO}mONE PEDAGOGY

French Public School Instruction in Music

LIST OF FRENCH TENOR TROMBONE METHODS

Benri Couillaud, Vingt Etudes de Perfectionnement,

Henri Couillaud, Trente Etudes Modernes, p. 2, no. 1,

Henri Couillaud, Trente Etudes Modernes, p. 2, no. 19,

Henri Couillaud, Methode de Trombone a CouZisse, p. 32,

Henri Couillaud, Methode de Trombone a CouZisse, p. 44

Andre Lafosse, Vade Mecum du Trombone, p. 11, no. 11,

Gerard Pichaureau, Vingt-et-une-Etudes, p. 11, no. 11,

Gerard Pichaureau, Vingt Etudes, p. 20, no. 20,

Gerard Pichaureau, Vingt Etudes, p. 10, no.

Gerard Pichaureau, Vingt-Quatre Etudes pour Trombone

Gerard Pichaureau and Claude Pichaureau, Vingt Etudes

Gerard Pichaureau and Claude Pichaureau, Vingt Etudes

Jacques Casterede, Sonatine, movement I, measures 1-17

Jacques Casterede, Sonatine, movement I, measures 1-2

Jacques Casterede, Sonatine, movement I, measures 55-66

Jacques Casterede, Sonatine, movement I, measures 31-35

Jacques Casterede, Sonatine, movement I, measures 187-190

Jacques Casterede, Sonatine, movement II, measures 1-15

Jacques Casterede, Sonatine, movement II, measures 16-25

Jacques Casterede, Sonatine, movement II, measures 33-40

Jacques Casterede, Sonatine, movement II, measures 41-44

Jacques Casterede, Sonatine, movement II, measures 58-65

Jacques Casterede, Sonatine, movement III, measures 1-8