azu_td_8315294_sip1_m

INFORMATION TO USERS

This reproduction was made from a copy of a document sent to us for microfIlming. While the most advanced technology has been used to photograph and reproduce

. this document, the quality of the reproduction is heavily dependent upon t.lte quality of the material submitted.

The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction.

1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the fIlm along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure c0mplete continuity.

2. When an image on the fIlm is obliterated with a round black mark, it is an indication of either blurred copy because of movement dur.u"1g exposure, duplicate copy, or copyrighted materials that should not have been fIlmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame.

3. When a map, drawing or chfu.-t, etc., is part of the material being photographed, a defmite method of "sectioning" the material has been followed. It is customary to begin fIlming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the fIrst row and continuing on until complete.

4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request frem the Dissertations Customer Services Department.

5. Some pages in any document may have indistingj: print. In all cases the best available copy has been fIlmed.

Univa'sitv Micrdfilms

International 300 N. Zeeb Road Ann Arbor, MI481 06

8315294

Lemke, Jeffrey Jon

FRENCH TENOR TROMBONE SOLO LITERATURE AND PEDAGOGY SINCE 1.836

The University of Arizona

University . Microfilms

International 3OON.ZeebRoad,AnnArbor.MI48106

Copyright 1983 by

Lemke, Jeffrey Jon All Rights Reserved

A.Mus.D. 1983

PLEASE NOTE:

In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark_-I_.

1. Glossy photographs or pages __

2. Colored illustrations, paper or print __

3. Photographs with dark background __ _

4. Illustrations are poor copy __

5. Pages with black marks, not original copy __ _

6. Print shows through as there is text on both sides of page __

7. Indistinct, broken or small print on several pages V" 8. Print exceeds margin requirements __

9. Tightly bound copy with print lost in spine . __

10. Computer printout pages with indistinct print __

11. Page(s} lacking when material received, and not available from school or author.

12. Page(s) seem to be missing in numbering only as text follows. 13. Two pages numbered . Text follows.

14. Curling and wrinkled pages __ 15. ~her __________________________ _

University Microfilms

International

.... -.. ....

-""

j J

j j j

j j j j j j

j j j j j j j j j j j j

j j j j j j

j j j

j j

j j j

j j j j j j

j j j

j j

j I

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 Jeffrey Jon Lemke

entitled 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 infor-

mation 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

LIST OF ILLUSTRATIONS

ABSTRACT

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

Origin and Purpose . The Contest and the First Prize The Trombone Contest Solos . Composers of Contest Solos Sonatine by Jacques Casterede

Page

vi

viii

1

5

5 8

11 15 17 20 25 36 43

45

45 48 53 61 71

4. ANNOTATIONS OF FRENCH TENOR TROHBONE SOLO LITERATURE . 83

The Discussion Trombone Solos Discography

Recordings

Outline

iv

83 92

156 159

TABLE OF CONTENTS--Continued

CHAPTER

5. OTHER INFLUENCES ON FRENCH TRO}mONE PEDAGOGY 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 ~~ CONCLUSIONS . .

APPENDIX A: LIST OF FRENCH TENOR TROMBONE METHODS AND ETUDE MATERIALS

APPENDIX B: COMPOSER BIOGRAPHIES

APPENDIX C: ADDRESSES OF PUBLISHERS . . . .

SELECTED BIBLIOGRAPHY . . . . .

. .

v

Page

177

177 180 181 182 183 183

184 185

187

192

202

217

223

Figure

1.

LIST OF ILLUSTRATIONS

Henri Couillaud, Etudes de StyZe d'apres Bordogni, p. 7, no. 5, measures 1-9

2. Benri Couillaud, Vingt Etudes de Perfectionnement,

Page

21

p. 5, no. 4, measures 1-7 22

3. Henri Couillaud, Trente Etudes Modernes, p. 2, no. 1, measures 1-9 23

4. Henri Couillaud, Trente Etudes Modernes, p. 2, no. 19, measures 1-26 23

5. 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

8. Gerard Pichaureau, Vingt-et-une-Etudes, p. 11, no. 11,

9.

10.

measures 10-23 38

Gerard Pichaureau, Vingt Etudes, p. 20, no. 20, measures 1-15

Gerard Pichaureau, Vingt Etudes, p. 10, no. measures 19-32

,,,

J.U,

38

39

11. Gerard Pichaureau, Vingt-Quatre Etudes pour Trombone (Special Legato Studies), p. 8, no. 7, measures 1-12 41

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

13. 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


vi

vii

LIST OF ILLUSTRATIONS--Continued

Figure Page



18. Jacques Casterede, Sonatine, movement I, measures 187-190

74

19. Jacques Casterede, Sonatine, movement II, measures 1-15 .

75

20. Jacques Casterede, Sonatine, movement II, measures 16-25 76

2l. Jacques Casterede, Sonatine, movement II, measures 33-40 76



24. Jacques Casterede, Sonatine, movement III, measures 1-8 .

78

25. Jacques Casterede, Sonatine, movement III, measures 28-33

79


79


80

28. Jacques Casterede, Sonatine, movement III, measures 108-122 81

29. Jacques Casterede, Sonatine, movement III, measures 203-206 82

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. All the trombone contest

viii

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.

ix

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 inter-

national 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

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.

2

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. Since they have been composed

with a sPQ~ific 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~," specif-

ically designed to be performed on the "tenor trombone". 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

3

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 instru-

mentalists was attributed by some authorities to the inadequate

system of music training existing at that time. 1 In addition, there

was a general influence on all aspects of music in France by her

neighboring countries. Entire Italian opera companies toured France 2

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 3

opera orchestras of the day. The teaching of music in France was

accomplished mainly by the cathedral schools and music corps

attached to the various military regiments. 4 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.

2 Arthur Hervey, French Music in the XIXth Century (New York: 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 ~erforming for

military fetes and governmental ceremonies. Having this as a goal, 5 the music instruction was poor.

On 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. 6

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

6

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 promo-

ting 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. 7

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. The duties of the institution

were two-fold: 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.

7

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 8 4 1 6 1 3 4 2 3 7

Total 115

11Pierre, pp. 128-129.

12p. ~erre, p. 124.

8

For public performance the 115 professors were organized in the

following manner: 13

EXECUTION (PERFORMANCE)

Compositeurs dirigeant l'execution (Composers for Performance)

Chef d'orchestre executant (Conductor) Clarinettes Flutes Cors (premier) Cors (second)

Professeurs

5 1

30 10

6 6

Bassons Serpents

*Trombones

18

Trompettes Tubae corvae (tuba) Buccini Timbaliers (timpanist) Cymbaliers (cymbal-player) Tambours (drummer) Triangles (triangle) Grosses caisses (bass drum)

8 3

4 2

2 2 2 2 2 2

Non-executans employes a diriger les eleves chantant ou executant dans les fetes publiques (Non-Performance Employees to Direct Student Vocal Ensembles at Concerts) 10

Total 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.

9

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.

10

Antoine-Guillaumie Dieppo

From the date 1822, it was to be fourteen years before the

Conservatory assigned an official professor of trombone. This came

after: 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

11

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.

17Andre Lafosse, Traite de Pedagogie Du Trombone a Coulisse (Paris: 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 per-formers, 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. Berlioz writes that the valve trombone had

become popular fo~ 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.

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 mouth-

piece. 22 An ex~~ination of the index reveals the areas which Dieppo found important to stress in his teaching. 23

20 Lafosse, p. 15.

2lR . d b C I F' hI' 1902 epr~nte y ar ~sc er, nco ~n

22Anthony Baines, Brass Instruments: Their History and Development (London: Faber, 1976), p. 243.

23Antoine Dieppo, Dieppo's Complete Method for the Slide and Valve Trombone (Chicago: Carl Fischer, Inc., 1902), p. 1.

13

Index Rudiments of Music Table of Positions on the Slide Trombone Description & Position of the Trombone Explanation of Signs Lessons and Exercises .

14

2 13 14 14-15 16

Scales for the Valve Trombone 28 Exercises for the Valve Trombone Major Scales

29-39 40

Minor Scales Chromatic Scale

41 42

Scales on Intervals Exercises 8 Progressive Studies Portamento Slurs

43 47 53 59

60 Notes on Several Staccato Appoggiatura

Shifts (alternate possible) 60 . . . 61

62 Shake (trill) 62 Gruppetto 64 The Shade (crescendo and decrescendo) Lesson on Art of Phrasing 32 Melodies by Vobaron .

64 65 . 66

6 Duets . 106 The Art of Phrasing (100 Classic, Operatic,

and Popular Melodies) 9 Progressive Studies 3 Operatic Fantasias The Metronome

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

24Do 15 ~eppo, p.

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; other-wise 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 . 15 D~eppo, p.

26Dieppo, p. 16.

27Lafosse, p. 17.

15

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

f d 1 1 1 b d h .. 29 course 0 stu y was a most exc us~ve y ase on t ese 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 17. Lafosse, p. 29 17. Lafosse, p. 30 17. Lafosse, p.

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

17

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.

An Ha (f h f b 1 . S d .) 32 . ton nsen at er 0 trom one p ay1ng 1n can 1naV1a g1ves 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 com-pose 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

18

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. The

32 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 Gade, p. 85. 34 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

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

adds: "To make high notes it is necessary to 'exert a certain pressure

11 h f h h ,,36 on the lips . you must pu t e corners 0 t e mout Arban's

knowledge of breathing is also confusing: " 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. 37 Mathez, 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 tran-

scribing 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 d'apres Bordogni, p. 7, no. 5, measures 1-9.

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, pro-gressing 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

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.

Vt majPur

L Etudes sur la gamme de Delisse ~ > EJ arc. trrnEa Ed f: roo I aT i I Ufsrrlgrltfl

Figure 3. Henri Couillaud, Trente Etudes Modernes, p. 2, no. 1, measures 1-9.

23

Following these exercises, Couillaud included thirty technical studies

in which we find meter changes incorporated within a single study

J'

~ >-

Rtf fffQnc-wrSil, Ii

~ >.

I,' IRCil' III 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.

!z.

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.

1 :):1" nalrnrlt IrF r r IrF r t I r t r I t r r' I 4.4 4

:',

4 a &. &_ 4. __ 4 _ 4_. 4 4_.

Figure 5. 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

25

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 IT II d .. dIl dIl

-

r j;:;

- - :t t f t f f I I :E' r f Ir r I B II d1I d1I d .. d .. d .. dIl d .. 4 .. dIl dIl d1I d ..

Figure 6. Henri Couillaud, Methode de Trombone a CouZisse, p. 44.

Unfortunately, the method does not always progress in a logical

II

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

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.

26

In conjunction with traditions which had already been established, Lafosse continued transcribing solos of other instru-

ments 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 possibil-

ities. Lafosse edited the suites in terms of articulation markings,

dynamic markings, and alternate positions.

P~other transcription of great importance to the trombone is

his Conce~to in F Mino~ (1948), by George Fredrick Handel (originally

written for oboe). 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 twenty-

seven 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 pro-gress, 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 pre-serve 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 Lafosse, p. 6. 40 Lafosse, p. 7.

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.

28

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 Traite de Pedagogie, 21. Lafosse, p. 45 Lafosse, Traite de Pedagogie, p. 23.

29

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 funda-mental 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, Traite de Pedagogie, pp. 27-28. 47 Lafosse, Traite de Pedagogie, p. 28. 48 Lafosse, Methode, vol. II, p. 68.

30

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. On pages 191-208 of

the Methode (Volume II) is found a series of studies on the test pieces. Lafosse states: "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 modifi-

cations, making it more difficult. The pupil will then be at ease

before the original passage.,,49 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.

31

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

32

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 training at the Conservatory

treats the topic of sight reading. 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 sight-reader 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.

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

33

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 Easy B Bass & Tenor clef Medium difficult C Bass & Tenor clef Difficult D Bass & Tenor clef Very difficult E in 30 lessons Extremely difficult

(10 lessons in Alto clef) (10 lessons in Alto & Tenor clef) (10 lessons in Alto, Tenor & Bass clef)

51 Lafosse, Traite de Pedagogie, p. 50.

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 with-out 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 pro-cedure, 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 complexi-

ties 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 pre-paring 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.

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. Part one is comprised

of technical etudes in major and minor scales~ diminished sevenths~ chromatic scales~ and scale patterns in thirds. In part two the

35

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.

t

Alle"ro J ~ d. 80 tOO Vt "'.j.ur. C ,br C.ojor 3 3 ~ ~ ~ :=.

Ii J JlllPI'Oi WI flFWI J i" 1 J Ilet l pml f!lSI J J" I :> > ~ :> .I!!::i , """-

nrf> = f :> 3 ~ "" : f 3 3 =-

Figure 7. 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: Alphonse Leduc, 1956), p. 3.

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 had left a large wealth of materials for

the trombone.

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 Re~reations en Forme D'Etudes (30 Recreative

Studies, 1960). It consists of short etudes written in every major and minor key. 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.

55Gerard Pichaureau, 30 Recreations en Forme d'Etudes (Paris: Alphonse Leduc, 1963), p. 14.

37

f rnarcalo ma 606in1WtO cresCo

i l J I~J dJJ-r riur I J 1111?iJ JJ ,I

Figure 8. Gerard Pichaureau, Vingt-et-une-Etudes, p. 11, no. 11, measures 10-23.

Pichaureau maintained a sense of pedagogical progression

when he produced his next etude book, Vingt E~~des (Twenty Studies, 1963). 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.

38

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

56Gerard Pichauieau, Trent Etudes Dans Tous Les Tons (Paris: Alphonse Leduc, 1963), p. i.

39

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,."S7 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.

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

41

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.

M __ AQra_ce J. III 1 It. A A.

'e f If I r d t 1 /

It.

F I 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 Caprld_ Flatt. + ( ",p~."I_) ...1I:!: ~ g+ 0 ID' .... ,,. "/Ii ' Ii- I~ Ii p- j*

,

,.

/1' Plunger (~ns Saurd. stc"~) I l' =1

~ ; 11'

l'

+0 +0 !i:i :a M ;; /1' -f

1- Dedaho. \'1m ,;- ) ~ II": ~. I l' P Sourd. l'khe

: l'

,. :>

~

Ii *

/ ==--z.:=

"b+~.

P~r / Plunle<

rapidemenl

:> >-... ~-----~

Figure 13.

) ; ; : ;

Gerard Pichaureau and Claude Pichaureau, Vingt Etudes AtonaZes, p. 13, no. 17, measures 1-3.

+ e /

!

42

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. 1159 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.

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.

44

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 60 performance. 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 61

at twenty-two. 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.

61p " :l.erre, p. 262.

45

trombone being twenty-five. Each specialization also has a maximum

length of time for completion: 62

Course

Solfege Harmony: Test section,

Maximum age

17 16

Elementary section, Advanced section Counterpoint

22, 24 26

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

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 5 3 4 5 4 5 5 4 5 5 4 5 5 5 5 3 4 ?

At the completion of a course, the student is not eligible

46

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

62C .. 28 ar~ng~, p.

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. They were for piano (Concerto in E-fZat by Dussek), violin (Conce~to in D minor by Viotti) and cello (First Concerto by Romberg).65 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. Mar.y of the contest solos are now

63C . . ar1ng1, p. 28. 64C . . ar1ng1, p. 29. 65p . 1erre, pp. 584, 607, 615. 66p . 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

"f" 11 "67 speC1 1ca y 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

If " d h d f" 68 so egg10 an t.e stu y 0 an 1nstrument. 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.

68C "" 31 ar1ng1, p. . 69 George E. WaIn, "Conservatoire National de Paris; Impressions

Gained From A Recent Visit," Instrumentalist, vol. 12, no. 1 (September 1957), p. 98.

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

. .. d h d f 72 mUS1C, ear-tra1n1ng an t e ru 1ments 0 mUS1C.

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 1 d h d . h h . 73 mUS1ca ana YS1S an S1g t-rea 1ng W1t t e 1nstrument. 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

f . f h h 74 per ormance requ1rements 0 t e1r c osen 1nstrument.

70C .. 31 ar1ng1, p.

71 C .. 31 ar1ng1, p.

72Eric B10m, "Solfege," Grove's Dictionary of Music and Musicians (New York: St. Martin's Press, Inc., 1959), VII, pp. 877

azu_td_8315294_sip1_m

Documents

Transcript of azu_td_8315294_sip1_m