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First Book of Trombone Solos: Trombone & Piano Book

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First Book of Trombone Solos Cover Image

First Book of Trombone Solos: Trombone & Piano Book

Ed. Peter Goodwin and Leslie Pearson

Level: Elementary - Intermediate

Item: 12-0571510833

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Description
The First Book of Trombone Solos is designed to introduce the young trombonist to the experience of working with an accompanist at an early stage. This book offers a wide selection of music from different composers, historic periods and in many styles. It is arranged in increasing order of difficulty from elementary to intermediate level. The pieces introduce new technical and musical features and encourage young trombonists to approach pieces with an increased musical awareness.

Titles: Fitzenhagen: Russian Song Without Words; Air Slave * Pearson: Intrada; Rag Trade * Blake: Walking In The Air * Holborne: The Fruits of Love * Pachelbel: Saraband * Monteverdi: Ave Maris Stella * Kuhlau: Arietta * Mendelssohn: Song Without Words * Offenbach: La Périchole * Lloyd Webber: Memory * Marcello: Adagio * Tchaikovsky: Rococco Varations * Bassano: Galliard * Weber: Waltz * Sullivan: I Am The Ruler Of The Queen's Navy * Traditional: Creme Catalan.

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Additional Details
Series: Faber Edition
Publisher: Faber Music
Page Count: 40
ISBN10: 0-571-51083-3
ISBN13: 978-0-571-51083-2
UPC: 9780571510832
SKU: 12-0571510833
Instrumentation: Trombone & Piano

More about this title

Why we love this

This collection mirrors the arc of a trombonist's early musical journey by pairing technically accessible writing with repertoire that demands genuine musicality. The breadth of styles and periods prevents students from falling into rhythmic autopilot; a Pachelbel saraband requires different phrasing than a Webber pop tune, which requires different energy than a Monteverdi sacred work. You get legitimate solo literature that respects young players' intelligence while their hands are still building facility.

What to expect

A curated tour through musical history where each stop offers something new. You move from the intimate yearning of a Russian song without words to the theatrical swagger of a Gilbert and Sullivan patter song, then settle into the meditative calm of a baroque saraband. The repertoire feels genuinely musical, not like exercises dressed up as pieces.

Who it's for

Elementary to intermediate trombonists ready to perform with accompaniment but not yet at the level of advanced solo repertoire. Students benefit most when they have spent enough time on fundamentals that they can focus on musicality and style interpretation rather than mechanical execution.

How to get the most out of it

  • Attend to the character of each style before focusing on notes and rhythms. Play through the piano part alone first to hear what harmonic world the trombonist is entering.
  • Tailor your vibrato and tone color to match the historical period. A baroque piece benefits from restrained vibrato and a leaner sound; a 19th-century romantic work invites fuller expression.
  • Balance volume carefully with your accompanist, especially in slower lyrical pieces where the trombone line can easily overwhelm the piano texture.
  • Mark breath points in advance so you avoid mid-phrase gasping, and coordinate them with your pianist during rehearsal.

How to use it

Select individual pieces for student recitals throughout the year, programming them alongside works at similar difficulty from other composers to vary the concert experience. Use this book in lessons as a natural transition from method books to performance literature, allowing students to experience ensemble playing and the give-and-take of working with an accompanist before moving to more demanding solo works.

Skills your students will build

  • Performing with a pianist and learning to balance sound in an accompaniment texture
  • Shaping musical phrases across technical passages without loss of line
  • Distinguishing musical style and adapting tone, vibrato, and articulation accordingly
  • Reading and interpreting notation across multiple historical periods
  • Building stamina through longer lyrical passages and sustained tones

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