Yamaha Band Student, Book 2: Trombone Book

Feldstein and O'Reilly understand that beginning trombonists need music that sounds musical while they're still learning slide positions. This book delivers genuine band repertoire without sacrificing pedagogical integrity, and the inclusion of duets, trios, and full-band charts means your ensemble can make real music together from day one.

Straightforward and encouraging. The music meets beginning trombonists where they are without talking down to them. Melodies are singable, rhythms are clear, and every new technical element arrives when students are ready for it.

Band directors launching a beginning trombone section who want their students learning from material that respects both musicality and realistic skill progression. It also serves private studio teachers working with first-year trombone students who need structured, sequential exercises alongside actual songs.

• Anchor the low brass section by locking in with the baritones and tubas on unison passages; consistent pulse matters more than perfect intonation at this stage.
• Use the duet and trio sections as accountability tools: pair beginning students strategically to build confidence in reading and listening simultaneously.
• Work the full-band arrangements in rehearsal before concerts, not in isolation at home, so students hear their part in context and understand their role.
• Establish slide position markers early (first, second, third, etc.) using consistent language; this method builds that foundation systematically.

Move through this sequentially rather than jumping around; the pacing is deliberate. Integrate the duets and trios into sectional rehearsals to build accountability and ear training, then feature the full-band arrangements in your first or second concert of the year when students have enough fundamentals in place.

• Slide position identification and muscle memory (first, second, third positions and combinations)
• Reading treble clef in beginning ranges (G below the staff through high C)
• Counting and playing in simple meters (2/4, 3/4, 4/4)
• Listening and blending within duet and trio textures
• Breathing placement and sustaining whole notes and half notes
• Articulation control (tonguing versus slurring)
• Part independence within full-band arrangements