George Maxted Twenty Studies for Tenor Trombone Zmanzig Etiden fir Tenor-Posaune Price 4/6 net (1954) WILLIAMS MUSIC Diee etaGaver saeamcls oeIhave been tempted to write these Studies because I fee] that the demands on the modem player are considerably greater than heretofore. I have covered, I believe, a greater register than has been attempted before but one which becomes more familiar every day as each new composition is published. I trust that these Studies will be of assistance in acquiring the technique necessary to cope with the work that lies ahead. Die Anspriiche an die Technik des Spielers sind in den letzten Jahrzehnten ausserordentlich ge- stiegen. In den folgenden Etiiden habe ich ein Gebiet zu behandeln versucht, das in der Unter- richtsliteratur bisher kaum beriicksichtigt worden ist, das aber mit jedem neuen Werk an Bedeutung gewinnt. So hoffe ich, dass die folgenden Ubungen dazu beitragen werden, dem Spieler die Fertig- keit zu erwerben, die die modeme Praxis erfordert. George Maxted George Maxted was Professor of Trombone at the Trinity College of Music in London and held Principal Trombone positions in the London Philharmonic Orchestra and in Sadler's Wells Opera Orchestra, He also wrote the book, Talking About the Trombone, which was first published in 1970 by John Baker Ltd., London. When the bag containing my only copy of George Maxted’s Twenty Studies for Tenor Trombone was stolen, I immediately set out to replace the volume and was disappointed to learn that it had been out of print for several years. Thanks, however, to Sylvia Goldstein of Boosey & Hawkes, Inc. and to Elwood Williams of Williams Music Publishing Company, that void has been filled, and cur- rent and future generations of trombonists will once again have access to Maxted. There is, to my knowledge, no similar book of studies available which addresses the unique needs of orchestral and recital trombonists in obtaining and perfecting accuracy and endurance in the ex- treme upper register, while maintaining a wide compass and security in the low register, as well. Additionally, the Studies are primarily in the alto clef and assist the performer in developing facility in this essential area. Furthermore, I have discovered, belatedly, that the Studies provide an excel- lent workout for the now burgeoning field of alto trombone performance. These are wonderful studies to play on the alto trombone, although one caveat does exist: octave displacement. Those players whose alto trombone has no valve attachment will occasionally need to transpose low notes or passages up one octave, or omit them entirely - as in numbers 1, 3, and 7. Players using an alto trombone with valve attachment will rarely encounter the problem, although it will still occur, as in numbers 4 and 18. Convinced that only advanced players should attempt these studies, I am sure that these transposition problems will be a minor inconvenience and that the trombonist, tenor or alto, will find the 20 Studies a rewarding challenge. John H. Mead, Professor of Music, Marshall University and Principal Trombone, West Virginia Symphony Orchestra20 STUDIES for Tenor Trombone 1 GEORGE MAXTED Allegro simile f p { + B ben? © Copyright 1954 by Hawkes & Son (London) Led. tigen tare ce Copyright Renewed Printing by arrangement with Boosey & Hawkes, Inc. B.& H. 17347 Z crese.2 This study should be played with due care in the performance of the dotted Quaver— Semi-Quaver —Quaver Rhythm. Bei dieser Etude ist der punktierte Rhythmus (Achtel - Sechsehntel - Achtel) besonders su beachten. Allegro Fae > tf 4 . poco rit. atempo 3 This study is for strengthening the Embouchure on the Top Register. Diese Ubung dient sur Stirkung der Embouchure in der hohen Lage. Andante > le ae oS fn nf B.& H. 17347o> oco rit. “ee bh a oh B.& H. 17347Moderato B.& H. 17347Moderato 2 (tee TR SS See Se et eay att B.& H.17847© Andante t B.& H.17847Allegretto af leggiero 1784710 Tempo di Minuetto — nf espress. iS aS bee be leggiero P espress. Allegretto f legato B.& H, 1784711 B.S 4. 1784712 Allegretto 7 | A 2 £2. e fee @ qeectre stra Sire ro ceereee ree fee 2 oa # wf Boe Be oy fe Pte, £, tt. # Py Me & Crete ra ate fetal cata te Pee hee. tf ty ° > i > iy te ’ B.& H. 1784713 After Béla Barték’s Concerto for Orchestra. Nach Béla Bartéks Konzert fir Orchester. ds 88 b Lf YS — bey bea’t & of B.& H. 1754714 12 Moderato S staccato the eee f ere tt Piette sg Ps: q a B.& H. 1784715 Moderato »# 2 £ tte of Fete et a Baa FES =e fee 4 i= legato f S legato B.& H. 1784716 Andante legato mf —_—_—_—==._ #_»_* #te ¢ Is fo [ — BYSe SS See (staccato) ) v ) ro ) 1 ) > iv B.&H, 178477 15 Andante Sf staccato p legato staccato B.& H. 1734716 Andante —— = OO Moderato _—_ At rate == ares out, wees ata) asad ee eper ers B.S H. 17847B.& H. 1784720 Moderato poco rit. atempo tr nf tr tr, —f B.& HH. 17847Allegro =~ a, P B.& H. 1784722 20 After Igor Strawinsky. Nach Igor Strawinsky. (Chant du Rossignol —Petrouchka—Sacre du Printemps—Symphonie de Psaumes) ds120 3 2 5 >be 8-54 L.&B B.& H. 17847