1. The general and specific objectives of the subject are:

The general aim of the course is to provide students with professional knowledge and versatile music education that meets the quality requirements of the age based on the knowledge gained in secondary school and makes it suitable for filling the Music Teacher. The training takes place in a private lesson where the teacher’s personality, teaching methods and instrumental presentation are for example for a prospective student candidate.
Under the semester 8 of the main subject work, the role of the student in the teaching of the teacher’s career is to raise consciousness, emphasize the theoretical background and educate the self-esteem in his instrumental play. The task of the training is to guide the student to the full development of his artistic abilities. The aim is for the student to be able to analyze the works in the formative and theoretical style knowledge. The need for independent music thinking and the need for constant self-cultivation should be developed so that it can work successfully on the teacher’s career by extending its vocational and general music education.

Self-training is an integral part of teacher training, which is also promoted by participation in master classes, professional meetings and competitions. For the purpose of obtaining interpretation practice, the students also attend concerts in concerts at 2-3 occasions per semester. In most cases, concerts are being recorded, and analyzes help to further develop students.

  1. Content of the course
  2. 1. Admission requirements

1.) C. Kopprasch: 35. , or from Couillaud 20 etude XI.,
2.) V. Blazsevics: 22. etude, or similar difficulty from the Bordogni Vocalises
3.) Freely chosen baroque sonata or from a solo piece’s slow and fast movement

2.2 Content of the course
Attention to the proper use of the basic functions is particularly important in high-level professional training, the theoretical background of which is provided within the framework of the instrumental methodology clock. Proper breathing (support, constant air column)  proper ventilation, venting (throat opening, large oral cavity)  sound start (proper position of tongue)  good hand and posture (lack of which can make the instrumental therapy cramped), all these functions are individually tailored, is decisive for the professional future of teachers. Students should be drawn to the context of the basic functions and to coordinate them. Regular sounding and scaling are best suited to practicing these, which can significantly increase the security of instrument management. Synchronizing mechanisms and achieving secure intonation by scale exercises is the primary consideration.
By performing various types of etudes of sufficient difficulty, the professional development of technical elements is the main goal.

Through the processing and interpretation of performance pieces, music formatting, expression tools, style knowledge, presentation skills, self-conceptual education, and personality traits of performers are realized. It is important to clarify the limits of the artist’s freedom, which is a primary consideration to follow the author’s instructions, and it is recommended to use Urtext editions.

  1. the Breakdown of content in semester, control method:

Each semester is recommended for 3-4 performing pieces and 10 to 15 etudes to learning. The composition and quantity of the curriculum is determined by the teacher taking into account the student’s abilities and instrumental knowledge.

For high level interpretation and podium safety, 2-3 public appearances are recommended.After the scholarly concerts, the common evaluation for pedagogical purposes helps conscious music thinking and the formation of a positive teacher’s personality.

1. semester

Steiner F.:Mindennapi gyakorlatok harsonára;
B.Slokar:Method for tenor trombone.

R.Müller:Technische Studien für Zugposaune III.
G. Kopprasch: 60 Selected Studies for Trombone
Bordogni: Melodikus etűdök Sztefanovszkij:Etűdök basszus harsonára Shoemaker:Melodikus etűdök

Baroque sonata:
B.Marcello,A.Vivaldi,A. Corelli
Performing pieces:
Gräfe:Trombone Concerto
Reiche:Concerto No1
Jongen:Aria and Polonaise
Memory development, from memory, 1-2 appearances in public concerts.Orchestral excerpts


Blowing technology: M.Schlossberg,C.Colin Method

Performing pieces:
Dvarionasz: Variációk
A.Guilmant:Morceau Symphoniqe
P.V. de la Nux:Solode Concours
Bjelinszkij:3 bibliai legenda
Acquire podium security
Orchestral excerpts

  1. semester

Blowing technology:


Exercise of technical elements from the chosen etudes:
Pichaureau: 21etűd,Vobaron,Kahila:16 etűd,Senon:Kaleidoszkóp II-III Szonáták:
G. F.Händel,G.Frescobaldi,M. Zocarini

Előadási darabok:
S.Stojowski: Fantasie
F.David: Concertino
Milhaud: Téli koncert

Zenekari állások
Self-training: participation in masterclasses,professional meeting, competition

4. semester
Blowing technology:
E.Remington:Daily RoutinesforTrombone

Usák: Virtuóz etűdök,Vobaron,Bordogni,Pichaureau, Mainz

J.B.Loeillet,Boismortier,Händel Előadási darabok:
S.Sulek: Szonáta
E.Bozza: BalladeforTrombone Castarede: Sonatina
Wasiljev: Koncertstück Alsautzky: Concerto Larsson: Concertino Spisak: Concerto

Orchestral excerpts

5. semester

20th century modern and artist-etudes

Masson:12 Variációs etűd, Bitsch:15
Ritmikai etűd,Lafose:VadeMecum
Tessarini, Eccles

Perfoming pieces:
Gröndahl: Concerto
Uspenski: Concerto
Kalinkovics: Concerto

Pauer: Trombonetta
Orchestral excerpts
Self-training: participation in masterclasses,professional meeting, competition

  1. semester

20th century modern and artist-etudes
Lafose,Masson,Dotz, Duport,Bozza
Bach: Szvitek
Style knowledge: 20th century:
J.M.Defaye: Movement
B.Krol: Capriccio,
N.Rota: Concerto
A. Nesterov: Concerto
Presenting practice of contemporary music in works by Hungarian composers:
Kistétényi M.:Sonata per trombonesolo
Dubrovay L.:SoloNo.2
Fekete Gy.:Parlato
Durkó P.: Monológ harsonára
Hidas F.:Fantasia; Rapszódia.
Orchestral excerpts

  1. semester

Characteristic and melodic etude
1 performing piece with self-learning

Perfoming pieces:
Albrechtsberger. Harsonaverseny
Wagenseil: Concerto,
F. Martin: Ballada
H. Tomasi: Concerto

Repetitions of the finished repertoire
Compilation of the final exam repertoire
Selection from the lecture pieces of the music school curriculum.
Self-training: participation in masterclasses, professional meeting, competition

  1. semester

1 solo piece with self-learning
Repetitions of the finished repertoire
Compilation of the final exam repertoire, interpretation at concerts.

Control methode:

In mainstream part of the main course, in concerts and public performances.

Exam Requirements or Final Exam Requirements:
In every semester has a colloquium:
1. 2-3 different etudes
2. 2 performing pieces from different ages
3. Orchestral excerpts

Final Exam Concert Requirements:
1. 1 baroque sonata
2. 1 classical, romanticism or contemporary concerto
3. 1 solo piece
4. 1 chamber work

1 play must be played from memory.

  1. List of compulsory or recommended literature

Methodology Practices for Improving Basic Functions and Improving Blowing Technology:

J.Alessi:Daily routine B.Slokar:Method for tenor trombone C.Colin:Completemethode E.Remington:Dailyroutinesfortrombone
Steiner F.:Mindennapi gyakorlatok harsonára

Etudes for Trombone tenor:
Felix Vobaron: 34 etűd + 40 etűd Bordogni: Melodikus etűdök (120) Pichaureau: 21 etűd
Kahila: 16 etűd Couillad: 21 etűd Usak: Technikai etűdök Blazsevics etűdök Blazsevics szekvenciák

Etudes for Bass Trombone:
Sztefaniszin etűdök
Senon: Kaleidoszkop II és III. kötet Shoemaker: Melodikus etűdök Bordogni: Melodikus etűdök Masson: 12 Variációs etűd
Bitsch: 15 Ritmikai etűd
Lafosse: III. Iskola IV. k.
Coillaud: 30 Modern Etűd Coillaud: 20 Etűd
Dotz és Duport etűdök Bozza: 13 Etűd-Caprice Lafosse: VadeMecum
Arban: Karakterisztikus etűdök Boutry: 12 Etűd
Ranieri Melodikus etűdök I-II-III. kötet Otto Mainz: Etűdök
Uber: Etűdök
Bach: Szvitek

Eccles: g-moll szonáta Corelli szonáták Duport: Szonáta
Gabrieli: Asz-dúr szonáta
Händel szonáták (B-dúr, Esz-dúr, f-moll) Pergolesi: Szonáta
Tessarini: Esz-dúr szonáta Vivaldi szonáták

Performing pieces:
Albrechtsberger: Harsonaverseny
Alschautzky: B-dúr koncert
Bigot: Impromptu
Bjelinszkij: 3 bibliai legenda
Bogár: Szonatina
Bonneau: Capriccio
Bozza: Ballada
Casterede: Szonatina
Casterede: Concertino
David: Esz-dúr harsonaverseny
Defay: 2 Tánc
Desenclos: Plaintchant et allegretto
Dubois: Concerto
Dufay: Mouvement
Gröndahl: Concert
Guilmant: Morceausymphonique
Hidas: Concerto harsonára és zenekarra
Hindemith: Szonáta
Hummel: Szonatine
Jongen: Ária és polonéz
Krol: Capriccio
Larsson: Concertino
Leclair: Italian ChamberSonata
Martin: Ballada
Milhaud: Téli koncert
Pauer: Trombonetta
Reiche: Á-dúr harsonaverseny
Ropartz: esz-moll darab
Schubert: Arpeggionesonata (arr. Lindberg)
Serocki: Szonatina
Sibelius: Szonatina
Sulek: Szonáta
Tomasi: Concerto
Vidal: 2. solo de concert
Wassiljev: Konzertstück
Wagenseil: Concerto

Recommended books:
Donington: A barokk zene előadásmódja
Farkas: A rézfúvós játék művészete
Harnoncourt:A beszédszerű zene
Sumerkin: Metodika obuchenija na trombone