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 and makes it suitable for filling the Music Teacher. The training takes place in a private lesson, in which the teacher’s own personality, teaching methods, instrumental presentation, for example, serves the teacher candidate student. It is important to emphasize the theoretical background and awareness in the instrumental play and the education of total self-reliance, in order to prepare for the teaching career in the main work.

2. Content of the course and the Breakdown of content in semester, control method:

The task of the training is the continuous development of blasting technique and playing technology, the development of methods of effective practice, the achievement of the beautiful tone, the sensitivity to the voices, the perfect execution, inner quality and ultimately the complete development of artistic skills.

Let the student know the major works of the solo and orchestral literature of the instrument. With the formatted, theoretical knowledge of his style, he should be able to analyze the works, to have independent musical thinking, to develop the need for constant self-cultivation, to extend the existing vocational and general music education to the successful work of the teacher’s career.

Admission requirements:
1. O. Böhme 12. melodical etude
2. 2 movement of a baroque sonata
3. concerto movement with cadenza
4. piece from the XX. c or contemporary composer’s work

Breakdown of content in semester, control method:
Each semester recommended for 3-4 performing pieces and 15-20 etudes 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 security, 3-4 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

In the first and second semester, secondary school material is usually needed.
(Brandt, Böhme, M. Alphonse etűdök, fejezetek J. B. Arban iskolájából)

Development of blower technology, control of basic functions.
L. Maggio, J. Stamp, Method Barogue style: Bach-Gisondi: 6 solo suite,
Barokk sonatas, (Albinoni, Vivaldi, Telemann, …)
Performing pieces from other music history periods. Charlier, Höhne, Hindemith, etc. Memory development, playing from by heart, 2-3 appearances in public concerts
Orchestral excerpts

  1. semester

Development of blower technology
M. Schlossberg, C. Colin Method

Development of playing technology characterized by characteristic etudes and school materials. (Dubois, A. Maxim)
Classical – Haydn: Esz-dúr trombitaverseny, Neruda: Esz-dúr trombitaverseny
Performing pieces from other music history periods: Torelli, Marcello, Bozza, Hidas, Dubois
2-3 appearances in public concerts

Orchestral excerpts

  1. Semester

Blower technology: R. Quinque, C. Rippas iskolái Scales
Melodical practice: Bordogni: 24 Vocalyse
Practicing technical elements from the chosen etudes material. Caffarelli, Chavanne, Laurent Romanticism knowledge: O. Böhme, W. Brandt koncertjei, K. Pilss: Sonate
Performing pieces from other music history periods.: Telemann, Hummel, Bitsch, Lendvai
Transcription: Bodet practice
Orchestral excerpts
Self-training: participation in masterclasses, professional meeting, competition.

  1. semester

Blower techonolgy: M. Smith, R. Nagel practice
Etudes:Bordogni, Sauveur, Verdiev, Bitsch etudes
Kornett Literature: Clarke, Bellstedt, Arban works
Performing pieces from other music history periods: Fasch, Stoelzel works, Honegger: Intrada
Orchestral excerpts

  1. semester

XX. century modern and artist-etudes material :?Bozza, Tomasi, Charlier, Arban
Style knowledge: XX. century Tomasi: Concerto, Bitsch művei
Performers’ practice of contemporary music in works by foregin composers: St. Friedmann: Solus;
Persichetti: Parables, Henze:Sonatina
Orchestral excerpts
Self-training: participation in masterclasses, professional meeting, competition.

  1. semester

XX. century modern and artist-etudes material: Charlier, Arban, Chaynes
Style knowledge: XX. century Jolivet: Concertino; Delerue: Concertino, Francaix: Sonatine
Performers’ practice of contemporary music in works by Hungarian composers:
Kovács: Capriccioso Braziliano; Petrovics: Trombitaverseny, Láng: Poco a poco diminuendo, Lendvai: Senza sordina
Orchestral excerpts

  1. semester

Characteristic and melodic etudes
1 performing piece with self-learning
Repetations of the finished Program
Compilation of the Final Exam Program
Selection from the works of the music school curriculum
Self-training: participation, professional meeting, county competition.

  1. semester

1 solo piece with self-learning
Selection from the works of the music school curriculum
The compilation and interpretation of the final exam material in preparatory concerts.

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

Exam Requirements and Final Exam Requirements:
At the I-VII. semester has colloquium (2-3 different characterical etude, 2 performing pieces from different ages, 3 orchestral excerpts). The end of the VIII. semester is the final exam concert.

Final Exam Material::
1. 1 baroque sonata
2. 1 classical, romanticist or contemporary concerto – 1 solo for trunmpoet
3. 1 chamber work
4. 1 piece from memory should be played

  1. List of compulsory or recommended literature

Methodology Practices for Improving Basic Functions and Improving Blowing Technology:
L. Maggio: Methode; J. Stamp: Warm-ups + studies; M. Schlossberg: Method; C. Colin: Complete Methode; R. Quinque: Ansatz-stüze-atmung Methode;
C. Rippas: Einspielen aus der Mitte; W. M. Smith: Forty-One Studies;
H. L. Clarke: Technical Studies; J. B. Arban Complet Methode; Robert Nagel: Speed Studies;
Konradin Groth: Etüden über Neue Zungenstoss-und Atemtechniken für Trompete

Technical etudes: Bozza 16 Etudes; Caffarelli 16 Etudes; Bietsch: 20 Etudes; Chavanne:
25 Studies Caracteristic; Sauveur: 20 technikai etűd; Charlier: 36 Transcendens Etudes; O.
Franz: Zehn Grosse Concert-Etüden;
Vocalise etude: Bordogni 24 Vocalyse;
Bach-Bodet: 16 Virtuose etude
Tomasi: Six Etudes, Dubois 12 etűd; Arban: 26 Modern etude; Charles Chaynes: Quinze études; E. Bozza: Onze Études Karnatiques;
Transcription: Bodet: 25 Leseübungen
Etudes which containing orchestral excerpts: Verdiev: 17 Studies
Collections of orchestral excerpts by different publishers: Lutak; Pliquet-Lösch;
Edition Peters; Hofmeister;

Performing pieces:
Baroque sonatas, concertos: Fasch: Concert in D; Hertel: Concerto in Asz; L. Mozart; Stölzel: Concerto in D; Telemann: D-dur Concert; Torelli, Viviani: Sonata; Vivaldi,
Franchescini, Manfreddini kettősversenyei…
Classical: Haydn: Esz-dúr trombitaverseny; Hummel Esz-dúr / E-dúr trombitaverseny, Neruda: Esz-dúr trombitaverseny
Romanticism: O. Böhme: f-moll Koncert; V. Brandt: Koncert, Koncertpieces, L. Höhne:
Slavische Fantasie, K. Pilss: Sonate; Arutjunjan: Trombitaverseny
Kornett litarure: J. B. Arban, H. Clarke, Bellsted
XX. century: Bitsch: 4 variations sur une theme Scarlatti; Capriccio; Bozza: Concertino; Delerue: Concertino; Dubois: Concerto; Francaix: Sonatine; Honegger: Intrada;
Hindemith: Sonate; Tomasi: Concerto; Jolivet: Concertino; Rauber: Concerto; Henze: Sonatine; S. Friedmann: Solus; Plog: Postcards, Vizutti: Cascades; Persichetti: Parable;
Hungarian Composer’s works: Farkas: Concerto; Hidas: Concerto No.2; Láng: Poco a poco diminuendo; Lendvay: Senza sordina, Két capriccio trombitára; Petrovics: Trombitaverseny; Kovács: Capriccioso Braziliana

Recommended books:
E. Tarr: Die Trompete
R. Donington: A barokk zene előadásmódja
N. Harnoncourt: A beszédszerű zene
Gisella Csiba und Jozsef Csiba: Die Blechblasinstrumente in J. S. Bachs Werken