Review

Simone Mantia
The Trombone Virtuoso: an Advanced Method for Mastery of all necessary Clefs, Reliable Embouchure, Perfect Intonation and Technical Dexterity in General:

Arranged by John van Deursen


Vancouver, BC, Canada
Publisher: Cherry Classics Music
Date of Publication: 2012
URL: http://www.cherryclassics.com

Primary Genre: Study Material - method

This classic trombone method, first published in 1919, has been reissued thanks to the efforts of Gordon Cherry and his publishing company Cherry Classics Music. As far as may be seen from the copy sent, this is a high quality, facsimile reprint. The front piece has been replaced with a Cherry Classics cover and Mantia’s biography by Gretchen Renshaw, edited by John van Deursen has been added just before the contents page. This review will cover the attributes of the original publication and attempt to assess its relevance to the modern student of the trombone. The reference to the new edition on the Cherry Classics web page has this to say:
 
Simone Mantia's "Trombone Virtuoso" was one of the most important method books for the instrument in the mid 20th Century. Many major Trombonists used this book as young artists, finding it added greatly to their progress on the instrument. Mantia's method book covers all clefs, keys and techniques necessary for a sound footing on the Trombone. Although some of the styles in the book may seem dated, they were in vogue at the time. Mantia performed with the Metropolitan Opera Company for many years and was for quite a while its Personnel Manager, coming across hundreds of top instrumentalists who migrated and lived in New York City. As a young performer, he was also a leading soloist with the Sousa band and toured with it throughout North America. Cherry Classics is proud to present this work in its original format as the first publication in our "Vintage Brass Series." We will be adding more to this series in the future. If you have a favorite method or solo that is out of print, submit your idea to us for consideration. This 128 page book is coil bound for easy page turning.
 
A matter of fine detail: when dealing with the transposition needed for the treble clef, it should be noted that at the beginning of the scale in treble clef on page 4, the scale is incorrectly transposed, with E taken up as f and not f-sharp. This error persists in the example but is corrected on later pages. In my view, the attention paid to treble clef is not warranted by the amount that clef is used nowadays. Furthermore, the etudes are, as indicated on the Cherry Classics web page, somewhat dated from the perspective of the 21st century. The book remains valuable to students of the instrument and to the study of the pedagogical history of trombone technique.
 
To amplify my brief remarks on the dated quality of the etudes I will review them with a view to finding use for at least some of them. Having gone over the original book in some detail, I have to say that I can see one important use for this method which might justify its purchase: There is much material, in a variety of clefs, which can provide much practice in reading.
 
lntroduction
Correct positions for the Trombone Soloist
The positions referred to here are not slide positions, but recommendations, with photographs, on how to hold the instrument when playing.
Some personal observations regarding Tone-Production
Mantia recommends the use of a loose wrist in playing and otherwise focuses on such basics as long tones and consistency in pitch and tone.
 
The four Clefs used in music notation for the Trombone
The only error I was able to find occurs here, where E in concert pitch becomes not F-sharp, but F-natural. This is an easy adjustment but care should be taken to make it.
 
The Chromatic Scale (in Bass Clef)
It is important to note the various alternatives for slide positions, especially as the pitch rises. Some of the positions are a bit of a stretch for players nowadays, but Mantia leaves out most of the really awkward extended positions.
 
58 Exercises for becoming accustomed to the New Positions
Many of these exercises are quite simple and straightforward, starting with whole notes and proceeding to quarters and eighths, adding sixteenths and dotted notes. These exercises are good for practice in reading, as can be found in much of the book.
The Tenor Clef
Chromatic Scale and 16 Exercises (Tenor Clef)
Much of the material in the section on bass clef is repeated here but with new etudes at the end.
 
The Treble Clef
Chromatic Scale (in Treble Clef) and Exercises in Treble, Tenor and Bass Clefs
This section spends much time on treble clef exercises with additional exercises in tenor and bass clefs. Legato exercises are added as the section proceeds.
 
Scale Exercises for aiding students in transpositions of a half tone
These exercises employ a notational trick where each exercise involves two key signatures, as for example F followed by F-sharp and so on.
 
Exercises in the Alto Clef
This final clef in Mantia’s book is covered in much the same manner as the others, but perhaps not as thoroughly.
 
Chromatic Scale and 29 Exercises (Alto Clef)
Exercises with quick changes of clef:
Interesting for practice in clef changes.
 
Exercises identical in melody but written in different time
Basic in its approach, but useful.
 
Exercise in five-four time
This represents a bare beginning of the study of compound meters. Recent methods cover this more completely.
Original Concert Solos by S Mantia
These solos are definitely dated: a student wanting an “old fashioned” solo might find one or another of these useful. One question might concern the availability of accompaniment parts.
1. Old Folks at Home
2. Comin Thro' the Rye
3. Valse Caprice
4. Variations on “In Dixie,” “My Old Kentucky Home” and “Old Black Joe”
Cadenzas (in Various Keys)
I have to describe these as hopelessly dated by current standards.
To the modern trombonist, Mantia’s Method seems most useful as material for reading practice. If treble clef or alto clef reading is not as fluent as you would like, it represents a good opportunity to gain some necessary practice in reading. However, anyone interested in historical examples of pedagogical writing will find this book is worthy of study.

-Philip Brink
Mahidol University