Review

Roger Harvey
BrassWorkBook for Trombone Book 2: Practice Routines:

Crowborough, E. Sussex, United Kingdom
Publisher: Brassworks
Date of Publication: 2007

Primary Genre: Study Material - method
Secondary Genre: Study Material - etude

Published by his own company, Roger Harvey brings his training and experience to this three volume series. He indicates these books are not intended for the beginner, and the main focus will be on the particular technical requirements of the instrument or performance environment. He further states: “…BrassWorkBook 1 in which all the basic technical matters are explained and some sample exercises are given to help develop a good set-up. In book 2 there are a series of practice routines which can be used to establish a sensible regular pattern of work. The third book in this group will present a series of studies of various levels of difficulty…”
 
Lengthy narratives begin each chapter of book 1, with careful language indicating Harvey’s method is not the only way to approach each subject. The first book is divided into 11 chapters – Breathing, Embouchure, Production, Legato, Flexibility, Slide technique, Low register, High register, Other techniques, Tuning and Practice, with some musical examples for practice and concept demonstration. The chapter regarding practice discusses motivation, what to practice and how to practice, and might be more beneficial as the first chapter. The musical examples are clear and easy to read; some are given in tenor clef. At times the paragraph and text layouts are inconsistent making the narrative somewhat difficult to follow.
 
Book 2 is divided into five, 25-minute sessions: embouchure response, flexibility, production/legato, upper register, and lower register. Again, sound pedagogical advice is given with the understanding that this is not the only way to pursue these skill sets, and with the recommendation that exercises can be supplemented. Two condensed 30-minute sessions cover each topic of the five original sessions. The musical exercises become progressively more difficult and the second 30-minute session is more melodically oriented; some examples are given in tenor clef. In an effort to maintain good page formatting, some musical examples have been reduced in size, making them difficult to read. Numerous grammar, spelling, and format issues also contribute to a text that is somewhat difficult to read.
 
Book 3 presents a series of studies at various levels of difficulty that can be used to help consolidate aspects of technique and develop confidence and consistency. Divided into three stages, each becomes progressively more difficult. Creative etudes use scales and arpeggios, and others isolate technical issues in a musical context; some use tenor clef. The third stage contains extended techniques and some truly difficult exercises.
 
Harvey suggests that these workbooks can be useful to teachers and students as a reference and as a basic course of study. Recognizing there is more than one way to develop these skills and that appropriate repertoire should supplement, the topics and presentation make for excellent pedagogy. If you are looking for a foundation for a teaching studio, this is a good, accessible resource.

-David Stern
Lewiston, ME