TORONTO TROMBONE, EUPHONIUM, & TUBA TEACHER: Aubrey Kelly

A. Dip. (GGS-RCM)
M. Mus. (U. Vic.)
B. Mus. (U. Vic.)

Trombonist Aubrey Kelly grew up in Regina, Saskatchewan. During her middle and high school years, several music teachers inspired her love of music-making, which led her to pursue music at the University of Victoria in BC. There, she completed her Bachelor’s and Master’s degrees in trombone performance with teachers Scott MacInnes and Ian McDougall.

She then moved to Toronto, and studied with TSO principal trombonist Gordon Wolfe at the Glenn Gould School of the Royal Conservatory. Over the past decade, she has enjoyed a varied career as low brass artist, having performed and recorded as a soloist, and with groups including orchestras, big bands, brass ensembles, and rock bands.

Get to know TEACHER…Beyond the Bio!

Hobbies & Interests: crafts, history, camping, travelling

Musical influences: Scott MacInnes, Ian McDougall, Gord Wolfe, János Sándor, Alain Trudel

Favourite food: MacIntosh Apples

Least favourite food: Ketchup chips

Favourite music: Snarky Puppy, Barenaked Ladies, Alison Krauss, orchestral music by Brahms and Mahler

Favourite song: Binky (Snarky Puppy)

Favourite movie: The Artist; Midnight in Paris

Favouirite movie music: Star Wars; The Illusionist

Favourite musical theatre/opera: Hamilton

Best quote from your teacher: Use their time.

Favourite book: The Help

Best thing about teaching at ABC: Sharing my love of music and low brass playing with students.

Latest Homework from Aubrey

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Wednesday
TFS

Wednesday

Assignments for the week of April 5, 2017

Gaian Great to hear your work on the Rochut that you'll play in the recital. From here on out, do a quick spot-check of the piece before you run it. With any tricky fingering passages, spend as much time as you need to practice these passages slowly, so that you can nail them every time. Gradually increase the speed of them from there. Be sure you're not practicing making mistakes, especially in the same places, as you go forward with it. Keep up the great work with phrasing. Nice job with sight reading no. 12 tonight. I'll look forward to hearing it in two weeks time. I really enjoyed working on the duet, and look forward to continuing with it! In your practising, work out which passages you'll take down the octave, mark them in the music, and practice them this way. Nice sight reading with the tenor clef etudes - it's always a good challenge to sight read in a different clef than we're used to! As discussed, I'll be away next week, but Anders Azzopardi will be subbing for me. I hope you enjoy working with him! See you on April 19th!

It was great to see the TFS students again after several weeks away.

Paul

Great to see and hear how your range, and knowledge of note names and fingerings is coming along.

This week, whenever you go to play, remember to keep the mouthpiece in place, and breathe through the “corners” of your mouth (rather than moving the mouthpiece, and shifting the position of your embouchure for each note).

Keep working on B flat major scale, and becoming comfortable with fluently and quickly moving between the fingerings. Work on this with both slurred and tongued articulations.

Nice work on sight reading!

Remember to bring your band music next week.

Martin

Congrats on a big leap forward this week!

Every time you pick up the horn this week, spend at least 10 minutes working on slurring from low F to C in 6th position. Crescendo-ing to get the higher note to pop out was effective, so keep this up. Once you’ve comfortably played these two notes, come in on just the C, and get to the point where you recognize the feeling and “taste” of it. Work on slurs down from the C to the F as well.

Move up the slide positions, doing this exercise on low G flat to D flat (in 5th), and higher, as you feel comfortable. Take breaks, and do breathing exercises intermittently.

You demonstrated a solid recognition of elements of written music – notes on the staff, and rhythmic values. Nice work on those short compositions, and on the playing by ear in the call and response. We’ll do more these kinds of activities in the coming weeks.

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Stay warm and dry in this deluge of wintery weather!

In case you are interested, my brass band has a concert on Sunday afternoon:

http://westonsilverband.ca/event/brassapalooza/ It will feature some great trombone, baritone, and euphonium playing. :)

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Preferred Books for Aubrey’s Students

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Remington Warm-Up Studies

Cover of Remington Trombone Warm-Up Studies

An annotated collection of the famous daily routine developed by The Chief, Emory B.Remington. 63 of the studies used to train some of the worlds finest trombonists. Dr. Hunsberger also includes the text of interviews he conducted with The Chief before his death. Remington talks about his singing style, the correct way to tongue, a concept of sound, flexibility, a legato approach, security in the high register, and relaxation. Also contains 12 diatonic pattern scales, a Sample Routine, and an index.

ABC Academy is unable to provide a cost effective and speedy online source for this book. Please call a local music retailer to find a copy.

Melodious Etudes for Trombone

Cover of Melodious Etudes edited by Johannes Rochut

Widely considered among Trombonists as an almost sacred musical text, the Melodious Etudes of Marco Giulio Bordogni are required learning for musical style, range, and expression for the developing and serious Trombone student.

We are currently unable to find a good online source for this book. Please call a local retailer to secure a copy.

Arban Complete Method for Trombone

Arban’s fundamental method book for trumpet was first published in 1864 and has held a top spot in trumpet studies ever since. In 1936, two of the finest trombonists of the day, Charles Randall and Simone Mantia, revised the method for trombone, creating the basis for trombone studies over the ensuing 75 years. Today, Alan Raph brings the Arban into the 21st century, enhancing and expanding the complete Arban text, and addressing new skills and techniques developed up to current times. Sections have been expanded (i.e., scales, arpeggios), and new sections have been added (i.e., slide drills, contemporary forms of double and triple tonguing). Alternate positions have been updated and expanded. Sometimes F-attachment positions are given to facilitate awkward slide movements.

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