Main Subject Trombone Jazz & Pop 4

Module code
Curricular domain
Practical Classes
Group size
Number of course weeks
Class duration
One 50-minute lesson per week
Total contact hours
25 hours
Study load
451 hours

Form / content / level

Admitted to the ArtEZ Jazz & Pop Trombone main subject year 4.
See Competencies Matrix.
Students will be able to function independently as professional musicians. In addition to their musical ability, they will also be able to teach (privately or at a music school), lead workshops/clinics, or organize musical projects. They will be able to function both independently and in collaboration with others. They will also be familiar with the various aspects of working as a freelance professional musician, the world of studios, musicals etc. Finally, students will be willing to explore uncharted musical territory.
Relation to other modules
The contents of the main subject lessons are for the most part tailored to the final audition, and may be related to other classes, e.g., Arranging or Band Coaching.

Extensive professional knowledge

Organizing music lessons (privately / music school / art institute)

Communication theory (musical entrepreneurship, management)

Educational psychology (various learning processes)

Music didactics (learning program/trajectory)


Excellent observation and analytical skills

Ability to think methodically

Responding effectively to mistakes (e.g., as a teacher)

Ability to think systematically

Ability to organize private music lessons

Ability to initiate an artistic, educational or organizational project

Collegiality and enthusiasm

Flexibility: keeping an open mind for new developments

Showing respectful behavior


Playing the trombone at a professional level


David Baker: Jazz Pedagogy

Jerry Coker: The Teaching of Jazz

David Liebman: The Art of Recording

Paul F. Berliner: Thinking in Jazz

David Liebman: Guide to the Road for the Touring Musician

Kenny Werner: Effortless Mastery

David Liebman: Self-Portrait of a Jazz-Artist

Derek Bailey: Improvisation: Its Nature and Practice in Music

Barry Green / Timothy Gallwey: The Inner Game of Music / Innerlijk musiceren

Maria Hapman: De kunst om met kunstonderwijs om te gaan

Juul Diteweg: Uitval in het muziekonderwijs

Maria Hopman: Creativiteit onder druk

Attitude: Professional, respectful towards colleagues, stimulating, honest.
Mode(s) of instruction
Depending on the student's preference: either weekly individual lessons or biweekly double main subject lessons Occasional coaching at band rehearsals by the main subject teacher.
Material & Tools

Ramon Ricker: New Concepts in Linear Improvisation

Ramon Ricker: Pentatonic Scales for Jazz Improvisation

Ramon Ricker: Technique Development in Fourths

David Baker: Techniques of Improvisation (4 volumes)

David Baker: How to Play Bebop (3 volumes)

David Baker: Advanced Improvisation (2 volumes)

David Baker: Modern Concepts in Jazz Improvisation

David Liebman: Chromatic Approach to Jazz Harmony and Melody

Davis Liebman: Chromatics/Non-Diatonic Scales

Joe Riposo: Jazz Improvisation: A Whole-Brain Approach

Randy Halberstadt: Metaphors for the Musician

Mark Levine: The Jazz Piano Book

Emile de Cosmo: The Woodshedding Source Book

Charlie Mariano: An Introduction to South Indian Music

Rebeca Mauléon: Salsa Guide Book

Antonio Adolfo: Brasilian Music Workshop

Walt Weiskopf: Intervallic Improvisation

Walt Weiskopf: Around the Horn

Scott D. Reeves: Creative Jazz Improvisation

David Baker: Expressions & Explorations

Jerry Bergonzi: Melodic Rhythms (vol. 4)

Jerry Bergonzi: Thesaurus of Intervallic Melodies (vol. 5)

Walt Weiskopf / Ramon Ricker: The Augmented Scale in Jazz


Acquiring the most-used trombone methods (beginners-advanced) required for giving private lessons.
Student activity
Organizing a performance (band, repertoire, rehearsals) as part of the annual Jazz & Pop student concert. This performance may be used to try-out elements of the final exam. Independently organizing and performing the final audition.

Examination and assessment

Mode(s) of assessment
Assessment by the main subject instructor at the end of each semester.

At the end of the first semester (December): concluding technical exam, part 2


1 Classical technique (technical melody études)

2 Solo transcriptions

6 Specials (self-written études)

7 Sounds
The student should have mastered the elements described under Aims. Specific criteria are: creativity, expression, improvisation, technique, sound, intonation, timing, reading skills, repertoire knowledge, progress, self-reflection, session participation, attitude and lesson preparation.
Pass requirements
The student has completed this module if he is awarded a minimum grade of 5.5 at the end of the second semester.
Examination procedure
At the end of both semesters the instructor fills out an assessment form designed specifically for this module. Assessment is comprised of a verbal evaluation and a concluding grade. The instructor reviews this assessment with the student during the first subsequent lesson. Assessment at the end of the autumn semester is formative and expressed in terms of satisfactory/unsatisfactory. It indicates a student's progress in this module. No ECs are awarded and there is no resit. Modules can only be absolved, and ECs awarded, after the end of the spring semester.
Resit options
See the Education and Assessment Plan.

Module summary

Theme: Professionalization. This year concludes the first phase of the main subject study. At the end of the year, students should be independent and enterprising professional musicians who are not only able to play their instrument at a high level, but also to teach other students either privately or at a music school. In addition, they should be able to lead workshops/clinics, or organize musical projects. Apart from the musical/technical subjects, cultural entrepreneurship is also an important element of the main subject study. The second technical part of the year will also conclude with an exam.