Sixty Counterparts

By Tom Ervin
$18.00 each, plus $1.00 shipping for each order of any size
Now Available!!





To accompany the Voxman “Selected Studies for Trombone”

The Selected Studies for Trombone edited by Himie Voxman (1952, Rubank & Hal Leonard) is still one of the most widely used books in American brass teaching. The book picked existing brass etudes in 13 different keys. There was, and still is, a shortage of intermediate material in the more complex key signatures. The excellent Voxman book is a fine bargain, and is highly recommended.

These new Counterparts are printed separately as a “part book” to save space and page turns. Most American trombone students and their teachers own the Voxman book. The primary intent is for recreational duet playing and for help with key security, sight-reading, intonation, ensemble, style matching, confidence and independence. These duets should enhance the Voxman etudes with some interesting harmonies and other surprises

Also available!
Combo — “Sixty Counterparts” plus a new copy of the Voxman!
$25.00 for the pair, plus $1.00 shipping each order of any size
(The Voxman book is not sold separately at the website)


Read what these famous trombonists and teachers have to say about this new contribution to the trombone literature:

“…Twenty Counterparts changed the way I use Rochut in my studio, and his new book has expanded the repertoire for duo lesson material. Bravo!”
Joshua Hauser, Professor of Trombone, Tennessee Technological University

“I am really glad to see this extended book of counterparts for the Voxman…a great teaching and learning tool. Hats off for these creative and unique approaches to enhancing time-honored teaching materials.”
Dr. Brian L. Bowman, Professor of Euphonium, University of North Texas

“Tom does it once again. A wonderful way to practice with your colleagues. Very challenging and interesting. I highly recommend these to all.”
Joseph Alessi, Principal Trombone, New York Philharmonic

“Sixty Counterparts builds upon the reputation and success of Twenty Counterparts providing harmonic logic and musical context for…firmly established brass texts.”
Kevin Price, Head of Brass, Royal Welsh College of Music and Drama

“…another great collection of etudes across the keys with lyrical styles and approachable ranges, suitable for practice and performance at a wide span of tempi. You can work on not only your chops but also your theory; the harmonic progressions of each etude are also great to analyze!”
Antonia J. Garcia, Director of Jazz Studies, Virginia Commonwealth University

“I highly recommend these for all students. If you are wanting to play along with your students, are looking for more challenging duet literature or just want more material to read, this book fills all these needs. I look forward to using these in my studio on a daily basis.”
Dr. Kelly Thomas, Professor of Tuba/Euphonium, University of Arizona

“Excellent! They are cleverly composed around the original lines to present the second player with challenging, interesting lines of his own…fun to play for both players…a fine contribution to the trombone study literature.”
Buddy Baker, Professor Emeritus, University of Northern Colorado

“I am really fond of…playing studies with students by having a counterpart…the way method books in France were written in the 19th century. Then talking about technical issues, musicality and intonation is a matter of experience.”
Benny Sluchin, Performer, teacher, author, researcher, Paris

“I couldn’t be happier…accompaniments make practicing, and teaching, fun!”
Daniel Katzen, Professor of Horn, University of Arizona
Formerly Boston Symphony Orchestra

“…a great way to refresh and expand one of the real staples of our literature. Gives students a better understanding of the etudes, and helps them play stronger and more musically, developing listening, phrasing and blending skills.”
Andrew Malloy, Los Angeles studio musician, instructor at Cal State Northridge

“…students really enjoy the sight-reading challenge, as well as hearing some new harmonies along with familiar melodic lines. Thanks!”
Michael Wilkinson, Trombone and Jazz Studies, University of Central Florida