Practical studies for the cornet (and trumpet)

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Practical studies
for the
CORNET
(and
TRUMPET)
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BY
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GOLDMAN
EDWIN FRANKO
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Carl Fischer
INC.
62 Cooper Square, New York 3
BOSTON • CHICAGO • DAUAS
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Brigham Young University
Harold B. Lee Library
Gift of
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LIBRARY OF
NEWELL DAYLEY
PRACTICAL STUDIES
for the
CORNET
ijg
(and
TRUMPET)
g
by
EDWIN FRANKO
GOLDMAN
IP
CARL FISCHER
S8S51S
NEW YORK
-
Copyright 1921 by Carl Fischer,
New
York
International Copyright Secured
Printed in U.S.A.
HAROLD
B.
LEE LIBRARY
9RIGHAM XOUNG UNIVERSITY
PROVO UTAH
Practical Studies
Each one of these
studies has been written for the
purpose of developing some
-
They have been called "Practical Studies^ because they
represent the various forms and styles that the average musician is apt to be confronted with at any time. If properly and carefully practised, these studies should
perfect the tong-uing", whether it be in single, double or triple form. They will also
certain phase of playing-.
improve the tonal quality, technic, phrasing and rhythm, and
vast amount of surety and endurance.
-
,
g*ive to the player a
The performer who can render these studies as they should be played, will be
able to do justice to any piece of music that may be set before him in either orchestra or band. He will at the same time be able to perform any of the standard
cornet solos
It
is
in
an
artistic
manner.
not necessary that these studies be practised'in the order
printed.
The student may choose any
in
which they are
exercise at random.
EDWIN FRANKO GOLDMAN
June, 1920
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1.
Staccato Tonguing*
This staccato study should be practised slowly at first, and also with very even tong-uing*. After it has
been mastered in slow tempo, begin to play it faster. In fact, it should be played as quickly as possible without sacrificing* smoothness or clarity.
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by Carl Fischer, New
International Copyright Secured
Copyright
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2.
Alternate Tong-uing- and Slurring
This study should be played with great care. Slur only the notes marked. All the sixteenths and eighths
must be played as staccato and evenly as possible. In order to make the music sound ligrht and brilliant
also play the second note of each slurred group of two, very short. It is essential to accent the notes that
,
are so marked. Play slowly at
first.
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Staccato
3.
Tonguing-
In exercises of this kind, the student must be extremely careful to
the intervals are rather difficult.
have the intonation accurate. Some of
Therefore do not attempt to play with speed at first. Precise sharp
,
tonguing* is essential.
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4.
Staccato Tong-uing-
This study should in reality be counted in 4/8 time, with a triplet on each eighth count. If practised properly it will help to give one a certain degree of ligiitness and delicacy of tong-uing-, and at the same time
accuracy and speed.
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5.
Staccato Tong-uing*
This is another study that will help to improve the tong-uing*. Be careful to play all eighth and sixteenth notes
very staccato, and try to maintain the same quality of tone throughout. brilliant style is required for music of
this kind.
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Dotted Notes
This particular rhythm seems to bother most players. All the dotted notes come directly on the beat, and
they should not sound too long* or too short. The sixteenths must be played lightly, quickly, and staccato. The
study looks very simple, but requires careful practise.
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dotted eighth notes are g'iven equal value. The sixteenths must also be even.
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Sharp
Trumpet Style
Every eig-hthand sixteenth note must be staccato. Play slowly at first. Eventually count one in a bar. Always bear in mind that quick tong uing- must be light tong-uing-.
Much music for the Trumpet is written in this style. It should be played with snap and brilliancy.
tong-uing- is the feature of this study.
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9.
Trumpet Style
No trumpet player can
possibly achieve success unless he can tong*ue with precision and speed.
Real
trumpet parts call for staccato tonguing*, to a great extent. In an exercise of this kind the eighths as well
as the sixteenths must be played as short as possible, and the rests must be observed. Brilliancy is a requisite.
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Intervals
10.
The slower
this exercise
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played as distinctly as though it stood alone. In going- from a nig-h note to a low one, or from a low note
to a hig-h one, there must be no difference in either quantity or quality of the tone. The proper practice of
this will give to the player great surety and accuracy of attack. Be careful of the intonation
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Not too fast
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11.
Intervals
Accurate intonation and even quality of tone are the important factors
It is on the same order as the preceding: study.
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12.
Much music
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average
Syncopation
cornetist is confronted with,
written in syncopation, particularly the
so-called popular and rag-time numbers. The present study has the form of a "fox- trot" which is one of
the popular dances of the day. Count two in a bar. Play all the eighths staccato, and give the quarters full
value. This will make the syncopation stand out boldly. Accent most of the quarter notes very slightly as marked at
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Syncopation
Passages such as contained in this study are met with in most popular and ragtime numbers, and even
in a considerable amount of standard music. The syncopated or longer notes should be accented slight ly to help bring* out the syncopated rhythm. In music of this kind the eighth notes should be long* and
the sixteenths very short. Where two sixteenths are joined, they have the value of an eighth.
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The explanation
Syncopation
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15. Leg-ato
To render
smoothness of style is necessary. Sustain the notes well, and give each
its proper value. Be careful not to hurry the triplets. Some of the slurs are rather difficult.
If this
exercise is mastered, the performer should have no difficulty in rendering* song's and arias in proper style.
this study properly,
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16.
Be
Slurring"
careful not to shorten the. last note of each triplet.
note of each bar, but do not accent
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That
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17.
The same advice giv en
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Slurring-
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Smoothness
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18. Trill
This slow movement is intended to develop the playing- of trills. A trill is supposed to be purely ornamental,
and should therefore be rendered in a graceful manner. Do not move the entire hand when trilling-, but use
only the fing'er. Some of these trills are easy, while others are difficult and require careful practice.
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Cadenzas
19.
Most instrumental solos in the larger forms contain one or two cadenzas. When a cadenza is found, it
indicates that the measure of time is to be suspended, and its performance left to the judgment and taste cf
tha player. Cadenzas should be played in a free (ad libitum) style so as to display the tone, technic and
other qualities of the player to the best possible advantage. As cadenzas are unaccompanied, they must
be played with extreme care. Let every note sound, and do not sacrifice precision and style for speed.
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20. Grace Notes
(Single)
Grace notes are ornaments, and as their name implies must be played in a graceful manner. Light
ness and delicacy are the principal requirements of these notes. Do not accent them. Just touch them
lightly and slur into the following: note. Only single grace notes are used in this study.
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Grace Notes
21.
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(Double)
In this study, two grace notes are introduced. They should be played in a delicate manner, but both
should be distinctly heard. The two grace notes should be slurred to the following- eig-hthnote, makingthree slurred notes in all. Lightness should characterize this entire study.
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22. Grace Notes
The explanatory notes in connection with the two preceding- studies also apply
respect. They should all be practised with great care and attention as to detail.
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23. Triplets
a study of
this kind
note which notes are slurred, and which are tong-ued. Do not accent the first note of each triplet. Accuracy of fingering- is necessary. Play slowly at
first, counting- four eighths to the bar.
In
it is
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24. Triplets
This study should be practiced with great care, in order to g-ain accurate rhythm. Observe the marks
and count four eighths to the bar at first.
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25. For Lightness and Speed
After this study has been mastered, the student may play it in the fastest possible tempo. Be careful
to accent the notes marked. Remember that without lightness there can be no speed.
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26.Valse Etude
This"Valse Etude"is a practical study and should be rendered with taste and discretion.
Not too
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fast
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Cavatina
In this "Cavatina" the student is given an opportunity to display g-ood phrasing-, as well as fine
tonal quality. Do not play the eighth or sixteenth notes short in music of this kind.
Andante
B
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28. Etude brillante
An
opportunity for brilliant playing-
is
afforded in this study. Play the music precisely as written.
Allegro maestoso
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Triple Tong'uing*
Triple Tong-uing"
is
a form of staccato which
is
used for playing" triplets (singly or in
groups) where the necessary speed cannot be obtained with ordinary or
T T K,
sing-le tong-uing*.
Tu Tu Ku.
It is
an effect obtained by the pronunciation
It is
a muffled articulation of these letters or syllables. This particular kind of tong'uing- con-
or the syllables
evenly detaching" a reg*ular succession of notes, without permitting* the stroke of the
sists of
tongue to be
order to arrive at this degree of proficiency, the
either too long" or too short. In
earlier studies,
which serve as the foundation, should be practiced very slowly.
step in triple tong'uing"
"Ku"
of the letters
is to
know how
to articulate. It is
necessary
to
The
pronounce the
first
syllable
for the third note of each triplet.
The following* illustration demonstrates the pronunciation
of the syllables. The student
must
strive to pronounce with perfect equality the syllables:
s
<?
i
000
tu tu
For the syllable "tu" the
ku
<?
iEg
tu tu
tip of the tong*ue is
ku
<?
d d dd d
etc.
pressed ag*ainst the upper front teeth and drawn
suddenly down, producing" the first sound. The tong*ue does not act at
all for the
third sound,
but remains motionless at the bottom of the mouth, allowing* the pronunciation of the syllable
"ku" to come from the throat. The"ku"may be said
by
forcing* a
column of air
K or Ku is produced
more
strong-ly accented, in order to
will be
a
just
to
good
slig-ht
to
farther from the mouthpiece than that of the
make
is
necessary
to
make
it
until"
it
The tong-ue acts as a sort
or Tu,
articulation
it
must be
has been g*otten under control. Later on
of equal tonal value with the other notes. In order
acquire this tongue to- and- fro movement with ease and reg-ularity,
at first.
T
As the
and
the triplet sound perfectly even. In the beg-inning*,
give the Ku an extra accent
accent
be ••coughed" into the instrument,
into the mouthpiece, determines the third sound.
of the
it
to
of valve, allowing' the
it
same quantity
must be done slowly
of air to
escape at
each syllable. The "tu tu ku" must always be emitted sharply and with precision. Do not pro-
nounce "du du
If
g*u" instead. This latter will
always sound slovenly and
rag*g*ed.
these rules are strictly followed, Triple Tong'uing* will be mastered very readily and will
be found no more difficult than Sing-le Tong-uing". All that
tiously
ZZO\Z-i\.
is
necessary
is to
practice conscien-
and carefully, for anyone can become an expert who has patience and perseverance.
-
as
29. Triple Tonguing-
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tu
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Double TonguingAs a
up at
all.
The stroke
of the
tongue
in
T and K
only difference being that the
two
and mastered before double tonguing is taken
double tonguing is similar to that used in triple tong-uing-, the
rule, all other forms of tonguing are studied
strokes are evenly divided, while in triple tong"uing-we
have
each K. All the rules followed in triple tong-uing- apply to double tong-uing-. With double
tong-uing- a wonderful amount of speed may be acquired, particularly in the execution of scales and arT's to
Though most people believe that double tonguing is far more difficult than other forms, this
belief is not well founded. The fact is, that because it is not as brilliant as triple tonguing, it is more
neglected. If it is studied systematically and practiced regularly, it can be thoroughly mastered and
will prove of incalculable value to the player. Passages that were difficult and troublesome are played
peg-gios.
with ease in double tonguing.
No detailed explanations are necessary. The same method
tonguing should be employed
The following
and study used
in the triple
in these exercises.
illustrates the pronunciation of the syllables.
is
Pronounce with perfect equality.
^
1
Tu Ku Tu Ku Tu Ku Tu Ku
22042-41
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39
34. Double Tonguing"
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GOLDMAN
EDWIN FRANKO Transcriptions
Solos an d
Origin
J*
for
.
AQ UCT
,
s_BAR»TOHE
t
(trumpet)
\
BbCUARlHET-EbALTO
with
Piano
Accompanimen.
Sans Souci
Air and Variations on a Theme from "La
Sonnambula"
(Free from Care) Fantasie Caprice
Cornet or Trumpet and Piano (W 1420)
(W 701)
(W 294)
Cornet or Trumpet and Piano
Eb Saxophone and Piano
*Tramp, Tramp, Tramp
American Caprice
Cornet of Trumpet and Piano
(W
1828)
(W
700)
* British
Grenadiers
When You and
(English Fantasia with
with
Cornet or Trumpet and Piano (W 572)
Clarinet and Piano (W 1 83)
Baritone and Piano (W 1049)
1
2.
3.
4.
Exultation Waltz
Cornet or Trumpet and Piano (W 1847)
Three Cornets and Piano (W 1846)
Clarinet
and Piano
Baritone and Piano
Loch Lomond
5.
*My Old Kentucky Home
An
Old Story (W
1
In the Clouds. Waltz
1
575)
2.
3.
4.
(Scotch Song)
(W
211)
5.
565)
6.
I
Evening Song (W 1 41 2)
Joyous Youth. Gavotte (W
Sunset (W1414)
A Prayer (W 1 582)
1
41 3)
583)
Series
(W 575)
(W 1051)
Cornet or Trumpet and Piano
(W
PIANO ACCOMPANIMENT
Series
Fantasia with Variations)
(W
Were Young, Maggie
MINIATURE CONCERT REPERTOIRE
for CORNET or TRUMPET
Cornet or Trumpet and Piano (W 1 702)
Three Cornets and Piano (W 1 701 )
'Italian Fantasia
Cornet or Trumpet and Piano
I
(Easy Fantasia)
Cornet or Trumpet and Piano
Clarinet and Piano (W 21 1 )
Baritone and Piano (W 21 2)
Echo Waltz
(Irish
570)
and Piano (W 1 81 )
Baritone and Piano (W 1047)
Variations)
Cornet or Trumpet and Piano (W 573)
Clarinet and Piano (W 1 84)
Baritone and Piano (W 1050)
*Emerald
(W
with
Clarinet
Aphrodite
(Caprice)
Cornet or Trumpet and Piano
(Fantasia
Variations)
Cornet or Trumpet and Piano
II
(W
1
41 5)
.
.
Mars. Polka Petite (W 1416)
Love Thoughts. Waltz (W 1417)
Among
(W
the Stars
1
41 8)
Mercury. Caprice (W 1 584)
Country Dance (W 1 585)
(Fantasia and
»r»es
Variations)
Cornet or Trumpet and Piano (W 569)
Clarinet and Piano (W 1 80)
Baritone and Piano (W 1046)
*
1
.
2.
3.
On
the Mall in the Twilight (adapted from
the famous composition "On the Mall") Cornet
or Trumpet and Piano (W 1 826)
Jupiter. Polka Petite
III
(W
574) ....
The Rainbow. Gavotte (W 1419)
Venus. Polka
Two
4.
5.
Cornets or Trumpets and Piano
Espanita. Tango (W 1 585)
Moonlight. Serenade (W 1 587)
.
.
*Band and Orchestra Accompaniments are Published
CARL
W29
FISCHER,
inc.
62 Cooper Square,
New York
3,
N.Y.
BRIGHAM YOUNG
yNIVERSITY
in 197 £6373 5177
<-
ID
ax
——
—
—
Co d e
4
CARL FISCHER
PRRRmounT
FOLIO
OF STANDARD FAVORITES
COLLEtTIOnS
Arranged by
LESTER
Outstanding
BROCKTON
FOR
—
CONTENTS: Cocoanut Dance. Hermann
Songs My
Mother Taught Me, Dvorak —The Old Refrain, Kreisler
—
C0RI1ET (TRUH1PET)
Roses of Memory, Hamblen Waltz in Fb major (original
Ab major), Brahms Andantino. Lemare Largo (from
the New World Symphony), Dvorak Menuet No. 2, Beethoven Two Guitars, Horlick Londonderry Air Tango
Serenade, Simon Dawn of Tomorrow, At wood and Terry.
—
—
—
—
—
—
una pinna
—
EVERV DRV FHUORITES
A Collection of Twenty. One
Standard Songs and Melodies
—
CONTENTS: Andante Cantabile, Tschaikowsky The Beauteous
Song, Barri Beneath Thy Window, Di Capua Country Gardens
The Flight of Ages, Bevan Italian Romance, Bohm Jerusalem,
Parker Just a Little Song of Love, Pinard The Last Wish, Abt
Maria, Mari, Di Capua My Letizia, Verdi Northern Lights,
Siegrist
The Old Refrain Serenade, Titl The Star of Bethlehem,
Adam Toreador Song, Bize' Vilia Song, Lehar Visions of
You, Stillwell Walter's Prize Song, Wagner Ye Banks and Braes
Yearning, Pinard.
of Bonnie Doon
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
—
DH CHPO fllRU
A
Collection of Standard, Classic
and Sacred Songs
Revised by
GOLDMAN
CONTENTS: Alpine Flower, Peuschel — Ave Maria,
Gounod — Ave Maria, Luzzi — The Better Land. Cowen
Elsa's Dream, Wagner — Home Song, Moszkowski —
Old
Madrid, Trotere— Was Not So tp Be, Abt— Kathleen
Mavourneen, Crouch — L'Addio a Napoli, Cottrau — Let
Me Dream Again, Sullivan — The Lost Chord,
Sullivan — Love
Idleness, Macbeth — Melodie,
Rubinstein — My Heart at thy Sweet Voice,
sonrjs or the greht rirsters
Saint-Saens — My Own, My Guiding
Knight — Nightingale Song, Zeller— O ye Tears,
Abt — The Palms, Faure — Serenade. Gounod
A Collection of Twenty of the Most Famous
Serenade, Schubert — Siegmund's Love Song,
Classic and Standard Songs with Words
Wagner —
We Meet Again, Liebe.
EDWIN FRANKO
In
It
in
Star,
Till
Selected and Arranged by
EDWIN FRANKO
Three In All, Bohm—Thou Art My Queen, Brahms—
Autumn, Franz Dedication, Franz Those Happy Days, Gbtze
—With a Violet. Grieg—
Let Me Rest, Jensen— Last Night,
Kjerulf
Good Night, Farewell, Kucken On Wings of Song,
Mendelssohn Elegie, Massenet When Love Is Kind, Old Melody
Thou'rt Like Unto a Flower, Rubinstein
The Dew Is Sparkling,
Rubinstein
My Sweet Repose, Schubert By the Sea, Schubert
I'll Not Complain, Schumann
The Two Grenadiers, Schumann
All Souls' Day, Strauss
None But The Lonely Heart,
CONTENTS:
—
In
CARL
CHER
COOPER SQ
NEW YORK
Boston
Chicago
•
—
—
—
—
—
—
—
Tschaikowsky.
6
—
O
-
W
Printed
in
U. S. A.
GOLDMAN
—
—
—
Date Due
All library items are subject to recall at
NAY
fifT
H
ft
2004
9 ?012
Bri gham
Young
Univer- sity
any time.
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