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 chant’
COMPLETE CONSERVATORY METHOD
for
TRUMPET
(CORNET)
or

Eb ALTO ¢ Bb TENOR * BARITONE

EUPHONIUM and Bb BASS
IN TREBLE CLEF

Edited by
EDWIN FRANKO GOLDMAN
and
WALTER M. SMITH

Neuly Revised Authentic Edition

Contains:
ARBAN’'S ORIGINAL AND COMPLETE METHOD
THe ART OF PHRASING (150 SONGS AND OPERATIC AIRS)
SIXTY-EIGHT DUETS FOR TWO CORNETS
FOURTEEN CHARACTERISTIC STUDIES
NUMEROUS FANTASIES AND OTHER SOLOS

62 COOPER SQUARE, NEW YORK 1000. y%

021 BOSTON « CHICAGO * LOS ANGELES * SAN FRANCISCO & ;

 Report of the
Paris Conservatory’s Committee on Music Study
regarding
Arban’s Cornet Method
The Committee on Music Study has examined and tested the method submitted to them
by Mr. Arban.
This work is rich in instructive advice, is based upon the best of fundamental principles,
and omits not a single instructive point which might be needed for the development and gradual
technical perfection of a player.
The work might be classed as a general resumé of the ability and knowledge acquired by the
author during his long experience as a teacher of and performer upon his instrument, and in a
certain sense embodies the remarkable results achieved by him during his long career as a soloist.
Every variety of articulation, tonguing, staccato, etc., is thoroughly treated, ingeniously
analyzed and clearly explained. The plentiful exercising material provided for each of these
various difficulties is deserving of particular mention. Instructive points touching upon all pos-
sible musical questions are treated at length, and thoroughout the work we have observed a pro-
found appreciation of all difficulties and masterly ability to overcome them on the part of the
author. The latter part of the work cortains a long succession of studies, as interesting in subject
as in form, and concludes with a collection of solos, which are, as it were, the embodiment or
application of the previous lessons. These studies and solos give plentiful evidence of all those
brilliant and thorough qualifications of which the author has so often given proof in his public
performances.
In consequence the committee feels no hésitation in expressing its appreciation and ap-
proval of Mr. Arban’s method and recommends that same be adopted unreservedly fer instruction
at the Conservatory.
AUBER, MEYERBEER, KASTNER, A. THOMAS,
REBER, BAZIN, BENOIST, DAUVERNE, VOGT, PRUMIER, EMILE PERRIN
EDOUARD MONNAIS A. DE BEAUCHESNE
Imperial Commissioner Secretary
SS Sp

J. B. Arban
Biographical Sketch
:
%

=
Joseph Jean Baptiste Laurent Arban was born
at Lyons, France, February 28, 1825. He entered the
Conservatory at an early age, taking up the study of
the trumpet under Dauverné, and won first prize in
1845. His military term was passed in the navy on
board the ‘‘La Belle Poule,’’ whose chief musician,
Paulus, became Chief Musician of thé Garde a Paris
during the reign of Napoleon II.
After having been professor of saxhorn at the
Military School (1857), Arban was elected professor
of cornet at the Conservatory, January 23, 1869.
After attending to these duties fata term of five years,
|
ee
ea
eta
denied
bag
abetted
lft. | |
he left the Conservatory for six years, returning again
in 1880.
TeBCATIOR _ He was the most brilliant cornet player of his
Vuprieeanieeiratscireren inex es Se ATES
oft We concert
phant racer ate out E Europe were
ratera erantours throughout the means of establishing the valve cornet as one
ARR es of all musical instruments. Arban’s artistic ideals, sound musicianship and
See etre we principles were perpetuated in his splendid Method for the Cornet,
surpassed inthe
in maintaining
padenician as never been very highest position among similar instructive works
point of practical superiority or artistic plan.
Arban died at Paris on April 9, 1889. He was an
; rl 9, offi cer of the Académie
emi , Knight of the Order
of Leopold of Belgium, of Christ of Portugal, of Isabella the Catholic, and of hears of Russia.
Copyright 1936 by Carl Fischer, Inc., New York.
 PeRaEs AGE
It may appear somewhat strange to undertake the old school of performers is unanimously ac-
the defense of the cornet at a time when this instru- knowledged, as is also the insufficiency of their in-
ment has given proofs of its excellence, both in the struction. That which is required is methodical
orchestra and in solo performance, where it is no execution and methodical instruction. It is not suf-
less indispensable to the composer, and no less ficient to phrase well or to execute difficult passages
liked by the PaaS than the flute, the clarinet, and with skill. It is necessary that both these things
even the violin; where, in short, it has definitely should be equally well done. In a word, it is
won for itself the elevated position to which the necessary that the cornet, as well as the flute, the
beauty of its tone, the perfection of its mechanism clarinet, the violin, and the voice, should possess
and the immensity ofits resources, so justly entitle it. the pure style and the grand method of which a
But this was not always the case; the cornet few professors, the Conservatory in particular, have
was far less successful when it first appeared; and, conserved the precious secret and the salutary
indeed, not many years ago, the masses treated the traditions.
instrument with supreme indifference, while that
This is the aim which I have incessantly kept
time-honored antagonist—routine—contested its in view throughout my long career; and if a numer-
qualities, and strove hard to prohibit their appli- ous series of brilliant successes obtained in the
cation. This phenomenon, however, is of never- presence of the most competent judges and the
failing recurrence at the birth of every new inven- most critical audiences.) give me the right to
tion, however excellent it may be, and of this fact believe that I have, at any rate, approached the
the appearance of the saxhorn and the saxophone, desired end, I shall not be laying myself open to
instruments of still more recent date than the cor- the charge of presumption, in confidently entering
net, gave a new and striking proof. upon the delicate mission of transmitting to others
The first musicians who played the cornet were, the results of my own thorough studies and as-
for the most part, either horn ar trumpet players. siduous practice. I have long been a professor, and
Each imparted té&his performance the peculiarities this work is to a certain extent merely the resumé
resulting from his tastes, his abilities and his habits, of a long experience which each day has brought
and I need scarcely add that the kind of execution nearer to perfection.
which resulted from so many incomplete and My explanations will be found as short and
heterogeneous elements was deficient in the ex- clear as possible, for I wish to instruct and not to
treme, and, for a long while, presented the lament- terrify the student. Long pages of ‘‘text’’ are not
able spectacle of imperfections and failures of the always read, and it is highly advantageous to re-
most painful description. place the latter by exercises and examples. This
Gradually, however, matters assumed a more is the wealth which I consider cannot be too lavish-
favorable aspect. Executants really worthy of the ly accumulated; this is the source which can never
name of artists began to make their appearance. be too plentifully drawn from. This, however,
However, regardless of the brilliant accomplish- will be perceived from the extent of the present
ments of such performers, they could not deny the volume, in which, in my opinion, will be found
faults of their original training, viz., the total lack the solution of all difficulties and of all problems.
of qualifications necessary for ensemble playing, I have endeavored throughout to compose
and decided musicianly tendencies. Some excited studies of a melodic nature, and in general to render
admiration for their extreme agility; others were the study of the instrument as agreeable as possible.
applauded for the expression with which they In a word, I have endeavored to lead the pupil,
played; one was remarkable for lip; another for without discouragement, to the highest limits of
the high tone to which he ascended; others for the execution, sentiment and style, destined to char-
brilliancy and volume of their tone. In my opinion, acterize the new school.
it was the reign of specialists, but it does not ap- J. B. ArBan
pear that a single one of the players then in vogue
ever thought of realizing or of obtaining the sum *) The results which I have obtained in France, Germany and England
total of qualities which alone can constitute a victoriously plead the cause of the cornet, and prove that the latter can Sombets
ciete
with the most popular of instruments. In a concert given by the
great artist. des Concerts du Conservato ire” in 1848, I played the famous air for the flute
1s well known, an
composed by Bochme on a Swiss theme, comprising, as
This, then, is the point upon which I wish to combinatio n of enormous difficulties . From that day forth I
intentional
the cornet took its place among classic instruments . 7 the piece
insist, and to which I wish to call particular at- may say
of music just alluded to, I performed the flute tonguing in double staccato,
tention. At the present time, the incompleteness of also the triple staccato, which I am the first to have applied to the cornet.
 e a l Hh all
SgcS FE=E
Bb
Baritone

il
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ae

Alto
Eb

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Table
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combinations
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Bb
Cornet half
tone.
tones. tones
whole
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2nd
3rd
Without
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lowers
valve
a valve
lowers
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tones.
two Scale.
Chromatic
and
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a
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2nd
valves 3rd
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valves
lower
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two
a Ist,three
valves
lower
 DIAGRAM OF THE CORNET
Giving Names of the Various Parts

UPPER VALVE CAP ISTVALVE 2NOVALVE 3 > VALVE

TUNING SLIDE
FINGER
VALVE BUTTON
STEM
FINGER
HOOK

MOUTHPIECE

VALVE CASING

BELL
BOW KNOB

ee
ST
WATER KEY

MOUTHPIECE — 2NDVALVE WATER KEY 32D VALVE

BRANCH SLIDE CUP SLIDE

Compass of the Cornet

As indicated in the accompanying table, the instrument throughout its entire register, and to
instruments with three valves have a chromatic pay special attention to the chapter devoted to
range of two octaves and a half, which, in the case the study of the various intervals.
of the cornet and the alto, extends from F sharp The easiest portion of the cornet’s range com-
below to C above the staff; however, not every mences at low C and terminates at G above the
player succeeds in mastering the whole of this staff. One may easily ascend as high as B flat,
range with clearness and facility. Therefore, when but the B natural and the C ought to be made use
writing for thesc instruments, even if it is for a solo, of very sparingly.*) Regarding notes below C:
it will be advisable not to use the extreme limits
of the scale indicated in the foregoing table. As
a rule, the higher registers of the instruments are
employed much too frequently by arrangers and
SS =
sane do not present any very great difficulties,
composers, in consequence of which the performer
is apt to lose the beautiful and characteristic tonal although some players experience considerable
qualities peculiar to his instrument. It also leads trouble in producing them with clearness and
to failure to produce the simplest passages, even sonority. However, when properly produced, they
when called for in the middle register. To avoid are very beautiful and effective.
this evil, it is necessary to continually practise the

*) Due to the advance in methods of playing and construction of instru-

ments, this statement is no longer to be regarded seriously. In fact not only
B and C, but C¥ and D are now used quite frequently. (The Editor)
 Second Table
Suggestions are offered herewith for producing F natural
below the staff and at the same time for facilitating certain
passages, which, with the fingering indicated in the first
table, are well-nigh impossible. In order to achieve this,
the slide of the third valve should be drawn out one-half
tone, in order to obtain a length of two tones instead of the
usual one and one-half tones. In doing this, it will be ad-
visable to adopt the following fingering, which is very popular Example of special passages, showing how forked finger-
among German cavalry trumpeters. ing may be avoided: ‘
2 z 2A 2
ie 4 3

In order that the F natural may be produced in perfect

tune, the tuning slide should be drawn out a little. (I shall
explain this more fully in the next chapter.)

Example of trills impossible with the ordinary fingering,

but quite easy with the fingering shown in this second table.

Use of the Tuning Slide

A well-constructed cornet ought to be so mounted that down on a B flat cornet, the latter is lowered a tone and a
the thumb of the left hand should be able to enter the ring half; the effect is exactly as though the instrument were
of the tuning slide, and open and shut it at pleasure, without pitched in G, as the slides of each valve produce the effect
the help of the right hand. It is then possible to regulate of tones added to the instrument.
the pitch of the instrument while playing. It is generally In such a case it would be necessary to draw the slides
known that when beginning to play with a cold instrument of the first and second valves in order to use them simul-
the latter will always be a little below pitch. After a few taneously with the third. But as such a proceeding is most
measures have been played, and the instrument is warmed, impractical, it will be advisable-to employ the above-men-
[Link] sharpen very rapidly. tioned device; that is, compensate for the want of length
The slide is also used for the ge of equalizing all of the tubes by drawing the slide with the tumb of the left
those notes which, in the course of natural production, are hand. Without this precaution every one of the following
rendered too high. Each valve is tuned for separate use, notes would be too high.
and the natural consequence is that when several are em-
ployed simultaneously the slides get too short and the pre-
cision of tone is inevitably affected. Here is a practical
example: Let us suppose that the player will use a G crook
on a B flat cornet; this will lower the instrument a tone It is not difficult to lower these notes through action
and a half. In order to play in tune in this new key it will of the lips, although the quality of the tone will invariably
be necessary to draw out the slide of each valve considerably
.** suffer through such a proceeding. Therefore, in order to
A similar effect is produced whenever the third valve is insure proper tonal brilliancy, it is always better, in slow
employed. For instance, when the third valve is pressed movements, to employ the slide as a compensatory medium.

Position of the Mouthpiece on the Lips

The mouthpiece should be placed in the middle of the of remarkable talent, have attempted what we call at the
lips, two-thirds on the lower lip, and one-third on the upper Conservatdire, the ‘‘orthopedic system,’’ which consists in
uP: At any rate, this is the position which I myself have rectifying and correcting the wrong placing of the mouth-
adopted, and which I believe to be the best. piece. I consider it my duty to say that these artists, after
Horn players generally place the mouthpiece two-thirds having wasted several years in uselessly trying the system
on the upper lip and one-third on the lower, which is precisely in question, were compelled to return to their original place-
the reverse of what I have just recommended for the cornet; ment of the mouthpiece, not one of them having obtained
but it must not be forgotten that great difference exists in any advantage, while some of them were no longer able to
the formation of this instrument as well as in the method play at all.
of holding it, and that which may admirably suit the horn From all this I consider that when a player has com-
is attended with very bad results when applied to the cornet. menced his studies faultily, he must, of course, endeavor to
What, after all, is the principal object as regards the position improve himself, but must not change the position of his
of the cornet? Why, that it should be perfectly horizontal. mouthpiece, especially if he has already attained a certain
Well, then, if the mouthpiece were placed as though the degree of proficiency, it being a known fact that there is no
performer were playing the horn, the instrument would be lack of performers who play perfectly, and who even possess
in a falling position, resembling that of the clarinet. a most beautiful tone, and who, nevertheless, place their
Some teachers make a point of changing the position mouthpiece at the side, and even at the corners of the mouth.
of the mouthpiece previously adopted by the pupils who All that can be done is to beware of acquiring this faulty
apply to them. I have seldom known this method to succeed. habit. In short, there is no absolute rule for the position
o my own knowledge, several players, already possessed of the mouthpiece, for everything depends upon the formation
*) In the estimation of acknowledged modern authorities
of the mouth and the regularity. of the teeth.
on
cornet
playing, there is no necessity for playing the F below the staff,
not within the legitimate range of he instrument. (The Editor) as it j ] _**) All crooks are now absolete. The modern cornet is in B flat, with
ae built-in change to A. (The Editor)
 gi
The mouthpiece, once placed, must not be moved either for the passage of air. The vibrations then become slower,
for ascending or descending passages. It would be impossible Owing to the relaxation of the muscles, and lower sounds
to execute certain passages if the performer were compelled are thus obtained in proportion to the extent to which the
to change the position of the mouthpiece whenever he wished lips are opened.
to take a low note after a high one in rapid succession.
The lips must never be protruded. On the contrary, the
In order to produce the higher notes, it is necessary to corners of the mouth must be drawn down, enabling a freer,
press the instrument against the lips, so as to produce an more open tone production. When the lips begin to tire
amount of tension proportionate to the needs of the note the performer should never force his tones. He should then
to be produced; the lips being thus stretched, the vibrations play more piano, because with continued loud playing the
are shorter, and the sounds are consequently of a higher lips swell, and at last it becomes impossible to emit a note.
nature. The performer should cease to play the moment the lips
begin to feel weak and fatigued; in fact, it is folly to continue
For descending passages it is necessary to apply the playing under such circumstances, as it might lead to an
mouthpiece more lightly, in order to allow a larger opening affection of the lip which might take a long time to cure.

Method of Striking or Commencin g the Tone

It should never be lost sight of, that the expression the syllable should be pronounced with more softness, so
coup de langue (stroke of the tongue) is merely a conventional that the sounds, although detached, still form a connected
expression. The tongue does not strike; on the contrary, phrase. When, upon a succession of notes, there are dots
it performs a retrograde movement, simply supplying the over which there is a slur,
place of a valve.
This circumstance should be well borne in mind before
placing the mouthpiece on the lips; the tongue ought to be
tu du du du du du du
placed against the teeth of the upper jaw in such a way
that the mouth is hermetically sealed. As the tongue re- the performer should invariably strike the note with a very
cedes, the column of air which was pressing against it is soft ‘‘tu,’’ and then substitute for it the syllable ‘‘du,”’
precipitated violently into the mouthpiece and causes the because the latter syllable not only distinctly articulates
sound.
each note, but also serves admirably to join notes together.
The pronunciation of the syllable ‘‘tu’’ serves to de-
termine the striking of the sound. This syllable may be These are the only three methods of commencing, or,
pronounced with more or less softness, according to the as it is called, ‘‘striking,’’ the sound. Further on I will
degree of force to be imparted to the note. When a martele (v) duly explain the various articulations. For the present, it
v v u v vy is only necessary to know and to practise the simple tonguing,
for the pupil’s future excellence as an executant depends en-
tu tu tu tu tu
tirely upon this starting point.

is placed over a note it indicates that the sound ought to be As I have already said, the method of ‘‘striking’’ the
very short; the syllable ought to be uttered very briefly and sound immediately shows whether the performer possesses
dryly. When, on the contrary, there is only a dot (+) a good or faulty style. The first part of this method is en-
tirely devoted to studies of this description, and I shall not
pass on to the slur until the pupil has thoroughly mastered
the striking of the note.

Method of Breathing
The mouthpiece having been placed on the lips, the in proportion as the chest is lightened by the diminution
mouth should partly open at the sides, and the tongue retire, of the air in the lungs.
in order to allow the air to penetrate into the lungs. The The breathing ought to be regulated by the length of
stomach ought not to swell, but, on the contrary, rather the passage to be executed. In short phrases, if the breath
recede, in proportion as the chest is dilated by the respira- is taken too strongly, or repeated too often, it produces a
tion.*) suffocation caused by the weight of the column of air pressing
too heavily on the lungs. Therefore, as early as possible,
The tongue should then advance against the teeth of the student should learn to manage his respiration so skil-
the upper jaw in such a way as to hermetically close the fully as to reach the end of a long phrase without depriving
mouth, as though it were a valve intended to keep the column a single note of its full power and firmness.
of air in the lungs.
* diaphragmatic system of breathing, almost universally used at
The instant the tongue recedes, the air which has been the ee ne BARS the deeing of the breath directly
to the spent |
n of the body about the waistlin e. |. ore wie
pressing against it precipitates itself into the instrument and which causes a slight distentio
power, and more case in the upper register, wit es Ae
plete control, greater by
determines the vibrations which produce the sound. The able lessening of pressure on the lips, are the advantag
es to be gained
stomach should then gradually resume its original position system. (The Editor)
 Srey
Faults to be avoided

The first matter which calls for the student’s instead of prolonging the first note, as follows:
special attention is the proper production of the
tone. This is the basis of all good execution, and
a musician whose method of emission is faulty
will never become a great artist.
In the pzano, as well as in the forte, the ‘‘strik-
ing,’ or commencing, of the sound ought to be In 6-8 time the same errors prevail. The sixth
free, clear and immediate. In striking the tone it eighth note of each bar is prolonged; in fact, the
is always necessary to articulate the syllable “‘tu,”’ entire six are performed in a skipping and uneven
and not ‘‘doua,”’ as is the habit of many players. manner. The performer should execute thus:
This last mentioned articulation causes the tone
to be flat, and imparts to it a thick and disagreeable
quality.
After acquiring the proper methods of tone tu tu tu tu tu tu tu

production, the player must strive to attain a good

style. With this Iam not alluding to that supreme
quality which represents the culmjnating point of
art, and which is rarely found, even among the
most skilful and renowned artists, but to a less ta ta ta da ta ta da ta t e> a &
brilliant quality, the absence of which would check
all progress and annihilate all perfection. To be
naturalivcorbe “correct? tosexecute music’ asvit “is Other players, again, execute as though there
written, to phrase according to the style and senti- were dotted eighth notes followed by sixteenths:
ment of the piece performed—these are qualities
which surely ought to be the object of the pupil’s
constant endeavors, but he cannot hope to attain
them until he has rigorously imposed upon himself
the strict observance of the value of each note.
The neglect of this desideratum is so common a From these few remarks alone the reader may
defect, especially among military bandsmen, that readily perceive how much the general execution
I think it necessary to set forth the evils arising or style of a player will be influenced by faulty
therefrom, and to indicate at the same time the articulation. It must also be borne in mind that
means of avoiding them.
the tongue stands in nearly the same relation to
For instance, in a measure of 2-4 time composed brass instruments as the bow to the violin; if you
of four eighth notes which should be executed with articulate in an unequal manner, you transmit to
perfect equality by pronouncing: the notes emitted into the instrument, syllables
pronounced in an uneven and irregular manner,
together with all the faults of the rhythm resulting
tu tu tu tu tu therefrom.

performers often contrive to prolong the fourth In accompaniments, too, there exists a de-
eighth note by pronouncing: testable method of playing in contra-tempo. Thus
in 3-4 time each note should be performed with
perfect equality, without either shortening or pro-
longing either of the two notes which constitute
ta ta ta ta da this kind of accompaniment. For instance:
If in this same rhythm a phrase commences with
an ascending eighth note, too much importance
is then given to the first note, which has, in fact,
no more value than the others. It should be
executed thus, each note being duly separated:

tu tu tu tu tu tu
 STYLE (continued)

In 6-8 time there exists an equally faulty method sixteenths as if sixteenth rest were placed after it.
of executing the contra-tempo. This consists in For instance:
uttering the first note of the contra-tempo as though
it were a sixteenth note, instead of imparting the
same value to both notes. The performer should
execute thus:
and not, as is often the case, by dragging the first
note and producing faulty tonguing as shown
tu tu tu tu herewith:

Later on the student will learn to perform the

te ta te ta
same passages with the correct tonguing, but at
first the tongue must be trained to express lightly
In the execution of syncopated passages there every variety of rhythm, without making use of
this kind of articulation.
also prevails a radical defect, especially to be
found among military bandsmen. It consists in In addition to the faults of rhythm just pointed
accenting the second half of the syncopated note. out, there exist many other defects, almost all of
which may be attributed to ill-directed ambition,
A syncopated passage should be executed by doubtful taste, or lamentable tendency to exag-
pronouncing: geration. Many players imagine that they are
exhibiting intense feeling when they increase the
volume of tones by spasmodic fits and starts, or in-
dulge in a tremolo, produced by means of the
neck, a practice which results in an “‘ou, ou, ou”’
of a most disagreeable nature.
and not: The oscillation of a sound is obtained by a
slight movement of the right hand; the result is
highly sensitive and effective, but care must be
taken not to indulge in this practice too freely,
ta ta-a ta-a ta-a ta ta
as its too frequent employment becomes a serious
defect.
There is no reason why the middle of a syncope The same observation applies to the porta-
should be performed with greater force than the mento preceded by an appoggiatura. Some players
commencement of the same note. Its essential are unable to execute four consecutive notes with-
needs require that the starting point, so to say, out introducing one or two portamenti. This is
should be distinctly heard, and that the note should a vety reprehensible habit, which, together with
be sustained throughout its entire value, without the abuse of the gruppetto, should be carefully
increasing its volume toward the middle. avoided.
The following illustration must be executed Before terminating this chapter, wherein I have
with mechanical equality by pronouncing without passed in review the most salient and striking
pressure: defects engendered by a faulty style (duly pointing
out, at the same time, the means of remedying the
same), I pledge myself to return to the subject
whenever occasion for doing so may present itself.
Wrong habits are, in general, too deeply rooted in
performers on brass instruments to yield to a single
Moreover, it must be observed that the first warning, and therefore require vigorous and con-
eighth note should be separated from the two stant correction.
10

Explanatory Comments on The First Studies

No. 1. Commence or “‘strike’’ the sound by pronouncing siderable period, in order that the student may be perfectly
the syllable ‘‘tu;’’ sustain it well, and at the same time at home as regards the fingering of the instrument.
impart to it all possible strength and brilliancy. Therefore, from now on, I shall only mark the fingering
Under no circumstances should the cheeks ever be puffed in passages where same will facilitate matters. Throughout
out; the lips should make no noise in the mouthpiece, though all the lessons, up to No. 50, it will be necessary to strike
many performers appear to think otherwise. The sound each sound, and give to each note its exact value, these
forms itself; it should be well ‘‘struck,’’ by a proper tension studies having been composed with this special end in view.
of the lips, so that it may be properly in tune, and not below The crescendo and diminuendo markings used from No.
its diapason, for in the latter case a disagreeable and un- 11 to 17 are in accordance with the best principles of modern
tuneful sound would be the result. teaching, and tend to develop a clearer and more easily pro-
Nos. 7 and 8 indicate all the notes which are produced duced upper register. The student should early develop the
by employing the same valves. Nos. 9 and 10, passing as habit of increasing volume as he ascends, and vice-versa.
they do through all the keys, are destined to complete the This marking has not been continued beyond No. 27 for
subject of fingering, so that hereafter, Ishall not consider it obvious reasons, but the student should by this time have
necessary to mark the numbers of the valves under each note. formed the habit, and should use it as a general principle of
The first two lessons should therefore be practised for a con- playing.

Syncopated Passages
Syncopation occurs when the accent falls upon the light, A passage of this kind should be executed as follows:
instead of the heavy, beat of a measure. The accented note
must be sustained throughout its full value, the commence-
ment of the note being duly marked, but the second half
of the duration of a note should never be disjointly uttered. and not:
Many students have great difficulty mastering syncopa-
tion. Study carefully the solution of the rhythm problem (.. ORS eS Re es Cee Se Ss ee es = ee ES
appearing over each exercise. SS GS ES SSE SS Ge Ss Ge es

> ta ta-a ta-a ta-a ta ta

Studies on a Dotted Eighth Note Followed by a Sixteenth

In these studies the eighth note should be sustained and not as though it were written:
throughout its entire value; care must be taken never to sub- uf Y v v ¥
stitute a rest for the dot.
The performer should play:
tu tu tu tu tu

=
aeme. Te mes 2S ey Ess ha Pt aaa
1
;
*’) Modern dance music is responsible for the detestable habit of accent-
WY ——a Sa ee St SESS eee ee
ing the sixteenth notes of these and similar groups. Nothing could be more
unmusical. The accents on the dotted eighths should be light and not over-
done. The sixteenths should never be accented unless specially marked.
(The Editor)

Studies Consisting of Eighth Notes Followed by Sixteenths

__In order to impart lightness to these studies, the first should be played thus:
eighth note [Link] played in a shorter manner than its
value would seem to indicate. It should be executed like a
sixteenth note, a rest being introduced between it and the
two sixteenths which follow it. The passage is written:

tu tu tu tu

and should be played thus:

tu tu tu tu tu tu tu tu tu tu
_ The same remark applies to an eighth note following,
instead of preceding, the sixteenth.
Written:

tu tu tu tu tu tu tu tu tu

Studies in 6/8 Time

In 6-8 time, ’ the eighth notes should be well sepa rat d,
and should have equal value allotted to them. Goneenieny Dotted eighths, and eighths followed by sixteenths are played,
the third eighth note in each measure should never be in this rhythm, by observing the same rules as in 2-4 time.
dragged.
 11
FIRST STUDIES ‘ ERSTE ETUDEN.
&
PREMI ERES ETUDES
(for the first ten studies)

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STUDIES r STUDIEN ETUDES
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UBER DIE SYNCOPEN. SUR LES SYNCOPES.
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Studies on dotted eighth notes Etuden uber die punktir. Etudes sur les croches poin.
followed by s ixteenths.* ten Achtel mit folgenden tees su ‘ivies de doubles cro-
Sechszehnteln. ches.
Tempo di Marc ia.@ 84 to 116

tu tutu tutu tutu tu t u

t utu tu tu tu tu

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 37
EXPLANATION ERKLARUNG EXPLICATION
for the Studies on the Slur. |der Etuden iiber das Schleifen. des Etudes sur le coule.
Without question this is one of the _Dieser Theil
der Schule ist unstreitig
most important portions of my method einer | Cette partie de la méthode est sans
der wichtigsten; ich habe ihm da- |condredit une des plus i rtantes;aus-
and I have devoted considerable space her eine grosse Ausdehnun
g eingeraumt,|si lui ai-je donné un grand développement,
to its exposition, Particular attention besonders in den Uebung
welche spe-| surtout dans-les exercices qui se font
en,
has been given to those exercises which ciell durch die Lippenbe
wegung ge -|spécialement par le mouvement des
are produced by movements of the lips macht werden, d.h. ohne die Hinzuzieh-
|lévres c’est a-dire sans avoir recours a
alone, without the aid or substitution of ung oder Substituirung eines Pistons.|l
’addition ou a la substitution d’un pis-
a valve. The fingering must be used ex- Man muss dem angezeigten Fingersatze
|ton. On devra suivre exactement les
actly as indicated, no matter how unus- folgen, wenn er auch ungebraiichlich
ist.| doigtés indiqués, quoique étant inusit-
ual it may appear. I have purposely in- Ich habe diese Fingersdtze zu Hiilfe |és. C’est
a dessein,en effect, que j'ai
dicated the fingering as Idid, not be- genommen, nicht etwa,um ihren Ge - |eu recours 4 ces doigtés, non plus pour
cause I wished to recommend its hab- brauch in der gewohnlichen Ausfiihrung| en conseiller l’usage dans 1’exécution ha-
itual usage, but in order to invest this anzuempfehlen, sondern vielmehr, um |bituelle, mais afin de donner a ce genre
kind of exercise with unusual difficult- dieser Gattung von Uebungen eine |d’exercice une difficulté qui doit ab -
ies through which the lips are compell- Schwierigkeit zu verleihen, die um je-|solument étre surmontée, autrement dit,
ed to move and produce the notes with den Preis zu uberwinden ist, mit an-|en obligeant les lévres 4 se mouvoir,
out the aid of valves. dern worten: um die Lippen zu zwin-|sans avoir recours a l'emploi des pis-
This exercise, moreover, is analogous gen, sich zu bewegen, ohne zur Anwen-|tons.
to that practiced by singers when they dung der Pistons seine Zuflucht zu neh-| Ce travail est, du reste, analogue a
study the movement of the glottis in or- men. celui auquel se livrent les chanteurs
der to master the trill. Diese Uebung ist ibrigens verwandt|quand ils étudient le mouvement de la
The easiest interval to perform in this mit der, welche die Sanger ausfiihren, |glotte pour arriver a faire le trille.
manner is that of the minor second. The wenn sie die Bewegung der Stimmritze|_ Lintervalle le plus facile 4 couler
interval of the major second is some- uben um zu dem Triller zu gelangen.|est lintervalle de seconde mineure;
what more difficult, as a certain move- Das leichteste Intervall zum Schleif-|l'intervalle de seconde majeure est un
ment of the lips is necessary in order en ist das Intervall der kleinen Secon- |peu plus difficile, car il faut déja faire
to obtain it. de, das Intervall der grossen Seconde |un certain mouvement des lévres pour
The interval of the third is the most ist ein wenig schwerer, denn man muss |1’obtenir.
difficult of all, for it is often met with schoneine gewisse Bewegung der Lip-| Liintervalle de tierce est le plus diffi-
in situations wherein it becomes im- pen anwen iden, um es zu erhalten. cile, car il se trouve souvent sur des de-
possible to have recourse to the valves Das Intervall einer Terz ist das schwers-| grés ou il devient impossible d’avoir re-
to assist in carrying the sound from the te, dennes befindet sich oft auf Stufen,wo|cours aux pistons pour aider a porter le
lower, to the higher note. es unmdglich wird, die Pistons zu Hiilfe|son de la note basse sur la note haute.
I therefore recommend the diligent zu nehmen, um den Ton der tiefen Note} Je conseille donc de travailler assidi-
practice of this kind of exercise; it be- zu der hohen Note hinaufzuziehen. ment ce genre dexercice; il devient la
comes the foundation of an easy and i aan ae girséwird dieQuellesource dune exécution facile et pal
brilliant execution. It imparts great rer ie ie a ante; on obtient par lui une grande
suppleness to the lips, and is an essen- Seat seer eapatentee ee souplesse de lévres, surtout quad ee
tial aid for mastering the trill. oy Ege a : ~ | peut arriver jusqu’a
schmeidigkeit der Ipaeanbecbuders P Le trille,
lexécution dutrille.
Ssyen des lévres, mest
Trilling through means of the lips wenn man die Ausfiihrungdes Trillers ,
alone is only desirable for intervals of Agiheigealb at bon que pour les intervalles ou les har-
a second, as in Exercise No.23, and Der Triller vermittelst derLi ist |MOniques sont a distance de seconde,
then only if the indicated fingering is nur fiir die Intervalle gut, in denen die |comme dans lexercice no, 23, et sur-
employed; otherwise trills in thirds Tone eine Seconde von einander liegen, tout en suivant les doigtes indiques,
will result, and these are both aanoy- wie in der Uebung No. 23, und beson- autrement on ferait des trilles de tierces
ing and objectionable. ders, wenn man dem angezeigten Fin- |qui seraient aussi desagréables que mau-
I merely suggest these exercises as gersatze folgt, sonst wiirde man Terz- |vais. J
studies and in no way do J advise pu- triller machen, die ebenso unangenehm,| Je ne donne donc ces exercices que
pils to adopt them in general practice, als schlecht sind. comme études, et je nengage aucune-
as is the case with certain players who Ich stelle diese Uebungen nur als Stu-| ment les éléves a sen servir dans la
wish to apply to the cornet a system dien hin, und verpflichte die Schiiler |pratique, ainsi que le font certains
which has no solid foundation. The keineswegs, sich ihrer in der Praxis zu|cornistes qui veulent appliquer au cor-
cornet is one of the most complete and bedienen, wie es manche Hornisten | net a pistons un systéme qui na au-
perfect of all instruments and repudi- thun, die dem Cornet 4 pistons ein Sys-/cune raison détre, puisque’ c'est un
ates rather than requires all factitious tem anhangen, hatwelches durchaus keine|;,<trument des plus parfaits et des
Berechtigung denndies Instrument plus complets qui répudie plutét qu’il
practices, the effect of which will al -
ways appear detestable to people of eon, roll ammensiansne yall: nexige des procédés factices dont Yef-
itra touj détestable aux
taste. b]
ceduren, deren Effect Leuten von Ge- foUsDAratl
ens de gout.
TaN OUjOUTEmuS ;
I must take this opportunity of point- ‘ .
ares muss, eher 3 Je dois signaler encore a ce propos
ing out an intolerable defect, much af- Seen
> ; Ret :
fected by the adepts of this school,as r eh nheit nochein| Un vice intolérable que semblent affec-
gards the movement of the lips; Iallude Ape iia weer bencichnen: den ieee les a Ramee cette cee ed
to the manner in which they execute the die Anhanger dieser Schule zu lieben e mouvement des levres. Je i P
gruppetto. nen einen Fehler vermittelst der Beweg- |ler de la maniére dont ils font le grup-
ung der Lippen. Ich will von der Art spre-| petto.
In order to execute this ornament on sur le cor-
chen, wie sie den Gruppetto machen. | Pour exécuter cet ornement
the cornet, all that is required is the de remuer régu-
.Um diese Verzierung Sane aa net a pistons, il suffit
regular movement of the fingers, and liérement les doigts, et chaque note
each note will be emitted with irre - ee Mie enitenceen ss a jede
sort avec une justesse et une purete
proachable precision and purity. ote Esmint mit einer untadelhaften
Bestimmtheit und Reinheit heraus. irréprochables.
3654 -290
 | De quel droit alors certains artistes
. . °

By what [Link] certain per - | Mit welchem Recht nunersetzenman-

38

eine remplacent-ils par une See pe -

foraets subatitte an upper third brthe |che Kiinstler die Appoggiatur durch Sec- eure lappogpiatad es oit etre a
appoggiatura which ought only to be an | grosse Terze, da sie doch nur eine
| distance de pei e? Pourquoi, en un
interval of a second? Why, in short, do |onde sein soll? Warum, mit einem Wor-
they play: te, blasen sie: mot, executent-ils:

instead of playing:
anstatt zu blasen:
au lieu de faire entendre:
-et
which is the only correct method: and | welches die einzige richtige Art und Wei- |qui est la seule manier convenable de la sams
why : ee bacon all the different de- | se ist —und a pe dies aufallen Stufen cela sur tous les degres
trouvent plus
grees of the scale? The answer is that | der Tonleiter? Weil diese Herren es beque-| parce que ces Messieurs a un simple mouve-
these gentlemen find it more convenient | mer finden, eine einfache Lippenbew eg - commode de recourir
to have recourse to a simple movement | ung anzuwende n, welche sie der Beweg- | ment des lévres qui les dis ense de re-
the lips, which obviates the necessi- | ung der Finger tiberhebt; als obes nicht | muer les doigts; comme sil netait pas
of
ty of moving their fingers; as though | nattirlicher ware, die richtigen Noten mit plus naturel de faire sortir les vraies
it were not more natural fo emit the |Anwendung der Pistons zu blasen. notes en employant les pistons.
true notes by employing the valves. ‘cs:
Some Sears aurea this evilprac-| In dieser Hinsicht gehen Einige noch Dans cette voie, quelques-uns vont
tice still farther, and do not hesitate | weiter, und nehmen keinen Anstand,Tri- |plus loin encore et mhésitent pas a
to execute triplet passages with the | olenfolgen vermittelst der Lippenbeweg- |executer des successions de triolet
movement of the lips, instead of hav - | ung auszufuhren, anstatt die Pistons zu | par le mouvement des levres, au lieu
ing recourse to the valves. Hilfe zu nehmen. de recourir aux pistons.
Tinciahion froma study by [Link]:| Beispiel einer Etude von Gallay: Exemple d'une étude de [Link]:
The passage with aid of the valves, | Man soll mit Anwendung der Pistons On doit exécuter ainsi,en employ
should be executed thus: ausfuhren: ant les pistons:

instead of merely employing the lips, |anstatt das Lippenspiel anzuwenden,wel- | au lieu demployer fe jeu de févres, ce
which would result in the followingex-| ches folgende abscheuliche Wirkung her- |qui produit lexécrable effet suivant:
ecrable effect: vorbringt:

)
I need insist no farther to point out Ich habe nicht nothig, noch weiter zu | Je n/ai pas besoin dinsister davantage
that such sleight-of-hand tricks are to- |zeigen, dass derartige Kunststiicke auf | pour faire voir que de pareils escamotages
tally out of place on the cornet,and if |dem Cornet a pistons keine Berechtig- |n'ont aucune raison détre surle cornet a
I mention them here at all, it is mere- |ung haben, und wenn ich ihrer hier er - | pistons,et si jen fais mention ici,ce n’est
ly to put the pupil on his guard against |wahne, so geschieht es nur, umdenSchii-| que pour mettre leleve en garde contreun
a system which, unfortunately is en- | ler zur Vorsicht zu mahnen einem Sys- téme malheureusement trop répandu
tirely too prevalent among perform- | teme gegeniiber, das leider in der Ar - larmée.
ers in military bands. mee nur zu verbreitet ist.
The principal object of the first fif- | Die ersten 15 Nummern dieses Theiles | Les quinze premiers neméros de cette
teen numbers of this division is to in- | sind einzig und allein da, um das Hinii - | partie ont uniquement pour object d’ap-
struct the pupil in the so-called gort- | berziehen des Tons zu [Link] muss, | prendre a porter le son. Il faut, pour ar
amento effects. In order to arrive at |um zu diesem Ziele zu gelangen,die tiefe | river a ce résultat, enfler un peu la note
this result, the lower note mustbe slight- |Note ein wenig anblasen, und sie, im Mo- | grave et, au moment oulelle arrive a
ly inflated, and when ithas reached the | ment, wo ihre Starke den Gipfel erreicht, |lapogee de sa force,la porter sur la note
extremity of its power, it must be slurred | zur hohen Note hinaufziehen vermittelst | haute par le moyen dune légére pression
up to the higher note by a slight pres- | eines leichten Druckes, den das Mund - | de lembouchure sur les lévres.
sure of the mouthpiece on the lips. stiick auf die Lippen ausubt. ,
Then follows the practicing of thirds | Man gehe sodann zur UebungdesTerz- | Arrive ensuite le travail de lintervalle
which is obtained by the tension of the | intervalles iiber, welches sich durch die | de tierce, qui s’obtient par la tensiondes
muscles, and also by the pressure of the |Spannung der Muskeln und auch durch | muscles et aussi parla pression de lem.
mouthpiece on the lips. The notes should |den Druck, welchen das Mundstiick auf | bouchure sur les lévres. Faites parler cha
be produced with perfect equality; they |die Lippen ausiibt, ergiebt. Man spreche | que note avec beaucoup d’egalité en les
must be connected with each other with | jede Note gleichmassig aus, verbinde sie | liant bienentre elles et en suivant les
absolute evenness, and played precisely |unter einander wohl und befolge Zeit - |rhythmes et les doigtés indiqués.
according to the time and with theexact |mass und angezeigten Fingersatz.
fingering as indicated. Toutes les études, a partir duno. 16
The studies, Nos.16 to 69,were composed| Alle Etuden, von 16 bis 69 sind einzig | jusqu/au no. 69, sont uniquement com -
forthe sole purpose of teaching how toplay |und allein componirt, um zu lernen, wie | posées pour apprendre a porter avec fa-
thirds inthis way and to enable the student |man die Terzintervalle mit Leichtigkeit | cilité les intervalles de tierces. afin dar-
to execute the little grace notes and dou - | hiniiberzieht, damit man die kleinen ge- | river A passer avec elegance les petites
ble appoggiaturas with the necessary facil- |schleiften Noten und die Doppelappog- | notes portées, ainsi que les doubles ap-
ity and eleganc A fewexamples
e. of this | giaturen mit Eleganz ausfihren kann— | poggiatures - dont jai deja ajouté quel
kind have been added to this seriesofstud- |wovon ich schon in dieser Reihe von E- ques exemples a cette série détudes —
les, although their more thorough treatment | tuden einige Beispiele angefihrt habe-— | mais qui plus tard, seront traitées fond
occurs at a later period, when taking up | die ich aber erst spater beidem Artikel | a l’article des notes
d'agrément
ny eyofBrace notesingetail a unst ge nae ierungsnoten aisfiihrlichbe
e above emt ents are solely | handeln werde. Ces deux agréments nes
produced through lip-movements, I have | _Dadiese beiden Verzierungen nur durch | parle racdiyeinent des
thought it advisable to offerafew illus - |die Lippenbewe fe ae ar de:
zu erhalten sind, so| voir en donner ici quelques ap lications
trations of same herewith. glaubte ich daruber hier einige Anwend - ?" ,
3654-290 ungen geben zu mussen.
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3654 _290
 SO DessiUDLES

Etuden ueber die Tonleitern

ETUDES SUR LES GAMMES

8654-290
 STUDIES ETUDEN ETUDES
on the Scales. uber die Tonleitern. sur les gammes.

Major Scales. Dur-Tonleitern. Gammes majeurs.

The study of the scales has,asarule, Das Studium der Tonleitern ist in L’étude des gammes a toujours été
been greatly neglected in works of the Werken, wie das gegenwartige immer fort négligée dans les ouvrages dugen-
present description, writers on the sub- sehr vernachlassigt worden. Man be- re de celui-ci,on se contente générale -
ject generally content themselves with gniigt sich gewohnlich damit, einige ment de donnor quelques exemples, en
giving a few examples, leaving the pu- Beispiele zu geben ,und tberlasst dem laissant a léléve le soin de trouver dans
pil to supply for himself whatever may Schuler die Muhe, auseigener Quelle son propre fond ce qui manque a la Méth-
be wanting in the method. What is the das zu schdpfen, was der Schule fehlt. ode. Qu’en résulte-t-il? Cest que fort peu
result? Why, that few students are cap- Was folgt daraus? Dass sehr wenige dartiste savent faire une gamme correcte-
able of executing a scale correctly. It Kinstler eine Tonleiter korrekt ausfuh- ment. Il ya pourtant urgence a travail-
is, however, of urgent importance, that ren konnen. Dennoch ist es durchaus no- lerles gammes avec assiduité; aussi,
the scale should be diligently prac- thig, alle Tonleitern mit Fleiss zu uben, comprenant toute limportance de ce gen-
ticed. Therefore, knowing asI do, the ich habe die ganze Wichtigkeit dieser re d’étude ,jai traité cette partie trés-
importance of this branch of study, I Gattung von Etuden eingesehen und longuement et dans tous lestons. On
have treated it at length, and in every deshalb diesen Theil sehr ausfiihrlich obtient par ce travail une parfaite é-
variety of key. By this means a per und in allen Tonarten behandelt. Durch galité de son, ainsi qu'un jeulié et cor-
fect equality of sound, as well as a le- solche Uebungen erhalt man eine voll - rect.
gato and correct method of playing, kommene Gleichmassigkeit des Tons
may be obtained. und ein gebundenes und korrektes Spiel.

Minor Scales. Moll-Tonleitern. Gammes mineures.

In presenting the minor scale for our Da die Molltonleiter ihrer Natur nach La gamme mineure étant par sa na-
particular purpose of study; I have on- weniger reichhaltig ist,als die Durton- ture moins riche quela gamme majeure,
ly included examples built upon the to- leiter, so habe ich davon nur Beispiele jen ai donné seulement des exemples
nic and dominant, inorder to give ani- auf der Tonica und Dominante gegeben, sur la tonique et sur la dominante,a-
dea of its resources. um deren Hiilfsmittelerkennen zu lassen. fin den faire connaitre les ressources.

Chromatic Scales and Triplets. Chromatische Tonleitern und Triolen. Gammes et triolets chromatiques.

The chromatic scale being one ofthe Da die chromatische Tonleiter zu La gamme chromatique étant des
most essential, I have treated it at con- den wichtigsten gehort, so habe ich plus es sentielles, je lui ai donné un
siderable length. This kind of study im- ihr eine grosse Ausdehnung einge - grand développement. On obtient
parts ease to the fingering. Care must raumt. Man erhalt durch dieses Stu- par ce genre détude un doigte facile; il
be taken to press the valves down pro- dium einen leichten Fingersatz; tra- faut avoir soin de bien enfoncer les pis-
perly,in order that all the notes may ge aber Sorge die Pistons gut hinun- tons, afin que toutes les notes sortent a-
be emitted with fullness. terzudriicken, damit alle Tone voll her vec plénitude.
At first the student must practice auskommen. Il faut travailler dabord lentement en
slowly, taking care to duly mark the Zuerst muss man langsam tben, faisant bien entendre les rhythmes indi-
rhythms indicated. In this scale,asin um die angezeigten Rhythmen deut- qués. Dans cette gamme, comme dansles
the diatonic scale, it is necessary to lich horen zu lassen. In der chroma- gammes diatoniques,ilfaut enfler le son
swell out the spun in ascending,and tischen, wie in der diatonischen Ton- en montant et le diminuer en descendant;
to diminish it in descending. Strict at- leiter muss man aufwdarts den Ton schwet on doit surtout jouer bien en mesure, sans
tention should be paid to [Link]- len, abwarts denselben abnehmen las- accélérer la fin de chaque période,comme
ter part of each phrase should not be sen. Besonders soll man festim Tak- beaucoup dartistes ont Ihabitude de le
hurried, as is the practice with many te blasen, ohne das Ende einer jeden faire. Je conseille donc l'emploi du mét-
performers. I recomend the use of the Periode zu beschleunigen, wie viele ronome, pour arriver a cette exactitude
metronome,in order to arrive at that Kunstler zu thun die Gewohnheit ha qui fait la beauté de lexécution.
degree of precision which constitutes ben. Ich rathe daher den Gebrauch
the beauty of execution. des Metronoms an,um zu der Ge -
nauigkeit zu gelangen,welche allein
die Schonheit der Ausfiihrung aus -
macht.

3654-290
 39
Major Scales. Dur -Tonleitern. Gammes Majeures.
d 64 ’
increase gradually to d 124 for all scales

3A
ANB

3654-290 MCMXI by Carl Fischer, N.Y.

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3654_290
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Minor Scales. Moll-Tonleitern. Gammes Mineures.

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3654-290
76
Chromat ic Scales. Chromatische Tonleit ern. Gammes Chromatiques.
(e 80 to 140 )

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3654_290
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Etuden wber die chromatischen Triolen. Etudes sur les Triolets chromatiques.
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3654 -290
 87
EXPLANATION ERKLARUNGEN EXPLICATIONS
of Grace Notes. uber die Verzierungsnoten. sur les notes dagrément.
The Gruppetto. Vom Gruppetto (Doppelschlag.) Du gruppetto

The first twenty-three studies of the Die ersten 23 Etuden des folgenden Les vingt+trois premiéres études de
following division are especially desig- Theils sind einzig und allein in der Ab- la partie suivante sont uniquement com-
ned to prepare the pupil for the execu- sicht komponirt, den Schiller zur Aus- posers dans le but de préparer l’éléve a
tion of the gruppewhich tto asits
, name fiihrung des Gruppetto vorzubereiten, execution du gruppetto, lequel con -
implies, is used to surround any desirable welcher bekanntlich darin besteht, je- siste, Comme on sait,aen tourer d’ap-
note with a group of grace notes. These de beliebige Note eines Accordes mit poggiatures une note quelconque d'un
studies ought to be practiced slowly, in Verzierungen zu umgeben. Diese Etud- accord. Ces études doivent s’exécuter
order to accustom the lips and fingers en sollen langsam ausgefihrt werden, lentement, afin dhabituer les lévres
to act in perfect unison. It is therefore um die Lippen und Finger zu gewohn- et lesdoigts a marcher avec un _par-
necessary to give as much value to the en, mit einander vollstandig zusammen- fait ensemble. Il faut, pour cela,donner
appoggiatura, above or below, as to the zugehen. Man muss dazu den hoheren autant de valeur aux appoggiatures in-
note which serves as their pivot. oder tieferen Appoggiaturen (Vorschli- férieure ou supérieure qua la note qui
gen) denselben Werth geben, als der leur sert de pivot.
Note, auf welcher sie ruhen.
There are two kindsof gruppetto, Es giebt zwei Arten des Gruppetto Tl y a deux genres de gruppetto a
consisting of four notes; the first is ex- zu 4 Noten; die erste wird auf folgende quatre notes; le premier sindique de la
pressed in the following manner: Weise geschrieben: maniére suivante:

Here the signis turned upwards, Man Sieht, dass der erste Haken des On voit que la premiére boucle dusigne
which indicates that the first appoggia- Zeichens nach oben geht,um anzudew est en lair,ce qui indique que la premiére
tura should be above. ten, dass der Doppelschlag mit dem appoggiature doit étre supérieure.
nachsthoheren Tone beginnen soll.
The lower appoggiatura should al- Der nachsttiefere Ton muss stets ein Lappoggiature inférieure doit tou-
ways be at the distance of half atone from halber sein; dies wird oft durch ein Er- jours étre ala distance dun demiton de
the note which it accompanies ;it is marked hohungszeichen (# oder 4) unter demGrup- la note qu'elle accompagne, elle se mar-
by an accidental placed beneath the sign. pettozeichen angedeutet. que par un accident placé au-dessous
u signe.
As regards the higher appoggiatura, Der obere Ton des Gruppetto kann Quant a l’appoggiature supérieure,
it may be either major or minor accord- sowohl ein ganzer als ein halber sein, elle peut tre majeure ou mineure suiy-
ing tothe tonality of the piece which is je nach dem Erforderniss der Tonart ant la tonalité du morceau que lon exé-
being executed. des Stiickes: cute.
The second gruppetto is expressed Der zweite Gruppetto wird auf fol- Le deuxiéme gruppetto sindique de
in the following manner: gende Art bezeichnet: la maniere suivante:

It will be seen that the sign is now Man sieht, das der erste Hakendes On voit que la premiere boucle du
Zeichens nach unten zeigt, um anzudeu- signe est en bas, ce qui indique quela
turned downwards, which denotes that
the first appoggiatura must bebeneath. ten, dass der Doppelschlag mit dem premiere appoggiature doit étre infer-
nachsttieferen Ton beginnen soll. ieure.
So wenigstens sollte man schrei- Telle est, du moins,la maniére dont
This, at any rate,isthe manner in on devrait écrire; mais malheureusement
which such passages ought to be writ her aber vernach-
ben, unglicklicWeisse
lassigen heute die Componisten diese aujourd hui les compositeurs negligent
ten; unfortunately, however, writers now-
kleinen Umstiande und verlassen sich ces détails et sen rapportent presque
a-days neglect these details, and leave toujours au gout de l’exécutant.(Voyez,
them entirely to the taste of the per - dabei fast immer auf den Geschmach
des Ausfiihrenden, (DiArt ese von Ver pour ce genre dagrément, du no. 24 au
former. (For this variety of grace notes, no 381.)
see Nos. 24 to 31.) zierungen siehe von No. 24 bis 31.)

8654-290
88
The Gruppetto Consisting of Vom Gruppetto mit 3 Noten oder Du gruppetto a trois notes ou petit
Three Notes der kleinen Gruppe. groupe.
There are two varieties of the Gruppet- Es giebt zwei Arten von kleinenGrup- "| yadeux sortes de petits groupes,
to: the first ascending ,the second descend- pen; die erste wird aufwarts, die andere le p~ mier se fait en montant,etle second
ing. In either case, they may consist of a abwarts gemacht, in beiden Fallen kon- en descendant. Ils peuvent, dansles deux
minor or diminished third, but never of a nen sie eine kleine oder verminderte, cas, tre composés dune tierce mineure
major third. niemals aber eine grosse Terz umfas- | ou diminuée, mais iamais dune tierce ma-
sen. jeure.
They are written: Man schreibt: Ils sécrivent ainsi:
Andante

But they should be executed in the fol- Aber man fiihrt sie auf folgende Art Mais on doit les exécuter dela maniere
lowing manner: aus: suivante:

It will be seen that this embellishment Man sieht, dass diese Verzierung nicht On voit que cet agrément ne doit pas
must not betaken from the note it ac - von dem Werthe der Note entnommen étre pris sur la note quil accompagne,
companies, but from the measure which wird, zu deren Begleitung sie da ist, mais bien sur le temps quile précéde. I
precedes it. It should be very lightly ex- sondern vielmehr von dem der Notevor- faut lexécuter avec beaucoup de légérete,
ecuted, care being taken to attack the angehenden Zeittheile. Man muss sie mit tout en attaquant bien la premiere appog-
first appoggiatura clearly. (For this viel Leichtigkeit ausfihren, indem man giature. (Voyez, pour ce genre d'agrément,
species of embellishment, see No.32 to die erste Appoggiatur gut ansetzt. (Diese du no. 32 au no.35.)
35.) Art von Verzierungen siehe No.32 bis 35.)
Von den Doppel Appoggiaturen.
The Double Appoggiatura. (Schleifer. Des doubles appoggiatures.

There are two kinds of double appog- Es giebt zwei Arten von Doppel-Ap - Il y a deux sortes de doubles appoggia
[Link] first consists of two grace poggiaturen; die erste besteht aus zwei tures; la premiére se compose de deux pe -
notes which may be taken at thedistance kleinen Noten; welche von der Note,wel- tites notes qiu peuvent étre prises a dis -
of a third, from the notes which they ac- che sie begleiten,eine Terzentfernt sein tance de tierce de la note quelles accom-
company, whether ascending or descend- konnen, gleichviel,ob aufwarts oder ab- pagnent, soit en descendant, soit en mon -
ing. warts. tant.
Example, ascending: Beispiel, aufwarts: Exemple,en montant:

Example,descending:

The double appoggiatura should not La double appoggiature ne doit pas

take its valuefrom the note which it ac- prendre sa valeur sur la note quelle ac-
companies; on the contrary it should pre- begleitet; sie sollihrim Gegentheil,
wie compagne; elle doit, au contraire, la pré -
cede it as follows: folgt, voraufgehen: céder ainsi quil suit:
Example, ascending: Beispiel, aufwarts: Exemple, en montant:

Example, descending:

SS
The second variety of double appog- Die zweite Art der Doppel-Appoggia- _La deuxiéme sorte de double appog-
giatura is composed of an upper and low turen besteht aus einem hoheren und ein - giature se compose dune appoggiature
er appoggiatura. em tieferen Vorschlag. supérieure et dune appoggiature inférie-
ure.
Example: Beispiel: Exemple:

Should be played: Example: Ausfuhrung: Beispiel: On doit exécuter ainsi: Exemple:

os
Set
These appoggiaturas should take their Diese Appoggiaturen sollen ihren Ces appoggiatures doivent prendre
value from the measure preceding the note Werth von dem Zeittheil entnehmen,wel- leur valeur sur le temps qui précéde la
which they accompany . (See No.36 to43) | che der Note, die sie begleiten,voran geht. note quelles accompagnement.(Voyez du
Siehe No. 36 bis No, 43. no.36 au no. 43.)
3654-290
 89
The Simple Appoggiatura. Von der einfachen Appoggiatur De lappoggiature simple.
The simple appoggiatura is a grace Die einfache Appoggiatur ist eine
note,In no way constituting a portion of Lappoggiature simple est une petite
ausser der Harmonie liegende kleine note ne faisant aucunement partie d’un
a bar, but which receives half of the val- Note, welche jedoch die Halfte des Wer-
ue of the note before which it is placed. accord,et qui prend néanmoins la moi -
thes derjenigen Note erhiilt,welcher sie tie de la valeur de la note devant la -
voraufgeht: quelle elle est placée.
Example: Beispiel: Exemple:

62> =$S:55 SS Klang: eer

———
Effet: —- =
This appoggiatura may be placed a- Diese Appoggiatur kann oberhalb o-
bove or below any [Link] is placed
L’appoggiature peut se placer au -
der unterhalb einer beliebigen Note ge- dessus ou au-dessous dune note quelcon-
above, it may be at the distance of a tone stellt werden. Steht sie oberhalb, so kann
or half tone; when itis placed below, it que. Lorsqu'elle est placée au-dessus,
ihre Entfernung einen oder einen halben elle peut tre aladistance dun ton ou
ought, invariably,tobe at the distance ofa Ton ausmachen; steht sie unterhalb, so dun demiton; lorsqu’elle est placée au-
halftone. darf sie ohne Unterschied nur einen dessous, elle doit invariablement setrou-
halben Ton entfernt sein. ver a la distance dun demi-ton.
For instance: Beispiel: Exemple:

SSS
Inthe music of the old masters are to In der Musik der alten Meister findet Dans la musique des anciens maitres,
be found numerous examples of the ap - man Viele Beispiele von Appoggiaturen, on trouve une grande quantité dexemples
poggiatura, intended to take half the vat welche von der Note,vor welche sie steh- dappoggiatures devant prendre la moi-
ue of the note which they precede;but, at en, die Halfte des Werthes entnehmen tié de la valeur de la note qu’elles précé-
the present day, in order to obtain a un- sollen, aber heute schreibt man um ei- dent, mais aujourd hui, afin dobtenir une
iform execution, music is written precise. ne gleichformige Ausfuhrung zu erlan- exécution uniforme,on écrit genérale -
ly as itis intended to be executed; this is gen,im Allgemeinen s0, wie es ausge - ment la musique ainsi quelle doit étre
undeniably,a far better plan. See from fuhrt werden soll,was unbestreitbar besser exécutée, ce qui vaut beaucoup mieux,
No. 44 to 47. ist.(Siehe No. 44 bis No.47.) sans contredit. (Voyez no.44 au no.
47.)

The Short Appoggiatura Von der kurzen Appoggiatur De lappoggiature bréve

or Grace Note. oder dem Prallvorschlag. ou petite note.

The grace note deducts its value from Der kurze (Prall) Vorschlag ent - La petite note prend sa valeur sur la
the note which it accompanies. It is gene- nimmt seinen Werth von der Note, zu note méme qu’elle accompagne; ellesem-
rally employed in somewhat animated welcher er gehort. Er wird besonders ploie généralement dans les mouvements
movements. Stress should be laid upon in lebhafteren Tempos angewandt. Man un peu vifs. On doit appuyer en l’atta -
it so as to impart to it a little more force muss ihn beim Ansatz etwas accentuir- quant de maniére alui donner un peu
than the note which it precedes. Whenit en, indem man ihn etwas starker nimmt, plus de force qu’A la note qu'elle précéde,
is above,it may be situated a tone or half als den Ton welchem er voraufgeht. Ist Quand elle est supérieure elle peut se trou-
a tone from the note it accompanies,;when er aus dem nachst hoheren Tone gebild- ver aun ton ou a un demi-ton de la note
it is below, it is invariably placed at the et, so kann er aus der grossen oder klet quelle accompagne, quand elle est infér-
distance of half a tone. (See from No.48 nen Secunde bestehen, ist er dagegen jeure, elle se place invariablement a la
to 54.) aus dem nachst tieferen Ton gebildet, so distance d’un demi-ton. (Voyez du no.
darf er stets nur aus der kleiner. Secunde 48 au no. 54)
bestehen. (Siehe No. 48 bis No.54.)

The Portamento. Vom Portamento. Du portamento.

The portamento is a little note which Das Portamento ist eine kleine Note, Le portamento est une petitenote qui
is, in fact, merely the repetition of a note welche in Wahrheit nur die Wiederhol - nest par le fait,que la répétition dune
which the performer desires tocarry to ung einer beliebigen Note ist, welche note quelconque que l'on veut porter sur
another by slurring. This kind of embell- man, indem man den Ton schleift, auf une autre en glissant le son. Il ne faut
eine andere Note ubertragen will. Man pas abuser de ce genre d'agrément, car
ishment must not be used toofreely, as it
would be a proof of bad taste. When ju- muss diese Art Verzierung nicht miss- il deviendrait de mauvais gotit; employe
brauchen, denn das wurde geschmacklos avec ménagement, il peut étre dungrand
diciously employed it is highly effective, effet; mais je lui préfére de beaucoup le
but for my own part, I decidedly prefer werden, mit Maass angewendet, kann
sie von grosser Wirkung sein; aber ich son porte sans le secours de la petite
that the tone should be slurred without note. (Voyez du no.55 au no.59.)
having recourse to the grace note. (See wurde ihr das ohne Hilfe der kleinen
from No.55 to 59.) Note ausgefiihrte Portamento bei Wei-
tem vorziehen, (Siehe No. 55 bis No.59)

3654-290
90
The Trill! (or Shake.) Vom Triller. Du trille.

On instruments with valves the trill Auf allen Instrumenten mit Pistons Sur les instruments a pistons le trille
is the most difficult ofall embellishments. ist der Triller die schwierigste aller Ver- est le plus difficile de tous les agréments.
The only trill which is really endurable zierungen. Eigentlich ist nur der Triller Il ny aréellement que le trille dun demi-
onthis instrument Is that in half tones. von einem halben Ton ertraglich. Man ton quisoit supportable. On peut ce
Whole-tone trills, however, may be pro- kann indessen Trillervon einem gan - pendant faire des trilles dunton,mais il
duced, but care must be taken to press zen Ton machen, aber muss dann Sor - faut avoir soin d’enfoncer réguliérement
the valves down so that each note may ge tragen, die Pistons regelmassig hin- les pistons, afin quechaque battement
be perfectly distinct. unterzudriicken, damit jeder einzelne soit bien distinct.
‘he student should previously prac- Trillerschlag bestimmt erkennbar ist.
tice studies No. 60 to 67, slowly and de- Man wird also vorlaufig mit Geduld On devra donc préalablement trava-
liberately, so as to arrive at the pure und ohne sich zu ibereilen, die Etuden iller avec patience et sans se presser, les
production of each sound. Ata later per von 60 bis 67 uben missen, bis man études du no. 60 au no. 67 afind’arriv-
iod he may perform the studies on the dahin gelangt, jeden Ton rein herauszu- er a faire sortir purement chaque son.
trill, taking care to follow the finger- bringen. Spater kann man die Etudent- Plus tard, on pourra jouer les études sur
ing exactly as indicated. (See from No. ber den Triller uben,indem man genau letrille,en suivant exactementles doigtés
68 to 80.) dem vorgezeichneten Fingersatze folgt. indiqués. (Voyez du no. 68 au no.80.)
(Siehe No.68 bis No.80.)

The Mordant. Vom Mordant. Du mordant.

The mordant is nothing more than a Der Mordant ist nichts als ein kurz - Le mordant nest autre chose qu'un
precipitated trill or shake. It requires abgeschnellter Triller; er bedarf weder trille précipité, il ne demande ni pre-
neither preparation nor resolution. It is der Vorbereitung, noch des Nachschlags. paration ni résolution. On 1indiquepar le
indicated by the following sign: Man bezeichnet ihn durch fglgendes Zei- signe suivant:
chen.

Its effect is as follows: En voici leffet:

The mordant,consisting of several beats Der aus mehreren Trillerschlagen Le mordant composé de plusieurs bat-
is almost impracticable on the cornet. The bestehende Mordant ist auf dem Cornet tements est presque impraticable sur
performer must therefore restrict him - a Pistons fast un ausfiihrbar. Man muss le cornet a pistons. I] faut donc sen te-
self to the mordant with one beat,which sich daher an den Mordant mit einem nir au mordant a un seul battement, qui
is much more easy of execution, and is einzelnen Trillerschlag halten der sich se fait avec beaucoup plus de facilité et
moreover, very graceful. mit weit mehr Leichtigkeit ausfuhren qui est trés-gracieux.
lasst und sehr grazios ist.

ru
se ee ee
ePoe
Effect:
Klang:
Effet:

The mordant takes its value (time) Der Mordant entnimmt seinen Werth Le mordant prend sa valeur sur la
from the note to which it belongs. (See von der Note,zu welcher er gehort.(Siehe note méme 4 laquelle il appartient. (Voy-
from No. 81 to 88.) No. 81 bis No. 88) ez du no, 81 au no. 88.)
N. B. All the lessons ongrace notes N. B. Da alle Uebungen iiber die Ver- [Link] les legons sur les notes
having been specially composed to serve zierungsnotennur componirt sind,um als dagrément étant specialement compos-
as studies, I have purposely assembled Studium zu dienen, so habe ich absicht- ées pour servir détude, jail reuni a des-
together and in profusion, every kind lich die Verzierungen in uberreicher Wei- sein, avec profusion,tous les genres de
of grace note. Care, however, must be se angebracht. Man muss sich aber hii- note dagrément. Mais il faut bien se gar
taken not to use them too abundantly, ten, in der Praxis damit Missbrauch zu der den abuser ainsi dans la partiquecar
as an excess of ornament is always in treiben, denn dies wtirde von dem cela serait du plus mauvais goit.
bad taste. schlechtesten Geschmack Zeugniss ge-
ben.

3654-290
 PREPARATORY EXERCISES ON THE GRUPPETTO. oe
VORBEREITENDE
i ETUDEN UBER DEN GRUPPETTO (Do Ischlag.
ETUDES PREPARATOIRES SUR LE GRUPPETTO. scale

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3654-290
 99
THE GRUPPETTO.
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3634-290
104
THE DOUBLE APPOGGIATURA (Grace Note)
VON DER DOPPEL-APPOGGIATUR.
DE LA DOUBLE APPOGGIATURE.

Andante. ah 108

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3654-290
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3654
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THE SIMPLE APPOGGIATURA (Grace Note.)

VON DER EINFACHEN APPOGGIATUR.
DE LAPPOGGIATURE SIMPLE.
Andante con spirito. 4 - 88

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3654-290
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THE SHORT APPOG.- VON DER KURZEN APPOGGIA~- DE LAPPOGGIATURE
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8654-290
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8654-290
 123

Intervals. Von den Intervallsprungen. Des sauts dintervalles.

_Exercises for the intervals should be prac- Ks ist gut, diese Art von Etuden eifrig zu
ticed assiduously, and care is to be taken not Il convient de travailler avec assiduité ce
ben, und dabei Sorge zu tragen, dass das genre détudes, en ayant bien soin de ne pas
to alter the position of the mouthpiece when
Mundstick auf den Lippen nicht versetzt deranger l’embouchure de dessus les lévres,
passing from a low to a high, or a high wird, wenn man von einer tiefen zu einer
to a tow one.
pour passer dune note basse aune note haute,
By observing this rule, the hohen order von einer hohen zu einer tiefen
ou dune note haute a une note basse. On ob-
player will acquire certainty in taking the Note ubergehen will. Man erlangt dadurch
tient par la une grande sireté d’attaque et
notes and great facility in their execution. eine grosse Sicherheit des Ansatzes und
une grande facilité dexécution. (Voyez du
(See from No.1 to 7.) Leichtigkeit der Ausfiihrung. (Siehe No.1 bis 7) no. 4 au no.7.)

Octaves and Tenths. Von den Octaven und Decimen. Des Octaves et des Dixiémes.
Octaves and Tenths are not used to any Die Octaven und decimen sind auf dem Les octaves et les dixiémes ne sont pas
extent on the cornet; however,considerable Cornet a pistons nicht sehr gebriuchlich; tresusités surle cornet a pistons; on peut
effect may be produced by a judicious use nichtsdestoweniger kann man durch eine néanmoins produire beaucoup d’effet par un
of octaves. verstandige Anwendung der Octaven eine intelligent emploi des octuves.
gute Wirkung hervorbringen.
As to tenths, they may be classed under Was die Decimen anbetrifft,so kann man Quant aux dixiemes, il ya lieude les ran-
the preceding category. It would indeed be sie unter die Intervallspriinge rechnen, in- ger parmi les sauts dintervalles. I] serait
very difficult to execute with rapidity any dessen wiirde es sehr schwierig sein, mit fort difficile, en effet d’exécuter avec vitesse
melody whatsoever, if the interval of the Schnelligkeit irgend eine Melodie anzufih- une mélodie queleonque, en employant suc-
tenth were consecutively employed. (See ren und dabei hintereinander das Decimen- cessivement l’intervalle de dixieme. (Voyez
from No. 8 to 12.) intervall anwenden zu wollen .(Siehe No.8 bis 12.) du no. 8 au no, 12.)

Triplets. Von den Triolen. Des Triolets.

The use of triplets is always highly ef- Die Anwendung der Triolen ist immer von L’emploi des triolets a toujours été d’un
fective. In order to execute a triplet well, ausgezeichneter Wirkung. Um die Triole gut excellent effet. Pour bien rendre le triolet, il
each note must be uttered with perfect e- auszufuhren, muss man sich tben, jede Note faut s’etudier a faire parler chaque note avec
quality. The student should proceed slowly mit vollkommener Gleichmassigkeit anzuge- une parfaite égalité. On doit travailler d’ab-
at first, and not attempt to play quickly un- ben. Man muss anfangs langsam tben, und ord lentement, et ne passer a un mouvement
tilthe fingers have acquired regularity of erst zu einer lebhafteren Bewegung iiberge- plus vif que lorsque les doigts marchent avec
motion. (See from No. 13 to 27.) hen, wenn die Fingerbewegung eine vollkomm- régularité. (Voyez du no. 13 au no. 27.)
en regelmassige ist.(fiehe No. 13 bis No. 27.)

Studies in Sixteenth notes. Von den Sechszehnteln. Etudes en doubles croches.

In order to arrive at perfection of execu- Um zu einer untadligen Ausfuhrung zu ge- Pour arriver a une exécution irréprochable,
tion, these studies should be played with langen, muss man diese Etuden streng im Tacte on doit travailler ces études en conservant
scrupulous attention to time and rhythm, and iiben und die vorgeschriebenen Accente genau toujours une mesure bien rhythmée, et en
due regard to the articulations therein in- beachten. Man muss langsam anfangen und suivant ponctuellement les articulations qui
dicated. The performer should begin slowly das Tempo in dem Maasse beschleunigen, als sont indiquées. I] faut débuter avee lenteur
and increase his speed until he has become fa-man sich mit der Uebung nach und nach ver- et ne presser le mouvement qu’au fur et a
miliar with the exercise. Too great a rapiditytraut macht, Zu grosse Schnelligkeit giebt der mesure qu’on se familiarise avec l’exercice.
of execution does not always impart Ausfuhrung nicht immer den Glanz,den man Une trop grande vitesse ne donne pas toujours
to the per-
formance the brilliancy expected. Precision erwartet. Die wahren Kennzeichen einer gu- au jeu le brillant qu’on espere. La nettete et
and regularity are the real foundation of an ten Ausfiihrung sind Sauberkeit und Regel- la régularité, voila les vrais types dune belle
excellent execution. (See from No. 28 to 47.) missigkeit. (Siehe No. 28 bis No. 47.) exécution. (Voyez du no. 28 au no. 47.)

The Perfect Major and Minor Chord. Vom Dur-und Moll-Accord. De l'accord parfait majeur et mineur.
In providing 80 many of these studies,my Indem ich diesen Etuden eine grosse Aus- En donnant un aussi grand developpement
motive has been to enable the pupil, by de- dehnung verlieh, wares meine Absicht, die aces études, mon intention a été damener
grees, to play with ease in every key. Some Schiiler dahin zu fiihren,dass sie sich in allen les éléves & pouvoir jouer aisément dans tous
of the fingerings may at first appear diffi- Tonarten mit Leichtigkeit bewegen konnen. Jes tons. Certains doigtés paraitront au pre-
cult, but this is no reason for setting them Einige Fingersatze werden anfinglich schwer mier abordldifficiles; ce n’est pas une rai-
aside; on the contrary, it should serve as erscheinen. Dies ist jedoch kein Grund, sie bei son pour les laisser de cote, cen est une, au
a motive for working at them with cour- Seite zu lassen,sondern man soll sie mit desto contraire, pour les aborder avec courage et
age and resolution. Some benefit must al- mehr Muth und Festigkeit angreifen. Diese conviction. Il reste toujours quelque chose
ways result from labor of this kind, even if Accorde bleiben immer schwierig, selbst wenn d'un pareil travail, méme si on exécute len-
and the efforts man sie langsam ausfiihrt; aber die Muhe die tement ces accords; et les efforts que l’on
the notes be executed slowly;
aura faits pour vaincre certaines impossi-
made to overcome certain “impossibilities” man sich giebt, um gewisse Unmoglichkeiten bilités montreront bien vite qu’elles ne sont
besiegen, wird bald lehren, dass sie nur
will soon prove that they were only impos- zu
qu’apparentes. Elles n’offriront dobstacle
sible in appearance. (See from No. 48 to 52.) scheinbar waren. Nur diejenigen Kiinstler wer-
den uniibersteigliche Schwierigkeiten darin insurmontable qu’aux artistes qui, par pa-
finden, die iiberhaupt aus Bequemlichkeit die resse, auront contracté la funeste habitude
traurige Gewohnheit haben, stets nur in leichten de jouer toujours dans des tons simples. (Vo-
Tonarten zu blasen. (Siehe No.48 bis No. 52.) yes du no. 48 au no, 52.)
3654-290
124

The Chord of the Dominant Seventh. Vom Dominant-Septimen-Accord. De l’accord de septieme dominante.

The chord of the dominant seventh Der Dominant-Septimen -Accord, wel- L’accord de septieme dominante ét-
is the same in both the major and min- cher in den Dur-und Molltonarten stets ant le méme dans les modes majeuretmi-
or keys. Here it becomes the comple- derselbe ist, dient hier zur Vervollstandig- neur, devient ici le complément des études
ment of the preceding studies. When ung der vorhergehenden Uebungen. Bei précédentes. On devra letravailler en con-
practicing it, the regularity which I have seiner Uebung bewahre man stets die- servant toujours cette méme régularité
already enjoined and which I cannot too jenige Regelmissigkeit, welche ich nicht que je ne saurais trop recommander. (Vo-
strenuously recommend. should careful- zu sehr einscharfen kann. (Siehe No.53 yez les nos. 53 et 54.)
ly be observed. (See Nos. 53 and 54.) und No. 54.)

The Chord of the DimInished Seventh. Vom verminderten Septimen-Accord. De l’accord de septiéme diminuéc.

This chord plays a conspicuous part Dieser Accord spielt eine grosse Rolle Cet accord joue une grand réle dans la
in modern musical composition. Owing in der Musik der Gegenwart. Dank sei- composition musicale actuelle; il rend,
to its elastic nature, it is of incalculable ner Elasticitat, leistet er der Modulation grace a son élasticité, des services incal-
service; for, consisting as it does solely unberechenbare Dienste. Ausschliesslich culables; car, uniquement compose de tier-
of minor thirds, it may be interpreted in aus kleiner Terzen gebildet, kann man ihn ces mineures, on peut l'interpréter de bien
various different ways, and there are in- auf sehr verschiedene Weise auflosen und des manieres différentes, et il y a une
numerable cases in which the musician es giebt eine Menge von Fallen, in wel- foule de cas ou le musicien y a recours.
may have recourse to it. chen der Musiker sich seiner bedient.
Nevertheless, it occupies a regular Er nimmt indessen auch eine regel- I] occupe cependant une place régu-
place in the minor scale, as may be seen massige Stelle in der Molltonleiter ein, lire dans la gamme mineure, ainsi que
from study No. 55, in which its real wei man aus der Uebung No. 55 ersehen Von en pourra juger par 1|é€tude no.55,
place has been assigned to it. kann, worin ich ihm seine wahre Stelhmg dans laquelle je lui ai assigné son veri-
angewiesen habe. table rang.
Suecessive chords of diminished Man kann mehrere verminderte Sep- On peut faire des successions d’ac-
sevenths are admissible, inasmuch as timen - Accorde auf einander folgen lassen, cords de septieémes diminuées, attendu
they follow one another with considerable vorausgesetzt dass sie sich mit grosser qu’ils s’enchainent avec beaucoup de fa-
facility. I have presented this chord in Leichtigkeit an einander anschliessen. Ich cilite. J’ai présenté cet accord dans des
various rhythms and combinations, in gebe den Accord in verschiedenen Rhyth- rhythmes et dans des enchainements
order that the pupil may be fully en- men und Verbindungen, damif der Schiiler différents, afin que ]éléve puisse se ren-
abled to judge of its effect. (See from sich von seiner Wirkung wohl iiberzeuge. dre bien compte de son effet. (Voyez du
No. 55 to 61.) (Siehe No. 55 bis 61.) no. 55 au no. 61.)

The Cadenza. Von den Cadenzen. Du point d’orgue.

I am adding a series of cadenzas Ich fiige diesen Etuden eine Rei- Je joins a ces études une série de
in form of preludes to these studies, he von Cadenzen in Form von Pralu- points d’orgue en forme de préludes, a-
in order to accustom the pupil to ter- dien hinzu, um den Schuler an einen gu- fin d’habituer les éleves a bien terminer
minate a solo effectively. It is also ten Abschluss des Solos zu gewohnen. un solo. I] sera bien de transporter ces
advisable to transpose these cadenzas Man wird wohl thun, diese Cadenzen in points d’orgue dans tous les tons. II]
to all the different keys. Care must allen Tonarten zu transponiren. Man faut avoir soin de respirer aux endroits
be taken to breathe whenever a rest muss Sorge fragen, an denjenigen Stel- ou se recontrent des repos, afin d’ar-
occurs, so as to reach the end of the len, wo sich Pausen befinden, wohl Ath- river a la conclusion de la phrase avec
phrase with full power, and in per- em zu schopfen, damit man die Phra- toute sa force, et sans laisser tomber
fect tune; otherwise the effect will sen mit Kraft und ohne den Ton sinken le son; autrement leffet se trouverait
be completely destroyed. zu lassen, schdiessen kann. Andernfalls complétement annihile.
wurde die Wirkung vollstandig vernich-
tet.

3654-290
 125
STUDIES ON THE STUDIEN UBER DIE ETUDES SUR LES
EER AES) (See page 123) INTERVALLE. INTERVALLES.

3654-290
 126
Ae 56 to 108

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3654-290
OCTAVES VON DEN OCTAVEN DES OCTAVES ET
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3654-290
132
EXERCISES ON STUDIEN UBER DIE ETUDES SUR LES
TRIPLETS. (see page 123) TRIOLEN. TRIOLETS.
¢ = tgzeto 2 = 80

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3654- 290
 is MAJOR AND MINOR CHORDS. *
FOM DUR UND MOLL ACCORD.
DE L’ ACCORD PARFAIT MAJOR ET MINEUR.

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3654-290
 146 M ajor
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3654-290
 147
THE CHORD OF THE DOMINANT SEVENTH °
*

VOM DOMINANT SEPTIMEN-ACCORD.

DE L’ ACCORD DU SEPTIEEME DOMINANTE.

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3654-290
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3654-230
 DESCRIPTIVE ADVICE ERKLARUNGEN EX PLICATIONS
153

on Tonguing. uber den Zungenstoss. sur le coup de langue.

——_

Triple Tonguing. Vom Zungenstoss beim Du coup de tangue en

dreifachen Staccato. staccato ternaire,
The staccato consists in detaching a
succession of notes with regularity,
Das Staccato besteht darin,eine Reihe von Le staccato consiste a détacher avec
Tonen in gleichartiger Weise abzustossen, régularité une succession de notes, sans
without allowing the tonguing to be ohne dass der Zungenstoss zu kurz,noch zu
either too short, or too long In order que le coup de langue soit ni trop sec,
lang ist. Um zu dieser Vollkommenheit zu ni trop allongé.Pour arriver a une telle
to arrive at this degree of perfection gelangen tbe man die ersten Etuden,dieals
the earlier studies, which serve as the perfection,on devra travailler tresiente-
Anfangspunkt dienen, sehr langsam. ment les premieres études qui servent de
basis, should be very slowly practiced. Zuerst bemiihe man sich, die folgenden
The student should first strive to pro -
point de départ.
Sylben mit grosster Gleichmiissigkeit aus- I] faut primitivement s’appliquer & pro -
eine se perfect equality, the sylla- zusprechen: noncer avec beaucoup dégalité
4,
les syllabes:
es:

7 tutu ku tutuku tutuku tutuku tu

I
In order to impart more equality to Um dem Zungenstoss mehr Gleichmassig- Pour donner plus d’égalité au coup de
the tonguing, it is necessary, when be- keit zu geben,verliingere man anfinglich langue, il faut,en commencant, allonger
ginning, to prolong each syllable a die Sylben ein wenig, so dass die Tone un peu chaque syllabe, de maniére a
little. When great precision has been sich wohl untereinander [Link],
wenn bien lier les notes entre elles. Ce n’est
obtained in the utterance of the tongu- der Zungenstoss mit Priacision gelingt,darf que lorsque le coup de langue sort avec
ing,it should then be more briefly emit - man ihn etwas kurzer machen,um das wirk- précison que lon doit prononcer avec plus
ted,in order to obtain the true staccato. liche Staccato zu erhalten. de sécheresse, afin d’obtenir le vrai stac -
cato,
I will now describe the mechanism of Der Mechanismus des dreifachen Staccato Voici le mécanisme du staccato ternai-
the triple staccato. ist folgender: re.
In pronouncing the syllables tu tu, the Indem man die Sylben tii tu ausspricht,legt En pronongant les syllabes tu tu, la
tongue places itself against the teeth of man die Zunge gegen die oberen Zahne, und langue se place contre les dents de la
the upper jaw,and in retiring pronounces indem man sie zuruckzieht, bringt man die machoire supérieure et, en se retirant,
the first two [Link] tongue should beiden ersten Stosse hervor, Die Zunge muss roduit les deux premiers coups. La
then reascend to the roof of the mouth sich hierauf nach dem hinteren Theil des angue doit alors remonter au font de la
and obstruct the throat, dilating itself Mundes zurtickziehen,und die Kehle schlies- bouche et obstruer le gosier en se gon -
by the effect of the pronunciation of the sen, indem sie sich zur Bildung der Sylbekii flant par l’effet de la prononciation de
syllable ku, which, by allowing a column aufbaumt, die dann,indem die Luft in das la syllabe ku, qui,en laissant pénétrer
of air to penetrate into the mouthpiece, Mundstick eindringt, den dritten Stoss la colonne d’air dans lembouchure, dé-
determines the third sound. hervorbringt. termine le troisiéme coup.
In order to invest this to-and-fro Damit dieses Hin- und Hergehen mit gro - Pour donner a cet effet de va-et -vient
motion with perfect regularity, it is sser Regelmassigkeit geschehe, muss man une grande régularité, il faut travail -
necessary to practice slowly, so that es sehr langsam uben,so dass die Zunge, ler lentement afin que la langue, tout
the tongue, like a valve, may allow the gleich wie ein Ventil, bei jeder Sylbe eine comme le ferait une soupape, laise é-
same quantity of air to escape at each gleiche Luftmenge entweichen lasst. chapper a chaque syllabe la meme quan-
syllable. Dank dieser Art der Articulation, giebt tité dair.
If this system of articulation is per- es keine Schwierigkeiten mehr. Man ge- Grace a ce genre darticulation, il n’y a
severed in, no passage will be found langt dahin, das Genet so leicht zu blasen, plus de traits difficiles; on peut arriver
difficult; the tone-production on the wie die Flote. Dazu ist jedoch eine voll - & jouer aussi facilement que le fait la
cornet will be as easy as that on the kommen reine Aussprache nothig. Die Er- flute; mais il faut, pour cela, une pro -
flute; but to reach this end, the pro - fahrung hat mich gelehrt,dass man,um ein nonciation dune grande pureté. Lexpéri-
nunciation must be perfectly pure. Ex- vollkommen perlendes Staccato zu bekomm- ence m’a démontré que pour obtenir un
perience has proyen to me that to ob- en, die Sylben tu tu ku tu tu ku tu genau, staccato vraiment perlé, il faut pro -
tain a really irreproachable execution, wie es vorgeschrieben, aussprechen muss, noncer les syllabes tu tu ku tu tu ku tu,
it is necessary to pronounce the sylla- und nicht die Sylben dui du gui dti du git du. comme il vient d’étre indiqué, et non pas
bles tu tu ku tutu kutuashasjust been Die letzteren gehen allerdings schneller zu les syllabes du du gududugudu; ces
shown, and not the syllables du du gu prononciren, aber statt die Tone zu sondern, derniéres vont plus vite,ilest vrai; mais,
du du gu du. These latter, it is true, bringen sie einen Zungendruck in dem Tone au lieu de détacher, elles produisent un
go faster, but do not sufficiently de - hervor. coup de langue dans le son. .
tail the sound. Der Zungenstoss darf nicht ubereilt werden, Le coup de langue ne doit pas etre trop
The tonguing should not be too pre - da ihn der Horer dann zuletzt nicht mehr précipité, car alors l’auditeur finit par ne
cipitated, for the auditor will then be unterscheidet. Man erinnere sich wohl,dass plus le distinguer. I] faut bien se rappeler
no longer able to distinguish it.A suf- diese Articulation dazu dienen soll, Ginge que cette articulation doit servir a exécut-
ficient degree of rapidity may be ob - auszufihren,in denen bei jedem Zungenstoss er des traits en changeant de note sur
tained by the method I have indicated. auch der Ton wechselt, nicht aber das Ge- chaque coup de langue, et non pas a
The most important points to master rausch einer Karre nachzuahmen. Man er- imiter le bruit de la ccrécelle. On ob -
langt ubrigens durch das Mittel, welches tient, au reste, une trés-suffisante vi -
are clearness and precision. (No.1 to tesse par le moyen que j’aiindique. Ce
No. 76.) ich angegeben, eine durchaus hinreichen~-
de Schnelligkeit. Wonach man hauptsach - a quoi il faut principalement s’appliquer,
lich streben muss, ist die Erlangung ein- c’est a realiser une précison et une net-
er untadelhaften Pracision und Sauber - teté irréprochables. (Voyez du no.1 au
keit. (Siehe No.1 bis No. 76.) no. 70 )
Vom Zungenstoss im Du coup de langue en
Double Tonguing. zweitheiligen Staccato. staccato binaire.

Diese Art des Staccato ist von grossem Ce genre de staccato est d'un grand se-
This kind of staccato is of great assist - cours dans lexecution des gammes,
, vg .
des ar-
ance in the execution of scales, or arpeg- Nutzen fiir die Ausfihrung von Tonleitern,
3654-290
154
Arpeggien und aller Stellen in zweitheil - péges et de tous les traits dans le rhythme
gios, in the binary rhythm. In order to ex- Pour arriver a l’exécuter avec
ecute this exercise with precision,it must igem Rhythmus. Um es mit Pracision aus- binaire.
be practiced slowly, always having regard fiihren zu lernen, muss man es langsam précision, il faut le travailler lentement, en
for the principles set forth for triple iiben und dieselben Vorschriften befolgen, suivant les principes indiques pour le coup
welche fiir das dreifache Staccato gege ~ de langue en staccato ternaire.
tonguing.
First of all, the student should pronounce ben sind. On devra primitivement prononcer les syl-
the syllables: Man hat zuerst die Sylben: labes:

tu ku tu ku tu ku tu ku tu

As is seen, the tongue performs ato-and- auszusprechen Wie man sieht, macht die Comme on le voit,la langue opere un mouve-
fro movement, which it is very difficult Zunge eine Bewegung des Vor- und Riick- ment de va-et-vient quil est trés-difficile
to obtain with perfect equality; but once wiartsschreitens, welche sehr schwer mit dobtenir avee une égalité parfaite; mais
this has been attained, the most diffi - vollkommener Gleichmiissigkeit auszafuhr- aussi une fois ce résultat acquis, on peut
cult passages may be executed with all en ist. Hat man aber dieses Resultat er - exécuter tous les traits les plus difficiles
desirable speed, energy, and strength. reicht, so kann man auch die schwierig - avec toute la vitesse, lénergie et l’entrain
sten Stellen mit gewiinschter Energie, désirables.
Schnelligkeit und Gewalt ausfiihren.
After having practiced all the studies Nachdem man alle fiir die Genre der Ar- Aprés avoir travaillé toutes les études af-
connected with this kind of articulation, ticulation gegebenen Uebungen studirt hat, fectées a ce genre darticulation, on pourra
recourse may then be had to the scales, kann man sie auf die Dur- und Mollaccor - ge reporter aux gammes, aux accords par -
the perfect chords, the chords of the de, die Dominant Septimenaccorde und die faits, ainsi qu’aux accords de septiéme domi-
dominant seventh and diminished seventh. verminderten Septimenaccorde tbertr nante et de septieme diminuée,et les exe-
These should be executed by hip hae the und diese mit Anwendung desselben Stac - cuter en employant ce méme staccato, afin
same staccato,so as to accustomthe fingers cato ausfiihren, um die Finger zu gewoh- @habituer les doigts & marcher réguliére -
to proceed in conformity with the tongue. nen,dass sie gleichmissig mit der Zunge ment avec la langue. Ce sera la un fécond
This practice will be fruitful in its results. gehen. Dies wird eine sehr nitzliche Ue - travail. (Voyez du no. 77 au no. 114.)
(See from No.77 to 114.) bung sein. (Siehe No.77 bis No. 114.)

The Slur in Doubie Tonguing. Vom Schleifen beim zweifachen Staccato, Du coulé dans le staccato binaire.

In order to combine slurs with the doub- Um geschleifte Tone mit dem zweitheilig- Pour entreméler des coulés au staccato bi-
le staccato, a peculiar kind of pronuncia- en Staccato zu verbinden, hat maneine be - naire,ily a un genre particulier de prononci-
tion must be [Link] would be mo - sondere Art der Aussprache anzuwenden. ationdemployer. I] serait monotone de
notonous to employ staccatos continual- Es wirde monoton sein, fortwihrend Stac- faire toujours des staccatos, sans recourir
ly without having occasional reference catos zu machen, ohne zu den geschleiften aux coulés. Leur mélange apporte une
to the slur. The combination of the two Tonen zu [Link] Mischung bewirkt heureuse variété dans lexécution, en méme
occasions a pleasing variety in execu - eine glickliche Abwechslung in der Aus - temps qu’elle facilite laccélération du
tion, at the same time facilitating the fuhrung und erleichtert zu gleicher Zeit [Link] obtient cette articulation en
acceleration of the movement. die Beschleunigung der Bewegung. prononcant les syllabes suivantes:
This articulation is obtained by pro -
nouncing the following syllables:

ta-a taka ta-a taka ta-a takataka taka ta-a taka ta-a taka ta-a takatakataka ta

The syllable a serves to strike the Die Sylbe ta dient zum Ansatz der ersten La syllabe ta sert a attaquer la premiére
first note, and the syllable a which comes Note, und die Sylbe a, welche darauf folgt, note et la syllabe a, qui vient ensuite, per -
afterwards, enables the performer,by pro- erlaubt, indem sie den Ton verlangert, ein met,en prolongeant le son, de coule facile-
longing the sound, to slur easily to the leichtes Hintiberschleifen zur zweiten Note. ment sur la deuxiéme note. Ce coup de
second note. This tonguing is assured] Diese Art des Zungenstosses ist sicherlich langue est assurement un des plus indis -
one of the most indispensable, inasmuc eine der nothwendigsten, wenn man in pensables, attendu que lon trouve son em-
as it is to be met with in all kinds of Betracht zieht, dass er in allen Musik - ploi dans tous les genres de musique.(Vo -
music. (See No. 444 to 134.) gattungen Anwendung findet. (Siehe yez du no, 415 au no. 184.)
No. 145 bis No. 434.)
Tonguing as applied to the Trumpet. Der Zungenstoss bei der Trompete. Du coup de langue de trompette,

Having frequently observed that many Nachdem ich mehrfach--sowohl auf dem __.Ayant maintes fois remarqué que les
pupils, both at the Conservatory and Conservatorium als auch anderweitig —die eléves,—soit au Conservatoire, soit ail -
elsewhere, who were able to perform the Bemerkung gemacht hatte, dass die Schiiler, leurs,— qui savaient faire le coupdelangue
trumpet tonguing, scarcely ever succeed- welche den Zungenstoss auf der Trompete de trompette, n’arrivaient presque jamais’
ed in correctly performing the true stac - zu machen verstehen, fast niemals dahin & exécuter tréscorrectement le vrai stac -
cato, I conclude therefrom that this gelangten ein wirkliches Staccato aus - eato jen conclus que ce coup de langue est
tonguing is an obstacle to the other ar- zufiihren, so schloss ich daraus, dass die- un obstacle aux autres articulations, et
ticulations,.and I therefore recommend ser Zungenstoss ein Hinderniss fiir die an- jengage & ne létudier que quand on pos -
students not to practice this, until they dern Articulationen ist, und ichrathe ihn sédera bien tous les autres. L’exécution
shall have thoroughly mastered all the nicht eher zu studiren, als bis man im en est dailleurs des plus faciles, quand on
others. Moreover, its execution is ex - Besitz der ersteren ist. Die Ausfiihrung ist est arrive & bien rendre les coups delange
tremely easy, when the student is really ubrigens sehr leicht, wenn man dahin ge -
capable of performing the deuble and binaires et ternaires.(Voyez du no. 185 au
langt ist, den zwei-und dreifachen Zungen- no. 148.) .
triple tonguing. (See No. 135 to No.145,) eee auszufthren. (Siehe No. 135 bis
3654-290 o. 143.
 TRIPLE TONGUING. 155
FOM ZUNGENSTOSS BEIM DREIFACHEN STACCATO.
DU COUP DE LANGUE EN STACCATO TERNAIRE.
64 to 124

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ku tu

Published by Cari Fischer,New York

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3654 _290
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3654-290
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3654_ 290
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8654_290
188
TONGUING AS APPLIED TO THE TRUMPET.*
VOM ZUNGENSTOSS BEI DER TROMPETE.
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3654-290
 189
d=108 to 120 3
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8654-290
190

Tu tukutu ku tu

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8654-290
 THE ART OF PHRASING. 191

150 CLASSIC AND POPULAR MELODIES

Arranged by Arban. (Professor of the Imperial Conservatory of Music.)

ROBIN ADAIR.
Andante.

LOVING, I THINK OF THEE.

Andante. Krebs.

MY PRETTY JANE.
Andante.

" mB. is
Pp AE

3654-290 York
Copyright 1893 by Carl Fischer New
192
HOW FAIR THOU ART.
H. Weidt.
Moderato.

AMERICA
And te maestoso.

P b en sostenuto

L AST ROSE OF SUMMER.

Cees
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:|'
(SSE
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MY OWN J MY GUIDIN G ST AR.

Andté cantabile. Robin Hood

=
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aie 2
BS
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Dee
A a
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3654-290
 193
WHY DO I WEEP FOR THEE?
Anadte con tristesso. W. V. Wallace.

Cresc,

BLUE BELLS OF SCOTLAND.

All ° modto

DUTCH AIR.
Maestoso.

a oe Oe et

NOW THE SWALLOWS ARE RETURNING.

Fr. Abt.
Andantino.

at REP ieee ae
Be Se Tfl
Bye

rall-~_32—
3654-290
194
WHO SHALL BE FAIREST?

Andante.

S|) } RUSSIAN HY MN.

oS
axel

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PURITAN ‘SS DAUGHTER.

Larghetto. cantabile. ' Balfe.
ce) a@ SE Res
> ee eeae ee he Bef |e a
4 20 288 OSS he ie aah Epa
“I 236 Seg Aa

3664-290
 195
WOODMAN SPARE THAT TREE.
Andante. H. Russell.

LOVE NOT. V. Wallace.

jet
| id [lal [ee ae Se el Fh aa 6 eee |

THEN YOU'LL REMEMBER ME. Balfe.

Andante.

P dolce.

O WERT THO U BUT MINE OWN LOVE. Fr. Kucken.

3654-290
196 MAY BE HAPPY YET.
WE

Press
Andante moderato

jee
a ees ASS Se \ @e |
rd | Ye lf a alee Ty
( abe OE ae. a wee ae] a os pe
— ces Rae

CONSTANCE,
And te espressione.

anes f\ 9a lempo.-

THE HEART OF THY NORA IS BREAKING FOR THEE.

Andantino. G. Linley.

fee wy Ree Es PS. =———

Sees
|S a
\i* @lag a

Larghetto. IL POLIUTO.
Donizetti.

3634-290
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 199
MY BARK WHICH OER THE TIDE.
Allegretto. Balfe.

AW St Le ED oe
a Me? Ima
ASU,

"TWAS RANK AND FAME.

Andt©® cantabile. Balfe.

ES S-Bia BPS. ee SS EE SSS ES ea Ee

oe.

rev.a piacere

VIEN, LEONORA.
Larghetto.
SyAS © Teac
@o @ |
S707 = 8 £554 AS

ae PRSar ee
mM
=
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3654-290
200
SICILIAN VESPERS.
Verdi.
Largo cantabile.

a ae a a ee
EAP a Se a es ed a OL

il

| o
ae
;
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*
| A RS ATR
PRA AN

Fanta
eae12S es
we
oe we ee
L | 4 af
be Sees

BLACK EYED SUSAN.

Andante.

I ™ML EAVING THEE IN SORROW.

Andante. G. Barker.

Bre

GOOD BYE, S WEETHEART.

Andt® con moto. Hatton.

3654-290
 FAREWELL TO THEE, MARY. 201

F. N. Grouch.

I N HAPPY MOMENTS.
Moderato. W.V. Wallace.

39.
oo cc ar
BS
Sy
Aeaww Bea
BEND BSlIorcgs [7m Ge
7 eo
WA

1 i Saw
|
Lao Saw
LI Y
eee SS
° JZ aaa Das
“pms Be

CALL ME THINE OWN.

And®° espressivo. Halevy.
A LI Le ESS ie
roga ae ey ES 2 Ss a aaa es
|
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KATHLEEN MAVOURNEEN.

3654-290
 ty 0 eed 1 EES eee 6 OOS SS De aa a —
Sn @ ay=
mee
6
ree nae FerSsts
Hf i=ses- "2 Se SS ae
Bars Ane Peas Ie Sa mimes OE oe ay eee Se A Se

ees)
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eas
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aa ——S Seas 3.

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BALLAD “LOVES OWN TEAR.”

3654-290 y P Acids ae
 RESTORE THOSE VISIO NS BRIGHT. a
Andante. Spohr.

IL FURIOSO. Donizetti.
Andantino.

La 2 © 2 2 Bi |

Moderato.
ROMANCE. Donizetti.

ROMANZETTA. Bellini.
Andte cantabile.

3654-290
 204
BE STILL,MY HEART.
Henrion.
Andante.

BPO Fite o aap see Bi

1 es ae hea WE
Laon
Od ee Pe Ae ee ee ieee
Be Ct Se ee eH

Ew Uwe Eee a a DS hee WeelA See BS

PSS 2) 6S 4 6.28.29 8 4A PR eS ee

ett
CL) ea ae a a a ee = an ae
ie (ESS)
ETS 23 SS St eS SS at 2 Ss Se 2a Se SS

Crese.

= 2 N or G. Linley.
< =| S g
i VENER

Hl LT
litIth Ut :h i l a

r\ 94lempo.

PIETA RISPETTO.
from Macbeth.
Andante. Verdi.

3654-290
 205
THE EXILE’S LAMENT.
Con espressione. Rich. Albert.

SICILIAN VESPERS.
All © agitato espress.

I THINK OF THEE

oco riten.

3654-290
 206
BEATRICE DI TENDA.
Bellini.
And te amoroso.

Pp con abbardono.

a piacere.

fa

a HH | PH i
M6 Pw ee. Ea eee ee ae ss Oe ee
, Ca Fee)
!
Ee PP ee 2 eS Mek

LA STRANIERA.
Moderato.

PP || Peat e | & hI
ee Eee Sees AW a es er ae

CN aw ral,

sie |
hot 2 ee
a
ae ea ee ee oe)
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ARIA “GEMMA DI VERGY.”

Andante. Donizetti.

~ d as
BA pt ul BOT 3
—
CrTesc.

Lig i HH eeal A
(aoei,

3654-290
 207
LA GAZZA LADRA.
Rossini.

:> N< 5=
3 ain
< = = < fan
—

| a al Ne ih4H ae Ts
" SHED | ‘l a
ae.
al! ay

te
( (ai
ut h Nimy 5 |
( ws
i lek |
ateGAA
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< : Ww
as 5 6S SLE
e - anS|.
Al Ih ALOlit h 43
S
tae
[ae

NE iAut ATS
it Peiia lei f itHH iil: I |Sn rs
aS
Ls itikis
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SHB: |-S ; |ths
Rn
OK.
HS
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LLae
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7 ' th
||uf
(oxo)
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|aul
ai ‘ 4a }

3654-290
 208
LA CENERENTOLA.

Rossini
Moderato.
Te Ns a O_oae _ \_&
ava wy

2 Se ea Ve NS |a
(eee? Pave 22s ese

ee 3 Se a eT
Oe oN 2 Se 2 eR a = "ae
Se Frye Iveta {at ya
ey See ee PSs ae Oe eee”
° °

F]if—giKas [\¢
fk DI
ete Py &

Andante.

ALLA VITA CHE T’ARRIDE.

Andante. Verdi.

1a a
io
se pone as

3654-290 [Link] lib.

 209
THE IRISH EMIGRANT.

Andante. G. Barker.

rall.

CN 5 alempo

DON JUA N.
Andante. Mozart.

B t;

Nl Ses ONS ae
Tr} | oy irae
Ht
Ss Se |
tae
Pe Ieee
of
___.24 & | tLe
2 22.4 Si ee
Pe ese Ee Bey ae
Cae BS a ee ee eee | ee ees ©

CAN I BE DRE AMING ?

from The Talisman” )
Larghetto. Balfe.

3654-290
 210
LE DESIR.
Beethoven.
Moderato.

ANDANTE FROM A MAJOR SYMPHO NY.

Mendelssohn.

AL BEN DE’ TUOI QUAL VITTIMA.

Moderato.

3654_290
 211
FUNERAL MARCH.
Chopin.

ANNA BOLENA
Moderato. Donizetti.

AN NA BOLENA Donizetti.
Cantabile.

h
e +f
uh
N
jaysfie
se! ow

3654-290
 212
ARIETTE.

Andt€ con moto.

2 No
-) Z ¢ -) orbs = = =
== = < =
o, 6 DN
< q = Weber.

hl
1?) ° A

yi?
AMOR FUNESTO.
Andante. Donize tti.

& CSPTESSIVO

|
aan? Buk
@ an am a
Lb |ow oSa> sai

a> a
ae Ssa ae sg
-,

accel. avec chaleur.

3654 _290
 Moderato. Bellini.

$e SA
be as Se
Ber
Be ets
= pesesereene:

ROMEO.
eadattes Bellini.

—. FREISCHUTZ. Weber.
78, Geer
ae yf = a
eee a ——
ipapare
ae rs ae

= Passes ett eee

3654 _290
 214
ADIEU.
Schubert.

con espressione.

Andante.
EULOGY OF TEARS Schubert.

ANNA BOLENA. Donizetti.

as il acs
Se a ae \
=
— a eel

Re SS ee
SEA BEAT! ED Be
27 SiS 1 ee Pe
feo coeses
Sas

2 maa
rw Ta ryat a 2
a (eee [=O7—_ Oe
ld tH
ea Saw _D
tj—|_{| | ae

3654 290
 215
SERENADE
Moderato. Schubert.

ERNANI.
Moderato.

ERNA NI. Verdi.

lon =
2Eee
ar AM
SBA
al Ff)
Ht
:
T/A
F ;:
ye
tz Priabetted
Pl efae
AA
Poel
ow le
—becbacbestanhemtenieed
| [1 |
@ ORAS al 1 gre ==——-—6.4( )
—~— =< eee... 2 Rey

con espressione.
“T?) ADIEU.”
Andantino.

3654 290
 ORANGE AND BLUE JIG

ae a
=
Shi aso er
Ss
oe
se) sia —S

LANC ASHIRE CLOG DAN CE.

= =
aaa o ew ms Ocoee el Das es4 Sl a oe
| i oe aD i at,
a
ARG a gee
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FAECES FP. A ES
:

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i

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Foe ee Heat ae
i

: a See ame ttt

3654 290
 217
“LVAMOUR.”

y- wf
i _2(_ Biel 3 [Link]
SS ee Spear
SSS. “=eSana Ae ee pase ee

Verdi.
TRAVIATA
Andante mosso.

pe ue le © « Pate al ree
See
Pa———
|
: —_——___

TRAVIATA.
All 0 brillante.

a he
Af ee ee ee (eo eri eag tag nim moIbeiiay a ae (ae |
Ye teal) [Loge
ra

ae
Petta
_@eWe
as
4E @b>o | p=
a os
St 2a
;_{ _}__|

RIGOLETTO.
)

3654-290
 218

| fd a Be Spe EBM AS Gf OH LT a | LL ‘ LL
=a
S35 BES
SS Sie ees

= mseo)° I = a i

1
:
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8654-290
 219
IL TROVATORE.

IL TROVATORE.
Verdi.

at Pt fe eee
Tf. a a _a ee |_| tlaiaa
ae SS 2S Se Se Sr" iss B

Beamer Le —— -——

8654-290
 220
IL TROVATORE.

S143 WE47
aeSsa ee

IL TROVATORE
Verdi.

Sg hl 25 Bel EP Es ee ol PT SS
WW ees ES_ ee

All © prillante.
IL TROVATORE.

op Ga Eo
w/ »Pame) t+

3654 290
 221
IL TROVATORE.
Verdi.
Alltto moderato.

O SAL UTARIS.
Adagio.

<3
Sanwa S08 aaa
bw TT yaa

66
MACBETH e
be)

All2 maestoso. Verdi.

il
N

FSS war rk ¢

8654 290
 222

LE PORTE ETENDARD.
Lindpaintner.
Maestoso.

Andantino. SERENADE.

CTESC.

THE TEAR. Kiicken.

Andante molto espressivo.

8654_290
 223
MELODY.
Andantino. Mendelssohn.

Donizetti.
Andante.

NORMA.
All° moderato.

3654_290
224
DAUGHTER OF THE REGIMENT.
Anate Con moto. Donizetti.

NEAPOLITA N SONG
And te animato.
eS ok Ces eae Oe Se
EET Brea i ea are
71SAB be 9) at

a piacere.

7 5
BH Ea

LA SOMNAMBU LA Bellini.

77 mE. | wyUe
SS siz

8654-290
 225
CAPULETTI.
All © maestoso. Bellini.

Andantino. DOPO DUE LUSTRI.

Mercadante.

IL CROCIATO.
Andte [Link]. Meyerbeer.

Soe

ee
et
—aa ey ee
He
ee ee 2 ea
I ae aaa

C7TeSC,

i
nhst
aN) ii t

And te Con moto. EURYANTHE.

8654-290
226
ABSENCE.
Beethoven.
Andantino.

THE CAPTIVE
Lento con dolore.

———— ff conespressione.

OTELLO Ross ini.

Moderato.

CreSE.

8654-290
 SEMIRAMIDE

Bee
ma
ale
Pe
EE rt me
aE
:ABS ISIS
Yo TO)
1
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be | =a FY etawaim es ge a ae ca gd a Ma OY ct) sf r
-— ee Ea << _ 2

Ae: ee Jan = de _
fa Sam Es eee Ba Die
A a saa

L ELISIRE DAMORE. Donizetti.

FREISCHUTZ
All2 moderato.

3654-290
 IL TROVATORE. Verd iu

A ' fe 2
GA OS
Sy & |
7 SUVS es awe ew
ewe
la!lIl(¥_atTtwW¥aeal-| beam
ne Sasi
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(on, a? Pi

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[Link] aff:ret.

THE MAGIC FLUTE

Allegretto. Mozart.

3654-290
 a

Allegretto.

cresc.

mineur

| se S a ON ee eS
aay een 55) { [Sy eeygsy Te | Ltt se
Z

an aoe N Se e
re) Za= r)1] weem aa
SS Sa ee SICK aa
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|=
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CSA ses Be a mae “he wy ial

(oy SS SE. ee ee ee ee |)

SWISS SONG.
Moderato.

DON JUAN
Andante.

a
fon ag Gfa |
AS8,

3654-290
230
AUSTRIAN HY MN.
Maestoso.

LA SOMNAMBULE. Bell Ini.

i | 1H ||ig.
a | ff fF e |, 7 og
TovAe
Bar
54 508_aiee
i! |
Eres Fo See)
a agSf

Moderato.
LA PARISINA ROMANZA. Donizetti.

Le aa Ga eS

a D474 O44 4
([Link] eSea eatia a al i| Bel 3.4 tog 54g @
eo je | ee sl = on _ nw 1=s3>—
Le. | |

oO © N-)oH i R a °
 231
LA SOMNAMBULE.
All®° moderato. Bellini.

JAIMER Al TOUTE MA VIE. Dalairac.

Andantino.

NEAPOLITAN SONG.
Allegretto.
‘7 mm) se

a F\ = |
ae SS

3654-290
ve)

3
ag 4

z § tw<
S
fits
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Verdi.
 233
IN MIA MAN ALFIN TU SEI.
Andante.

p TSP

IL RI VAL SALVAR TU DEI.

3664-290
 234
THOU ART SO NEAR, AND YET SO FAR.
Reichardt.
Moderato.

_
jf + FF ee wet Pe Ee BGs.

Be OAS Bed
ee Oe ae ae a ff FO mH!rea) Ase |
fd
2 ae ee ee ee aes Be ES een See
i ee

Ie ua
of
nimato.

| | Ilr | MEE
| Hi
Ff eS
Bessa
a
aS

WHEN THE QUIET MOON IS BEAMING. Schondorf.

Moderato.
>)SSeS

ae KK #624840 6-4 wd
a El Sa Sia ya
=.
Slee ee “aed De

Con passione.

appassione

3654-290
 ‘ = E : CAVATINA FROM THE HUGUENOTS.”
235

i|
7
i i
aa Oo 1| iH

oH,
ya,i ay |onae itral
Sh
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3654-290
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a BRDAAAAAA
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STAR OF PARIS POLKA.

lS ih
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— era _
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Ba
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3654-290
 2 37
CAVATINA FROM “ERNANI I)

Andantino. Verdi.

NH
|

oe ise (ae ples Se ee eas eal eet ee

eS ey 2 ei eS rey,
a —~——.

23 baal Gee)
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Be SSP ASSae £2) Bea Ba

Sat SS)
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ha ae
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a Pe

r— ——_ 2 ae

aaa BSS A I MESA Fe

ney Bar: Se OS A eo ee es SS ee
eT Buf Fai] |conloome

3654-290
238

a eS|z
THE PILGRIM OF LOVE
< o Rea S
(

ih it = 2 iE i
i q
a| b
,
|| aa

ve 6140444 woe
3 i Ge Se Ss SS LT a

Se SS ES Ss SS BE BS ee
el og gn te oggt

i1|1i‘ : 4iii
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BE
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wh Sees ae ee ee Sa re Bes 2s 6 eae

emf kb Sees Ew Ji eee ee 0 a ee Se So. |_ ee es
Swi minmmwima SA Ss Sa ees
SS 2 ES Ge Ce eS Sy SS

ib4 |b b eB

3654-290
 239
“DEAR LITTLE HEART.”
Moderato.

Bea

On Spress.

3654-290
240
“HOME SWEET HOME.”

All©° moderato.

f ae aa = aS
See ee ee a a ae en a =e =] a= ope
aes ESS SYSes Be ee a Sies= se Tepe
| Re So Bsa bi7 aes
CSSA ASE eee reeseee pa aan

3654-290
 “KEEL ROW.” 241

Tempo di Marcia.

1417. Gla ea
$7
ortss Any 4
Var. I

3654-290
 242

[Link] mosso.

(79
BLUE BELLS OF SCOTLAND 39

Moderato.

36 A4- 290
 243

Pinu mosso.

“VANKEE DOODLE.”
Allegretto.

8654 - 2390
 AMERIC A
Moderato.

150.

3654-290
 Gay
aaa

3654-290
 246
S1X ty-él ght Duets
for
TWO COBNETS.
“SACRED SONG.”
Moderato

“RUSSIAN HYMN.”
Maestoso

“CRADLE SONG.” C.M. v. Weber.

Andante

= = SS 2
CZ

3654-290
Copyright 1893 by Carl Fischer, New York.
 {3
MELODY.”
F
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: =)
tin

ATE
AS
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se)
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Yer)
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CY TL

TT
Tt
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“MELODY.” Saverio.
Moderato.

ae eee See
lg
A
Se

WieN ‘I
md
i ik
LT
1S

8654-290
248
“ADESTE FIDELES.”
Andantino.
|
Ce
PY “| Wits
pls S
:
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; & © a):

\
eo eee
ES aa Wr:

: Za C =f
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 LAST PART

CHARACTERISTIC STUDIES
FANTASIAS AND AIRS VARIES

LETZTER THEIL

CHARACTERISTISCHE STUDIEN
FANTASIEN UND VARIATIONEN

DERNIERE PARTIE
ETUDES CARACTERISTIQUES
FANTAISIES ET AIRS VARIES

3654-290
284

[byesJE BARKT

The following fourteen studies have been difficulties, of which I have in turn already
written with the special purpose of provid- given the solution. They will also be found
ing the student with suitable material with to contain melodies calculated to develop the
which to test his powers of endurance. In taste of the student, and to render it as com-
taking up these studies, he will doubtless be plete and as perfect as possible.
fatigued, especially at the outset, by such of
At this point my task as professor (em-
the numbers as require unusual length of
breath. However, careful study and experience ploying, as I now do, the written instead of
will teach him to triumph over such difficul- the spoken word) will end. There are things
ties and will provide him with resources which appear clear enough when uttered viva
which, in turn, will enable him to master voce but which cannot be committed to paper
this particular phase of playing without diffi- without engendering confusion and obscurity,
culty. As a means to this end I will point or without appearing puerile.
out the cantabile passages in particular, which There are other things of so elevated and
should be played with the utmost expression, subtle a nature that neither speech nor writ-
at the same time modifying the tone as much ing can clearly explain them. They are felt,
as possible. On the cornet, as with the voice, they are conceived, but they are not to be ex-
clear tones may be obtained by widening the plained; and yet these things constitute the
lips, and veiled tones by contracting them. elevated style, the grande ecole, which it is my
This circumstance affords the performer an ambition to institute for the cornet, even as
Opportunity to rest w'iile still continuing to they already exist for singing and the various
play, and at the same time enables him to in- kinds of instruments.
troduce effective contrasts into the execution.
I repeat that by little artifices of this kind, Those of my readers who are ambitious
and by skilfully husbanding his resources, the and who want to arrive at this exalted pitch
player will reach the end of the longest and of perfection, should above all things, endea-
most fatiguing morceau, not only without vor to hear good music well interpreted. They
difficulty, but even with a feserve of strength must seek out, among singers and instrument-
and power, which, when brought to bear on alists, the most illustrious models, and this
the final measures of a performance, never practice having purified their taste, developed
fails to produce its effect on an audience. their sentiments, and brought them. as near
as possible to the beautiful, may perhaps re-
The twelve grand morceaux which follow veal to them the innate spark which may
are the embodiment of the various instruc- some day be destined to illumine their tal: nt,
tions contained in this volume; they will be and to render them worthy of being, in their
found to contain all the articulations, all the turn, cited and imitated in the future.

au
 285
Fourteen Characteris t ic Studies

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Oa Sawa iS
eere
aes —
ee ei
,
saanta
iy
eerine
= t= ite wee
be
—
—— eee —

eases
a

Ga ptheere oteheie
,
e te tReet
ote flat eter
Pavtpriee +Ciche-nist HEN peatretpeienteleniarrer
Cue aie Vo tet ed a ete wl

3654- Lg ———
2 9 0 Sa or
ne ===
 ~ e A

sig
a SSS
MNTY
jee. = a
(tan |
yg! Tt )eo olBe IN
TY
Nv EY 59° }, Cites wi id
——_ wit ror en

pes
—
Ba me,

bette N
Pegg
li JT Tt
DFJ. |
tots =

feat
SSS Oe
-

vrs
—

roar re
3654-290
300

TWELVE

Celebrated Fantaisies and Airs Variés

by

ARBAN

CONTENTS

. Fantaisie and Variations on a Cavatina from Beatrice di Tenda by Bellini301

sFantaisie andy ariations-on) Actéon ote. = Sas -uaee =~ nr
-Fantaisi¢= brttarece :” > “° Shilo. — ee ee
. Variations on a Tyrolean Song ow. et ene
7, e) . Variations on a song’ Vois-tu la neige qui brille” Zhe Beautiful Snow . . 317
-Gavatinasand Variations tee. eet oe eee
.Air Varié on a Folk Song: “The Little Swiss Boy” . . . . . . .323
.Capricevand Variations matte. -peenmen a , e
Yb
&
rt
Aon+Fantaisie’ and Variations
eoereNuR ‘[Link], Thente.. 2... . . oe) epeaot
Variations on’ a favorite theme by-C..[Link]-Weber. Soa. . =) weooD
Fantaisie and Variations on “The Carnival of Venice”. . . . . . .339
Variations on a theme from © Norma” by’ VoBellinis* + 53a S ahaa gels

Piano part to these Solos can be had separately.

Carl Fischer,NewYork

8654-290
 O
Cornet in Bb Dat Nol La “e
Fantaisie and Variations
Revised by
Edwin Franko Goldman on a Cavatina
from Beatrice di Tenda by V. Bellini
Introduction J.B. Arban
Andante $=
dz 76 he a

pripercorumecae
ee

P\.4 Weeny eit

=< }_| S11 FY @ a gg- & & 9 3
ie Oo OO

6
hn edciEsa! acre Eiess
0 oe aia =

eee =
fae ete a on
agncaas 2a SEES

Copyright MCMXIT by Carl Fischer, New York

'5834_13
 802
Cornet in Bb

—
== las
P| aT
—
a ae to
SB 7
22S
aie
Xorg} SS
—— aes
_—-..

a ——— sn taal
Hea: —
rent Sasees22iz25
e et
| ag Ba 2a See
rere
————
=—
Sieh roas ani
|
on Ss2=
fal

—_
oa

15834_ 13
 Cornet in Bb

Var IT and F In ale

I4 112
() Triple tonguing

cae
———" | i» or, ) 4) See es aC
7 2 ee ES ee (om PfT Ce 7? Ga Ga
SSrwIird 5A Bae GSS Sae fF
ew LAS a aS —— —_— a ee

ns ws == =
ereee
ru
4
me
ao CY =
—— ———
_—_

15834_13
 304 Cornet in Bb

Finale I d= 124 Be
Bi coe
5 1 SE, ot a, Mg

_ ae
pee pane ie
eee Seer earee =~ae
SSs227 ee

mae =>
+ fesse PRP
a aioe ee ee =. => SS ee EEE
= ae mare ier re aye? D [— ——
0 iets ee fi = =
a 6
2

15834_13
 N° 2 805
Cornet in A
Fanta isle an d Variat 10ns
Levised by on

Edwin Franko Goldman

Acteon

Introduction
And ante J B Arban
Piano

ES & Sees ES Ra RSSa ee ES

i
|) Pee OT

:
|
ll

==. = ad he eee
| h
|

!
il
i

AAS
2 “ia
See
es
eel ee =
aa es ee
lan Uae (eB he | | ig
PhetS + =
AS, pu we
a6

awa

eee (41.4iV0"le
ae, [Terese
oon eere weaoor esarr as Bl Bie
ba ak SSA
2S SSRs! i eee Seetaeeae [Thee
oa 4 NO Te: bee |

ae SS ee

Copyright MCMX I by Carl Fischer, New York”

 Cornet in A

2 |'
, | rq ! i | rq T@he
| @ TL

15835- 14
 Cornet in A

> Seeae ==)

Lae
ikk a7 bey 1. ee Se
se ma

a a PT A yO LA dl 8ae WY ) 7 2 een ee SS Pera ee) ee

Fae 1 BA ee oe lS Ee ae ee a OT A) BT Os A de eS
Lb SoS Sala a

1 2.
Cy =
ee
Ly |
ae ei het
_—— —s |
—
—_— z= ——_ ie a. =e fae

Th
6ULe te S oH!
OY AE? 7 I A Ea LE -
a8 ass
— = ———

dee

ad lib.

15835- 14
 308 Cornet in A

C-—_*- fag f= ee eee

2 as TS ee eee Oaoyeee Vere Sik aoeee»
——————
E eyes

———— _ cee =
— 2 ee ee 0 0 ee ea es eee ee
Ie Ee a a See 2G.4:°57 3.4 Pes Eee 2 eee
m= i4 a See 5 1 ee eee * ee ee ee ee FE eee
TB ATA LY Mh Ae ee Sew" 1G ee Be Ee | we a eS

Se eS
ea
ee ee ee es aes ee:
, ae A a. :i ey ie!
— — CY RAL -Y —___

—_—___ ——
)_ @* | g See ee a = _
ns eee See
EE
Ae A Se oe a eeee
SeeA OS ee ae ae eee eS
> ey
es: ————. - | oe © © | ||) —

15835 ~ 14
 N° 8 309
Cornet in Bb
cae :
Revised by
Fantaisie Brillante
Edwin Franko Goldman

Introd.
J. B. Arban
Allegro maestoso

ee
— —, |=
. ee, | coal
rae (ae
Sus we = ae aes he ee ET ee
== _ es SS SS

Se
ee ee a
re OS * e* tes

& F . Fi rv
45836-1414 Copyright MCMXIT by Carl Fisher, Vew York.
810 Corné. in Bb
Andantino

Ew a Si ae

poco agitato

16836-1414
 Cornet in Bb 311

(Double ton guing may be used ad lib .)

dl |
Ad el A
If aie
ae
HE
asl
a ES,
SR
aot
Ss! Ea
OT ea
> a oY eS
AA
| ——
a ae oe
My Eee

tea # Y FF |
L3 2A 1A

|
why
ip tS SSIS Doers
ee |—_—— —
pee

ee Po | gem |
= Behe")
ly eS eee
' (wb
2S es Sa

15836 -14
 312 Cornet in Bb

DO ee eee eeee een ate ee prEE

SS eee ge | ee ee
BErVywr ss Sew.
—————
Gm te a eS ae =e

SUT E
ag

e nn e y
eer SEES a ee eget =

eee Oe wer
=

heeets Se eS rp e bef
a — teil — a =
[SRY bf 2.4 (PGs Se
—
=e te OT aaa

[ees [ae a Pees Les ee ee

CALCD 4.4) AA), < 4 — — veeba osma ieee FES es eee
=o ee ae = —- |) ee |_|
soverreomemen sat Boake eres —— ee —— —
— =

wea Sims — eee

Se oD ee
} +1 l Tedeeeo tt a ae
a al ee ae eg Se

cresc. e@ accel. sin’ al fine :

= J ad ltd. oN
Saas sie
Ser esse os

45836-44
de
 N° 4 318

Cornet in Bb Variations
ona

Revised by
& ‘dwin Franko Goldman
Tyrolean Song

ize_—iaBerade
eT a: faa) E
= os) S “2
IS S
(30)S
—_—
= D = }

ea
hi Pe
Riza
= yg |
|
ape
eeae
RSs a7 heel

a_—_ __ &—
aaa seoe”iS 2
—
tte tt
tel a
eh ig wer
[4 i

to. De
Beet ae TT

Variation Wh mul
| sme
oe
|
a

R Copyright MCMXII by Carl Fischer, New York

15888 -14
 314
Cornet in Bb
Variation I

a ri ation If

ea

15838 _14
 Cornet in Bb

il
DD bbs ef PD gg pommel |
lan re geese? ret , a
=i Pe, lao

a go
‘ee
| | |
fe
buf
sees Fer

Variation IV

|
P [|
b| .
|
sPl]
San
. Perea
BnbeSe7
||
a |
|
Fess
a

15838-1414
316 Cornet in Bb

use double tonguing

For speed brilliant effect,

From + to+can be omitted

15838 _ 14
 N25 317
Cornet in Bb
Variations
on a song
Revised by Vois -tu la neige qui brille
Edwin Franko Goldman
(The Beautiful Snow)
[Link] an
Andante quasi Allegr etto

Ost abet
habe

a tempo

15842-10 MCMXII by Carl Fischer, New York

Copyright
818
Cornet in B}

_Prrar) Fae |
d a") al eS
SSS FG LY ES a S| a ED | lS

7 Jey 2s Sl ae
LT |Vere! law es | ae" 253
SLs] Sees tA P-t.4 me

yl i yg i Pi44.4
= Bfie aoa ae)
ee
= SS PY U.
_—
 ai Ur fy i

45842-1410
ul
Hy
it a
¥ | rum
:“il e re)
1
HlHT
a
it Aw 2 He) IT
af li w
| ae Ll tt
Ae
I ree | |
Be8 Tai)
/l 3
A
ae inn it
4 me) ian bag
n] i al i:
il : i}
S l : E
all ut
Cornet

i ih
il
Md i
et,
in B}

i 1 ul!
il “I ‘a
“i aI
iT oh wil
il . i fi
|al ( a
} it
( it
ha
A
|~
319
320 N° 6
Cornet in Bh Cavatina and Variations
Revised by
Edwin Franko Goldman

Andante
Piano
[Link]

eee To 1 te - GE
3 Ges, SS

— = —_ —

Pl ae ee a Se
SSS 7 eseee | eater ene OD
Hig ott o Pee ae

“SI ie
men Sa se
mw Pte ge 2S
~ eRe agg + Sd at 4

Theme

iJ erm
gh Bor

45843 14 Copyright MCMXII by Carl Fischer, New York

 Cornet in Bb —T

a
5
a
eaba
SST Ss OSeee
gs , a a oe t—
ae
+
—

= =
ioe” & = |
fon eS ee eee
SESS tf SES WAS Se ee ee ee
pap=—_— SS
Sa as

Y
OSS ee eee

ea Se ee ee ee a Ze
SS
Ps a a et a
el ee SO a eT
VS ae 2, Se eo ee es ”,

6 yb
ASF . 8B E mE Ps -_ “arr
{2 1 Uae ea ee —) | |
[ea "SSS DIA SS SF wa TIS! )_eee
eS ee we eee aaa
‘Se, ar me a be eee Eee Pg|= TT gg @ Bee
eee, BAS | SEES SS Pe ee) eee

15343 _ 11
322 Cornet in Bb

oS

ne a ne ee ee en i eee et
rr 2ae2e— i Zz AG ee a _ae mw t) | | |) Pees aft Lap
ee ee ——e eS Be | gg |
= AEB [ae | a ae eel
QUASI ABS = Sebo ae Ase ed a gg fT LJ

| | |age!
8.444628 — See
C44 oe ae a — 2s

a, =
Ca oh a on ———_—
2 ee meee Ee FB
Y a ag oo ie = hl a | oe
= ge Oe HS ee tt tt Ot Se, ees CED Gad SO eA)

= lee SS Ue
“ewes: ! S ewe 7 CU
: KEE rr iste Hime
rrr 4A44BEB B44 42S SG =

oe |) ee BS ee ee LS
2 aa ee ee Sas Os ee ey 8 Me oe Fs see
roa ttt eee (aim aaatl @2aaaataasa a4 a _
7” ES Bi ' D_4_A See). B BBG a oe nA
A

—— —— 2 = = ee eee
(eee SOT See Sia ee ae ——— a3 Ss
ee ee eee H | Oa a
VSvVewvs
yg? VevVVe i vVee,Py

ee ——
ee 9-9 eo FFs
0 ao MET 06 o oe ee ae
=

—t—4 =
re oe
ERA
4B AL LSS

15843 14
 823
Revised by NO 7
Hdwin Franko Goldman
Air Varié
Cornet in Bb on a Folk Song:
The Little Swiss Boy
J.B. Arban

Cad. ad @76.

eases cr
| ag a

a pracere

9 Copyright MCMXII by Carl Fischer, New York

45839_14
324 Cornet in Bb
Theme
Andante (2)

' Per
y
ise PU
1 |Y7y
tt el) aie
i ell
2 pany| [ty
Mm! t BUSES
gg | lle et
CSS
laa
Soy ES
la |) _!
_ _ a -—— Bea’ ind 1.4m ———ma OT Tiere Cae Te
BSBaloo —— ===

a tenpo

15839_14
 Cornet in Bb 325

—— ——f ——
i——a—
igdaaaaa ltiaaaazaaan

i>}
ts
5

z
2
~
=
—=—-- ————
= y
r eee a
ae Peal)

| fi ae SE
Gee mac

Seo
as
bout
tu kutukutuku

=
o

SA
So
é
~
=

|
=
rs — — — — or -— —B ——

2 258s es oe LBs Ria Baeies Som eames

@wea laaaeaae | aae@o022eee-

ee a CO an ——- == f
Ji ia
() ~ 2 «2 «2 @ 2 2a @6

15839 14
 Cornet in Bb

tu tu ku tu tu ku tu tu ku tu tu ku
 N° 8 327
Cornet in B}
Revised by
Caprice and Variations
Bdwin Franko Goldman
Andantino (¢))
J.B. Arban

| - @ 2 FFgal :
Eel Be”

} : i4 A
——a—
Ge
rue
f
}

2
I.
|
yg

h Copyright MCMXIT by Carl Fisher,New York

45840 -14
 Cornet in Bb
Andante moderato ¢ 92

Var. I
Allegro moderat O

15840 -14
 Cornet in Bs

15840-14
330 Cornet in Bs
Var, I
P iu lento
CT)
ce ‘TTT
Tt Tig

3 Ae | eS ed a
esses aaitwr stes eee Pt behe m wvwf
mw 144
y ; i Ta ESS mom 144: Be
ey 5. eee Sa BREESE SS =)

(af
i

: | aw 5 SS
rwvwuw
.4.44'1.4 we ee

wuvwit
<lial ll

Sacilit é

BF DM Ay

15840 -14
Cornet in B; N° 9 331
re Fantaisie and Variations
Edwin
win Frank
Franko Goldman ern German Theme

———
a me
ay

a eae Ss ko Ce ar oe oa
Gas. if Pi eS eee
Ss 3 BD
———-- i.
2. ee |
ee
4A
—

: —_ | i a —_ | = i
ES .23@@e' 8.48.4 4.4 ae “SR Wf) §_.e eae
ba be 616.7) Ree ee no 0 el ae ee
Sail SS ae oe
Bie Ee

Cert FA Ad i lids Iea ee Payee

AGW ) if NASR id LS a SM sesse=se
a2Quene”
ila 8 - —
--“aamed
2 r- DP

Theme

Copyright MCMXII by Carl Fischer, New York

cert
DO} - 13
332 Cornet in B>

eae
ra ie
at atta
os
Sas = SS
—
ees

U Pt ta pra si
£2Pere
a7 ag seTg
| a”

| _—Sa —_ a 2
|
| ied | | | | = ieee|
7” 1S GS be 2 Oe es SS eS" ea
6 sce OE aeBeen So a er es TPN A A

15641 _ 13
 Cornet in Bb 333
a tempo

‘er Seen eee

eee =. ra]
sE1°SS. A078 SS GES 1.4 |e ee =e Sa» BiG Des en
fal Loi SSE |MS Pie ee eS el! 2 2S Ee Ea"
SB ee el aa Ka I] ee oe EP Eee

= >
Ul ated A -SS _- = ii wv nee —— —— ee — — a ee
hn p—|
6
COO 0 =
ee pe ttt tHe oP e oe __ a seiaee Se = hey ee i
Qa oe med wail _Z At t+ —-¢ 6 oS S* €¢ Cin as, eee

SSS SS gee eee oe ee "en

— ) | —

es *
np eee eeu Be bee er TT tr an { SWE wee B ag tS)
Hi=——”"T LiAMAAAES( | Lf Ae ereee Ff) © fesse) =

15841 _ 13
334 Cornet in B>

Finale

Se
3 PE Ee eee a
ed ee ae ee Bia #2 baa tal | | | | bates |
Ci |e Bee en ee See Pa es See
LF Rai aa aa ee) Ho _- @@+ye le

g <<
SES
be ae) ee eee OE ee SE aE SOR ae
405 SOWA Se —eee en es CS ee SSS a Bat Fe
Z RSE). ee A Be PBs VISA ey SSS
= RSs = i ee
ae

= ~ 5 -
ES ee eS
=a a - a SS) a a ee |
je eS ee eee
= | | ae’ FFa

bo Hta st© »os

el TS |0 A | EE HL _ga PG wae
a sa ae al Ma Oe A Ge ee
———
—_—__

15844 _13
 N° 10 835

Cornet in Bb Variations
on a favorite theme
Revised by
Hdwin Franko Goldman

Introd. J. B. Arban
Allegro moderato

(7
a ST ES GC Me 8|
oe
eee EsEsma

Copyright MCMXII by Carl Fischer, New York

15844
- 1%
336 Cornet in Bb
Theme
Andante non troppo

be

yw he f
(pea ee
] AA Ea
ATs ea
wid wi
Eee i fet
2
a ———
—~be eS eT
Ih
15844-14
=
[ae]
ih L| a i
} 4

' I Ree aA
ee
Woo
Daf
b
i

7 kB Gee
|d

rr aeei bas =
-_

rae
—| tg Fo
|

:
|

A
Ih

|\
il
|
Cornetin

aah a
gh ll il,
Bb

Tis i. |a
ae
i.
il
te ai | i
ah, ti at iit,
A
a oan
ih ‘i TTT
is in il
i.\ if. i.
ih
Hy
2| ‘im l TL |
Ph a
is! RAL
:
Te ,
a i ; i i
ae I 5 ty r
1 i, i. He
|7 B Hs
i i ih il
i1 d |S
ue ik.
is
as TL
337
8388 Cornet in Bb

Var. IV ~~ a
(2
A a — _ Oa=o_O Seeg me
ge oe ggg Oo S
abet ne e S 6 odes sO
06600 _s0dde == ==
fee FOS
ee ee BOO teelent—teted + SSS 6 et es =
Gi mom A444

SS ee

“
Vs
ae
|aaasaon |! |!
——————sa
(@gaaaaa!l2a22@ |
ee | 424
SS
2SS———
lraaaa ||] ttt)
ne
lagaaaasa
VIA G MMMM Ore § 5 E444444.S af neo ——G— GG. AAA EE Oe ee
I eS ae SS ae Ea

—— ———.— ——— ~~ see

; Fees
Gua : Set Ot et
ee rere
= errs oer
= ree oe ~_=""|—_
os
gg ogot_99 00009699
—<—
eet =et09099 0990 eo
tS = re 0-
tt
ee ee

(AfF eee £22

oeeet ’? 6p
’ geo een 229
uuu pooerrr tttts 2)
00SS — a ——
uy, a a A a i

\) i
SS 7 a a me
f—__* = ma
a
(on EPO a ee—— ee H
Ai. 1 | eee 0 gg am:

=o FeSe aoe._- 7
lat Oo fa pe PO
re

tu tukutu tu tu tu Ga sia

15544 -14
 NO 114 839
Cornet in Bb Fantaisie and Variations
3
Revised by
te,$
2 Ss33%
s on
A=$2 3% onqi!
Ra
spe ESnot® ) é < S S ®a—
oo)
@ (—) J.B. Arban

E F: - u 2

Th
ST© By | Boa | ki |

15845 -19 Copyright, MCMXII, by Carl Fischer,Aew York

840 Cornet in Bb

: BI
SS SO Aa

ES 4 ES
ieieaims aus off 9,
af b--|"Bs = ar SS ae eetshee
(2 Pe SR: «ia SST. riot

(Double tonguing)
savwt ae me

ae’, Prue?
al ms

— a ) eV |
BSeSeS e
| |
Pere
aT al |)
SS
DS Bet
Se ees
lana ben |
|
i | H— £2
{ i | |
CS,
i Hf
ie a ©

y | K Oke BY 7
7

—_——
— ae Bia ey
Esa

——
om BEST Ga ce
Sess
ee es

La]
Ja
a, j—Peee
Of
ee
tet
ps

15845 -19
 Cornet in Bb 341

Var Il poco piu mosso

rr ons a
anSSI el Scarce
MET
ae ee ee

——
hal aarw
PT a | lg @© |ie aes
—_—

Sst d
a las’ Ol gg | et ee

¥ Zz 50.4. ell
| iEF l=ibime
paiarr” os
fd 8 As a sa ee |
aee a ee

—i
= ——
aoe
ee
-~ —
YT
tte? ra
Tg | lai
al a v.

15845-19
842 Cornet in Bb

ej
A o_ __ - 6 ee ad re
er er Seo de

A sw mW
Ea ae)

A a Pee —~ IN
eee toma 2 aes PS
gg) a
| BS. =e
Fe es a
—_

15845-19
 Cornet in Bb 848

a
Le = a ct
240 wa
wr

rea© 4
rae
eae [oa
ee |

B= ahr
leo @[ai Y | aeald

pabem Ses eos ee |

eS Eee ee ae
id i ha & | of | ia @Irae | ae ag S| IFkar ee. P| wsee a ig@ |
Be
ae
ee
ee:
a eae
0 6: hE

ee Eas ae)
m@HeHE Le | f x a YF as ao ,;m
ld
‘an - af | @ @ f
el Es BE. ad Palate Li
_ PT |
ea Dm
ei ee Ie
ee a a
aa
ED es ee eea
[rss eaee| | aaa e|
a es
)
_—

15845-19
344 N® 12
Cornet in Bb Variations
on atheme fr om
fevised by
Hduin Franko Goldman
Norma
by V. Bellini

J.B. Arban
Andante maestoso «-=64

wt BeySep Se 5

— eee Sear
SS Se =—s
oo *eyhit

Keates”, Tt
Bem ADAM hae
a 2 ee ee a a

a aSee eee

cas es A
_ Resse Le
fe“ @f@e | MBS Besser ee
ma oF
a Nee a|

Theme
Moderato ¢

*:
_——_

wl Prue | i al eee
Sie

Copyright MCMXIT by Carl Fischer, New York

 Cornet in B}

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 Cornet in B}

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16837-138
 TABLE of CONTENTS
cbs
epeea

Report of the Paris Conservatory’s Committee... .....25 2.0. eee e eee eee e eee sees 2
Biographical Sketch. .... 00.20 - seen eee eee tenet ere ete eet r eect essere cere ceaes 2
Preface. oe ee eT ae wees ie tae taktun nomena ae a 3
Table of Harmonics. ou cc ee ct oe tne e 0 ne om iae oon sin eincleeee eee it ee 4
Diagram of the Cornet... .. 06.062. e cee e eect n eee r eect ee eet etc n nce e ee ee teen eee dulel 5
Gott PASS 5 eacsnca oie ecgreece a9 eR ce 01 NO 5
OR no Cee ne a ee >, en Sane ee Sa ee oe ae ee 5
Pers is as en ee emer Le See 6
Use of the Tunitig Slide scsi coy ei8oe oe cn nr ctegepramn ger ae ental 6
Position-ofttlte-Mouth pieces. << ceo eee o
eee geik cee ele 6
Method. of Striking-or Commencing the Tome via cscgg cients Reet terpeencnn mcenonenee ions ¥
Methodiof- Breathing vais eh eee oer eee ee a 7
5a)?| eee eee ene Aire mavwrmier mverwveresmer ee os oy ke Boake S82 Soe as we 3 8
Explatatory Commentswaginocs. «gamers 0+. once eae 2 NNER,» 3 «meron seman 10
HirsseStudies . cc cf6 6 cipteeariengs ss des teins, ss ee soe 22s 11
Scudices;O8 Syneo pation wo ao Epa ge eo re ee 23
Studies on Dotted Eighth Notes. . ...----- see eect eee eter ee eee teens 26
Studiesyin: 6/8 [ime Maries ocnorth OO arg ae ee ee oe eee eee 32
Peplanatioitormeneeotudicsromsthic SlUtgvaa-. .0 re see 0: ere a 38
Sridies:O0 the SlUL Sf oma es SOOO a bbc es cease en eae ne Oe ak, aie. on 39
Brudtes-orr the ocd lessee o> st a ae a ae ae ee 58
COC ESENEO. ee eg ae ae ee en canoe ea RNa eT a a re 59
VEDIO DSOC ALC Sorc a Pe ee EE oa eta nan ocr otare bead oo A cid wna n gp eentarca-rr lertarcrotataa aires eee 75
GHTOUNTACIC OCACOMMENT NI on ncn sccneenn: Mote tan. EMM no oped acct. cih Og a inca aioe ee 76
CON COMATICE TID CES tet. Secesene chit te a ns «crest oo nic ceeoletn ani eer net men ene eee 80
Ep iapia thOme OG races NOUES Maman Enforce eodmw ga A ine a ore ee eons 88
Prepatatomanxerciscstonathe, Grupperto @,.-1.. Bae 2 = saree 2 ae ore 91
GED
DC ECO er tiga: se ase ee PORN be Ok ee EE Se Tee ae oe 99
MOU DI CEA DOC EE IALULA pti csassssras eres Nees Dee Mags aol on «tector ee ne ea ee hr ee 104
Simplenkppo peta ura... 2. RI ce a cee... os 3 PS aia wate 106
Seles 8 CO eRe Oo A a a ee “ae Sa as a es ae me Ser oeSe Sm 108
ROmamcnitOe—- ta. MeReeN se oe ee ee es eet a eee... 110
Preparatory, Exercises onitheer cil lt. fee. 0 0c Samana con ieee ee eet 11]
Tegtke -wader a eet” one -mrmile pinaumatee taney Oe IeMe oe ae Te a an OE Me 114
I OLCU Ct ae a 120
[Link]-lntervals, Chords,.ctCl.. at. awk 124
Studies orthe intervzisSmeee”. waa... Lx...
a. 125
Octavics ands Lents... Mammen ie ee is os a a cite arn en 131
EXercises: ONT LCiPlcese ..-cuheammeay areiusjes ve le «-ccavede Me too ae tence tere ann cline dine 132
Exercisesormoixccenth Notes ss... cute wt - ages adpeenen die eet ee ee 137
Majorand=Muinor-Chord siete 142
Chord ‘of [Link]-Seventh ere... . trireceseanciacae ee 147
Chord-of the Diminished seventh... ayes es rn 149
SEC CIVE Gap ae: Smt ae Wie Miner Dial onto wueOMOE MAE ieee” cee en on epee 152
Descriptive*Advice,on*Ponguing Maver. sis ey eet wes kes oo oa a ee 153
EE ple} One UN prac -cttre ageWee Ring ei ersolemoee oe chee 155
[Link]...2. "sts. desl. COREE <5 oe Ce. 5 ee 175
TherSlurand DoubleTonguing....:.. a. .......cee 183
Tonguipg-as“Applicd:toithe Trumpets. ee ee 188
The-Art-of Phrasing gain csy sn ao een Pek Le eect ee eee 191
Sixty-Bight-Duetss<-tmmetecs so tds eee 246
Fourteen Characteristic Studies... ........8...4.0.. 0a 285
Twelve Celebrated Fantasias and Variations...........0..cccecccuccccccccuccceecee 301
O21
TRUMPET ETUDES —
SIGMUND HERING

font, ye

APES
FORTY PROGRESSIVE ETUDES
A solid foundation for future progress will
be assured by the study of these etudes.
They advance by easy stages and are prepara-
tory to the more advanced collection of
“Thirty-Two Etudes.”

THIRTY-TWO ETUDES
This collection of etudes provides technical
material which shall be sufficiently attrac-
tive from the melodic standpoint to maintain
the student’s interest. These studies will Sec
contribute in a large degree to his musical cmuno nem
and technical progress.

CARL FISCHER, Inc. Se y

62 COOPER SQUARE, NEW YORK 10003
&
BOSTON » CHICAGO « LOS ANGELES * SAN FRANCISCO

W99-A
 THE.
- SIGMUND FIER HERING
TRUMPET (CORNET) COURSE | "Sonu
TRUMPETER
THE BEGINNING TRUMPETER offers a new ap-
Book One of The
proach to starting tones. The author has found
AY SIGMUND HERING
that some students begin best with middle C, Trumpe t {Corner
Course
while others find second-line G easier. There-
fore, a choice of either is offered (see pages
4 and 5). Playing range is gradually extended
to low G@ and fourth-space FE. Meanwhile, a step-
by-step approach to rhythm leads the student to
the eighth-note level, and in tonality the keys
of two Sharps and two flats are reached. Each
note, term, and symbol is thoroughly explained
not only as it first appears, but in a reference
table in the back of the book.

Book 2 THE ADVANCING TRUMPETER eXpands the stu-

dent’s range to G Sharp above the staff, and
introduces him to the keys of E flat, B flat
Book Two of The
A,
are
and D.
learned.
Rhythms
Thisis
introducing
accomplished
sixteenth
with the
notes
melo-
SIGMUND HERING
Te ™BE! ; ‘Corer: os
e

dious study material for which the writer is

well known, plus many excerpts from the masters.
Thus, the student’s muSical background is en-
riched along with other facets of musicianship.

Book 3 THE PROGRESSING TRUMPETER uses the same

melodious approach as the preceding books, with
Original and masterwork material admirably
adapted to perfecting tonguing and fingering
techniques. In rhythm the dotted eighth note is Book Three of The
introduced; in tonality, the keys of D flat and ifTemp
er (Corne
t) Cour: se
B major are explored. Duets, occasionally
featured since early in Book 1, are of even
more interest here. Indeed, the book is equally
valuable as a recreational album and a method.
ae Clon,
ae Melodi
c Method
‘ale, or Supple
mentar
¥ Si Study
Boo

Cant Peon

CARL FISCHER, Inc. &

62 COOPER SQUARE, NEW YORK 10003
W 100 BOSTON »* CHICAGO » LOS ANGELES « SAN FRANCISCO §&™
\ bs
 A 52-WEEK COURSE
* COMPREHENSIVE
* WELL ORGANIZED
¢ LOGICALLY PRESENTED #
,
° > =
-

Claude Gordon's atic

Approach to _ Daily hae for
Trumpet’ is designed to develop a n
register from the second C below low 4
C to C above high C, along with en
power, endurance, sound and con
necessary to meet the

player.

READ WHAT THESE GREAT ARTISTS SAY ABOUT THIS.

coe hook present s an A eco vg step forward from sleet pte of see |tru

> “8

“I believe the Claude Gordon method of brass instruction to be the finest, a ‘mus!
serious student!”
DAVID B. ROBERTS, Hollywood Recording Trombone Artist

“This is the first brass niethod book I've seen that is really a Method aries ust. ‘i
of hackneyed exercises. The material here is so Comprehensive, well organizgst»
presented that no serious student or professi onal can fail to benefit from it.
CV believe tn
will prove invaluable to brass teachers as well.’ , a
JOH@ WANNER, ist Trombone ;

“The Claude Gordon method book fits the demands of the modern- a trumpet p
method far exceeds others tried in facilitating range, power and command -of=the in
This method book is a ‘must’ for any musician who Cares.’
MARSHALL HUNT, Louis Jordan & Ray Charles Orchestra

“| have known Claude for a number of years. -! knew him as a great trampel player ane’ea
as a great teacher. | think his new book should help everycne who is interested in being a
good, strong trumpet player.”
—CONRAD GOZZO, ist Trumpet NBC Sttudias Television & Recording, Hollywood,) Calif.

a By ee
“As the first trombone of the Stan Kenton Band, | am required to play A Es loud, soft,
high and controlled. Without Claude's book, | might have spent years searching for the ‘con-
sistency and stability that his method has achieved for me. | trul recomme
for every student and professional.” : 1 this, method
DICK SHEARER, ist Trombone, Manager

CARL FISCHER, Inc.

62 COOPER SQUARE, NEW YORK 10003 #4
BOSTON + CHICAGO® LOS ANGELES *« SAN Francis: <