. '-:--
.
-
-~ -- ---_.--- _
,
HERBERT L. CLARKE
~
BASS CLEF INSTRUMENTS Edited by CLAUDE GORDON Transposed into Bass Clef by William B. Knevitt
CARL FISCHER ~ 62 Cooper SQuare. New York. i'JY 10003
Copyright MCMXII by Carl Fischer, lne., New York. Copyright Renewed. Copyright MCMXXXIV by Carl FilCher. ~nc.. New York Copyright Renewed. Copyright e MCMLXXVI by Carl FilCher. Inc., New York 62 Cooper Square, New York, N. Y. 10003 International Copyright Secured. Copying or reproducing thia publícation in whol. or in pwt violatea the Federal Copyright L.aw. AII rights reserved ineluding publlc performance for profit.
04968
.
This work has,·been espe . writteh to show the student how thro proper and any obstacles which may occur in musical passages written for rus may be overcome.
the exercises contained in this book in rI"fl .... to student enduran ce without muscles wroch control the
.... 1~'l.1u"la ••n ..._
...,...
... ,... rof"...
untU
a brute force is necessary to ......"rt •• ro... It will be found to the hIgnes:t. as well as tone instructions that and not very exercises in tros book are QnUC1Jit. if pra.cuc:ea at flIst and not for too a time. 1 have used them in my for years and have been the rneans of rny rea.CI1llnJ;'!; the a two hour concert and also of so that never tire. What has been a should be of benefit to other nl!:l'\1Plr~
"i,
to attain the rug;ne!5t One cannot of excenen~e without hard work and peJ;serverance. Nev.er be satisfied with to to sorne extent each to. that COflOlllerf'!11 what at rlIst seemed an unpmiSlb!tl1t I
'-"'-',......,"".. the leastmistake you make lm:me
.,;uUJ ...... u,
Icn("\urlprh,p
few
is
,;IllU.... I.t.
celebrated
Herbert L. Clarke
,.
o~
I
'
•
FIRST '. STUDY
5
•
All these exercises must be played ver¡ softly. By practicing in this way your lips will always be fresh and under controL If they are pIayed loud, the opposite effect may result, and the lips may be permane~tIy injured. The principIe is the same as that of a physician prescribing three drops of medicine which will cure, whereas a spoonful will kilI.
,
f -
=-1
. i-. :t ~,.
Practice each exercise four to sixteen times in one breath. Press the fmgers down frrrnly and keep the lips moving. On slide instruments make sure that slide positions are accurate. Contract the lips slightly in ascending, relax in descending.
[\teL
Form
J.
ol.:. =-
160 ro
(;·5 (~l'J
J . . 112) t
1I
pp
,. I
pp~====
'~
.. ~ 3 ...
...., .. 4: .-.
•.. ...
..
~
.J
tl,
~~ 2 #3
lB J&21 J&J 3DJ JIBa 3,3 JJgJI J&J JDa] :llfiJ
pp
--========
4
:~
-!)
,..
~5924
-..,
.,
t
11
1 1I
~
....
... ...
1I
PP--=======
~6 ;
t
pp
~5
..
.. ;47
.
t:\i
pp
-====== =========-
or 1
."
;ly
-1 !
' •., .j
_..
9:
:10 .,
.,
-~
~i, '~#Efftr!rIF¡'rrtErIBrrrqrE'FlnFftlHhJ .{
:11
;):
.,
,.i;
.
r
E¡~F r¡lr El pi rqo cle r ¡~r rbr [ir :Q
~~ ! _
ti
~
t
1I
i
r."\
t
11
I
~ iJ
s): ~& !'!(Fft~F¡frTIr¡trlqr[lrFnrF¡cerrW,
:13
sil
!i
ti
i4• 15
,:~1>2rf?crr¡fCFTr¡!rIE.LF~EFrltEeFrfJr · sil
:r~b ¡uftr rqFiEIE et t ¡Ir rt Frqr ¡(bre er
~
,,\
b
~
j6~: ,~~&! rt1 rt E¡ CE r rFI lene r rt El "
:7"'
;>:
~~ ¡#r1f
errE r~m
------.c
r."\
t
1I
t
#
~ &~~ ~ ~
rqr LEf r¡ LtC reY:'1 g t . :0 'i ~& I qrpijEqE, f~rEr~c r ,qe ftrr!, f~tfrt!it ! i
:9 íf
:1
;)=
~& 1ó5'fqfflftffc~ElrtrfTf¡IttfrTit
"•
"'-:::' :. :.: "
~
iI
~
"
..
I
I
t
~
Q
~~~ ~ ~ ,: ~¡I I Ce Rtf El ttt tLF,
:
í
m. ¡
crt¡ctcftr cr I#E r eqrrt¡cttrttr r:rr 1 ~: ~" 2cm!r¡rctrrtc r,Erqr rt el reh rtair
,.
.
I
r."\
1I
r."\
,!
1I
'I.
I
\1
:1
I
•11
11
"I
~ /~
•
U"
~
.
7
4
. ~
4 22 ·1
'1
"~ 23 ~
... ...... 24 ... .. ... 25 ...
t:'\
t
-f
1I
\
.
======---
pp ---========-: ==-
~I
.. --26 .
TUDE 1
i
..
PI'
.,., tI:
.11 ;
~
••
• •
---J &J j d J J 5~J J#3 J IJ f~ J #J J J Il~.
~
~
-:---..
j lC E #r
#
;I
#
•
!j)':1 1-i?
eE~t t &f f qE f #f t #f EITI t ~É t f f ~€ fe ~r CE¡
' 0:,:.,
to insure pel:1eC:;t pv,prr>1<1p
'l"t"lUTnrn
~.. "''''' .. '......... ~
as
m~tr.Kea,
then tmlCllce it
tOflgumg very ,
are the)foue:ln.tV mastered. to lDlDr()Ve one must master each
2 p
9
1
4
NS924
\
I
I
I
t'
-:y
-'7 ~1 :
....
-t 1 10
THIRD STUDY
~
-....
Practice without repeating at fiI3t, until the fmgers or slide positions are under perfect control.
.... 1l1ese exercises are excellent for training the lips to be flexible in slurring, single and double tbnguing,
... especially towards the end of the Study.
...
-.
Etude In can be played in one breath with practice.
... :48
f):
~l\~~& $42
f? ED IJ)lJ g¿JI[J J JJ]3Jllª J JkBª1
.. :t &I!&~~& P?JJBI ~JB!4J?3fJ!4J?O!!l!1 _[jo - 1
..
p::::>
l
•
:50
.
,
::::>::::>::::
:
..
..
::>:::::>::::-
::::>:::::>::::>:::::>::::>::::>::::-:::::>
;hl'ir~ $ p
::::>
i3 JJditA IJJJ JgVljJ:J JUt3 Jl:J JJl¿31 6
!
::>
::::>
::::>
::::>
::::-
::::-
::::-
::::
:,)&~ JJJJJtf)¡ lShQ8Q1 E?E11 8?Pl9:II_ J - iI
..
•
:::::>:::::>
::::-
:::::>
:::::>
:::::>
:::::>
:::>:::>
::::
I I I I I
.J
'ti
11
• \
•
. •
:
:56
\~:~~~6~P~~~~~~~~~~~~~~::~~~
•
13
d
d
o d
t):
~~
aar J j J J bbeFe eH II'tíÚ F eFr [EP EEH I ro
t); ~I! 'Wr F rile Fr rE EE fU Irft r r rf-ref •
I
5):~1! r:r~~I~ar r [fd ~I !h&
~(frrrr-rr ilif17r
r lm JJa JJO
~;ii! J~:J JI]I J J Jj J ; J] JO311 ; ,: i
h
.
NS924
1
fE r! Erf FEr r r Erf TI r
.
d d
q
d d d q o I
n J JJ J J JJJ J ~ j jftl
x~
~~~
wª ~
q q
~
r r EFe: b EpI Fr r F! t:'\
o o o
o
o o e
it ís in an that these exercises were written.
account mner.
1
mt)erte(:tl()llS are found in the construction of be remedied and the intervals made to sound as well as the
must be elastic.
r
'24
Etude IV in one breath. It is OO:SSHHe.
1"'1"-...,..,<",,,
but slow and careful in the differen t ro."",,1-""r...
i .... ",+_......... "".....
the exercises after you have made sufficient progress in y to
and
them "..,,,,,,.. r"'.rr
«' Ó
fr' ppIl Dj J 3J j J 3J 3J3JJJIJJjJ J J J j J J J J J 3J DI
69
:::>
;1:1
>-
:::>
::>
:::>
::>
>
::>
d
d
31 J JJ J J J 3J j J J J J JIJ3bJ J j J j J JJ:J J ~ EfE I
::>
:::>
:::>
:::>
::>
:::>
::>
---==========
v: I are Lrr eL r f er r EEr FlE r bE rE r j LEr r r Er Et I ;H 70
ffrFfrrrEEffEEf1:IBErcrDZfi!J:11 ~j#jjJ ~ ;hb~9 flJ j J JJ JJ J J:J J;2 JI j J&J Jj JJ JJJ5]1 (j pp ::>
fj
;1:
~;,
ji
b
j:b&¡,b
>-
>-
>-
>-
Jit ..
>
2J J j J j J j J j J J3 ji J JqJ 3j JJ Jnn...~ rrll
Fj r r
>-
::>
6
rr r r r r r Fñr ErIrCf r r cr r t r fr.rEei I &
.
mrrrrDmtlytrrrr¡mrrrM:11 ¡m_J 6 =====-
::>::>
TI
NS924
(
v
17
...
l
... ...
'.)!
)
~~'~b
.....
.. 76
.
!Hn
!l
fr FFFrFFErFFEr FrI rm rr Emr m; r rl ~~ r11 ij
J
1
~
.. ...
~
... ...
;>i #ti ~
I
.
\
..
.... .1
...
..
... \
~ f'!:. ~
~ ~«
'~
p: ## r r L r j F5r r r j r k r L r I br"1# re Ff r eFti Ek
N5924
::>
::>
::>
::>
qt:
«
::>
::>
::>
t:A
t
I
.f.>.
N
\O
Vl
c:.o
-.ti
"'" OC
-.l
--.,q
CI':o
CQ
.~
(;~~
~
N
-o
Vl
z
'-: "_'-'-,, 'lo a. L- a.-L'-L ......
"-.,,,~,,' .... 'l-~~ 1 1 "l "lll"ll-l '1- l·l' 1 la¡ 1 ¡ 1
'-I-",q,¡ ~
" " i7;
'~'f
00 O
~ll~)l-l· -l ·.p,Jl-
:)
".r~·
p----
/1'
;:';'ID ~/ ',¡:,. N ¡/
'. t' "
,- "
----,
"
,'..... ( .....
---'"
._----
'"'
""'
- - ".........
j.,...'.....,. ~~ ~~ ~ . ...., ---~~ ~'-"'.
--,
.... ..-.,
--, -..,
~
.-...
~"""'~J'~r~ ~Ir ,-.
00 CJ1
__ ", _
H',l~'
~
00
..Q.,O-.
~
00 O
Nl
--......,..
~~" .- , , -
I
..
~~
21
I
86
d: 1,49 J J &Effi;etffJ Eh~r ff lfitr h tE geoP ~I d: ~ g¡; 6(rerfiT?tRt rei te rgfQW tI ªql
v
=:~::;~
sr si tlff t r etc r
~~ =>~
3h ef f f u~r Eflqf f Ef f rf I se rr
p:~ f):
oWt U
ER1qE r F!? l&Dj J melle 6 ~ I
9
~ IJb J hL r F t rbEr r U I
t): ~
NS924
ere
::>~
f
~I
OOJ
e r c::
j:J J j J J j J br br r rEe I r Fr r rFErE E r; -
I
-
}
r
-¡ rsiS;>
J
JI
¡ ~
~ J
t
22
1
~
¡
1
;-, :
I
~
l
FIFTH STUDY
i!]
I¡!
EbJ~6'n"ce
is 90% o~ Brass playing, and will-power is necessary to accomplish what is considered an by rhany ~layers. " ~/ "
~p~~~bi~ty 1
! ~
Dili~ent
!
~
.. ~;~, -.
.
.
practice pf th~e precedlpg m~tenal must have lmproved the breath control oí the players who should no~ -ready fo~ thÚ Study con-taiñ"ing more ambitious exercises. Here is a test of endurance and breath ~~n~rbi as these ekerciJes comprise a range of two octaves . • i - ¡
bé
¡
Ex. 94
Do .nbt attef.npt until you have played the preceding ones over many times with perfect ease. Then try the : neXt .a step lúgher and so on until you have mastered aB. Remember that a twenty story building requires a~ rríucli frrmer foundation than a structure of only two stories. f
' t
.
1
i
i
Do "¡ no~
strain or force the tone. Single and double tonguing thls study will add to your advancement.
Etude V Must be played in one breath.
,!I~~
tr Jt1 iE rife el 'r U
:::>:'--======= --~------~~--------------------~----~~ I
=
::>
er tI ErE; Qr 61
1
te el ar rt f
r.";
11
,r r F emUfe Cf {j 1):11 =
=
ti J] ~ Fr; ee6f 1J JJ I i 9J] cr r; te U ¡'"'j §) I E1JfJf1 f rE r r r r Er E1 Or e ~ rr r f1 =
:::>:
1
N5924
"\
. )
11
J
j
•
••
23
t:\
II ;>:& (\
, • •
-----=====
.
:J J J J¡J JJ:J j JO¿J JJ I:J J JJ¿J J J JOJJ
pp-:=>
=
n:a er [/ ar [ rEr :>
-=
jf
:>
:1
i ¡ ¡
---------
ErEn;,
=.:>
:1
; .
I1 1
¡ !I !i I
1J,
1
Er rJ EEr¡ Er EL fiB
:11 ¡ '1
li i'
j¡
¡: 11
i'
¡;
, li ~
It 1
• •
•• 91
•
~
• j):
• •
,
¡J
¡
'.
! .
: 3): ~1
¡fi; [r EX eFc¡ i; J J1t F G t F(fO f bfif; I • : p: ," / (fU gEr f f Er r r j r: EF r rEfE t t /
~:>
•
1
•• •• •
.
t 9
N5924
".
t:"\
1I
;
; I
i I
l.
I¡
¡¡iJ I
¡ ! I
~===-::
.. 't
j:1
:
===- --====-= -========--
-==
~====:
====- :::>
--o
= ====
~;!'~Pl~ f5i-j-e-'-E-F-E==-i'--E;--I-~-J-J E-F-G-F=--:;=--i'-r-r--':t:=i=S=--;:;~i?r -1
~:: 13 erFf Er r f f f r r QEEl 1rF r rªf f U
1
o
1
#
;I:~::
93
;>;
dJJJErcrlJJJcrrr liJJJccv;¡iJ;J abjr:r¡
~b lJí5Q t rc=;, r el t=====- Ei' r lE--====== r el fe Cl' rEFfE?? :I~ === - ~ :==
94
:,:'.
II
... .,.. -.
N5924
o
tí
..... .... ...... ... .. -"'!ir
~
i
..'".Ji
25
"
~
95
~
~
.... ....
..... ~
!
...,. ...... ... ~
:): rfCE f f [ f f t rErF tr-I f e r f t Ef il
~
1I
~\\~~! [fá 6r fl ir FIlr = &1 ESEE [rEtf rtrtrFlI
...... :>: ~I':,~~ filcftrr eh UEC[F, f rFrtte rFe CtU i
.,. ... ;): &&:,~~ ai 'r EfEtr! er bt l' FFi rnefffEtfU¡, 96
:IIi
~
~
....
......,. ..... (t Ji
~
...... !. ~
...... 1 ...... ...... ...., i
....
" .
-l' - ¡; " ~3
*z
---.lS. ,
,:~\~~ rrtrErtflEEfrntrf IEr:fffrfff
r."\
1I
·, These as
)ne bre
19
lOl
15924
slide which ~re so ,,,'J many in
IJ'-J''''.......
j
~ .-""',:..~
• . ',r.,
-
--:-:'--.:-
.
-'~;".
. . /::;l:f.~' ~"
--: .~~"!,,"
••
.$;.-.. .~ '-
.~~~..i"~.~;7:..~~::.
~
I
27
•
t:\
-
11
t:\
-
11
t:"\
-
11 \ !
t;'\
- I
~
-
1I r.'\
-
.
1I
..
•. ..
t:\
}
-
1I
I
4
...
...
.... ... ... . .. ./
..
t:"\
-
N5924
1I
ETUDE V
o ~o
JO o
o o (
---; =J OJJJ2JJi141¡j~Jli9JJ1JJj[JjjP~1 ,!: ~ ir 2JJ 2
()
::::::¡
o () f)
¡:~& lnr ~ EEC/eCCFerWlccrprrC-fErFffcfr I te j t rr fEfffr crerJfrEe r efeEe ~ --- fe--tCrrl
o )
o
o
): j&
o ')
n r)
f) í) r
r )
')
o \
• ----._--~~~
' -_.::-::.:. ...
.
,. ,
'
r:\:.: .. , .· ·"
_ .~
, SIXTH STUDY
e ~
29
~
Another forrn of major and minor scale practice in different registers; a great help towards endurance, technic and elasticity of the Iips.
~
Both tonguings should be praeticed as usual.
e e
Perhaps now you will realize that mueh more benefit is derived from playing these exercises in one breath than by holding long tones. .At the same time enduranee, technic, elasticity of lips and the kriack of reading musie rapidly, is gained. (Met.
118 ;H e
~- 92
to
1.~2)
15JJJJjJJJJJJJjJIJJJJJJJ]JJJ]J3JgI
PP-:::>
'
::>
-:::>
. : ~: # JD J JJJ J J J ; J JJj
4
-:::>
-:::>
:>
,
J d J J Ud UJ UJUJ Ud Jij,1 1
-:::>
-:::>
\
~ ¡ ~: # J5i jU,O "O
EEc.t g r#dt lffiertbr rEr Ee'e; _1
-:::>
,
1J55 JiU.; J Er rt EL#r:t 1leir! EFr FC1mr fiJo'1 EJ:' 115 J 1 J J O1 J J J J J JOIj ¡ ~ ~ Uf
j): B
:::>
-:::>
ji BaH"
-:::>
-:::>==--=======
nJ J JJ J JJ J J 3JJ J J3J ] JJJJ:J J
-:::>
i
:J J) j :J J
1
-:::>
-:::>
.
:::>
JI
Sr El rrFflfffrCEEdErc'. 1 ====~___ :- j .
;1:B aHn j§5n;J l~ E ~
::>
: ir BallB ~
lfIin J J ErCi 6t"¡ffftgC GcE 5ej_¡ -:::>
.
7--_
~------------------~~·-·ff
C· c@=
;"
~ j
...
"'
--::.;
.~: if' -"";"""" ..,.,.".", .. <~-
;
_.,
NS924
;¡y
.
1-"1- '-
,~4t··~ ;-'!,,-.;J..!!tf..:;.. 0",",..:c
! , l i
,
~ ~ ~
,
30
"
; i~J~~··"-·
:~ 12 O j§ ¡, 1, ~ e JJJ JJJJ 3J3J JJJJ j
!
JJ j JJJ j J3Jj al J5]l¡: ttJ\~ al J J j J J J j J J J j 3J J 13 J j J J J j J JJ j J] J jl ~I :
,
::::>
:
::::>
:>
,::::>
~t): ,~¡; _ ,
~
:
t):
1
:>
.
~
1
lIi!!\
~
6
J
@
E Sil
t:'\
II
1 1 1 1
:>
:>
:>
I j
I I
1
~~~---------------------------------
dJ J 3j 3J 3 j 33] J3J j 13 J ; J JJ J J JJ j JJJj3 ~
::::>::::>
I 1
:>
::::>
~ ir.
¡J
j):~1\ JEjJJJJJjJJJJJJIJJJJJJ:JJJJJJJJ3]j
: 121 ~
'o
.
I
tn; i J JJ J j J j i J J J f
~:::>-
,0
rrt~1 ~tf~r, f r EeC&r1t mCJ:il' I
,
~¡)i,~
:;:..
:>
::::>
ir qr F OE r1
o> ]
:11
::::>
Jf5iErc FrCrEcrrflffrfQcrrCFC:G I ~ Jmi 3 J J;5 J i J J JIf tJ i eH TI
~ t>:~ : 9:
..,
j
:>
..,.::::>
: 122 f):
...
..
:
B"~ G J1ij JJJ JJJJ3JJJJI3J J J 3JJ JJJJJ JJJJI
:>
::::>
f);
i"H
:>
:::>
:>
'
JD J J J JJ J j ] J ] J] JJ j J J J J J :J J J J :J J JJ J1 I
~
:>
:11
:>
:>
~ ..
: ;?=ipH ...
# ~~ q
Jf53tDerr trr¡rdrfl f i
fFtFr~eC#r1Jii51
::::>
t:'\
..,
... ...
... N5924
•
11
I I I
31 .>
•
123 ;h&&\Hl
:rt
j3J3JJJJjJJJjJJJIJ3J3jJJJj3JJjJJj,
pp ::> .:::> :> :> -------~----------------~---------
---9: ~&I,j~& dJ; J D j J dJ J J JJJJI 3J 3J 3J3JDU JJiJ}11
ª
~
.
:
: p: ~"!,\i,
•~
1
:- tr .\.,' .,
I
~ 24
: (1
: p' y" ttt
'
;WbrrJ ErrJ' rfAIrEfJetr{ E[ El jm
3m l
J 3j
~
~
:;r p. f ttt ¡¡
J J JJ gJ J3IJ
~
:11
~
t:'\
1I
JJJJ JJj JJJj JJJj JIj JJ JJJJJj JJDJfldl j15 J :J J J Jj J J Jj J:J J J JJ J j JJ 3JJ j l5J ,1
;} é H
pp~
~
~
~
:>
1
~
UD
~
::::>
-: y: ~'1 d5Jif j'Ff Ee grr1r ¡ffrrEtE! EE1EfrJi):1 q
: p:
~; J5fi ¿J JJ JJ J J¿J j J J P. E tl1
8:::>
1
~
~
.
'~r
~
.
, ti
"
NS924
'
t:'\
1I
1 7
1
---------------------------------------~
NS924
i
~
11
,
J
.~:~.'ia~:.' -~ '""" " ''-
"C!<'''- '
".
.
~ .
~
SEVENTH STUDY
• ,
35
The practice of chromatic triplets is beneficial to all brass players. In tbis Study there are a series of triplets in a1l registers, augmented by arpeggios which are most helpful. Master each exercise by playing it as c1early and fluently as a good violín or cIarinet pi ayer would do. FrequentIy I have had a clarinetist play over certain exercises with me, so that 1 might imitate hi~ in reproducing difficult studies .on my hom as fIuentJy as he did on the clarinete It is a good idea to try tbis. Notice the change of time from sixteenth triplets in Ex. 154, common time, tO'sixteenth notes in six-eighth time in Ex. 155. Quite a distinct change in rhythm.
•
I,
(Met. J-=116
oh ~ ¿35JJ JéJ J&J3J 1~2~3Jj3Js$3JJJJljEttEftmep3~ml
133
t
J.~ 168)
10
pp
,f t , ,~
!):
~
l.
6
~------~~---------------
~ dO J&d~d Jl J3#JJJ :11: ¡J5lJJJJ3@ líPEn mml .
::>
::>
::>
6
,,
.::>
::>
..
,;~ fÍlll] JJ::JQJ IJ {J in Jyafl3HI
,
6
jJJllJ)
1I
~
'1
•• • •• I
l'
~...
,
• • • •.•. L
I
134
9;~b&~~& w: LiMJ#JJJ3J~~Jlll JqJ;J]llijll¡,J]I~lml ;: :. pp
~::>..
::>
.
JP(f1 lPEtr 1ro Ettr _ 1 :h&&~~& 112[& mEa mEa mt&-:II fPt@D t):
~&I\& ~mqJ JJ!,J~dijJ) ::>
=11=
::>
::>.
::>
::>
::>
1
1I
f
•• , ~):B m~mJ J JJJ31 ,•
&Jf5t& mEaI tnEu J§UI ,, SN lPt& ro ru I ro tu mlU lE tU] ,.. \
:::>
::::>
=11:
::>
::>
::>
~
:11
•
•• ¡
r.'\
t
,
::::>
NS924
1I
(.C)
- --l
.,..., ...".,..,
n
N5924
3~
:
148
("
fN\~ \1 EFífiifjr~ElE¡gftrrErr~f#jrrrrI1fffreretCrrl
~~::>:>
pp .
~
f)!~IV ffi~rrr: brrrW:,,:~ErlErtFfff;, crfÉErfrfttt l
:
3~
:
5:
:>
~~
::>
~I\~ t átf;EFtff;I Futrcccffitll f FgEr; f ¡
~
~ ~49 :::~~~ª~~~gJªª~~~~~~~~~
~ ~
: :r ~RU 1
PP
2:>:>::>.:::>
oo~rrfEr:~Lrr::II: (riÑErE. I Ef=!ÉfrEtfÉffl
~:s:
..,
.:::>
~
::>
~
: pjU
Ef!tEfEFftEi Irrffe:rr:fftll EEJ tE; f
; 150
!h b ~ rrmrnrrtrrrl~rUrfErntffffl#ftgmiffl1f1
...
)7
1P
:
j:
.. ~
~
~ .
~~
~¡, rtfrftFfÍtfJ EfAfffrwttnl1 f tÍtE:e 1
~
~ ..
~.
IMet.J=7~
~
.,
7B.~3'\2
I
B p
::-:=-:::::=-
~ 1
"3ll..
'3l&
~
"3~I::;:;"P ~
j)'~I, i[Ow1iF~&1 irlfmrhifrtfze~1 -====---=== -Si-- /
; 151
rrt
TI
Practice these arpeggios triple tongue a1so, but do not strain to reach the high notes. Use doub1e t'o ngue for Ex. No. 155, 156, 157 .
..:.
,,
~
:>
~h nr~fr:rgrtvartll:bueBuFaffftl fr;ftfftffff l ~t
1):
s ·:. : >
TI
N5924 I .F i ':'
~
~
-::::::=--::::= ~
-
~:~I;,: ..
'~
-
153
,
1.....1
I!:IiiiiII
154 ;>:#
el
p~"":: :>
~"3.~3\ !A _ 1IIi.
..... ., "7'" l1f
- r
~
_
....,.,q,.-,...
i:...L...I
~;¡¡
~
=
~
....... ,...
~
-----~
r
~ ~
r"
-
-ID j -.,
ra .:~f•
,... --
.....J~
~
,.
r.
r.J
ra.;]' 1'3 ~.i' • • _ ~,,-.;- _. ' r -_ 3"' ~-_
ti
... r
-
I'!!:Ciii
....L....oI
-
-,..
--
-~
_
-.
·.,.,.,.
,
-
_·'1 ·'1
- '
•
-ti tfrrí Iif20_ rr. ~
~
--.
o....L.
/9
- /f."l:"--~ -
u....I
~:;¡¡
:
=-1'_ T_ . ---.-=,... -
r;;- ~
:>r
l~
I!: ....
-=--
-----......
t:\
l.
• '1 • ,'1.
..,
,j
l. l• l.
,.
::>
156 t:\
- 11
157
.
, ::..
" <~.~-':.::;;,;;" ..~';:" ,:, '
~,
'
l. I
r
"~
Arpeggios using the chord of the diminished seventh.
41
Play each exercise from four to eight times in one breath. !Met•
_,(riE' :rLtP~lJ IpJS ~G~ftl r~ 1
.J.. 132)
158 !JI!
p~ (Met.
)
~
~
~
.
~
J::;176)
,
!
EIGHTH STUDY
~¡ ~J ~.
Here are more chromatics in an extended form to test technic, flexibility of lips and also for acq~g fluency of tone. When practiced softly the lips will never feel fatigued no matter how many times the exercises mar be repeated. These exercises will strengthen the whole system, but must not be attempted until sufficient progress has been attained.
~
Practice them both with single áild triple tonguing .
.., '",
...
...
.
....
...
..
~
•
:z:
~
\O N
VI
~
~
~
i;H##
ICrErfffrErIrr«rrmmlecarrfrccctlfrcrerftjl
-.
: Iª:'ft# W9J~JJdjj~11J11· psiU jaco'" c#cler~Wrrfj&rfl -t,
~
. ~
..
:
;4
:
:
;>:'R#
_reFlCE! r~r Ifr~ L~Ft!! JOgro·11 ~ i
----===
176 ;h& !119b1jqJ1?fpl@j!rrrqC!rrrrrlf~rqr!rr~rer~E#ij1 §f9
,.r.
f):&~ ;rTrrfJ(rt:,~jmmrrFrr,~ : I
~~~~ ~I
~ f)¡~& Iffítiti,frrftfrrttrltrrrEErttErrfl_~rtt'tVfUI
~ ~
: ¿: &&
•
n
j in] i%J JgJ
JJ 11¡~WtO ge a! ~rJ I§(if[crfe1d I
;
J)1&blijfÚr~rr~r Icr~r c'.¿Fi?lerll
•
N5924
,
¡ViiI
I :~
,.
r
¡
z ;.
~r"-··-
N
-l»
\()
.' VI
v
.:±:
11
'-
,~.ua)
,." 1, 1'1 \
~ ~
~
§
M
o
e
M
:. ~~:'
NINTH STUDY
47
Eaeh of the following ehromatie seales advanees one step higher and ea eh one is to be played four or more times in one breath. No strain is neeessary if played properly.
. cresc
-
en
-
-
-
do
11
t:\
1I ~
~ ~
~
181 e
~
.A
A
~
N5924
-
-
-
do
1I
1I
My daily practice, four times in one breath, to test rny endurance under all conditions.
8- -
-
-
-
-
-
-
- -
-
-
- - -
-
- -
-
-
- -
-
tt1f!!ir r qr E~r r#e f Ifl f~A r~C r
tl¡~
- -
- - -
qr ~r
-
- - 1
rW I
f
cr~~
1I .
",
, d,m.'
,. ~\ \ ",
N59,2~ '
:~_'h'
~.:~:: ';'1:
e
\i!f. ~
49
.Iii4
..,>
.t') ~ ~)
'!>
To play these last two exercises corre ctly , and at the marked tempo in a single breath, requires an instrument with perfect sUde or valve action. Otherwise the slide or valves may not respond irnmediately. Under these conditions the player is badly handicapped and often becomes discouraged. A good instrurnent is half the battle.
-.) 185
¡íf>
...
. .... ~
tfY ~
r.
... re
~
...
IeeE EfrtTrr Sr IT~t rtlí¿lJ&JjJ Idl ja&ijii4J JJI
.
/,f-
.. r. ~
•. ~
:.
•
•.. ..
••• •
•; •
•• I
••, • •• , I
t
•
•
N5924
. . -:; --..
.-....
-..
-
.
i
___:
J..
fA l .~
i
TENTH STUDY
51
Brass instruments have unlimited possibilities. This is demonstrated nearly every day in sorne part of the world by ingenious players who have a knack of working out, with comparative ease, ·original freak or stunt playing which surprise the entire brass fraternity. ~-
TItis study illustrates how, by using arpeggios, a melody may be played to sound complete, without an
accompaniment.
Play the small notes sotto voice, or like a whisper, accenting the large notes full and strong. Of course the lips
must be soft and pliable to obtain good musical results.
187
.f.'
... ... -.
~
I
-1
,.. '\
....
mr
~
I
... ;;,. ... -1
.J
~ ...
j: b;'
l1fl1J
·1
N5924
".
)
".
;
)
52 {Met. J~ 661
)
~188 i)t~b (5
tan ffl] I- E@] fsi;B Ifi!g&tt.
)
:~r ~~ ~m Rnm:jj~gg IrQ1ME! :ªti ;l=
1z
tl§
~Iz futij
En:
lEt1JBj (@]Jj
I
em
IGQfjj]IH? ¡gUa t1] ID IfdQJJ ªfl21D I fi1i) i-r; &11
I
l'
1,
,
~): ~¡, EgfDjj
rlf5E Ir±B1¿J [2~Jj 81[2 ]MEE j DI 9: ~& Edl t1!D ItfJ]jB9 ~ t:'\
AN IRISH BALLAD TREATED IN THE SAME MANNER IMeLL72)
189 fY
:):
~&\¡ ! UI!!t-
DAr le;.el J!r It!l
~Iz~, gJ ir ir Igr- pmF IlBE" DIi
,: gb)'5~fi mE ;)1
:>
I!r-
~:> ~
[(:;ve
, r • • •, • •, li I
I
I
1
1f/¡¿lgrJJ¿1
•:.J i
II
p!ir Imf 11m,Ji!,E Iél 2m M I la I
I
~bb ~fjP1 falflJEimFlm?" pa l!t$Jq$jf 1¡ Iti
ti
N5924
I
~
..., ,
--,
l'
AN OLD GERMAN FOLKSONG
,
TREATED IN LIlE MANNER
...)
::. > -,.
1. ..' __,
...~
·,,§¡¡;: 'iIJ·; , ;/~ , '.' ', ;(~~. 'r! ('1 '!'\~. ' l. ..: '~fí,,~~~f~ ~,::~{?'~~.<~ l\- eL.
:::."." ' "
19 O.j;~;I.I,~ ,.
,
. _.
,
_ ._-- _..-.. ---- -
_= 80)
!
Ir
fI> ~ -t)
1,
~
,
;I
~F
,lf
..
¡
N5924
~
• I
j ------
.
.p....
-
.
