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Practical studies for the

CORNET

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GOLDMAN EDWIN FRANKO $1.50 Price

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Carl Fischer INC.

62 Cooper Square, New York 3 BOSTON • CHICAGO • DAUAS

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Brigham Young University Harold B. Lee Library

Gift of

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Newell Dayley

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60

LIBRARY OF

NEWELL DAYLEY

PRACTICAL STUDIES for the

CORNET

ijg

(and

TRUMPET)

g

by

EDWIN FRANKO

GOLDMAN IP

CARL FISCHER

S8S51S

NEW YORK

-

Copyright 1921 by Carl Fischer,

New

York

International Copyright Secured

Printed in U.S.A.

HAROLD

B.

LEE LIBRARY

9RIGHAM XOUNG UNIVERSITY

PROVO UTAH

Practical Studies

Each one of these

studies has been written for the

purpose of developing some -

They have been called "Practical Studies^ because they represent the various forms and styles that the average musician is apt to be confronted with at any time. If properly and carefully practised, these studies should perfect the tong-uing", whether it be in single, double or triple form. They will also

certain phase of playing-.

improve the tonal quality, technic, phrasing and rhythm, and vast amount of surety and endurance. -

,

g*ive to the player a

The performer who can render these studies as they should be played, will be able to do justice to any piece of music that may be set before him in either orchestra or band. He will at the same time be able to perform any of the standard cornet solos It

is

in

an

artistic

manner.

not necessary that these studies be practised'in the order

printed.

The student may choose any

in

which they are

exercise at random.

EDWIN FRANKO GOLDMAN

June, 1920

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-11

1.

Staccato Tonguing*

This staccato study should be practised slowly at first, and also with very even tong-uing*. After it has been mastered in slow tempo, begin to play it faster. In fact, it should be played as quickly as possible without sacrificing* smoothness or clarity.

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2.

Alternate Tong-uing- and Slurring

This study should be played with great care. Slur only the notes marked. All the sixteenths and eighths must be played as staccato and evenly as possible. In order to make the music sound ligrht and brilliant also play the second note of each slurred group of two, very short. It is essential to accent the notes that ,

are so marked. Play slowly at

first.

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3.

Tonguing-

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the intervals are rather difficult.

have the intonation accurate. Some of Therefore do not attempt to play with speed at first. Precise sharp ,

tonguing* is essential.

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4.

Staccato Tong-uing-

This study should in reality be counted in 4/8 time, with a triplet on each eighth count. If practised properly it will help to give one a certain degree of ligiitness and delicacy of tong-uing-, and at the same time

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5.

Staccato Tong-uing*

This is another study that will help to improve the tong-uing*. Be careful to play all eighth and sixteenth notes very staccato, and try to maintain the same quality of tone throughout. brilliant style is required for music of this kind.

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Dotted Notes

This particular rhythm seems to bother most players. All the dotted notes come directly on the beat, and they should not sound too long* or too short. The sixteenths must be played lightly, quickly, and staccato. The study looks very simple, but requires careful practise.

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8. Sharp

Trumpet Style

Every eig-hthand sixteenth note must be staccato. Play slowly at first. Eventually count one in a bar. Always bear in mind that quick tong uing- must be light tong-uing-. Much music for the Trumpet is written in this style. It should be played with snap and brilliancy. tong-uing- is the feature of this study.

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Trumpet Style

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possibly achieve success unless he can tong*ue with precision and speed. Real trumpet parts call for staccato tonguing*, to a great extent. In an exercise of this kind the eighths as well as the sixteenths must be played as short as possible, and the rests must be observed. Brilliancy is a requisite.

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Intervals

10. The slower

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Accurate intonation and even quality of tone are the important factors It is on the same order as the preceding: study.

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12. Much music

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Syncopation

cornetist is confronted with,

written in syncopation, particularly the so-called popular and rag-time numbers. The present study has the form of a "fox- trot" which is one of the popular dances of the day. Count two in a bar. Play all the eighths staccato, and give the quarters full value. This will make the syncopation stand out boldly. Accent most of the quarter notes very slightly as marked at is

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Syncopation

Passages such as contained in this study are met with in most popular and ragtime numbers, and even in a considerable amount of standard music. The syncopated or longer notes should be accented slight ly to help bring* out the syncopated rhythm. In music of this kind the eighth notes should be long* and the sixteenths very short. Where two sixteenths are joined, they have the value of an eighth. ,

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14. The explanation

Syncopation

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apply similarly to

this study.

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15. Leg-ato To render

smoothness of style is necessary. Sustain the notes well, and give each its proper value. Be careful not to hurry the triplets. Some of the slurs are rather difficult. If this exercise is mastered, the performer should have no difficulty in rendering* song's and arias in proper style. this study properly,

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16.

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17. The same advice giv en

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Slurring-

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Smoothness

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18. Trill This slow movement is intended to develop the playing- of trills. A trill is supposed to be purely ornamental, and should therefore be rendered in a graceful manner. Do not move the entire hand when trilling-, but use only the fing'er. Some of these trills are easy, while others are difficult and require careful practice.

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Cadenzas

19.

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20. Grace Notes

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Grace notes are ornaments, and as their name implies must be played in a graceful manner. Light ness and delicacy are the principal requirements of these notes. Do not accent them. Just touch them lightly and slur into the following: note. Only single grace notes are used in this study.

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Grace Notes

21.

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(Double)

In this study, two grace notes are introduced. They should be played in a delicate manner, but both should be distinctly heard. The two grace notes should be slurred to the following- eig-hthnote, makingthree slurred notes in all. Lightness should characterize this entire study.

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22. Grace Notes

The explanatory notes in connection with the two preceding- studies also apply respect. They should all be practised with great care and attention as to detail.

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23. Triplets a study of

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it is

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24. Triplets

This study should be practiced with great care, in order to g-ain accurate rhythm. Observe the marks and count four eighths to the bar at first.

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25. For Lightness and Speed

After this study has been mastered, the student may play it in the fastest possible tempo. Be careful to accent the notes marked. Remember that without lightness there can be no speed.

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26.Valse Etude

This"Valse Etude"is a practical study and should be rendered with taste and discretion.

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27.

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Cavatina

In this "Cavatina" the student is given an opportunity to display g-ood phrasing-, as well as fine tonal quality. Do not play the eighth or sixteenth notes short in music of this kind.

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Triple Tong'uing*

Triple Tong-uing"

is

a form of staccato which

is

used for playing" triplets (singly or in

groups) where the necessary speed cannot be obtained with ordinary or

T T K,

sing-le tong-uing*.

Tu Tu Ku.

It is

an effect obtained by the pronunciation

It is

a muffled articulation of these letters or syllables. This particular kind of tong'uing- con-

or the syllables

evenly detaching" a reg*ular succession of notes, without permitting* the stroke of the

sists of

tongue to be

order to arrive at this degree of proficiency, the

either too long" or too short. In

earlier studies,

which serve as the foundation, should be practiced very slowly.

step in triple tong'uing"

"Ku"

of the letters

is to

know how

to articulate. It is

necessary

to

The

pronounce the

first

syllable

for the third note of each triplet.

The following* illustration demonstrates the pronunciation

of the syllables. The student

must

strive to pronounce with perfect equality the syllables:

s

i

000 tu tu

For the syllable "tu" the

ku

iEg

tu tu

tip of the tong*ue is

ku

d d dd d etc.

pressed ag*ainst the upper front teeth and drawn

suddenly down, producing" the first sound. The tong*ue does not act at

all for the

third sound,

but remains motionless at the bottom of the mouth, allowing* the pronunciation of the syllable

"ku" to come from the throat. The"ku"may be said

by

forcing* a

column of air

K or Ku is produced

more

strong-ly accented, in order to

will be

a

just to

good

slig-ht

to

farther from the mouthpiece than that of the

make

is

necessary

to

make

it

until"

it

The tong-ue acts as a sort

or Tu,

articulation it

must be

has been g*otten under control. Later on

of equal tonal value with the other notes. In order

acquire this tongue to- and- fro movement with ease and reg-ularity,

at first.

T

As the

and

the triplet sound perfectly even. In the beg-inning*,

give the Ku an extra accent

accent

be ••coughed" into the instrument,

into the mouthpiece, determines the third sound.

of the

it

to

of valve, allowing' the

it

same quantity

must be done slowly of air to

escape at

each syllable. The "tu tu ku" must always be emitted sharply and with precision. Do not pro-

nounce "du du If

g*u" instead. This latter will

always sound slovenly and

rag*g*ed.

these rules are strictly followed, Triple Tong'uing* will be mastered very readily and will

be found no more difficult than Sing-le Tong-uing". All that tiously

ZZO\Z-i\.

is

necessary

is to

practice conscien-

and carefully, for anyone can become an expert who has patience and perseverance.

-

as

29. Triple Tonguing-

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Double TonguingAs a up at

all.

The stroke

of the

tongue

in

T and K

only difference being that the

two

and mastered before double tonguing is taken double tonguing is similar to that used in triple tong-uing-, the

rule, all other forms of tonguing are studied

strokes are evenly divided, while in triple tong"uing-we

have

each K. All the rules followed in triple tong-uing- apply to double tong-uing-. With double tong-uing- a wonderful amount of speed may be acquired, particularly in the execution of scales and arT's to

Though most people believe that double tonguing is far more difficult than other forms, this belief is not well founded. The fact is, that because it is not as brilliant as triple tonguing, it is more neglected. If it is studied systematically and practiced regularly, it can be thoroughly mastered and will prove of incalculable value to the player. Passages that were difficult and troublesome are played peg-gios.

with ease in double tonguing.

No detailed explanations are necessary. The same method tonguing should be employed

The following

and study used

in the triple

in these exercises.

illustrates the pronunciation of the syllables.

is

Pronounce with perfect equality.

^

1 Tu Ku Tu Ku Tu Ku Tu Ku

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34. Double Tonguing"

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GOLDMAN EDWIN FRANKO Transcriptions Solos an d

Origin

J*

for .

AQ UCT

,

s_BAR»TOHE

t (trumpet)

\

BbCUARlHET-EbALTO with

Piano

Accompanimen.

Sans Souci

Air and Variations on a Theme from "La Sonnambula"

(Free from Care) Fantasie Caprice Cornet or Trumpet and Piano (W 1420)

(W 701) (W 294)

Cornet or Trumpet and Piano

Eb Saxophone and Piano

*Tramp, Tramp, Tramp

American Caprice Cornet of Trumpet and Piano

(W

1828)

(W

700)

* British

Grenadiers

When You and

(English Fantasia with

with

Cornet or Trumpet and Piano (W 572) Clarinet and Piano (W 1 83) Baritone and Piano (W 1049)

1

2. 3.

4.

Exultation Waltz Cornet or Trumpet and Piano (W 1847) Three Cornets and Piano (W 1846)

Clarinet

and Piano

Baritone and Piano

Loch Lomond

5.

*My Old Kentucky Home

An

Old Story (W

1

In the Clouds. Waltz

1

575)

2. 3.

4.

(Scotch Song)

(W

211)

5.

565)

6.

I

Evening Song (W 1 41 2) Joyous Youth. Gavotte (W Sunset (W1414) A Prayer (W 1 582)

1

41 3)

583)

Series

(W 575) (W 1051)

Cornet or Trumpet and Piano

(W

PIANO ACCOMPANIMENT Series

Fantasia with Variations)

(W

Were Young, Maggie

MINIATURE CONCERT REPERTOIRE for CORNET or TRUMPET

Cornet or Trumpet and Piano (W 1 702) Three Cornets and Piano (W 1 701 )

'Italian Fantasia Cornet or Trumpet and Piano

I

(Easy Fantasia) Cornet or Trumpet and Piano Clarinet and Piano (W 21 1 ) Baritone and Piano (W 21 2)

Echo Waltz

(Irish

570)

and Piano (W 1 81 ) Baritone and Piano (W 1047)

Variations) Cornet or Trumpet and Piano (W 573) Clarinet and Piano (W 1 84) Baritone and Piano (W 1050)

*Emerald

(W

with

Clarinet

Aphrodite

(Caprice) Cornet or Trumpet and Piano

(Fantasia

Variations) Cornet or Trumpet and Piano

II

(W

1

41 5)

.

.

Mars. Polka Petite (W 1416) Love Thoughts. Waltz (W 1417)

Among

(W

the Stars

1

41 8)

Mercury. Caprice (W 1 584) Country Dance (W 1 585)

(Fantasia and »r»es

Variations) Cornet or Trumpet and Piano (W 569) Clarinet and Piano (W 1 80) Baritone and Piano (W 1046)

*

1

.

2. 3.

On

the Mall in the Twilight (adapted from the famous composition "On the Mall") Cornet or Trumpet and Piano (W 1 826)

Jupiter. Polka Petite

III

(W

574) ....

The Rainbow. Gavotte (W 1419) Venus. Polka Two

4. 5.

Cornets or Trumpets and Piano Espanita. Tango (W 1 585) Moonlight. Serenade (W 1 587)

.

.

*Band and Orchestra Accompaniments are Published

CARL W29

FISCHER,

inc.

62 Cooper Square,

New York

3,

N.Y.

BRIGHAM YOUNG

yNIVERSITY

in 197 £6373 5177

<-

ID

ax

——

—

—

Co d e

4

CARL FISCHER

PRRRmounT

FOLIO OF STANDARD FAVORITES

COLLEtTIOnS

Arranged by

LESTER

Outstanding

BROCKTON

FOR

—

CONTENTS: Cocoanut Dance. Hermann Songs My Mother Taught Me, Dvorak —The Old Refrain, Kreisler

—

C0RI1ET (TRUH1PET)

Roses of Memory, Hamblen Waltz in Fb major (original Ab major), Brahms Andantino. Lemare Largo (from the New World Symphony), Dvorak Menuet No. 2, Beethoven Two Guitars, Horlick Londonderry Air Tango Serenade, Simon Dawn of Tomorrow, At wood and Terry.

—

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una pinna

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EVERV DRV FHUORITES A Collection of Twenty. One Standard Songs and Melodies

—

CONTENTS: Andante Cantabile, Tschaikowsky The Beauteous Song, Barri Beneath Thy Window, Di Capua Country Gardens The Flight of Ages, Bevan Italian Romance, Bohm Jerusalem, Parker Just a Little Song of Love, Pinard The Last Wish, Abt Maria, Mari, Di Capua My Letizia, Verdi Northern Lights, Siegrist The Old Refrain Serenade, Titl The Star of Bethlehem, Adam Toreador Song, Bize' Vilia Song, Lehar Visions of You, Stillwell Walter's Prize Song, Wagner Ye Banks and Braes Yearning, Pinard. of Bonnie Doon

—

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DH CHPO fllRU

A

Collection of Standard, Classic

and Sacred Songs Revised by

GOLDMAN CONTENTS: Alpine Flower, Peuschel — Ave Maria, Gounod — Ave Maria, Luzzi — The Better Land. Cowen Elsa's Dream, Wagner — Home Song, Moszkowski — Old Madrid, Trotere— Was Not So tp Be, Abt— Kathleen Mavourneen, Crouch — L'Addio a Napoli, Cottrau — Let Me Dream Again, Sullivan — The Lost Chord, Sullivan — Love Idleness, Macbeth — Melodie, Rubinstein — My Heart at thy Sweet Voice, sonrjs or the greht rirsters Saint-Saens — My Own, My Guiding Knight — Nightingale Song, Zeller— O ye Tears, Abt — The Palms, Faure — Serenade. Gounod A Collection of Twenty of the Most Famous Serenade, Schubert — Siegmund's Love Song, Classic and Standard Songs with Words Wagner — We Meet Again, Liebe. EDWIN FRANKO

In

It

in

Star,

Till

Selected and Arranged by

EDWIN FRANKO

Three In All, Bohm—Thou Art My Queen, Brahms— Autumn, Franz Dedication, Franz Those Happy Days, Gbtze —With a Violet. Grieg— Let Me Rest, Jensen— Last Night, Kjerulf Good Night, Farewell, Kucken On Wings of Song, Mendelssohn Elegie, Massenet When Love Is Kind, Old Melody Thou'rt Like Unto a Flower, Rubinstein The Dew Is Sparkling, Rubinstein My Sweet Repose, Schubert By the Sea, Schubert I'll Not Complain, Schumann The Two Grenadiers, Schumann All Souls' Day, Strauss None But The Lonely Heart,

CONTENTS:

—

In

CARL

CHER

COOPER SQ

NEW YORK

Boston

Chicago

•

—

—

—

—

—

—

—

Tschaikowsky.

6

—

O

-

W

Printed

in

U. S. A.

GOLDMAN — — —

Date Due All library items are subject to recall at

NAY fifT

H ft

2004

9 ?012

Bri gham

Young

Univer- sity

any time.

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Goldman Practical Studies

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