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I 34 S T U D I E S
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FOR TRUMPET
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(ROBERT NAGEL)
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No. 1391
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INTERNATIONAL MCVV/
MUSIC COMPANY
34
^> 1 for Trumpet
Edited by ROBERT NAGEL Allegro alia marcia *) * marcato
VASSILY BRANDT (1869-1923)
1.
*)
r'Erir
j
•• .rip 3Vi-T_|i*' 'rip'—"f
I
*A11 studies in this collection marked with an asterisk must be practiced in the manner indicated below each study.
etc.
iale ( J - 124) marcato
A brilliant fanfare-like study.
Keep a steady tempo throughout
2.5
ff
Allegretto ( « - 108)
p (echo) 1391
allargando
Pay particular attention to the dynamic markings in this study
Allegro 1113 non troppt) ( J ^ l O O )
PI ay this study in a spirited "bravura" style
r[j.i'f' ^p
This study is good for either single or double-tonguing
Allegro
cresc.
• 0 0 r ~P
00
4900
0-10—0-0
rp tnr»f» *1i Val«*» (a - (f\ )
Various types of slurred articulations may be used to good advantage here
*)
cresc. __
,
Moderate (M.J--116)
ritard,.
Be careful not to slow down the 16th note passages
*>3S
P
*BM~M
tJ
4. —'
U^«-*1«*J
J7
V.^. —
'
«7
*A11 studies in this collection marked with an asterisk must be practiced in the manner indicated below each study.
i
cresc. marcato
pp
cresc. poco a poco marcato
This study is based on a theme from Tchaikovsky's "Capriccio Italien"
Allegro moderato/(^=i20)
8
m\ -m:
\r—?-
(M
J-
sure to observe phrase marks (,) to preserve the feeling of 7/4 meter •)
p
cresc
Tempo di Valse (M. J = 72)
*)
~fr~~
-^—'
,
r r pf> 4*
-• ,
-J
T*
«' j
*=i
5
te i*i
pe
#'
'^ '^J' r ^J^' "V *-^" *'^ _v_ b. 1
it.
rviTfi
^
l. t;'i^
r TA •M «•
+ dr g\_ ff^
vU
1 II
1t f
J
•
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l
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n
SJE
^
fW
v
d
j«
1.
4.
•
»"
•H
J J
^
•
V
fl
•
• •
m. ' ^
-M
A
w
^
f
m•j m
ai •
m
-0
]l
P « • -
n T * •j _d M
•
m
-4
_•
•] •
m m
6. ftT? A
« 7.
"-r*—rT - ' I « I l --^ J t TO 4
Pt A
r t
m • P -. »• A r !
3.
2.
5.
A
* *
^
^
1
V
1
'in
MX •*•
m •
« •
" *
r-t-*
*A11 studies in this collection marked with an asterisk must be practiced in the manner indicated below each study.
\IaPStOSO ( J = 8 4 )
Th's study is bised on the fanfare from Beethoven's Leonore Overture No. 3
rrr.r.-f-f
^
rail. » I
P 1
/ J- ->\
T^16 dy nam i c contrasts are very important in this study
p sub.
espr.
3- -p r-
t t f
f
mf
mf
m
'
£
mf
P
mf
non ritard.
1391
*i*-
m
\f
'
( J-17f>)
T1 S stlu
"
*y
is
b asccl
on a t
h° r ne from the third movement of Tchaikovsky's Symphony No, 6
13.
1 sempre staccato
4
-y-y-
—
p
mf
cresc.
3:
/' dLW diminuendo poco a poco
P
crescendo poco a poco _
1391
-[
!7»
PP
7
7
i»
J = 1 OS )
inarcato
&
Play in a bold, declamatory manner, with particular regard for dynamics
-^
^»
£
pn^^
,
o r
_ -
bcherzando M M . J -76
^~hgrE~ 3
P^ ^fS5^ 1391
Play with a light staccato. Accents are important here
in
M. J-: 126
Clarity and evenness are essential in this study
17,
ritard.
1391
Allegro (J = n6)
A study to develop dexterity and accuracy in ieaping intervals
cresc.
*
J I
J
.1
.
1 f \\
A study which emphasizes octave interval skips. Practice slowly at first
Allegro a la chasse M. J-rll2
*F
f
meno mosso
Allegro (J =132)
This
Study
is
based on the 'March' from the "Petite Suite", Op. 22, by Georges Bizet
3E
1391
Allegro grazioso (V=112'
*••-*
i
. .
, 1
Allegro spiritoso (J-=120)
Give particular attention to the accent markings in this study
*-*
A fanfare-like study to be played with a sharp staccato
009
1391
n^r^J
do Ice
P'
I,Vf
Poco piu mosso
Tempo I
1391
f r . .r I* TrTTL
AllimatO alia PolaCCa (J-=96)
Kccp th
° rh V thm accurate throughout. This study is based on a Wagnerian them,
";..>">
23,
-j$ 4 ^ ?? rj—r'
>
> 1
'Jr^
—i
> >
>
^m
•^—1 '
simile m~-— • ,•_
9'
)
•• • i
•
..
K_
1^
1*'
'^
»
h.
1
3
•
-
mf
? ^g r^rr r - .
^ Moderate ( J - = 9 0 )
1391
^ Another wide interval exercise. Very difficult
=*•
H—
z=: mr.'^E —9 M =*—ahi
Allegretto (J--80) - tl
mp
cresc. 1391
grazioso
Scherzando study. Play middle section in a smooth, relaxed manner
=w
dim.
rail.
cresc.
1391
(*:136)
Perpetual motion study. An excellent exercise for double-tonguing
7TM1
r r r rr f-P
1391
fP
fn
simile
cresc, poco a poco al Fine
P
VivO vivace (Presto) I J =10O)
3
^ lis study 's based ona tlieme from "Scheherazade" by Rimsky-Korsakoff
3
3
dim.
S P
cresc.
cresc. 3
f 1391
dim.
3
P
'•00 +—0-
j.
0—0 cresc.
-fife—1-4-
*—
— •—-
3—
J*-=^ —i
^= =fc=4= 0
P—*— ^, —p—i * '---0~- ^—#— y—,p—i—0 ' 0
•am,
cre^c.
£ tir- * .?
»•
mp
i
>M• a •^ — r~ ' *— -
i
m m
uH m »
£ Practice using different dynamic levels for this study (pp to ff)
-atu to ku tu ta ku tu tu ku tu tu ku
1391
=1=4=1
?— ^
0 ^
^
fi=L
1391
Adagio Cailtabile (^ =66)
Pl^y as smoothly as possible
dolce x^-/?
Z9.fe 1 1
P legato
ntard.
Scherzando (J.=72)
1391
Like a Scherzo with Trio. Concentrate on the dotted rhythm section (A to B)
r r
1391
T
As smoothly and evenly as possible
Scherzo (J.-90)
f
^-~
4p
5?
1
7
cj
_
^TTpp ^t«
diminuendo 1391
^--
"•41
—-. . ~^~. r
•-^
A to B8 and C to D are quite difficult, and should be practiced slo\vly
411egro con nioto ( J = 96 ) "~
ff
1391
Moderate (J -50) >
M. J -144
34.18
1391
The wide interval skips present the most difficulty in this study
An excellent study for developing the trill. Note— fingering for F trill
Tempo I (M.^=144)
1391
