practical studies for the cornet (and trumpet)

LIBRARY OFNEWELL DAYLEY

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Practical studiesfor the CORNET (and TRUMPET)

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' EDWIN FRANKO GOLDMANPrice $1.50

^V^^ST^^V^^ ^243 Carl Fischer

INC.62 Cooper Square, New York 3

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Brigham Young University

Harold B. Lee Library

Gift of

K. Newell Dayley

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PRACTICAL STUDIESfor the

CORNET (and TRUMPET)

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EDWIN FRANKO GOLDMANIP

CARL FISCHER S8S51S NEW YORK

-

Copyright 1921 by Carl Fischer, New York

International Copyright Secured

Printed in U.S.A.

HAROLD B. LEE LIBRARY9RIGHAM XOUNG UNIVERSITY

PROVO UTAH

Practical Studies

Each one of these studies has been written for the purpose of developing- some

certain phase of playing-. They have been called "Practical Studies^ because they

represent the various forms and styles that the average musician is apt to be con-

fronted 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

improve the tonal quality, technic, phrasing-

, and rhythm, and g*ive to the player a

vast amount of surety and endurance.

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 or-

chestra or band. He will at the same time be able to perform any of the standard

cornet solos in an artistic manner.

It is not necessary that these studies be practised'in the order in which they are

printed. The student may choose any exercise at random.

EDWIN FRANKO GOLDMAN

June, 1920

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1. Staccato Tonguing*

This staccato study should be practised slowly at first,and also with very even tong-uing*. After it hasbeen mastered in slow tempo, begin to play it faster. In fact, it should be played as quickly as possible with-

out sacrificing* smoothness or clarity.

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Copyright MCMXXI by Carl Fischer, New YorkInternational Copyright Secured

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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22043-41

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3. Staccato Tonguing-

In exercises of this kind, the student must be extremely careful to have the intonation accurate. Some of

the intervals are rather difficult. Therefore do not attempt to play with speed at first. Precise , sharp

tonguing* is essential.

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22042-41

LIBRARY OFAEWELL DAYLEY

4. Staccato Tong-uing-

This study should in reality be counted in 4/8 time, with a triplet on each eighth count. If practised prop-

erly it will help to give one a certain degree of ligiitness and delicacy of tong-uing-, and at the same time

,

accuracy and speed.

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5. Staccato Tong-uing*

This is another study that will help to improve the tong-uing*. Be careful to play all eighth and sixteenth notes

very staccato, and try to maintain the same quality of tone throughout.A brilliant style is required for music of

this kind.

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6. Dotted Notes

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

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7. Dotted Notes

While in the same style as the previous exercise, this is perhaps somewhat more difficult. See that all

dotted eighth notes are g'iven equal value. The sixteenths must also be even.

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8. Trumpet Style9

Sharp tong-uing- is the feature of this study. Every eig-hthand sixteenth note must be staccato. Play slow-ly 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.

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9. Trumpet Style

No trumpet player can possibly achieve success unless he can tong*ue with precision and speed. Realtrumpet 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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10. Intervals11

The slower this exercise is practised at the start, the greater the benefit will be. Each note should beplayed as distinctly as though it stood alone. In going- from a nig-h note to a low one, or from a low note

to a hig-h one, there must be no difference in either quantity or quality of the tone. The proper practice of

this will give to the player great surety and accuracy of attack. Be careful of the intonation .

Not too fast

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11. Intervals

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

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12. Syncopation

Much music that the average cornetist is confronted with, is written in syncopation, particularly the

so-called popular and rag-time numbers. The present study has the form of a "fox- trot" which is one of

the popular dances of the day. Count two in a bar. Play all the eighths staccato, and give the quarters full

value. This will make the syncopation stand out boldly. Accent most of the quarter notes very slightly as marked at

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13. 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* , andthe sixteenths very short. Where two sixteenths are joined, they have the value of an eighth.

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14. Syncopation

The explanation of the previous exercise will apply similarly to this study.

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15. Leg-ato

To render this study properly, smoothness of style is necessary. Sustain the notes well, and give eachits 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.

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22042-41

16. Slurring"n

Be careful not to shorten the. last note of each triplet. That is a common fault. Only tong-ue the first

note of each bar, but do not accent it.

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17. Slurring-

The same advice given for the two previous studies will apply here. Smoothness is very important in this

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18. TrillV)

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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19. Cadenzas

Most instrumental solos in the larger forms contain one or two cadenzas. When a cadenza is found, it

indicates that the measure of time is to be suspended, and its performance left to the judgment and taste cf

tha player. Cadenzas should be played in a free (ad libitum) style so as to display the tone, technic and

other qualities of the player to the best possible advantage. As cadenzas are unaccompanied,they must

be played with extreme care. Let every note sound, and do not sacrifice precision and style for speed.

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20. Grace Notes (Single)

Grace notes are ornaments, and as their name implies must be played in a graceful manner. Light -

ness and delicacy are the principal requirements of these notes. Do not accent them. Just touch them

lightly and slur into the following: note. Only single grace notes are used in this study.

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21. Grace Notes (Double) * 3

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

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2422. Grace Notes

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

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23. Triplets *»

In a study of this kind it is essential, first of all, to note which notes are slurred, and which are ton-

g-ued. Do not accent the first note of each triplet. Accuracy of fingering- is necessary. Play slowly at

first, counting- four eighths to the bar.

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se24. Triplets

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

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25. For Lightness and Speed 27

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

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3826.Valse Etude

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

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27. Cavatina *9

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

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30 28. Etude brillante

An opportunity for brilliant playing- is afforded in this study. Play the music precisely as written.

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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 sing-le tong-uing*.

It is an effect obtained by the pronunciation of the letters T T K, or the syllables Tu Tu Ku.

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

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

tongue to be either too long" or too short. In order to arrive at this degree of proficiency, the

earlier studies, which serve as the foundation, should be practiced very slowly. The first

step in triple tong'uing" is to know how to articulate. It is necessary to pronounce the syllable

"Ku" 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:

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tu tu ku tu tu ku etc.

For the syllable "tu" the tip of the tong*ue is 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 to be ••coughed" into the instrument, and

by forcing* a column of air into the mouthpiece, determines the third sound. As the articulation

of the K or Ku is produced farther from the mouthpiece than that of the T or Tu, it must be

more strong-ly accented, in order to make the triplet sound perfectly even. In the beg-inning*,

it will be good to give the Ku an extra accent until" it has been g*otten under control. Later on

just a slig-ht accent is necessary to make it of equal tonal value with the other notes. In order

to acquire this tongue to- and- fro movement with ease and reg-ularity, it must be done slowly

at first. The tong-ue acts as a sort of valve, allowing' the same quantity 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 g*u" instead. This latter will always sound slovenly and rag*g*ed.

If 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 is necessary is to practice conscien-

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

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30. Triple Tonguing

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31. Triple Tonguing"

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32. Triple Tonguing

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33. Triple Tong-lling- (Trumpet Style)

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Double Tonguing-

As a rule, all other forms of tonguing are studied and mastered before double tonguing is taken

up at all. The stroke of the tongue in double tonguing is similar to that used in triple tong-uing-, the

only difference being that the T and K strokes are evenly divided, while in triple tong"uing-we havetwo T's to each K. All the rules followed in triple tong-uing- apply to double tong-uing-.With doubletong-uing- a wonderful amount of speed may be acquired, particularly in the execution of scales and ar-

peg-gios. 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 moreneglected. If it is studied systematically and practiced regularly, it can be thoroughly mastered andwill prove of incalculable value to the player. Passages that were difficult and troublesome are played

with ease in double tonguing.

No detailed explanations are necessary. The same method of practice and study used in the triple

tonguing should be employed in these exercises.

The following illustrates the pronunciation of the syllables. Pronounce with perfect equality.

i s 1 ^Tu Ku Tu Ku Tu Ku Tu Ku Tu

22042-41

34. Double Tonguing"39

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EDWIN FRANKO GOLDMAN

Solos and Transcriptions

Origin

for, t

s_BAR»TOHE. AQ UCT (trumpet)

BbCUARlHET-EbALTO

with PianoAccompanimen.

J*

\

Air and Variations on a Theme from "LaSonnambula"

Cornet or Trumpet and Piano (W 701)

Eb Saxophone and Piano (W 294)

American CapriceCornet of Trumpet and Piano (W 1828)

Aphrodite (Caprice)

Cornet or Trumpet and Piano (W 700)* British Grenadiers (English Fantasia with

Variations)

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

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

*Emerald (Irish Fantasia with Variations)


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

'Italian FantasiaCornet or Trumpet and Piano (W 575)Clarinet and Piano (W 575)Baritone and Piano (W 1051)

Loch Lomond (Scotch Song)Cornet or Trumpet and Piano (W 565)

*My Old Kentucky Home (Fantasia andVariations)


On the Mall in the Twilight (adapted fromthe famous composition "On the Mall") Cornetor Trumpet and Piano (W 1 826)

*Band and Orchestra Accompaniments are Published

Sans Souci (Free from Care) Fantasie CapriceCornet or Trumpet and Piano (W 1420)

*Tramp, Tramp, Tramp (Fantasia withVariations)

Cornet or Trumpet and Piano (W 570)Clarinet and Piano (W 1 81 )

Baritone and Piano (W 1047)When You and I Were Young, Maggie

(Easy Fantasia)

Cornet or Trumpet and Piano (W 211)Clarinet and Piano (W 21 1 )

Baritone and Piano (W 21 2)

MINIATURE CONCERT REPERTOIREfor CORNET or TRUMPET

with PIANO ACCOMPANIMENT

Series I

1

.

Evening Song (W 1 41 2)2. Joyous Youth. Gavotte (W 1 41 3)3. Sunset (W1414)4. A Prayer (W 1 582)5. An Old Story (W 1 583)

Series II

1

.

In the Clouds. Waltz (W 1 41 5) . .

2. Mars. Polka Petite (W 1416)Love Thoughts. Waltz (W 1417)Among the Stars (W 1 41 8)

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

3.

4.

5.

6.

»r»es III

* 1 . Jupiter. Polka Petite (W 574) ....

2. The Rainbow. Gavotte (W 1419)3. Venus. Polka

Two Cornets or Trumpets and Piano .

4. Espanita. Tango (W 1 585)5. Moonlight. Serenade (W 1 587) .

CARL FISCHER, inc. 62 Cooper Square, NewYork 3, N.Y.

W29

BRIGHAM YOUNGyNIVERSITY

in 197 £6373 5177

<- ID ax Co d e

CARL FISCHER

PRRRmounT FOLIOOF STANDARD FAVORITES

Arranged by

LESTER BROCKTONCONTENTS: Cocoanut Dance. Hermann — Songs MyMother Taught Me, Dvorak—The Old Refrain, Kreisler

—

Roses of Memory, Hamblen—Waltz in Fb major (original

Ab major), Brahms— Andantino. Lemare— Largo (fromthe New World Symphony), Dvorak—Menuet No. 2, Bee-thoven—Two Guitars, Horlick—Londonderry Air—TangoSerenade, Simon—Dawn of Tomor-row, Atwood and Terry.

4 Outstanding

COLLEtTIOnSFOR

C0RI1ET (TRUH1PET)una pinna

EVERV DRV FHUORITESA Collection of Twenty. OneStandard Songs and Melodies

CONTENTS: Andante Cantabile, Tschaikowsky—The BeauteousSong, 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 ofYou, Stillwell—Walter's Prize Song, Wagner—Ye Banks and Braesof Bonnie Doon—Yearning, Pinard.

DH CHPO fllRUA Collection of Standard, Classic

and Sacred Songs

Revised by

EDWIN FRANKO GOLDMANCONTENTS: Alpine Flower, Peuschel — Ave Maria,Gounod—Ave Maria, Luzzi—The Better Land. Cowen

—

Elsa's Dream, Wagner—Home Song, Moszkowski—In OldMadrid, Trotere— It Was Not So tp Be, Abt—Kathleen

Mavourneen, Crouch—L'Addio a Napoli, Cottrau—Let

Me Dream Again, Sullivan—The Lost Chord,Sullivan—Love in Idleness, Macbeth—Melodie,Rubinstein—My Heart at thy Sweet Voice,Saint-Saens—My Own, My Guiding Star,

Knight—Nightingale Song, Zeller—O ye Tears,

Abt—The Palms, Faure—Serenade. Gounod

—

Serenade, Schubert—Siegmund's Love Song,Wagner—Till We Meet Again, Liebe.

CARLCOOPER SQ

Boston •

W 6

CHERNEW YORK

Chicago

Printed in U. S. A.

sonrjs or the greht rirstersA Collection of Twenty of the Most Famous

Classic and Standard Songs with Words

Selected and Arranged by

EDWIN FRANKO GOLDMANCONTENTS: Three In All, Bohm—Thou Art My Queen, Brahms—In Autumn, Franz—Dedication, Franz—Those Happy Days, Gbtze—With a Violet. Grieg—O 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,Tschaikowsky.

Date Due

All library items are subject to recall at any time.

NAY H 2004

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practical studies for the cornet (and trumpet)

Documents