Goldman Practical Studies

LIBRARY

OF

NEWELL

DAYLEY

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Practical

studies

for

the

CORNET

(and

TRUMPET)

S^J

£0

BY

'

EDWIN FRANKO

GOLDMAN

Price

$1.50

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243

Carl

Fischer

INC.

62 Cooper Square, New York 3

BOSTON • CHICAGO • DAUAS

oc

f

^s

Brigham

Young

University

Harold

B.

Lee

Library

Gift of

K.

Newell

Dayley

/v&u/e,//

uDc?<y/t

Vy-

- 60

LIBRARY

OF

NEWELL

DAYLEY

PRACTICAL

STUDIES

for

the

CORNET

(and

TRUMPET)

ijg

by

g

EDWIN

FRANKO

GOLDMAN

IP

CARL

FISCHER

S8S51S

NEW

YORK

-International Copyright Secured PrintedinU.S.A.

HAROLD B. LEE LIBRARY

9RIGHAM XOUNG UNIVERSITY

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

1.

Staccato Tonguing*

This staccato study should be practised slowly at first,

and

alsowith

very even

tong-uing*. After it

has

been

mastered

in slow tempo, begin to playit faster. In fact, it should be played as _{quickly as possible}

with-out sacrificing*

smoothness

or clarity.

a

tempo

rail.

cc

22042-41

Copyright

MCMXXI

by Carl Fischer,

New

York

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 ofeach slurred

group

oftwo,

very

short. It is essential to accent the notes that are so

marked. Play

slowly at first.

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3.

Staccato

Tonguing-In exercises of this kind, the student must be extremelycarefulto

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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LIBRARY

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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 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.

3 3

1

11

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tilt

5.

Staccato

Tong-uing*

This is another studythat will help to improve the tong-uing*.

Be

carefulto play all eighthandsixteenth notes

very staccato, and try to maintainthe

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,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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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 equalvalue.

The

sixteenths

must

also

be

even.

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8.

Trumpet

Style

9

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 belight tong-uing-.

Much

music forthe

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*uewith precision

and

speed.

Real

trumpet parts call for staccato tonguing*, to

a

great

extent. In

an

exercise of this kind the eighthsas well

asthe sixteenths must be played as short as possible,

and

the rests

must

be observed. Brilliancyis

a

requisite.

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10.

Intervals

11

The

slower this exercise is practised at the start, the greater the benefit will be.

Each

note should be played as distinctly as though it stood alone. In going- from

a

nig-h note to

a

low one, or from

a

lownote 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 kind

It is on the

same

order

as

the preceding: study.

Very

slowly

at

first

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13

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

givethe quarters full

value.Thiswill

make

the syncopation stand out boldly.Accent most ofthe quarter notes veryslightlyasmarkedat the beginning*.

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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* ,

and

the 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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22042-41

15.

Leg-ato

To

render this study properly, 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.

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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 giv en for the

two

previous studies willapply here.

Smoothness

is very importantinthis

exercise.

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18.

Trill

V)

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-,butuse

onlythe fing'er.

Some

of these trills are easy, while others are difficult

and

require careful practice.

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tr

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22042-41

20

19.

Cadenzas

Most

instrumental solos in the larger forms contain one or

two

cadenzas.

When

a

cadenza

is found, it

indicates that the

measure

oftime isto 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 displaythe tone, technic

and

other qualities of the player to the best possible

advantage.

As

cadenzas are unaccompanied,

they

must

be

playedwith

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 ofthese 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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22042-41

LIBRARY

_OF

NEWELL

DAYLEY

21.

Grace

Notes

(Double)

* 3

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,

making-three slurred notes in all.

Lightness

should characterize this entire study.

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24

22.

Grace

Notes

The

explanatory

notes in connection with the

two

preceding- studies also

apply

to this

one

in

every

respect.

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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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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22042-41

3

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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

careful

to accent the notes

marked.

Remember

that without lightness there

can

be

no

speed.

Presto

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38

26.Valse

Etude

This"Valse

Etude"is

a

practical study

and

should

be

rendered

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22043-41

27.

Cavatina

*

9

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

ofthis kind.

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22043-44

30

_28.

_Etude

_brillante

An

opportunity

for brilliant playing- is afforded in this study.

Play

the

music

precisely as written.

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maestoso

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31

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

oftong'uing-

con-sists of evenly detaching"

a

reg*ular succession of notes, without permitting* the stroke of the

tongue

to

be

either toolong"or too short. In

order

to arrive at this

degree

of proficiency, the

earlierstudies,

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:

<? s <? <?

000

iEg

i

d

d

d

d d

tu tuku 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-leTong-uing". All that is

necessary

is to practice conscien-tiously

and

carefully, for

anyone

can

become

an

expert

who

has

patience

and

perseverance.

as

29.

Triple

Tonguing-1

:

3E

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tu tu tu

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Triple

Tong-lling-

(Trumpet

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Double

Tonguing-As

a

rule, all other

forms

of

tonguing

are studied

and

mastered

before

double

tonguing

istaken

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

have

two

T's to

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 ofscales

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, itis

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

with ease

in double tonguing.

No

detailed explanations are necessary.

The

same

method

ofpractice

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

^

TuKu Tu Ku Tu Ku Tu Ku Tu

34.

Double

Tonguing"

39

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EDWIN FRANKO

GOLDMAN

Solos

an

d

Transcriptions

Origin

for

, t

s_BAR»TOHE

.

AQ

UCT

(trumpet)

BbCUARlHET-EbALTO

with Piano

Accompanimen.

J* \

Air

and

Variations on a Theme from "La Sonnambula"

Cornet or Trumpet and Piano

(W

701)

Eb Saxophone and Piano

(W

294)

American

Caprice

Cornet 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

184)

Baritone and Piano

(W

1050)

Echo Waltz

Cornet or Trumpet and Piano

(W

1 702)

Three Cornets and Piano

(W

1 701)

*Emerald (Irish Fantasia with Variations) Cornet or Trumpet and Piano

(W

572)

Clarinet and Piano

(W

183)

Baritone and Piano

(W

1049) Exultation Waltz

Cornet or Trumpet and Piano

(W

1847)

Three Cornets and Piano

(W

1846)

'Italian Fantasia

Cornet 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 and

Variations)

Cornet or Trumpet and Piano

(W

569)

Clarinet and Piano

(W

180)

Baritone and Piano

(W

1046)

On

the Mall in the Twilight (adapted from the famous composition

"On

the Mall") Cornet

or Trumpet and Piano

(W

1 826)

*Band and Orchestra Accompaniments are Published

Sans

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

(W

1420)

*Tramp,

Tramp,

Tramp

(Fantasia with Variations)

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 REPERTOIRE

for CORNET or TRUMPET with

PIANO

ACCOMPANIMENT

Series I

1 Evening

Song

(W

141 2)

2. Joyous Youth. _Gavotte

(W

_{141 3)} 3. Sunset

(W1414)

4.

A

Prayer

(W

1 582) 5.

An

Old

Story

(W

1583)

Series II

1 In the Clouds. Waltz

(W

141 5). .

2. Mars. Polka Petite

(W

1416)

Love Thoughts. Waltz

(W

1417)

Among

the Stars

(W

1418)

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

1587) .

CARL

FISCHER,

inc.

₆₂

_Cooper

_Square,

New

York

_3,

_N.Y.

BRIGHAMYOUNGyNIVERSITY

<-

_ID

_ax

_Co

d

e

CARL

FISCHER

PRRRmounT

FOLIO

OF STANDARD

FAVORITES

Arranged

by

LESTER

BROCKTON

CONTENTS:

Cocoanut Dance. Hermann

—

Songs

My

Mother Taught

Me,

Dvorak

—

The

Old

Refrain, Kreisler

—

Roses of Memory, Hamblen

—

Waltz in Fb major (original

Ab

major), Brahms

—

Andantino. Lemare

—

Largo (from the

New

World Symphony), Dvorak

—

Menuet No. 2, Bee-thoven

—

Two Guitars, Horlick

—

Londonderry Air

—

Tango

Serenade, Simon

—

Dawn

of

Tomor-row, At wood and Terry.

4

Outstanding

COLLEtTIOnS

FOR

C0RI1ET

(TRUH1PET)

una

pinna

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 of Bonnie Doon

—

Yearning, Pinard.

DH

CHPO

fllRU

A

Collection of

Standard,

Classic

and

Sacred

Songs

Revised by

EDWIN

FRANKO

GOLDMAN

CONTENTS:

Alpine Flower, Peuschel

—

Ave

Maria,

Gounod

—

Ave

Maria, Luzzi

—

The Better Land. Cowen

—

Elsa's Dream, Wagner

—

Home

Song, Moszkowski

—

In

Old

Madrid, 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.

CARL

COOPER

SQ Boston •

W

6

CHER

NEW

YORK

Chicago Printed in U. S. A.

sonrjs

or

the

greht

rirsters

A

Collection of

Twenty

of the

Most

Famous

Classic

and

Standard

Songs

with

Words

Selected

and Arranged

by

EDWIN

FRANKO

GOLDMAN

CONTENTS:

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,

Date

Due

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