Sait Jaco HC ats, too by Sane Jacome i retente Comet arts, Bk 2 by Sat dmc Cattaneo[ee COMPLETE | Saint- Jacome GRAND METHOD ay TRUMPET OR CORNET GT = Ke Aver mtd He Fugen le. , taste. Goch zac ah CARL FISCHER, Inc. inc. re soe mn YOR . SANs 5: Sm (0457List of the Principal Words used in Modern Music With their Abbreviations and Explanations A mrananis decelerends (accel). Gradually Bit... es Bravura....- Brillante... Cantabile, .. . Cansonetia. . Capriccio a@ . Cavatina. .... Chord en se ee os C.da Gol or cum... ‘Trescanda (crese,) aor da. Da Gapo (D.6.) .to,in or at; a tempo, in time increasing the speed _ .Emphasis on certain parts of the measure . -Giesly leisarely aii a )_ At pleasure; in atric “fhe Be played by beth inatruments . . Restless, with agitation . .In the style of é a the oyna 3 Merah tely fast, lively; . Diminutive of a ; moderately fast, lively; faster than aueoe: slower then allegro a Lively; brik, tapid. . . Wery Tapidly . Affectionately . . Ln moderately slow time Se Diminutive 2 anda: Af oth stower than an- dante, but oftem used in the réverse sense .. With animation . . At pleasure; equivalent to ad didttum :Impassioned A broken chord : Very; Allegro assai, very rapidly 1 or bogan what Follows without pausing Twi ihe passage . . + Wice, repeal e ‘ Bhiients? “bold; apirite . Showy, éparkling, brilliant «Wit 3 ‘An Be a passage introduced 4s an embe lishment . In a singing style .A short song or air, .At pleasure, ad libitum ? ‘An alr, shorter and simpler than the aria, ‘one division, without Da Capo The harmony of three or more tones of different pitch produced simultaneously , rie apE ements the end of a composition 1 Wi . .Swelling; increasing in loudness m ro . From tis beginning Dal Segno (D.S.). |From the sign Decrsacendo(decrese.) Decreasing in strength Diminuando (dim.).Gradually softer Divisi, 2... . Dolea (dol). . Doleissimo. . . Dominant... .- Duet or Duo. Fortissimo (ff). Forsando( fs >) Jorma. ..... Perec cen - econo. 2... Zegeta. .. Leadger-iime femtc . Distesrs tempo Loca. ex tava son fro westiies rc agyiere Marcaic Men . Mew res Masso : h _ The figee ”" Divided, ‘each part to be played by a sep- arate inatr ument i e . -Softly; aweetly . . Very sweetly and soft] . : 1 The'fifth tone in the major or minor scale . . .A composition for two performers a: i ant, graceful . . With energy, vigorous! . . Alike in pi th but different in notation . . With expression . The concluding movement . vp hs ene. . - ou : Ket strongly, diminishing instantly to iano a very lo ud . Indicates that a note or chord ib to be strongly accente . .Foree of tone . . .With fire; with epirit . Joyously; playfully . .Exact; in strict time. . Grand; pompous; majestic .. .Wery slow and solemn .. .Gracefu : Hn general, a combination of tones, or roducing music . degree of the scale, the tonic . Very broad in utyle . |Slow, but not vo alow as Largo; nearly like Andantino oat and slow; the slowest tempo-mark . .Smoothly, the reverse of staccato “| UA small added line above or below the staff Sow, between Andante and Largo .In the same time, (or tempo) In place. Play as written, no longer, an octave higher or lower But i pb t h so Ba Ate bertitce ‘ Major Key Marked Tt ni or “Hialt: Smo: rately Mezso-piano (mp) . Moderately soft Minoré... 2.4: Minor Key Moderato... ...- Moderately. Allegro moderato, mod- erately fast MOlIO, aos ew waa Much; ver. Morando . Dying awdy . Mosso Equivalent to rapid. Piu musso, quicker. fete Motion. Gon moto, with animation Om. 1 -NO Notation. . The art of representing musical sounds by means of written characters Oddiigato ... . .An indispensable part Opus (Op.)...-. A work. ee Oia. so. ee Or; or else. Generally indicating an : easier metho . ffava (wes) ...To be played an octave higher ause = (fN - The sign indicating a pause or rest. Perdendosi. . -Rying away gradually Piacere;a . a pleasure Piantssimo (. - Mery, softly Piano (p) . Softly POC scan se ea More. Pik Allegro. . . .More quickly ye fosto. . 1... wicker vco orun poco. .A little Poco a oee. ag rade by degrees; little by little Poco pix mosso. .A little faster Poco meno... . » A little slower Paco pit. .A Little faster Pu... . Then; afterwards Fomposo . . Pompous; gran - Prestissime _ As quickly a8 possible resto, ee Very quick; faster than Allegro Primo (70). | . The first . Maries... A piece of music for four performers. Masi. As if; in the style of . mintst, 2 2 we A Piece of music for five per- formers Rallentando(rait.) Gradually slower Replica... 1... Repetition. Sensa repirea, without a With special emphasi Rinforsando, . .. With special emphasis Fitacdande (rit.) .Gradually slower and slower Risoluto.....- Resolutely; bold; energetic Ritenuto.....- In slower time | Schersando,... . Playfully: sportively . Secondo (24°) . _ _The second singer, instrumentalist or ar Segue Follow on in similar style Semplice . Bimply; unalfected|y Se Without. Senaa sordino without mute UBM. ww . Sfursando (sf. .Foreibly: with sudden emphasis imite or Simili. .In like manner Smorsando (smors) Diminishing in sound. Equivalent to Morando OO, vee For one perfarmer only. So/¢; for a1) Sordino ...... A mute. Gon sordino, with the mute Sostenuto...... Sustained; prolonge Ballo i a a a wise posr under. Softo voce, in a subdued one Spirifo... . Spirit. Spirito with apirit Staccato oo Beinsked’ astera e BE : 5 Stentando . i -Draggin or fetarding the tempo Stretio or stretta. .An crease of rt stretto faster Subdominant. .. .The fourth tone in the diatonic scale Syncopation . .. .Change of accent fram a strong Tacet Be a toas Signified hat an instrument ACF, ee ee 8 silent” at an en or vocal part, 80 areal, is omitted _ during the movement or umber in question. Tompo.. os Movement; rate of apeed. Tempo primo : Return to the original tempo. Tenuto (ten.). . . Held for the full value. Thsma or Thema. .The aubject or melody. Fonte... oe The key-note of any’ scale. Tranquilio. ... .Quietly. Tremotando, Tremolo A tremulous fluctation of tone. THOeavs a Boe ease A piece of music for three performers. Triplet owe A group of three notes to be perform in the time of two of equal value in the regular rhythm. Troppo... ou. Too; too much. Allegro, ma non troppo, . not too quic Ly. Tuctt....... All; all the instruments. Un. ee ee A, one,an. Mma crda....,,On one string. Variations... . . The transformation of a melody by means of harmonic, rhythmic and melodie changes nd gmbel]ishments. Faloca. . . . .Quick, rapid, swift. : Fibrato. . . A wavering fone-effect, which should be : sparingly used, Fivace .....:. ‘ith vivacity; bright; spirited. FBR ccomccansdtinacenne Lively; spirite J turn bier quickly.GU ee ee eeeerrFrrrrePrPeeeeeeeeeeeL.eee,l! INDEX. PartlI. page Principles of Music... BE Lesson... cceecssssscssssssseseseseecssenssnssessnenmmnnermncnee’ AB General Instructions... Duos Concertants 48t LeSSOM oonncssccccssescseseerseesernennenonennste TED Les SOM caccesecccccssssesssussersnsvanscecsseeeseernnenccennsess OT acssnnenseeensornnennsennensnseunnnnnent gth ee BT sy ccasnennnneesnsnsesenennanenunnnrvenenunneent Duos Concertants Qt Lessor cecccsssscsscssssesssersssssseseteessesstseesnsneresssasssees OE Easy Duets ereccsesrcsssssessiseersesssntecemeenninercreneaenner AED LeSSOM caecssssssscscesserssssesussenensesseunnneeusntend AGE = sensesmmnmomenrenenemreaeee eae Easy Diets ascsscssseeestsnennennsenant .26| 1th + ee Bt Le SSOM cessssessessssssssssvssennnssonnensncneneenne™ 33 | Duos Concertants .........cccssssssssssnessensensrsnessceeee 73 Duos Concertants -nnrssccssecccssersemensennsencernan AD | 12tH Lesson ceccreseeesssssssseecseussssnnnsernsrceetateensnee 77 Lessons to practise the sound on the Perfect Chord.............. 83 Major and Minor Scales ...---sreessenesrercannnrneenes suvsanocaseacas 85 Scale With ACCOMpaniMeEnt .rececsrsserereeeseernrersenersneene see 88 to 96 Exercise on Intervals with ACCOMPANIMENT rerssseeecserererreneessneerenens 97 to 101 Duets on the division of times, with Common time... 102 to108 Exercises for the lips and the COMPUEC.......essscrsr-scesueeeneencnnsnnssersnsetets 109 18 Preludes from Collimet....ccsonc.. ssssssssssemssssmnseermstmneremnrrns Lit Double and Triple tomg wei mg ....---r-esssneerwereseerneetensnnrerrerrnre 119 to125 Shakes, Grupetto, Portamento ccucsesaueamuaceasanensencenasanenegnccansesqsocssennensinea 126t0131 1St Suite of Series of 25 Studies... juseeneee 182 t0138 25 Studies on the Scales... wanes 13940147 ond Suite of Series of 25 Studies... 148 Exercises on the Grupett o.-.--n--scssenecccsstereseernnmmnntmerener 150 to154 155 Bd Suite of Series of 25 Studies. vamsrenenmnnumencrnnssnnRudiments of Music Before the student commences to play any musical instrument it is advisable for him to become acquainted with the rudiments of notation. Music is written on or between five parallel lines, called the staff: The symbols indicating the pitch and duration of the different musical sounds are called notes. | There are seven natural tones in music, named after the first seven letters of the alphabet in the following order: C,D,E,F,G,A,B. These seven tones are repeated from the lowest to the highest register. To determine the name and pitch of the notes, a sign called a clef is placed at the beginning of each staff. There are several clefs. The music in this book is written in the treble(or G) clef placed on the second line of the staff and naming that line G. The names of the lines and the spaces in treble clef are as follows: A, Lines Spaces Notes in succession SU a a a Te et Pr Fr re rr Fe Se ee EF i The above notes are not sufficient to cover all the tones of the instrument's full range. For this rea- son it becomes necessary to go above and below the staff with the aid of short added lines, called leger lines. ate Below the staff The time value of a note is shown by its form: o whole note, d half note, d quarter note, dor in groups Ja iaaa eighth note, A (or in groups f4 Pere) sixteenth note, etc. The duration of a note is measured by beats or counts. COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES 4 beats E A Whole Note, = - Se Comune, 4 28a 5 . is equal to P besa me ; oe ——$——————————— q Gount: 1 ae & 4 i 3 a. or one beat S ™ 4 Quarter Notes, or 16 Sixteenth Notes, Gount: or 32 Thirty-second Notes. Count: N676 iif A a ‘1RESTS The symbols indicating silence are called rests. For every note there is a corresponding rest having the same time value,as shown below: whole 42 14 Ya ‘1A6 1/2 One or more full measures: Each Written music is arithmetically divided into measures by bars drawn across the staff. Ea measure contains the same time value. How many beats each measure shall contain is deter - mined by the time signature placed after the clef, (44, %, 4M, 3g, 8% etc.), The top number gives the number of beats in each measure and the lower number suggests the kind of note that is to receive one beat, i.e. 4/4 means two beats to the measure, one beat oneach quarter note, The time signature most frequently used is 4/4 or common ‘ime, also marked ©. This time signature indicates that each measure contains four quarter notes or their equivalent. 1 2 3 4or mere | The double bar indicates the t end of a strain or movement. ouble bar =4 means to repeat the preceding, = means to repeat the following, = = means to . Tepeat both the preceding and the following. —=4 means the end of a composition or move- ment. Coun:1 294 24 2 2 t fresatte2esa bar ba: d ACCIDENTALS A sharp (#) placed before a note raises it by a half step, A va¢(b) placed before a note low- ers it by a half step. A naturad (4) restores a note previously affected by a sharp or flat. These symbols are called acctdentaés and they affect all the notes on the same line or space throughout one measure only. Gt » cH (Cc) Ft Example: KEY SIGNATURES When the tonality requires that certain notes be sharp or flat for a considerable number of meas ures or throughout a composition, the sharps or flats are grouped together at the beginning of each staff, forming the Xey Signature; they affect every note of the same name throughout the compo - sition or until a change is indicated. Bb ob INTERVALS An infervad is the difference in pitch between two tones, in other words the distance from one i note to another. i Cto D Cto E Cto F C to G Cto A _€ to B C to C ‘ a - = r “Second third “fourth “Fifth “sixth seventh eighth (or octave) In the above example the intervals are counted from C, the root of the natural scale, but they may be counted from any note, N676 I"Se ee ee | a ee oe he lle i se Bs eae eee eee ee eee ete Ue eee eet eee UUme UUme UL le ee SCALES A scale consists of seven consecutive notes between any note and its octave, separated by in- tervals of 5 whole-tones (major seconds) and 2 half-tones (minor seconds). There are two kinds of scales, major and minor. Counting upward in the mayor scale, the half-tones are betwcen the 8rd and 4th degrees and between the 7th and 8th degrees. Starting the major scale on any other note it will be necessary to either raise or lower some of the notes to make the half-tones fall between the 3rd and 4th and between the 7th and 8th degrees. Scale of A major 3 sharps in the Key signature Scale of Bb major 2 flats in the Key signature Following this procedure on every note within an octave, we will have twelve major scales, with key signatures as follows: THE SLUR AND TIE The siur (—~), a curved line drawn under or over two or more notes of different names, indicates that these notes must be played smoothly (legato) without any cessation of vibration. When this sign (-—~ or~—) connects two notes of the same name it indicates that the first note is to be sustained for the value of both. In this case the sign is called a fie. THE DOT A do# to the right of a note or rest increases its value by half, and each succeeding dot in- creases the value of the preceding dot by half. ds= d+ 4; duz deeded or, using tres de= d_d; dwzd id fh Jee da dh duc dsdeak disc gh ead sal ah THE DYNAMICS The varying and contrasting degrees of intensity or loudness of tones are indicated by signs or letters of which the following are those most frequently used: J = Forte: loud imp = Messopiano: medium soft Uf = Fortissimo; very loud p = Piano: soft mf = Messoforte: medium loud (Pp = Pianissimo: very soft —— or cresc.= ereseendo; the intensity of tone or tones is to be gradually increased. ———- or decresc. = deerescendo: the intensity of tone or tones is to be diminished. dim.= &minuendo: decrease the intensity. Ne7E af or afz= sforsando or sforsato: give a sudden emphasis to the note. IIITHE TEMPO The tempo indicates the pace of the piece or movements, usually written above the staff at the beginning: Largo Adagto- very slow ' dilegro = fast Andante = slow Fivace = lively, quick Andantino = medium slow Presto = very fast Moderato = at a moderate rate of speed Meno mosso= slower Allegretto = medium fast Pit mosso = faster Modifications of speed inside of one or more measures are indicated by: Ritardando (rit) = gradually diminishing the speed Rallentando (reali) = same as above Accelerando (accel) = gradually i increasing the speed The last three markings are usually followed either by a change in tempo or: A tempo: to play at the previous speed The Fermata or Hold (7) above or below a note means that it is to be sustained beyond its indicated value at the discretion of the player. Some other commonly used musical terms or marks: Da Cafo (D.€.)= from the beginning Fine = the end . Dal Segno (D.S.)(3$) = repeat from the sign, usually as faras the Fine, or as far as the Coda sign (), then skip to the appended ending of the piece, marked Coda. Appoggiatura— grace note or notes preceaing the melody note: ee av = Mordent, a double grace note oo oo = Gruppetio or turn is a group of four notes consisting = the principal note with its upper and lower =e notes. eeeaptes t= Trill, is a rapid oscillation between the written note and the note above: M.M. stands for Maelzel’s Metronome, a time beating device, indicating the tempo of the composition. For example, M.M. @ = 60 means that when the slider of the _ pendulum is set at 60, there will be 60 ticks per minute, one for each quarter note or its equivalent. N676 Iv= General Instructions Care of the Instrument _ } Keep the instrument clean inside as well as outside. Rinse with mkewarm water once or twice a week. Never allow the inside to become dry. Cleaning by pouring a small amount of water through the imetre- = ment once a day will keep the valves in good condition. It requires less exertion to produce a tome when the instrument is a trifle moist inaide. Any brass inatrument blows more freely im a moist atmosphere than in a dry one. . = The Valves Keep the valves clean and their action will always be good. Remove them frequently and clean thoroughly. Remove also the caps at the bottom of the valves to cleanse the inner casings. A thin oil made capecially for the purpose may he used for cleansing the valves. Never use machine oil of any kind. | The Discharge of Water Water should he discharged at frequent intervals by opening the water key, but never let the water run off through the mouthpiece. How to Practise Set aside a regular time for practising. = Stop playing and rest when the lips become tired or the head feels dizzy. Ce sepeactive of high tones is harmful. , = Do not attempt too much triple tonguing. It is seldom called for except in solos. = Give particular attention to the quality of tone and to style and phrasing. Avoid the tremolo or vibrato style of playing. The tone should be clear and pure. Long, sustained = tones should be included in daily practice. = Transposition = i Learn to transpose after you have a fair knowledge of the rudiments of music and after the first stages Ll | of instrumental study. 7 Breathing = Breathe through the corners of the mouth, never through the mouthpiece. Measure the length of the breath by the length of the phrase to be played. ad Breathe in accordance with the phrasing of a line. Ls Do not inhale more deeply than necessary. = Tuning Li Tune carefully. : Regulate pitch by drawing the slides of valves to the required extent. == Train the ear to listen for accurate intonation. The temperature of the instrument affects its pitch. | ae Time i As Practise exercises slowly at first. Count mentally, not with the aid of body or feet. : = S Give all notes their proper time value. Play with perfect rhythm. = a After Playing = A __ See that all the water has been discharged. This will svoid the accummlation of verdigris. Push all = slides in, remove and clean the mouthpiece. Lg Additional Advice e Ensemble and orchestra playing is most benoficial. ; Hear good music, eepecially performances by eminent solnista, singers or instrumentalists. b= Nothing is too simple to practise. a Keep your instrument in its case when not in use. - N676DIAGRAM OF CORNET Giving Proper Names to the Various Parts of the Instrument ist VALVE 2nd VALVE 3rd VALVE FINGER BUTTON These two pictures show the comparative differences in size and Proportions of the Cornet and Trumpet. Pictures furnished through courtesy of Carl Fischer Musical Instrument Co.EEABREBRRRBABRBRBRRBRRRRR ERE ee ae eee THE TRUMPET or CORNET The natural compass of the instrument is two and one-half octaves although —— higher and lower notes may be played even beyond that range by players pos- t= sessing an unusually strong embouchure. dat 3 The instrument is built in B flat. The first and third open notes should ——— = c Cc correspond to B flat on a well tuned piano. TONE PRODUCTION Tone is produced by the combined action of the lips, tongue and breath. The lips act as reeds and pro- duce the vibration. The tongue is used to start and separate the tones. The breath determines the length and force of the tone. Place the lips together in a smiling position, leaving a small opening for the tongue; put the tongue against the upper teeth and articulate the syllable “tu”, jerking the tongue back quickly and blowing through the lips and at the same time vibrating the lips — this will produce a buzzing sound. Practise this until the buzzing sound can be held for a few counts and can be kept steady. Then practise with the mouthpiece. Place it in the center of the lips, one-third on the upper lip and two-thirds on the lower. Try to produce a steady sound, using the above procedure. The lips and cheeks must remain motionless — only the tongue should move. Do not press the mouthpiece too tightly against the lips. It is true that the lips must be tightened for the higher tones, but this must be accomplished by the muscles, particularly those at the corners of the mouth. The muscles of the lips must be drawn more tense for the higher tones, and the tension must be relaxed for the lower tones. Practise with the mouthpiece, beginning with normal tension, then tighten or relax to produce higher or lower sounds. The student should become proficient with the mouthpiece before setting it on the instrument. PLAYING THE TRUMPET or CORNET Hold the instrument in the left hand in a horizontal position. The hand should be clasped firmly around the center of the three valves. Place the thumb of the right hand lightly against the under side of the “mouth- piece branch” back of the first valve and place the tips of the first three fingers on the valve-buttons. While playing always keep the fingers on the valves, letting the fingers bend naturally over them. When depressing the valves keep the fingers arched and push the valves all the way down. Perfect posture is important while playing. The elbows should be held at a little distance from the body. The body should be held erect so as not to cramp the lungs. The breathing should be free and easy. Try to produce a torte on the instrument using normal tension. In most cases the sound will be the second open tone (G). When the student is able to strike this tone several times in succession, he is ready to begin to play the first lesson. Practise’each exercise until it is completely mastered.The same remedy applies to this as to the Sregularity of the wind and the tongue. 123 465 6 Counter times in§ are also often badly rendered, thus: is badly executed t t thus: Bese and always for the same reason that the tongue and the wind are not regular. t t COMPASS, SLIDES, SHANKS AND CROOKS = The compass of the Cornet is from Ee] The Cornet most in use is that in Bb with short shank te on, called Bbshank. The Aland BbShanks are usual still more rarely,(Cornet in Cis sometimes used for pl. Thereare 4 slides on the Cornet. ly employed; the AbCrook is very rarely used ,andtheG Crook aying from vocal or Piano- forte music without transposing.) 18t The tuning slide which is a continuation of the tube from the mouthpiece and which, ifthe valveis held as I have shown, can be moved with the thumb of the left hand in order to remedy certain defective notes on too sharp. sometimes flat. generally sharp, $ 2nd the slide of the 15t valve drawing out towards the mouthpiece. 374 the slide of the 204 vaive drawing out by the sidein the middle of the tuning slide. 4th the slide of the 31 valve drawing out towards the bell, In Bbthe three slides of the valves are closed, In A that ofthe 3% vatve is drawn out nearly one inch,that of the 294 valve is drawn outa quarter of an inch, that of the1$t valve is drawn out 5 ofan inch. If the Aband G crooks are used the slides are lengthened according to what has already been drawn ont. Cornets in C; the tuning of their slides differs slightly from that of those in Bband depends onthe instrument, which has not yet arrived at perfection. : OF THE TUNING. The Pitch of the Orchestra is based onthe Aof the oboe. Totune with the Orchestra, the Cornet should give the corresponding note whichis: , With Cornet in C. | al Phiist LESSON. a Tihese Lessons are equivalent to Studies with Shakes although written in a Slow movement For this rezsam I ewe not written special studies with Shakes as these answer the same purpose by accelerating t*2 meve- ment Be careful alway to press valves or pistons down fully, otherwise the tone is imperfect: G Fifth Degree or Dominant of the Key of C. i F 2 & _—__ a we Se ES SS . a a ~ Halftone under. — ——= - Whele notes. Half notes. Quarter notes. = a i pe SS SS = > > => => > = = = SS > & This Exercise should be practised until you have cometo ylay it in time, and as purely as possible. 2 Quarter notes. r— Half notes. 2 4 Whole notes. = 2 e = = > > => = {Enharmonic& | Synonymous. . Same notes slurred. nN on’ & tr} Od Es [pb O—@—_ Ho et : 4 é - : F a => | oa) y : é : = z 5 fan iz BS pte pee e Ae : Pn a3 = wy G i : 3 Ls 5 a ST a = —=3 = 4 es == E sf : oo y £ st ie = = | 2 co ca Hrs E ea te =a “= Tt eS | 7 + P % By = a -y } ee - Nate = — — [Gs Leadingnote of A Minor Key. ] 5 2 3 Sixth Degree - of the Scale inC. Explanation of figures:0 open notes, 1.first finger, 2. and finger, 3.314 finger, 3) ista@eand fingers together, }) 15¢ &-31d fingers together, 2) and & ard fingers together. 2) sstod &3td fingers together. Diatonic Result. Slurred- Interval of Second. ae armonic onymous. pene Slurred.re, rit is unnecessary to repeat it he ng the trilt being already explained The manner of execnti See Article XVIII. . rT" 1ITT! Chromatic Result, Diatonic Result, B> l Enharmonic & Synonymous As Degree 7th of the Key of C.res ar 5 te o> Cc sth De of the Eey of C. gree A halftone under. Diatonic Result. | Enharmonic& ] Synonymous. I Enharmonic& | Synonymous, Bi tt a rr a =! ; ee ee ee Q a3 3 8 vo mr + 2% As gs Hs 58 by Observe that save a few harmonic exceptions notes made sharp tend to ascend, and notes made descend. flat, to Major. EXERCISES. Resuming the preceding Lessons. Major. 120 to 132) (2 times d d (Met: 4times d 3800SERIES OF 25 EXERCISES(CONTINUED) sek Moderato. Je 120 i ingsThese lessons being a resume of all kind of grupetto, I have written no special studies for the same. CHROMATIC AND SLURRED NOTES. Introdueing Double Sharp x and Doubled foe (Metsd = 69 to 120) arg ag Tit gle acu r é ta oe | oe Oe ; > eS SPS —— : ng — a= 2928-24Fe td 4 a we 5 Se ee ete — Tg TT ee ee r++ y = 5 tire 5 6 or Ast Pret - 2428 2998. 2429 MH ft cf 1 to Coda G. —* te Son pe HUNTIN ee. at (4 = 108.) ee 2928-24 teense ——ee ARPTRrRRrRReHEREERE RR RRR TORR RTP PTR ORT RR RRP Rrra)30 69.) ante. (J Allegretto quasi And hg | == ge ee ge —_ Pt So 9928-24Allegretto non troppo. (d.= 76.) Languido (with langour.) aPTS 34 ALI receeKeeKK LLL LLALILELETUUTreeeenreener eee eepoco riten, morenda. 242K -24EN on) 5th LESSON. APP RFP RPP eee ete ee et et ee ete eee eee A Semitone under. ed Slurred. 7 Potts f io og gag gg a = ou Eb Enharmonicé& Synonymous De Slurred. Fy Enharmonic & Synonymous E esult Lesson. & or ze Ss 26 RE Interval of rd Descending, er 3° SCALES ON THE 314 DEGREE. 1 2 r ye t oF sea + = 4 E Major. = Scale in ah ae #2 See Scale in Eb Major. Ge ° Scale in E Minor. =a ES Z Me ae Soe Ses 2 3 <> 480034 Scale in Eb Minor. Synonymous. 2) DIATONIC INTERVALS. (tobe practised, 1%t time as written,2™9 time slurred 2 by a 5 Ww E = & Thirds in E> —~ —- + ro eye D2 tt rt Fourth in Eb Fifth in E}. Fifth in Eb, Sixth in E}. Fh | irri MANGE, Sixth in Eb. 3500& 5 G a = , zits ad Be 2 . S ialh)s = ned & wo = wn H p 2 E a = {2 & © 5 a “4 : 2 Ss g g = & wv Sq ow x Sect oc 2 eo ~ a es Ooo a 24 = tt ee us a r . za — st nt ; e = S sa ne a o ne’ na = aa at a fen “ Nine wa ea é wos a h oven — S bt oO | = 3 = %o T = = mos & a o pe a £9 : F ~ a se lSi(MPye a 3 5 gS {ls z a 2 4h o vo aad ae wi ee p m = 8 Be e a 8 a a & 3 oe x ‘ wm Fe = ae if 8 : 4! a Sos 5 iis af > ~ 2 Senn o 2 = = : : : 3 Sa iz be 2S nad = A = Suk w E e Bos Do ‘I ‘a4 i [es 200 = 08 [es 2 ee e aAS a c q S a Fe oo a —t ort ” wn a — 2 ee vo o a Skee ge A = a > > a= @ oa o a as q Ar 2d 6 § 8g 8 H°S 2f 3 a & 5 6 a <5 2 Ear AUPLPrrrrcrceop_wrUELLLULTLL_ALa_a_UVTUVURUURURneeeerrerevrerne36 Exercises resuming the preceding Lessons. . (Met: 4times J -66 in A “ 5) i en nines SS joe Same Ex:half a tone lower in Ab Minor. (If Bb Shank is substituted for A, the effect produced is that of playing Ni 2 as itis written, a |$7 Fs] 3 a ee i ih iE rh Th LY He ie Md ~ “Th » - it : oo g = © 3500 ATT CKKKKKKLKKRARARRARRRTTRRRRARP OPPsVARIOUS ARTICULATIONS TO BE ADAPTED TO EXERCISES N03to10. i A Oe Le A Ge LE LE (FY [I (S VA RA WR RR AR PAE EG & 7 ou & VARIOUS ARTICULATIONS TO BE ADAPTED TO THE ABOVE Nit. ‘ HH rr] AY a a om OCT ‘a Vy ity) ana iii) Ph na el Ri | 1 AAR SB anh rn i | NA RA OA [RA AAA . yy ia Ls ih uN tt & q i| i] i| . : us is SS § a rh hOU ES) CUS — . “| “4 + + 2 L WH I H re SA a oO wo Lud wanes d td te I | ls Hee Hee Ke Kee NES Het nl toma 3500= 112) Met: J (ets d -108.) Allegretto. ( 1 a 360040 wails fete a La? Pe 4 times. | ee) a eeedaatcd-icenl afempo. fi ia hy LI Loa a rallent, tI|| eta ie an ee) eerie EE ———___—_ Modt® quasi Andte Se ee ge ee Lae 2 gg a re Ri nape mas Eerererecs Sar #2) 2% Same Mov! (Met: d Se eo be | oot fn — a a ee a} a Ge Re ae 4500—_ --“"1U GHW DIUTS. it ik 1 =>42 (d = 84.) et ae ae Pg ee ol eo PP Se ed = iaspen era a Py ae eet 2928-24720 roe me PP &mor: 2924-24Amusing Rondinetto. 120.) Lively. (d st time. La time lo Trio ad 2998-243 eee = slower. == P Minor, a little eee “ #8 re res N. 6th LESSO F zs Semitone under o = Shirred. qe SSS = rel plete ete at on oo SS See Slurred. == LEB a =e Slurred. Interval f Tenth 0 ~ Gb Enharmonic& Synonymous. Slurred. f ra te { =] ? Sa I a sz fo on ee SSS 3800 a =Recess! sy oA |e 1 Chea Ee a Po H te = fa z Saal wm an wm fa ml o Pall = all fa “SS = ill = oo bat Sil wn ty =] -t oO Ww E 2 a a o : 5 inG Minor. Gb Major. Synony mes. DIATONIC INTERVALS. To be practised 18t Detached and Sturred. 4 ~ + —+ 3800‘tie Ss a a = ae Sie GS In Gb Major. In Fé Major. —= f Seventh in oe e 3800 | ; — Sixth in G, pre e Fifth inG InG) Major.48 In Gb In F# After having practised these intervals it would be good toturn back again (see 4th Lesson,Practise of the 18t Piston) and using the 224 Piston in place of the 1% to play the exercixes as they are written. You will then find that you are playing in BS instead of Bb,the notes remaining the same. ! Lh) Sele ee tay ee Tas Chromatic Result. SHAKES OR TRILLS. Synonymous. Majer. ] [wees Major. 2 121212 prOny z Ne oxen as Fa Aly o bs © Minow & Mixt, Diffieuit not practicable. EXERCISES ON PRECEDING LESSONS. (Met:4 times 4-152) (2 times ¢-126)with A Shank. (Metsd - 138) with BbShank. SE ON THE OPEN NOTES, LIP PRACTI JS [ea i ia pt = at ag ae Ct Sree(Met: d-92 to144 STUDY ON THE RUNNING SCALE. wayMet: = 69 to 120) Lessons. ing 2 Duos Concertants resuming the preced 2.) 108 to 11 Moderato. (a fea i | ot a Testa. be 104.) Allegretto (¢ ee ee aid eT ee — ea rj apes | ) f fe I Moderato.(« = 104.) 2928-24_— cr eel ra Pes po Pt Allegretto. (d= 803 I | |Sturied, os aN nad 7th LESSON. ah gt po le wo oe Sa PS 4 epg eee ee oe A Semitone under,Ps) = 3 w ow mS o — & °o = ed om be Scale in Ab Major. esson for the Synonymous of this: in Gz Minor.) (See Sthy e co ec — a = = q — 2—— * 8 A =e a 0 = 0 SSS Resume of Intervals. Chromatic Result.56 CHROMATIC EXERCISES. fee D ondDegree of the Key of C. Enharmonic & Synonymous. : fn fm mersl Desens EE be ad se _ ao Slurred, z Symes | aa ee ES Diatonic Result. pepe te Seale in p ajon 6 EEE Z =p = + eae SA Jee 380058 Same movement, SEVENTHS. 2 Bars for one of preceding time, Movt Double. Octaves. F soieiepne hacen lea hares neal oD ee Raateeninnl meee el Same Exercise in D Minor. Petre — oo —— — rs eee ee eee pee Dd Ty (=F s800Same Exercise in D>Major. fete Sa peer | par — 1 $952 ee ee ss —_— 5 2 — ft ee = eater SSS 4800tet oe eee 2928-24 oa ee ee ie ee io i A LS SS a a Mixt. Minor, Minor. Both Major, Duos Concertants resuming the Preceding Lessons. | ~@ eeT 2 * ee6 a a A +h a rT Hs ul NT | “OTR yl M Syd 7 ae 2 a ro? 100.) (d retto. Alleg:Gz 2928-24a Ee === eet ) {32 Lively. (d Allegro.= ITA = TRI = Ith rrr MTT irr iTAT ire TAT mT * a fn ~~ . F Hy ih Hy fo 2 Slurred. ss Slurred. oS ney re Diatonic Result, e ” Paharmonics Sy Tony Mows, a. Mor 3 ° oth 4 interval of hid =Fvr 4 x 2. _ 4 stein Es ae ® 2 a ann See © Lesson for the Synonymous scale of this' in Ab Minor. y" | notte Beet ssa opie ah ee ae Oe 9— jg. oa 4 SS gS Se =e Se ! RESUME OF INTERVALS, GSE aaa seas weersepe wre ert eh tbe Thirds. Fourths,66 Chromatic Result. | ween ee eeeeeeee tenn ——————— Sa aera LF Difficult. 101) LESSON, C B 18t Degree = + ae : < [> = 2 6 - Key of C J fa EEE oe Tonic e oe = : , ; o = A Semitone under. Bor 2 c ; Semitence under. 3 2 Shurred. > a SS e eer 6+ Fret ty ar dca 7 oe Ee = Sa "SE u A Semitone over, Chromatic. Interval of = Fifth. Slarred. os = = ee -~ ~ Shirred, Interval of >TERVALS, = x So a ce << = = E 5 ont 2 Ad wi 7] a ne at Ks ut st | 4] ah 2. I| Ty AS ath . oh Ef He Ar ote & i He ; ae. | 2 a HH 5 ni rr re x LY ic CI Uy \ wa TM | | a " = LH = sc o A « © £ nz e HH % el og Ww - v a = & S Ss Ss 5 = p f | % f° 2] += v2: Eh a @ € fe . a ~ {ll A a < 2 bi hs | e w x“ Li ‘ < a:ae le —(E @ rase TS Tihs att tH His! rs || He Hi un ; ns Zit We ft : Hi* Md eis g TM HN mm a Hii ih | 2 If ih ak oa tit if My s a i i il AY WN BW = 8 h 4 Hie ‘ = 3 WH Le 2 TH cr] = : 2 [th Hh || E H S Tt rl & oH a EY ‘ | ‘ z iH s | a TH = ote kh i/° fs } | S Inte i ¢ ea a te + it | + fa ein go Ht LY a nH ce + | ‘ “ ti ctl | ¢ | ‘ = $ : He te) we Oo “4 Fat 2 elt Vin [a ip Heo me HH + 4 HL ih 2 I Ju II ee A . 18 4 allt) + i! z NEe REE NOs SMO NSS 3800a si } be pctees) 12 Met: from # = 60 to 4-76 withthe Common time 4 inthe Bar. 24,3 “ to be practised) 2° Mu: fromd= 56 to 4 - 104 beating LiL bab baekd ere) tad mm 1 other model, 2 zother tuodel. A | A ss cy a Tr i Pty HH iS Srecscos = Se ig ee MA a70 1° Commontime @ Met: from (d 54 tod Trays ° Common time alla breve Met: from ids 54 to's 84.) f 1 Triplets to be played: Cintas 10.2 4 Feil eaeSlurred. Ss. KES OR TRILL tith LESSON. b SHA “Are not to move the instrument or the head. Gray, ee ve Tatad libitum. Minor, Easy. Mixt. —S 3 Difficult. Chromatic ra tte — aT = — 3800\ ~ MODEL OF A SCALE IN B}> ~~ Exercise onthe Diminished Seventh. ? essons, Duos Concertants resuming the preceding L 4112.) Allegro moderato. (dtt i aha qe re = 4 yt Ped A 2928-3475 nte religioso. id = 69,) Anda La76 = sercae =o SS — Pata ee == ets a — eS os ee a et ey st Ys 2928-2412th LESSON. = If the C cannot be played this = try the next,do not furce it A‘ If not yet inthis way try the next 0: Speatelt ere per ee desinennpeiiite Sees are Wo 1 Major. Majer. Mp fre tte Lay bs fa bet OS Lee if me #3 = = SS : tee ft ie stirs Hard. Difficult. Easy, BROKEN CHORDS Pet for ee and suppleness of the lips. 2S78 ee |, 4 rr ee at Pi pe ed | bt # _* | wer y Cm | gs00793 $30080 The 3 following notes are sometimes made on the Cornet but are seldom written; they must not be attempted until you are quite sure of the other notes of the medium and have acquired sufficient proficiency to try them. HIGH NOTES. The above low notes are rarely used in 1<' but are more frequently met with in 204 Cornet parts, They should only be regarded soto speak as the pedal of their octaves: you must try to obtain them without opening the teeth too wide as that deranges the lips and you can only ascend again with difficulty; the left hand holds the Cornet well in front of the lips. Provide a guod stock of air for these notes require a lot of wind. Take a deep breath as, the lowest notes demand full wind supply. A few exercises to show theuseand fingering of the above low notes. 3800FITTV ITITIC TOPPA AELALRULLARERARARORERDT ad COMPLETE SCALE ‘DlaT@Nic a v Existing on the Cornet.to be obtained without moving the mouth. or Jeff alome SOG aeTR ae a also of the notes obtained with each > a gg = il tm 2 1 Piston 2 ssages. i eg re FFs Micieeniehs eeealint henna 7a to find them in case of need for certain difficult pa Several of the notes thus executed by using 1,2 or 3 pistons are not altogether very good, but it isuseful to Example of notes which can be obtained on the Cornet without Pistons, a 3 = es P a Sie a Ee 3th ie 2 6 ' & g ig z\\2 2 = $ a o = a 3 ty a a : = ite el\ii$ be a. a 5 o's + S ax 0 5 S e % a zB z Pa t By so | = = ue ice “ No llt a vt Le nN i ae a 5 ra i Be S = m = 3 x Th ™ zba LESSONS TO PRACTISE THE SOUND ON THE PERFECT CHORD. any way,the lips - The left hand should be the sole regulator of the high and low notes by a pressure of mere or less power. The right hand should be entirely free and in no way contribute to p strament on the lips. Tessing the in- All these lessons Should be executed in the movement Met: Je 52. The above and following lessons should be practised first in plain sound, thus: Sons filés. SSS then secondly thus: a | attacked piano, > — SS - > > <= <=> swelled out and diminished without undulations and without raising orlowering the note. In this kind of sound the letter T should by pronounced as firmly as forthe plain sounds, only the wind is kept back and gradually swelled out and diminished as required. No sign will be placed over the notes; itis forthe pupil who is desirous of possessing a good tone on his instrument to follow the advice giving him of practising all these lessons at first in plain sounds and then as shown 24 Ex, I cannot too strongly recommend the pupil not topress upon the lips with the left hand expecially in the sous fi/es; once the sound is attacked, simple hold the instrument well in the same place and press only very gently. | Cab Pits » See 2500 wees SSS SSUES SOOT TTITTTITM)MPRE DARE 5 aN AI ae oh = se0085 NOR SCALES WITH SHARPS. MI IN THEIR ETYMOLOGICAL ORDER. D N MAJOR A te ee 5 r TABLE OF THE A Minor. APEC TATAUTETAILEPLALITITITIIT Ieee ee86 OR SCALES WITH FLATS. ND MIN IN THEIR ETYMOLOGICAL ORDER. MAJOR A sa ps Pcs he aa oe ee ed (5 oe C Minor, it h ll | | . il HT s i Lf a4 ir F Minor. Eb Minor. 3500Scale om Cf wth sewes Stacp: seme hae tan oe ee oad > Somer eo So De worl five Flac: time os me eee ple. a Som iim of Be with free Sharp- with seven Sharps = and = b> = ny a with five Flats. Ch with seven Flats and B Natural with five Sharps. Synonymous. COMPLETE CHROMATIC SCALE, Ascending with Sharps, Descendmg with FlatsSaint - Jacome’s Celebrated Cornet Duets BOOK Ul. Scales in the Keys most used on the Cornet (with accompaniment) Revised by Inc Miedjnrte 112.) Edwin Franko Goldman PEI oie 6 a i In A Minor. £ os te e = It would be good to execute them alternately on ine Bb and A Corneta. . r These scales are arranged su that the pupil may alsa play the 2nd line in his turn whilst the professor plays the is. x 2429 - 2f Capyright 1892 by Carl Fischer, New York.en tet In E Minor. 929-4ajor. In DM In B Minor. 2329-21a In F Minor.92 In F Major. aay == SS ee Minor. In D 2929-2193 In Bb Major. Wy = ee oe [—— Lo ee ge ee be a or rr ee sila apa saree ee neh gid Ae ens ined seawe anmee E mece Yee Dp eel ka | By oO i ES a a tere ee = ae r | wl iI =. eaaeee “ot 4 ji {ee Pe ry |]2e79- 21In C Minor. SERRE RERBERBBRBEEEEEREEESE |Chromatic Scale. ae eT pee ee 2079-7197 ATURAL SCALE 2 and 3 beats, taken from the best solfeges, INTERVALS OF THE KEY OF C OR N < by the decomposition or division of the time of bars of §. Snr ' p Interval of Second. TIE TEKKRTRERREE EPP Pee PPPS ~ 31 namm mird. Interval of Th i $$erval of Fourth. Interval of Fifth. alInterval of Sixth. fF = = Interval of Seventh. Lelie A rete > Scr 2999-241Interval of Ninth. a a BS SD Ee Seas at Interval of Tenth. be 2936-21102 ME. DIVISION OF TI 2 ‘3 or alla breve in the Bar. 4 Cummon time 4 in the Bar 2 i . 1 beat of the Bar. st (d = so.) Exercise for the quarter rest on I + y | q Ly y | U i I i i Eo lee _| 4 for the Same Exercise Eighth rest. ed — sani Et i —— eo ot oe i Biceps Rein t —— (Sixteenth Rest) MODEL. ao a of ow mo As = oy oa ond MODEL. sii. The 1st Exercise es 4 executed in?, (he 126.) 4 a Metronume whilst playing. x Ls 2929-21103 ODEL. (Sixternths Rests) 72.) fe §th Exercise so PP oe 2 Eighth notes between 2 Eighth rests. hy 8 | B te Quarter notes between 2 Quarter rests. > Reduction of the 37 Exercise.por a I = iW | | i| | | l L il I SSeS -* 4 p+ Et ty a [XS imal —t Ly 2929-21 7 ai t. 4t aor GJ of the N95 ReductionEXERCISES ON NOTES SLURRED BY MEANS OF THE LIPs. tos lips is avery important quality to be acquired; you should therefo the following exercises without pressing the mouthpiece too much on se their movements. Ina succession of notes of equal value and which are slurred, © or four by four etc. you may suppose them as in the first bar of the following exercise up of 2,3 ortete. loses a little of its value. 4inthe Bar d254 to ¢-66)(2in the Bar des to 4-80) 4 , / SS aa | eae ee ae e of = = = = > > SermUTSr OU > >SlUlUcC US = 1stMODEL. 2ndMODEL. ete as af — aS Se e!!C«d = = a So ES SS ee te, ' Same Exercise ea Slurred eight = by eight. 2nd MODEL. MSU IIIIS IIIT ITITIITITITI ITI > = Se > > = = | , 4inthe Bar ¢ -52tod-72)(2 inthe Bard =52 to 4-60) f= , He )140 EXERCISES ON THE PORTATO OR TONGUEING ON THE SOUND. The Portato is a tongueing used in pieces of slow and broadexecution and in making notes of long auration but in order not to weaken the stroke of thetongue it should not be practised until you can execute perfectly detached and staccato tongueing. The Portato is executed by carrying the sounds one onto another without slurring or separating them, and by giving very soft strokes of the tongue, pronouncing the letter This articulation is shown by dots surmounted bya slur.Lit $ 1.00. 1 ey i te ; i nh o2 WI oO . nA | TO > G \ HS i . aS .; Co | iy ™ {| ay } a td < + my _ wpe a. - -— — Thes This $500 —s e Studies or Preludes can be had arranged for Cornet in A and Bb with Piano acc. Price $ 7.50, Cornet part cannot be played with the Piano acc.unless usinga G Creok.Price Piano part alone APEC OCHO LETTE T TTT TTT TTTSS e a a (a + 108 to 112.) uzaT one es a | RTT | 4 — 19 see ee oe 120 to 144.) Ga: - 120 to 126.) ad Prelude can be played in E Major (four sharps) by changing k into § and b into 4. a a eet Eee LETC ITTTAVVDAUDAUDALAULAUDAUDAIDALIATITIIIITASoO ~~ a rae S>>Sf lento,115 Lt fe Pe 132 to 152) % ae -| (d Prelude can be played in Abby changing # inkandkinb. fa Thi — i $500 TC. =. = i see: LUPE TAUDAIIE TITRE ARAATEARTT RAAToe ct Lae | —— i Suny — Fe i tee te de eae 4 —_ aoe Sra aa aie steed a a 38003560 ADEN OOK TATU TTT ODA ATET ETRE ORIONAeIeeeeeenee> fA — 4500Pee TUR RRRERRERRERRREEREREROTOIIOY oo 119 The Double Tongueing (2i:cry.) ing /Binary)is the mute articulation of the letters T.K. notes written two by two and is a tongueing much employed by flautists. ist be more strongly accentuated than the Tas the articulation of the K is produced farther from the ece than that of theT, tktkt tktkt Hee = ogeThiktiet y | fester ESS (ds 84 tod: 144) eee “tktk a= =i a ttt ktktktk SPT T Tr, pee ne baat Pee tice teat Tears D Tkegiitrtice = tet tA Sperece tht th t tke tkt tk t # = ii 121 The Triple Tongueing.(Zernary, Triple tongueing (ternary) or Trumpet tongueing is used for notes three by three. Take care to practise this with the greatest regularity. , (4 inthe Bar d=76 to d= 100) (2in the Bar 4-69 to d-104) 2724 ttiktttk t ttkittkittktt fttk t ttkt tix t - > ee ee ie i eo ee) eo ooIz2 = = (4 in the Bar ¢-80 to d- 104) (2 in the Bard - 6910 92) oo. 1 feet [222222 =:=52==2S = ew ft tktixet (ee S| t tkhiteet txtekte enteral “Fitkttrt Stork t ttkitee a (d96)ae _— Ve SS SOS (4 inthe Bar d -80to104) (2 inthe Bar ds 69 to J- 96) 123 C6 eee CP NS ae er el ee ee 4a a24 This tongueing may be inverted as follows: it is very convenient for ascending a scale of the descrip. tion of that wich follows but is almost impracticable for descending; you are therefore obliged after having ascended by T. K.T.T. to descend again by the first T.T.K.T. for the reason that the K. being always a little weaker than the T. the high note is the most difficult to articulate, = tkttkt tkttkitktik t 19 ag oa oF I ee Ttettettkt tkt ty t St okt tiketh, ttktey pe = : i GSE Sp tere pererei é SSS ttkt . tkt febit: ES a ET 0 ee e see te = mt titties — t,t SIMPLE AND TRIPLE TONGUEING MIXED VERY EFFECTIVE. + 1 , ‘ 3 ttktkttktt =: rs = me Secs! oe ee SEE, 21 £122 = a —_* e ttkttt ” ttkttt t == t == eg 2 SS Se © = —_—S « (SER ba gi aa ttkttttk tt a i pee RE ee ee al LaeEXERCISES ON THE FOREGOING 5 peer ee eee eee ee ee eee eel eee ee ee eee ee a Oe126 COMPLETE TABLE OF THE TRILLS. D means difficult E easy this sign hardly practicable.Cee ee ee ee ee a RRR RRR RRR DRDO eee 127 BROKEN SHAKE or GRUPETTO. The Grupetto is ordinarily placed between two notes of unequal value p> P and serves to give grace and elegance and sometimes even more energy to certain musical phrases. Moderato, ist Example. as Written. to be played. ondExample. as written. (F Effect. 3tdEx Quick. as written, 4 gee pe OR, Another Quicker - See hae = —_—— z + 4 effect, = a poe o 7 ; a — za Fe 4thExample as written. 5 7 a a a Fe oe eur? es 4 igre reenter written. se This sign (~~ ore.) —att Bae ae is named Mordant. tr" ptt tt 6 ® Slower. 3800128 RECAPITULATION OF SHAKES AND GRUPPETTI. Allegretto, es SRSeGinetiqaRas fBeveee me a Spey stipe ee & = — = ff» | (=e eS —s tne feBermrot, — ey et ieee — — = te i Gi = dl eerie —) Sg eS Moderato. * SS ee ees Andante Grazioso, | 3S SSS SSeS SS + 9S ae Se ts anaes aay 3800 REPRE TRF RRR RRR RRR Re eee rer ee ee ee etMMM EY eee le el ae Ok ‘ rg SONS FILES OR PORTAMENTO (SLURRED INTERVALS.) Sound leading to another; higher or lower, by employing crese.—< and decresc. — "ee a aS Sages ee ee a SSS SSS lee] S el s a St iH {I iS | ia 1 Lit } ia 2S oe ae i # = oy pe130 SS SSS (QQ aa SS SeEEE IE EE! OES OEEEIE II Naki SO ei oes = See = ESF SSR Se : = —=— $e 4 << = $e 2 SS Ss sha PP SS —__ = > 6 SS Sas eS eae (a= SS ee SS 3400132 25 EXERCISES. | | Vivace. s noo = 7 a Zed pe the | | : : | SS ————_—_. lt PS ee fe og tg Og ey oy rei Se eee lee SE IZ ! | | | |A aaa hehe ee eee 133 All? moderato (d = 104) i (DES Cpe pray ns. ace Ce pg eg oe <<. a eS ed ee - #~- fe oN ee sgt sh : _—. ne 4 zh a . hep + tf. eee Tee et soe = “ bo - 4a = = 7 FA aap SSP Es span hie gy ee Bes iad Ke ee sates fea Sea = — a jailed ey Tipe fot HK re wut a la it )134 Agitato(e-154) SS Seas gs aS ' {SSS as | atempo and antinato, i a _ (len eS as = rall, Got SS eae) S800i3h > a he i (152 to 168 and 184) 3800 ARVRTTCTTAHRRARARRKAATARRBADTARAVARARRAARHKRHAKKR eee ee136 = a — ottnt care ae ca on; A ee a ee SES eee eee7 Andante con moto («-84) ina Awdante of Slurred nutes. Z =< CROWN DIAMONDS fo 5 : i t et 2S : asan Exercise. e zy = yas = SS eS = ——— — e pee = Bee eS eet — $e ae aa * ee = i} i . — ZANETTA as an Exercise. eC 5 ro ie Sy Pao tt i a oe rs + — oe era Lary er reat ffeil SSE ae E =A 3800139 iu . aly 2 att ~ . ~~ oH f oun - “4 i ¥ th = . H ~ hd at ais * ry = ul ad e ah ot i : >| 8 Z Sa Sie os si z a g = D Ne © sS = gq oS we = 2 = = a = ie ms I ent (ae > | ae ; a The & nd eS g wee e i an Ps . ~ — ss " a S 5 = ~ = s aw = % « 8 ay | — o Be g jis Bb et om i Od = ae dd a : Sn aus i J a g Oo2og a fl eo. oo 5gs te! ob we a > Aa mies Fy ee gh a = ° a a ES z veil S fe = 2 oF PRRrrrrrrerrrrtrerr eee eee ea oo oe oo ooo oo oem140 (¢-84to +. #2120) mets os | |The Small Notes show the number of Shakes required ona half note witha wr 144 ee ee | ee ef ee (from 4 - vores 80) 2nd MODEL. {A2Rr : 3 eae of FFP orovone, peal Fal t— tk t—t ry =? kt- t Ke pag tee! eee] fit ASS bt txt tk* 4th MODEL. 6thMODEL. tttktttk SthMODEL. fay G9: ae tttk t ttkh. 3400- a ld Akl142 tekttKte tke t k (from @: B4tod: 120), 3" MODEL the same =H eh in B Major, & : ee = MtnMODEL, d-120) weet eeu kId be « (Mtet:d- 120) ¥ i oo Fee - = 4 t ‘ SthMODEL. ee at = aos Fg dotnon, gots ets tke rk Wd +280) Lael: ) 84) _ * fo a Se 4 ‘ TthMODEL. 3800SaeQeogrpeemeeaeermeeeeeseketaaeueaektihtihRthetkthtihetihibaebhebhRtehtbeatibRtihtbehtbhhk hbk bkhkh&bhh bh & ik 143 (from J - 8410 J: 88) 1 Grea STR maa ies fect ptinie tt tite s MODEL y The same # in Bi Major. 14 G MINOR (from 4-80 to 4-96) . 2ndMODEL. = “ER rty Thesame as tt modelin ‘er s aed G# minor in altering the accidental) tofand the tox. ist MODEL. Pd ae 374 MODEL. i. Eb MAJOR. = MODEL * The same in E major altering the accidental; -5 z -o7 to # and the # tox.18t MODEL. +e The samein E Maje wicring the ace MODEL * ThesameinC#Minor —¥ ($36 altering the accidentalito? . ts | (fram # = 88to +- #20): is -f4-— ae mmeReeeenrFtenre 5B 8&8 = 28 = =m a145 oJ * ~ ag -_ “ 3 ~ ‘i a —. - } $ Jan eee 2 ~ H rye: z ~ WL ih " “ iil TH ~~ 4 E wd ell S dl 7 | I ar | “ ret Pt} (Xi : Lf z : . a a TN 2 & a o ih S s I 2 e Hs ie + th i om cor r ead Wh 1 HT ~ hs Ro ie) dl i Ht rR: S hi 2 Tele Hh 3 ipa : 3 2 r os “a {TTN? ay Arie n = ae || a “Ne = es f nu ia 4 eo ra Srye) a a S a ! 3° S 2 S a Ss no = a 2 a ma uc ° = a =H wy oO = j ce ; Ce ee ee ee ee ee146 | pe or | egusdveseswss! | eee 1 Pf ee al al ol ol ol a a (from iP 80 to 7-805 also Binary tongueing. ca 1st MODEL. fae eee y e Zz ARES Pee totktktktktktktk (from 3-63 to 126.) ist MODEL. ee [—— > The same in D> Major é t - altering accidental) inb ea "ee and the $in}. Mord 4 3m MODEL. tet t— t kK toot k | € op ane #800from d = 66 to 120) << —— — a —— \ t | fi B MINOR.A® a | ee at o z = A AE sé = & w wo a e altering the accidental # to} (from ¢-66 to 120) it R oe er Pt 4 a oo I om a __ a Lot i m cofilt ofl anil, “sly L) = ITS n Ld aNin os . A ». S —* i ss = E oo 2 || j= : = | A ero & ax o.om Bo — a= a 2 o 3, 2a : avg oO © bod ¥ 2.9 ee an Oe es ae ci a ax nme ee eos Lik tete, rekttkte, aa 3 xe ee. JL Ze 32s . ea ft gee * a (ty Bs8 =a ve a 2 al OU Be Ze < = - z aE § a148 VED.) SERIES OF 25 EXERCISES(CONTIN 132) All9 Giusto. (Met:d a ee ee {tT re #500ce | eS [Ta a ritennfo. Light and equal. Fao om Os 6 iia Se Se Sa avrenrteRPeeeteeaenwrteweeeReeeeeReeReeaeeeee le150 Preparatory Exercises for the Grupetto. Note: the Bars with may be left ont. | "@ 14410160! 4 = ‘ => = a5 1 iat gta eae l aren taer, fet Fe. rf tegue Neat, ae ae wee separes: sg pronase: a? + i 2a SS ES= _— = SSS = = a Renn ae conan ne Rete. tg OPO gO 65065852 pty gg ot FN ES Reet Teta erg SdLast . = ey — Past: jae foge starrer, eas eters ¢ ees ee “1 af e 7 i etc. 1s!MODEL.InD, | Beginat the 20dBar finish with the 1Stnote of 309 Bar. 2nd MODEL. InE, Iegin atthe 37 Bar finish with the 1Stnote of next Bar. 3 MODEL.InF = BeginatthedthBar - finish with the t5tnote of next Bar. #DMODEL.InG. . ‘ Begin at the SthBar finish with the iStnote sau of next Bar. © 5th MODEL. In A. Begin atthe6‘)Bar finish withthe 15tnote VY Same Bar. 6th MODEL.in B. Begin 2 Bars beforethe word Last — finish with the i8tnote = of next Bar. These 6 Models are a Guide to play the same Exercise inall the Keys: 15' Bar and last note are shown in each Model. 48004).alee eee ee ee ee oe ee oe ee oe oe oe oe oe | ee ee ee 151 In following the Instructions of the preceding O§ Models,this Exe Thesame applies tothe next numher, le =160 x Jo = = ==. ge Teagan 0 * : reise can beplayed in every Key, e Uf a wpgee> bape . ti 6S & ee = atta ge fa oe fees 8 4a tae e ae ist MODEL. In D. Begin atthe 22UBar finish with the 1Stnote same Bar, €: 2nd MODEL. InE. Begin atthe aft4par finish with the 1Stnote 4 Same Bar. 3f4MODEL_In F. 4th MODEL. InG. of ee er Begin at thedthBar Begin atthe 5toBar ae ed finish with the 1Stnote 5tOMODEL. Ina. Beginat the 6thBar finish with the 1Stnote samc Bar. 6th MODEL. In B. Begin Bar before Last same Bar, SMH15% Practise the following exercise in the same way as the preceding. [t can be played in 3 giving 2 bars 3 —_ ptdetey for one, thus: Gi St ete. : 1 = rs e ad - er - # “wf * (#276 to 80) fe ee ee et "a (@=104) 4 With same variantes as preceding.BUG AE Tih. -.0n000reens 80 A WD ween 1 ' ' ‘ ‘ ' ' : : : ' * ' ' ‘ 1 ‘ H 1 ' ' { i ' i ‘ ' : : 1 ' ' i t ' t A MINOR Relative D MINOR Relative. : B> MAJOR G MINOR Relative SUGE lower Ad [1D .oneveeneee gvaadlib.. Eb MAJOR. | sve ad lib... La rr -\CeyL itt | i) as = Ee th 1 a ee C MINOR Relative OR. Ab MAJ F MINOR Ab Lee Relative. rt or = oe ? a cs ee -— | a tT? Sy Db MAJOR (C# Syn. Enh} J aga ere 48001b4 NOG Continued. e BEE Oh Or Oi OT eh PPS (Fi Sinus — a Eb MINOR. —— aes perros Relative: eres serge epel lege e ae enharmonic — i ° Se (DiMin Synonymous.) B MAJOR. (Cb Syn. Enh.) Gi MINOR, Relative. (AbMin.Syn.Enh.) C8 MINOR. Relative. “A MAJOR. F# MINOR Relative B MINOR Relative. G MAJOR, E MINOR Relative, DL, tothe C Major toplay ital B4 t ie