123

Intervals. Von den Intervallsprungen. I Des sauts dintervalles.

Exercises for the intervals should be prac- Es ist gut, diese Art von Etuden eifrig zu I1 convient de travailler avec assiduité ce
ticed assiduously, and care is to be taken not iiben, und dabei Sorge zu tragen, dass das genre d’études, en ayant bien soin de no pas
to alter the position of the mouthpiece when Mundstiick auf den Lippen nicht versetzt deranger Pembouchure de dessus les levres,
passing from a low to a high, or a high wird, wenn man von einer tiefen zu einer pour passer d’une note basse aune note haute,
to a low one. By observing this rule, the hohen order von einer hohen zu einer tiefen ou d’une note haute 5. une note basse. On ob-
player will acquire certainty in taking the Note iibergehen will, Man erlangt dadurch tient par la une grande sfireté d’attaque et
notes and great facility in their execution. eine grosse Sicherheit des Ansatzess und une grande facilité dexécution. (Voyez du
(See from No.1 to '7.) Leichtigkeit der Ausfiihrung. (Siehe No.1 bis 7) no. 1 au no.7.)

Octaves and Tenths. Von den~Ootaven und Decimen. Des Octaves et des Dixiémes.
Octaves and Tenths are not used to any Die Octaven und decimen sind auf dem Les octaves et-les dixiemes nesont pas
extent on the cornet; however,considerable Cornet at pistons nicht sehr gebrauchlich; tresusités sur le cornet st pistons; on peut
effect may be produced by ajudicious use nichtsdestoweniger kann man durch eine néanmoins produire beaucoup d’effet par un
of octaves. verstiindige Anwendung der Octaven eine intelligent emploi des octaves.
gute Wirkung hervorbringen.
As to tenths, they may be classed under Was die Decimen anbetrifft,so kann man Quant aux dixiemes,il ya lieu de les ran-
the preceding category. It would indeed be sic unter die Intervallspriinge rechnen, in- gerparmi les sauts d’intervalles. Il serait
very difficult to execute with rapidity any dessen wiirde es sehr schwierig sein, mit fort difficile, en effet d’exécuter avec vitesse
melody whatsoever, if the interval of the Schnelligkeit irgend cine Melodie anzufiih- une mélodie quelconque, en employant suc-
tenth were consecutively employed. (See ren und dabei hintereinander das Decimen- cessivement l’intervalle de dixieme. (Voyez
from No. 8 to 12.) intervall anwenden zu Wollen.(Siehe No.8 bis 12.) du no. 8 au no, 12.)
Q

Triplets. Von den Triolen. Des Triolets.

-

The use of triplets is always highly ef- Die Anwendung der Triolen ist immer von L’emploi des triolets a toujours été ;d’un
fective. In order to execute a triplet Well, ausgezeichneter VVirkung. Um die Triole gut excellent effet. Pour bien rendre le triolet, il
each note must be uttered with perfect e- auszufiihren, muss man sich iiben, jede Note faut s’etudier 5. faire parler chaque note at/ec
quality. The student should proceed slowly mit vollkommener Gleichmassigkeit anzuge- une parfaite égalité. On doit travailler d’ab -
at first, and not attempt to play quickly un- ben. Man muss anfangs langsam iiben, und ord lentement, et ne passer a un mouvement
til the fingers have acquired regularity of erst zu einer lebhafteren Bewegung iiberge- plus vif que lorsque les doigts marchent avec
motion. (See from No. 13 to 2'7.) hen,wenn die Fingerbewegung eine vollkomm- régularité. (Voyez du no. 13 au no. 2'7.)
en regelmassige ist. (Siehe No.13 bis No. 27.)

Studies in Sixteenth notes. Von den Sech-szehnteln. Etudes en doubles croches.

.1-1-_—-_--1

In order to arrive at perfection of execu- . Um zu einer untadligen Ausfiibrung zu ge- Pour arriver 5. une execution irréprochable,
tion,these studies should be played with langen, muss man diese Etuden strengimTacte on doit travailler ces études en conservant
scrupulous attention to time and rhythm,and iiben und die vorgeschriebenen Accente genau toujours une mesure bien rhythmée, et en
due regard to the articulations therein in- beachten. Man muss langsam anfangen und suivant ponctuellement les articulations qui
dicated. The performer should begin slowly das Tempo in dem Maasse beschleunigen, als sont indiquées. Il faut débuter avec lenteur
and increase his speed until he has become fa- man sich mit derUebung nach und nach ver- et ne presser le mouvement qu"au fur et a
miliar with the exercise. Too great. a rapidity traut macht. Zu grosse Schnelligkeit giebt der
mesure qu’on se familiarise avec l’exercice.
of execution does not always impart tothe per- Ausfiihrung nicht immer den Glanz,»den man Une trop grande vitesse ne dorme-pas toujours
formance the brilliancy expected. Precision erwartet. Die wahren Kennzeichen einer gu- au jeu le brillant qu’on espére. La netteté et
and regularity are the real foundation of an ten Ausfiihrung -sind Sauberkeit und Regel- la régularité, voila les vrais types d’une belle
excellent execution. ( See from No. 28 to 4'7.) miissigkeit. (Siehe No.28 bis N0. 4'7.) . exécution. (Voyez du no. 28 au 110.47.)

The Perfect Major and Minor Chord. Vom Dur-und Moll-Accord. De |’accord parfait majeur et mineur.
In providing so many of these studies,my Indem ich diesen Etuden eine grosse Aus- En donnant un aussi grand developpement
motive has been to enable the pupil, by de- dehnung verlieh,war es meine Absicht, die a ces études, mon intention a été d’amener
grees, to play with ease in every key. Some Schiiler dahin zu fiihren,dass sie sich in allen les éleves a pouvoir jouer aisément dans tous
of the fingerings may at first appear diffi- Tonarten mit Leichtigkeit bewegen konnen. q- les tons. Certains doigtés paraitront au pre-
cult, but this is no reason for setting them» Einige Fingersatze Werden anfiinglich schwer mier abord difficiles; ce n’est pas une rai-
aside; on the contrary, itshould serve as erscheinen . Dies ist jedoch kein Grund, sie bei son pour les laisser de coté, c’en est une, au
a motive for Working at them with cour- Seite zu lassen,sondern man soll sie mit desto contraire, pour les aborder avec courage ct
age and resolution. Some benefit must al- mehr Muth und Festigkeit angreifen . Die se conviction. I1 reste toujours quelque chose
ways result from labor of this kind, even if Accorde bleiben immer schwierig, selbst vvenn d’un pareil travail, meme si on execute len-
the notes be executed slowly; and the efforts man sie langsam ausfiihrt; aber die M iihe die tement ces accords; et les efforts que l’on
made to overcome certain “impossibilities” man sich giebt, um gewisse Unmoglichkeiten aura faits pour vaincre certaines impossi-
will soon prove that they were only impos- zu besiegen, wird bald lehren, dass sie nur bilités montreront bien vite qu’elles ne sont
sible in appearance. (See from No. 48 to 52.) sc-heinbar waren. Nur diejenigen Kiinstler wer- qu’apparentes. Elles n’offriront d’obstacle
den uniibersteigliche Schwierigkeiten darin I insurmontable qu’aux artistes qui, par pa.-
finden, die iiberhaupt aus Bequemlichkeit die l > resse, auront contracté la funeste habitude
traurige Gewohnheit haben, stets nur in leirhten de jouer toujours dans des tons simples. (Vo-
Tonarten zu blasen. (Siehe No. 4-8 bis No. 52.) v
yez du no. 48 au no, 52.)
3654-290
124
The Chord of the Dominant Seventh.
. The chord of the dominant seventh
is’ the same in both the major and min-
or keys. Herc it becomes ithe comple-
ment of the preceding studies. When
practicing it, the regularity which I have
already enjoined and which I cannot too
strenuously recommend, should careful-
ly be observed. (See Nos. 53 and 54.)
The Chord of the Diminished Seventh.-
This chord plays a conspicuous part
in modern musical composition. Owing
to its elastic nature, it is of incalculable
service; for, consisting as it does solely
of minor thirds, it may be interpreted in
various different ways, and there are in-
numerable cases in which the musician
may have recourse to,it.
. Nevertheless, it occupies -a regular
place in the minor scale, as may be seen
from study No.55, in which its real
place has been assigned to it.
Successive chords of diminished
scvenths are admissible, inasmuch as
they follow one another with considerable
facility. I have presented this chord in.
various rhythms and combinations, in
order that the pupil may be fully en-
abled topjudge of its effect. (See from
No. 55 to 61.)
" The Cadence.
I am adding a series of cadences
in form of prcludes to these studies,
in order to accustom the pupil to ter-
minate a solo effectively. It is also
advisable to transpose these cadences
to all the different keys. Care must
be taken to breathe Whenever a rest
occurs, so as to reach the end of the
phrase with full power, and in per-
fect tune; otherwise the effect will
be completely destroyed.
3654" 29 0
Vom Dominant— Septimen -Accord.
Der Dominant - Septimen -Accord, Wel-
cher in den Dur-und Molltonarten stets.
derselbe ist, dicnt hier zur Vcrvollstiindig-
ung der vorhergehcnden Ucbungcn. Bei
seiner Uebung bcwahre man stets dic-
jcnige Rcgclmassigkeit, welchc ich nicht
zu sehr cinschiirfcn kann. (Siehe No.53
und No. 54.)
Vom verminderten Septimen-Accord.
-
Dieser Accord spielt cine grosse Rolle
in der Musik der Gegenwart. Dank sei-
ner Elasticitat, leistct er der Modulation
unberechcnbare Dicnste. Ausschliesslich
aus klciner Terzen gcbildet',kann man ihn
auf sehr verschiedcne Weise aufltiscn und
cs gicbt cine Menge von Fallen, in wel-
"chen der‘ Musiker sich seiner bedient.
Er nimmt indesscn auch cine rcgel-
massigc Stclle in der Molltonleiterl ein,
Wei man aus der Uebung No. 55 crsehen
kami, worin ich ihm seine wahre Stclltmg
angewiesen habe, _ table rang.
Man kann mehrere verminderte Sep-
timen - Accordc auf einandcr folgen lasscn,
vorausgcsctzt dass sic sich mit grosscr
Lcichtigkcit an einander anschlicsscn. Ich
gebe den Accord in vcrschiedcnen.Rhyth-
men und Verhindungen, damit der Schiiler
sich von seiner Wirkung wohl iiberzeuge.
(Siehe No. 55 bis 61.)
Von den Cadenzcn.
—
Ich fiige diesen Etuden cine Rei-
he von Cadenzen in Form von Pralu-
dien hinzu, um den Schiilcr an cincn gu-
ten Abschluss des Solos zu gewohncn.
Man wird wohl thun, diese Oadenzen in
allen Tonartcn zu transponircn. .Man
muss Serge t‘ra.gen, andenjenigcn Stcl-
~_
len, wo sich Pausenbcfindcn, wohl-At-h-
em zu schiipfen, damit man die Phra-
sen mit Kraft und ohne den Ton sinkcn
zu lassen, schlicssen kann. Andcrnfalls
Wiirde die Wirkung vollstiindig vernich-
tet. n
De l’accord dc septieme dominantc.
L’accord dc septieme dominante ct-
ant le meme dans les modes majeuret mi-
neur, dcvient ici le complement des étudcs
précédcntes. On devra le travailler en con-
servant toujours cettc meme régularité
que jc ne saurais trop recommandcr. (W)-
yez les nos. 53 ct 54.) .
De l’accord dc septiéme diminuéc.
. Oct accord joue une grand role dans la
composition musicale actucllc; il rend,
grace a son élasticité, des services incal-
culables; car, uniquement composé dc tier-
ces mineures, on pent Fintcrpréter de bien
des maniercs différentcs, ct il y a une
foule dc cas on lc musicien y a recours.
Il occupc cependant une place regu-
liere dans la gamme mineure, ainsi que
l’on en pourra juger par 1’étude no. 55,
dans laquclle je lui ai assigné son veri-
On peut faire des successions diac-
cords dc scptiemcs diminuées, attendu
qu’ils s’cncha'incnt avcc bcaucoup do fa-
cilité. J’ai présenté cet accord dans des
rhythmes ct dans des enchainements
différents, afin que l’élcve puisse se ren-
dre bien comptc dc son effet. (Voyez du
no. 55 au no. 61.)
Du point _d’orguc.
. Jc joins it ces études une série dc
points d’orgue en forme dc préludes, a-
fin d’habituer les élcves a bien termincr
un solo. Il sera bien dc transporter ces
points d’orgue dans to-us les tons. . I1
faut avoir soin dc respirer aux endroits
cu se recontrent des rcpos, afin diar-
rivcr a la conclusion dc la phrase. avec
toute sa force, ct sans laisser tomber
le son; autremcnt l’effet se trouverait
completcment annihilc.
 125
srumrs on THE STUDIENUBER DIE ETUDES sun LES
INTERVALS. INTERVALLE. INTERVALLES.

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 r 153
DESCRIPTIVE ADVICE ERKLARUNGEN , EXPLICATIONS
on Tonguing. iiber den Zungenstoss. 9 sur 1e coup dc langue.
.
A -A

Triple Tonguing. Vom Zungenstoss beim Du coup de langue en

dreifaohen Staccato. staccato ternaire.
A _i____.i A

. The staccato consists in detaching a Das Staccato besteht darin-=,eine Reihe von Le staccato consiste a detacher avec
succession of notes with regularity, Tiinen in gleichartiger Weise ab zusto ssen , régularité une succession de notes, sans
without allowing the tofiguing to be ohne dass der Zungenstoss zu kurz,noch zu que le coup de langue soit ni trop sec,
either too short, or to"o long. In order lang ist. Um- zu dieser Vollkommenheit zu ni trop allongé.Pour arriver 21. une telle
to arrive at this degree of perfection gelangen iibe man. die ersten Etuden,die als perfection, on devra travailler tres—lente-
the earlier studies,which serve as the Anfangspunkt dienen, sehr langsam. ment les premieres étndes qui serve-nt de
basis, should be very slowly practiced. Zuerst bemiihe man sich, die fol enden point de depart.
The student should first strive to pro - Sylben mit griisster, Gleichmassigieit aus- I1 faut primitivement s’appliquer a pro -
nounce,with perfect equality, the sylla- zusprechen: c _ noncer avec bcaucoup d’éga]ité les syllabes:
bles:

est L§i‘Ei~1'Lif4l‘*' vi
tutuku tutulru tutu ku tutuku tu _

In order to impart more equality to Um dem Zungenstoss mehr Gleichmassig- Pour donner plus d’égalité au coup de
the tonguing, it is necessary, when be- zu eben,ver1angere man anfanglich langue, il faut, en commencant, allonger
ginning, to prolong each syllable a die" 'Syl%en ein Wenig, so dass die Tiine un pen chaque syllabe, de maniere a
little.When great precision has been sich wohl untereinander binden.Erst,wenn bien lier/les notes entre elles. Ce n’e st
obtained in the utterance of the tongu- der Zungenstoss mit Pracision ge]ingt,dar-ff que lorsque le coup de langue sort avec
ing,'it should then be more briefly emit - man ihn etwas kiirzer machen,um das wirk-~ précison que l’on doit prononcer avec plus
ted,in order to obtain the true staccato. cliche Staccato zu erhalten. de sécheresse, afin d’obtenir le vrai stac -
cato.
I will now describe the mechanism of Der Mechanismus des dreifachen Staccato Voici le mécanisme du staccato ternai-
the triple staccato. c ist folgender: re.
In pronouncing the syllables tu tu,the Indem man die Sylben tii tii ausspricht,legt En prononcant les syllabes tu tu, la
tongue places itself against the teeth of man die Zunge gegen die oberen Zahne, und langue se place contre les dents de la
the upper jaw,and in retiring pronounces indem man sie zuriickzieht,bringt man die machoire supérieure et, en se retirant,
the first two sounds.The tongue should beiden ersten St osse hervor. Die Zunge muss produit les deux premiers coups. La
then reascend to the roof of the mouth SIOh'Ifi8I’3J.1.f nach dem hinteren _Theil des langue doit alors remonter an font de la
and obstruct the throat, dilating itself Mundes zuriickziehen,und die Kehle schlies- bouche et obstruer le gosier en se gon -
by the effect of the pronunciation of the sen, indem sie sich zur Bildung der Sylbe kii flant par l’effet de la prononciation de
syllable ku,which, by allowing a column aufbau1nt,die dann,indem die Luft in das la syllabe ku, qui,en laissant pénétrer
of air to penetrate into the mouthpiece, Mundstiick eindringt, den dritten Stoss la colonne d’air dans l’embouchure, de-
deterirrinesi the third sound. heryorbringt. termine le troisiéme coup.
In order to invest this to-and-fro Damit dieses Hin- und Hergehen mit gro - Pour donner it cet effet de va-et -vient
motion with perfect regularity, it is sser Regelmassigkeit geschehe, muss man une grande régularité, il faut travail -
necessary to practice slowly, so that es sehr langsam iiben so dass die Zunge, ler lentement afin que la langue, tout
the tongue, like a valve, may allow the gleich wie ein Ventil,bei jeder Sylbe eine comme le ferait une soupape, laise é -
same quantity of air to escape at each gleiche Luftmenge entweichen lasst. - chapper a chaque syllabe la meme quan-
syllable. Dank dieser Art der Articulation, ‘giebt tité d’air. _
If this system of-articulation is per- es keine Schwieri keiten mehr. Man ge- Grace a ce genre d’articulation, il n’y a
severed in, no passage will be found langt dahin, das éornet soleicht zu blasen, plus de traits difficiles; on peut arriver
‘difficult; the tone-production on the wie die Flote. Dazu ist jedoch eine voll - a jouer aussi facilement que le fait la
cornet will be as easy as that on the kommen reine Aussprache nothig. Die Er- flute; mais il faut,pour cela, une pro -
flute; but to reach this end, the pro - fahrung hat mich gelehrt,dass man,um ein nonciation d’une grande pureté.L’expéri-
nunciation must be perfectly pure. Ex- vollkommen perlendes Staccato zu bekomm- ence m’a démontré que pour obtenir un
periencehas proven to me that to ob- en, die Sylben tii tii kii tii tii kii tii genau, staccato vraiment perlé, il faut pro -
tain a really irreproachable execution, wie es vorgeschrieben, aussprechen muss, noncer les syllabes tutu ku tutu ku tu,
it is necessary to pronounce the sylla- und nicht die Sylben dii dii gii dii dii gii dii. comme il vient d’étre indiqué, et non pas
bles tu tu ku tu tu ku tu,as hasjust een Die letzteren gehenallerdings schneller zu les syllabes du du gu du du gu du; ces
shown, and not the syllables du d,11 gu prononciren, aber statt die Tone zu sondern, derniéres vont plus vite,il est vrai; mais,
du du gu du. These latter, it is true, bringen sie einen Zungendruck in dem Tone au lieu de détacher, elles produisent un
go faster, but do notsufficiently de - hervor. coup de langue dans le son.
tail the sound. Der Zungenstoss darf nicht iibereilt werden, Le coup de langue ne doit pas etre trop
The tonguing should not be too pre - da ihn der Hiirer dann zuletzt nicht mehr précipité, car alors l’auditeur finit par new
cipitated, for the auditor will then be unterscheidet. Man erinnere sich wohl,dass plus le distinguer. Il faut bien se rappeler
no longer able to distinguish it.A suf- diese Articulation dazu dienen, soll, Gauge que cette articulation doit servir a execut-
ficient degree of rapidity may be ob - auszufiihren,in denen bei jedem Zungenstoss er des traits en changeant de note sur
tained by the method I have indicated. auch der Ton wechselt, nicht aber das Ge- chaque coup de langue, et non pas at
The most importantlpoints to master rausch einer Karre nachzuahmen. Man er- imiter le bruit de la crécelle. On ob -
are clearness and precision. (No.1 to langt iibrigens durch das Mittel, welches tient, au reste,une tres-suffisante vi -
No. '76.) ' ich angegeben, eine durchaus hinreichen- tesse par le moyen que j’ai indiqué. Ce
de Schnelligkeit. Wonach man hauptsach - :1. quoi il faut principalement s’appliquer,
lich streben muss, ist die Erlangung ein- c’est a realiser une précison et une net-
er untadelhaften Pracision und Sauber - teté ir)réprochables. (Voyez du no. 1 au
keit. (Siehe No.1 bis No, '76.) no. '76.
Vom Zungenstoss im Du coup de langue en
Double Tonguing. zweitheiligen Staccato. staccato binaire.
This kind of staccato is of great assist - . Diese Art des Staccato ist von grossem Ce genre de staccato est d’un grand se -
ance in the execution of scales, or arpeg- Nutzen fiir die Ausfiihrung von Tonleitern, cours dans la execution des gammes,des ar-
3654 -29 0
154
gios, in the binary rhythm. In order to ex-
ecute this exercise with precision,it must
be practiced slowly, always having regard
for the principles set forth for triple
tonguing.
First of all, the student should pronounce
the syllables:
Arpeggien und aller Stellen in zweitheil -
igem Rhythmus. Um es mit Pracision aus-
fiihren zu lernen, muss man es langsam
iiben und dieselben Vorschriften befolgen,
welche fiir das dreifache Staccato gege -
ben sind.
Man hat zuerst die, Sylben:
peges et de tous les traits dans le rhythme
binaire. Pour arriver a l’exécuter avec
précision, il faut le travailler lentement, en
suivant les principes indiqués pour le coup
de langue en staccato ternaire,
On devra primitivement prononcer les syl-
labes:

As is seen,the tongue performs ato-and-
fro movement, which it is very difficult
to obtain with perfect equality; but once
this has been attained, the most diffi-
cult passages may be executed with all
desirable speed,e'nergy, and strength.
U
After having practiced all the studies
connected with this kind of articulation,
recourse may then be had to the scales ,
the perfect chords, the chords of the
dominant seventh and diminished seventh.
These should be executed by employing the
same staccato, so as to accu stom the fingers
to proceed in conformity with the tongue.
This practice will be fruitful in its results.
(See from No. '77 to 114.)
,1, 7 {-55--1'@t,E4“ir-Tl
tu ku tu ku tu ku tu ku tu
auszusprechenWie man sieht, macht die
Zunge eine Bewegung des Yor- und Ruck-
wiirtsschreitens,welche sehr schwer mit
vollkommener, Gleichmassigkeit auszufiihr-
en ist. Hat man aber dieses Resultat er -
reicht, so kann man auch die schwierig -
sten Stellen mit gewiinschter Energie,
Schnelligkeit und Gewalt ausfiihren.
Nachdem man alle fiir die Genre der Ar-
ticulation gegebenen Uebungen studirt hat,
kann man sie auf die Dur- und Mollaccor -
de, die Dominant Septimenaccorde und die
verminderten Septimenaccorde iibertragen,
und diese mit Anwendung desselben Stac -
cato ausfiihren, um die Finger zu gew6h-
nen,dass sie gleichmiissig mit der Zunge
gehen. Dies wird eine sehr niitzliche Ue -
bung sein. (Siehe No. 7'7 bis No.114.)
I
Comme on le voit,la langue opere un mouve-
ment de va-et-vient qu’il est trés-difficile
d’obtenir avec une égalité parfaite; mais
aussi une fois ce résultat acquis, on peut
exécuter tous les traits les plus difficiles
avec toute la vitesse, l’énergie et l’entrain
désirables.
Apres avcir travaillé toutes les études af-
fectées a ce genre diarticulat-ion, on pourra
se reporter aux gammes,aux accords par -
faits, ainsi qu’aux accords de septiéme domi-
nante et de septieme diminuée,et1es exé-
cuter en employant ce meme staccato,afin
d’liabituer les doigts a marcher réguliére -
ment avec la langue. Ce sera la un fécond
travail. (Voyez du no. '77 au no. 114.)

Tlje Slur in Double Tonguing. Vom Schleifen beim zweifachen Staccato. Du coulé dans le staccato binaire.
a,_.-.-__..

In order to combine slurs with the doub-
le staccato, a peculiar kind of pronuncia-
tion must be employed. It would be mo -
notonous to employ staccatos continual-
ly without having occasional reference
to the slur. The combination of the two
occasions a pleasing variety in execu -
tion, at the sam.e time facilitating the
acceleration of the movement.
4 This articulation is obtained by pro -
Um geschleifte Tiine mit dem zWeitheilig-
en “Staccato zu verbinden, hat man eine be -
sondere Art der Aussprache anzuwenden.
Es wiirde monoton sein,fortwiihrend Stac -
catos zu machen, ohne zu den geschleiften
Tonen zu greifen.Ihre“Mischung bewirkt
eine gliickliche Abwechslung in der Aus -
fiihrung und erleichtert zu gleicher Zeit
di,e_,Besch1eunigung der Bewegung.
ll
Pour entremeler des coulés au staccato bi-
naire,ily a 1m genre particulier de prononci-
at-ion a employer. Il serait monotone dc
faire toujours des staccatos, sans recourir
aux coulés. Leur inélange apporte une
heureuse variété dans Fexécution, en meme
temps qu’elle facilite Paccélération du
mouvement.On obtient cettc articulation en
prononcant les syllabes suivantes:

nouncing the following syllables:

an. u » .» .1 .l ---- -
iii —
"J—.>j—--1——-—
4—. ' V __ ._
In ’ _, I_ 1' __ - ‘/1 , A
34.. ,
‘,1
ii" ~‘/
c ' 3! INN’

ta-a taka ta-a taka ta-a taka taka taka ta-a takata-a taka ta-a taka taka taka ta ,

The syllable‘a serves to strike the
first note, andthe syllable a,which comes
afterwards, enables the performer,by pro-
longing the sound, to slur easily to the
second note. This tonguing is assuredly
one of the most indispensable, inasmuch
as it is to be met with in all kinds of
music. (See N01 114 to 134.)
Tonguing as applied to the Trumpet.-
Die Sylbe ta dient zum Ansatz der ersten
-Note,und die Sylbe a,welche darauf folgt,
erlaubt, indem sie den Ton verlangert, ein
leichtes Hiniiberschleifenzur zweiten Note.
Diese Art des Zungenstosses ist sicherlich
eine der nothvv'endigstenf§“' wenn man in
Betracht zieht, dass er in allen Musik -
gattungen Anwendung findet. ( Siehe
No. 115 bis No. 134.)
7 Der Zungenstoss bei der Trompete.
iii.
La syllabe ta sert 21. attaquer la premiere
note et la syllabe a, qui vient ensuite, per -
met,en prolongeant le son, de coule facile-
ment surla deuxiéme note. Ce coup de
langue est assurément un des plus indis -
pensables, attenduque l’on trouve son em-
ploi dans tous les genres de musique.(Vo -
yez du no. 115 au no. 134.)
Du coup de langue de trompette.

Having frequently observed that many
pupils, both at the Conservatory and
elsewhere, who were able to perform the
trumpet tonguing, scarcely ever succeed-
ed in correctly performing the true stac -
cato, I conclude therefrom that this
Nachdem ich mehrfach-sowohl auf dem Ayant maintes fois remarqué que les
Conservatorium als auch anderweitig-die éleves,- soit au Conservatoire, soit ail -
Bemerkung gemacht hatte, dass die Schiiler, leurs,-- qui savaient faire le coup delangue
welche den Zungenstoss auf der Trompete de trompette, n’arrivaient presque jamais
zu machen verstehen, fast niemals dahin st exécuter trescorrectement le vrai stac -
gelangten ein wirkliches Staccato aus - cato j’en conclus que ce coup de langue est
l

tonguing is an obstacle to the other ar-
ticulations, and I therefore recommend
students not to practice this, until they
shall have thoroughly mastered all the
others. Moreover, its execution is ex -
tremely easy, when the student is really
capable of performing the double and
triple tonguing. (See No. 135 to No. 145.)
3654-290 . I
zufiihren, so schloss ich daraus,dass die- un obstacle aux autres articulations, et
ser Zungenstoss ein Hinderniss f iir die an- j’engage :1 ne l’étudier que quand on pos -
l
l
r
dern Articulationen ist,und ich rathe ihn sédera bien tous les autres. L’exécution
nicht eher zu sttudpiren, als bis man im en est d’ailleurs des plus faciles, quand on
Besitz der ersteren ist. Die Ausfiihrung ist- est arrivé a bien rendre les coups dc lange
iibrigens sehr leicht, wenn man dahin ge - binaires et ternaires.(Voyez du no. 135 au
la-ngt ist, den zvvei-und dreifachen Zungen- no. 143.)
stoss gut auszufiihren. (Siehe No. 135 bis
No. 143.)
 TRIPLE TONGUING. 155
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