GOLDMAN - Practical Studies

GOLDMAN - Practical Studies

 LIBRARY OF
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Practical studies
for the CORNET (and TRUMPET)

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BY

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EDWIN FRANKO
$1.50
GOLDMAN Price

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Carl Fischer INC.
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62 Cooper Square, New York 3
BOSTON • CHICAGO • DAUAS
GOLDMAN - Practical Studies FR 4-2318
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Brigham Young University

Harold B. Lee Library

Gift of

K. Newell Dayley

GOLDMAN - Practical Studies

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LIBRARY OF
NEWELL DAYLEY

PRACTICAL STUDIES
for the

CORNET (and TRUMPET)

ijg by g

EDWIN FRANKO GOLDMAN

IP

CARL FISCHER S8S51S NEW YORK

GOLDMAN - Practical Studies

 Copyright 1921 by Carl Fischer, New York

International Copyright Secured

Printed in U.S.A.

HAROLD B. LEE LIBRARY

9RIGHAM XOUNG UNIVERSITY
GOLDMAN - PROVO
Practical
UTAH Studies
 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

2ZQ%Z -11

GOLDMAN - Practical Studies

 1. Staccato Tonguing*

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

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cc Copyright MCMXXI by Carl Fischer, New York

22042-41 International Copyright Secured

GOLDMAN - Practical Studies

 2. Alternate Tong-uing- and Slurring

This study should be played with great care. Slur only the notes marked. All the sixteenths and eighths
must be played as staccato and evenly as possible. In order to make the music sound ligrht and brilliant ,

also play the second note of each slurred group of two, very short. It is essential to accent the notes that
are so marked. Play slowly at first.

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22043-41
GOLDMAN - Practical Studies
4
3. Staccato Tonguing-
In exercises of this kind, the student must be extremely careful tohave 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 OF
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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.

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220*2 U GOLDMAN - Practical Studies

 5. Staccato Tong-uing*

This is another study that will help to improve the tong-uing*. Be careful to play all eighth and sixteenth notes
A
very staccato, and try to maintain the same quality of tone throughout. 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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8

7. Dotted Notes
While in the same perhaps somewhat more
style as the previous exercise, this is difficult. See that all
dotted eighth notes are g'iven equal value. The sixteenths must also be even.

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 9
8. Trumpet Style
Sharp tong-uing- is the feature of this [Link] eig-hthand sixteenth note must be staccato. Play slow-
ly at first. Eventually count one in a bar. Always bear in mind that quick tong uing- must be light tong-uing-.
,

Much music for the Trumpet is written in this style. It should be played with snap and brilliancy.

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10
9. Trumpet Style
No trumpet player can possibly achieve success unless he can tong*ue with precision and speed. Real
trumpet parts call for staccato tonguing*, to a great extent. In an exercise of this kind the eighths as well
as the sixteenths must be played as short as possible, and the rests must be observed. Brilliancy is a requisite.

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 11

10. Intervals
The slower this exercise practised at the start, the greater the benefit will be. Each note should be
is

played as distinctly as though it stood alone. In going- from a nig-h note to a low one, or from a low note
to a hig-h one, there must be no difference in either quantity or quality of the tone. The proper practice of
this will give to the player great surety and accuracy of attack. Be careful of the intonation .

Not too fast

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12

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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 P

13

12. Syncopation
Much music that the average cornetist is confronted with,
written in syncopation, particularly the
is
so-called popular and rag-time numbers. The present study has the form of a "fox- trot" which is one of
the popular dances of the day. Count two in a bar. Play all the eighths staccato, and give the quarters full
value. This will make the syncopation stand out boldly. Accent most of the quarter notes very slightly as marked at
the beginning*.

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22042 41

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 •

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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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 15

14. Syncopation

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

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16
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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22042-41
GOLDMAN - Practical Studies
 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 will apply here. Smoothness is very important in this
exercise.

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 —
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18. Trill

This slow movement is intended to develop the playing- of trills. A trill is supposed to be purely ornamental,
and should therefore be rendered in a graceful manner. Do not move the entire hand when trilling-, but use
only the fing'er. Some of these trills are easy, while others are difficult and require careful practice.

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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 of time is to be suspended, and its performance left to the judgment and taste cf
tha player. Cadenzas should be played in a free (ad libitum) style so as to display the tone, technic and
other qualities of the player to the best possible advantage. As cadenzas are unaccompanied, they must
be played with extreme care. Let every note sound, and do not sacrifice precision and style for speed.

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22
20. Grace Notes (Single)

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

ness and delicacy are the principal requirements of these notes. Do not accent them. Just touch them
lightly and slur into the following: note. Only single grace notes are used in this study.

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21. Grace Notes (Double)
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.
Allegro

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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.

& Allegretto

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 —

23. Triplets *»
In a study of this kind it is note which notes are slurred, and which are ton-
essential, first of all, to
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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33043-41 GOLDMAN - Practical Studies

 » —

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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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GOLDMAN - Practical Studies
 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.

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GOLDMAN - Practical Studies
 38
[Link] Etude
This"Valse Etude"is a practical study and should be rendered with taste and discretion.

Not too fast

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 *9
27. Cavatina
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 of this kind.

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 j

30 28. Etude brillante

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

Allegro maestoso

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32042-41 GOLDMAN - Practical Studies

 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 of tong'uing- con-
sists of evenly detaching" a reg*ular succession of notes, without permitting* the stroke of the

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

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

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

"Ku" for the third note of each triplet.

The following* illustration demonstrates the pronunciation of the syllables. The student must

strive to pronounce with perfect equality the syllables:

<? s <? <?

i 000
tu tu ku tu tu
iEg
ku
d d dd d
etc.

For the syllable "tu" the tip of the tong*ue is pressed ag*ainst the upper front teeth and drawn

suddenly down, producing" the first sound. The tong*ue does not act at all for the third sound,

but remains motionless at the bottom of the mouth, allowing* the pronunciation of the syllable

"ku" to come from the throat. The"ku"may be said to be ••coughed" into the instrument, and
by forcing* a column of air into the mouthpiece, determines the third sound. As the articulation

of the K or Ku is produced farther from the mouthpiece than that of the T or Tu, it must be
more strong-ly accented, in order to make the triplet sound perfectly even. In the beg-inning*,

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

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

to acquire this tongue to- and- fro movement with ease and reg-ularity, it must be done slowly
at first. The tong-ue acts as a sort of valve, allowing' the same quantity of air to escape at
each syllable. The "tu tu ku" must always be emitted sharply and with precision. Do not pro-
nounce "du du g*u" instead. This latter will always sound slovenly and rag*g*ed.

If these rules are strictly followed, Triple Tong'uing* will be mastered very readily and will

be found no more difficult than Sing-le Tong-uing". All that is necessary is to practice conscien-

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

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GOLDMAN - Practical Studies

 -

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29. Triple Tonguing-

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GOLDMAN - Practical Studies

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31. Triple Tonguing"

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32. Triple Tonguing

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33. Triple Tong-lling- (Trumpet Style)

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Double Tonguing-

As a rule, all other forms of tonguing are studied and mastered before double tonguing is taken
up at all. The stroke of the tongue in double tonguing is similar to that used in triple tong-uing-, the
only difference being that the T and K strokes are evenly divided, while in triple tong"uing-we have
two T's toeach 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 of scales and ar-
peg-gios. Though most people believe that double tonguing is far more difficult than other forms, this
belief is not well founded. The fact is, that because it is not as brilliant as triple tonguing, it is 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 of practice and study used in the triple
tonguing should be employed in these exercises.
The following illustrates the pronunciation of the syllables. Pronounce with perfect equality.

is 1
Tu Ku Tu Ku Tu Ku Tu Ku Tu
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22042-41

GOLDMAN - Practical Studies

 ' «

39
34. Double Tonguing"

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GOLDMAN - Practical Studies
40
35. Double Tonguing-

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GOLDMAN - Practical Studies

 ^ LIBRARY OF
NEWELL DAYLEY

41
36. Double Tong-uing-

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GOLDMAN - Practical Studies
 ..

GOLDMAN
EDWIN FRANKO Transcriptions
Origin Solos an d
J*
for s_BAR»TOHE
. AQ UCT ,
(trumpet)
t
\

BbCUARlHET-EbALTO
Accompanimen.
with Piano

Air and Variations on a Theme from "La Sans Souci (Free from Care) Fantasie Caprice
Sonnambula" Cornet or Trumpet and Piano (W 1420)
Cornet or Trumpet and Piano (W 701) *Tramp, Tramp, Tramp (Fantasia with
Eb Saxophone and Piano (W 294) Variations)
American Caprice Cornet or Trumpet and Piano (W 570)
Cornet of Trumpet and Piano (W 1828) Clarinetand Piano (W 1 81 )
Aphrodite (Caprice) Baritone and Piano (W 1047)
Cornet or Trumpet and Piano (W 700) When You and I Were Young, Maggie
* British Grenadiers (English Fantasia with (Easy Fantasia)
Variations) Cornet or Trumpet and Piano (W 211)
Cornet or Trumpet and Piano (W 573) Clarinet and Piano (W 21 1 )
Clarinet and Piano (W 1 84) Baritone and Piano (W 21 2)
Baritone and Piano (W 1050)
MINIATURE CONCERT REPERTOIRE
Echo Waltz for CORNET or TRUMPET
Cornet or Trumpet and Piano (W 1 702) with PIANO ACCOMPANIMENT
Three Cornets and Piano (W 1 701 )
Series I
*Emerald (Irish Fantasia with Variations)
Cornet or Trumpet and Piano (W 572) 1 Evening Song (W 1 41 2)
Clarinet and Piano (W 1 83) 2. Joyous Youth. Gavotte (W 1 41 3)
Baritone and Piano (W 1049) 3. Sunset (W1414)
Exultation Waltz 4. A Prayer (W 1 582)
Cornet or Trumpet and Piano (W 1847) 5. An Old Story (W 1 583)
Three Cornets and Piano (W 1846)
Series II

'Italian Fantasia
Cornet or Trumpet and Piano (W 575)
1 In the Clouds. Waltz (W 1 41 5) . .

2. Mars. Polka Petite (W 1416)

Clarinet and Piano (W 575) 3. Love Thoughts. Waltz (W 1417)
Baritone and Piano (W 1051) Among
4. the Stars (W 1 41 8)
Loch Lomond (Scotch Song) 5. Mercury. Caprice (W 1 584)
Cornet or Trumpet and Piano (W 565) 6. Country Dance (W 1 585)
*My Old Kentucky Home (Fantasia and
Variations) »r»es III

Cornet or Trumpet and Piano (W 569) *

1 . Jupiter. Polka Petite (W 574) ....
Clarinet and Piano (W 1 80) 2. The Rainbow. Gavotte (W 1419)
Baritone and Piano (W 1046) 3. Venus. Polka
On the Mall in the Twilight (adapted from Two Cornets or Trumpets and Piano .

the famous composition "On the Mall") Cornet 4. Espanita. Tango (W 1 585)
or Trumpet and Piano (W 1 826) 5. Moonlight. Serenade (W 1 587) .

*Band and Orchestra Accompaniments are Published

CARL FISCHER, inc. 62 Cooper Square, New York 3, N.Y.

W29
GOLDMAN - Practical Studies
 yNIVERSITY
BRIGHAM YOUNG

in 197 £6373 5177

GOLDMAN - Practical Studies

 — — ——
<- ID ax Co d e

CARL FISCHER
PRRRmounT FOLIO
4 Outstanding
OF STANDARD FAVORITES
Arranged by COLLEtTIOnS
LESTER BROCKTON FOR
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 —
C0RI1ET (TRUH1PET)
—
the New World Symphony), Dvorak Menuet No. 2, Bee- una pinna
— —
thoven Two Guitars, Horlick Londonderry Air Tango —
—
Serenade, Simon Dawn of Tomor-
row, At wood and Terry.

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 — Old In
Madrid, Trotere— Was Not So tp Be, Abt— Kathleen
It

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

Me Dream Again, Sullivan — The Lost Chord,
Sullivan — Love Idleness, Macbeth — Melodie,
in
Rubinstein — My Heart at thy Sweet Voice,
Saint-Saens — My Own, My Guiding sonrjs or the greht rirsters
Star,
Knight — Nightingale Song, Zeller— O ye Tears,
Abt — The Palms, Faure — Serenade. Gounod
Serenade, Schubert — Siegmund's Love Song,
A Collection of Twenty of the Most Famous
Wagner — Till We Meet Again, Liebe. 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,
CARL CHER —
Kjerulf —
Good Night, Farewell, Kucken On Wings of Song,
— —
Mendelssohn Elegie, Massenet When Love Is Kind, Old Melody
COOPER SQ NEW YORK — —
Thou'rt Like Unto a Flower, Rubinstein The Dew Is Sparkling,
Rubinstein— —
My Sweet Repose, Schubert By the Sea, Schubert
Boston • Chicago I'll Not Complain, Schumann —The Two Grenadiers, Schumann
All Souls' Day, Strauss —
-
None But The Lonely Heart,
Tschaikowsky.
Printed in U. S. A.
W 6

GOLDMAN - Practical Studies

 Date Due
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