RUBANK EDUCATIONAL LIBRARY No. 94 CORNET.. TRUMPET VoL. I WM. GOWER AND H. VOXMAN AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS ROBES DFTHE RUBANK ADVANCED METHOD for Cornet or Trumpet is published in two volumes, the course of study being divided in the following mann« vot, 1 {Revs ef G Fr G, Bs, ond D Mejor. “| Keys of A, D, E, G, and B Minor. (Keys of Eb, A, Ab, E, Db, and B Major. Vol. } [Keys of C, Fé, F, ond C# Minor. PREFACE THIS METHOD js designed to follow any of the various Elementary and Inter- mediate instruction series, or Elementary instruction series comprising two or more volumes, depending upon the previous development of the student. The authors have found it necessary in heir teaching experience to draw from many sources in order to provide o progressive course of study. The present publication ossem- bles in two volumes, the material essential to a well-rounded musical development. THE OUTLINES, one of which is included in each of the respective volumes, tend to afford on objective picture of the students progress. They will facilitate the ranking of members in a large ensemble or they may serve as « basis for awards of merit. In addition, a one-sided development clong strictly technical or strietly melodic lines is avoided. The use of these outlines, however, is not imperative and they may be discarded at the discretion of the teacher. Wn. Goues — fl, VormanCHROMATIC FINGERING CHART for Cornet and Trumpet Hehe 4 © The Chor Db below the stat is too sharp, Fletten this tone enough to make it in good tune, @ The Don the fourth line is usuaily too flat. In slow passages this may be improved by using the tet ond 3rd valves. © The E on the fourth space is sometimes too flat. Use the 1st and 2nd valves to correct this, TABLE Without valves ba 2 = Too flat 1st valve be ba ro flat 2nd and 3rd valves be Yoo aa flat Ast, 2nd ond 3rd valves OF HARMONICS i 2nd valve o Yoo flat 4st and 2nd valves (or 3rd valve) flat tet and 3rd valves flat Fingerings for the tones above high C: a i Ubsamoubis ssoyonajsu, panyoubis s.40yonsu ‘epeap s0yeowos, epesy s0ysoues IE = 4 Z C EEE 7 ct | ip eanyoubig ejuesog 10301 “30S “14d “PUL “POM “On| “WoW “ung Em |PPEAD eumoUBISg syuezDg [PyOL “FOS “144 “PUL “POM “FL “UOW “URS ova owoy sauePMs. oa OweN s3U0PMS walLsawas GNOD3S ualsawds LsaldOUTLINE oF RUBANK ADVANCED METHOD FOR CORNET or TRUMPET, Vol. | BY Wm. Gower and H. Voxman ont SCALES MELODIC | ARTICU-| FLEXIBILITY | _ORNA- UNIT interpre-| Lation | exercises | ments | sovos | com ARPEGGIOS (Key) | TATION PLETED 1 6 @® 7@® c 18 © 46 @| 56 © 59 @ 65 © 2 6 @® 7@ 6 18 @ 46 @| 56 © [59 @ 65 © [e079 cfw © 4 ©[ss @O[s509@ | © 4_[7 06 o [20 © a7 @|[s6 ©] @ |e © 3 17 © am | maie@) a7 @©[se @|»@ |e © ¢ [7 © 8@ «|a © a7 @|s6 @©|[ 9 © [os © 7 [8 © « | 2 @ a7 @[s6_ @|[ 6 @ [oo © 8 8 ®O® a 2 @ 47 @| 56 © | 60 @ 66 @ 7 [2 @ vo F | 2 © 48 @[s6 @[00@ | «6 © to, 9 @ t@ F | 24 @ 48 @| 56 @ | 6 ® 66 ® mi? ® we ¥F | 2% 4 @[56 ©[o@ | © 2]? © F [a © 4 @[se ©] @ | © B [wee «| 6 @ 40 @[s6 @| a 7 © 14 [10 @ a [27 @ @[s6 @[e @ |e © 1 | @u@e a [a @ 50 @ | 57 ® | 1 © 67 © 16 [11 @ 2@ G 2 @ 50 @ | 57 ©] a @ 67 © vu @ 2@ G¢ [2 @ 50 @|[s7 Oa @ 67 © w[u@ 2@ « | 2% © ©|5 @|57 @|a@ |e © plume re ofa @ 1 @ls7 ©la2@ | ® 20 | 12 @ . | © st @[57 @|[e2@ | © a | i2 @ | 3 © 51 @ | 57 2 @ @| «8 ® 22 | 13 @ @@ e 33° @ 52. @ | 57 @ | 62 @ 68 © 23/13@ “u@ Bl 3 @ 32 @[ss @|a2@ | © 24 [13 @ 4@ Bl 38 @ 52 @[s @|82@ © 2/13 @ “@ Bla @ 53 @[ss @[ea@ | © 26 | 14 © Be | 36 © 33 @lss @|o3@ | 69 © 27{[m@ 6@ « | 37 @ 53 @ [58 @ | 63 @ 69 @ 23 [14 @ 6C@ « | 38 @ 54 @]ss @/a@ 69 © 29 | 14 @ « | 3 @ 54 @[58 @| 6 @ 6 © s0[ 15 @ 16@ Dd | 30 @ sa @[s8s @|u@ | 09 © sf @ 17@ dD [3 @ 54 @|58 ©] a © sf @ m@ Di|a @ 3 @|ss @|e«@® [1 © sil ie @ 7@ va @ 55 @/58 @|a@ | © a [17 @ » [3 @ ss @lss @©|u@ | © 35 | 17 @ > [4 @ 3 @lss @[a@ |n © 36 | 17 ©O©@ >» [4 @ 55 @ [58 @| 6 ® nm © NUMERALS designate page number.ou simile —_—_ simile Various articulations may be used in the chromatic, the interval and the chord studies at the in- structor’s option. 5 ————E simile Exerei: Dominant 7th Chord A Minor The sign A indicates a half-step Natural Harmonic 4%"Babar eet pg toi —— simile a Exercise in Thirds 13: Common Chord 14 Diminished 7thF Major—~ — o- Common Chord Dominant 7th D Minor Harmonic Natural 23 Melodic 24% —.- [=—_—_ te 25: ~~ simite be eimile Thirds 26Common Chord . Diminished 7th G MajoroO Sygegs tone cee To 9 Ssh she OS Common Chord 35: Dominant 7th E Minor Natural Harmonic, MelodicThirds Common Chord Diminished 7th Bb Major simile oC simite 44: tintoF er wo -— ~-nvre 47 Dominant 7th 48 G Minor Notural Harmonic 494" = = MelodicThirds D Major7 Thirds 60x Common Chord Dominant 7th 62 B Minor Natural Harmonic 63 Melodic Thirds Common Chord Diminished 7th 67%ror une or tworart riaying The following studies are designed to aid in the development of the student's interpretative ability. Careful attention to the marks of expression is essential to effective use of the material. Pencil the technically difficult passages and devote extra time to their mastery. In rhythmic music in the more rapid tempi (marches, dances, ete.) tones that are equal divi- sions of the beat are played somewhat detached (staccato.) Tones that equal a beat or are multi- ples of a beat are held full value, Tones followed by rests are usually held full value, This point should be especially observed in slow music. Moderato BORTNIANSKY HOHMANN Allegro 2 mth19 Moderato earAndante religieux MARIE Moderato MARIE23 Moderato SELTNER25 NIEMANN Allegro 2 10 my leggieroTempo di bolero “1 BP leggicroAndante affettuoso1329P Folk Song Allegro moderato 15 a31 Allegretto grazioso GATTI = race A 16 z33 GATTI Allegrettosempre amors.Andantino 19 22 medodioxo Bp delicato 2p delicato, — as, as oa simile37 Andante affetuoso (4:66) CARNAUDiy Tempo |__— oe a BONNISSEAU Vivace 2239 GATTI Andantea WAGNER Marziale43 Andante sostenuto DeGouy————————_= | sO ttimanado45 SS ——. > - — >, —. 2 "Bits mosso tratt.” smors. | ! | | , + sonorously,sistent with tonal contro! ana tecnica! accuracy. ine rst prace very slowly in order that the articulation may be carefully observed. In allegro tempi figures similar to should be performed yete. The figure ‘The material for these exercises has been taken from the methods of Arban,Gatti,St. Jacome,ete.47 7 simile ‘D.S. al Fine Allegro 7 wf : of vModerato49 simile 12 RB leggiero51sempre staccato8S con motoAdhere strictly to the fingerings given. 1487 tetetetote.Ist & 2nd 2nd & 3rd tst,2nd & 3rd tst & 2nd 2nd & 3rd 1st & 3rd Ast,2nd & 3rd aa Octaves 14 15 Ist & 3rd 16 1 SS mo: 59 Musical Ornamentation (Embellishments) The following treatment of ornamentation is by no means complete. It is presented here only as a guide to the execution of those ornaments which the student may encounter at this stage of his musical development. There are different manners of performing the same ornament. The Trill (shake) The trill (or shake) consists of the rapid alternation of two tones. They are represented by the printed note (called the principal note) and the next tone above in the diatonic scale. The inter - Wal between the two tones may be either a half-step or a whole-step. The signs for the trill are and —. ‘An accidental when used in conjunction with the trill sign affects the upper note of the trill. (ase regular fingering for D-trill_ ist valve) Play as in No.1 & oe oe oe Ps ra oFLong grace notes from “Serenade” daydn Andante cantabile =: In instrumental music of recent composition the short grace notes should occupy as little time as possible and that value is taken preceding the principal note. They may be single, double, triple or quadruple, as the case may be. The single short grace note is printed as a small eighth note with a stroke through its hook. It is not to be accented. Use trill fingerings when fundamental fingerings are too difficult. Short grace notes Allegretto ARBAN61 Allegro ARBAN 10 The Mordent The short mordent (4») consists of a single rapid alternation of the principal note with its lower auxiliar, Two or more alternations are executed i the long mordent, The inverted mordent (#) does not have the cross line. In it the lower auxiliary is replaced by the upper. Itis the more commonly used mordent in music for the wind instruments. The mordent takes its value from the principal note. Short Mordent (single) Long Mordent (double) “bb sa abe 1516 7 Allegretto moderato ARBAN Me nm In trills of sufficient tength a special ending is generclly used whether indicated or not AS=R= The closing of the trill consists of two tones: the scale tone below the principal note and the principal note. In long trills of a solo character, it is good taste to commence slowly and gradually increase the speed. Practice the following exercises in the manner of both examples 1 and 2. Ext Ex.2 oThe Turn (Gruppetto) 88 The turn consists of four tones: the next scale tone above the principal tone, the principal tone itself, the tone below the principal tone, and the principal tone again. When the turn oo is placed to the right of the note, the principal tone is held almost to its full v-lue, then the turn is played just before the next mélody tone. In this case (Ex. 1,2, 3,4, and!) the four tones are of equal length. Whien the turn is placed between a dotted note and another note having the same value as the dot (Ex.6and 8), the turn is then played with the last note of the turn taking the place of the dot, making two notes of the same value. The turn sign after a dotted note will indicate that one melody note lies hidden in the dot. Ext Ex.2 Ex.3 Ex.4 Ex.5 on Ex.6 Ex.7 Ex.8 oe or Played Sometimes an accidental sign occurs with the turn, and in this case when written above the sign,it refers to the highest tone of the turn, but when written below, to the lowest. (Ex.2 and 1 below). When the turn is placed over a note (Ex.3) the tones ore usually played quickly, and the fourth tone is then held until the time value of the note has expired. In the inverted turn (Ex.4) the order of tones is reversed, the lowest one coming first, the principal next, the highest third and the principal tone again, last. The inverted turn is in- Gicated by the ordinary turn sign reversed: 0 or by 2. Ext Ex2 | Ex.3 ExARBAN Andante © v ui 27 mf zgsoLos* 65 Calm As the Night BOHM Andante ™P orese. —— a ‘& Each solo in this section is also published separately with Piano accompaniment.45+‘ Pumpety(Solo) Cornet - Bar.§ 0. H. TAYLOR Valse Lento w =r" + rit P dolce ral Con spirito Boyd, Zenner % 5 St DS. at Coda CODA tn. pe A ALA. AAA. a rll PPP Copyright MCMXXIX by Rubank Ine.,Chicago, IIL Copyright Renewed International Copyright Secured mall colando ——————— =—vCantique de Noel . (0 Holy Night) Solo Bb Cornet (or Trumpet) ADOLPHE ADAM Transcribed by G.E.Holmes Andante en.Grand march 4 bold ? ? TRIO Copyright MCMXXXVIII by Rubank Inc. Chicago,IIl, Copyright Renewed International Copyright Secured69 ARCTURUS VANDER COOK Andante 4 dolce 2 a 2 Cc rit Moderato 8 alowly fModerato aa: Vivace a a f ArcturusRIGEL f VANDER COOK Andante catore 5 Moderato deticatoModerato delicato np slowly eee ee = = ————- SS —= Oadensa — accel,