B. Bypera asa WWW.PARTITARU Tunocben IKINLIEp CHCTEMa KOMMACKCHEIX TH 1p aya u“acTb NepBan Kommaexctt MAAOH H CDCAHeii TPYAHOCTH BVBSIMOTEKA BYPEIM B.M. (r.Cymb!)B.Bypera_ ana WWWPARTITA.RU C rwenien somearenstore tpybas, HepoaNore apmicra Poceit Trworber Aloreamiepa ewsaat nore Grectrume AocaccEn ConpeNeHHOTO wexyectE. OrpeMine ‘iMeo9 KoNEEDTOD, saTMCeH, Cin: oTBOpHRY ADTHCHINECKAK h NeAaFOTHNEEKER ACRTARTNOCT. - ACE 3M MZHHTND ero R PAA COME ECE aN Ht aBTOPAETENAHOR MYSMKHTOW SADA, TDoaunep poanaca a Yapaie, aeewne sursskayrs, C.nenseM ner yea pe 1a Tp R Moen. eran pocnitrasiannom opKectpa Kaga,tepyiexoro nora, Hovorioi 40 Hit uv CoMepuleHCTBOBaH CmarKa usrounime rmteniePrasynona 1 Tesrpametoi muphaNbION Gasone, sates =a nse 8 TOMASI CNL seoauanuiorneaarori reco! EesCEIMye mde ieennee, HAacTaBhaIRaNN MOROAOTD WYHINAL TA Ge abe mine ronerenne pyGoun M Tabakon 1H Bactirenrmu B épenpane 1961 roa Liorunep - aaypesr Bee eoinmiare Konya MyaniaHTOR Heronmiteaci.a 8 L947 rosy ouepRnNaeR NOE Ha MexyHapCAON semmaypee w Fate Syn ronn waraaost TpyGa MHIOTa KORLELTTDMpYET H GatloapeneHE® paoTaeT #8 opKECTPE Bonsanoro rearpa CCCP B 1987 roay ou onarrweser aupamercesitdpakyntTer MockoncKon rocyaapchseniok xox cepraropartan. 1114 Yahkaaceoro na Raacey mporpaccopa feo CHARI. Tenosbot Homme» scanner wvainant, RDOZBUMEPUNI BAERS PMEPEA NRYCCHsS ps 19 “6e. Baro pykax stor mc peMerT NpHOOpERMET NOANHHL CONkYO BaaMIRMOC, CONE HS C NEKO: rok, oasineHIGETHO LePERIMIRES O° SORLN IACTIPSCCMONSN IeIAEEM CTPSRHEN 5eAKazTO BOKAA, “OK Luveaep ModennyeT Kame ehpasy Ta HENUCHD. To. eMy MOA OB NovSIDHAOAAT MOTH HARECTIE REIT perpyvenrramicna”- ner Goarnpennn 7axcTo Paborrewwecke mene, a amepnikasie Zhnor Beppov a epanitin: xypoavi “Bpoce Yoru” aoesanuaer. "Ero HrpA nnacwterevMie NpesoCNOAT NOOSE AE enpyeecita The oulstaing trumpeter Timotei Dosshizer, People’s Artist of the Russian Federation. has made on vnprestive eonterhution to miadeen trusrpet playing, Thanks to his active concert activity and fruit ‘work as a teacher he now ranks among the most distinguished musicians af the word, Timrsfei Dokshizer wis bors si the Ulsamne ynto a musical fermly: He hegan to study music in Mascow ail ane same, when he jooved a cavaty reeiment band. He continued his studies first al the Gazunoy ‘School ated the Secondary Music School of the Moscow Conservator, cid later atthe Gresin College and the Gnesin Musical Pedagogical Insfitute under the prormnent Soviet rurnpeters Misha! Tabekow and Ivan Vnsrevski In February 1941 Timolei Doksbizer became a prizeswanner of the USSR Pertarruing Musicians Competition, and in 1947 won the finst prize at an international contest in Prague He was one of the first Soviet musicians to gain in(emational recognition. Ip those years Timofei Dakishizer regularly appeared in concerts and worked with the Bolshos Theatre Orchestea. ln 1957 he graduated from Professor Leo Ginzburg s conduchng ¢lass at the Moscawe Conservatoire. ‘Timofei Dolshizer, an outstanding musicians, has gained spectacular ottaximents in trumpet playing He has ensured for tbe trumpet the repulation of a brillant solo instrument which can rwal the Hlexibilty of woodwind snstruments, the expressiveness of the strings and the agihiy uf be) canto According tr the Bulgarian newspaper “Rabotnichesko dela”, "many well-known singers and msteumentalists tnay em the sel with whic Dokshizor fashions his every phrase.“ John Barrows from the USA remarked 2) the "Brass World” magazine: “His playing expands the range of his instrumentB. Bypera asa WWW.PARTITARU Cogepxanne Tipeaucmosue pegaxropa . Tipegucnosue asropa ... Tlpakruueckne pexomenyannn Kommiekcpi Mano TpyqHocTH Kommexcni cpenueii TpyauoctH RaAwau Contents Editor’s introduction . Author’s introduction Practical recommendation: Easy system ...... System of medium difficultyB.Bypera ana WWW.PARTITARU TIPEXMCJIOBHE PEJAKTOPA “Cucrema KoMITeKcuLIx sanaTHit rpyGava” T.JloKmMMepa Ha pyccKoM slanike Sua Haga 2 1985 roxy maqarenbetnom “Myannca”. B Hono! penaxnum® KapausaseHo nepepadotan HoTHET pasren, Gores nocnexonaTenLHO ASTOMEHE MpAKTHTeCKMe PEKOMEHAATLN, ¢ KOTOPEIME HEOOXOMUMO TOSHAKOMUTECH Kax TOMY Upucrynaomemy K aaHATHAM To aToH cucTeMe. TlocoGme agpeconaio mpombeccMOHATLALIM HCHOMHMTeNISM, CTYRCHTAM, CAMOAeATETEEEIM MYSKIKAHTAM H Y4AUIEMCst JeTCKHX MYSKIRATKHMIX IKON, HAHMHAs ¢ B-ro - 4-ro roxa C6yueHHs B paGore oGo6mien omrsrr conercKott UcHONHMTeMECKO! INKOE HIpbI Ha TpyGe, MuoroneTHett McuomuMTenscKoit M Me_arormuecKoit Aes TeNbHOCTH aBTOpa. Burpaxxalo uckpenmow Gaaroqapaocrs mpesujeury Mexaynaponaolt ruaBanK rpy6aseit Hoxoite [onuc (CIA) u nepenonunne Oanre Bpacsancxoii 2a WoMomts B noAToToRKe cSopHUKa. B. Jloxuuyep EDITOR’S INTRODUCTION The book “A System of Studies for Trumpeters” of the prominent Russian trumpeter Timofei Dokshizer was edited by Publishing House “Alphons Leduc”, France, 1990 (in French), 1994 (in English). In its re-edited version, the book contains a completely revised musical exercises and more consecutively stated practical recommendations necessary to get acquainted with when one chooses playing studies within this system. The book is meant for professional performers, student, amateur musicians and students at children’s musical schools, starting from the third or fourth year of training. ‘The work is a result of generalizing the experience of the Soviet school of trumpet playing, as well as, of many years of the author's performing ant teaching activities. I would like to express his sincere gratitude to the President of ITG Dr. Joyce Davis (USA) and to the translator Ms. Olga Braslavsky for their help with this publication. V.DokshizerB. Bypera ana WWW.PARTITA.RU TIPEJIMCSIOBHE ABTOPA ExxegnesHo Teper KaxqsIM Tpy6avom BoaHMKalor nompocui: “C yero HavaTh cnou sake tua?”, “Kax noctponts ux ceronua?”, “CKomSKO BpeMeHn aaHMMATECA 1 KAKO YueOuAit MaTe- pHa ucromHs75?”, “Hakve HaBSIRH PASBHBAIOT Te HTH Muse YNpAKNeHAA HK KAKO PesyasTaT omnnaTs oF mposeraRHoit paGores?’ Ornerst Ha arM BOMpOCEI Kar AMI MCHOIHUTET, AOIKEH HAXOAUTE CaM, TAX KAK Mpouece PAQRUTHA HCNOMHMTeACKAX HABSIKOE Cyry6O MEAMBUAYAIEU, OH CBAIBH ¢ NPHPOANBIMH TIpo- dbeccnonamHsimn AanEsm TpyGaue 1 KOHKPeTHKIM COCTOMHMEM €r0 HCHOAKMTEIHCKOTO anmapara, 3 nepay!o ovepen>, TYSHEIX MBILIN, C yyerom tux ABYx daxTOpos - UPHPOAHEIX 2AHHLIX H KOEKPETHOTO COCTOAHMS - KaxkEIi UCHOALMTEND, ¢ Ne! OCHUKEHUA UAMTYYINNX pesyAraTOR B padore, AOIKEH YMETL exeN- eno ouperenstrs arm CeO MexecooSpasyio KrpoBy!o HArpyskY, NPofoWKUTENHOCTS AoMAI- BETO sansTHA MW ROTEL MAaTepHar quis ero MpoReneHus. ConpemenHas mpaxruka Tojekaanzaer, 470 9TH auAaTH HagO pemaTh B KOMILTeKCe, Te, PASBHBATE ON HORPEMEHHO HECKOSKO HTPOBLIX PHeMOB, He saTpaynBas Ha oTy paGoTy wuuIHerO BPCMCHM H CH, WTO OCOGEHHO AKTYATBHO AH MPodeccHOHAABHOPO AONPOMETHA MenOAHUTENS. OcHoBKoe pefHasHaNeHHe aRHOro WOCOOHA - TOMOMb KAxAOMY TpyOAYy OCMBICTHTS 1 OpranHsonars crow Tpya, OTOHTH OT TPAAMMHOHEOrO, “acto GeclemsHOrO UpeToAMpoRaHUA HA MHCTPYMeHTe, a TAKIKE HoGeKaTh JaMeHE CHCTEMBI KOMIMIEKCHHIX 3AHATHI OFHHM TOALKO pa- abITpEIBAHHeM-pasMHEKO!l. PasMMEKaMit MO%HO MHTOTORUTKOH K paGOTe, HO ONM He pasEHuaLoT MacrepcrRo, a, cko- pee, pacxogyior ero sanacei. CaeqoRarerEHO, HM COBEPUICHCTRORATL Mx MO2XHO TOABKO CHCTeMO! RceoOLeM TOMA KOMTCKCHEIX 2aRATH. Hono.tsio GomLmoe pactpocTpaHneuHe B coppemMeNHoH npaKruxe nomywusa pa6ora Hag co- BepINCHCTRORAHNEM OT/eTBABIX IIPMEMOR UUPkI, HANPUMEP, aRYIAKHA wepxHero ernexpa HE aevarsox cKomMkeHMi no METepRAsaM. TaKy!O MeTORMKY orpa6orKH Aeranel MOXKHO TOALKO EpMReTeTRONATh, CON HCTOAMMTENL BKMOMAeT HX 8 OOLTYIO paGOTY MO PAsBHTHIO TEXAUKK H MYSEIKANSHOFO MBLLIJICHHA. Ha xypeax Macrepcrsa B PAGHEIX Crpalax aBTop BeTpewases ¢ TpyGauaMM, BMOGTEHHEIMM MCTPYMeur H HOCBATHAULMMH emy 8-10 Jer TPyaa, HO He AOCTUTHTHME HCTOIETeNSCKEX BE- coz. B To Bpemst, Kak nepHog B 8-10 XeT NocTaTOveH AA CospeBaHA MacrepeTRa MYSEIKAHTA, OucnnaKo, MpHHHRY Hepea.tHsOBARELIX BOSMOIKHOCTeMt HaqO HCKaTb B HecoRepmeHCTse MeTOAA OSyHeRMs H HAAMBHAYATEUBIX saRATIt. Rommiekctnii noxXon k OpranMaanun aansrmii o1kpbImacT HyTh K HORMUEHMO Mpopeceut- onanbuoro Macreporna. Wpenmaraemas cHeTeMa MOATOTOBKN rpy6aua Mpenycmarpunaer padory Hay COREPIIeHCTHORARHEM HCeX HCHOAINTEMBCKHX TIpHeMon. Baliarns lo KOMILHeXCHOM cHCTeMe He cHejYeT OrTpPAHKYHBATe TOKO HOTAMM aTOl PAGOTE!. Bake CaM TpHHIHI KOMMIeKcHOTO MeTORA, a MaTepHa Momer OMIT m10G0H, 43 Bcelt HaKon- aennoii 1#Tepatypst Ana Tpy6st. Cucvema Bceraa Syger axusoll, ecxm nocromuNo 6yger sEUTEI- BAM Be TO HOBO, FTO POOR AaeT BPEMA, YTO PAIBUBACT H ABHKET MCIIOMEMTEMBCTBO Ha TpyGe. He MSYYeHe AOMKRO COMMIACORBIBATSCH C HUMHOHHBIMM OFCTOATETRCTBAMH, KOBKPETHNM CaMOuys- eTBHEM MCHOABMTCAR, THTHbIMH ONLYIIeHHAME, TOHMMaHHeM mpodeccMOHaIGULIX 3agay 4 KOH- Tposem co6cTReRHOrO TpyAa. Tumopet JoxuuyepB. Bypera asa WWW.PARTITARU AUTHOR'S INTRODUCTION Every day a trumpeter is faced with the following questions: “What should I start with today?” “In what order should I do my exercises, what music do I use and for how long?” “What skills will I develop with these exercises and what will result from all of this?” ‘The answers to these questions should be discovered by the player himself as the process of developing professional playing skills is strictly an individual one. It depends on inborn abili- ties of the trumpeter and the specific physical state of the player. Taking into account the above statements (inborn abilities and the specific physical state), every performer seeking the best results in his studies should know how to determine the optimal daily playing regiment, the duration of practice session and the music to be played. Modern practical experience prompts that these problems must be solved by an organized system. That is, the performer should develop several skills simultaneously. This is of particu- lar importance for those who wish to obtain a professional level of playing. ‘The main purpose of the described system is to help the trumpeter comprehend and orga- nize his work by abandoning traditional, and often aimless, preliminaries on the instrument and replacing them with the Complete System. Warm-ups can prepare you for performance, however, they do not contribute to your level of proficiency. They can be a drain upon it. Therefore, only a system of comprehensive studies can help to accumulate and restore one’s performing resources. The most popular practice today is to train oneself by improving certain playing tech- niques, for example, to obtain a better sound in the upper register or more artful slurs through the intervals. The method of perfecting certain skills can only be welcome in case this is part of the efforts to develop the performer's proficiency and musical thinking. At master classes in different countries, I have come across trumpeters who worshipped the trumpet and spent eight to ten years working very hard, but never attained a professional playing level. The period of eight to ten years is known to be sufficient for a gifted musician to master his skills. It is evident that the cause of unrealized possibilities lies in the method of individual study. A systematic approach to playing is the successful solution to a promising professional future. The system is comprised of training in all performing skills necessary for the modern trumpeter. Studies involving the system are not restricted to the use of the music given in this book. It is systematic approach that is of utmost importance. The musical material may be chosen at will from numerous compositions for the trumpet. The system will always live as it constantly assimilating new ideas that time inspires. These ideas contribute to the development and perfection of trumpet playing. When studying by this system, the performer should incorpo- rate his own life experience, general and mental states, personal feelings, and the evaluation of his personal effors for successful results. Timofei DokshizerB. Bypera ana WWW.PARTITARU MIPAKTMYECKME PEKOMEHDAUME Huzwsxayaxsusre Nausie H KOHKPeTHoe cocrosuMe MeTOAHHTeAT Yrobu mayiurEeR palHoHAMEKo M cAMOCTOSTE:T+HO UPOLOAUTE EAEANEBALE SaHATHE, cme- AYE? 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Ecau wa YTOMMeHHBIX ryOax ace 2Ke HY2XHO paGo- TaTh, WTO CHUAETETBETBYET 0 MpoCueTe R OPAHKIANMH AHSITHI, TO HALO CrpeMUTECs BOCCTAHO- Bure saacrHuHocTs TYGHEIX MBILIK, He MpHCaBAaA yromenHs. [[ns sTOrO sLysUIe Beero Hero. ATS Werke YUpaxKHeRMA-PAagIMKHKH, NOMCLICHHMC B HAYae Kak ROTO KOMIWICKCA, HAM CMe anbibie YRDAKKEHHA AIA PaccnROACHKA TYOMEIX MMM, HOCTPoeHENe Ha HCHOATEHAM Tena nix aByKox, Paccna6tenive ryGRbIX MELIIL HOpMaxtaayer KpoRooOpamexne 4 cmocoBersyer Roc- crattornenmw paGowero cocrostnst. Ecan ry6si OrMOXRYBIIHe, TO MOxHO MPOBeCTH HHTEHCHBHBIe SanATHA To NporpaMMe To.t- TIX KOMILIeKCOB ¢ HCNOTHEHHEM CHOAHBIX YEPAXMeHMt 4 Tbe To PAsBUTMO SBYKA, TEXHEKE, nepxuero pernerpa. Cnon aamstHst Hao opraaugonbipaTs Tax, WOOM TY6NOH aumapar Gui roToR & urpozoit Harpyske B KYAHBi AI MCMOARHTEIa MomeHT. B oroit ocobeHuocrA MpobeccHH Nposmusieres MYApOCTS MCHOAHMTeIA, HAKAMMNAeMAS peryTAPHOM mpaxrsKo;, Merog opranasauyn exeneBHEIX 3anMTHiL, OCHOBANEEIX Ha yueTe MHAMBNAYAADHBIX AARHEIX M KOHKPETHOTO COCTOSHMA HCTONNMTENH, HOSROAAET COSAABATE ONTHMAABUBE yC- NOBUS AH YeHeMHOTO PaInUTHs MacTepeTBa TpyGaya. Kax nomssonareca cucremoit Npegaaraemerit HoTHnIt maTepnan AaeT BOaMOXHOCTE MPOHEACHHH KOMMTERCHEIX YPOKOB - TOMHEIX H COKPAICHEBIX. Kommuexcs! BKOGAIOT B ceOA: PAIMMAKH, BOKAANSEI, 1H ceKReHtH. PasMuitH - ruMnta- eTHka Tpy6ava, HaYANbHMe H Hauseruaiimme yIpaxkHeuss KOMMNeKcHOTO ypoKa. Paamuniit corpenaio? MBIIIUD HCHOMHMTeTACKoro annapara, “Mpobyaaaior” qLXaHMe UCHonHATENA, roTO-B. 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IIpumerenne Sasuura yenecoo6pasHo nocne AamreubHOrO MepepsiBa 8 Urpe, uepex 20506- HOBEHHEM peryaapHEIX sauATUM. [IZA 9TOVO Wepex HATATOM IPH HA MECTPYMeRTe MOOKEO AAHUMATKCA LYGUMME HI MYEINTYWHHIM GasUuroM no 3-5 MUAYT, HECKOBKO ad B eHb. HorHsim MavepHastoM MOTYT CAY:KHTS PasMMHKM NS KOMIUIEKCOB. B orgensHox cayWaRx GasHHT MoxkeT MPHMeHATECA BMeCTO PAsMHHOK, OnNAKO, GasMAT we aaMenser saHaTHa Ha wucTpymexte! Boxanmsut - nenyaie nHTepRANSHDIe YUPAKHCHHA, BANKHelUIAK YaCTS KOMNTEKCHOTO 3aHA- qua, BoKamuon paaBHBalor ofMospeMeWHO aTaky, 9BYK, ABIXAHMe, CX, SByUARME PerucrpoR, BRIHOCTMBOCTE FYGHBIX MUILIL, CHEXPOHKOCTE ABHPATENBHLIX HABKIKOB BCeTO HOMOAHUTETKCKOTO annapara TpyOaua, Panbile vacth epevHCAeHHbIx HABSIKOB BAIpABATHIBAMAce HA MCTOMMEHECH BRICPARHEIX W PUAMPORAHHEIX oByKOB. ITH YIPAKHCHHA He NoTepATM cBOero GHAYERH H cCerodHua, buAUpOBAHUbie 3ByKM OFAGATEALELL AAA HAWAIbHOTO PaaBUTHA SBYKA, ALIXAHUA, BhI- RepHKM, 7.c. B MepRKe TOME YaeOR 4 NOCHE ATuTeNBHOTO Hepepstna B Urpe. OMHAKO, eraTHKA, HCTOABHDKHOCT! HANPSOKCHHBIX MEIN, KAKOBAK OMIRAeT TPH HcTOAHEHMH (AAMpORANHLLX SBY- KOR, IPHBOAUT K HapyuleHAIo OOKISHOTO KposCOSpamfenus H GEIeTPOMy yTOMEHHIC ry6. B conpemensolt ucHoAHHTenECKOH NDEAKTHKE BMeCTO GUIAMPORANHEIX SBYKOB Bce Mpe He- Howaylores HATepRAEI neraro-noxamKsn. Ox obibeKTHBHee PAIBHBAIOT HCTOMMMTeRKeKHe HAREIKK, COCTARJSONIHE OcHOBY MacTepeTHa TpyGaua. B Teproger RoceranouseHKA HOPE, 1oC- Jie AeIMTeTbHOTO MepepErBA B UIpe, MHTEPBAMEI eraTo NepeAPOT c MCTOMHEHMEN DULTHPOBAHAGIX aRyKOB. Vinrepraii eraro Hasnanb! BOKaTNSaMM NO aHATOrMY ¢ Ho_OOHMIMM YUpAKHEHUAIMH, paa- Busaromurm ronoca y menor. Han AYXORMKOR M ROxATHCTOR AMXAHUe - OOM UcTONRMK sByKoo6pasonanna. Coxnemumu - ynpaxtiuenus, pasnupaiomne uclomuarexbHyio Texamky TpyGaua, Koporkue CeKBeHTHBIe ¢ppagbl, ocTpoeHHBe Ha PASHEIX MpHeMAX HTpH, GuIcrpo BoceTAHABANBAIOT yTe- PABEBe HABMIKH, CLYAAT XOPOUTUM YeeOHLIM MATEPHATON {Lt COBePUISHCTEOBAHHA BAPTYOSHO- To Macrepera. Marepuan serxo salloMuHaeTes H He AaeT CoAbUIOd HarpyakH ryGam. Vupaxuenua pasxena “Cexsenuun” paccdMTaHsl Ha MOATOTOBNCHHSIX MpoipeccuoHaTbHSIX McnOmMMTenel M CTYZeHTOB, MPeABApHTeTSHO OCBOMBIINX TEXHUVECKMe MpHEMEI 10 IKOAe Ap- Gana. Kagan cocrasuaa ¥acTb KOMIeKca (PASMMHEM, BOKANUSH, CeKBeHIMM) HMeCT CROW NPAK- THYECKYWO HANPABTEHHOCTE H TOTBKO BMECTC, B PASIMTABIX COVeTARHAX, OHH COCTABMAIOT MaTC- PHAN AN KOMMNEKCHEIX YPOKOB - NOAHBIX # COKPALTCHUMX. Tloaneuis komnaexc B mporpamMe mosHoro KOMMLIexcHOTO yPoKAa pasMHHKAM MoxkKHO NocasTHTs 5-8 MERyT: 9B.Bypera ana WWW.PARTITA.RU BOKAIUGAM, BKOVad OUAMpORARABe seyKH,- 25-30 MmAyT; cexBennam - 20-25 Munyt, a obulad NpomOWKUTENEHOCTS YpoKa B upegesax or 40-45 muRYT Ao ONMOTO yaca, Takoe sanATHE MO2KHO CHUTATh XOPOMIMM HavatomM pabowero AHA Tpy6aqa. Tloanue xommaexcel ua10menbt B 4-x rpagannax: 1. Konnaexcst maxoit tpyauoctu - 5 BapHaHTop. 2. Komusexcer cpegueit tpygHocra - 4 sapuanra. 3, Konumexcer tpygaere - 4 papnanta. 4, Kommaexcst nossinierHoit Tpyanocrn - 2 sapwanra. Vis npeanoxxenxoro HoTHoro MaTepHasia Kaxqbtit UeHOABMTeTH MOoKeT BEIOPATS JIA KOHK- perHoro sauATHA NOAXOAAMIAi KOMTLIeKC, CooTReTCTBYIOMLAH ero urpoBol hope H mpoheccuio- HaipHoMy yponwio. C stoi TOUKH apeHH RAwAABMBIe (HO He MH HAUMHAIOIIHX) KOMIEKCHI He Tpex HTpats HW BBICOKUM MpoceccuoRaTaM, eCIH B anu MOMeHT HX UrpoRaa opMa we B nyumem cocroasun. Mysetkanram, He 1ocTMTIMM elle Bepmias MacTepeTAa, Mo2xHO He OrpaHH- UHBATECA TONSKO UCHOAHEHUEN HAYATSHEIX KOMILTEKCOB, a MPOGOBATS cHOM CHB 1m B Gonee CAOMKHBIX BAPMAHTAX. Venonturexs Moxer pastoobpasrTs MatepHan YoroROTO KOMMIeKca, SaMensTS, 10 cCROeMY YOMOTPeHINO, ypAKHeRUA HS APYPMX KOMNIeKcos Ha Gostee CHORE HIM GoNee TerKHe, BKILIO- ‘Yah B KOMITeXC HCNONHEHHe 9TIOAOB, KOBMEPTHEIX HbEC WIM OTACTBHLIX (parMeHToB HS HHX. B uog6ope Marepyaza ypoka AOmKeH OBITS HCHONESORAN UPUHUBE vepeqouaHua yupaxne- wh, pasBRBAIOMUHX PAgHEte OBYKOBEIE H TEXHMMECKHe HABHIKM: Tocse BOKATHIOR M (pHAMpOBAH- HBIX S8YKOB HIpaTh MHTePBAMDHBIe H TEXHMYECKHE CEKBEHUMM, MOCTE MIPLI B BEPXHEM PerHCTpE - nepetita B HUSKui, Hocme TpyaKoro ynpaxxnenHa urpatb Gonee zerKoe Ht T.q. CMeHa xapaKre- pa MPpOPLIX HarpysoK yBemHuMBaeT paGoTocnocoGHocTs TpyGaya M MoBEIMaer oddbeKTaBHocTs sansrHs. Marepuan nowHiix KoMIMeKcoR WS1OXKEH B MAKCHMAJIBHOM OfneMe, UX KenomHeHMe qacr ouyTHMy10 Harpysity ry6aM # TpeGyer or rpy6ava yeTKoTO PacueTa CBORX ct, KOopAMHAnuH ¢ APYTUMM MrpoBEIMG HarpyskaMu B STOT AeHY a TAKE B MpeacToamHe AHA, HootoMy ue cxegyer B XOJe KAMMOTO YPOKA CTPeMUTECH BO UTO 6K TO HH CTANO UTpATS BEC MaTepHam KOMILTeKcA 6e3 yuera KOHKperHoro cocrosuua cBoux ry6. TIpm HOPMAJBHEIX CHCTeMATHYECKHX SAEATHAX CHE ayer, cKopee, npuzepaxMearsea npasuaa: “JIyume Hegourpars, vem nepeurpaTs”. Hosmer komnmaerc nenecoo6paano urpats 1-2 pasa B HezeAIO, B OTREMEABIX CayaARX walle, E01 9TO He MPHROAUT K mepeyrom.teHITO, Venonpsosaaue noms kommseKcon vepemyetes ¢ coKpamenHsiMu. B oToM saKmoyen Or- POMHBM cMsren, H60 vepefonanue HETeHCHBHON HarpysKu c OGterdeHHO! geet HoBHIh sapan AAR METCHCHBHRIX sanATHit. Conpawjenntoatt komnnene Bapaanrst cokpamenisIX KOMIIEKCOB JeTKO TOCTPOMTS CAMOMY HCTOMHHTEMO, BA6pap Ka nomHoro Kowmrexca no 1-2 ynpaxHeHnns ua zByX pagseon cucremot: Boxamiant-Coxnexnui, PaoMMEKH-Boxannapt wt PasMisnnn-Cekbeniiu#, & ¢ UesbIO PAOKITPHIBABHA UTpAT TOABKO Pasmaakn, Torsko Boxamset, TomsKo CekpeNtunit, PaskoobpasHoe MciiosIsoRAHHe ROTHOTO MATepHaA CBUTETEABCTAYET 0 XOPOITEM CAMOKOR- "pose HeTIOMRUTENS, BBICOKOM YPOBHe ero MpobecchoHasBHOTO MBINAeHHA. Bpema sanaruit no cokpaimenuoMy KOMIeKcy MonkeT Onith B mpemenax or 30 no 40 satzyr. Coxpaigeniteie KOMILTEKCHBIC YPOKM NPOBOASTCH, B YACTHOCTH, B CAeAYHOULEX Cary ARK: = Koryla TYOEI He THeOYIOT PAIMMHKH M SAHATHS YAOOHO HATHHATS Cpasy ¢ BOKA.THSOB. + Kora TYOsI elie He OTHOXHYAK OT MPEKETYMeH UIpE, SAHATHS myHUTe LOCTPOMTS Wa PASMHHKAXK H CORRCHUMEX, TTOGH NONBIAKHHIMM YHPAXHEHHAMM CHATE YCTATOCTS H, BOS- MoxHO, OTeUHOCTE ry6. - korga ryt ocaaGaeHm HeperyaSpHBIMN GaNATHAMNH, paOoTY HATO HAWHATE ¢ pasMn- 10B. Bypera ans WWW.PARTITA.RU HOK, HrpaTS HeCMOmMABIe BOKANHSBI H, B MeHBUIell Mepe, TeXHMWeCKHe yPARHeRNA-cexneH- 1H. + KOrAa HCHOAHHTEMb HAAAUpYeT GOASIIY!O ACTH SAMATHA NOCRATHTE H3yYeRMIO 9TIO- HOB, KONKDETHEIX MHeC, OPKeCTPOBEIX WapTHil HAH COBePULeHCTBOBALIIO HEKOTOPHIX CBORX HCIOTHRTCHECKHX HABEIKOB. CokpamenEnte KoMIIeKCHEIe ypoKu Mpenoxpasmor ry6bi OT Mepeyrommeuns, cosaroT 6:1a- TONPUATHBLE YOROBHA AIA Souee AKTHBHOTO OCBOEKHA MYSEIKAIbHOM ALrepaTypsr. Tita conepxanua ry6 B Urposolt @opme Hao MCHOMESOBATH BCe cpeNcTRA: BapbNponarh HOTHRIM MaTepuaT, TepelOBATh UETEHCHBRY!O HarpySKy ¢ OOMerMeHHOHt, HTPAs ORNE AeHD Hom muti KOMIMIeKC, APYTOl AeHb - cOKPAMeHHSI Haw TOALKO pasMMHKY, a HEOAA, H BoRCe Mpony- CTHTE AeUS HTPHI LIA TOAHOTO OTALXA KepeyTOMATEBAEIX Fy6. Hedanvnewe peeuempo. mpybvs Tlegaaewernn HaasIBaOTCA HHKHE 9BYKH, HAXOAAINMECH sa Mpexenamts a-pse9 MaTOIK OK- ‘raph - lomegMero HusKoTO OBYKa wa TpYOe, 8 cTpoe “B", Koxicrpyknus u akyoruxa Tpy6sr we mpexycMatpmBaer UX MaReveHMe H, TeM Gonee, KaNectBeRHoe aBy¥anHe. Boe xe, GnaToxapa oco6oit mpuerrocoSiaemocTn TYSHEIX MEIN (B OCHOBHOM, HX paccnaGxeHtsio), cTano BOSMOR- HBIM MOBTEKATS MeMATbHBIe ABYKM M, B OTACIMHAIX CAYYARX, MPHOMMAATS UX IByTARME K TeM- Spy awanagona TpyOst. Sto HosBONMAO MCMIOMSAoRATS NeAATLMEe BBYKM RB KAYECTRE cHlenMa.Tb- HX ynpaxHennik Aas DagayTnA TONOASUTENBEMK MBIMICURLIX HaBEIKoR ry6. Tenarbusre oBy- KM cram mpHmenarscr B XX wexe, UX Weecoo$pasHocTs KAK ReMoMoraTemSHoro cpercTRa paccuadxeHns misuy ry6 Gecenopua. Tenanbane aByKA YIYWIIAIOT sByUAaMHE BCero AMATAIoHA TpyOer, B TOM IHCHe M REpxHeTO perHeTpa. OHAKO, He cnegyeT MepeoueHMBATs anaveRHe 1e- Ranbustx oBykon. UpeoMepHoe yaneveHMe WH OTRICKACT BHUMARMe TpY6AWA,eTO BEM Ht CHAE ot BCecTOpOHHero H TapMORM#HOTO CORePHICHCTROBAHMA MaCTepCTEA. Tlemansuiste anykn: = MAKCHMATbHO pacena61AtO? TYGEr, HOpMastHayIOT KpoRooSpatienme H GxaronpHarHo BauA- YOT HA BOCCTAHOBUTEABEDIA mpoltecc. = oBecneuHBaloT MHMHMATBEBI NpHOKAM MyHAMITYKA x ryGaM, AaIOoT MAKCHMAbHOe pac- caaGuenne ry6am BILIOTS lo MOAYRANNS: MEK. < Maccupyior tyOui, PACMpaRImO? ckAAAKN 1.1K pyburst, OSpasyiommecs oT ayGos. < BMPABENBAWT H YTVULIAIOT aByuAHMe Beero AMAMAgOHA TYE, MpeoxPAHMOr aByKORYIO MeNb OT AUKUMANHA R REXHEM perdeTpe. + YorpaxsioT HaNps2KeHHOCTs ropa K TOpTAHH, yReMHMIURAOT OBEN ToAOeTH pra H cnoCob- ersyior cBOBogHOMY DEIZOXY (MPH MBIcReRHOM mpouariecenun rnacubix 0-0, A-A nau Y-¥). Cuegyer noManT, ‘To pH UcTOuHeHMM HelaAbHBIX aByKOR CooTRETETREHHOM paccmabte- Hint TYOHLIX MBINIT, OOMUROe MOMOReHMe MYRAUITYKA Ha ry¥OaX He DORAN HaAMeHATHCS. OcobeaHo aa oraM HagO CheRHTS, HTPaR YUPAKKEHMA, CRABKBALOTIMe NELATHUMe OBYKH C REPX- HEM pervetpoM m HaoSopor. McnoaHexHe OAHMX MeJQTEHBIX SBYKOB AODKHO OBITS YOePEHHAIN, Tlocae xanpaskensoit 1 yromitTenbitolt HDB MeMAAbEBIe SBYKH, B TeveRHe 3-5 MEHYT, pac- cnaGamior MBILILM Ty6, cHHMAIOT YeTaTOCTS, cMaraaioT HX BOCTIAReHHOCTS. Venoenwe odosnavenua: Vr + BOX ¢ OTBOROM MyEAUITYKa oT TY V+ BAOX HOcoM, He OTBONM MYRAMITYKA OT TY I1- TopTopenue mpegsiayuret qo, Taxa Jol - HATHcaHe HOTEI c2oGomHOH qamTeM&HOCTHEB.Bypera ana WWW.PARTITARU PRACTICAL RECOMMENDATIONS Individual Abilities and the Specific Physical State of the Performer To use daily studies rationally and independently, one should organize them by taking in account one’s individual abilities and specific physical state of the performing system when starting a practice session. Individual Abilities imply natural musical and special physiologicel talents necessary for playing any given instrument. For trumpet playing, individual abilities can manifest them. selves in a full or tense sound, a strong or weak embouchure, consistent sound throughout the various registers as well as the rapidity of learning any given playing technique. Also this implies the ability to maintain the achieved level of performance for a certain period of time as well as the tendency to lose it. ‘The Performer’s Specific State means the physical condition of the player’s apparatus, that is the embouchure, tongue, breathing capacity, and fingers, when starting a practice session or performance. Regardless of the performer's individual activities, this state always varies. The lips can be tired, swollen, fresh, inflamed, strong, relaxed; the tongue can be immobile, light, heavy, quick; breathing can be shallow, weak, stable, uneven, active; and the fingers can be immobile, quick, tense, cramped or relaxed. ‘The conditions of the lip muscles (the embouchure) is the safest way to determine the specific state of the performing system. The lips, more than any of the other playing system components, tell us about the level of the performer’s readiness or exhaustion, This helps the player to determine the appropriate prescription for his practice session. If the lips are tired, the performer is advised to refrain from moving on to the next practice session or to follow a simplified program, excluding playing extensively in the upper register or forte playing. If the performer must continue arduous studies (which can testify to the player’s poor ability to organize his practice materials), he should try to restore the embouchure’s elasticity without increasing fatigue. In this case, it is preferable to play easy warm-up exercises given at the beginning of each section or special exercises for relaxing the embouchure based on playing pedal tones. Lip relaxation normalizes blood circulation and contributes to restoring a good working state. If the lips are fresh, the trumpeter can play intensive studies using all section of the system. Also performing complicated exercises or etudes which are aimed at developing sound, technique and the uppor register, can augment the system. The studies should be organized in a way that the lips are always ready for playing regardless. This is the difficulty of our profession which requires the performer’s wisedom gained through practice and experience, The method of organizing daily studies which involve the individual and specific approaches enables the trumpeter to create optimal conditions for the successful development of his tal- ents. Implementing the System ‘The music in this book includes material for performing the system in either the complete and simplified way. The sections of the system consist of WARM-UPS, VOCALISES and SE- QUENCES. WARM-UPS are the trumpeter’s calisthenics; the first and simplest exercises of a practice session. Warm-ups condition the muscles of the performing system which “wake up” the performer’s breathing and prepare the musician for playing. A warm-up without the mouthpiece should be considered as a special form of calisthenics. In this case, the alternation of a formed embouchure with that of the lips in a relaxed state improves the blood circulation and restores one’s endurance. RB.Bypera ana WWW.PARTITARU While warming up, the performer has the opportunity to precisely check the mouthpiece setting on the lips after each removal; to work for a more precise atiack (eliminating the sound of extraneous noise); or to free himself of an “affected” attack (tooah, dooah). The performer's warm-up before each practice session or performance can be repeated several times throughout the day, “Buzzing” is a “prewarm-op” including certain preparatory exercises that do not use the trumpet. The trunipeter is to imitate a sound by forming an embouchure without the mouth- piece or produce a sound with the mouthpiece. Buzzing is advisable after a long break from playing or before resuming playing. Before playing the trumpet, one is advised to do either lip or mouthpiece buzzing for three to five minutes several times a day. Warm-ups given in the system can be used a the musical material for buzzing. In some cases, buzzing can be used in place of warm-ups, but buzzing can never replace warming up on the trumpet! VOCALISES are melodious interval exercises that constitute a significant part of trumpet study. Vocalises have a simultaneous effect on developing the attack, sound, breathing, into- nation, all the registers’ tone qualitity, endurance, and the coordination of the motor skill of the entire performing system. Previously, a portion of the above-mentioned skilis was devel- oped by playing long tones with diminuendos. These exercises are still used prominently today. Long tones with diminuendos are necessary in the first stage of developing the sound, breath- ing and control. This is essential in the first years of studies or after a long period of time away from the trumpet. However, tension in the lips which often accompanies the use of long tones with diminuendos can result in disrupted blood circulation and loss of endurance. For today’s performers, legato vocalises using intervallic skips are becoming more widely used replacing long tones with diminuendos. These vocalises are more effective in the develop- ment of performing skills which underlie the trumpeter’s proficiency. In periods of restoring one’s playing after long breaks away from the trumpet, legato intervals should be alternated with playing long tones with diminuendos. Legato interval studies are called vocalises as an analogy with the similar exercises for developing a singer’s voice. For musicians who play wind instruments as well as vocalists, the breath is the common source of tone production. SEQUENCES are exercises which develop the trumpeter’s performing skills. Short sequen- tial phrases used for various playing techniques can restore agility quickly and serve as good teaching material for perfecting artful playing skills, The material is easy to remember and does not strain the lips. The exercises in the sequence section are designed for training profes- sional performers and students who have already acquired the techniques of the Arban School. Each component of the system (warm-ups, vocalises, sequences) has its own practical purpose. Thus, used together or possibly in different combinations, they represent the material for study in both a complete or simplified manner. The Complete System ‘Within the program of a complete practice session, warm-ups can take five to eight min- utes; vocalises, including long tones with diminuendos, can last twenty-five to thirty minutes; and sequences can take up to twenty to twenty-five minutes. Therefore the entire practice session can last from forty minutes to one hour. Such a practice session can be considered as a good beginning to the trumpeter’s working day. Complete systems are given in four levels: 1. Easy System - five variants 2. System of Medium Difficulty - four variants 8, Difficult System - four variants 4, System of Advanced Difficulty - two variants 3B.Bypera_ana WWWPARTITARU From the prescribed musical materia) in this book, every performer can choose a system of study which corresponds to his playing level. From this viewpoint, the professional performers are advised not to ignore the preliminary system (not meaning “for beginners”) should they not be in their best playing condition. 'The musicians that are less advanced should not confine themselves to playing only the beginning systems, but try the more complicated variants. ‘The performer may diversify the material of any given system at his own discretion. This can be achieved by replacing some exercises with more complex or simpler ones from other studies. Also one may complete the system with etudes. When choosing music for a praetice session, one should follow the principle of alternating exercises aimed at developing sound with those for developing technical skills. Voctlises or long tones must be followed by intervallic and technical sequences; upper register playing must alternate with that of the mid-and low registers. After playing a difficult exercise, the player should perform a simpler one. By changing the type of studies, one enhances the ability to play and perform more efficiently. ‘The material of the complete system is represented in its entirety in this book. The playing of these systems gives substantial work to the embouchure and requires that the trumpeter correctly evaluates his capabilities. The player must consider other playing requirements for each and subsequent days. Therefore it is not recommended to play all the exercises of the complete system during one practice session without taking in account to the specific state of the performer’s embouchure. With normal systematic study, it is advised to follow the rule “Underplaying is better than overplaying”. It is advisable to play the complete system once or twice a week. If possible, it is beneficial to play the complete system more often if it does not result in overfatigue. The playing of the complete system should be alternated with that of the simplified system. This alternation produced the main essence of the cycle “intensive task - simplified task” with the simplified part offering a new impetus for intensive studies. The Simplified System Variations on the Simplified System can be easily compiled by the performer. In this case, it is recommended to choose one or two exercises from the two section of the Complete System such ss warm-ups and vocalists or warm-ups and sequences. Whatever combination is selected, the player must choose wisely. The duration of the Simplified System practice session can range from thirty to forty minutes, In particular, the Simplified System practice is used wen: - it is necessary to warm-up the lips. It is then prudent to begin the practice session directly with the vocalises. - the lips are not yet completely rested from previous playing. It is advised to buzz the warm-ups and sequences to reduce any possible fatigue. - the lips are not strong due to inconsistent practice. The prectice session should start with warm-ups followed by simpler vocalises and a few sequences. - the performer plans to devote the major portion of the practice session to studying etudes, concertos, orchestral excerpts. The Simplified System practice session prevents the lips from fatigue and helps to create favorable conditions for mastering the musical material. To keep the embouchure in its opti- mal playing form, one should vary the choice of music, alternate intensive studies with more simplified ones. For this, it is advised to play the Complete System alternating days with that of the Simplified System, or only warm-up the day following a Complete System day. On certain occasions, a player may skip an entire of day of studies to give the fatigued embou- chure a rest. 4B. Bypera ana WWW.PARTITA.RU The Pedal Registers of the Trumpeter Pedal tones are pitches which can be played beyong F sharp below middle C. The harmonic series and the acoustics of the trumpet do not provide for producing these pitches within its normal registers. Because of the special adaptability of the embouchure, mainly in repose, it is possible to produce pedal tones. In certain cases, one may be capable of making pedal tones sound close to the timbre of the trumpet’s normal range. This permits us to use pedal tones as special exercises for developing the additional musculature of the lips. Musician began to use pedal tones in the Twentieth Century. Their use is an euxiliary means of relaxing the embou- chure, Pedal tones can improve the entire range of the trumpet, however, one should not overestimate the value of pedal tones. Too much emphasis on pedal tones can distract the trumpeter’s attention from developing a well-rounded technique of playing skills. Pedal tones: -give maximum relaxation to the lips; normalize the blood circulation to the lip tissue; are beneficial to resting the embouchure - provide only minimal mouthpiece pressure on the lips - help to replenish the lip’s tissue from marks caused by the teeth - equalize and improve the sound of the entire trumpet range; help maintain the apertude’s opening throughout the upper register - eliminate tension of the throat and larnyx; increase the size of the oral cavity; contribute to a freer exhalation (keeping in mind the sound of these vowels 0-0, A-A, U-U) The trumpeter should keep in mind that wher playing pedal tones and relaxing the embou- chure the mouthpiece must remain in its normal setting. This is of special importanee when. the musician is playing exercises that connect pedal tones with the upper register and vice versa. The performer must be cautious in his use of pedal tones. After intense and fatiguing playing, pedal tones, after three to five minutes, can relax the embouchure, helping to remove tiredness and restore the lip’s tissue through increesed circu- lation. Notation ‘The following symbols represent: \- - inhaling when the mouthpiece is taken away from the lips ¥- inhaling through the nose with the mouthpiece in playing position 1 repetition of the previous measure sou - a note without given duration 45B.Bypera ana WWWPARTITA.RU KOMMAEKCbI MAAOY TPYAHOCTH Easy System 1 pastuxa warming upB. Bypera ans WWW.PARTITA.RU g q | a ai 4B. Bypera asa WWW.PARTITARU Borams vocalis | 6-56B. Bypera ans WWW.PARTITA.RU — (aaa rests € apxanmat variationsB.Bypera ana WWW.PARTITA.RUB. Bypera asa WWW.PARTITARU aB. Bypera ana WWW.PARTITARU 2B. Bypera_ana WWW.PARTITA.RU pastonma warming up de os so Nf oe Pam a Pa fl PS oo ca r -B.Bypera ana WWW.PARTITARU moxams vocalise cexsemyat sequencesB.Bypera ana WWW.PARTITA.RU TSS J-« o © simileB. Bypera. ana WWW.PARTITARU 26B. Bypera ana WWWPARTITA.RU o paafetereie re seks eee were Bapwanry variations 1 2 2B. Bypera ana WWW.PARTITARU passoatxa warming up “MS A rere e edB. Bypera ana WWW.PARTITARU 30 eg 1 ros es asa ms 3 Nosropmrh Wa nom ToHa HMKe Repeat it a half tone lower 9B.Bypera_ana WWWPARTITARU zoxans vocalise J-c0-18 v v v eS oe Mf af ef ef ee ff ossia coxsemypsr sequences 30B.Bypera. ana WWW.PARTITA.RU MuB. Bypera_ ana WWW.PARTITA.RU Bapuaurs Variations 2B, Bypera ana WWW.PARTITARU 3B. Bypera ana WWW.PARTITARU pabranna warming up simile 4B.Bypera ana WWW.PARTITA.RU noxanus vacalise To be played also in A Mrpars raxxe inA o=56 ¥ “ ¥ ‘ ge >= = Pa fo Pa f= simile = _— Ve ve v S PaaS P= Simiite * on et ter tet Tor cexsempmn sequences Urpazs waxwe in A To be played also in A 38B. Bypera_ ana WWW.PARTITA.RU TrTrTrtyT TKTKTXTK simile 36B. Bypera ana WWW.PARTITA.RU Sts Ss Rapuane oT KTR PT ET FOP Variation poor t tk FR tT RT K To be played also in C Herpare marke in C simile 37B. Bypera ana WWW.PARTITARU Tobe played also in A Mopars taxxe inA a a ee es mp ee ae ——s—~ 38B. Bypera aaa WWW.PARTITA.RUB.Bypera_ ana WWW.PARTITA.RU pasmmuxa warming upB. Bypera ana WWW.PARTITARU BoKamusu Vocalises asd yoo Yoye Mp iS mp pe. ¥ 4 = —=5 ST ; es Prd te to Vs - m= Of simile — SS fo oo P= > of af simileB. Bypera ana WWW.PARTITA.RU ad Hbitum Maxopmie ramet Major scales J Bapuans: urpavs ZRofsm asNKow Variation: double tonguing 132 > 2B. Bypera ans WWW.PARTITA.RU Munopune rannt Minor scales 4 Bapwann: umpars some asBKOM Variation: double tonguing aB. Bypersa1a WWW.PARTITA.RU 4B. Bypere ana WWW.PARTITA.RU 45B.Bypera ana WWW.PARTITA.RU > ts wo Se 46B.Bypera_ ana WWW.PARTITA.RU KOMMAEKCbI CPEAHEM TPYAHOCTH System of Medium Difficulty 1 parma warming up Up To Pa =e simile a r simile a7B. Bypera ans WWW.PARTITA.RU Gah wad ml] Von ¥ Vo 4BB. Bypere aaa WWW.PARTITA.RU cennenwat sequences a eS simile 49B. Bypera ana WWW.PARTITARU J Hrpare maxxe in A To be played also in A m2 50B.Bypera ana WWW.PARTITARU simile 31B. Bypera ana WWW.PARTITARU SSE = SS b ro simile m= aoe] (SI d 96 Hepare vaxxeinA To be played also in A v Seer ree ee eee ae ae eet epeeB. Bypera ana WWW.PARTITA.RU re 1 Vevittions\ Bapreaneme 2 8B. Bypera ans WWW.PARTITA.RU TRTK TKK Mrpave varxein A To be played also in A a)B. Bypera. aaa WWW.PARTITARU pasiouxa warming up --00 ma ¥ oO y_ rubato v va 2 nN Of eS NO a vo a y y ra os >t > simileB. Bypera aaa WWW.PARTITA.RU simite 56B. Bypera ans WWW.PARTITA.RU soramuon vocalises ds = oS = S es = s Pa eee eS Se wI ' val, ossla Urpars raxxe in C, in A, in D, in Es To be played also in C, in A, in D, in Es i nf << fe a SO o o = s Hrpare varneinC To be played also in C a a le Ne oN ao Mfr See > a Dov A > oN a = =~ pees Ss Gs Mopar vaxxe in Ax in a aM be played alsa in A and in C o IN iN - iN a “Tif ee ff > 37B. Bypera ana WWW.PARTITARU a a a a fay a f = o s aE To be played also in A - Erpate taxxeinA o —— Pe Of pf pe Pe v 2a Ao e go e > simile 58B. Bypera_ana WWWPARTITA.RU cexsenum sequences J a Mrpame raxxe inn inC To be played also in A and in C 59B. Bypers ana WWWPARTITA.RU Bapmane: \ Variations 1 60 . Bapwanos \ Variations goerB. Bypera ana WWW.PARTITARU WenoroHHbe ramMer Bapuanrs: \ Variations Bapsaxws: \ Variations 6B. Bypera ans WWW.PARTITA.RU pasimaxa warming up dso fo IR BING ON NN Ne SN aB.Bypera ate WWW.PARTITARU soKaHSH vocalises simile simile 8B. Bypera. ana WWW.PARTITARU nostopm, B lo waxope | repeated in c dar simile cexsemnat sequencesB. Bypera ana WWW.PARTITA.RU 65B. Bypera ana WWWPARTITA.RU 66B.Bypera ana WWW.PARTITARUB. Bypera ans WWW.PARTITA.RUB. Bypera ana WWW.PARTITARU panama warming up des noranns vocaliseB.Bypera ana WWW.PARTITARU 0B. Bypera. ana WWW.PARTITARU ] cexsempat sequences =60 nB. Bypera. ana WWW.PARTITARU simileB. Bypera. ana WWW.PARTITARU BB. Bypera. ana WWW.PARTITARU aD 4 Bapuanru \ Variations ‘Tpean roHosue Trill on a tone ae Ly nf fb) = 7 a 35 5 Ps 3s lu J nd b 2 éB. Bypera ana WWW.PARTITARU B