Beet ere ree eee ect tere eee eee eee er eee re meeeeee| AY CIMERA-HOVEY METHOD for TROMBONE and BARITONE (Bass Clef) by JAROSLAV CIMERA. AND NILO W. HOVEY Shin ag MELVILLE, N. ¥.11746FOREWORD [HAS BEEN to cm ofthe wrtors to develop @ methed in which the material ie arranged logically irom the standpoint of (a) rhythmic development, (b) gradual extension of the range, cnd (c) development of finger dex- tenty. An effort has beon made to keep the amount of explanatory material at a minimum, leaving the method of presentation to the instructor, who, through frequent contact with the individual pupil, is best qualitied to determine the most elficient procedure. This has also allowed a oteater amount of space for tunes and musical Melodies have been selected which adapt themselves easily to correct phrasing, and exercises, while in keeping with limited range and technical ability of the beginning pupil, have been made as melodious as possible, avoiding monotonous and constant repetition of rhythmic pattems. The few suggestions which follow may prove helpful in emphasizing some imporiant points to the begin- ning pupil This is a subject which has aroused considerable controversy, and there are undoubted. PLACING THE ly many fine poriormors whose position of the lips on the mouthplece differs radically MOUTHPIECE — om that of otiexs who play equally well. It is @ fact, however, that there is a greater percentage whe favor g position between “half and half" and the position which re- quires that a larser portion of the mouthpiece be placed on the lower lip. There esems to be no question that the position will depend somewhat on the individual embouchure and that experimentation will find the position which will produce the mos! desizable tone quality and that will secure the easiest contzol of the registers. Many teachers recommend starting with the “half cnd hell” position and varying this slightly to find. position which seems most natural for the individual pupil The position, once determined, must not be changed to facilitate high or low notes while ploying a passage containing wide intervals, It is cbvicusly impossible for the pupil to change the “set of the mouthpiece when cing from « low note to « high one, or the roverso, in rapid succession. The lips must not be protruded, and the checks must not be "pulied out Before starting the tone, the tip of the tongue is placed against the bottom of the upper” PRODUCTION teeth in such a way as to prevent the flow of aur. As the tonaue is drawn back sud- OF THE TONE = denly, the column of air already pressing against it is roleasod, causing the lips to vibrate. In shorl, the tongue is used as « valve to release the ait, similar to His func- tion in pronouncing the syllable “TAH (In soft tonguing, the syllable “DAH” is employed.) Correct use of the air has much te do with the production ol the proper quality of tone. The pupil should be irequentiy reminded to blow "THROUGH the instrument” rather thon “AT the mouthpiece”. in- sulticien! support by the diaphragm results in a weak, “anemic” tone Before assigning the iirst exercises on page 3, acquaint the pupil with the essential PROCEDURE principles of tone production, siressing the importance of (a) good posture so as to allow correct breathing, (b) a firm atiack fo each tone without stress or accent, {c) sus- taining the tone without change in pitch or quality, (the embouchure must no! be relaxed until the tone has stopped), (d) maintaining « steady stream” of cir for the duration of each ‘one, Vary the length of the assignments according to the ability of the individual student and the amount of lime spent in practice. Indicate which part is best suited to the student where there are double notes, and advise whether or not to observe suggesied "cuts". Question the pupil frequently resarding the meaning of terms and symbols that are employed in the book, and add others that you believe are essential, The same applies to key ond time signatures. Include scales, intervals, lip slurs, etc., in assignments for daily practice routine when you believe the Pupil has reached the proper siuge of development. These exercises which are found on the last few pages are nol intended as separate assignments. ‘The importance of slow and accurate practice cannot be over-emphasized. Careless playing may become a deep-rooted habit. “Make every tone a good one.” Slow playing may be compared to the use of « magnifying Slass—defecis are sometimes shown that would not otherwise be evident. Frequent rest is advised when practice periods are Jong. At the moment the lips feel tired, or the pupil finds himself resorting to force or an undue amount of pressure, the time has come for g few minutes of relaxation. Few pupils give proper attention fo this very imporiant point, Most of them know CONDITION OF when the slide does not work properly, but many of them give no thousht to the THE INSTRUMENT — condition of the mouthpiece or mouthpipe, « most vita factor in the tono, inienation. and blowing qualities of the instrument, The finest instrument, built with micto- metrical precision, will be no belter than the poorest if not kent in orover condition, and this fact cannot be MaMa Thee Te III AARAAMMalalalGUSTAVO RosauEy FUNDAMENTAL EXERCISES ‘The symbol 9 is called a “bass clef? The symbol @ stands for 4/4 (four quarter) rhythm. In this kind of rhythm there are four beats _.o each measure and a quarter note (@) receives one beat, a half note id) receives two beats, and a srhole note (©) receives four beats, On this page we shall deal with only whole notes and whole rests (~) each of which receives four beats. FE flat B flat ‘The notes introduced on this page are as follows: Hopen) 8G) 4) 6() open) ‘The figures below each note indicate which position of the slide is used in producing that note. (Figures in parenthesis indicate the valves to be used on the Baritone or Euphonium.) The instructor may wish to add other new notes or rhythmic figures, and blank staves are provided for that purpose. Count, 1294 oun 1284 Count 1284 oD Count, 1296 Count, 1234gas : 7 Half notes (2) are used in the following exercises. How many beats does each half note re - ceive? 105 TITRA EERE eG 2aBUrA¥9 ie Fost : ‘The symbol (is called a “sharp? ‘It raises by one-half step the note which follows,and notes on the same Cine or space within the same measure such as measure 2 in exercise 17, ce) cies zo | the in the preceding measure does not affect this note. Why not?6 Quarter notes (#) are used in the following exercises, How many beats does each quarter note receive? 4 The half rest is similar in appearayce to the whole rest but is placed on top of the ard line Ite value is two beats. 3 6a Duet PHP PPP RAP AA AAA AAA E SESSrie 7 ! Se 7 (Point to the notes ax you count in steady rhythm) o 2 2 2 2 9a 7 = 7 0a = = = A Hymn Tune , , , 2 uw w~wew ewww w~wewewew ewww wy ney ere weer weer8 ae A ae Pia © {The Bb scale 00 #1 Scalic Exercise Bat = : Four-Quarter March ’ ’ a > 2 2 The Piper APAELEELLLEREQREDE RIPE PAAA OA AAS,SUstAyG , y\ In Ir ue ree / ° ' In the following exercise you will find the quarter rest. (¢) Its value is one deat, A curved line which connects two notes of the same pitch is called a“tie”, and has the effect _ of combining the notes into one. For example, a half note tied to a quarter (4_d) is played as ‘one note which is sustained for three beats. A dot placed after a note (see meas. 5 of exercise 2) adds to that note one-half of its origin- al value. For example, a half note receives two beats, the dot adds one; therefore, the dotted half shall receive three beats, (d_¢= d.) Crusaders HymnB"is flat, but “E” is natural) Key of F E natural has been previously employed, but we shall now introduce a new Key Signature (Key of F) in which E will be natural at all times unless preceded by a flat sign (b) or a sharp sign (). From this point, the player must NOTE CAREFULLY the key in which each exercise is written, Previous exercises are in the Key of B flat a 38) In the melody below, the term .Afaesfoso(meaning “majestically”) is used to indicate the style. fotes marked with the sign(=-) are to be accented, or played with emphasis, The term simile veans “in like manner” or “continue in the same style” March Maestoso > > Sos 0 Fes > ALLEL LEL LL TL ARRAS S simile 4 PRPP SASS GnasV4 4) CETTE TE SECT RPV UU UU Vea 4 Nay sustavo nasa SLUTS i 108, ‘The explanations and exercises on this page are designed for the Trombone, and although the exercises are playable on the Baritone, it is far more important that the Trombone player master them in order to successfully cope with the problem of the slur. The SLUR is a curved mark drawn over two or more notes of different pitch, indicating that these notes shall be connected. In this method, we shall recognize two distinct types of SLURS. The first which we shall call the NATURAL SLUR, does not involve the use of the tongue. Examples of this type may be found in the exercises which follow. Daily practice on these exercise is strongly recommended. Use tst position Use 2nd position Ge a eae pen | —____________ eae ae In exercises 2 and 3, regular positions will be used except where otherwise indicated. The second (and equally important) type of slur to be studied is the LEGATO SLUR, which involves the use of the tongue. Exercises on the Legato slur will be found on pagestuand may be taken up at such time as the instructor deems advisable.1 a In Three-Quarter rhythm the quarter note receives one beat as it does in Four-Quarter rhythm, but there are tarce beats to the measure as indicated in the time signature (®/a), Note that Exercise 4 is in the key of By. (B and E are lowered) PRUAARARRR SRR RR RASA STATA AA AHS »GUSTAVO ROSALES a 4 On this page we are introduced to the EIGHTH NOTE. Two eighth notes receive one beat, Study the diagram below and master the rhythm patterns a, 4,¢,@ and ¢ before playing the exer- cises and melodies. oT . A rans eoee o ¢ az RFS ye 20 Key of Key of Note A portion of music between, dotted double bars is to be repeated. ALTE EC EERE UU UUPERE! PPR SY tL! Mechanism ALLL sce note below exercise simile votes da placed under or vera note aigaifos thatthe note all be playedstaccato” separated, detached), LO Contrasts : 58\ te | sustavo rosa ~=—- The Legato Slur nae In preparation for the “Legato Slur’ the pupil must understand and be able to execute LEGATO TONGUING. Legato tonguing is one of the most important studies for Trombone and Baritone although it is far more important for the Trombone player than for the Baritone player. Not having any valves on his instrument, the Trombone player must work to achieve a smooth and “valve-like” effect in his playing by the use of Legato tonguing, After attacking the initial tone which is done in the usual manner, succeeding tones must_be articulated by the repetition of syllables similar to “rah-rah-rah’- an action of the tongue like “rolling” the R's Exercise 1, for example will be articulated in the following manner: “Tah-rah-rah-rah” a eae ergata een er 1 The action of the tongue will be the same in the next exercise even though the single tone is not repeated as in exercise 1 _ oo aa oe The following exercise must be practiced slowly and with extreme care. Longer movements of the slide are necessary on the wider intervals. Sean 8 On the following page you will find studies employing both the NATURAL SLUR and the LEGATO SLUR. Both types ‘dre essential in playing with a smooth, song-like effect, and the serious student will soon discover the value of a good legato style. Note that all slurs in the remainder of the book are marked in one of the two methods. lenge NATURAL SLUR LEGATO SLUR = See CEMARE RE ERR ERSTE ee14 A slur is a curved mark drawn over two or more notes of different pitch indicating that these notes shall be connected. a — aes “2.8. is a0 abbreviation for ‘Dal Segno” “D.S.al Fine’: return to the sign ($) and end at “Fine” Ba. Lib. 78~ DS. al Fine uM SRA T AS STRATE aa at alal anata atenananBog ab, 16 Key of Eb SSS (B, E, and A are lowered) GUsTAYe ROSALES We shall now introduce a new key signature (Key of Eb) in which B, E, and A will be low. ered at all times unless preceded by @ natural sign, The pupil must now be able to identify three key signatures. Key of BY Key of F Key of By Band E are b) (only B is) (BE, and Aareb) SPAT (A}) low A is also affected by the flat in the signature ‘ au) *Con spirito ae ; ERMEUP UP EES OVUUBUBVBEUVUUVDIEV *Con spirite” = with spiritA DOTTED QUARTER NOTE is held one and one-half beats, “a” below, the dot represents an eighth note which is tied to the quarte As you will see in example r. America _ All Phrough the Night Dh aaT TR Re PEE Ba 1h owAllegretto (madeatly feshand ig nota fast ap nergy u (a See oat —— See sase = PddsddsIdIIII II: J ae =H ae nt " ond, sngp" (mexao -forte)= medium loud, dually louder” The 4 (piano): softly, “erescendo” and means “gra Note Volume markings used on this page are and ‘" (forte): loud. The symbol (—===) indicates and means “gradually softer?” Ciao symbol (S==—) indicates “diminuendo!18 annette tN © This page is devoted to “pattern” exercises intended to incre the pupil. Tempo may be adapted to the ability of the individual maintained once the proper tempo has been established. ase the technical proficiency of 1, but steady rhythm should be FRARAR ARR RADA TH TERE EREEEE ioccc cece Re Pe Pee ee ust? pee 9 Key of C no sharps and flats (By) WO Mechanism rs re20 MELODIES ‘Terms used on this page that have not been introduced previously are. Anduntino: alittle faster than Andante. Andante means moderately slow, but marked must be kept moving and not allowed to “drag” Poco Arvimato: a Tittle more spirited A tempo: return to the previous rate of speed, Cantadite: in a singing style. Legato: in a smooth and connected manner Formata: ahold. Placed over a note indicates that the tone is to be sustained according to the wishes of the performer, & composition so America, the Beautiful Maestoso- : oe es Ward 6 8) 7 ee | Andaating Flow Gently, Sweet Afton Sie Song by Haydn a ae IhbhhhhhOba Rabe eRe eraranaseagaag,PPPPEE EE ESSERE OTe mm auto ATT A BREVE marcato = = eee ee If (fortiseimo- louder then forte) + (Play page 6 in Alla Broye) of (Play page 7 in Alla Breve)ae (Play page 8 in Alls Breve) (Play page 9 in Alla Breve} = — eee ef ~— + seme 7 Poe ft St == f (Play page 10 in Alla Breve) RRRRRR ARS PADMA a rrr nnnnetenny BRR ah Ra. Lib. 78TAMAR SET RUT U UTP UTE GUSTAVO Been Eh Db 28 222) BE 23S Key of Ab (B,E,A, and Dare lowered) (Ab (Dy (ay) Bd. Lib. 28-be Rhythmic Exercises § with eighth rests a hen 4 Te, tT 2 (See footnote) = ite = SS 1d full value. ee . i Sea SSE ‘tensio Note: The dash is calle pp beraaaVyT VPS SR Ree aa aSuk hit é itt 3 ] “tt 3 i i : ae SPPEOMETAneeeeeeenereeetTetTtTht.26 Allegretto ‘wit critardando)= 4 gradual slackening of tempo. DG. see Exercise 4/0 page 34 4 Lib. 8 “Shh hh hhh hh Vasa i taasaaaa Adda ATE20 (Fis raised) Key of G Fa 53) 7) w SOMA A oA kh gat aa ehh a De De de Sha be he te le Ed. Lib. 78-a. Chromatic Exercises (Bb oe 2 = 2 2 a 5 i —— to here * Note: Exercise 7 can ensily be adapted to the needs of the student. The high E> may be omitted by making the first suggested cuts the new low notes may be omitted by making the second suggested cut. ka SSRBAARDRBBGRTAT DTPA AAAAA TE29 Syncopation ° SA ARR ARR RAR AR Ratti _ Ba. Liv.ne~fa The Eighth- Note Unit Three- eight rhythms Four- eight rhythms 1 UPAR RLE AAR BRAD ABR EE Rr PP th ieSix-Eight Rhythm haa with six beats to the measure Re ee Be Me Me Ale Ae Air i82 mareato = saree EE TEPER RRR RRR RAAT AAA RR ERESIX-EIGHT RHYTHM ie with two beats to the measure Compare thee stythms A a eas Be a ha a Me Ne Me Me Babin, 29-64 wa AR ey ee inna “D..is an abbreviation for ‘Da Cap! o”(the beginning.) Return to the beginning and D.C. al Fine end at Fine 1 Ba. Lib. 78- EEEER AAA dla dl aaalen atteBae Be We We be a Me ee Ae Fo igh yt Compare tiebe shythms Allegretto Ba. Lib, 76— The Lion Hunt 2 £ oe? 85 Saverio f eee.ros FSS SS IGIIIIIAG le i “a >, a6rh A A A aH Be ob eed ea he Ah he th hs Oe My Key of D> Ba.Lib, 8- Bb Eb Db 230 Ab ae Melody in Bb minor co 2 ( B,E,A,D and G are lowered ) a7= SIXTEENTH NOTES Although the exercises on sixteenth notes appear to require considerable more facility of the tongue and the slide (valves), the tempo may be adjusted to the ability of the pupil or class so that the experience of comparative values will be gained e 2 ¢ a e Qoeeeecees EH cvreviation Ex.4 is difficult for Trombone. Steady tempo but not too fast, TAAARMRAHARIIIWIAIIIADWIAA= — ete = Ste =a - A a oe yep fey he yy hy fy hy Oo OOM RARAR RA AA AA dd od od ‘ee —=i— as Ba. Liv, ra ™ |i 40 eeee EP RARRARAR IAAT puayet: FPPI STD 4 10 = Use 6th position throughout (1st and ard valves on Baritone) A Ba.Lib.78~m ETT eee te a id td id id td od ld hd td wh iy vhep wah el dah vy Key of D Fe arg # 2) = (F and C are raised)4 z THE DOTTED-EIGHTH FOLLOWED BY A SIXTEENTH ‘A common figure in music, and yet one that is often played incorrectly, is the “dotted-eighth fol- lowed bya sixteenth? A detailed study of this figure at this point will save the pupil considerable difficulty when it is encountered later in solo or ensemble playing First, let us consider the dotted-eighth and sixteenth in sZow tempo. It is important that the dot~ ted-eighth be sustained as long as THREE sixteenths, (as shown in the rhythm patterns A4,A-2, and A-8),and that the sixteenth receive full value, This rule should also be observed in legato playing. The instructor may prefer to approach this problem by the method shown in patterns B+, B.2,and B-3, With either method, SLOW PLAYING is important in the early stages. Ad Ae AS Ba Be B-3 Very slowly! In faster tempo, there should be « little more space between the dotted-cighth and the sixteenth, and the latter should be LIGHT and SHORT. The word “crisp” describes the playing of this fig- ure in quick tempo, Attention may be called to the fact that the sixteenth note is more closely connected to the COUNT WHICH FOLLOWS than it is to the count of which it is a part (See illustration below) It is a good policy to give the same amount of stress to the dotted eighth that you would to a quarter note in a similar exercise. For example c, sven: X more space here ~ ~ than here Exercises ELPA TAA TRIVIA WIAA € cie My Old Kentucky Home bet oe Foster eek st 2 ea - Aloha Oe Andante — — * sa Adapted * Annie Laurie Moderato* fa No > 2 oO Fo ——— Excerpt from “New World” Symphony Largo* Dvorak = Andante- moderately slow, but moving. vee Moderate in moderate tempo, Largo = very slow, broad. of —————_ Pp > PP ee ee ee eee43 { PAIRS AOC SC COMIC Ae ae Mozart Air Allegretto Mozart Christmas Song Handel Moderato : March from “Aida” ’ “ Marziale® Seater Verdi Tempo di Marcia*? Root Tramp, Tramp, Tramp 40 *) Marsvale = in martial style. Ba.Lib.78- PRR RAAT Tempo di Marcia = in march time. ‘Key of A (F, C and Gyare raised) 5@) 5@) a ca Par By re ee er tle Mb tah ehh ah ha AH AD HD HY UH TOD WH Ba.bib. m- eee eeeaa DAILY PRACTICE ROUTINE ting a daily practice routine has passed an im- ‘This routine should obviously include , lip slurs, and intervals. As explained in separate assignments, but are to he “The pupil who has discovered the value of adop\ portant milestone on the road to technical proficiency. scales and arpeggios in varied keys and articulations the Foreword, the exercises which follow are not intended as assigned in parts at the discretion of the instructor and at such time as the pupil's degree of ad- versement may warrant such routine, Tempo should be suited to the individual player. Common Major Scales For the extended scale, use this ending For memorizing betes. a * > RORTOHARRRTITIEIT am ae alialalenan Tides qScales by Thirds Rabid. oe | & a “ Oy e rip by hp why Phi Fy PA FA OO MMAR AR A A Wwe Wadden cy 12 © n @| es Lip Slurs *, (2) Use 8th pos. @nd and ard wg) c (8) Use ath pos (stand Bnd), Use Br pos: (st valve) 8) Use 2nd pos, (Bad valve) ey (1) Use 6th pos. (1st and ard valves) 66) 4st pos. (oper). (CD Sth pos. (2-8). (8) 4th pos, (1-2). Fe oN ns bt Abe bes (10) 2nd pos. (2a 10) 2nd pos. (2nd) © adam a ry ud ——__ 1 eg ~ (1) 6th pos, (Ast and Bd valves) _________§i¢- ae yn } B (2) th pos, (2-2) ) 4 pos. (1-2). etc. Wollow pattern of B-4) PRG &) Bd pos.) © 2d pos. ( (6) 1stpos. (open). a6 ot Zi_te by ete. 2 ete. etc, (2) Sth pos. 2-3), b @ 6th pos. (1-2. ——— (® th pos. (t-2)_____p@- > £ aa RR ee (©) 2nd pos. (2). (6) t3t pos. (open) a Saseesearalgar 4 eo (3) ath pos. (4-2). ee pos. (i ———— 9 Ca ula a we nag ye (2) Sth pos. (2-8) ee ae ) Bed pos, =q Play the above exercises SLOWLY! LISTEN to the interval, Tovuse the right slide position is not enough, Is the intonation accurate? Ba Lin CRAKE TEI Ee et he K } Intervals a7 => o> > » = Give all notes an equal amount of stress.48 Arpeggios A variety of articulations may be suggested by the instructor. ® Ba Lib 78 Sth pos, 2-8 La eeTAATATAT TARTANA YA TAT TRA RAR A AR ele