attire athe eters ri cnansinemon eto tng pete are vid receives in the daily singing classes wi ing the voice training which the child receives in cing classes with the pleneg ae saiculerly in the manner of pitch conception» shosld be emphasized. Pupils should be made to re: | ae that the two processes of training tre alike with the exception that the instrument is substituted for the vo- val organs in the production of a ton ‘To produce as beastifal a tone ax possible i quite important, Dut to be able to play in pitch and with good tonation, should be a major objective. , | Devatonivg the eer beyond ihe technical performance of the pupil genersly interes faster masical growth the development of tone and technic is « matter of time, during which the embouchure will develop v imineting as to the quality of tone being produce e How to Produce & Tone 1. Tone is produced by the vibration of the lips. 2. When lips vibrate slowly, the pitch of the tone will be lower than when they vibrate quickly. 3. The lips of the brass instrument player ean be compared to the string of aviolin, The tighter the string, the higher the tone, the looser the string the lower the tone. | Pupils should be able to produce high and low tones, within a reasonable range, t ‘the beginning of their playing careers. will become more 4. The pupil should practice by vibrating the lips without the aid of the mouthpiece or the instrument, commonly called “buzzing” After the pupil has been able to distinguish the differences in pitch pro- duced, by buzzing alone, the mouthpiece may then be ‘added with the same objective inmind. As soon as a range in pitch can be recognized with the mouthpiece aloney the instrument should then be added, with the result that many of the elementary difficulties will be greatly reduced. Where 2 sets of fingerings appear, the lower is for French Horn and the upper for Mellophone. When only one set appears, it is the same for both. Treble Common time Bar Double bar Whole note —— cep © 4 bea # ° SS 4 spaces 5 lines 4 bp I > My $ | Ho ¢ Lt a whole rest 1-2-8-4 17 2-3-4 ‘Sing all notes before ploying ‘Sing all notes before playing ———— = Do Mi Sot 2 Sing ab notes before playing ; - = tex before playing —SS SSSI Copyright. MOMXXX1V, by ° .by Rubunk, Ine.,Chicago, International Copyright Secured eet Bice Met tor French en A seat Copyright Renewed« Whole Note and Whole Rest Study vi »® © @ © spaces © Lines @ ® c E B D F D ct —| St Pe Bar Loud Soft F A EG Sing before playing. Teacher should suggest breathing places. 5 ’ 2 9 ’ 2 ne a tz = = : === £ Ss E “S : ce First Duet Sing before playing. ARPA Apo 2 al 7 . EXPLANATION OF FIRST LINE OF EACH LESSON gach lesson is review of old problems and the introduction of new ones, Each one ‘roughly gone through before proceding with the lesson proper. The new problems ceavia be Glearly explained oye fcacher, and the review problems clearly explained by the pupil.” ‘ould be able t he puj r Rabaul Mem Meth for French in, *NOTE: The first fi Firsts of these Lines should be th 0 distinguish the review from the new.5 i ] Half Notes and Half Rests LESSON 3 © o® ®©6 6 © © © @ ss | | Half rest Whole rest Half cotes 1 Sing before playing. i ———— \ pe a = E | — 5 5 SSS] ae al Z = . Duet Sing each line alone. Teapher may suggest breathing places. | ee First Trio4 LESSON 4 6 7 Chord Building \ i ® © ©o® © ® © ® oer =a = SSS Sy = ® Sing before playing. i \ —_ ee SS 2 , . ° z=ts SSS SS! Also play each 2 measures together Result I IVI \ ry Play same as above Result I VI Duet {. Sing before playing SP SP 2 Trio- In Harmony Sot Sol Re Mi = =. a y zh e Major a 4 Mellophones omit No.7 8,&9. Eb Major Scale 7 ras 1 Eb Major Chord i s, a4234 rare Fa eh ? Syncopated Melody 2 Folk Tune Study in Thirds ee ee a]May Fssov 30 i 32 my Rhythmic Studies ® ® Study in Tempo ii 1 March Rhythms! 33 = A Major Key ln © ®® ® © = SS Triplet Study Part on F Horn Ueper staff given notes for Eb Hors ‘ower staff notes to be played on F Horn | ] i. s° F 4 se earlier Lessons for more practice in trans position,7 LESSON 33 on _ Chromatic Studies Sharps used ascending. ae. a ° Flats used descending. TRF ol ia aw ae i Vo Low Chromatics36 LESSON 34 Chromatic Studies (continued) nr ef v Mellophones omit. fees Dds F pit? : Chromatic StudyExamination Study EESEON (96 ‘A Review of Key and Rhythmic Problems ‘ ie } . |: Sa Ss slLESSON 36 a Examination Study (continued) French Horns transpose to F (From Eb):—= 39 Building Major Scales LESSON 37 ee ZT ‘The pattern for all major scales is the same, In scales there are intervals Yin vee either whole steps or half steps. A whole step will be known as t ay as %. q In major scales the ty steps always occur between the rd and 4th steps (Mi. “kd 8th steps (Ti-Do) 8° spaces by etween * half step wit bene 0 Fa) and between the 7th 1 ‘The first 4 tones of a scale are known es the lower tetrachord and the upper 4 tones as the upper tet. chord. ‘A whole step must separate two tetrachords. ———. ——_—_——~ 1 1 4% 1 1 % yt owe i SSS Po LI Lower Tetrachord Upper Tetrachord Pattern For Major Scales 1-1-4 I 1-41-% scales start on any tone and write out 8 sucessive tones, and than adjust, by means of In building the tones of each tetrachord according tothe major scale pattern tg || 1-1-4. \iarps and flats, \ EXAMPLE Add sharps or flats necessary to fit pattern. % SS SS oa 1% a =o Melodic Minor Scales must be built to fit pattern as shown above. Pattern 1 %g 1 1 1 sel 4 rhote step must separate two tetrachords.Scales y FLATS C- Major i Ab-Major 1 a 2 5 only. oa | ; Scales LESSON 39 SHARPS A Major FA, Minor42 Nocturne From Midsummer Night's Dream — x g g & 5 Bes SSS From Overture “Stradella” ! FLOTOW Lento ——— Swanee RiverCome Thou Almighty King ] Gndawke Drink To Me Only With Thine Eyes With expression, and good intonation English mise tes Silent Night, Holy Night | | [ DUET | | | GRUBER| “4 From Overture “Tannhauser” WAGNE] _M RARE — Duet From Lucia Di Lammermoor ‘ DONIZETTI J ‘Tempo di marcia = of > © aX EERE EER — ..ro L Soldiers’ March » ‘TRIO ‘Tempo ai march Hymn oe ‘TRADITIONAL a AaNEER SE EB = ftSCHUBERT Very slowly a ADP PP _ c= Melody BEETHOVEN Sa SEZEEE EE48 From Symphony No. 1 C. Minor Allegro non troppo =e