AIUNE A Day FOR TRUMPET OR CORNET. BY C.PAUL HERFURTH. BOokK ONE.-N compiling this course the objective has intentionally ‘been not to cover too much ground; but rather to con- centrate on the acquisition of a thorough musical back- ground and solid foundation in good Trumpet and Cornet Playing. ‘These two requisites are inseparable. A brief section is devoted to the simpler rudiments of music which should be thoroughly understood as the need ‘The learning of new fingerings as introduced should be insisted upon. Cultivate in the pupil the habit of careful listening. ‘The familiar hymns and foll-songs have been selected because of their melodic interest as pieces, and because, in addition, in each appears some technical point to be mastered. ‘The value of learning to“ think count” from the very beginning cannot be overestimates, Only in this way can Rhythm, one of the most essential elements of music, and usually conspicnous by its absence pupil sense shythm. in amateur ensemble playing, is emphasized throughout. Many teachers do the thinking for their pupits, instead of helping them to think for themselves. Inssting upon the mastery of each point will not dull their interest. What ‘greater gratification can there be for a pupil, whether child or adult, than self-accomplishiment in a set task? Lessons marked, “Supplementary Material” may be given as a reward for well-prepared work, Class teaching should be a combination of individual instruetion and ensemble playing, At every lesson there should be individual playing so that all the necessary correc- FOREWORD TO TEACHERS tions can be made. Never allow pupils’ mistakes to go unnoticed, since only by immediate correction will they develop the habit of careful thinking and pl ing. A decided advantage of group-teaching is that it pro vides experience in ensemble playing and gives every pupil the opportunity of listening to the others, of observing their mistakes, and of profiting from the corrections. For the best results each class should not be made up of more than six for a half-hour lesson, and twelve for an hour lesson. Irrespective of the numbers, the teacher must see to it that there is individual instruction as well as general class direction. Classes should be regraded whenever necessary so as not to retard the progress of the more gifted students, or discourage the less musically endowed. This procedure also facts as an ineentive for greater effort on the partof the pupils. ‘The lip slurs on page 81 should be used whenever necessary according to the individual student's require- ments. The tests, following each five lessons, are given as a definite check on the pupil's progress of knowledge and accomplishment, These tests are most important and should not be omitted. Eventual success in mastering the instrument depends con regular and careful application to its technical demands. Daily practice should not extend beyond the limits of the player's physical enduranee—the aim should be the gradual development of lip and breath control alongside assured finger-work. . PAUL HERFURTH Dircetor of Instrumental Musie East Orange, N. J. RUDIMENTS OF MUSIC ‘Music is represented on paper by a combination of characters and signs, all of which it is necessary to learn in order to play the Trumpet or Comet intelligently. ‘Symbols called notes are written upon and etween five lines, The sign ‘The staff is divided by barlines into bars as follows: Barline Barline which is the staff. placed at the beginning of the stall is called the treble or @ clef. Barline (ii)‘These bars, in turn, are equal in time value, according to the fractional numbers, (Time signature) placed at the beginning of the music. ‘The time signature indieates the number of notes of equal value in each bat. The upper figure gives the number of teats or counts in a baz, and the lower figure indeates what kind of a note has one beat, such as or equal GESTS ow ce oe aaa fee ee eo equals 2 crotchets; # equals 4 quavers, ete. ‘There are different nds of notes, each variety representing a certain time value as follows: 1284 i284 12 8 & 18288848 Semibreve equals: Two Minims, Four Crotchets, or Eight Quavers ‘The count for the above would be, four to the semibreves; two to each minim; one to each erotchet and one to each group of two quavers. ‘The notes are named after the first seven letters of the alphabet, ie. (a, b, ¢, def, g,) according to the line on, or space in which they are placed. The Treble (@) clef eS vibich encitcles the second line, establishes the note G on this line, from which eo the other lines and spaces are named as follows: P $e a ——= eG A B c D E F G&G Go F E D In addition notes are written upon and between short lines above and below the staff. ‘These lines are called leger lines, Every Good Boy Does Finely F-A-C-E ‘A rest indicates a pause, or silence for the value of the note after which it is named, such as ‘Semibreve Rest Minim Rests Crotchet Rests Quaver Rests Th cad of he pits indented by pa ey Te oS When a section or part of a piece is to be repeated it will be shown by a double bar with two dotsy‘TO THE STUDENT A clearer understanding of the construction and mechanics of the instrument you are about to play will prove most helpfal in learning your fingering. When the open notes (no valves) are sounded the shortest length of tubing is in use. By depressing the valves separately o7 in combination, additional tubing is opened thereby lowering the pitch as follows: ‘The 2nd. valve lowers the pitch of an open note by ONE-HALF STEP OR SEMITONE. The lst. om mo» ONE WHOLE STEP OR TONE. The Sn wm mw ONE TONE AND A SEMITONE, ‘The 2nd. & ded. valves lowers the’ pitch at an'open note by TWO WHOLE STEPS OR TONES. The Ist. © rd, om om» TWO TONES AND A SEMITONE. All three Hy 8) THREE WHOLE TONES. ‘From the above it is easy to see that the Ist. & 2nd. valves combined is equal to the ard, valve however, is rarely used separately except in very rapid playing, as itis slightly out of tune, TUNING YOUR INSTRUMENT Comets and trumpets are pitched in Bp, which means that when you read and finger C, the actual pitch sounding is Bp, thus the piano must play one whole tone lovter than the note you are fingering, PHRASING ‘The breath marks (’), in addition to in the proper places to breathe, also serve as an introduction to the feeling of proper phrasing of melodies. ‘This is important as itis that which gives meaning to musie. FOREWORD TO STUDENTS PHYSICAL PREPARATION This 8rd valve Moutoplece front view. Mouthpiece side view,Various ways may be used to help the beginning student produce his fist note, ‘The following is one method that has proved successful. Close the lips and then gradually pull back the corners of the mouth until the lip surfaces are even. (Do not stretch the lips tightly). Take a breath, and, gently blowing, produce a buzzing ” sound, ‘The lips must vibrate in the very centre hile producing the “ buzz.”. When you are able to“ buzz.” steadily you are ready to place the mouthpicce to the lips It is considered good practice to place the mouthpiece half on the upper lip and half on the lower lip in the centre of the mouth. (See pictures). An abnormal mouth formation or tooth structure may necessitate modifications of the above, but in general, itis good to strive to form the embouchure as close as possible like the above, ‘The tip of the tongue is placed behind the upper teeth, and when ready to produce a note, jerk the tongue downwards by using the syllable * TU. ‘The tongue must be moved very quickly. Breath should be taken through the comers of the mouth. DO NOT PUFF OUT YOUR CHEEKS. Practise in front of a mirror, CORRECT POSITION (POSTURE) ‘When playing a trumpet or comet always stand or sit ereet with the head up, The instrument should be held as nearly horizontal as possible, with the arms slightly away from the body, (Fig. 1.) ‘When practising, itis better to play in a standing position as this will help you to breathe properly. FINGERING THE VALVES ‘The first three fingers of the right hand are used to press down the valves. ‘The first finger for the Ist. valve (nearest the mouthpiece) marked (1), the second finger, 2nd valve marked (2), the third finger, ard valve marked (8). The fourth or little finger should be free to move with the other fingers. The mark (o) indicates an open note and is played without the use of any valves. ‘TECHNICAL ‘The most important technics! points for wind instrament players are ‘follows 1) Developing and strengthening the lip muscles. Proces) “Playing of long sustained notes. (2) Developing clarity and precision in attack. (Proceat) "Proper vse of the tongie. (8) Developing fine quality of tone. (Process) A combination ot No, 1 and careful listening. (4) Developing Rueney in fingering (Press) "Playing of sates and azpeguos in various keys. (©) Developing a mastery of the entre range ofthe instrument. (Process) “A combination of al of the above. CARE OF THE INSTRUMENT Your cornet (trumpet) will not sound its best, nor wll your Jearmng to play it be as easy ules everything pertaining to the jnstrument is Rept in perfect condition, VALVES: A clean valve wil ever stick. Lubvicate them with «good grade of valve oil. Occasionally clean the valves vith a lite paratin or petro removing them one at-a Une Dry them thoroughly ani we fresh oll Temove, clean fd replace one valve at ine TUNING AND VALVE SLIDES: These sides, a well asthe valve aps, should be grease with a litle valine to eep ‘hem free. Try them tween week MOUTHPIECE AND TUBING: Unless you clean the inside of your inst really interfere with its playing qualities, At last once a Weck run likewarm seap suds through your instrument. Hold the valver down while pourig the water into the bell Be sure to rinse with clear warm water’ ake a pride inthe way Your insirument looks by keeping it bright and eean- FAILURE ON YOUR PART IN NOT FOLLOWING OUT REGULARLY THE ABOVE INSTRUCTIONS, IN REGARD TO THE CARE OF YOUR INSTRUMENT WILL RESULT IN EXPENSIVE REPAIR COSTS, vl sat, a coating of saliva will form whieh willSupplement to A TUNE A DAY" for TRUMPET (Cornet) Table of Harmonics for the Trumpet (Cornet) Prepared by W. J. Duthoit 1 203 4 8 6 7 8 9 wm 0 Generator dba) = Open ——= 2nd Valve Ast Valve Ast © 2nd or 3rd Valve end & 3rd ‘Valves Ast © 3rd Valves Ist2nd @ 3rd ‘Valves = ‘7th Harmonics are flat Alth Harmonics are sharp Copyright 4956 by The Boston Music Company wlReference Fingering Chart : for Cornet or Trumpet Correct fingerings for all natural notes within the range of the cornet or trumpet. A 1 oe ase > Be zo amt see \—e 2 As read and played ~ for Comet or Trumpet cua ich & =} Piano bee ce sere aii oe pe = A BCG D BF G 219) Enharmonic notes: Notes that sound the same, and are fingered the same,but are written differently. Those most frequently used are the following. 4 ‘ 3 i et abe oe ‘AW or Bb CH or Db Di or Bb FF or Gh GH or Ab ‘AY or Bb ‘Notice that there are seven combinations of fingering as follows. Notes marked x are playable but slightly out of tune. Wo Valves T 2nd Valve 4st Valve T ist aan valves | 2 ba o —— = Secrecc o'NB DMB bE F BDF B SEA GE A B B, x wa sevanes | $8 & ard Valves T whade savas | SS = gEecn A PECs se lg hy waeEre err A TUNE A DAY LESSON 1 OBJECTIVES: 1. To learn the correct habits of G@) Holding the trumpet—cornet (&) Position of mouthpiece. (© Breathing and production of tone. 2. To correlate the valves of the cornet with the notes on the staff, G-F 3. To know the value of minims, crotchets and their equivalent rests, 4. To know the meaning of the repeat sign. 5. Answer all questions and do home work, and MINIM (2 Coust) Rests = Introducing 2nd line G € 3 Played open, no valves. oG MINIMS (2 Counts) This note is G and is played open. No valves ae ® GE ‘Think Count: 12 34 Those notes are. 0 gE ‘Think Count: 123 4 cnorcHets (1 Coust) % PP land CROTCHET (1 Count Rests: enozeast 0, nT 0 SSS SS Think Count:t 3 3 4 @ Think Count:t 2 8 4 and each receives____ count? ‘Those notes are Copyright MOMXLT by The Boston Music Co.LESSON 1A Minims and Crotchets ® ‘Think Count:iz3 4 1254 423 4 ricotming i pce? GI This note is F and is played with the Ist valve, Played with the 1st valve. ‘Think Count:4 2 3.4 ‘REPEAT This note is — and is played with the valve? @ Think Count:12 34 = = ThinkCount:t 2 3 4 ‘These notes are ______ and each receives___ count? ® Think Count 2 3 4 Little F and @ March This note © Think Count:1 2.3 4 1234 ‘Home work: Write a line of crotchets and minims using Fand G. Mark the letter name below and the finger- ing (valves used) above each note.gee een ee erg Ea TEER RTS TERS LESSON 2 Continuation of the objectives of lesson 1, Learning the names and fingerings of the new notes E-D-C, 3. Learn the meaning of the breath mark (°) 4. Answer all questions, 4 a Introducing tst line E. Played with the ist & 2nd valves. OBJECTIVES: Preparation This note is E and is played with the 1st & 2nd valves, ® Think Count:t 2 8 4 ‘These notes are ______ and each receives ____ counts? ® Think Count.1 2 3 4 This note is —- and is played with the ____vatves? 9 SS ThinkCount:1 2 3 4 ‘These notes are _______ and each receives____ count? ® % FE ThinkCount:i 2 3 4 This note This note ® ‘Think Count:123 4LESSON 2A 4 4 a el ea dale Played with the tst & 3rd valves. oS D Preparation This note is D and is played with the Ist & Srd valves, © Think Count: 2 3 4 These notes are __ and each receives____ counts? @ as ee Think Count: 42 8 4 This note is __ and is played with the © $4374 MelodyLESSON 2B Introducing Ist tine below the staff C. Played open. No valves. Preparation This note is C and is played open. No valves. ® == ThinkCount:i 2 3 4 counts? and each receives. {these notes are @ Think Count: 12 3 4 This note is __ and is playea @% Think Count:1 2 3 4 hese notes are and each receives __ count? Oats and Beans Think Count: 1 234LESSON 3 i OBJECTIVES: 1. Learn the meaning of the TIE. 2. Application of acquired knowledge in playinys familiar melodies. 3. Home work. Tied Notes ‘When two notes on the same line or space of the staff are tied by a slur —~, they are to be played as one note, adding the value of the two notes together, This note This note is This note Think Count: 123 4 Lightly Row ® Think Count: 1 2 34 Jingle Bells @ Think Count: 1 2 34 ‘Think Count: 4 2 3 4 Home work. Home work: Mark the fingering above, and the letter names below all notes in exercises 3, 4,5 and 6. ‘Write line of notes thus far studied. Divide into bars using minims and crotchets.LESSON 4 OBJECTIVES: 1. Learn the value of a semnibreve, 2. Comparison of different note values 8. Playing easy duets (both parts) 4. Questions and home work. These notes are ____and each receives. counts? SEM SEMIBREVE. ® = Think Count: 4234 These notes are = ‘Think Count: 1234 = 1234 and each receives_counts? Different Note Values It is not necessary to play exercise 3 in the order written, Start at the different letters so as to be able to hear and sound any note. @D This woty i ® = Think Count:i284 12534 1234 4123 4 © This note is On a _ Oris pote ie — © rH note jo Duet (Two Parts) ees. Pupil = Practise both parts Pupil === = Trio (Three Parts) Pupil 7LESSON 5 e OBJECTIVES: 1, Learning the name and fingering for second space (A). 2, Emphasis on rhythm. (note values) 3. Questioas and home work. Introducing second space A. Played with the 1st & 2nd valves. 4 rest 2 @® £ J Think Count: 42 3 4 ® ® = Think Count: 42 34 @ ‘Think Count:4 2 3 4 ® ‘Think Count: 123 4 © Oi ‘Think Count: 4 2 3 4 <= Little G and A Mareh a Melody , Folk Song Twinkle, Twinkle, Little Star po a st Unfamiliar Melody—Test The Boat Song open ‘Think fingering and note values. NaNix >, ® Think Count: 4 2 3 4 + 2 Home work: You can't be too familiar with the names of notes and their fingerings so if you wish to learn, mark this lesson as before.TEST QUESTIONS ON LESSONS 1-5 Questions from this, and following test-sheets, will be given as a check on your home-study of preceding lessons, REMEMBER: The more you know and understand about the signs and symbols used in music-writing, the easier it will be for you to learn how to play well. @) This © This symbot 5 is catlea? (8) The staff is divided by bar-lines into? is called? (@) Fractions at the beginning of music are called signatures? ©) This tts =] isa and has counts? 6) These are____.__and have ____ counts each? @ Teese SSE are and have ___ count each? (8) Lines and spaces are named after the first (©) This _ (40) These letters of the alphabet? rest? rests? (4) These (42) This. Gore =f} means G3) Name the notes thus far studied are____ rests? to each bar? GA) Write the notes thus far studied. 45) Write tho letter names below and the fingering above the following notes. 46) Inspection of instrument* (12) Sight reading test Your Points. score 4 a 10 10 aa 300 TEACHER: Write line of notes thus far studied, using semibreves,crotchets and quavers as a sight-reading ‘Thin inspection should be followed tp at each test period. testSupplementary Material for Lessons 1-2-3-4&5 Theme from Good King Wenceslas Crusaders’ Hymn 4 = ES ea God Save The Queen’ * Although neither tnree-four time, nor By have been introduced up to lesson 5, this familiar melody is given here as a challenge to the studentLESSON 6 OBJECTIVES: Learning the meaning of the §, and the t Learning the name and fingering for 1st space FH. 1 2 3, Learn the meaning of an accidental 4 Application of acquired knowledge in playing familiar melodies Introducing first space F sharp Fa) Played with the 2nd valve Fe A SHARP (2) RAISES THE NOTE TO WHICH IT APPLIES RY A SEMITON: A NATURAL ) TAKES AWAY TEE EFFECT OF A SHARP OR FLAT. 3 re ® eeoTh Se Think Count:tz2aa eH SS : © @ tee St Think Count: 4 234 fey 0 $e ee Think Count: 1 2 3 NOTICE THE Ff AT THE BEGINNING OF PIECES 4 AND 5. THAT MEANS THAT EVERY F THROUGHOUT THE PIECE WILL BE PLAYED SHARP. (SECOND VALVE) Old English beer ie : pate gs faa as soni Cone tdeneea Lightly RoW sig ® ce ‘Think Count: 2 34 This note Ba @ Seas! nk, [ALWAYS NOTICE THE SHARPS OR FLATS AT THE BEGINNING OF THE LINE AND THINK WHAT THEY MEAN BEFORE PLAYING ANY EXERCISE OR PIECE AN ACCIDENTAL IS A SHARP OR FLAT WHICH DOES NOT BELONG TO THE KEY SIGNATURE. SEE SEVENTH BAR EX. 8, THE F# No SHARP, Hymn Monk ‘Think fingering and pote values 7 nN REST © Z This note Home work: Mark the fingering above, and the name below all notes in Ex. 4, 5 and 6.LESSON 7 13 OBJECTIVES: 1, Leara the meaning of key signatures, 2 Learn the key of D major (F¥ and CB), of C major,iao sharps or flats). 3. “Application of acquired knowledxe in playing DUETS. 4. Learning to hear intervals (difference in pitch between two notes) Key Signatures ‘The Sharps or Fluts found after the Clef at the beginning of each line is called the Key Signature, These Sharps or Flats affect all the notes of the same name throughout the piece, except when changed by a new Key signa- ture or temporarily by an accidental. ‘THE KEY OF C HAS NO SHARPS OR FLATS, EX.1 and 4. THE KEY OF D HAS 2 SHARPS, (F# and C#: EX.2 and 9. ALWAYS THINK THE SHARPS OR FLATS AS INDICATED IN THE KEY SIGNATURE and fi. 1 the notes according! in oe Duets (Practise Both Parts) ® Upidee (Key of C- No sharps @)or fats‘) ease Pupil 2 Think fingering and note values fees eoee Pupil Ey Merrily (Key of _ the sharps are __) This note Spee This note 3 So}LESSON 8 OBJECTIVES: 1. Learning the name and fingering for third line B flat Learn the meaning of a flat). Learning the proper use of the lip muscles to produce the higher notes. Learning the key of F. One flat (Bb) ‘To recognize and know the meaning of the up beat, Introducing third tine BL Played with the tst valve Bb A FLAT() LOWERS THE NOTE TO WHICH IT APPLIES BY A SEMITONE BEFORE NAMING OR PLAYING ANY NOTE BE SURE TO NOTICE THE KEY SIGNATURE. Key of F, one flat@). The flat ® placed on the third line of the staff,just after the clef sign, means to flat every B, except where cancelled by a natural (). 4 mt ® Gres = © Think Count: 12 34 epee Q vax @ ‘Think Count: 1234 This note @ =e Think Count: 12 34 Many pisces begin with an incomplete bar, ustally starting with the last beat or fraction thereof. This is eatled the up-beat. The ending always completes the bar of the up-beat. ‘Ko accidental is a sharp or flat which docs not belong, to the key signature, An accidental applies only to ‘the bar in which it is placed. Ex. 5, Ff. ‘This note G0 Down Moses ‘THINK ‘ren Think Count:4 123 4 Key of © ‘Think Count:4 2 3 4 Hymn Key of The flat is Time sig.is ‘Think Count: 4 123 4 _Home soork: up-ReAT Negro Spiritual aaa Yankee Doodle cae ‘This note Haydn Home work: Write line of notes thus far studied, using semibreves, minims and crotchets. Mark fingering above and letter names below.LESSON 9 OBJECTIVES: 1. Learning the namo and fingering for third ine B (aatural) . Continual emphasis on rhythm and fingering Learning the key of G (one sharp Fé) 2 o— op Introducing third line By Played with the 2nd valve ‘Think Count: 12 3.4 ® Think Count: 12 34 Think Count: 4 22 4 KEY OF G— ONE SHARP, THE SHARP IS F¥, MEANS TO SHARP EVERY F UNI BYAN, SIGN (). ‘ATURAL . Folk Soi Key of The sharp is ___ Time sig. is © = ‘Think Count: 4 2 3 4 * Teacher: Write tine of notes used through this lesson as a sight reading test. ‘Use key signature and accidentals.Supplementary Material for Lessons 6-7-8 & 9 Integer Vitae Key of __ Flat is Time sig ie ® Pupil Teacher {f Melody Key of Flat is___ Time sigis THINK 2 This note Twinkle, Twinkle, Little Star Koy of __ Sharps are __ Ha mK eu This note Harvest TimeLESSON 10 a 1. Learning the name and fingering for third space C. 2. To know the formation of the natural scale, (Placement of whole tones and semitones), 8. Playing the C scale and arpeggio from memory. (Ex.8 and 9) 4 OBJECTIVES: . Slurring notes in groups of two and four. Introducing third space C Played open (no valves) Think Count: 42 34 ® ® F ‘Think Count: 12 34 The Scale A scale is a progression from a given note {key note) to its octave, 8 notes higher. The form on which all major scales are modelled is as follows ‘The Natural, or © Major Scale $= ee Ber wa ‘auton SW: WT g WT Frosty WT HMNONE 4 WT. g WT. og WT. 9 Sm. The ascending progression is: two whole tones, one semitone, three whole tones, one semitone, ‘The seini- tones come between the numbers 3-4 and 7-8, ® 2 = Slurred Notes (*legato) ‘This sign (— slur) when placed above or below two or more notes indicates that they are {o be connected. TONGUE ONLY THE FIRST NOTE OF ANY GROUP OF SLURRED NOTES. ‘Two crotchety slurred OG Se ss SS Two minims slurred Four crotehets slurred *Smoothly- connected. **Play also slurring four notes. Home work: Learn to recite and play the C major soale from memory.TEST QUESTIONS ON LESSONS 6-10 ©) This sign ff means? @) This # is a? (8) How does a § affect a note? @) This § is a? (5) How doos a } affect a note? —_______ () Name the following lines and spaces of the staff? tet space 2nd space rd space tet Hine 8rd Tine 2nd line Ist Line below staff —__ Ast space below staff —__ @ This b is a? (8) How does a b affect a note? — (®) What is an accidental? 40) The key of 2$is? ab White tekay sista of af B=] (12) What notes are played with the following valves? Ast valve and tot & 2nd valves —_ and —__ No valves and Ast & 3rd valves 2nd valve and 3) Write the noes in question 12 in the order given? SS SSS] (14) This sign —~ connecting two or more notes means? 45) What is a scale? 47) The key of 1b is? 48) The key of 1% is? 49) Write the key signatures of tb and 197 20) Sight reading Your Points deore eon ven 2 ee 166 TEACHER: Write line of notes thus far studied, using semibreves, minims and crotchets. Use slurs.Neo ee ee ee eee e reece eee eee ee ee ee ee ee eee LESSON 11 9 OBJECTIVES 1. The use of slurred notes in familiar melodien 2. Rhythms involving quavers in f and f time. 3. Correlation of notes thus far studied (name and position on the staff) with proper fingering. Observe slurs carefully Hymn J. Hatton Key of __ Time gig. Observe slurs carefully Lightly Row Key of __ The flat is Time sig. is ® Quavers A quaver is equal to $ of a crotchet, and receives $ of a count in f or J time. Two quavers equal one crotchet, or one count, four quiavers equal one minim (2 counts) and eight Guavers equal one semibreve (4 counts) BE SURE TO LEARN THE RHYTHM DRILLS THOROUGHLY (learn to feel the division of the beats) BEFORE PLAYING THE MELODIES. THIS IS IMPORTANT. Comparison off with & time ® “no : ER ots < 7 * @Count: | @ = 4 e i2@i 26 424482 482812 142818 48 1828 Koy of Time sigis Old English Song © Think Count:i 23 4 42834 1a283 4 18288 4 Gaily The Troubadour [Wate time signature) ® Think Count:1 28 44 2 ——9, Hone work: Weite tine of notes thus far studied using minim crotchets and quavers in time.Supplementary Material for Lessons 10 & 11 Evening Song Key of Sharp is ___ Schamain Pupil ‘ount: 4 Teacher Schubert Peasants’ March Key of. Sharps are__ ®LESSON 12 OBJECTIVES: 1 aa Learning new chythm— J time—with emphasis on thythm drills. (A-B-C etc) 2 Use of dotted crotchets and quavers. (Ex.F) 3. The application of acquired kuowleage The Dotted Minim and the Dotted Crotchet equals tf beats, A dot is equal to one half the value of the note it follows. A dotted minim equals 3 beats.a dotted crotchet Written Played Written Played Rhythm Drills shythme are felt and memorized, then try to play them using any single aote. When this can be done freely, play the exercises as written, DRILL: Count aloud each variation, A-B-C etc. while clapping the hands once for each note until the REMEMBER- Rhythm must be felt before it can be played Home work: Write 8 bars of notes thus far studied, using different groupings of notes in }time, Mark fingering and note names as before.wm LESSON 13 (Continuation of Dotted Minims and Dotted Crotchets in} and 3. Time] OBJECTIVES: 1. Application of 2 and 3 rhythms in familiar melodies of different keys. Knowledge of the first- and second- time bars. Learning to play melodies from memory. Application of slurs and key changes, Knowledge of terms used for tempo (speed) Brightly (Allegretto) Freneh Folk Song Key of Time sig.is geen Rest ® Think Count:1 2 3 west First- and Second-Time Bars ‘The term st and And t-me bars applies to one or more bars in brackets at a double bar; EU. thus when the strains. satedthe first ime bar is omitted and the second time bur played + instead Rather slowly (Andante) Home on the Range Key of ‘The flat is _. Time sig Cowboy Song OP. eee Ja. First Time BAR iz 1 se = Fy Pt ae jlo pele =e o @ ry are = Think Count: 3 423 1243 ‘REPEAT (2. shooND TINE FAR Thin note ; i z $ Sj Pao Serr . P= of Moderate speed (Moderato) _ College Song Koy of +The sharps —_ Time sigs : A Bs ® te zs ge tay Think'Countsi2e 124 This note Rather slow (Andante) Key of —~ ‘The sharp @ #4 geile Think Count: Ohserve sturs carefully Beethoven SSeS : aa aon Home work: Learn to play one of the above melodies from memory.LESSON 14 bat OBJECTIVES: 1. Application of previously acquired knowledge. 2. Carols for recreation 3, Knowledge of the fermata \ (pause) We Three Kings of Orient Are Moderate speed (Moderato) Key of —— Th ¢ flat is__ Time sig is — Hopkins REST ® Think Count: 42 3 PAUSE © Come, All Ye Faithful Moderato Adeste Fidelis Key of ___ The flat is ___ Time sig. is__ 2 XII Century Latin Hymn Brightly (Allegretto) Deck the Halls y of —_ Time sig is 2 ® Think Countiiz4 3 4 2 * Pause (fermata) A short curved Tine drawn over a dot, prolongs the time of the note. Home work: Learn to play from memory the above melodies.LESSON 15 OBJECTIVES: 1. Learning the name and fingering of fourth line D. 2. Memorizing the National Anthem. 3. Application of acquired knowledge in varied keys and rhythms. toting turn ne » EFI Pines win ot vane ] Phayea with the tot vatve ts This note weve Key of Bb, 2 flats, Hb & Eb, These flats, » Placed at the beginning of eaoh staff, mean flatten every B & E, except when cancelled by a natural (4), Familiar Melodies (Listen carefully) Merrily Key of Bb tue French Folk Song This note is Andante (Slowly) Harvest Time Unfamiliar Melody~ Test Thizk Bb and note values © ® _g Andante Slowly) Pupil =| von Weber ,Think key and hote values PupilLESSON 20 bl (Intermediate notes— Chromatics) OBJECTIVES: 1, Understanding and playing chromatics 2. Kaowledge of enharmonic notes. 3. Learning new fingerings. BEW NEW New New NEW Nome Nore ore, NOTE NOTE a = AF ENUAIATORIC WoTus NOTES SOUND THE saice ape xew xew we any mem : 3 Nome a wane ENHARWONIONOTES NOTES SOUND THE SANE Chromatic Scales The word “chromatic” means moving by semitones. A chromatic scale is one that ascends or descends by half steps, IF YOU CAN'T SPELL A WORD YOU CAN’T WRITE IT, IF YOU CAN'T SPELL (RECITE) A SCALE YOU CAN'T PLAY IT. LEARN TO REUITE ALL SCALES BEFORE PLAYING. ‘The flats are__ana____ Stale of Bb (Two flats) -s @ plein Scale of D (Two sharps) ‘The sharps are and —_ * ® e Seale of Eb (Three flats) ‘The flats are, _ and ®a @) @) @ 6) © @ ® @) 40) an 42) a3) aa) TEST QUESTIONS ON LESSONS 16-20 ‘The letter name of this note ‘The above note is played with —_. valves? ‘The name of this note is? oa ‘The above note is played with the —___. valve? The key of two flats(b) i ‘The flats are? and —_ ‘What is meant by enharmonic notes? — ‘Write the enharmonic equivalents of the following notes? ‘What is meant by chromatics ? Write the sealo of Bb major? Write the scale of D major? Write the seale of ES major? Play one of the above scales from memory? ‘Write letter name above and fingering below the following notes ? Sight reading TEACHER: Write line of notes using chromatics. 10 10 10 10LESSON 21 en Melodies in the Keys of D- Bb & Eb Oradle Song Andante (Slowly) i Key of Sharps are ie Pupil Recite and play scale fof this key Pupil Ss Believe Me If All Those Endearing Young Charms Allegretto (Brightly) Key of __ Flats are. Irish Melody @ Andante (Slowly) Home, Sweet Home Key of ___ Flats are_____ Henry x. Bishop Pupil Recite and play scale of this key Pupil 9 Homs work: Play from memory the scales of the keys used in this lesson.LESSON 22 OBJECT.VES: 1. Learning a new rhythm, - 2, Understanding Alla breve (out time) time) Comparison of @ with 2 time Rhythm Drills Drill: Count aloud each pattern while clapping the hands once for each note, REMEMBER - Unless you fee! a rhythm you cannot play it Play the C scale, using these patterns until the rhythms are memorized, ® ee ae = FAN ete. ge ete, oe eee + Think Count:t 2 4 SS 2 ete, te There’s Music in the Air Key of __ Sharp is___ Time sig. is ® Think Count: 4&2 & SeeLESSON 23 OBJECTIVES: 1, Continuation of Alla breve (cut time) ‘The playing of a full length march. 1, 2 3, Applicatinn of wequired knowle 4 5 Knowledge of the meaning of this sign (/). Knowledge of signs indicating volume of tone (dynamics) Advancement March* In March time (Not too fast) (a SS SS 1 Stoudly) Trio Note key change 9 tae) L_ Repeat to Trio WE —~sd f + Atl marches generally consist of an introduction, 1st and 2nd strain, each repeated, followed by a Trio. ‘The key of the Trio is always a fifth lower than that of the first part. “+ This sign 7 means to repeat the preceding bar =LESSON 24 OBJECTIVES: 1. Learning another new rhythm. 2. Knowledge and use of the rhythm of § time. 3. Counting 6 to a bar and 2 toa bar 4. Application of new rhythm in familiar melodies ; Slow 123456 Think Count: [SI7v 129488 Think Count: {3273 * ° z 5 Slow 23 4 6 ‘The above rhythm when played in a fast tempo Think Counts) [rast 4 2— — |is actually played as follows Row, Row, Row Your Boat Key of __. Time sig. ie ® ee Think Count:1 2 4 &2 12 Oats and Beans Key of _ Flat is _. Time sig. is a ® ae fewest aS —F - bea Think Count:4 = 2 Mulberry Bush Key of __ Sharp is Time sig. is__ @ Think Count: 1— 2— Home work: Write ling of notes,using difforent rhythm patterns in § time.LESSON 25 bd OBJECTIVES: 1. Continuation of six-eight time, lew) 2. Counting six beats to-a bar 3. Application of acquired knowlodge in familiar tunes. 4. Playing of duet in six-cight timo. Moderato It Came Upon a Midnight Clear Obeorve sture carefully wits, “Think Bb and note valugs R oS as Jo Ti Think Count: ¢ 123 4 5 6 itt touder** “FS ‘mf (medium loud) = sft ze This note wf Flouder) gradually sf mf Drink to Me Only With Thine Eyes Andante (Duet) 1d English Air ey of __ Flat in wae] Pupil 7 4 = = ink? (rather softly) Cunk se 2s a Be Pupil = fet Db eae (Bnd time bar 4 mf This note = “rit, abbreviation of rifenuto — gradually slower in speed.a TEST QUESTIONS ON LESSONS 21-25 @) This sign @ means? (2) A minim receives __count in cut tie? (8) Divide the following into bars? (4) What is meant by six-eight (§ time)? ©) This ote BESET tas counts ? (@) This note has ____ counts ? (7) Mark the count under the following ? BIT dl dd dk Wd I (8) Divide the following into bars? eS, SSS ae ©) What notes are played, from low to high, with the following valves? Ast valve 1 2 3__ 4__ 2nd & Srd valves 1 2__ 2nd valve 1 2 3. Jet & 2nd valves 1 2 3 G0) Write your answers to question 9? EE] (41) In § march tempo (fast) the count is beats to each bar? (2) In § slow tempo the count beats to a bar? 43) This sign % means? G® Notate the key signatures of G-F-Bb-D-Eb? SS SS SS = (45) Sight reading in slow six-cight time in the key of BS. Your Points score 2 5rd 20 100LESSON 26 ba Continuation of six-eight time. (fast) Counting two beats to a bar, (march time) Hon of acquired knowledge in famitiar tunes, Playing of march in s1x-eight time. OBJECTIVES: pepe Skipping Along (Duet) Ege With spirit (Allegro) Pupil JS iiouaty) Count” + a2 mp (softly) Pupil ‘raduatly louder Progress March In March time = f of * Accent >a LESSON 27 OBJECTIVES: Learning the use of semiquavers. (@) Equivalents ©) Counting semiquavers Semiquavers A semauaver ERE ts equal to half ine valve of a quaver Se ‘Two somiquavers equal one auaver d= dand four semiquavers equal one crotchet Avorevistions for semiquavers Dedd J. ddde Comparative table showing number of semiquavers to other notes studied thus far, Oe monaco 1a 2aae QI° wot time signatures TRADES @| © Note time signatures Tee 2ae Tear a Mae Donalds Farm Key of __ Flats are raze This note is _ Home work: Write tine of notes,using different groupings of seiniquavers in 3 time. Memorize “Reveille” on page #1 exercise 4.LESSON 28 ia OBJECTIVES: 1, Dotted quavers and semiquavers, legato 2, Correct division of each beat. 3. Application of new rhythm. Dotted Quavers and Semiquavers Legato (Connected) This is one of the more difficult rhythms to learn. The dotted quaver is equal to three semiquavers. Always feel a division of four on each beat when playing this rhythm, three on the dotted quiver and one on the semiquaver. 21 BE SURE TO PLAY THE DOTTED QUAVER LONG ENOUGH AND THE SEMIQUAVER SHORT ENOUGH, 128 sae 128 348 568788 12a 54a 564788 Largo (New World Symphony) @® __gWery stow (Largo) Duet DvoFak Pupil = Pf Count — R&SA56R TS SS hs ae ( fly) 2|Gresc—===f | dim. —=—— >| p | pep wory softy Home work: Write line of notes, using dotted quavers and semiquavers, ‘*eresc.— Gradually louder.Pe LESSON 29 OBJECTIVES: 1. Dotted quavers and semiquavers staccato. (detached) ecalon of tis ditions shytpms fa feenitiar melodies using, f and 4 tte Dotted Quavers and Semiquavers Staccato (Detached) Dotted quavers and semiquavers played staccato (etached) are separated by a short pause as follows: Written Allegretto “Time sig. is Pupil : = Think|Count: 4 2 Pupil = Handel Joy to the World (Duet) Allegretto Battle Hymn of the Republic Time sige is. aan ThinkCount:4 1 2 3 4 Home work: Memorise “Assembly” and "Callto the Colours” on page atLESSON 30 OBJECTIVE: Continued applicatign of dotted quavers and semiquavers in j and § time. Maryland, My Maryland (Duet) Moderato Key of __ Sharp is. Time sig. is. Pupil Think Count: 3 4 Pupil = THINK Silent Night, Holy Night Andante (Slowly) (Duet) ‘Time sig. is Pupil P Think Count:1243 456 Pupilae LESSON 31 OBJECTIVES: 1, Learning the namo and fingering for top line F. 2. Playing the scale of F major from memory. 3. Using new notes in familiar melodies. 4 Introducing top line Ft % Played with the ist valve Rope ® @ 5 Scale and Arpeggio of F Major Recite scale before playing, : irene dgotherete @ Con moto (With motion) ‘The First Noé1 Key of _~ Flat is___ os 2 Introducing top line F¥ gral Played with the 2nd valve Allegretto America, the Beautiful Ward ‘Key of ___ Sharps are. 1H arm. TK © uf ‘This note ft Moderato The Blacksmith xy of ___ Sharps are. Mozart a wort 4 Home work: Write the F major scale. Use key signature and place flats before the notes affected. Learn to play F major scale from memory.LESSON 32 a OBJECTIVES: 1. Learning the name and fingering for high G. 2, Playing the scale of G major from memory. 3. Learning variations to Ex, 5, 2 Introducing high @ Played open ® Practise the following variations of tongueing on Bx. (5! =a ® Lento (Slowly) Old Russian Hymn Key of __ Sharp is Pupil Practise both parts Pupil mf co = = SSS 3 Home work: Write the G major scale. Use key signature and place sharp before the notes affected. Learn to play G major scale from memory.- TEST QUESTIONS ON LESSONS 26-82 Pointe @) These are? 4 (2) Four (4) af the above notes equal a ___? (9) Divide the following into bars? 8 17) L.A Lm @ This Tie a ost? eee ©) Circto the notes in the following line that begin each beat ? 5 eee PINT INF BIT © Ad. is equat to__ semiquavors? 4 @ Ad isequalto___ semiquavers? ‘ @) Tais STIS in equat to a note? Ce ©) Write five (6) bars, using dotted-quavers and semiquavers? 5 G0) Divide the following into bars? ieee ITN OO Bl oi a a oo (ts) This note =) is __ and is played with the —___vatve? ye 42) Write the soalo of the key of one flat ? 5 oo 49) This note is and is played with the valve? ae 4) This note is _ and is played with ____ valvea? 4 5) Play the scale of F major from memory? Be 46) Write the letter-names of the G major scale? peace G7) Write the Koy signatures of D-F-G-Bs-Eb? Ou esate (48) Sight reading eo i &€ 7 TEACHER: Write lino of notes using dotted-quavers and semiquavers, slurs, accidentals ete.Six Trios Onward, Christian Soldiers Trio Sir Arthur Sullivan ModeratoVesper Hymn (Trio) Moderato Pupil +e Pupil == mp Pupil wee Deck the Hail (Trio} Brightly Pupil a nf Pupil oof Pupil‘Theme From “Lobgesang” (Trio) ‘Mendelssohn Con moto (With motion) Pupil mf Pupil of Pupil a 3Be O Little Town of Bethlehem (Trio) Moderato Pupil] mp Silent Night, Holy Night Andante Hee Pupil Pupil Pupil Prine in England by Commercial Colour Press, 296 (23504)