BOOK=AONE EDWARDS-HOVEY METHOD for CORNET or TRUMPET by AUSTYN R. EDWARDS AND NILO W. HOVEY \/ set Mills ravishing Corp. ROCKVILLE CENTRE, N.Y. 11571FOREWORD rts ner he aim ofthe writer wo dewlop 2 method i which the materi arnged ogy from the sand point of (a) shythmic development, (b) gradual extension of the range, and (e) development of finger dexterity. ‘An effort has been made to keep the amount of explanatory material at 2 minimum, leaving the method of presentation to the instructor, who, through frequent contact with che individual pupil, is best qualified to determine the moet efficient procedure. This has also allowed a greater amount of space for tunes and musical exercises. Melodies have been selected which adapt themselves easly 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 mo- rnotonous and constant repetition of rhythmic patterns ‘The few suggestions which follow may prove helpful in emphasising some important points to the beginning popil “This is a subject which has aroused considerable controversy, and there are undoubtedly many PLACING THE fine performers whose position of the lips on the mouthpiece differs radically from that of MOUTHPIECE others who play equally well. Ie is a fact, however, that there is a greater percentage who favor a position between “half and half” and the postion which requires that a larger portion of the mouthpiece be placed on the lower lip. There seems to be no question that the position will depend some- what on the individual embouchure and that experimentation will find the position which will produce the most de sirable tone quality and that will secure the easiest control of the regitters, Many teachers recommend starting. with the “half and half” position and varying this slighty to find a postion which seems most natural for the individual popil ‘The postion, once determined, must not be changed to facilitate high or low notes while plying a passage containing wide intervals. It is obviously impossible for the pupil to change the “set” of the mouthpiece when going from a low note to a high one, or the reverse, in rapid succession. The lips must not be protruded, and the checks rust not be “puffed out.” Before starting the tone, the tip of the tongue is placed agninst the bottom of the Gpper teeth PRODUCTION in such a way as to prevent the flow of air. As the tongue is drawn back suddenly, the OF THE TONE. column of air already presing aguinst it is released, causing the lips to vibrate. In. short, the tongue is used as 2 valve to release the air, similar to its function i pronouncing the syl lable “TOO” (In soft tonguing, the syllable “DOOO™ is employed ) Correct use of the air has much to do with the production of the proper quality of tone. The pupil should be frequently reminded to blow “THROUGH the instrument” rather than “AT the mouthpiece.” Insufficient support by the diaphragm results in a week, “anaemic” tone Before assigning the first exercies on page 3, acquaint che pupil with the essential principles PROCEDURE =f tone production, stressing the ‘importance of (2) good posture so as to allow correct breath- ing, (b) a firm attack to each tone without stress or accent, (c) sustaining the tone without change in pitch or quality, (the embouchure must not be relaxed until the tone hae stopped), (J) maintaining a steady “stream” of air for the duration of each tone. Vary the length of the assignments according to the ability of the individual student and the amount of time spent fn practice, Indicate which part is best suited to the student where there are double notes, and advise whether or not tc obeerve suggested “cuts” Question the pupil frequently regarding 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 and time signatures. Tnclude scales, intervals, lip sluts, etc. in assignments for daily practice routine when you believe the pupil has reached the proper stage of development. These exercises which are found on the last few pages are not intended a8 separate assignments, ‘The importance of slow and accurate practice cannot be overemphasized. Careless playing may become a deep- rooted habit. “Make every tone a good one.” Slow playing may be compared to use of a magnifying glase—defects are sometimes shown that would not otherwise be evident. Frequent rest is advised when practice periods are long. At the moment the lips feel tied, or the pupil finds himself resorting to force or an undue amount of pressure, the time has come for a few minutes of relaxation Few pupils give proper attention to this very important point. Most of them know CONDITION OF ‘the valves do not work easily, but many of them give no thought to the condition of THE INSTRUMENT the mouthpiece and mouthpipe, a most vital factor in the tone, intonation, and blow: ing qualities of the instrument. The finest instrument, built with micrometrical pre- cision, will be no better than the poorest if not kept in proper condition, and this fact’ cannot be overstressed. a, Libr. No.7FUNDAMENTAL EXERCISES The symbol @ in called « “treble cle? The symbol G stands for 4/4 (four-quarter) rhythm. In this kind of rhythm there are four beats to each measure und a quarter note (J) recetves one best, «half note (d) receives two beats, and a tote note (0) receives four beats. ‘On this page we shall deal with only whole notes and whole rests (=) each of which receives four beats. Epc ‘The notes introduced on this page are: 7 , > The fingering is indicated below euch note when itis first introduced, “1” refers to the first valve (the fone nearest to the mouthpiece), “2” refers to the middle valve, and “3” refers to the third valve (the one closest to the bell). Combinations of valve ing (ist and ard valves)’ ete. The valves employed on any given note must be completely depressed; those not used are to be all the way UP. Your instructor may wish to add other notes or rhythmic figures on the blank staves provided for that purpose. are shown by(2) meaning “tst and 2nd valves” and() mean- @ (Count: 1234 open Count 123 4 oa é Counts 1234 ? Count:1234 Copyright MCMXL by Belwin Ine,,N Y., U.S.A. Ed.Lib. 77-48 ‘International Copyright Securedopen Half notes (4) are used in the following exercises; How many beats does each half note receive? 10 im Ze oe6 The symbol (#)is called a “sharp” It raises by one-half step the note which follows, and notes on the same Zine or space within the same measure such as measure 2 in exercise 17, eb 16 2 * The # in the preceding measure does not affect this note. Why not? 17 1% # o 418 190 =6 Quarter notes (#) are used in the following exercises. How many beats does each quarter note receive. 4 = ‘The half rest is similar in appearance to the whole rest but is placed on top of the ard line, Its value is two Seats, 3 Duet Ea. Lib. 77-46(Point to the notes as you count in steady rhythm) 2 A Hymn TuneThe C scale Scalic Exercise Four-Quarter March , 2 15 The Piper9 In the following exercises you will find the quarter rest. (t) Its value is ane deat. A curved line which connects two notes of the same pitch is ealfed tre” and has the effect of combining the notes into one. For example, a half note tied to a quarter (4) is played as one note which is sustained for three beats. A dot placed after a note (see meas. 5 of exercise 2)adds ty Bhat note one-half of its original value. For example, a half note receives two beat& the dol attds one; therefore, the dotted half shall receive three beats. (d_¢= d-) Crusaders Hymn(“F” is raised one semi-tone Key of G gets (Fi spices oe sea Ff has been previously employed, but we shall now introduce a new Key signature (Key of G) in which F will be sharped at all times, unless preceded by a natural sign(). From this point, the player must NOTE CAREFULLY the key in which each exercise is written, Previous exercises are in the Key of C. — 4 In the melody below, the term Jfaestoso (meaning “majestically”) is used to indicate the style. Notes marked with the sign (=) are to be accented, or played with emphasis. The term simile means “in like manner’ or “continue in same style” March 2 >> 2 2 Maestoso SD similea In Three-Quarter rhythm the quarter note receives one beat as it does in Four-Quarter rhythm, but there are three beats to the measure as indicated in the time signature. (34) Note that Ex. 4 is in the key of C- All F's are natural@) wo12 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,b,c,d and e, before playing the exercises and melodies d J d d NCIS SIN SL a 6 e a ° *Note A portion of music between dotted double bars is to be repeated.43 Mechanism * see note below exercise simile *Note: A dot placed under or over a note signifies that the note shall be played “staccato? (separated, detached Contrasts4 A slur is a curved mark drawn over two or more notes of different pitch indicating that these notes shall be connected. ‘Two half notes slurred. Do not tongue the second note. 4 £ === SSS ‘Three half notes slurred. Tongue only the first note of each group. Waltz in G Major Waltz in E Minor = a DS. al Pine DS. is an abbreviation for Dal Segno. D.S.al Fine = return to the sign (jf) and end at FineBb Key of F == (B is lowered one half-step) 15 >a We shall now introduce a new key signature (Key of F) in which B will be lowered at all times unless preceded by a natural sign(). The pupil must now be able to identify three key signatures: Key of € Key of Key of F no sharps or flats Fis¢ Bish (B}) low B is also affected by the flat in the signature ’ ’ *Con spirito O ? *"Con spirito” = with spirit,16 A DOTTED QUARTER NOTE is held one and one-half beats. As you will see in example “a” below, the dot represents an eighth note which is tied to the quarter. America All Through the Nighta7 Allegretto (moderately fast, and light; not as fast as Allegro) Pp —=—. =—— nf t —— Marcato (marked; with emphasis) = v4 Maestoso (see p. 10 exercise 4) mf" Note: Volume markings used on this page are: “p” (piano)=softly, “my” (mezzo-forte)= medium loud, and ‘f” (forte)= loud. The symbol (—===) indicates “crescendo” and means “gradually louder” The symbol (=~) indicates “diminuendo” and means “gradually softer”18 This page is devoted to “pattern” exercises intended to increase the technical proficiency of the pupil. Tempo may be adapted to the ability of the individual, but steady rhythm should be maintained once the proper tempo has been established.49 (F and C are raised) Key of D Mechanism20 MELODIES Terms used on this page that have not been introduced previously are: Andantino: a little faster than Andante. Andante means moderately slow, but a composition so marked must be kept moving and not allowed to “drag? Poco Animato: a little more spirited. A tempo: return to the previous rate of speed Cantadile: in a singing style. Legato: ina smooth and connected manner. Fermata (f\): a hold, Placed over a note indicates that the tone is to be sustained according to the wishes of the performer. America, the Beautiful Ward Maestoso 4 : of = — —S= Ff Flow Gently, Sweet Afton Spilman Andantino P Poco animato > ———_ a Song by Haydn Haydn 2 CantabileALLA BREVE bs ab e a e t é marcato = = = = gz Sf (fortissimo~ louder than forte) (Play page 4 and page 5 in Alla Breve) at (Play page 6 in Alla Breve) nf (Play page 7 in Alla Breve)22 (Play page 8 in Alla Breve) (Play page 9 in Alla Breve) (Play page 10 in Alla Breve)2B Key of Bb (B and E are lowered) (By 2) Bh Mechanism2 Rhythmic Exercises with eighth rests (See! footnote) Note: The dash is called a“tenuto-mark” and indicates that a note so marked shall be sustained full value.Duets ladAllegretto ’ , = o SS = ‘Fine nf (®) rit, (rétardando)~ a gradual slackening of tempo. D.C. see Exercise 4 on page 34.a7 (F, C, and G are raised) Mechanism28 : . Chromatic Exercises @ @ | 7 a 7 (Gh ap 2 ap * possible cut Note: Exercise 7 can easily be adapted to the needs of the student. The top line “F” may be omitted by mak- ing the first suggested cut; the new low notes may be omitted by making the second suggested cut.29 Syncopation80 The Eighth-Note Unit Three-eight rhythms Four-eight rhythmsaL Six-Eight Rhythm with six beats to the measure82 Triplets in Eighths marcato f= 3 3SIX-EIGHT RHYTHM 33 with two beats to the measure Compare a these rhythmsSpine “D0.” is an abbreviation for Ya Capo” (the beginning) Return to the beginning and D.C. ab Fine end at Fine3B Compare these rhythms The Lion Hunt Allegretto nf3637 B, E,and A are lowered Key of E> Mechanism (Ab wee page 28 Melody in C minoroF SIXTEENTH NOTES Although the exercises on sixteenth notes appear to require considerably more facility of the tongue and fingers, the tempo may be adjusted to the ability of the pupil (or class) so that the experience of comparative values will be gained. a a e a e BBavoreviation39 Prayea: Jedd Spd40 Played: 47 Puyed: FF Use fst and 3rd valves throughout 4at THE DOTTED EIGHTH FOLLOWED BY A SIXTEENTH A common figure in music, and yet one that is often played incorrectly, is the'dotted-eighth followed by a sixteenth” A detailed study of this figure at this point will save the pupil con- siderable difficulty when it is encountered later in solo or ensemble playing. First, let us consider the dotted-eighth and sixteenth in s/ow tempo. It is important that the dotted-eighth be sustained as long as THREE sixteenths, (as shown in the rhythm patterns A-1, A-2, and A-3), 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-1, B-2, and B-3. With either method, SLOW PLAYING is important in the early, stages. Ag A-3 Ba B.2 B-3 AA Very slowly? ~~ aon os Chror In faster tempo, there should be a little more space between the dotted -eighth and the six- teenth, and the latter should be LIGHT and SHORT. The word “crisp” describes the play- ing of this figure in quick tempo. Attention may be called to the fact that the sixteenth note is more closely connected to the COUNT WHICH FOLLOWS thanit 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 cighth that you would to a quarter note in a similar exercise. sas. For example: @ , oe ¢ 7 \ than here more spice here ExercisesAz My Old Kentucky Home Andante * Foster mp _—— Andante Adapted Annie Laurie > Moderato* Scotch Song ge c Se 3 2 4 Ro St mp a = Excerpt from “‘New World” Symphony Dvorak Largo* tC ‘? ——— — Sf = 7 * Andante = moderately slow, but moving. Moderato= in moderate tempo, Largo= very slow, broad.. 43 Mozart Air Allegretto Mozart 7 Christmas Song Moderato Handel 2 March from “Aida” 7 Verdi Marziale* > 3 S d 2 3 2 F Tramp, Tramp, Tramp Tempo di Marcia” Root 10 in martial style. Tempo di Marcia in march time.+; DAILY PRACTICE ROUTINE The pupil who has discovered the value of adopting a daily practice routine has passed an im - portant milestone on the road to technical proficiency. This routine should obviously include scales and arpeggios in varied keys and articulations, lip slurs, and intervals, As explained in the Foreword, the exercises which follow are not intended as separate assignments, but are to be assigned in parts at the discretion of the instructor and at such time as the pupil’s degree of ad- vancement may warrant such routine, Tempo should be suited to the individual player. Common Major Scales For memorizing '' For the extended scale, use this ending lon = Tee ESSERE EEE aNetia Lip Slurs (1) Use tst and ard valves (2) Use 2nd and ard valves FF — (8) Use tst and 2nd 1(4)_Use 4st 1 (5) Use 2nd (6) Open ________(7) 2nd and ard _____ (8) 1st and 2nd —____, (9) ast , 410) 2nd , (1) Open (A) Ast and 3rd (2) and and ard—__, (3) ast and 2nd —____, etc, (follow pattern of B-1) ete, (4) ts (5) 2nd. (6) Open ete, Be ete. ete, oS SEE So (3) Ast and 2nd (4) tst and 8rd —_______ (2) 2nd and 8rd _____, — (4) 1st (5) 2nd 1 (6) Open 1 4 (4) Ast and ard —_______ (2) 2nd and 3rd (8) tst and 2nd, Serre 4) Ast (5) 2nd 1 6) Open 1 2Intervals = Play the above exercises SLOWLY! Give all notes an equal amount of stress. LISTEN to the interval, To put the right valves down is not enough. Is the intonation accurate?48 Arpeggios A variety of articulations may be suggested by the instructor. ®