LAST PART CHARACTERISTIC STUDIES FANTASIAS AND AIRS VARIES LETZTER THEIL CHARACTERISTISCHE STUDIEN FANTASIEN UND VARIATIONEN DERNIERE PARTIE ETUDES CARACTERISTIQUES FANTAISIES ET AIRS VARIES 3654-280284 LAST PART. The following ree sin ave been weitten with the special purpose of provide Ing th student wid aula material with wich to test his powers of endurance. In taking up these sfudien the student will Aoubilest be fatigued, expecially at the out= set, by nich of the mimbers ax require tne tna length of breath, However, careful Sfudy and experience will tech him to tri Sinph over such difieltles und wil provide him with resourees whieh, in tern, will en- able imo master this particular phase of playing without diffcully. As meus. to this en Twill point out the eantbilepass- ‘ges in particle, which should be payed with the utmost expression, at the same time modifying the tone as mich ss poss Boh oe ay ih he oly clear ones may be obtaled by widen! ‘nd veiled tones by contracting them, Tie sireumatance affords the performer an ope portunity to rest, while sll continuing to Play, and atthe same tne enables hia to [ileus effective contratsintote exeeu- tion. Taepeat tht by Lite artifice ofthis kind and hy skilfully husbanding hirescur Ges, the player will reach the end ofthe long tt and most fatiguing moreeausnotony Wi fut diffieats, but even with « reserve. of Strength and power wiichywhen bought 80 bear oa the final measures bf a performanee, evr falls to produces effect on an audlence ‘he twelve grand moreeaix which follow ate the emboliment ofthe various induct contained in this-volune;they willbe found fovcontan al the arielations all the difi- culties,of which J have inturn already given the elton. They will iso be fond to con- {ain melodie exleulatedto dovelo the tate af thestident, undo renderitascomplete an fs ponfot as ponsble At this point my task as professor employ- ingas I now do the written instead ofthe spo- kken word) will end, There are things. whieh appear clear enough when uttered véea voce but whieh cannot bo eommitted to paper with- ‘out engendering confusion und obseurity, or ‘without appeuring puerile. ‘Theroar other things of xo elevated. and subtle ture, atthe speech or wr Ingean clearly explain ther ny are Tl Become they ae tio aed and yet then tinge couatitte Tovated styithe grande ¢eole, which it is ‘myumuiton to intte fr to cornetyeven hoy alreuy exist for singing and the Savlous kinds of lateument, ‘hose of my readers who aroumbitow an whoo tourrive a this exited pitch of Jrtllony as above al ihngstadesor Diargood inode wolinterpeetel They taut ace ont, mena sng and seu. masts ths mont model cn {sprucio bving purified thease Soinki tht enttadand brught them tS ataras posible to fhe beatifaly may Sovkay ret! te thom tbo panto’ spark Wl may some dy be destined to luan Thetrtafer and torte tem worthy” of ngsinitelsforey ted aad bntated in the fitare Meebo LETZTER THEIL. Teh babe die nachfolgenden vierzehn Btaden ri dem Zywocke comyonit, den Scilrn eine nbesiegbue Willetakrafi elnguflossen. Es ‘wird si ohne allen Zwelfel Desondem Anfang, Zehr ermilden, so hngahmige Sticke uti” sen; Studivm und Brfubrung werden si jedoch lohren,iberdiew Schwlerigheiten au (#um= bine und ie thgen Thiel ie, este ohne Hindernis zum Ziel iret Aue fren. Unter diesen Mitel, welche ft one ‘Ausnalime eine jele Composition darbictt, ‘weve ich hen die Gesangspassagen be = zeichnen, indem ioh slo veranlasce, dieselben init der Nichsten Zartheit und jm dunklen Klanggeprige mu blasen —Man kann nim- lich auf dem Cornet i Pistons ebenso. je beim Gesange, elle Tine erhalten, indem rman die Lippen offnet und umschlelerte To- ne, indem man ale enger susummenzicht.— Dies ist ein vortrefliches Mittel, umm sich fauszuruhen,ohne dns Spiel 2u unterbrechen tind zugletch, un vortellhufte Gegensalze in die Auafubrung mi bringen Ich wiederhalees, amitdiesen einen Kunstgriffenwird des Vie {tos scbalder seine narlichen Hilfsquellen| alt Goschicklichkeit walhraimmt das langste {nd ermidendste Musistiek 21 7 tenyund awar nicht nur ohne grosse Sewie= rigkelt sondern auch mit devjenigen Reserve ‘von Kraft und! Gewaly de grade in den lta ten Takten eineuntehibare Wiskungauf den Se elf grieen Sticke weehe dara fl sgenvedind dag Resume der corscicdenn Aut dzungen, welehe dieses Werk enthalt. Man Tndct ip nen siimmtliche -Artiulationen, simmtliche Passagen und Schwierigkeiten dleren Losung ich nach und nach im Vorier. gehenden gexeben habe. Ausserdam findet ‘man darin Melodien,die geeignetsindden Go- Schmack des Schilers 2ubiden und hn so va Kommen und perfect ala migiich 2 machen. ‘Hlorendet natirlich dle Aufgube des Lehrer, ‘desondersdesten dersich stat der mindliehe ‘ender sehriftlichon Erklkrung bedient, Es glett Dinge,die man wohl mindlich atsein- ndereetoen Jann, die aber eine sehrifticho Enduring niet vertragen, ne Verwirrung tind Duzkelbelt und ohne in Lusherlichikelt su verfallen Es giebt uber wiederum andere Dinge, die soerhabener un subtler Natur snd das ale iiberhaupt jeder miindichen und schrit- lichen Keklirung enteichea,Sfun lana sie ‘ur flen,abnen, niet aber erldsren Diese Dinge machen der hohen Styl, die grosse Stl al ue fur da Corset Pins zm grnden ich den edlen Ehrgeiz besitze, ‘vie sie berets fur den Gesung und de Mehr {abl der Instrumente bestehen Disjenigen Leser dieser Methode, welche jonen ertabenen Gipfel erreiehen wollen, Inissen sich voraliem bemihen, gute und {gut alagefihrte Musik au Koren, Sle mil- Sven sich unter den Singern und bistrumen {alistenelfrig die besten Vorblderaufsich fen und dieser Verkeht wird, nachdem erie ‘Geschimack gerinigt tur Gefunlerweckt und Ihpen Seinheltsinn mglihst entwickelt, vielleicht dezeinst den Punken der Original? iki entatnden, der dann the Talent enlethtet und'sie wird macht, ave Iheersitsin der Zakcunft als Master angefuhrt und -nachge fahmt 2a werden, DERNIERE PARTIE. Tal composé les quatorae dudes suivantes dns le but dneulquer aux ives une invin- ible foree de volonte Ms se fatigueront sans nul dute, surtout duns Torigine,en jouantdes -moroeanx daussi longue haleine; etl, Pex rience leur apprendrort i triomperde cette Titiculé ets ddeouver des ressources por tarsiversans encombre an bout de leur tache. Parmi les moyens quotfre presque imate. rent toute composition, je leursignaleral Tes passages de chanten les engugeant ies rene Are avec une extréme douceuren sombrant Te son. On peut, strle cornet pistons oben, ‘ins! quele font les charteurs des sons ears ‘en ouvrant les lvres,et des sons voilésen les esserrant.—Ce seraim excellent moyende se eposer suns cessor de jer et en mime tem ‘Etro Ghoare contares dan Tord cation, de lerépéte, avec ces petits artifices, inénageant ses resources uveo adresselo vie ‘uose arrivera ila fin du morceau le pls long et lephusfatigant, non-seulement sing une grande difficulté,muis encore avee une re= serve de foree et de puissance dont Peet dé ppensé aux dernigres mesures estimmangua- ble sur Peuditeus 2 doute grands morceaux gui vienneten- suite sont le naumé des divers enstignements contenu dans ce vohume‘ony tomers, toutes les articulations, tous les traits tutes les dif ‘eultés dont j'ai tour i tourdonné préeédem~- ment la soltion. On ytroaveraen tre des aélodies propres a former le goat de Teve, ile rendse asl complat et sues parfait que posable Litshrréte naturellement ma tiche de pro- fesceur surtout de professeuremployait eri ture aulicude la parole Ty des chosés qu peuvent se transmetire de vive vosxymats gui fe suralent tre conte papers la confusion et Yabscurity ou sans fomber dans Tenfuntillage TLy & autres choses encore dun ordre si ‘lev et si subtil quélles ge refusent alintos prétation de la parole aussi bien que de Teer ‘ure, On les sent, on les devine, on ne les ex- pligue pas. Ces choses constituent le haut style, la grande Beolo que jal la noble ambi- tion de vouloir fonder pourle cornetitpistans, comme ils existent déja pourle chant et pour Ja plupart des instruments, Ceux des lcteurs de ete Mth qui vou- dont attendee aces sommets Cleves devote svant tou sttadier a entendre deboane mz sigue bien interprétée, Purl lo chanteuse les virtues instrumentsts ils rechercho- ront assent les pls parts modbie, Ce commere, pron soit prs leet doe “elope ur eames te ole cSits uss prs que fc la perfection dans Iebeat, leur aivélora pot-ttre Iincelle o- riginale gui dot un our illuminertur talent at les none dignes d'etre ler tur cites st imide dans Liven285 14 Characteristic 414 Characteristische 44 ETUDES STUDIES, STUDIEN. Caracteristiques. Allegro moderato. 3854-290,286 Legato. agitate febwieg ole Brea t eX BS ic eee 5 Aa 2654-290Moderato. 2654-200Moderato.Allegro. o 3654-290Sa tempo So 2654-290Allegro. Pid largo sat eae ay att Pitt Allegro. t ie q 3654-290"Allegro. | Pit lento. . eee ttes = rT & es ae ous oer aie ere Soa oa cease ae 2654-290Allegretto. 1 saa a297 aches ee OO == 4 — eee spinster eee = Pre jaeEe ie 8654-290298 Legato chromatique.300 TWELVE Celebrated Fantaisies and Airs Variés by ARBAN CONTENTS N9 4. Fantaisie and Variations on a Cavatina from Beatrice di Tenda by Bellini301 NO 2. NO 7. 8554-290 Fantaisie and Variations on“Actéon”. 2 5 6... .Fantaisie Brillante. © 2... 0. . Variations on a Tyrolean Song... . bo . Variations on a song “Vois-tu la neige qui brille” The Beautiful Snow . Cavatina and Variations. . . a. Air Varié on a Folk Song: “The Little ! Swiss Boy”! . .Caprice and Variations. . 2 2... ee Fantaisie and Variations on a German Theme . . Variations on a favorite theme by C. M. von Weber . . Fantaisie and Variations on “The Carnival of Venice” Variations on a theme from “Norma” by V. Bellini . . . Piano part to these Solos can be had separately. Price $2.00 net Cart Fischer,Wew York - 308 = 309 - 313 317 - 320 - 323 327 334 = 335 - 339 = 344Cornet in Bb NOT 301 shee Fantaisie and Variations Kédwin ‘enko oldman on a Cavatina from Beatrice di Tenda by V, Bellini Introduction J.B. Arban Andante _ _ o> ff EEE = et Etet., teleost aee = zB rath oe Copyright MCMXI by Curl Fischer, New Yark— Cornet in Bb oe)Cornet in Bb 303 se poe aon ay) Tt pereat (Paes eee Teen Var. I and Finale I —— a es Oeiirpeseas™ Lieppacesee ers : a304 Cornet in Bb Finale IL a ——— eee ee 4 o 42 =e805 NO2 Cornet in A a a Fantaisie and Variations on ecised by ‘Bdwin Franko Goldman Acteon Introduction J. B.Arban Andante eS a th Copyright MCMEIL by Cart Pivckr, Now Yorkvee Theme Cornet in A Aliegro opt pris lento” na a Var ss805~ 1080y Cornet in A cS Pir moderato = 80518308, Cornet in A Fimle Allegro 4 sempre ff309 NO3 Cornet in Bb a ° iin Fantaisie Brillante Hevived by Hdwin Franko Goldman Introd. J.B. Arban Allegro maestoso crese. poco @ poco 15896-14 Copyright MCNXIT by Cart Pisher, New York.310 Cornet in Bb Tempo I Pp NS 15886-14Cornet in Bb ant te eae: oor ele Sher ee ieee on esr z aS Bese are a tempo 15888-44Cornet in Bb 5900-14 otNQ5 ats Cornet in Bb Variations a Revised by tein Preto Catinan Tyrolean Song Introduction J.B. Arban Andante moderato Theme Andante Sere i Variation Iz _ ert z 5814 Copyright MCMKIL by Carl Fischer, New York314 Cornet in Bb Variation IL eS See deen BP al eae $ soon 14Cornet in Bb $15 tte pe gE tap eee = =" =S=o or8e eee : SEatt Cornet in Bb « From +to-+ ean be omitted sass317 N°9 Cc t in Bb 7 a8 Variations on a song Revised by Vois-tu 1a neige qui brille Edvin Franko Goldman (The Beautiful Snow) J.B. Arban Andante quasi Allegretto Pisno of oA a tempo Pe 2 Gee “pi heer rer SS syeas lent eer a lege sEietieges a atempo Joes —— == oa 2 oe — ral a | oene = — z 1584-10 Copyright MCMXIL by Carl Fischer, New Yorkas Cornet in Bb 15842-10319 Cornet in Bb Finale ee o os 15842~10320 N° 10 Core Cavatina and Variations Revised by Edwin Franko Gotdman Andante J.B Arban FF aa er = =.—_=——| ———— e Eaareasid Spt u eet gessteceraee g ae Sj Theme Moderato P oe 7 — aa = <1 2 £ = _ ayers aaa esE = ee = ae é oon Copyright MCMXIT by Carl Fischer, New YorkCornet in By 32 a tempo Var. TIT822 Cornet in Bb 554941323 Revised by NO6 Bdwin Franko Goldman Ai r Va ri é Cornet in Bb on a Folk Song Introd. The Little Swiss Boy Andante J.B. Arban ik — ~ P sasha Copyright MOMKXIL by Cart Fischer, Now YorkCornet in Bb Theme Andante ete & a ral. a tempo atempo 7 é = Pp valk Vand a tenpo, e ae i Aone SePesrss=: we 5 fe aaa) @ "Sp SS eu (Glia ger =e or — a tenpo P état GMs iss30_nCornet in B>826 Cornet in Bb Var IV et Finale Allegro a tempo crest. S accel, 1583010327 NOT Cornet in Bb fe eas Caprice and Variations Hevised by Bawin Franko Goldman Andaptino J.B. Arban cee Copyright MCMXIT by Cart Fisher, ew York— Cornet in BS Andante moderato P Var. I Allegro moderato if 5840-14329 Cornet in Bb == Ser tie rh Soe s5s0-49380 Var. Pit lento Cornet in B; 5510-418NOS a Fantaisie and Variations Cornet in Bi Revised bY Edwin Franko Goldman on Go arene. J.B, Arban Allegro moderato me. ate prs 5 tod <=> eae : FF > ——. R att 8 upright MEMXIL by Carl Fischer, New York_ Cornet in By Var. 1 501118. a3 Cornet in Bb rit. a tempo Var, TT sth334 Cornet in B) Finale BettiNon sa Variations on a favorite theme by €. M. von Weber Cornet in Bb Revieed by Kéwin Franko Goldman Introd. 7B Artan Allegro moderato Piu lento 6B tae ae f Copyright MCMXIT by Cart Fischer, New York336 Cornet in Bb Theme Andante non troppo > P NS P ral a tempoCornet in Bb 337 Var, TL a338 Cornet in Bb tesnt-19839 NO 12 Cornet in B> Fantaisie and Variations Resised by on ‘win Franky Goldman ‘The Carnival of Venice Introduction J.B. Arban Allegretto Tutti Theme > ben foie eeted Cornet in Bb p ae ae 3 _ © er ee S = {oa rays saat pera tesa el Go Daneel tts ote be RTS SEPT Pree 1515-19Cornet in Bb eat ‘5815-10B42 Var U0 Cornet in BS Andante a P wnsi5-t9Cornet in Bb 343 CodaBaa NO4 Cornet in B Variations y onatheme from Revised Bauin branko Goldman Norma by V. Bellini Andante maestoso J.B, Arban Ps SE anes | — 1 d P "oreee Solo Theme Moderato ? ee x 13887-18 Copyright MCMXIL by Cart Fischer, New YorkCornet in Bb s5887—13, a5Cornet in Bs s9887-18,Cornet in Bi SS oe aa = atts = BS #4 * accel. gee SS == se ee A