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