| tamed | Toor] | SULLA STAN DARD D OF [EXC CELLENC TOSS UU DC D COMPREHIENSIVE BAND METHOD a SSSRescT ov BRUCE PEARSONPUTTING YOUR TRUMPET/CORNET TOGETHER STEP 1 ‘Open your case right side up. STEP 2 Hold the instrument in your left hand. Hold the mouth- piece in your righthand, and placeitinto the mouthpiece receiver on the lead pipe. STEP 3 Gently turn the mouthpiece to the right, not too tightly. STEP 4 Depress the second valve and pullout the second valve slide. Place 5 or 6 drops of oil into the tubes. Keeping the valve depressed, replace the slide and work the valve up and down, STEP 5 Repeat the same process with all valves. ewatte,PREPARING TO PLAY STEP 1 Sit up straight on the edge of your chair. STEP 2 Place your left hand around the valves. Hold your instrument firmly but without tension. Place your left middle finger in the third valve ring, STEP 3 Place your right thumb under the lead pipe between the first and second valves. STEP 4 Place the tips of your first three fingers on the valve tops Your fingers should be curved and relaxed. STEP 5 Place your right litle finger on the ring (not in the ring). Keep your wrists straight and turn your instrument slightly to the right. Your elbows should be away from your body, STEP 1 2 , Shape the inside of your mouth asif saying “oh.” Bring your lips together as if saying “em.” STEP 2 Yourlips should have firm corners buta relaxed center. Your chin should be flat and pointed. STEP 3 Take a full breath of air and blow, creating a relaxed, buzzing tone. STEP 4 While buzzing, place the mouthpiece over the buzz with ‘equal amounts of the mouthpiece on the upper and lower lips. STEP 5 Put the mouthpiece into the lead pipe. Take a full breath of air and play a long, steady tone. CARING FOR YOUR TRUMPET/CORNET STEP1 Afterplaying, depress the water key to drain the excess water from your instrument. Wipe off your instrument with a soft, clean cloth, STEP 2 Remove the mouthpiece and put it and your instrument carefully in the case and latch it. STEP 3 Grease your slides regularly Pw2tTpFOR TRUMPETS/CORNETS & BRASS ONLY THEE 4 sctlfine 1 MERE Lo MSE = WHAT DO YOU HEAR? WHAT NEXT? When you play your instrument, ‘Ask your teacher which note you are playing: you will probably play one of If your natural note is C, start on page 4. these two notes: I your natural note is G, start on page 5. THE FIRST NOTE c = = * + > A double bar line marks the end of the music. The numbers indicate which valves should be pressed down. BI THE SECOND NOTE D 13 Ey TEA FoR TWO THE THIRD NOTE ge ge 12 THREE OF A KIND = i THREE’s COMPANY Hd To Brass Pw2tTeFOR TRUMPETS/CORNETS & BRASS ONLY Te |S Nicitine |? Mam | © [MCE | fh THE FIRST NOTE G G 0 + > A double bar line marks the end of the music. ‘The numbers indicate which valves should be pressed down. Bd THE SECOND NOTE F Eos Hi Ey TEA FOR TWO THE THIRD NOTE E E Hi 3 ff THREE OF A KIND i THREE’s COMPANY / Top Brass6 FOR THE FULL BAND THE 4 octlae Tl ) 4 Eh time For BAND E a. 12 A double bar line marks the end of the music The numbers indicate which valves should be pressed down, Bi THE FUN peel ated a EB WHOLE LOTTA COUNTING Write in the counting and clap the rhythm before you play. FOUR SCORE Page 39 i> c = = = = La > When you see a page number followed by an arrow, Excellerate to the page indicated for additional studies Bi mix’em up i MELTING pot EZ BAND ON PARADE GD = = Lines with a medal are Achievement Lines. The chart on page 47 can be used to record your progress. Pwaiteae See A BREATH OF FRESH AIR Be sure to take a full breath of air. SIDE BY SIDE ™osyjwo 1D HALF THE PRICE > Write in the counting and clap the rhythm before you ply. [BI CARDIFF BY THE SEA SS _ Page 39:00 Welsh Fok Song fH wo FOR THE SHOW - Duet A sy } * GO FOR EXCELLENCE! > pwaiTP1B A Quarter’s WORTH i = > Write in the counting and clap the rhythm before you play. WB HOT CROss BUNS English Folk Song Ti AU CLAIRE DELALUNE GD French Folk Song > Draw in a breath mark atthe end of each phrase DOWN BY THE STATION i Traditional BD EAsy stREET be F : By country WALK English Folk Song GETTIN’ IT TOGETHER BB For TRUMPETS/CORNETS ONLY Se pwaiteBB] MERRILY WE ROLL ALONG 9) Page 39 1p D Write in the note names before you play LIGHTLY ROW- Duet Traditional A. , : ONE STEP AT A TIME > Write in the counting and clap the rhythm before you play J GOOD KING WENCESLAS Traditional English Carol Soio/Sol Tat + Solo/Sol Tut BBA SONG OF THE FJORDS Nonwegian Folk Song Solo/Sol + Tut Solo/Soli > Tutt Composer : nd dd your name Fill in the rest of the measures using the given rhythms and any notes you know, Title and play your composition. GO FOR EXCELLENCE! BD)EQ warm-up A 12 > Try laying this warm-up on your mouthpiece. Ei] TED AND TRUE EX] JOLLY OLD ST. NICHOLAS - Duet ‘American Carol A. : : : a EB Amicos Mexican Folk Song + > Keep on playing! > Write in the counting and clap the rhythm before you play. FARM OUT Traditional BB For TRUMPETS/CORNETs ONLY pw2ite,MARK TIME = Eid SWEETLY SINGS THE DONKEY - Round Traditional 1 : 22, EB Mary ANN West Indies Folk Song Solo/Soli Tut Solo/Soli Tutti Write in the note names before you play. EB) crusADeR’s MARCH GBD Page 39 Traditional D write in the counting and clap the rhythm before you play. BALANCE THE SCALES Draw one note or one rest to balance each scale. -t a d ght . << za zx a 7 ae GO FOR EXCELLENCE! Pw2tTe| BALANCE BUILDER Tonic - Subdominant div Dominant iv Tonic 2A a unis 5 iN tN JINGLE BELLS Band Arrangement J. S. Pietpont (1822 - 1893) arr. Chuck Elledge (b. 1961) 2 ooze? 1 iy 3407 0s |[5}z22 6 7 Fstop gh) SCHOOL SONG Solo/Soli + Tut ; Solo/Solt Tutt FOR TRUMPETS/CORNETS ONLY > pw2rTPEIGHTH NOTE ENCOUNTER lap > Write in the counting for the top line before you play. JIM ALONG JOSIE S&S ‘American Folk Song EIGHTH NOTE EXPLORER lap > Write in the counting fr the topline before you play GO TELL BILL Gioacchino Rossini (1792 - 1868) ] GO FOR EXCELLENCE! 9 pwaite14, EID EIGHTH NOTE EXPRESS dap > Write in the counting for the top line before you ply. El skip it, tou ‘American Folk Song, Solo/Soli _ Tutt Solo/Soli Tutt B® EIGHTH NOTE EXPERT clap | > Write in the counting for the top line before you play. EJ MEXICAN MOUNTAIN SONG Mexican Folk Song BAFFLING BAR LINES Write in the counting and draw in the bar lines before you play Ej FOR TRUMPETS/CORNETS ONLY G9) pwaiTP: BB warm-up Tongue only the first note of each slur. Try playing this warm-up on your mouthpiece. [id THEME FROM “SYMPHONY NO. 1” > Johannes Brahms (1833 - 1897) EB ERIE CANAL CAPERS Page 39 p> “American Work Song LAUGHING SONG - Round Traditional 1 (GO star SEARCH Wolfgang Amadeus Mozart (1756 - 1791) Draw in the missing notes for “Twinkle, Twinkle, Little Star” before you play. [BI Go ror excettence: > pwaite6 i CLIMBING STAIRS = (8) Higher notes are easier with faster air i Binco S ‘American Folk Song, os also played Bb t—t THERE’S MUSIC IN THE AIR * George F. Root (1820 - 1895) (By THERE’S THE SAME MUSIC IN THE AIR George F. Root (1820 - 1895) Circle the note changed by the key signature, (BG ScALe skit — eS [i For TRUMPETS/CORNETS ONLY pwoite:(i warm-up Sf Try paving this warmup on your mouthpiece. CHANNEL THREE Pe bee sere Ee fea | LJ | bit aT 1 I Write in the counting for the top line before you play. HM) DOWN IN THE VALLEY ‘American Mountain Song f - f P Ea] BROTHER MARTIN - Round Latin American Folk Song, 1. a e P THE LITTLE FISH Australian Folk Song Draw in a breath mark at the end of each phrase. HI Go FoR EXCELLENCE! Czech Folk Song “When Love Is Kind” : if ~ Ss s pwaiTP‘WARM-UP. > Try playing this warm-up on your mouthpiece. B op sive Traditional Solo/Sol Tutt f Solo/Soli Tutti ZB THIRD TIME AROUND oa 7 i Circle the notes changed by the key signature, Ed LULLABY - Duet Page 40 11m Traditional S : <= MINUTEMAN MARCH @2) Robert Fos (b 1942) Xo SS 2 a f : also played BE P EB For TRUMPETS/coRNETs ONLY > ees oe ee, Be — = pwaiteED MEXICAN HAT DANCE Mexican Folk Song. ree sete cap bepbee pet a daa EB FRERE JACQUES - Round French Folk Song. i. m2. 13. es f cas EB morNninc Moon > Edvard Greg (1883 - 1907) P <—- MING COURT Page 40 simp» Chinese Folk Song Write an S under each slur and a T under the tie before you play. GO FOR EXCELLENCE! > - pwaite20 SAWMILL CREEK Solo with Piano Accompaniment Bruce Pearson (b. 1942) f : Trumpet/ Cornet P Go back to the fist repeat sign. —t ea) (©1993, 2004, 2017 Neil A. Kis Music Company. Page 20 is sthorized for duplication to meet specific requirement fo festival PW21TP. “contests, and competitions A photocopy may be distribu to an aecommpanst. Al copies must be destroyed afer the event.MONTEGO BAY ‘Band Arrangement Calypso Song tea w « arr. Chuck Elledge (b. 1961) « vsitis P oan 2 od 20 f=] f oo ta REGAL MARCH Band Arrangement Bruce Pearson (b. 1942) arr. Chuck Elledge (b. 1961) 2 4 5 so? 2s ses Pw2tte22 WARM-UP tf @ FULL OF HOT AIR f P ee P Bd DANZA Giovanni > alan Fok Song f C MAJOR SCALE SKILL (Concert Bb Major) tf Chords Arpessio an. THE MAN ON THE FLYING TRAPEZE ~ George Leybourne (1842 - 1884) eeeenernni erent = f > Go back tothe fist repeat sign, —t m Composer : ‘ ae ad D> Using the given rhythms, draw in notes to complete the melody. Title and play your composition. FOR TRUMPETS/CORNETS ONLY a pw2itpFR LOOK SHARP F sharp (F#) 2 : t f also played #8 AURA LEE G.R. Poulton (d, 1867) Circle the notes changed by the key signature. BARCAROLLE Jacques Offenbach (1819 - 1880) pre (I6t2= 1800) ee ? aams Ej Just By AcciDeNT ff G MAJOR SCALE SKILL (Concert F Major) if Chords Arpessio ‘aw - EEA SAILOR’S SONG Page 401m» Solo/Soli Tot 1 f Ed Go For excettence: GP ‘American Folk Song “This Old Man” pwatte©) warm-up a —— Try playing this warmup on your mouthpiece. IN THE POCKET fe OM Pocket CHANGE Sf STRICTLY BUSINESS Sf (1) SMOOTH SAILING J P ROSES FROM THE SOUTH 3) Johann Strauss, J (1825-1899) Sf F z THEME FROM “HANSEL AND GRETEL” Engelbert Humperdinck (1854 - 1921) D.C. al Fine : Fine , 2 f GS For TRUMPETS/CORNETS ONLY &S pw2tTP25 Dd THAT's A wrap = f POLLY WOLLY DOODLE Page 40 a> ‘American Folk Song 2 ee _fpm, ta ae aaa oa a aS Zt a: ant | [i n #2 2 oe I I I I | I I I I VOLGA BOAT SONG Page 40 a> Russian Folk Song : : Cope ee eee eli eye fe) a Lal, * PAH BA [— a L > Compone oduct (accompanimen part for Knee lappers. The ist measure has been completed for you. Tite and perform your composition HEIN Go For EXCELLENCE! &S> Tielman Susato (15007-15612) ip P f P ew2iTP26 acitfbn P ma elton EEE GB warm - Band Arrangement Try playing this warm-up on your mouthpiece. ( short cut ee 2. fal fe) Pe Fee) a) ees ee) | fe) es) | el er D Write in the counting for the top line before you play. SPOT THE DOTS oe lap > Feel the pulse of three eighth notes during each dotted quarter note. I Au THROUGH THE NIGHT Welsh Folk Song, P = i, MG atoverte French-Canadian Folk Song Fine Hd For TRUMPETS/CORNETS ONLY GS P Pwaite27 £ HOME ON THE RANGE Page 41 (i> Daniel €. Kelley (1843 - 1905) f — = Circle the notes changed by the key signature. BER] THE CONQUERING HERO - Duet George Frideric Handel (1685 A. 1759) a ae ee a tv a 7" = 2B Go For EXCELLENCE! &S pw2rtp> Try playing this warm-up on your mouthpiece. HIGH WINDS AHEAD Andante —= t LOOK BEFORE YOU LEAP Moderato a, a oe a 2 F MAJOR SCALE SKILL (Concert Eb Major) &S Allegro \ ¥ , mf Arpessio horas VARIATIONS ON A THEME BY MOZART Wolfgang Amadeus Mozart (1756 - 1791) Moderato Theme (main melody) 1+ Variation 1 (time signature changes) mp | Variation 2 (rhythm changes) «Variation 3. (melody changes) 12 For TRUMPETS/CORNETS ONLY Andante é 1 pw2tte Dy oe29 ee ee E) SLIPPERY SLURS Andante i (EQ watrz street Moderato PSS S = [EM THEME FROM “SYMPHONY NO. 9” Ludwig van Beethoven (1770- 1827) Moderato ?—_ of = »—wv => mf - < A] READY OR NOT Andante ee D Higher notes are easier with faster ai (ER) ACH! DU LIEBER AUGUSTINE German Folk Song Allegro . f > mf > P > > =a GO FOR EXCELLENCE! Page $11 Moderato mp D Pay wing each of he folowing acustons: A078 0 SL were30 BALANCE BUILDER 1 Tonic di. Subdominant dx Dominant ay Tonic 2 3 a eerie unis a etm TRUMPET VOLUNTARY Band Arrangement Jeremiah Clarke (16742 - 1707), pcre 7 ait Bruce Pearson (b, 1942) ‘oe 6 rer ww. Cue ’ Ff end cue pw2tte,[ES sakura - Duet Japanese Folk Song Andante A. mp rit ——- Pp > Draw in a breath mark at the end of each phrase. [Ed GRANDFATHER'S WHISKERS G9 ‘American Folk Song Moderato : nf 1: a Hey! [EMd TWINKLE VARIATION Wolfgang Amadeus Mozart (1756-1791) Theme mf Variation Composer your name > Compose a variation on “Twinkle, Twinkle Little Star.32 [EB] PARTNER SONGS - Duet American Spirituals Andante “Swing Low, Sweet Chariot” P “AMLNight, All Day” MANHATTAN BEACH MARCH @) John Philip Sousa (1854 - 1932) Allegro Introduction + Theme f DYNAMIC DECISION Write in the following dynamics from softest to loudest: mezzo forte piano forte mezzo piano softest loudest FOR TRUMPETS/CORNETS ONLY Se Moderato f= —————_ » =F pw2rte33 BJ “LARGO” FROM THE NEW WORLD SYMPHONY @2299 Antonin Dvoisk 1841-1904) Largo = = eas Sy just FINE GD page st my Moderato nf CHORALE - Duet Lowell Mason (1792 - 1872) Largo - A mp —= f = - of ————— ff = P TEMPO TIME Write in the following tempos from slowest to fastest: Andante Allegro Moderato Largo slowest fastest GO FOR EXCELLENCE! Allegro af <7 Draw in a breath mark at the end of each phrase. ——T————— Composer re > Compose an ending for this melody. Title and play your composition. f] FOR TRUMPETS/CORNETS ONLY > Moderato i oi ve nf pwatteGRANDFATHER’S CLOCK Page 41 iia Henry C. Work (1832 - 1884) Moderato Fine nf DC. al Fine Circle the notes changed by the key signature, KUM BA YAH > Aitcan Fok Song Largo E} GRANT US PEACE - Round German Canon Andante GO FOR EXCELLENCE! >) Moderato pwoite36 EMPEROR’S HYMN from the “Emperor” String Quartet Op. 76, no. 3 Franz Joseph Haydn Solo with Piano Accompaniment (1732 - 1809) + Andante 5 Trumpet) Comet Piano (©1995, 2004, 2017 Neil A. Kjos Music Company. Pages 36 and 37 ar authorized for duplication to meet specific requirement for estivals porte contests, and competitions. A photocopy may be dributed to an accompanist. Al copies mut be desroyed ate He event37 Pw2tteROCKIN’ RONDEAU Band Arrangement Based on a theme by Jean-Joseph Mouret (1682 ~ 1738) arr. Chuck Elledge (b. 1961) Se O02 7 a ae 12 3 semis ai Putte39 tll} EX CELLERATORS - For Trumpets/Cornets ONLY BS Be iauastomaemaro pwatteip EXCELLERATORS - For TrumpeTs/CorNETS ONLY EXZN ea pw2tte41 itl> EX CELLERATORS - For TRUMPETS/CORNETS ONLYSCALE STUDIES C MAJOR SCALE (Concert Bb Major) 5 Arpeggio é Thirds ~ ¢ 5 F MAJOR SCALE (Concert E> Major) | Atpeggio Thirds, 2 G MAJOR SCALE (Concert F Major) | Arpeggio Thirds Bb MAJOR SCALE (Concert A> Major) Messi. Thirds CHROMATIC SCALE pw2iTPJd Jy RHYTHM STUDIES TTT TIIa Hh 1 RG44G 44 at oad ak at at at ot at 4339 F493 99 TTeTEEe 4 ii G3 94 a si : ai a i . atRHYTHM STUDIES STI, Soom nem, Bim, Bisi niin, aa ee eg ee er, a pan, Sip ay oo BOouoioly Sinn, Golleetobe ar) arloleelaesreslan Popo oy 3, ony, ony ony 3, oom,oomy, Sy se = pee Ge ey pwarTPRHYTHM STUDIES gO Oy gO ONO u 8 go 4 fi Tay ty 44 O40, O41, 3 i o a , gt | d | gel iiitidiiyGLOSSARY/INDEX Accent (p.19)> attack he note louder Accidental pp.16, 18, 23)4,5,f - sharp, fat otal ‘Megro (0.28) cc and bly Andante (28) moderately sow Arpessio (pp 2223, 28, 42) notes of chor played one at time Aticuation pp.15, 19,39), ‘ype of tack wsed to play a note or ‘ou of notes Bar Line (p46). des the music sal into measures Beethoven, Ludwig van 23)... Geman compose (17701827) ‘Brahms, Johannes (15) ‘German composer (1833-1897) Breath Mark (9.7) take a breath (Chord (99.2223, 28) wo or moc pitches sounded atthe same time ‘Chromatic Sale (p42) scale of hal steps ‘lake leremiah (p30) English compose (167471707) Common Time (9.3) @ same asf Crescendo (p29) —— gradual pay louder Da Capo al Fine (p24) DC. al Fine. . go back the beginning and ply uni the Fine Decrescendo 9 29)==—— aca ay softer Divi (p.12) pat ofthe section pays the top notes and prt ofthe section plas the bottom noes Dominant (pp 12,30) fit ote of scale chord uit on ith rote ofa scale Double Bar pp 4) — math the end of the music Dvoid, Antonin (p33) CCaech composes (1841-1908) Dynamics (pp.17, 2829) loudness or sofnes of mse ledge, Chuck op 12,2, 34,38). . American compose (b 1961), Embouchure (3) ‘mouth formation used to play an instument Fermata(p9) hold note ors longer than is usual value ‘stand 2nd Endings (pp.19-20). .. play 1st ening ist ime through; then, ms ‘repeat music, skip first ending, and play =e 2nd ending Fat (p16) lowers the pitch of note 2 step Forte (0.17) loud Frost, Rober (p18)... “American composey/autho (b. 1942) Grieg, Edvard (p19) Norwegian composer (1843-1907) Handel, George Frideric p27)... German composer 1685-1759) Harmony (pp7, 9:10, 2, 18,2123, 2628, 3033, 38) ‘two oc more cfleten notes payed ot sung atthe same tine Hyd, Fran Joseph (9.3637)... Asian composer (1732-1803) Humperdincl, Engelbert (p24). Ceiman composer 18541921) Interval distance between two notes Introduction p32). +++ section of music hat precedes the fist theme Kelley, Daniel E (p27) ‘American composer (18431905) Key Signature pp.11, 16,23)... . sharps or fats tated ight afte the cle key sgnatuces change certain notes throughout apiece of music Lago (p33) show Ledger Line (op) shot nes used to extend the ta Leyboure, George (p22) Englsh composer (18421884) ip lr (pp 2424, 223,35, 38,4041) suring two noes With the sme 2 fingering ode postion Long Rest (p.21) ==. rest the numberof measures indicated Mason, Lowell (p33) -Amercan compose (17921872) Pw2tTP Measure (46) Mezzo Fort (p28) mf ‘Mezzo Piano (9.28) mp Moderato (p28) Mouret,Jeamfoseph (p38) Mozart, Wolfgang Amadeus (p15, 28,31) Natural (p.18)§ Offenbach, Jacques (0.23) One Measure Repeat (p19) 7. Pearson, Bruce Phrase (08) Piano (p.17) P Pick-Up Notes (p15) Ficrpon, 15.712) Poulton, GR. (p23) Repeat Sign (pp 9,20): Ritardando (tard. o it) (p31) Root, George F (9.16) Rossini, Gioacchino (p.13) Seale pp 2223, 28, 42) Sharp (p23) # ur (pp 15,33) Sol (p3). Solo (p.9) ‘Sous, John Pilp (p32) Staff (pp +6) ‘Strauss, Johan J. (p24) Subdominant (pp12, 30) Susato, Tan (9.25) Tempo (pp.28, 3,33) Theme (pp 28,3132), Tie (pp.10, 39) Time Signature (pp46, 910,17) Tonic (p12, 30) Treble Ce (pp 46) = Tat (09) Unison (.12) Variation (pp. 28,31) Work, Henry C (p35) space between two ba lines; aso known asa “bar” medium loud medium soft moderate speed French compose (16821738) -Ausian compose (17561791) cancel a ato sharp French composer (1819-1880) ‘pea the previous measure ‘American composer/auhor (b. 1942) musical thought or sentence soft note oF notes that come before fist {ull measure “American composer (1822-1693) “American composer 1867) repeat from beginning or repeat section ‘of music between repeat signs sradually slow the tempo “Amescan composer/publisher (1820-1895) aan composer (1792-1868) colecton of pitches arranged from low- ett highest or highest to lowest raises the pitch ofa noe 2 step curved lin that connects two or more ‘nates of diferent pitches whole section plays ‘one person plays American composer (18541932) lines and spaces on which musi is written ‘Austian compose (1825-1893) fourth note ofa scale; chord built on fourth note ofa scale Belgian composer (15002-15612) speed of music ‘main musical idea in apiece of music ‘ured in that connects two notes of the same pitch; tied notes are played ascone unbeoken note top number tls you numberof counts in each measut; bottom number tls you the typeof note that receives one count first note of a scale; chord but on fst note ofa scale Cle read by fut, oboe, darinets, ‘saxophones, trumpet, rench horn & mallet percusion everyone plays ‘everyone plays same notes and thythms repeated musical idea which hasbeen slighty changed in some way from the original “American composer (1832-1884)4) STANDARD O EXERCISE 7 | EXERCISE 23] EXERCISE 41 | EXERCISESS | EXERCISE 70] EXERCISE 84 | EXERCISE 104 | EXERCISE 122 | EXERCISE 136 J notes O notes } notes O notes O notes O notes notes. notes notes ‘hythm O erythm ] shythm O rhythm O rhythm rhythm Darythm thythm O rhythm O tone O repeat O repeat Chand position] LJ dynamics} CJ tone dynamics |L slurs Ditonguing | C1 anicutations EXERCISE 12 | EXERCISE 29 | EXERCISE 43 EXERCISE 57] EXERCISE 73 | EXERCISE 87 | EXERCISE 106 | EXERCISE 126 J EXERCISE 139 | EXERCISE 148 J notes O notes Daotes J notes O notes C notes notes | LI nates notes notes Cleytim | Sehythm | ett [cyt thythm cythm 1D cyt cyt —|etyttm | etm Dione O hand poston] 7 sus Dynamics — |Oaccens hand postion |[ltempo |Llrepeat = |. am exercise 14 | exencisest [exercise 4s [exercise st [exercise 7a [exercise or [exercise 111. [exercise 120 [exercise 141 | exercise 151 a notes notes [Enotes [notes | notes. [notes Crores notes | Cotes Qo Cleythm [rhythm | Betyehm | cyt | ehyt thy — [Crt | Eevee tone Conging [Dsus Dionguing | and postion] dynamics |LJtempo | Chtone 1 arications exercise 17 exercise 3s exercise s9 exercise ss [exercise 79 Jexercise9s [exercise 115 exercise 131 | exercise 142 | exercise 153 Drotes ores | rotes | notes Doors [rates [notes notes | notes nokes Crythm — | cythm sytem [Dstt tiythm —|Ertythm | ythm ——[D eythrn Ctonguing | C1 hand postion!) tone Done hand poston |] ss tone Dlaynamics | tempo breathing thythm hythm EXERCISE 22 | EXERCISE 39] EXERCISE S3 EXERCISE 67 [EXERCISE S2 | EXERCISE 98 | EXERCISE 117 EXERCISE 134 | EXERCISE 143 | EXERCISE 155 Cotes J notes O notes OD notes notes J notes notes C1 notes J} notes J notes O rhythm C1 thythm J thythm thythm, O ehythm O rhythm rhythm 1 thythm rhythm U ttythm Otone “J breathing tone C1 hand position |) slurs El % hand position |] articulations | 7) tempo D dynamics ae12 THE Bb TRUMPET/CORNET Bi Trumpet TRUMPET HISTORY Thetrumpetisone of the oldestinstruments. Itwasfirst used for signaling in ancient China (2000 B.C.), Egypt (15008.C,), andScandinavia(10008.C). The trumpet was long and had no valves. By Roman times, the trumpet was also played at military and civilian cer- emonies. The first musical use of the trumpet was in the late 1300's, when it acquired the folded shape similar to today’s trumpet. In the 1500's, Nuremberg Germany became the center of trumpet making. It was during, that time that the first music for trumpets was written, In the late 1700's, the trumpet became a regular member of the orchestra. Crooks (short pieces of tubing) were invented and were used to lengthen or shorten the trumpet so it could be used to play more notes. In 1815, the valvewasinvented which made the crooks unnecessary. Now, the trumpet could play any note of the scale by using the valves. Trumpets and cornets are typically made of brass or other metal, usualy silver-plated or lacquered. Today, trumpets are played in bands, orchestras, jazz bands, brass ensembles, and popular music. Pw2iTP Cornet HISTORY The cornet's history begins with the post horn of the late 1500's. The posthorn wasashortinstrument used to signal the approach of the mail wagon. Over time, the instrument was lengthened and itwas used to play fanfaredike calls, The addition of valves to the post horn in 1828 formed the modern valve comet. The mellow sound of the cornet wasinstantly popular and many briliant cornet solos were written from 1850to 1900, Thecometwas popularin jazz bands until 1920, when itwas replaced by the trumpet. Today, comets are played primarily in school, commu- nity, and military bands. The comet often plays the same musicas the trumpet, although sometimes there is a separate comet part. Se rEIEEEInnnnnnnnREI REI pee TRUMPET/CORNET SURVIVAL KIT CJ soft, clean cloth) mouthpiece cleaning brush valve oil Ci slide grease O mutes O pencil method book = band music CO music standSvLuwAN Bb TRUMPET/CORNET FINGERING CHART ‘The numbers indicate which valves should be pressed down, 0= No valves pressed down G ct Ab A > fe be = 13 23 12 at B> 8 o Bt c ct D> 4 Ee = oo 7 roa to > eS ee 1 a o 123 D bt 5 E Fe a F — SSS SS 13 as 12 1 ft & c ct Ab A —- = —- : 2 0 23 12 at Bs 8 © Ce cl D ——— Se es = 1 2 0 12 1 oe ne oe Ge G et tree ae =}o——e- 2. 2 0 1 2 o pwa2tTP