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  • Warmap Note-Pedali 2p

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    Giovanni Andreoli
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    The document contains musical notation for three trumpet exercises. The first exercise contains repeated notes and scales. The second exercise introduces held notes and repeated patterns. The third exercise includes scales, arpeggios, and repeated rhythmic motifs. Symbols like quarter notes, half notes, and whole notes are used to notate the pitch and duration of the notes to be played.

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    Warmap Note-pedali 2p

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    The document contains musical notation for three trumpet exercises. The first exercise contains repeated notes and scales. The second exercise introduces held notes and repeated patterns. The third exercise includes scales, arpeggios, and repeated rhythmic motifs. Symbols like quarter notes, half notes, and whole notes are used to notate the pitch and duration of the notes to be played.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    4 views2 pages

    Warmap Note-Pedali 2p

    Uploaded by

    Giovanni Andreoli
    The document contains musical notation for three trumpet exercises. The first exercise contains repeated notes and scales. The second exercise introduces held notes and repeated patterns. The third exercise includes scales, arpeggios, and repeated rhythmic motifs. Symbols like quarter notes, half notes, and whole notes are used to notate the pitch and duration of the notes to be played.

    Copyright:

    © All Rights Reserved
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    of 2

    Note Pedali http://trumpetclub.wordpress.

    com

     1-2-3 1 1-2 2-3 1-3 1-2-3 0


          
    8 (1-2-3)
     2 1 1-2 2-3 1-3

         ...e oltre
    opt. - (1-2-3) (1-2-3) (1-2-3) (1-2-3) (1-2-3)

    Es. n° 1
    13

                 
     
     
                 
     
    20      
          
          
          

    Es. n° 2
    31

          
       
      
         
    
        
    40

             
            
       
    
    49

             
                 
      
    58

            
               
      
    67

             
       
    71

         
      
         
    TrumpetClub 2008
    2 Es. n° 3
    76
      
         
     
     
     
       
     
    82

         
       
      
      
    88
      
     
       
     
       

    TrumpetClub 2008

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