i RUBANK EDUCATIONAL LIBRARY No. 158 AS WM. GOWER AND H. VOXMAN y Tae ton CT) CORNET.. TRUMPET Vou. II AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODSRUBANK EDUCATIONAL LIBRARY No. 158 CORNET.. TRUMPET Vou. Il AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY RUB ANE OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS Pa tasteonaroTHE RUBANK ADVANCED METHOD for Comet or Trumpet is pul two volumes, the course of study being divided in the following manné {Keys of C, F, G, Bo, ond D Major. Vol. 1 [keys of A, D, E G, and B Minor {Keys of E>, A, Ab, E, Db, ond B Mojor. Vol.) Keys of C, Fi, F, ond Ce Minor. PREFACE THIS METHOD is designed to follow any of the vorious Elementary and Inter- mediate instruction series, or Elementary instruction series comprising two or more volumes, depending upon the previous development of the student. The authors have found it necessary in their teaching experience to draw from many sources in order to provide a progressive course of study. The present publication assem bles in two volumes, the material essential to « well-rounded musical development. THE OUTLINES, one of which is included in each of the respective volumes, tend to offord an objective picture of the student's progress. They will facilitate the ranking of members in a large ensemble or they may serve at a basis for awards ‘of merit. In addition, « one-sided development along strictly technical or strictly melodic lines is avoided. The use of these outlines, however is not imperative cond they may be discarded ot the discretion of the teacher. Wn. Gous — fh. VormanCHROMATIC FINGERING CHART for Cornet and Trumpet —— a © The Chor Db below the staff is too sharp. Flatten this t ® The Don the fourth line is usually too flat, In slow pa: © The E onthe fourth space is sometimes too flat, Use the 1st and 2nd valves to correct this. nough to make it in good tune, Jages this moy be improved by using the tet end 3rd valves. TABLE OF HARMONICS Without valves ba = 2nd valve too os too flot filet ‘st volve be ba Ast ond 2nd volves (or 3rd valve) Too = too oa flat fet 2nd and Grd valves Ast ond 3rd volves bw = flat & Ast, 2nd and 3rd volves Fingerings for the tones above high C: 42 be Copyright MCMLIV by Rubank, Inc., Chicago, I! 1913-75-PL. International Copyright SecuredPRACTICE AND GRADE REPORT samoubig s,10390498u1 ‘epoag seyeoues, peo amos ayoeng 1o¥e, “WS “14g “Pal ‘POM “OML “Ws ov owen sauepms. euen sUePMS 4a1SaWaS GNODaS wuaisawas isaldOUTLINE RUBANK ADVANCED METHOD CORNET or TRUMPET, Vol. II Wm, Gower and H. Voxman SCALES MELODIC | apricue | FLEXIBILITY ONT] aneetstios (ken | TATION | LATION ToNGUING 1 fe O7 OslmOl[HOlmO of © 2 [¢ @7 @alu@lu@l] sO o © 3 [es @7 Osl[zxO@lsO[sO 0 © 4 70@ EB] 22 @ | 4 © [56 © 0 © 5 [s © ef 2 @ [we Ol © 0 © ets © «[|4@O|wO|s © 0 © 7 8 ©@@-TuOlTwOlsr © wo © 8 [s @v@alsa@Olw@O|7 © 0 © 9 9 ®@v0@alw@®]w 57 a ® o [2 @0@alvOlvO|mnu@O a © u [os @0@alzvOlvoOls © a © 2 [0 @@ | 28 @ | a7 © [57 © 1 © 3 | 1 @ © | 28 @ [48 @ [57 © 2 © a |1 @@@ |] 2 @ [ww © [57 © «2 © 6 [2 @ al 2 © [48 © [57 © 22 © | 2 @ 2 @ al 30 @ | as @ [57 © «2 © 7 |2 © @ a] 3 @]w@ [7 @® ae © s [2 @ 1 © al 30 @ | wo @ a 63 © » [s@o 1r[2®|0@|s 3 ® 2 [s @u Or| 2@ | 0 © =o To) a [n@eOrln@®|loO|s © w © 2 |s@s @©r[s@| © | © 08 © 2 [a © Ela @ls@ [ss © o @ a [5 © E[s@[s@ |] ss © «3 @ 3 |s5@@ etlu@l2@ [sO 1 @ 2 [5 @O «¢/0@|x®|sO wu @|1@® 73 © 27 [oOo ¢)/v7O|sOl|sO uw oOln® 73 © 2 [s@ee@alrOls@ fs O ua @®@l[nr@® 73 © 2 | s © piw@[sx@O/so® «a @l|n@ 78 © wo [ves On| welsuGl[sO wu @lreo 78 © a [vern@bD| o@|sols @® 6 @|2@ 80 @© 2 [ves enlvel[aa@lo © 8 @|[n® 80 © a [souvosl|u@O|s@l[nm@ o ©] nO 20 © fs Ov © sl] au © sepa 6 @[|2® 20 © 3s [9 OO 48/"O@|s@]|n © 5 ©) 2 © 20 © a [To © @ a1 8e@t[so@ ls @ «6 @[2@ 80 © NUMERALS designate pase number ENCIRCLED NUMERALS designate exerci number COMPLETED EXERCISES may be Indcoted by crossing out the rings, thus, ha eeScales and Arpeggios Eb Major = simile Sse rey a bimine Copyright MCMLIV by Rubank, Inc., Chicago, Il. International Copyright Secured 4913-75Various articulations may be used in the chromatic, the interval, and the arpeggio exercises. Chromatic Scale Exercise in Thirds Dominant 7th Chord 1913-75c Minor weeare Harmonic = —= ==s== 9 $a See 5 Melodic Exercise in Thirds Common Chord Diminished 7th Chord A Major = imite 4313-7815 ——— ~ hioite simile = ees simile eSS= = — 1313-78,10 Chromatic Seale ee Common Chord Dominant 7th Chord Fi Minor Natural Harmonie 22 1919-75al arre ee aie goer Chromatic Seale Exercise in Thirds 26 ‘Common Chord 27 Diminished 7th Chord 1313-75AL Major Fer? —————_ sini a bimite oC imite Sees fees —s| 1319-75‘simile Exercise in Thirds Common Chord 34 Dominant 7th Chord F Minor Natural Harmonic Melodic 1313-751“ Exercise in Thirds Common Chord Diminished 7th Chord E Major415 Exercise in Thirds Common Chord 47 Dominant 7th Chord 48 Ci Minor Notural Harmonic Melodic 1313-75SSS SSS SSS Exercise in Thirds 53 Common Chord 54: Diminished 7th Chord 5s (tease SS] + 56 ——————_ es simite ———— 4919-757 — SO himite 59 simile ‘simile ===. = Se 1313-75,Exercise in Thieds = sogtnerss = SS] 61 Gee £ eee =] Dominant 7th Chord 62: + 5 1a B Major 4 1313-75,67 Chromatic Seale see —— = 68: 69 70 Exercise in Thirds SH SS ore i Common Chord + Ea Dominant 7th Chord # 2 + (SSS SSS 1913-75,20 Studies in Melodic Interpretation For One or Two Part Playing The following studies have been selected with the idea of ensemble performance in mind. Much effort hos n expended in Selecting duets in which the first and second parts are melodically and rhythmicolly in- dependent. Students should be encouraged to practice these numbers as duets outside of the lesson Period. When circumstances permit, any number of students can perform them as an ensemble. The low ®r port of the duets may be assigned ct the discretion of the teacher. Careful attention to the marks of expression is essential to effective use of the material. Where different dynamic signs are written for the upper and lower parts, observe them accurately. The port having the melody must always slightly predominate even when the dynamic indications are the same. Pencil the technically difficult passages ond devote extra time to their mastery. In rhythmic music in the more rapid tempi (marches, dances, etc.), tones that are equal divisions of the bect are played somewhot detached (staccato). Tones that equcl a beat or are multiples of a beat are held full value. Tones followed by rests are usually held full value. This point should be especially ob- Served in slow music. Menuet 18th Century Allegretto 1 mfa Giga SPOURNI Lively 1313-7522 Allegro moderato 3 2 a Pert er. 4319-75GOSTINELLI Andante (in three) ee BS Z ‘— — = — SS ro a a 7 = alittle slower 1313-7524 BIMBONI Presto fag = + ee eset 5 = = io = = ‘: i> P Soo, D.C.at Fine 413-75GOSTINELLI Largo (in four) pooo rit. ane ma un poo calando 1313-75,28 PIETZSCH Allegro vivace 7 t fe ¥ iS = - > — ef ed # + > > + = a ft 3 ot =2== e Finel] P dotee D.C.al Fine 1313-75a7 VINCI 1913-75, Allegro28 Andante cantabile BAGANTZ STAHL 1913-75‘March time (J. «120) t Fanfare NAUDOT 1313-7530 Vivace (1-0) mF Andante cantabile Bourrée 18th Century Gatti 1919-753 Se zr~ — CPi moss, 1313-75a2 GOSTINELLI _Alleare giusto pees sh rf: 14 Fa J s a e+ = > ROSSARI Poco agitate 15 eS eee _—$—$—$< | —S=S>S_ FUSES 1913-75Air (Lovely Nancy) Old English Andante 16 f sees ie Saree ee SS aa + — eS 1313-75,vigg1313-75GOSTINELLI 1313-7837 MARIANO Andante (in three) 1313-7538 BOISMORTIER Vivement (Lively) mfp —— ~~ ae SSS . bE * = 7 Zs Seat P HASSE Lively 2 =e 1913-751913-75“a Allegretto tempo di marcia FICINI _> 1313-75az 1313-75a HANDEL, Allegro (Je88) SF etaotuto “| te ——ss Biel —== |r FR: Ss st e SE! 1313-75a Studies in Articulation ‘The material for this section hos been token for the most part from various standard methods for the Cor net ond Trumpet. Ploy the exercises as quickly as technic permits unless otherwise indicated. Andante espressione -— == = == SS - rs Sat == a VS = = Fine ———— ’ SS Ses Ss mf ‘D.C.al Pine Lively 1313-751313-754 dep ester ==ar Moderato 1919-75aa Allegretto P leggiero 1913-75a Allegro moderato 1913.7550 Allegretto 14 4913-75Allegro af Practice with different articulations. af simile 1313-75,sempre stace. 1319-75Allegro maestoso DUSSEK 21 ah —= 1313-75,54 Minuetto BEETHOVEN, Minuetto D.0.al Fine Allegretto 23 (SS SSS Se 4319-75Moderato 1313-75se Flexibility Exercises au87 rp ph fit iW TN f== Bnew, a4 22 pitti’ bo _tettetetee 2 efetetet 2 —— a epepeeep eessep 1 i 1313-75,4319-781013-75,. Tonguing Exercises TRIPLE TONGUING and DOUBLE TONGUING Triple tonguing is used when triplets ore to be played at a speed that is too fast fer single tonguing, ‘The pattern of syllables used for this kind of tonguing is: Tu Tu Ku, Tu Tu Ku ete. Double tonguing Is used when duplets ore to be played ot o speed thet Is too fast for single tonguing, The pattern of syllobles in this cose is: Tuku, Tu Ku, ete. To develop a technique for either Triple or Double Tonguing itis recommended thot the Ku attacks bepras. ticed seporately from the Tu attacks until a goed tone can be produced on both syllables. The student may then proceed to combine the Tu ond Ku, being particularly careful that both syllobles sound the some. itis Eavisable to practice slowly at first in order to produce an evenly articulated rhythm. Increase to a faster tempo only as perfection Is reached. PREPARATORY STUDIES 1 $e ku smile 5 =5 SSS SS SS Ku Ku eimize ku Tu simile Ku Ku oimile TRIPLE TONGUING 4913-75eo 4913-75tS 4313-781913-756a a ; SSS ee Ts F ; —— 8 DOUBLE TONGUING eve to1t0) Tuku Tu Ku Tu Tuku Tu Ku Tu 16 TukuTuKuTe Taku TukuTu 4313-75(ds08 to 424) Tuku TuKuTu Ku Tuku Tuku Tu Ku Tu 18 Tu Tu Ku TuKu Tu Ku Tu Tu Ku Tu Ku Tuku TO (96 to 124) 19 SS eee 1a Tuku TuKu Tuku TuKu Tu ————— Take Tne Tee 1313.75,66 Musical Ornamentation (embellishments) ARBAN ARB, Andante AN Allegretto poco andantino ARBAN A 4313-75o7 Allegretto ARBAN mf Allegretto 7 a »~————_ Aitegratc Besare to ply the morgen suaratyonthe beot EEF 1313-75Long Grace Notes (appoggiatura) Written Andante Andante mesto CAMPAGNOLI P Adagio non troppo P dotee = 431975oo The Turn (Gruppetto) Weitten <~— = a (1 > = > et " Played —>. |_ —_—__~ = lo Ss Allegretto 12 i GALLAY — Two Excerpts from “Lohengrin” WAGNER ee a Pe 14 — = 2 Pi mf— P Sf molto expreasivo Moderato KLOSE 4313-75Allegretto “en —_~ so 17 mp 7 Ss "Fine D.C.a Fine WEISSENBORN = Andonte In the music of Wogner it is sometimes necessary to play turns that begin on the lower instead of the upper note. The symbol for this inverted turn is on. The turn in the excerpt tram “Riensi was not writte” thus originally by Wagner but is usuolly’interpreted in the manner indicated. Excerpt from “Dusk of the Gods” Excerpt from “Rienzi” Regular turn 9 Inverted turn WAGNER " q 4313-75n ARBAN Allegro con spirito 20: P= we = = S simite In the muste of the time of Bach ond Handel (1685-1789), cadences frequently contein the rhythmic o figure or SEB. The time volue of the dot is not trilled, the execution being ete, It should be added that the trills of this period should generolly begin with the upper note of the trill. Saraband CORRETTE Ina stately manner & 2i mfp 1313-7572 24 be 9 Fm 4313-78SOLOS * Liebeslied OSKAR BOHME Op.22, No.2 Andante con espressione —= Come prima ——= _ => pow a pow pili mosso « orese. > Con anima « molto ores. —~ rr ee string. DP attargando rallentamentoZY Morceau de Concours Andante inon lento) Allegro energico (2:4) ‘SOLO aes 5 . 1313-757s s0LO 1313-7576 Andante Cantabile from “Concerto in E Minor” MENDELSs odaptecy ‘pi plano 4919-75; n Walther’s Prize Song from “Die Meistersinger” WAGNER Sehr massig [Fery moderate] 1313-7578 Petite Piéce Concertante Mouvt médére (J: 72) Mouvt Marche ALA 4913-754313-7580 Valse SCHUBERTSALIENT FEATURES WRITTEN by schooled instrumen Preece) years of practical experience Percent Cee ce eee ee eee oe imize sightreading obstocles. Ar eee oe eS i OCC Prec LO woodwind books of the series CON ec eT Cee problem, presented in an in teresting ond direct monner MATERIAL utilized is presented Perr me mre ST ee Sere tion every stage of the way COCK ee eo ere moe ey Pee een cee on are ie ee Oe oe the fourth year is possible for Cem) er Reece er BINDINGS ore in the distinct bank blue weor-well cover; paper and printing designed to meet the rigors of student use US. $7.99 HL04470340 From Nether the RUBANK EDUCATIONAL LIBRARY RUBANK ELEMENTARY METHODS A Series of Graded Fundamental Courses for Individval or Like-Instrument Class Instruction FLUTE (Piccolo)... - Petersen (CLARINET Pe Pub aMevey OBOE padre Borer, BASSOON ee Skoricka SAXOPHONE se Hovey ‘CORNET or TRUMPET Robinson FRENCH HORN (E> Alto-Mellophone) TROMBONE or BARONE . . Long E> or BB> BASS (Tuba) DRUMS ae Cen) Whiter MARIMBA or XYLOPHONE Piensa TYHPAN! +s Whe GUITAR (Sponis) . | DePreney VIOUN +. Potter Motatanheesr tect wa cziLo e Wa STRING BASS: Sawa RUBANK INTERMEDIATE METHODS A Series of Graded Follow Up Courses for Individual or Like-Instrument Class Instruction FLUTE (Piccolo) . .Skornicka-Petersen CLARINET Skornicke-Miller ‘OBOE ‘Skomicka-Keebner BASSOON Voxman ‘SAXOPHONE Skornicke CORNET or TRUMPET. Skoricka FRENCH HORN (E> Alto-Mellophone) ‘Skornicka-Erdmon RUBANK ADVANCED ‘TROMBONE or BARITONE ‘Somicko-Boltz Ep or BBY BASS (Tuba) Skornicka-Boltz DRUMS Buggert MARIMBA-XYLOPHONEVIBES . Joli VIOUN cas Potter VIOLA +. Word cELO. +. Werd METHODS A Series of Outlined Courses of Studies Designed to Follow ‘Any of the Various Elementary or Intermediate Method Series FLUTE, Vol... . . Voxman-Gower FLUTE, Vol. tl. Voxmen CLARINET, Vol... . Yoxman-Gower CLARINET, Vol. lI. . Voxman-Gower ‘OBOE, Vol. Voxmen-Gower (OBOE, Vol. - oxen BASSOON, Vel. |. . Voxman-Gower BASSOON, Vol... . Voxmon SAXOPHONE, Vol. . Vorman-Gower SAXOPHONE, Vol. Il, ‘CORNET or TRUMPET, Vol, 1 +" Gower-Voxman Voxmen CORNET or TRUMPET, Vol. Gower-Vormon FRENCH HORN, Vol. |. Gower'Voxnen FRENCH HORN, Vol. II. Gower-Voxren TROMBONE or BARITONE: Vo, TROMBONE or BARTONE Yo ie E> or BBD ss (beh, Vol! fower-Voxmon jubo}, Vol I or BB BASS {eb enon BREN, While xn 97 iui ‘iu 142548