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    23 views71 pages

    Thomas Harper Sr. - Instructions For The Trumpet

    Uploaded by

    Felipe Marianas Romero

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
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    ns Wi lit wv —/ FORTHE 5 a \ op a CORNET * a = =) VARIOUS SGA LES 7 ass Slearty arly explained ina SERIES egy ls BK _ \ TN ead Dec age we by: y Permissi on we es = ——~ Bae Sta Lfall Prive le LONDON, Published by the Author, 19,5! Chads Row. Kings Crofs cdind Sold by Cramer deddison & Beate Music Publishers, 2 Keyrnt Street, Carlen Maker of T. Harperie ovinatie Shade Trumpets &hupnned Bugle re ana be had by th aad LKihler: SiMenvietta St Cai rl bythe Comrade tn el Ia PAUES. Loewen cee Pore (Dae, Lilie Mil pened i llbarown tes, fae pO A BM tame A cement 0l gpemrte eacigflmneat tl fl Chloe flere trl tone meescnae Apc Ay Kafe on hia fection Lie wee ZOE Aum eR, eX a ecncotice leony bent cwmre iE Pad ag hactie Mace Me Gf Al ER cons alle Zz oe cei ig Lore tg lo on EE coerce OE a Beh OLBRD LE ewe Later hn die —— FORA x reek nn Plccr ak GOR fone Cte aig Aoacwenes emt Seed renee fom. Avi Mie Lavin A iastiags on. Me oe Sift Khon of ~ a Lemna 9 age Mon gba (Bowes Pfam AE a fete ee gor LZ Y Bea brwel LE OK Gg Sono. ree Whe alon e te A Mate > re only Hr On Musical Hotation . a Musical sounds are expressed by Characters called Notes,to which the first seven letters of the Alphabet A,B,C, D, E,F, G, are applied, The Notes are written upon and between five parallel lines called the Stave, They are counted from the lowest upwards and are five lines and four spaces Spaces Lines « . a a 3 Suave. SS —— 3 A Character called a Clef is placed at the beginning of the Stave, In Music for the Trumpet ‘Two are sometimes used ,One called G,or Treble shaped thus is made to turn on the Second line, every Note on that line is G, The other is called Fs-or Bass Clef shaped thus =3= is made to turn on the fourth line, every Note on that line is F, the names of the other notes depend on their relation to the Clef « _g Notes on the Lines - Notes in the Spaces treble = —_—_- 2—— £€ = = = /E, G, B; Ds F, JF, A, OC» &E, Notes on the Lines Notes _in the Spaces Base. —— SSS — = & B. D, F, A, A > +E. G, ‘When the notation of sounds require higher or lower notes than those on the Stave small lines called Ledger Lines are used Adtlitional Lines and Spaces ae va aq aa a! jeepers c p E F GA B G D GG A B Above the Stave...... Ledger Lines and Spaces Below the Stave... SCALE OF NOTES TREBLE AND BASS - ee ES ee ett Treble zo# 1 Clef. : Bass : Clef « J CDEFGABCDEFGABCDEFGABC ‘Those Notes with a Double Stem are sometimes written in the Bass Clef . (T-Harper's Tostructions forthe Trampet) 2 THE VARIOUS SPECIES OF NOTES AND THEIR VALUE. % Six sorts of Notes are used in Modern Musie Semibreve. Minim . Crotchet. Quaver . Semiquaver . Demisemiquaver « — ASemibreve is equal to 2 Minims or 4 Crotchets or 8 Quavers or 16 Semiquavers 32 Demisemiquavers Rests are Characters which denote Silence each Note has a Corresponding Rest . Semibreve . Minin . Crotchet .Quaver . Semiquaver Demisemiquaver x « : ~ = . ~ * Rest . Rest - Rest . Rest . Rest . Rest ‘A Dot placed after any Note makes that note half as long again « A Dotted Semibreve | D2_ Minim |D2,Crotchet| Dg Quaver |D9,Semiquaver| D°, Demisemiquaver - ¢ | im equal to | in equal to| id equal to igual to) is%eugl to Feat « a ip koual to} cay lee SSS IP Cr CUCL Ebe EGE Lee A Dot placed after any Rest makes that rest half as long again BARS are perpendicular lines drawn across the Staves they divide the Music into equal portions The Double Bar divideg the Music into parts or strains, when Dotted the part on the dotted side should be repeated F & Bar Rests 2 equal to! ° | 4 There is another note shaped thus [Fl called a Breve,it is equal in duration to two Semibreves and is frequently used in Sacred Music. 3 EXAJIPLE OF THE SHARP ($) PLAT (b) & NATURAL (4) Any of the Notes may have the sound raised half a tone or semitone by placing a Sharp (#) before it Or lowered a semitone by means of a Flat () Example « = T A Double Sharp(x) raises the sound of note two semitones. The Double Fiat (> lowers a note two semitones . There are seven sharps HCG, b,ASB, There are also seven flats BEADEGF. One or all may be placed after the Clef beginning with the first, They effect all the Notes of the same name as the lines and spaces on which they stand, Those which occur in the course of apiece are called accidentals and effect only the notes before which they are placed. The pro- gression of the Sharps is by Fifths , The Flats by Fourths. EXAM P EE Progression of Flats By Fourths f= s Alcending 4 ES] ‘ote (before whith itis placed ) that has Progressign of Sharps. By Fifths Ascending ‘The Natural (l}) restores any been altered hy a Flat or Sharp to its original state DIVISION OF TIME Every piece of Music has characters or figures placed after the Clef or after the Sharps or Flats y showing the species of time and quantity each bar must contain, There are two kinds of time Common Time containing 2or4 equal parts in each Bar, And Triple Time containing 3 equal parts, ‘The following characters denote Simple Common Time C q the first two containing one Semi- breve in a Bar or its equivalent in other Notes 7 Two Crotehets or equivalent Common as = Twelve Quavers &e. Six Quavers_&e. Time. Three Minims &e Three, Crotchets &e + Triple Nine Quavers Ge» When the Figure Sis placed over or under any three notes of the same length it denates they are to he played in the Time of Two, they are called Triplets and are played a little quicker « Time. Three Quavers &e - Example COUNTIN: BEATING TIME . Count the Time in quavers if the piece is slow, If quick count in crotchety. In beating time the foot must fall at regular intervals and at the beginning of each bar. There is generally placed at the begining of a piece some Italian or other words to denote the degree of quickness with which the piece is to be played. See the Dictionary Page - EXPLAINED . Written Played Written Played ‘The above Abbreviations are used to save writing the same passage again . OF KEYS MAJOR AND MINOR - Every Musical Composition is written in a certain Key, which is either Major or Minor all regular compositions end with the Key note : The signature generally gives the Key which is the note ahove the last sharp, oF the fourth note below the last flat,thus if the signature has one sharp G is theKey, If one flat F. As the signature does not always decide the Key observation must be made if any accidental sharps or naturals occur in the first two or three barssi mitone above, Every scale in which five semitones are found ascending from the Key note (inelusive) to the third above is Major. If only four the Key is Minor - so the Key note is the next se- Ch, Major « EXAMPLE . Ch, Minor. 4 qa —— 7s Te 3 4 " Cmbellishments . A SLUR marked thus —over or under two or more notes implies that the first note only musthe accented with the tongue and the remainder produced by a continuance of the breath . Example. ; The APPOGGIATURA is a small note placed before another its value in length is taken from the note before which itis placed it generally takes half EXAMPLE. Written « Played « (T-Hlarpers Lnstewetions for the Trumpet) ‘The Turn marked thus © consists of Three Notes either before or after the Principal Notes when placed over or under a note it is played before the note, when placed between two notes the Turn is played after but connected with the first note Written « J THE SHAKE . ‘The Shake marked thus h” is an Embellishment highly ornamental and absolutely necessary to afinished performer,it consists in a quick alternate repetition of the note above with that over which the sign is placed,and generally ends with a turn from the note below; The first or highest is the preparative note, The last its resolution - amp] pattS= = xaimple Sa =] ‘The sign over D implies the Shake to he on that note, the Pupittwill apply the tongue to the first note E, then the two notes D and E are put in equal motion by sluring’sTo obtain a good Shake the Pupil must begin slow and inerease the time by degrees - — <<» Lt Practice zed Practicy 2 Practice» Is the Art of articulating notes exceedingly rapid with the tongue, And the performer is re - commended when playing to imagine he is repeating the words under the notes « tick ca ‘tick ca ita ca tick ca ta PA < = 2 =e ie ce ~ = (P.ttsrpers Instruetionstor the Trumpet Y Music for the Trumpet is generally: written in C, though the piece may be in another key and the Composer places at the head of the part the name of the Key he wishes the Trumpet to he in, the performermust then attach to the Trumpet the number of Crooks required Lowering the Key by the use of Croohs,gives greater compass to the Trumpet by making the higherNotes more attainable « ‘The Crooks must be attached to the Trumpet in regular succession as marked to each Key, ‘Table of Keys with the number of Crooks used for each with the real notes under the Trumpet Notes showing the extent of sound in each Key TRUMPET in F (or FA) Mouthpiece| = = fo only = < SS SS = - ee Real Notes, 7s + TRUMPET in E4 (or Mi + EY — Crook - fe “6 = — = JF z retro (CEE == a | TRUMPET in Eb ( i whe £ Ep = C Crook « | Real Notes TRUMPET in (D or Ré) a | | vy ! Real Nows (C2596 —— = in Db (orRéb) D and EY Crooks.” YE Real Notes. (25 This Note is not effective ona Trunpet lower than D> Passages writen in Minor Keys are attainable hy the use of the Slide (See Page 22 ) (T Harper's lustenetion’ for the Trumpet ) TRUMPET in C. (Ut or Do} | = Real Notes. (256 3 = 2 b TRUMPET in Bj (( © and E} Fz = Crooks €& Gh = 4 ca) ne (ee = = in Bb (or Sib) Hy c an oe ‘woks =: Real Notes + = i be C, Deand ELGGOE ee as =| Crooks i — = be teal Notes ESE SSS a e—ie GDand Bh Se SF i bee Real Notes (52 = [SS = a+ TRUMPET in G (or Sol) be & | CaD.Eb& fgozt = ze Eb Cooks, (=O a —— Js = —t ~| z Real Notes (CE = All the above Keys are practicable and effective (except the Key of G} which is not effective unless ona G Trumpet an Octave higher « ED. Harpers lnstrnctions for the Trumpet } EXPLANATION OF $URICUS WORDS U. ED LV MUSIU in strict time. A Tempo... Adagio .. avery slow aid expressive mucement ——r—s—s—S [performers pleusure Affettuoso......... with tenderness Agitato ---With agitation « Allegro .. ively, quick Allegretto ..........slower than efllegro « Al Segno.......... repeat from this mark 38. Andante 4 slow movement « Andantino... Animato... Allegro Assai Bis Brillante. Cadenza quicker than Andante vith boldness und spirit - very brisk « . repeat the passuge « = brilliant, rupid an extempore flourish (eraduatly diminishing the sound. Calando.- (und stuckening the time « Cantabile .. ina singing style . Capriccio an irregular piece af music « Clarino ..... Coda. the Trumpet . supplement Concerto «1 pice for one Instrument swith Accompaniment . Crescendo << gradually inereasing tie sound Da Capo or D.C. from tie beginning ‘gradually softer oo 40ft and smooth Decrescendo= Dolce Expressivo.........with expression and =ffect Forte .. -, loud « Fortissimo........ very loud « Finale...sccscose.the last movement Forzando. a stress on unote Con Fuoco....--eith spirit « Furioso or} Con Furia } Tempo Giusto.... with energy. exact time. Grazioso...........gruceful Grave slow and solemn « Con Gusto........ with taste Largo very slow time Larghetto.......-- not quite sn slow as Largo « Legato smooth and connected fat the used place after havin, Loco dete eee e Ipluyed un ge higher ( T.Harper's Instructions for the Trumpet) Maestoso somajesticully . Ma non troppo. but not fon mich Mezzo flft = Mezzo Piano rather 6 Moderato moderately quick Moto mrt. Allegre Molto er, much Morendo Moto or Con Moto very brisk Non Troppo Obligato . Perdendosi Piano dying meuy not too much an indispensable part graduully diminish the sound soft. us soft as possible « Pianissimo Piu more Piu Presto faster « Poco or Un Poco alittle « Pomposo........... pompous.grund « Presto vce guick Prestiss Rallentando ) Ritardando | ~~ very quick « gradually slacken the time Rinfornando..., (2re00" the sound of several (notes abbreviated thus Risoluto . bold resolute « Scherzando....... in a playful momner « Sciolto distinct . lay as before, also 0 0 fo Me Senza coe without « Sforzando......... a stress on one note Smorzando......... smothering the sound Sonata .cceeee----. apiece with feo or more movement Sotto Voce oo... with ln voice or tone « Sosteruto.......... support the sound « Solo... one Instrument only « Spiritoso.csscsoe- spirited Staceato..... Tacit short and distinct « silent (play in the original time Tempo Primos troy an ud lib: Tenuto hold the note ite full length Trio sesssas t piten for threw Instruments Tutti all the Instruments after: « Sato Tromba... Vivace... Volti Subito.... -. the Trumpet with vivacity « turn over the leaf quickly Lhe Meathrivce The Mouthpiece s of greater inportance tothe performer thaws gencrady supposed, asthe qualily of tone and fuciiily of uaccutiorn dependprenepaliy on tts construction, Thefoloming 03 a Dressing of the acactscte andi form gf thatl have resed, for brenty Years past: Explanation of the Mouthptvce a, Witith of the rion or lip of the Mouthpiece. b, Airanyjirence yfthecip ©. Gireumfirence or entrance of the tiebe: Aloe Depth of the coup e008. Length of the tube. & Greangeronce of the end of the tate: The shade down the centre of the Mouthpiece shew the wxactsve gf the cup andiube The-atore-clescribed: Movthpiace may beracede far Trumpets of rery devergoleon A heany Mouthpiece ts recommended as laying steady onthe lips and net regis ning 30 meuchprgsure ds w lghione: Slixe Trumpet - u a 2 LIDE . ‘The Slide perfectsthe fourth and sixth of the third octave, Example ————— for which purpose it must be drawn out about one Inch and a half, The Slide also gives half a tone below each fixed tone in all its Keys. In the Keys of F, Ef> Ebsand Dy the Slide must be drawn out nearly half waysand for the Keys of D>,C,B,B,Aand Ab, two thirds; Two or three whole tones may be obtained by the full length of the Slide , but as they incline to be sharp they are generally used as passing notes The Pupil is advised not to use the Slide “till he is nearly perfect in the fixed tones of the Trumpet The length of Slide being taken according to the foregoing directions, the Ear of the Performer will enable him to discover when the Notes made by the use of the Slide are in tune with the Natural Notes of the Instrument . SCALE OF NATURAL TONES OF THE TRUMPET E. G. Bb. GC. D. E. F. G. A. Bb. C. * aal ‘The Notes F,and Ascannot be played in tune without the use of the Slide which must be drawn out nearly one Inch and a half - SCALE OF ADDITIONAL TONES AND SEMITONES PRODUCED BY THE USE OF THE SLIDE. slide. she. slide slide glide, lide « SS D?.Eb. EL. The following Notes require the whole length of the Slide and may be used as passing Notes « a=] # F te vb * This Note is sometimes written in the Bass Clef thus ( TeHarper's Instructions for the Trumpet \ POSITION OF THE PERFORMER AND MANNER OF HOLDING T.HARPER’S IWIPROYED CHROMATIC SLIDE TRUMPET . ‘The Performer should stand or sit with the head and body in an upright position, so as to give freedom and ease to the chest The Trumpet is held horizontally in the right handywith the Mouthpiece and Crook to the left side of the Performer . The second and third fingers are placed on the lower end of the small cross in the middle of the Trumpet to move the slide up when required . The thumb is on the upper part of the middle cross (or stay) The first and fourth fingers are placed nearly opposite each other on the outside of the Trumpet but are not to move . The fingers of the Left hand may be placed on any part of the Trumpet most convenient the thumb resting on the side of the Mouthpiece, so as to keep the Trumpet in a steady po- sition. (See Plate 1) From the formation of the teeth some performers are unable to hold the Trumpet in a horizontal positionwhen playing, this is remedied by using a tuning bit whichis a little bent. DESCRIPTION OF AND ODUCTION TO THE ART OF PLAYING THE TRUMPET. ‘The Trumpet in general use with the Mouthpiece only attached is in the Key of F. Any change of Key from F lowers the pitch or sound , such change of Key is effected by additional Joints or pieces» they are of various sizes and are called Crooks and bits 5 the first or smallest Crook is Eythe second Eb, the third D> and the fourth C, One or all may be attached to the Trumpet: the Crooks used separately and collectively effect a change of Eleven Keys. (See the Table of Keys Page 6 ) The bits serve to lower the pitch in a slight degree and are very useful in tuning correctly to other Instruments . Smbouchure oo Reply the Mouthpiece to the Centre of the Lips, (two thirds resting on atthe same time introduce the tongue hetween the teeth, (the tip just touching the upper lip) press and slide the Mouthpiece nearly one third down the upper lip, the part on the under lip remaining , and tighten the lips across the teeth: Thus a good position of the mouthpiece on the lips will he obtained,and sufficient space left for the tongue to act and the breath to pass freely into the Trumpet . The pupil should practise the above with the Mouthpiece only,(and without sound)so as to obtain in the first instance the correct position In playing the following Example the second Crook must be attached,the Trumpet will then he ((ieevirwuere hen) | ee eae METHOD OF TONGUEING AND BLOWING THE TRUMPET . The Crook and Mouthpiece being attached to the Trumpet apply the Mouthpiece to the lips and introduce the tongue as before directed, then draw the breath at each side of the mouth, press the breath a little forward (but it must not eseape) untill the tongue is withdrawn from the lips with a slight jerk (similar to that of dislodging something from the lips that is offensive ,} and as the breath will follow the action of the tongue, the pupil must endeavour to sound the Cf = Key note, which may be sustained as long as it = can be with ease, when it sounds distinct and clear the pupil will proceed to the following pro- gressive lessons . In practising the above note, the tongue must not return to the lips untill the sound of that note has left the Instrument As the first note is not expected to he very loud,a slight accent of the tongue with the continuance of the breath will produce it . The learner is recommended in his endeavours to avoid all unnecessary violence or exertion To produce a loud tone a strong accent of the tongue must be given and not the breath alone . ‘When in the act of playing the breath must proceed direct from the chest into the Trumpet , if itis suffered to lodge in the mouth it will cause the cheeks to puff out which must be avoided In playing Music for the Trumpet, the notes in general do not requireto be sustained their full value as it gives a heavinessto the Performance, but in the commencement the pupil will not pay so much attention to that part of his study, as his first object should he to establish a good tone « The following Lessons or preludes are a progressive arrangement of passages gener ally used for the Trumpet, and calculated to make the Performer acquainted with the diff ent modes of accenting the notes and the pupil will give his best attention to the method of Tongueing, as Brilliancy and fulness of Tone, Rapidity and neatness of execution depend entirely upon the use of the Tongue + In the practise of the above and following lessons, the pupil is recommended to imagine he is repeating the letter D to every sound, as best calculated to enable him ant tone . to produce ‘a full round and b: ‘The previous Instructions are applicable to Trumpets and Bugles of every description NB. The Author is awure there are Keyed Trumpets, but az the Trumpets written for in thie re are capable of accomplishing in a Superior Seyle, all that may be required, the Scales af those with Keys ure nmitted UDeHlarper's Tnctrict «for the Trumpet 4 THIRTY PROGRESSIVE LESSONS CONSISTING OF THE FIXED TONES OF THE TRUMPET . In practising the following lessons the tongue must be applied to each note as at the first, and the pupil should count the time as marked 4 Crotehets in a Bar Andantino. Wel nunpel in Bb > oe + oF Tssra) ase ees 4 ws 4 1ra)sie ls sea 1915-4123) 4) ‘A slight additional pressure of the Mouth-piece on the upper lip is required for E Andantino « sa a: 4] af ce se es é e o 1254 12354 1234 1254 1254 1254 1254 1854 An increased pressure of the Mouth-piece on the upper lip is required for G . re Andantino « in Eb. = ee ee Andantino . ON aS in Eb. Is = ee ee ee ae es Andintino We 5. — inEb. — ~~ ol e D254 1A FH RSH LQFH VASE TASL TAS 4 1254 An additional pressure of the Mouth-piece on the upper lip is required generally for the higher sounds . The lower sounds require generally a less pressure of the Mouth-piece to the lips TeHorper’s Unsteuetions for the Trumpet) 15 In the first bar of the following Lesson the third note E must be tongued rather sharply on to the fourth note C, also the second and fourth notes in the Seventh lesson, and where similar notes oceur the same accent must be given Moderato - = = Ne 6. inED. ce 1239 1254 No? Allegretto. Count 2 Crotchets in a Bar, in Eb. Tee + a We 8. Allegretto. in Eb. N99, _p cllegretto . in Eb. ve 10 inEb. Count 6 Quavers in a Bar Allegretto Vell inEb. 8 Count 3 Crotchets in a Bar - We 12, AMilewretto in Eb. When this mark=— is placed over or under a note a sudden and stronger accent of the tongue is required, and the quicker the tongue is withdrawn from the lips the more distinct and clear the sound will be . (TeHarpers Tnstenetions for the Trumpet} 16 Small Dashes thus '""' over or under the notes imply that they are to be accented with the tongue in a short pointed manner this style of playing is called Staccato . cAitegro « Ne is. in D ee TTS JV2 te Allegro JMloderato £ in D oe 7 wv? 15. Allegretto . inD eee s cs we? 16. Allegro {Woderar inD e in ED. Allegretto . Allegretto. oWe 19. in Eb. ss a 3s Bee © This mark —Lwhen placed over two notes of the same name is called a bind (or tye) the first note only is accented but both sustained . € Those notes with the figure “S~ over or under them must be articulated with the tongue sharply on to the next note THaraer’s Lietenetions far the Trumoat Allegretto Ne 20. in Eb Allegro Moderato. Sore nace in D. Allegretto « — = oN? D4, inD. Moderato « we 25, ind. wey a This sign 7 is called a Pause when placed over a note or rest it gives unlimited length to them,which is left to the taste of the performer . ‘The Pupil having learned most of the first lessons in the keys they are marked in, is recommended to practise them in the various keys of the ‘Trumpet (Dyarneery Ve 1s 4 for she Promst ) wv [As the nutes ascend the breath inust be more compressed and a sharper accent of the tongue given . Allegretto oN 20s es in. Allegro. weg. ee. se = NSE Allegretto. Moderato . 229. in D. * For method of Sluring see Page + (T.Haepers Inasteurtions far the Trumpet we 50. Allegretto « os ‘Tt epew's Instructions for the Trumpet ) 20 iis When using the Slide, the first and fourthfingers and thumb of the right hand remain stationary, while the second and third fingersmove the Slide up , As the Slide returns the Fingers must guide it, or it will jerk the mouth piece from the lips - Bi, & ‘Trumpet in Eb. Moderato Ne2, inD. t Allegretto . Mozart . Nos. inD. Lento L Not. in D. Allegro. a = NOS. inD. Allegro Muestoso . No 6. in Db. — When the Slide does not act freely, unserew the Brass nit,draw the Slide out.clean it and put a littl: fine Oil on ( TeHlorpers neu tions far the Trumpet ) 21 Andante. German Airs NO? in Db. Andantino « oe wes, _ in Db. Si w Allegro Moderato . [DeHlucper's Tnstructions for the Trumpet } Rossini ag¢ Tempo di Minuetto Wel2, in Db. Major. rine P Andante NP 13. in D. expres: — morendo 1 f +P ( THarpers Instructions for the Trumpet ) es Attegrs . Con Spirito XS PL eget = fexe No 16. inD. Telling Wsteustions far the Trumpet } C1 28 cecessesssensneeeeeeeeeeeeeeeeeeeteee a Andante in D>. $e = : z Allegretto en ee 25 Andante Sostenuto « Chevatien Neukomn + W219. oa == in ED. See Attegretto Moderato assai_, We 20. in Eb. fo —=F (TeHarpeee Dnnteuctions for the Trumpet) ‘Trumpet inD. etltegretto . NOS in D. Pataces « Adusio. Ne6. in Db. Sf ee tees Aliegro Moderato . — bes a = op eee = i Sf 29 mareuto, Allegretts . NO7. in Dp. (Pia e dolee eAndaite Macstosy « adit, T Harper's Tueteuetions far the Trnmont Andante KOO in D. gro Moderato. = Sos, f:0-¢ ang 02a S99 Feng eet eScag nt Pee ee 878 Pay a = et aah # Allegro. eee (TeHarpers trustions for the Trumpet ) (T.Htseper's Insteuetions for the Trumpet ) Trumpet me in & Trombone Venore. Busso. Tympani in 0% umpet ve ‘Trumpet bad nD. Prumpet see nD. Trumpet an mD, “ambone UL. 35 vtite Drums « 1 time last Fire Solana featesrters TRE I D AA LN Fur + Trumpets Bass Trombone & otto 2% Et FLORISH For 4 Trumpets Bass Trombone & Kettle Drums as performed at the Coronation of King Wittiam the Fourth « 36 GOD SAVE THE al Fur 4 Trumpets Base Trombone & Frumper Frumpet wt nD. Trumpet sr inD. Trumpet uw nD. Bas Trombone. nae SESS [T.Harper's Insteuetions far the Trumpet ) Plate3. Method of holding the lifsian Valve or Stop Trumpet The Russian Walve or Stop Trumpet. >" in the Key of Gor some es Fy and the change of Key is effected by Crooks the same as the Slide Trumpet.( See Paze 6) ‘This Instrument with the Mouthpiece only attached Itis held in the Left hand and the Stops are used with the Right. (See Plate 3 ) ‘The method of producing the sounds is the same as described at (Page 13 and the Pupil is recommended to begin with the first lessons (Page 141 for the fixed tones of the Trunpet » Defore he makes use of the Valves MENT AND USE OF THE STOPS . Nel NoQ ‘The Stops when used must be pressed quite down or the sound will not be cle: Stop is pressed down with the Second finger The (o) denotes the Open or Natural Tones EX. Without = Sup & EPLES OF the first two octaves with and without the use of the Stops - J With = BY Stop. 6 J 2M Soy 3 SS z Y’ 1&2 Stops used together a tone and a half - With 9 P as . ~ taf ae Qu = = = = =] ‘Stops. = —— ee 0 = y ct D DIE $6 A Bb i | Tor lov E Word Bord Gol gard Those Nites with the ® ounnat be pradcnd without the use of @ fe Instructions far ths pont oo MAJOR AND JILNOR SCALES « The following: Scalesmay be played in any key the performer chooses to fix the Trumpet » but Eb, Ds D2. and C, are recommended,as higher keys are attended with difficulty . METHOD OF TUNING THE TRUMPET . When playing in the Keys of G, and F the pitch or key of the Instrument is lowered (by the use of Crooks the Slides must he pulled "the Slides of the Stops must be entirely in, and as out untill the ear is satisfied that the notes made by the Stops are in tune with the fixed tones of the Instrument . © Major. lel 24 A Minor. i re rr = oS ae SS t E Minor. = ea : wr 2 "3 Fohog? oe OMe Ete G Major. D Major. a = zo z oe B Minor. ee — a ——S = cae . 2} 1 ee vy 7 ~ — F Major. Z ge See a) rg ne ee es ee eet - il D Minor. (EB! SS — 1 e 0 z 4 3 oO a % o * . ain i 7 oF BD Major. = —— f J = ee ost ee G Minor. (= ——— = {3 + + ns a a ¥yt yt Eb Major. A HE USE OF THE VALVE: SHAKES THAT CAN te dae 0 “Py 63 y 54 : oS ot : Pe ypep + eS == = ee] JP st 2 oe AYT2 0 Sa ad oz 8 ae 1 “tr ne EXERCISES FOR THE RUSSIAN VALVE OR STOP TRUMPET. When the Pupil is perfect in the use of the Valves he may return to the Lessons written for the Slide Trumpet ( Page 20)which answer for both Instruments . ved. in Eb Fo 1 0012022020002 20 21 00 1106 1,84 N? 3.5 in D . ; o at 2 21202 2120_-2 21202 22021 010202 10212202 21220020 ( THirgerts Instruttions fur the Town Allegro Brittiante. March from Wittiom Fett Andante ——= == J ese T = (re Tastrueti oe the Traps Alegre Siloderato Allegretto vo 10. in Eb. Tnstouetions for the Trumpet) Allegro Moderato = Andante Haydn ‘TeHarpers Inetructions for the Trumpet Plate 4. Method of holding the Cornet or smelt Stop Trumpet . 47 THE CORNET 4 PIST( NS, OR SMALL STOP TRUMPET . This Instrument is known by the several names of Cornet, Stop Horn,Post Horn; Corno- pean &e . Its construction and capability is the same as the Russian Valve Trumpet. The general Key of this Instrument is Bb, and by the use of Crooks (as on other Trumpets) the following change of keys is obtained; A, Ab, G4, F4, & EG. Lower Keys are attainable, but from the construction of the Valves, will not be found so well in tune as the higher Keys. It is held in the left hand and the Stops are used with the right. (see Plate 4) ‘The method of producing the sounds is the same as described at» (Page 13) As the fixed tones of the Cornet & Pistons are similar to all other Trumpets, the node of writing for it ought to be the same, hut Musie is more frequently written an Octave higher the same as for a Bugle. + The Cornet being a tone anda half higher than the Valve Trumpet, the performance is confined to the first two Octaves, particularly in the Keys of Bb, AJ, Ab» & G. ‘There are notes beyond the two Octaves but they are difficult to obtain in the above keys As the Key is lowered by the use of Crooks, its Scales become extended on the upper part, but the Instrument then loses its peculiar character, and becomes like the Trumpet in general use. A small Mouth-piece is g: ally attached to this Instrument but the usual Trumpet Mouth-piece will answer quite as well . GENERAL ARRANGEMENT AND USE OF THE STOPS . NL. Stop, (nearest the mouth-piece) is pressed down with the first finger . N22. Stopyis pressed down with the second finger . NS. Stopsis pressed down with the third finger : — This Stop is not always attaches! but is highly requisite as it perfects the Chromatic Scale of the lower Octaves that being: « part of the Instrument which must be used when playing in the Keys of Bb, Ah, Ab, &G The Stops when used must be pressed quite down or the sound will not be clew . ‘The (0) denotes the open or natural tones . EXAMPLES Of the first tco Vetages with und without the use of the Stops . ee —————— = o + a N21 Stop lowers the,pitch or sound a hole tone oe vee ee 1 stop» ¥€ = =——+ 2 — === ay vo2 Stop be ith ee =e. = amt Stop. = = =e = “2 V2 1&2 Stops used together u tone and a hilf - a xu = S 2 Stops ured tocether | a tnd ze Er =: he = = Sines = e OF the use of the 3rd Stop 4 = = ae ———— = Up Harner’ Tnstenetions Far the Carnut ) The Lessons veritten for the Buste may he atesed alga onthe C +8 METHOD OF TUNIS When playing in the keys of By, S& Ab, the Slides of the Stops must he entirely in, and as the pitch or key of the Cornet is lowered (by the use of Crooks) the Slides musthe pulled out untill the ear is satisfied that the notes made by the Stops are in tune with the fixed tones of the Instrument . Examples of the sound produced by the use of each Stop in the Keys of Bs, Ab, Aby and G Jn Bb. Ste net bet Pi os (qeapettg ce Real Notes Comet in Real Notes Cornet. in Ap. Real Notes Cornet, inG (TeHeper's Instructions for the Cornet 49 MATOR AND MLNOR SCALES FOR THE COR! © Major (EG: ——— ° s| nN A allay te ware ie ir hy “te ait] wis welt Minor, D Major. ff i ———— B Minor. $ Te 0 5 * 3 . Se 6 ¥ Major. = = ———— — a i$ Tt D Minor SSS 3 7 e HM on 2 2 , 2 2 ee £ ¢ 6 , \ ze: Bb Major = = ro $4 to = = jee = G Minor. = f — aa ne * 1 7 5 When the Pistons are finund not to aet freelysunserese the brass nut, and draw them out clean thn. and put little fine vif ons This Iustrument having several turns, the water frum the breath accu muliter und impedos the plying; 4 piece nf sponge cut to the size of the tube, and bloien once or ticice through either nf the trumpets, the Pistens being held down at the time) will clear the wuter nut (TeHarper'e bw client far the Convet 50 ‘The first four Leasons consist of the fixed tones, and the Pupil shonld learn them before be attemps the ase of the Pistons. As the Crooks are generally marked,the performer will find no difficulty in fixing the Instrument in the required Key. In Ab. (Pe Marpers Insitutions for the Corn Andante. 1 ca 3 “s tastruetions for the Cornet) 52 Andante 1 2 ad aa : andante. 22} see Eat x = e-SEs ae = e ‘T.Warper' Instructions for the Cornet SUONI LA TROJIBA. I Puritani . * Bettini « Allegro Wlaestoxo -) . Rossini Allegro « A TE 0 CARA. I Puritani. * Bettini. Po z a 1 oe ae aN = Serie? fetes % age eae a ae os el # Inserted by Permissinn » Ti Harper's 1 teuetion fur the Cornet) ot Allegro Moderato THE LIGHT OF OTHER DAYS. Bay a1,cornet Solo : Acranged ty be played with the pimo forte copy De Andante Cantabile (THarpers Instruetions for the Cornet) Inserted hy Permission Andante. Moderato 1B. Harpre' tnstructions for the Cornet 56 The following Major and Minor Seales are those which can be performed with faci lity on the Cornet, and by the change of three Crooks will produce the most useful Koys of the Instrument : ths, the Cornet fixed in the Key of Bp, and written for in the Keys of © Major, A Minor, F Major, D Minors G Major, E Minor, & C Minor, will produce the following Keys (see the figures 1, 2535455, 657.) (Be Major ) © sion ss t = — =] a ape T (G Minor ide te A Minor SS te SSS] = = T (eb ae) * hue GSS St (c Minor) b Minor $E SSS (p Minor ) z oe (Bo Minor) : © Minor SBE = o_o SS = ll J ee tt The above Scales played on an AY Cornet will he (A Major) (FE “Minor) (D Major) (B ‘Minor) (E“Major) (C%°Minor) & (A7Minor) ‘The same played on an Ab Cornet will be (Ab'Major) (F *Minor) (Db3Major) (Bb*Minor) (E>%Major) (C Minor) & (ab7Minor) Andon a G Cornet (G'Major) (E*Minor) (C*Major) (A*Minor) (D SMajor) (B Minor) & (G7Minor) . The Pupit wishing to transpose « piece of music so as to play with or ucenmpany the piano forte or ans atten Fustrument, will ser by the abovracules what Key to write ie in to render it easy af i (Petey eo dastiuetinneton she ort The Keyed Bugle 5 Keyed Bugles are made in the following Keys: F, Eb, D, C, B, A, Gs and F Asal Crook and Tuning bits are generally used with them: The Crooks or Bits when added change the Key, All may be lowered a half or whole tone, thus, if a bit or bits about two inches and a half in length be added, the Bugle will be lowered a half tone those taken off, and the Crook put on, the pitch will then be lowered a whole tone Bugles in common use are made in C, and to produce the Chromatic Seale must have Seven Keys five are used with the fingers of the right hand, and two with those of the left, When more are added the chief use is to make the Shake . The method of Tongueing and Blowing being the same as the Trumpet the Pupilis referred to Page(13} NATURAL SOUNDS OR FIXED TONES 0F THE BUGLE . DIATONIC SCALE. i Cc D E F Those notes with the figures over them denote the keys used seith the right hind, those with figures under them the keys used with the Left hind, the (+) implies the thumb « CHROMATIC SUALE = = + tar Be £Sisé Sey a = Se eo ste a By C Bh C Cf Db D Dg Eb Bh RE A Bz Fy FRG GL Gg ab Ab az Bb BY Cy There being different ways of fingering marked over the same notes the Pupil will take that which he finds renders the notes most correct in tune with the fixed tones of the Instrument « 2 Two or three of the fixed tones become easier by the use of the Keys (See the Scales) “The smaller or higher in Key the Bugle is the more difficult the higher sounds are to obtain . #The Key for this note is sometimes taid across the Bugle and used with the left hand. Tlferers Wetec es net 60 The following Twelve Lessons consist of the fixed tones of the Bugle and the Pupil should learn most of them before he attemps the use of the Keys he must also be careful not to press his fingers on the Keys so as to raise them as it will prevent him obtaining the sound he wishes In practising the following Lessons the Pupil should count the: time as marked « Andante. Count Four Crotehets in a Bar - Wes 4 Less 1254 1254 1254 E54 1S 4 Allegro. = vo u ee eae [TeHarpess Instructions for the Trumpet) *Slurring is highly characteristic and effective on the Bugle and is e (SeePage 4 ) produced by accenting the first note of each slur with the tong: EXERC 'S FOR THE USE OF THE KEYS « vel. os tir the Trumpet teuetions for the Trumpet } T. Harper's Instruct FsHurpre's Instevetions-for the Trumpet) 64 MAJOR AND MINOR SCAT L — = 7 — we — = 1 © Major. t ee == ostF a +t" + at og + be 3 1 A 2. ee a oo Sane - A Minor. eo t Se t 1 3 2 1 + = 2 i G Major. z oe —* t 22 4 essere “ A gael 4 Aye i oar =e + E Minor. we —- — a? IE v + + 4 4 i + D Major. Se _ |7 + + — . 4 — B Minor == = 1E ~~ + oe ait es 1 mn F Major. = a {—F — : t Lo = D Minor. (EGP a ri ——— 7 FE + Ff 1 1 A \ rif 3 4 1 fr ua es = BoMajor. (| o— = —* i i fF J TF 1 \ 1 eet —4 — : st fee + G Minor.

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