LIBHABY
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Ace t72946
No
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Complete method
FOR THE
Trench Born
Grosse theoretisch-practische
TX>af0orn^c#ufe
BY
Oscar Franz
English Text by
Gustav Saenger
Price, $g.
Copyright 1906 by Carl Fischer, New York
4>
CARL gCHER
, , ,
i > *
. , ' > ,
, , ' >
-% "*.'
Oscar Franz
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
CONTENTS
PAGE
with 23 illustrations 3
with 7 illustrations 9
15 Extended Exercises 43
b) The Echo 58
c) Double Stops 59
The Trill 83
INHALT
SEITE
mit 7 Figuren 9
III. Elementarlehre 1 3
selbe 29
b) Stopfhorn 35
c) Ventilhorn 36
15 grossere Uebungen 43
V. Vortrag 49
VI. a) Transponieren 54
b) Echo 58
c ) Doppeltone 59
Der Triller 83
VIII. 10 grosse Concert Etuden 86
Fremdworter 103
*<afli
v *. *. i ^
i i . k
PROVO, UTAH
21.
General Rules.
Al^gemeine Regeln.
I.
II.
The French Horn is held with the left hand; the
three long fingers should rest lightly upon the valves,
in order that they may fall into place at once when
needed ; while the edge of the bell may rest against the
right side of the chest, the instrument proper should
be held at a slight distance from the body. The right
hand should be placed within the bell, however,, with-
out closing it entirely (see illustration a), With the
thumb placed against the inner part of the fore-finger,
in a somewhat rounded position (see illustration b) the
hand is placed in such a Avay that its upper part comes
in contact with the lower part of the bell (see illustra-
tion a). With such a position of the hand, a free and
clear quality of tone will always be produced.
III.
I.
II.
III.
IV.
10
IV.
V.
VI.
Practising should be pursued slowly and as con-
scientiously as possible ; furthermore, not too continu-
ously at one time, in order not to tire the lips. The
surest possible method for achieving ultimate success
lies in slow conscientious practising. The player must
never forget that his first duty is the clear and distinct
execution of everything he attempts to play, clearness
and distinction is lost by practising too quickly, and
a player will easily get into the habit of "jumbling"
his notes indistinctly one into the other, a habit which,
when once acquired is difficult to get rid of.
V.
VI.
11
13
By
Notation.
Das Notensystem.
10092-17
Copyright, MCMVI, by Carl Fischer, New York.
14
Clefs.
Treble or G CI
ef: =4g
tis8el: : 5BE.
Bass or F Clef:
Alto or C Clef
r/IH
Tenor or C Clef:^:
-&-
Treble Clef.
Violin oder
G Schltissel.
$
B D
-^
F A
B
-M-
A.-
Bass Clef.
Bass Schltissel.
H
G B
A C
H
A B
H
A B
Treble Clef.
Violifi oder
G Schltissel.
Q F A C
Below.^t
Vnter. x -r .
Above. A
^ Iher.
Above. G
Vber.
Bass Clef. :
Bass Schltissel:
Above.
Vber.
Below^
Unter. ^
Below/4
Unter.
Above.
Vber. m
Below.
Unter. H
-ff
B
Treble Clef.
Violin oder
G Schltissel.
Bass Clef. :
Bass Schltissel:.
efgabcdefga
G A
IZC
I : j 41 J i
B C
-&
D E
D E
F G
F " m_ &
f^
It will be
note of the
but always
10092-17
D Jfi F G A
A B
H
B
+ # T-
D E
-H-
G A B
D E
15
The Dot.
Der Punkt.
A Dotted Whole, Dotted Half. Dotted Quarter, Dotted Eighth, Dotted Sixteenth,
MB
--= JM *H
i i' =%
o_
is equal to,
ist gleich werthig mit,
1 ^ 1 p, L___^ 1
[-4 * * r* ? * f-i ? ? i
i j, o
is equal to,
ist gleichwerthigmit, <
i i 7 > I,
1 f f f '
r r r MP M
P P P
die.
etc.
&-^r
is equal to,
ist gleichwerthig mit,
^
is equal to,
ist gle ich we rth ig mit,
y- 7T
1==k
^^P
The Bar.
Der Taktstrich.
10092-17
16
Table.
Tabelle.
331
w p p'p f p f
or 32 Thirty-Second Notes: f g g ^ B Ea
oder 32 ZweiunddreissigstelNotenlt
or 64 Sixty-Fourth Notes:
oder 64 Vierundsechzigstel Noten.
-t \-
-i r -i T - t-
_*. .j.-'., *
_j_: *
! t_ : *
Rests.
Pausen.
Whole Rest.
Ganze Pause.
Half Rest. Quarter Rest. Eighth Rest. 16*! 1 Rest. 32 n . d Rest. 64th Rest.
Halbe Pause. Viertel Pause. Achtel Pause. 16*1* Pause. 32 S M Pause. 64 s Jl l
Pause.
C o un t sam e as*a
Whole Note.
3 3 4 5 6
8 10 20
I 1 I 1 1 I i ll II I =F I I 3 I =^F=1
10092-17
17
Time.
-w-
11
5C
fl I il I 1
as
o d er
* The figure C is more generally used than |. Either one indicates Common
Time.
* Das Zeichen C wird mehrbenutztal&. Beide bedeuten den Vier-Viertel Takt.
EXAMPLES.
BEISPIELE.
H=rs:
rrn ^
7ZZ-
12341234 1234 1234 1234 1234 1234 1234
r * r * i r " I ^^ etc - yr j r I r r r *
1234 1234
Das Wort und wird gebraucht nm die Haffte eines Taktschlages anzuzeigen
?3
mi
etc.
12 12 l an 52 an il2 l an d 2 and
rrrn r
ri m
zc
3=
18 3 183 18 3 *"$ 18 3
#^
12 3
. and p Q
1 und a *
12 3
etc
12 3
o V I
XT
^P
etc.
12 3
etc |pl
123456 123456
12 3 456
12 12
etc.
12 3 4 5 6 789 1234567 8 9
1, 2 3 456789
etc.
09
JZJZ
fe
12 3 12 3 1
123456789 10 11 12 12 3 4 5 6 789 10 11 12
12345678 9 10 11 12
^m
&-*-
etc.
12 3 4 1
3
10092-17
18
The fcjfj and t|l? brings the note, which has been
raised by the x or lowered by the H?, back a-
gain by half a tone.
g or
oder
Die Versetzungszeichen.
Notation:
Schreibart:
10092-17
l^r'rrr
Der Bindebogen,Triole,etc.
n nr**
Effect:
Ausfiihrung:
p
Z2Z
nrrr "i i
19
Example.
Beispiel.
JJJ -
Example.
Beispiel.
Written:
Schreibart:
played l. ^ p f ^ ^
Ausfiihrung:
Example.
Beispiel.
Wenn durch kurze dicke Striche bezeichnet, so
werden die Noten sehr kurz und bestimmt ge-
spielt.
Written
Schreib
3n: ^E
art: SB
PP
Played:
Ausfiihrung,
jFfE*
yy ggg
The Triplet.
Die Triole.
The Sextole.
Examples.
Beispiele.
Die Sextole.
Wenn die Ziffer 'tTmit einem kleinen Bindebo-
gen versehen, iiber oder unter sechs Noten ge-
setzt wird, so wird diese Gruppe als eine Sextole
bezeichnet, und die sechs Noten werden im. Zeit-
raum von vier Noten, gleichen Werthes,gespielt.
Example.
\,Beispiel. fi\
10092-17
-o-
<5h
XE
20
/C\
Fine.
1.
-jo.
Example.
Bei spiel.
Sva
Writtei
Sckreibai
- ; pgii|||pi
Played:
A u sfiih r u ng:
Aor>. Example.
Beispiel.
%
fi
sf
10092-17
21
Beispiele.
pi
im
*
Abbreviations.
Written:
Schreibart:
Played:
A u sfiih r ung:
HE
fe
3E
Abkiirzungen.
li l n ~ B S3
^-
^JJJJJjJ
Written:
Schreibart:
Played:
Ausfiihrung:
3E
Written:
/ 1^ w. rj
d "i i T
Schreibart:
Played:
m ffJ- i
-&-Z-J ^J
-^
-J- 2 J-a
Ausfiihrung:
Intervals.
The distance of any note from its fundamental
note, or Tonic, is called an Interval. As we have
seven real notes, there are consequently seven
real intervals, as follows:
-forontcr
*JTonica.'
Intervalle.
5
10092-17
22
Major Third
Grosse Terz.
vb Tonic.
^^ TVi ti 'inn
Tonica^
In the Minor mode, there are but one tone In der Moll Tonart befindet sick
bloss ein und
and one half tone, from the tonic to the third. ein halber Ton, zwischen dem
ersten (Tonica)
Minor Third. ^ =
Tonica."^
Diatonic Scales.
T5 fc
Half-tone.
Halber Ton.
Diatonische Tonleiter.
--
3E
--
XE
Degrees. _ Intervalle.
Ascending
Aufwarts
1st 2 3
4 5 6 7
Half-tone.
Halber Ton.
Half-tone.
Halber Ton.
In the ascending melodic Minor Scales the half
tones occur between the second and third, and sev-
enth and eighthdegrees of the scale;in descending,
between the fifth and sixth, and second and third.
Degrees Intervalle.
f\ 1 2 3 4 5 6 7
Ascending: jt
Aufwarts: ^P | " | ~ +"
Half-tone.
Halber Ton.
Half-tone.
Halber Ton.
Half-tone.
Halber Ton.
Descending
Ab warts
*'l
7 6
rs:
5 4
3 2 1
Half-tone.
Halber Ton.
Half-tone.
Halber Ton.
Descending:
Abwiirts:
Half-tone.
Halber Ton.
Half-tone.
Halber Ton.
10092-17
23
Ascending":
Aufwarts:
Degrees Intervalle.
2 3 4 5 6 7
m
*
Half-tone.
HalberTon.
Half-tone. ty tor L e -
HalberTorPrtberTou.
Descending:
Abwarts-:
7 6 5 4 3
2 1
HalberTon.
C MAJOR,
C Dur.
G MAJOR
G Dur.
D MAJOR
B Bur.
&
4H
*
i
A MAJOR.
A Dur.
fa*
E MAJOR
E Dur.
B MAJOR.
H Dur.
Fit MAJOR
Fis Dur.
Hu
jCE
-o-
--
B MINOR.
HMoll.
C# M I N P
Cis Moll.
ti
A MINOR
A Moll.
E MINOR
EMoll.
fa
RtMINOR.
Fis Moll.
fa
Gs MINOR.
Gis Moll.
m
fafa.
m MINOR.
Dis Moll.
n< o-
--
rr
TT
Table
XT
G!> MAJOR
Ges Dur.
Dt MAJOR.
Des Dur.
A 1 , MAJOR
As Dur.
Vorzeichnung-en.
Et, MAJOR. B^ MAJOR. F MAJOR.
Es Dur.
B Dur.
FDur.
-o-
fete
ggj
-o-
tte
Tl~
--
te
El MINOR.
.ffs JlfoK.
--
B [.MINOR.
BMall.
FMINOR.
FMoll.
C MINOR.
C Moll.
kt
3EE
G MINOR
GMoll.
D MINOR.
--
te
~o-
Chromatic Scale.
m
i
#-i^
etc.
M ******
-04
J I.J
u j uj j j u i
etc.
10092-17
24
Major Keys.
--
XE
xe
3
E
*
--
-o-
XE
--
XE
7
B
H
o-
8
C
XE
5
6
B
H
10092-17
3.SM- fa* I
25
9-
~&
E
4
7
B
H
8
C
*&-
A
4
Bl>
B
6
D
7
E
8
F
Minor Keys.
Ascending:
Aufsteigend:
1^
--
|=ES
3H
6
Fis
Gf
Gts
8
A
d:
xe
XT
Fts
G
4
B
H
6
C*
Cis
8
E
Descending:
Absteigend:
30C
8
A
7
G*
XT
4
IE
3B=
1 <
--
ZEE
Efl
5
I
3 ^
--^a
D*
cn
B
If
Ft 8
10092-17
26
To transpose the scale by flats, we take
the fourth (instead of the fifth) of every new
scale. D is the fourth of A, hence it is 1 of
the new scale (Key of D Minor). The order Of
intervals must be the same in the flat keys as
in the sharp.
Ascending":
Auf warts:
ihl
Descending:
Ab warts:
x>
XE
8
A
8
D
XT
2^
B
H
Gt,
js
CI,
c
xr
a:
Fit
Fis
-&-
ZEE
O-
A
6
xr
3^
rsz
3E
--
XE
G
3
ife
7
GH
Gis
;:3qg
7
C#
Cis
XT
B
H
SS
8
A
--
8
D
1
XT
verschiedene Tonschattirungen.
10092-17
Graces, Embellishments or
Ornaments of Melody.
The Appoggiatura.
27
Die Verziehrungen.
Der Vorschlag.
fmm
Beispiele.
Written thus:
Schreibweise:
Played thus:
Ausfiihrung:
^?
3>
rrr
*m
a Beispiel. &
Written thus; ( ^j ^ jjj P
Schreibweise
Played thus:
Ausfiihrung:
above and below the sign <y, the upper and lower
grace note must be sharpened.The same,rule applies
to flats, only that the grace notes must be depressed
half a tone in that case.
Examples.
As written:
Schreibweise:
As played:
Ausfiihrung:
Beispiele.
Der Doppelschlag-.
10092-17
28
As written:
Schreibweise.
As played:
Ausfiihrung:
The Shake.
Example.
Beispiel.
As written:
Schreibweise:
Der Triller.
tr
As played:
Ausfiihrung:
Chain of Shakes.
Triller-Kette.
\kh? r r r if r r r iri-ii
-^
B\> Piccolo. D Piccolo or Flute. E\> Clarinet; Et Cornet and EtAlto. Bl>
Clarinet; Bl> Cornet.
iN
B Clarinette; B Cornet.
o-
jOl
%Z
fit;
if
B\> or Et Bass.
B oder Es Bass.
Gis.
A
A
Fis.
3xc
fit
er-
ode r
Trombone in A.
A Posaune.
100ft2- 17
?
p
tn
1. 2. 3. 4.
172946
29
zur Erlernung
des genauen Tonanschlages.
--
--
<9 &
6.
7.
o < g
m 1 J \4 11 g J I i 11 = I o 1 g J 1 11 i | 1 J. 1 4 J 1 4 11 4 J-j-J
fi i* 13. 5 5 J 14. ,
Jf f- -4 1 1 1 r\ H h-
vp J J 1 g J 1 II 4-J^LL^ J HJ U^ M J IJJ 1 1 hJ JH Jl
f\ f J 15. 1 f )
vy J J 1 J J 1 J J 1 J J 1 d * 1 J. H 4j J M [ II^HJU^II^U ^=t=zH
rfEpfg
BE
17.
I
-0-0
0-0
0-0
18.
an 'i mr
1 1 \ g
p^
j u r i r j u
10887 - 74
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21.
^m
jiJij ji j-j>j i j V ir ^
23.
s
#
23.
P?
24.
<9 *
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ft 25
^BM
^
S
i*
26.
'irrrr
i jflririrUCTjPgM
^^
# "ir-prnnrggP
28.
Z2i;
i^ i r j
pSi
gr '-p- j
^
-^
29.
&-
A 30 ' J J ?
-#-f 1 1 1 h~ 1 1 1 :
27
if
M p M o I P p I F > .
2ZZIZZ2
32.
XT
-tf.
s^ si
I& 1 -
-s**
zzn
p^g?
s^-
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rrirri J r
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-*
10887- 74
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33.
zz:
ZHZZZ
77.
J'U-hjU jlJ |
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feg
ESS
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77
35.
31=
3fP*3
(jyJj^NJNMl[" =
m
m
zz:
gfPg
gg
36.
HP 1 1 ^jrtry ^w
p J*T}J- 1 lip p ^e
i#^-
^
^^m
&-
r=3
i*
r; i r; i o
rj I r j ( 9
Z==7Z
Sii
i rj
' _. '
in:
Z2I
--
--
TT
10887-74
32
39.
zz:
^H" 1
iS^-
"S" ZZ
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^R 2
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40.
pez:=3
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(&-*-
yfT^iJU^JliiU^JjJil
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43
31
r tCr i i r
44.
TT
45
I r rri^jUJ
-o-
I'rirJjJifTriJ j i J
10887- 74
TT ZZ
XT
The Tie or Slur.
33
Bindungen.
Z2:
--
--
I
-6^
dai
dai
dai
dai
dai
da.
dai
etc.
u.s.w.
47.
--
p
-o-
--
48. ^
221
-&-
72:
XE
XE
TJ^
J
S-N >
49.
71 rj 2
g
?2Z3
2ZZH
_2Z
Z2_I
& &
-a-
^=
-V
XT v 17
A 5
j
P-
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tP-
15^-
zn
e*-
&&
5C
a z
a .
51.
r i rnjj i jijji i
10887 - 74
34
* J4i4i j S
jz:
lit
22:
7^
'
pr
P~>
V N
>
>
--
#-
4m
h= L =^
U=
' "^-^
o -
m
V+&
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# #
PPlfS
-^
i o?
iS^
ja JM \jj =l
JjUunirnmiiiffii
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ifc
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i ijiiiTijrrrn[;
irirrr^^r^l
I li iji^p i rr 'ujr'pi^ri
10887- 74
jfn i ^JjJf'^'^rQij i ll
4 * - * 2Q
35
STOPFHORN
Man hole tief Athem, stosse den Ton ganz leise,aber be-
st immt dutch ; ,da'an, achte darauf, dass erohne jeden
Beiklang sofort anspricht, lasse ihn anschwellen bis
zum Forte, dann nehme man wieder ab und lasse ihn
leise verhallen, der Ton darf am Fnde niemals abreissen,
so/idem muss freiwillig beendet werden. Das Tone aus -
halten" entwickelt den Ton sehr, giebt den Lippen Uau-
er, dabei iibt man den genauen Anschlag,die Schattir-
ungen des Tones im Zu-und Abnehmen, und gewohnt
sich an tiefes regelrechtes Athmen. Beim Zu-und Ab-
nehmen achte man darauf, dass der Ton nicht zittert
oder flackert, (gleich dem Lichte im Luftzuge) oder
gar hd'her beim Zunehmen und tief er beim Abnehmen
tvird.
3
4
3
4
w^m
^
--
* ;;jg
3X
sharp
cis
--
c sharp d d sharp e
cis dis
dis
-0_
? ftt
0,0 4. , 7
izA
o_
3
4
31
/ difficUlt,some-\
what too low as ffl.
schwer, etwas
zu tief als f is .
harp
gis
o- c;
a
a sharp b
ais
f sharp
fis
1_
b bflat
h b
l
a
aflat
as
iiii
g flat
ges
-o-
XE
e flat
es d
dflat
des
?--
--
--
b bflat
h b
a ilat
as
g -
gflat
ges
eflat
es
. d flat
d des
4
3
* * *
3
4
if
fW
Mi
10887-94
very indistinct.
sehr undcutlich
CCF
v.
bflat
b
aflat
as
gflat
ges
*\*
e flat , d flat
TT
*P-
*P-
indistinct.
undeutlich.
es
d des
almost impossible,
page 9 (Seite 9)
CIS
dis
36
VENTILHORN.
Umfang desselben.
5
false
unrein
keji
difficult to produce.
schwer ausfiihrbar.
hohen f
gestrichnen Octave.
-I
--
iS
-o-
33:
J3Z
33:
ee
-o-
--
331
a:
or" m
-O-
oder \%)
C sharp
CIS
XT
tr
, d sharp P
d dis r e
gzs
c c sharp d d sharp
cts
dis
33:
-43-
i^
3
43-
3
2
13.
1 1 4
2 i n 8 3 k 2 L 2 * I
a #4 : IS = = zz = 5: h
-e-
odcriz)
g (1) ^ 2) a sharp b
fsharp
g sharp a
gis
ais
h
difficult to produce.
schwer ausjuhrbar.
c sharp j d sharp L
cis a dis
e flat
es
dflat
des
2
11
bi
-or-
33.
4233_
1
-<3-
331
t*
&
-e-
-e-
-W-
--
33:
oder
TIT
b
h
b flat
(1)
a flat
as
gflat
ges
eflat
es
dflat
des
2
3
-O-
<3-
33:
i
ttEE
--
O-
1
. 2
dflat
des
33:
--
e flat
es
10887-74
b flat
1
2
a flat
as
S
g flat
XT
87
XT
b
h
_o_
bflat
aflat
as
2
3
XT
-o-
S-
XE
g flat
ges
T5
e flat
8
d
l
dflat
des
b
h
bflat
b
l
o:
-o-
33:
J23X
SE
-e-
o-
33:
SF
--
*-
c h
bflat
a flat
g flat
as
^.s
e flat
es
dflat
des
bflat
a is
stents 'it***-*-
a.9
aflat gflat
a r P g ^.9 i y/s g gis
1 3 1
f and stopped
T5
(22.9
/* c
2
3
/to g
o *>
IS
S *% 1 "
3X
--
33.
--
-\ er-
--
33:
\odb\
--
TT
^L XT
XT
difference of an octave.
Octave Unterschied
identical in sound.
10887 -74
38
The Horn is a transposing instrument, that is: -
its notes are written differently than they sound, and
with the exception of the C Horn, all sound lower.
(The intervals of the High C Horn sound exactly
as they are written, but owing to its sharp quality
of tone this instrument is hardly ever employed.)
auf hoch C Horn ivie sie geschrieben ist. J J ' J -**>*v +***>,
P. _ _ g
V:
nr^
G. a Fourth,
G. eine Quarte,
F. a Fifth,
E. eine Quinte,
E. a minor Sixth,
E . eine kleine Sexte,
fci
D. a minor Seventh,
D. eine kleine Sep time,
&i
3
s
C. one Octave,
C . eine Octave,
1 F
ZZ2
**
in the
iJ * '
Treffubungen.
1. Seconds. _ Secunden.
i iiiiiiiiijijiJi-^if^pipf ; if ; rirrirn
IP J J 1 J J 1 J ,J 1 ,\ A \ d r} | d g | f | |[ r | p | |[ | | 1 1 | 1 I |
rj i v
P rj
10887- 74
39
2. Thirds. _ Terzen.
jjj i j.iij Ju-iiJfN r'if i i r i 'irM i 'rjrr
JZ.
zt
-&
3. Fourths... Quarten.
Tt-4 1 ^ p p ^ f p p (S
4. Fifths.. Quinten
I
I
Z2I
*H
(J
_1 ,
>
- d 1
Lf=M
6
d
-d-
>
5. Sixths.- Sexten .
9 >
m
22L
ra. r?
a 1 ' r <
^ h c
"ST
6. Sevenths. _ Septimen.
7. Octaves._ Octaven.
-it r i i p i i n i r i J r i r J i r 1 1 p i i p 1 1 f i - i II
10887-74
40
sein .
'W'j j
fe ff rr'
^m
production.
Die hohen Tone blase man erst dann mit, toenn die
i ' Jij j
TS
A minor. _ A moll.
m
pm
Ji r rrn*r f rr'irtfr E^
mm
G major . _ G dur.
E minor E moll.
mmw
-o-
JX
TV
F=fr
P^
Br Or I f ; >
pf
-o^
--
F major. _ 7^ </#r.
^m
rrrri JJ JJUjj
m
D minor. _ D moll.
pp
-e-
-^
**i
*
D major _ D dur.
*j JiJ < J J p i
p^
#W1
-o-
--
f^
10887-74
41
#ig
B minor. _ H moll.
,
*p *i , f y y
**
j j i j j i j <
<s>-
S^EEti
f^m
*$
if r i 1 1 r r i fP f T7
G minor.- wo//.
iiiij
^p?
frrttr i grip
rrr J iWjjjjin
5* "*
T5
|Hi
A major. _ ^f </#r.
iip
^JiJ 1 M = ;
I
^^
UH'ii
--
W|*i
5^
.. E major.- i? dfor.
j W % fj J 1 J J ^
Z2I
#-t
^ ^
J ^^^l
i^fe
ijiUJ i .N J i rr
10887-74
42
F minor. _ Fmoll.
m \ p J F | (g \>? ^ q
#P*
,J *
t*
zfc
IJ [J 1 J
3 **
i ^ J ^ J
pa
B major. _ II dur.
?
# a
P^
ZZ TT
fetfe^
SE1E
tt^n Nj
t ^i p bit i fbM.
rr^ J 'rtJijjjJ
&
W*
TT
IS
xr
fcfe
\ T b- f'U.
S
P
M>
fcz
V &
^5
siiff
-- --
Hi
JJjtp x f l f W
S
XT
^ % J I
=fe
XT XT
kte
=^w
F*
10887-74
-2 * * JL
43
r>
^?3
77.
1-*
i *:#.:
ifrrctf i tcrrj^
10887-74
JT^JjJJTJ ' JS ^
PpFH
44
i .m/a
j irtfTrf i rrr
JTUP^pyl
1 ^N
fi^frfttfrx f i Erfrrr fE Egf i rr.fc rrr ttttf i
10887-74
45
mp
etc
ti.s.w
JJJIJJJJJJJ
nrrrrrTfrrr
10887-74
46
$mm0m
^m m
10887 -74
47
12.
feif rrr
mm
(cut if necessary)
10887-74
48
14.
fe JJJjJjJJJ^J l Q^
4^
SiH
^1
ipp
^N
XE
Vi/
10887- 74
VORTRAG.
.*)
Mendelssohn
1. Nocturne from "A Midsummernight s Dream"(in E)*'- Nocturne aus Ein Sommer
-
Andante tranquillo.
1 J-jlr-JfMrT. r
IS* Theme.
lies Motiv.
24Theme.
2tes Motiv.
3(?Theme.
3iesMotiv.
4 f h Theme.
4fes Motiv.
ft#f#
5th Theme.
StesMotiv.
6^ Theme.
6te-s Motiv.
7^ Them
7tesMot.
8^ Theme.
Stes Motiv.
1?* Section .
lt r Abschnitt.
2i Section .
2ter Abschnitt.
34 Section .
3t? r Abschnitt.
4th Section.
^ter Abschnitt .
I 8 .* Phrase.
Iter Satz.
2^ Phrase.
2ter satz.
Period.
Periode.
10887 - 74
^Refers to the respective pitch of the Horn, i *)ezieht sich auf die
betreffende Stimmung dea Waldhoms.
50
Mendelssohn
rWplJg l cfr
s#g s
SB
Pp
J j^i[tsrr
^
I s . 1 Theme.
ItesMotiv.
24 Theme.
2tesMotiv.
3 d Theme .
3tes Motiv.
4th Theme.
ItesMotiv.
5t h Theme.
5t es Motiv.
6th Theme.
6tesMotiv.
7th Theme.
7tes Motiv.
8th Theme.
8tes Motiv.
IS* Section.
iter Abschnitt.
2<* Section.
2ter Abschnitt.
3<J Section .
3ter Abschnitt.
4th Section.
4ter Abschnitt.
1st Phrase.
l^Satz.
24 Phrase.
2*cr Satz.
Period .
Peri ode.
Beethoven,
l 6 .* Theme.
ites Motiv.
2 d Theme.
2tesMotiv.
5th Theme.
5tes Motiv.
f}t]i Theme.
6 f 'J s Motiv.
7th Themt
ytcsMotiv
S'th Theme.
l s _t Section.
iter Abschnitt .
2 d Section.
2ter Abschnitt.
3d Section.
3 t r Abxchnitt.
4t. h Section.
4-tf- r Abschnitt.
l s _t Phrase .
Iter Satz.
2d Phrase.
2^ Satz.
Period.
Peri ode.
l^Th.
^tes Mot.
2 d Theme.
2 teH Motiv.
3d Theme.
3tesMotiv.
4th Theme
ItesMotiv.
F. Lachner.
7/-
5th Theme.
jtes Motiv.
Ot.h Theme .
6tes Motiv.
7th Theme.
7/fs Motiv.
8th Theme.
6>^s Motiv.
l^t Section.
**f Abschnitt.
2d Section.
2t _ r Abschnitt .
3d Section.
3 te J' Abschnitt.
*4th Section .
4t? r Abschnitt .
jst Phrase.
iter satz.
2d Phrase.
iter Satz.
Period.
Peri ode.
4 **"*-"*
fli t rfc
w^
3*
Sp
t?
^ ^^^^^ P
~^~
PJ
a*
Raff
11* Theme.
Ites Motiv.
2<frheme
2tesMotiv
34 Theme.
jtes Motiv.
4th Th.
4-tesMot.
5th Theme.
StfsMotiv.
*)t_h Theme.
6tes Motiv.
7th Theme.
7tes Motiv.
8th Theme.
8tes Motiv.
l s _t Section.
iter Abschnitt .
21? Section.
2ter Abschnitt .
3d Section .
iter Abschnitt.
4th Section.
4ter Abschnitt .
l s .t Phrase,
iff #a*z .
2d Phrase.
2ter Satz.
Period.
Periode.
10887-74
51
10887-74
52
Flotow.
L, 1
3
^
_^.^_. -,*-
m d l m -4
&
%%rj- f 8
J) IjtJ- J J IjJ- J-
-&
p
m
Thomas.
ZZ
|J fir Pll
/T\
Jt^
?
I
A ^IlUd-IllC Ud.IlLtlU
* #-
Beethoven
r r r r r,-r m r r g rj i
^fc_i
? ^ r dj" 1 ^ p y ^ 1 1
Beethoven.
pi 1 H I
Bizet.
m>
10887-74
53
Brahms.
ifli < f
P d
\ >m f m Hzp
stringendo.
^ ritard.
rit.
^^
?=***=?
x p r i txr fa
Raff.
J?
EJjVl^
^PP
i ppplp Hr^i^'u a
10887-74
54
TRANSPOSITION.
TRANSPONIREN. (Uebertragen.)
A flat._ As.
Transposed for
Transponirt auf
F.
F.
E.
A Fifth lower
Quint e tiefer.
"Robert."
lowB.- Htief-
A fifth lower.
Quinte tiefer.
A fifth lower.
Quinte tiefer.
Meyerbeer.
10887-74
A fourth
Quarte.
lct rLrrTLXj-
55
Schubert,
m
m
ID!
for F. _ a
u f F.
pp
S5
-#-*-
-o-
a Fourth.
Quartc.
La Somnambula. Nachtwandlerin.
Dflat-Des
Bellini.
Stradella.
D._Z>
for F.
auf F.
if 3
a minor Third.
klchie Terz
10887-74
56
Flotow.
FP^P
J ^ r w r p
r~
for F. _
auf F.
#e=
hj= J>
- 1 m
^_
a minor Second.
kleine Secunde.
Els
^^
,>. .^
FP
Z2I
p3|
iff %^
fc
is*- 5 -
*Jilrr ^p j h*
,i
F sharp _ Fis
#
^i
57
t^ ltffl
$ h % >j y JP
G. _ G
gpSi31
A flat _ As
P *^
for F. _ auf F.
1 1- m
ttr f ; X
kkr, ft
m*
high A _ A hoch
for F _ aufF.
k '
This pa
i i -A
I
j j> r#^i
for A Horn.
10887-74
58
*
high B flat._ B hoch.
w*
Pis
for
F._ auf F.
<3&
1
P P
,s>-
a Fourth higher.
Quart e hi) her.
THE ECHO
DAS ECHO.
Echo. _
Echo.
59
fe
fcfe
-7 r-
^^
^=m
^m
w
m
i H I^Ji.
DOUBLE NOTES.
DOPPELTONE.
JQ_
jOl
x>
C\
n o ti ti
--
Cadenza.
Cadenz
*f f
10887 - 74
60
Exercises.
Etuden.
Sammtliche Etuden blase man auf die angegebenen,
verschiedenen Arten, man lernt durch sie sammtliche
Stoss- und Binde- Arten kennen und beherrschen .
OSCAR FRANZ.
i j jjiniijiijiirrH jiiimi'iiiiiTiii
ijnwjjijmHLTi^u l uj l uu t urir .
pfBggi
ins
$ siffftrw
Very short detached Notes
o Ganz kurz gestossen
10887-74
61
Slowly. Langsam
ir
^
--
TF
G-
-&-
wf
p
--
o-
^ I ftl ^
XE
P ' g )
32
J?
*?/ ^ gp 1* - -
3. ffi 4 I J ^=p
iS
jJ | iH j P
pp
ii==
^t
rf JJ i f^r J
jjf
fl *^~_*l^ *ft E?
I Jl'^p
10887-74
62
4.^
A A A
1
A A
zz:
A A
jt r r
=P=
Pressing in Tempo.
Etzcas eilend.
First tempo.
tErstes Zeitmass.
22
1 ' |L
^
;:mP
s;
A A A
i=
P
I
/^\
IS
\J
5.
Slowly. Langs am
^
^3
-&+
P .
^pa
10887-74
ZZI
r r p i t fe
rt>
^ \^l
63
6.
mf
fep
mf
m
Gayly. Etwas munter.
.?
**/
ff Tn-p
10887-74
64
8. | a JT3 j.
zzz
mf
&
j Lll<LA
3^
i m 1 1 jt^
*Sf
&
3E
"''- '' J B^
J'l'f i
I*
j j^i r J>jj
^mf ^
<-*-
&p
sc
y
r~^-
v^
10887-74
65
? e I 5
y
*
g | fj |
^Sf
rs
11. iP
&
J - ^
If
p \
iH
r^ p \
22
Z2I
22
XE
-*,
^
^Mif7TK^lfrf^ i tt ^
zzz;;zz
Fffrf
P
-*^
**S
33:
5C
ii :o
g =s:
2Z
SI
n nrs ; i
3X
i> r t
F=F=$
-O-
si
=F^ :
^
I
**=^3
=k
ii a
33
2=r
fe
=?
' , I J I
^t?
I*/
I
<C\
--
: r\
33:
2=33:
33:
3X
33j
--
33:
^P
v^
10887-74
66
mm
10887-74
67
Gayly. Munter
13. p t ^ ij
MrmLj*
8f
^#^-
10887-74
68
69
15. |jpp|jj j
if
^m
[T^^lJ^CL
I LETCH
// =
rrr ^Tj
K jfiTm
mf
Ul ' J J i ii j
108S7-74
70
z&
r p - _
m
m
^s-
IH
^W^
PS
J^JJ J
J7JJ73JT31J
*- J <c-#
S
-6M-
it^lLCrr
^g=g
^^
^# 5-a
r\
:: \J
10887 - 74
71
i7 - msm
Diminishing in tone.
Schwdcher werdend.
mm\ \ br ^ g p
Diminising in tone.
Svhu'dcher werdend.
iN
i
r^
pp
w^.
-&-
m t
\*
tz
/(Jett
Sgs
frrJTI I il l
77.
B.C. a I Fine.
10887-74
72
18. ^^
& G-
J> | J J I J. a
^->
fi> S>
& &
r *JiU J
i
ppp
pi
r^ r j
fe
slower.
Sl
HP tnm Very
In first Tempo
JSrstes Zeitmass
-# *
>-
gj * j)
Jg#? Very slowly.
*yM/* langsam.
mf
| J. ^lJ J
10887-74
73
19. ^g Jm ^J lSl
Jff' i r ; )
ss
F?
2>
l>p a J')
- " " ~ v
p?
<^; ^ -^
mf
m Vi| | i *M
^
,u. jipt i
^ jii ij^ i
10887-74
74
Slowly. Langsam.
*tei
%
i
j y
mm.
^s
Slowly. Langsam.
-^ -Lj 'J^-- J [i _ ^
i
.?
J i rrrr tt pT i rFr^ g
(9-1
mf
) -
ir
,y
zz:
l^..\rni i fr ida
'=_a> '
izs
i
10887-74
75
22.^
CSS
^3
^
r c; irccr
z:
./
#^%
y r i r ' V j* I p^i
7"
#
' a^ ~ m
I J- hj)
HI
H4l*P* + v V j
f r7>
g
=z
V 4
'PC
gZM
ra
J^
mm
\*-J> p
^ Very
<S^r
m I 1 1
.^ JTn r?
^^
f=
s:
jHPGetting
quicker.
Eilend.
H^ J;
|l-P=P
/ _^
^s
In first Tempo.
Erstes Zeitmass.
?
f
ftJ I s > || J M IS
Getting Slower.
Langsam werdend.
PP
= -=/-
rcJ | r fcJ | r p^
[jlf ^llf i l l
10887-74
76
Gayly. Munter.
First Tempo.
ft\ ^TN > JErstes Zeitmass.
10887-74
77
Quickly. Rasch.
' Tl"^ ^C 1
^ f? rrecD' iaH i
10887-74
78
ifc?
r^ i r^f jm ggfig
j^^ _ =
libitum.
Zuriick haltend nach Belieben.
10887 -74
79
Andante con moto. Langsam gehend
^7^"gtf
f 'j'j. .JJ4 :
fe
J .hi M I ]\> P
^^
*"
mf
FrjgJ^y
^ > J J-H^ l b J - it J)
'jj-^^-^tojir [i
rp- cl g
fF' t
\-^jH*<j.j
-22?^ Holding* back in
Tempo.
Zurilckhaltend.
Frstes Zeitmass.
' j m
UXJ I 'U,j|Jj|
<s> #
^te
iM-
^m
'^
-^ L * H ' Sl-_ M
Z2
H|
V
-J
iWW J
pF^PJI
l uTr i rrrv l)
Very slowly.
SeAr langsam. **.
v - ' /**2r
10887-74
^ _. _. .
s^ ^
80
Majestically. Majestdtisch
Slowly. Langsam
jl l 8 * Manner. Art I
ft ^ ff b
fl I I: J J* I J>
~z^ ^^"
&
-^
: ?= ft =? :
mmmm^
10887 - 74
81
f^ First Tempo.
I K Erstes Ze it mass.
vy Langsam werdend.
Gradually getting
slower.
5
10887-74
82
29.
J 1 jTTTi iu
oc
' ^-
J tt i - i c rr i ra
^ ^T ^"^""^ CSS
si=3
fe
so:
J^ p r Tr I
^
10887-74
83
The Trill.
Der Triller.
Notation.
Schreibweise .
Execution.
Ausfiihrung.
fr
--
^^fp
$r
^t-
from above
von oben
i
ir
-e-
from below
von unten
#v
S&V
fa
e
m
IP
10887-74
84
PREPARATORY EXERCISES.
VORUBUNGEN.
fttrnrrirrrrirrrrirrrrrrii^^
30- ^Fj
* felt
-<&
10887 - 74
85
ifc.
r cJir
^r
#* ?
#v
pr=i5
tfr ?
j ^
fc-
^J f3 ! -?-,
3Q
fl
I a
rJ id i j
*^
P
IP
Increasing in Tone.
Zunehmend..
-f
i 1 '"tf 1 s J j,|
&v
'*%^^^^V^^^^^'^-%^^^%--^^^%^'^^'''*^'^'%^'^'^^'^ * ^%-
t^- 2 -
^J
^~
zz
1
^-*-
mf
ft.
ft
^g^
' ft
u ,| rJ,J Lr
*g u*
Egg
^
T
p^
^f
,5
^ i |J7ti^ J [g
ft
tfr
r\ r\
mf
f
a ri .^^
JoqpS*
10887 - 74
86
Majestically. Majest'dtisch.
Oscar Franz.
mf
r*=%
22
f ^P \ JJ ^
^ Somewhat slower.
Sin wenig langsamer.
zz:
^L)iJ-
***f
v b r i jJ J^ ^rf^r r g
In first Tempo
^ . Srstes Zeitmass.
Somewhat slower.
Stwas langsamer.
img
=fej li> i C . V:
ee$
m>
^Ty^
^^
*v
10887 - 74
87
pjppjip i ^j^-flj'M-P I
e* l b J is !
cres
In first Tempo
Erstes Zeitmass.
_ cendo.
mf
22
fe
fe
tw?
Jf^?
J0
In first Tempo
^ 5 . Erstes Zeitmass.
_ - - W n fi - - 1 ^ ^S ^3
i 1 1 J- I J -J4f
ss
I
c\^
* 15
^Z=*
10887-74
88
Ma j e s t i c ally. Majest'dtisch
2. i JUl
i f ii ^jxrir^Jiir ^\M&0 m
de Mflpff
^= ~|Ji^ E
w[ML
In first Tempo
Erstes Zeitmass.
put
z:
4*
a^fel^
^ e:
"27
ifr-
FlgS
89
ntf
cjht
4
*J^!
tfv
p^i;
S^
1 /W
3g3
*V
rffgCM
luxr 1 ^ 1 uxr
5 B
&
* -*
tfaii
72T?
tfr ^ ^r
^^
#: ^'^ g*:
fa
\P res
Sff
> J ' i ]-
tfr^ ^
/W
j #:
*/
tfr
tfr
Kl LTrjrcJT- ^P
^iw
*^
IBS
HP
g> Cs
-^ slowly.
Langsam.
m>
10887-74
90
ttd
^^jl
A-_ 1
p * p **
#
Jt
JF^S
r p r p^p | f^ ^
M^-- A -*
Sv
lai
' 4
^S
rfl i r> a
&
CJrciJ I r pr pir r ;
WnMmM
<f
V,
\>
^ rr p,r Pp p | Tp^Hiri^
w^^m
Mm
fc
i^^*
5
flj-* J>l^t
fc=
r~^.. 7 A ,A
NM
A A
Slowly
Langsam.
=fe
r rgrf i p^p
Pi
^>
: ?
#1
t:
' L
1-* '
t vN- l rrp
(^H*
///*
i
tai
SiJP
3a
rcicrirrp
jijH'1-jj^.^ j
3 ? ^ Pfp l * * ^*
p- , p >
fe
Very animated.
Sehr bewegt.
^ ffl
1*
p3
0^-0\ l
*m
F i r^-Jifir'ji
^V- * ^ A
IS
=?FJP
P*t
f
10887-74
91
^^
e^F 2
fc kT* 1
frW
*--
:p=5
^ m r^ 1
w
/ ntf
&
-+^-d
&*-
m\
wt
fe=
fpsg
i ' j jp
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Sehr bewegt.
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Sehr bewegt.
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Amoroso Affectionately
Animato )
Appassionato. . . .Impassioned
as an embellishment
Decrescendo(decresc.)DecTea,amg in strength
E And
piano
strongly accented
Grazioso Gracefully
like Andantino
staff
Ma But
Ma non troppo
Maestoso ....
. QUI
Mo I to Much; very
Non Not
easier method
~leasure
Dyin j
At pit
Very i
Piacere, a
Piu More
repeats
Binforzando . . . .With special emphasis
Bitardando (rit.) .Gradually slower and slower
part
Segue Follow on in similar style
Morendp
tone
to a weak one.
Tacet "Is silent" Signified that an instrument
Tranquilto Quietly.
regular rhythm.
Troppo Too; too much. Allegro, ma non troppo.
Un >A,one,an.
! i m
szxr ::::
. ...
!??
42 chapters, all fraught with interest for the progressive bandsman. Among the
sub-
jects discussed are; Rehearsals, Programs, Seating Arrangements, Intonation,
Sight
Reading, The Playing of Marches, Massed Bands, The Cornet Soloist, Cadenzas,
etc.
Covers briefly the construction, tonal qualities, range and special uses of
each instru-
ment, not in its solo capacity, but rather as part of the ensemble.
Illustrations show
correct playing position for each instrument.
Presents the use of all the chords of the various degrees of the scale, from
triads to
ninth chords. These are treated in 4-voice fashion, with special emphasis upon
the
best practices of part-writing and chord connection.
B- 1 Printed in U. S. A.
3 1197
3 4811
'\
~Vi.
IAN 2
JH?R1_5
JUN
DATE DUE
1997
JUN 2 2 1999
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SfM-
w i ; ^
JAN 4
0CT0D
am
DEMCO 38-297
jt&H
ESS