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Bass Clef Brass Instruments

Edrn/in Fronko

Doily Embouchure

for Bcrss Clef Bross lnslruments

Daily ]lmbouchure Studies
Written for tl:e practical needs of all Brass Instrument Players

In presenting this little brochure to cometist:s, trumpet players and performers on all brass instruments, I had a three-fold
pu{pose in mind: to provide study material for improving the ione, perfecting the technic and strengthening the lips and the
muscles of the cheeks, the latter having so mu:h to do with satisfactory performance. The exercises are not wntten with a
view to being either tuneful or melodious;; they are exercises, pure and simple, nothing more. They are not difficult, techni-
cally speaking, but ifpracticed regularly and conscientiously, the lips will be so strengthened that all the difficulties ofthe
instrument may easily be overcome. Thr: first and most important requisite to anyone who plays a brass instrument is a
strong lip or "embouchure." Once that is acquired the rest is simply a matter of practice and perseverance.
I have used these exercises daily for rnany ;/ears, and have personally found them to be very beneficial. They have also
been of great value to my pupils, and have recr:ived the endorsement of many distinguished performers.
The best time for the practice of thern is irr the early moming. If one has but little time to spend in practice, and will
follow the suggestions herein laid down lbr that little time every day, the lips will at leas.t be kept in good condition; and in
a few weeks' time the result will be manifest in the much greater freedom and ease of performance, greater surety and
flexibility of lip, and a surprisingly better quality of tone.
These exercises are a daily necessity; and after their mission has been accomplished, the most difficult solos can be
mastered with ease. It requires only a short time to go through all the exercises, and if they are studied and performed
according to directions they cannot fail to achi,:ve the desired result, viz., a good and strong embouchure.
Edwin Franko Goldman

Where I have mentioned "Rest a few minutr:s" I have purposely refrained from specifying any particular number, for in
every instance personal judgment must be exe:cised. Some lips are weaker than others, and for this reason some players
require more time for rest than do others. Whenever the lips feel refreshed, corrrmence the next exercise.
Beginners should play the first exercises without any attempt at crescendo or diminuendo.
Let the low tones sound full and round.
Always commence with the first exercise.
Whenever there is sufficient time to do so, ri)move the mouthpiece from the lips, if only for the small fraction of an inch.
This allows the blood to circulate more fieely, md imparts renewed strength to the nerves and muscles.
Ifthe lips tire before eury particular exerciser is finished, discontinue it for the time being, and after a short rest proceed
to the next in order.

Copynght MCMIX by Carl Fischer, Ncw York

International Copyright secured.
Copyright renewed.


These exercises were written many years a1;0, lt have just looked them over carefully
with a view to improving upon
them if possible. After careful thought and study I have no wish to alter or add a single note.
Before writing them I had consulted the groatest cornetists and other brass authorities
in the world including the
famous cornetist Jules Levy and they were all ergreed upon the proper method for improving
the tone, securing po*",
and endurance, and perfecting the technic.
These exercises should in reality beccrme the "Daily Prayer" of every brass instrument player.
The playing of sus-
tained tones is the most important form oll exer()ise on any instrument whether it be brass, reed or string.
Volumes upon volumes have been written in the form of exercises, but nothing has or ever will be written
that will
improve the tone and strengthen the lips of a wlnd iinstrument player more quickly and permanently than the proper
simple practice of sustained tones, regularly ear:h day.
JanuarY, 1934 Edwin Franko Goldman


Edwin Franko Goldman is one of the outstandirrg figures in the world of music today. The descendant of two great
rnusical families, he convinced his teachers (larl Sohst and others at an early age of his immense talent for his
- -
chosen instrument, the cornet, and at the age of 14 vvas given a scholarship by the renowned master, Jules Levy. His ten-
year association with the Metropolitan Opera Orchestra began when he was a lad of 17 and already a famous cornetist.
Before he was thirty he had played in orchLestrar, anrl bands under most of the great conductors of the day: Gustav
Mahler, Camille Saint-Saens, Luigi Mancinelli, Anlon Dvoriik, Alfred Hertz, Walter Damrosch, Emil Paur, Felix Mottl,
Engelbert Humperdinck, Arturo Toscanini, and his uncle Nahan Franko, among others. During this time Mr. Goldman
also made a name for himself as cornet solloist, and as organizer and conductor of small ensembles which were in great
As a composer for his instrument Mr. Goldnran has contributed innumerable instructive and solo works all of which
proclaim his varied talents as both a pedagog and soloist. Prominent amongst his instructive works, his Foundation to
Cornet Playing and his Exercises for Doultle an,l Triple Tonguing may claim first rank amongst similar modern publica-
For thirteen years Mr. Goldman devoterd his entire energies to teaching the Comet and Trumpet. Pupils came to him
from all over the United States and from rrany f oreign lands as well. On the basis of his experience as a teacher, he has
written numerous aids to the study of the Cornel, in addition to the above mentioned methods, Mr. Goldman is also
known as the composer of numerous works for various brass instruments and particrularly of many brilliant cornet solos
which have found favor everywhere.
In 1918, Mr. Goldman abandoned his teaching activities in order to devote his entire efforts to the formation of the
band which bears his name and which is so well-known today. The Goldman Band has been pronounced by all critics to
be unique and to have no equal in the world. Its annual suruner concerts and frequent radio performances have been
heard by millions. Mr. Goldman's efforts tr)word rairsing the standards of bands and band music have eamed him the
reputation of being the creator of the modem syrnphony band. In the interests of bands, Mr. Goldman has repeatedly
traveled to all parts of the United States in order to ardvise and inspire others, giving generously and altruistically of his
time. In appreciation of his endeavors, Mr. GoldmanL has been honored by presentations by numerous Universities, Bands
and other organizations, and has been the recipient of official honors from the City of New York, the Commonwealth of
Massachusetts and the Governments of Itaity and Frau:ce. Mr. Goldman is Founder and Honorary Life President of the
American Bandmasters' Association

The Publishers

for Strengthening the Lips, Improving the Tone
and Perfecting the Technic
Written and compiled for the benefit of performers on all brass instruments.

(Figures over the notes are fingerings for valve instrJments. Figures under the notes indicate positions for slide Tromb.)
I. Strike the tones softly but distir:Lctly, and in making the crescendo and diminuen^do never allow the tones to become
sharp or flat in pitch. See that they are kept perfectly steady.
(Where fingering is mentioned, the sentence rr:fers orrly to valve instruments; not to slide Trombones.)


,gp prL;r>pp

Or-+\ .^-:

Rest a few minutes.

lI. Practice in the same manner as No. l,


Rest a few minutes'

Copyright MCMIX by Carl Fischer, New York

Intemational Copyright secured.
w1202 Copyright renewed.
III. If the lips become tired before thris exerrcise is completed, stop and rest; then go to No. IV.

Andante. 1z--.:r---.:


,, 1-^-,/---

Rest a few minutes.

IV. This exercise is wholly on open tones, ',vhich are the most perfect and clear of any on the instrument. See that the
slurs are cleanly made, and that no stray notes are allowed to come between those marked.


Rest a few minutes.


V. For this particular kind of slurring it is well to make use of the false or "artificial" fingering,
as indicated. It is quite
true that the various intervals will not b,e as
f,erfectly in tune as when the more common or 'inatural,, fingering is em-
ployed; but the exercise is only intended as a medium for strengthening
the lips, for which purpose it is very beneficial.


,'I 1

Rest a few minutes.

vI. Try to play this exercise smoothly, ancl with a good tone throughout.

Rest a few minutes.

VII. These phrases are also to be fin6;ered precisely as indicated each without change of valves, and in one breath

Rest a few minutes.


YIII.This exercise in tonguing is most img,s6an1. Use the syllable "tu', and ptay the notes distinctly and evenly,
without any accent.

Moderato, ',


From here to the end the articulation will be found

very difficult, and must be practiced carefully.

Rest a few minutes.

IX. Play each scale three or four times, wilh sharp tonguing anil in good rhythm. Observe the rests. Do not play too
rapidly, and see that each tone is produced clearly and distinctly. These exercises are also excellent for finger-fractice,


Rest a few minutes.

X. Play this exercise precisely as wrilten, the eighth notes even, and the quarter notes all of equal length. Sharp

XI. Sharp tonguing.

XII. PIay these exercises over sever,al tim:s. Do not play them too fast at first. Master the fingering well. Play as
smoothly as possible.
(Trombone players shoukl not attempt to slur the tt,llowing exercises at first; later the silent tonguing ( ) may be used in practice.)


rsBN 0-8258-0551-ll


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