LESSON XV 123

Slurring
Slurring is accomplished by relaxing the embouchure in the lower register and by contracting and closing
the lips as you ascend, the degree of relaxation or contraction depending upon the depth or altitude o f the par­
ticular tone or tones to be played.

Seconds
Jz 60

ip l ©--- ©---©—L_©---“---© © & © -G IZZ

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Fifths
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Octaves
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124

Fill the lungs to utmost capacity and play softly.

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 125
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 127

37 if e s j j im u p
J T n -rrn
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128
Play the entire exercise in one breath.
J = 12b
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= t-t= t r - x ii ii - 0 r-+ -f ------------ - , * q = — * - j — M E
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Study
Moderato
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 Solo 131

A llegro
The Skating P arty
J=112 to 120

r\ Modera to
/TN , J=92
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Urnr.

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132
Duet
Andantino
«hr84

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 LESSON XVI 133
Lip S lurring
These exercises are played with the lips alone, recourse to the valves being required but seldom. Soft, pliable
lips, an abundance of breath and a free manner of blowing the wind are important aids.
Constant repetition must be made.
J=116

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6
i^ r i i
Play^op^n, then with 2 ^ valve down, then 11*, then 11* &21L<*, and last all three valves down.
fj? 0 .= WW"\ P* ~ \ ^ Ui___ 1.^
1 P r nr if M p = ===^ ^ g E = lg==p :

a_ C2i P-i W~~ —w

I m t rr
722
t rfi i r r if r * N > i H i Ji | H |
Play in a similar manner, the pitch of the tones depending, of course, on the fingering used.
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134
 135

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136
 137
J r 88

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IT
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# = = * £ ?
y y J y U i V r ^ r ^ r i - lf' N *J f
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" Jr 88

07 fSL /♦ J : ^ = — j ^ = ---------

£ = N f m ^ j i ^ J i r j m r j r j i r ^ j ^ ^ t ^

^ j - - - j | Px , j t r > |»>| | ^ ' | f ^ | i i t r ^ i f ) f f ^ f ) i f ) ^ . . 4 i

^ ( j i r j ^ r j T ^ r j r j i ^ j i j r> 1 w n H ' r r ^ »

JrlOO

Oft A i* ^ ^ ^ ¥ r ? = f = = :s r ^ ? * r r : ^ f
- 1 -------------4 ---------- — r -v > ~ ^
— r ^ j 1 -4 — “v i — ~ -g L -jj—
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138
 Study 139
A llegro
J-120
140
Solo
Mode rat o
The South Sea Polka
4
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Pi 11
■ P * -* = r ^= r=
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— . 11- Il2. rit. I

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 141
Duet
Andante
J=72

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iz:

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^ ^ = X = r r ^ sr 5 ^ ^ ^ !!gu-----------g - ^ p r
^ S :: ^ 2 £ = = s = S
142 LESSON XVII

The Lip Trill

The Lip Trill is the culmination of lip development and is the goal of proficiency which every ambitious cor-
netist should keep constantly in mind.
In order to play the exercises in this lesson, the embouchure must be very flexible, and care should be taken
to hold the mouthpiece as lightly as possible against the lips. Practice the exercisesas softly as possible - just
in a whisper - and repeat every exercise fifty times before advancing to the next one.
The first nine exercises are preparatory to the lip trill.

J=80

Q— . ;;yj ,p i:rr ■
°
Ui
lM f
pJ :
L rj
vrJ y ■ rj
--------
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= t—4 f f = h FPb
o- -i 4
---------1
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2 1 i
 143
-80
a 3 3 3 3 papa ■■■ phh mammm
—-rn m IT
jm~T>
v^vy a* W W W WW ^
W ^
rm—m—
m " m " ar~ m»rtr mr m rm---
m rm—m—
m r m rm \P0~
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^ w w\
^F
1'''■"------------------- *
3
2
3
' L
1
£fta-£u LU 'ILTLD LUL-g3
2

f ^ f f "f
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'F\ t
n»T T
m i n
t r~ “1—r ~ “i — n » n w i w i i » n w
m i m i mi i»n mw
-----i — * --- —1
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rr* J—
1 9 0
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144
 145
J -1 1 2 to 1 4 4

rrrrrrrrt#
£ £ U. . • • L . . . ^ ^

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—

2
3
1
3
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146
The Lip Trill Proper

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B J J
1 FSFitr m
2

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a r M 'g C f l 'T O a i f m 'i i i j liM M j g i a 'f l B i J '1" 1

¥
 147

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--- rrp 9p 9 r r t» 1
==u-s£ b J - ----- =i ---== -gp------ r n i i n -h i
3 a
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^ m ^ ^- m —m—m—m - m —m
wj—wj—wr~ Wi—^ vj -----
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± \ ± u - : i ± = - = t = t= = = = =

u.
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— 11 i t i n N n rm nn nn n n |*— o
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a a =f p r f i ifffff f - f ■? 1 n^n
P==="-t-y ==*~ - * -4i Ft = = l - U J - k B B S p B B J -IB B J seek P
t H p ^ i
3
 149
Study
The trill in each instance is to he made without change of valves, using the fingering indicated.

<#•(0) cfyr»'W W W
«■ 4r(»)
^ -------^ H
^ - 4
^ ) r ■ ^ ■ f fU f —
— ft* - w— m
■— — m -
5 ft 4 ------- ^— r— k - -
p ^

w q IrW ____
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- H
150
Solo
The Aeroplane Quiver
Adagi O J Z88

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*
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1
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r wm —— m a f frp
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Duet 151
152
LESSON XV11I

Intervals
The playing of Intervals, like Slurring, depends to a large extent upon proper relaxation and contrac­
tion of the lips on the mouthpiece, but there is this difference; in slurring the changing of the lips from
loose to tight is accomplished g r a d u a lly , while in the playing of intervals, the change is made abruptly
and instantaneously.

Seconds J;6o
U t . --- --- —i— \------------ 4—
1i A —71----
— p c ---- 71 r^- f * 7J * 1 *-----
O ni »_ ^
____ __ i
■ ------------^ ------- — —
—
i t '
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o o ® GT----------- O f---- ——----------- ^ -----------------------

w ^ ---- ---- ------ ------ ---- ----------- ------ ---------------------------- ------- II

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i r — ^ Ta 3 1'
0— — 0 a 0
T h ird s
a
i
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. ___ M2--------- ___u * ___
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/ On i i 1 ^ ---- 31-------
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n
w a _---- C l---- --- ----T a
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— Ta ----------- 71
ca -p
pr 1'
P
r j ----—cr----------- or------ —----------- —---- -------------------
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y n ------ ------ 1
J L ___ a ________ ■3 ^ y ^ 1 71 1---- ------ 1------ ... 1 1 1
T ri r Cr----- F---- 0 — • — Ta ---- 71------ 1
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r r n t j
w ___ J ---- ---- T a Ca 1
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f t F o u rth s
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f >•
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r

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1
n ----------- 5r----- 1
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11
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CA CA p -
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a F ifth s
t t —n ---------
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5r----------- n r ___ A------ 1

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T>t% m Ta (r ____ ML ---- fcl___ __ r l
■VT7------------- ------ --------- F----- F --- Ca ----- Ca CM 1 C l ___________ 1
t f ----- -------------- ------ M -------— 1
a S ix th s
a ___ l_— --- ___a ___________________
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n r n I t ------ h — r . ----- i---- p» i r ___ Ca — ML ----- CA
A - rJ rJ r
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_ L _______ ____
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-IS** n
^ ^ ' a ___ ---- « ----- --------------- ■
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r -------- 0 ------------ 0 — 7a ___ C l__ ML ----- 7k __ Ca ____Ca ---- 1--------~ __ ___ 1_____r '
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Study
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16 2 LESSON XIX
Velocity
In playing velocity passages the student must learn to keep the tones close and w e ll connected. Flexible
lips, perfect working valves and a light finger action are furthur requirements.
Always start slow ly and work up speed gradu ally as you gain a mastery of the exercise. Best results
are derived by practicing the exercises softly. _________ _______ _
 163

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Moderato J.;76

Exercises 23 and 24 are to be played as many times as possible, in one breath.

166
Two Exercises for the Tongue and Fingers
 167
Study
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H ill and Dale
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170
Duet
 LESSON XX 171
R elaxation
The old style pressure method, involving great strain and tension of the lip and throat muscles has ru­
ined the health as well as the embouchure of many a good musician. Relaxation of the cheek, throat and
lip muscles helps to get rid of pressure and improves the tone and endurance.
11
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Keep tongue thoroughly relaxed, both while making the attack and while lying at rest after the attack.
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Breathe the tone gently into the instrument. On the tongued notes use a lazy tongue.
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I Relax the embouchure and observe the air pocket under the upper lip.
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1752
Exercises on R elaxation
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 1 73
, , R e la xa tio n Studies
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1 76 Duet

I
 LESSON XXI 1 77
Open Mouth and Throat
The quality and proportion of the tone depends largely upon the way in which the inside of the mouth is
used, a tight or contracted mouth and throat producing a small, piercing tone, and an open, expanded
mouth and throat aiding in the production of a broad, vocal-like tone.
First play with tight, contracted mouth, afterward practicing with mouth and throat expanded.
J = 126

i I e® Tl -e-
5t 2 «■ * * ^ ^ ** -*
_o_

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£ £ TT rJ I o ^ ^6

v
Ipr
— r
o Lfil ■■J -e- ^ J TT
TT ^ -c
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Play first time through with a t i g h t throat, thereafter practicing repeatedly with a relaxed throat.
J .: ~

» t » j - Q j T i i j j p , j p |jp 3 J 3? i J ^ f ! ? ? r r r r r f r i c I r c E f |cC rcC rtr r £T i

B g g W U U 'iJiJ, 1
Experiment with open mouth and relaxed throat until the difference between the two becomes apparent to you.
fl J' =*>o
=h0

§ ip
ww
i r o i m
^ TT

J^iffrrir'rrifrrrirrJJujJjijJ^JiJrfJ i
Experiment with the articulations “ta”“ti”“tu” and “too” then decide for yourself, which articulation is
most conducive to an open mouth and throat*
J-= 80

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178
Do not use a sharp or pointed tongue.

6
raPfzl**—■ —~
—
iTi r rr-rrr ^-F H -F ^ h " " f r - i—i—i i i i-
• J* J.J3JJJ

Plav in fours, each erouo smooth and well connected

Avoid a stiff, contracted tongue, while working for the open mouth and throat.

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 179
Two Studies
180 Solo
M aestoso js„ The Spread of the Eagle’s W ing
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 181
Duet

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182 LESSON XXII

The Portamento
The portamento is a little note which simply repeats the previous note and is c a rrie d to the following
note by slurring and may go either up or down.
Care must be observed in order to avoid playing the little note too short, as this would give a jerky
effect instead of the desired smooth legato. It is lo n g e r than the grace-note and never comes on the down beat.
The appearance of the little note in the portamento is usually the same as the grace note (^0 and relies
on its position on the staff for its effect, but in this lesson for sake of distinction it is written (it)-
1 - Exam ple
As written

As played

WaltZ Jr 184

I
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ff
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L-f----1 'irf-----
rJ m -r-f*
J.

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225
0 ^ 4 m

P \r J .
r^ T
Moderato J= 7 «
Ijf- ^ 22 m

|>.f m :£
p i^ f ^ r 1

Illustrating the use of Portamento, also single and double Grace-notes in the same melody.

4 - &------- V —• ---- e=— F = k j ■—

r k 3 ^ ------- • ------JL n p = i T — -------
l = J

fl? ' i#
$ I |g r - _ f c _ c
 183
Study
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1 84
Solo
The Alpine Horn
J = 88
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 185
Duet

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__ l_ * : ~ / ___ p- _ 7 — 2 = 1 b rf a)» ^ J ^ ■ *
18G LESSON XXIII
The Short Grace Note
This embellishment is played in two ways.- (1) by deducting the value of the grace note from the preced­
ing note, and (2) by taking its value from the note to which it is tied The second method is more sprightly
and gives the crushed note effect.
1 - E x a m p le
As written

As played
(1)

( 2)

Play each exercise both ways.

d‘ : 144
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pd u}. ^
U h i H^
-h
L .8 j y wt [ g a t ^ p
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r * ■—
ih r - 1 --------------------- P? ?F =^ = r p L - . I,
^ fc £ — -J -z =L — ~ 7 2JJJ.
187
1S.S

11 j £ a = .................. - ---------E7“4 = —
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---'if ■' — ^ 5 b
q - ^ J - b p - 9 dL -----
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p *■ t "3? r
, - J l L _ ^ 'Lm - U t p — i t f ^ r i,.
= E
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¥ = = = £ = = — :

► «
r> - f " lilt b 4 r # ---- *-
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I
 189
Two Studies on the Short Grace Note
190
Solo Waltz
Short and Long
1= 76

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 191
Duet
192 LESSON XXIV

The Double Appoggiatura

This embellishment consists of two grace notes which deduct their time value from the note which pre­
cedes and not from the note which they embellish.

_mJ. L m, b ^ ^ • F ' I^Nf— - "‘r— *^ __„ ___1

m fl a “TT-
-1--- #1 TI —l!------- i t - ____V
a 9
-— __ cj. __ • i
__tz__ ♦1
M l ■I 1 ts r

i L i— |—r- * T n . • . K’ a ~r .n - i — - - f + - • =■_—— J ^ p ^ z + z f i z z - z ^ f t z S z
rin <r 11 n ^ *4 0 0 ■p a r m<m
• jr---------— ---- • —t ——
- —a■ r ^ • • )1 |
W v — r 1 m --M
mf

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rt~ * as—=f f)— a ------ t1—
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bu
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fL > 1r l t r- ■-=1 ■ U ^ :— = E E g * f c -

J2—
P—
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 193

Ascending
J-r76
g rrj it o r Pi*r rj^j p
- 5 « "■"« - j . . » p r - -p-’ -flp , ----- * ' < i $ ~ --- •
1--- —r W --------^.J fl>% r+ m '*" “
1 P = U -P 1 ■ If C J J II *— r

I E^rcc/ 1r -t £p p

* e = S*f i - 1
Descending
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l u r ^ r r ^ 1-- £
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£ | n h = ^ 9= = j = - =f n J 1 = ^g ~ p = - —rr;---- i— 1
i j t J J a * L ^ jJ - — - ^ J -------- J —L i 1 J + ? * M
A llegretto
J-= 104
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p y J P i r Hf iip M #-«L^ S

# 1^ P r C c r T i> 1G r p ? j-J T 3

±
j'j h g -n ' i a r r ^ a j ' ^ i i J j j N 111 Pi r r V i, i

§*JJlr rJ rn ' r PCj^i^r rm r ^ i p J g

194

* Moderato J = 92
=£
lip p
7

j t f|l<Lj4 f - W ^ S^ »'
^ m T 7 ? O T laft l
P

3 ?
§s c / i r ^ i r ~H
Moderato J.=84
8
4*^r ir r r r 1r ilct ~ 1r ~*^ i«tj j^j' ^
eS
jrsjTJIr p E ■<g fe e g

/TN

m
m i m
& is
+ ' + aj j ij g f J 1J - . . . . i U J I f t - m
D .C .
Moderato J=92
5
9y gg ctt% 1^ r rrgif Wi rjr1

ft ^ -ft-f—a : i : f i zfc 5 = = s =

^ j j ^ if ^ ^ j J | j j j ^ i a A | fr-|?|Tf friJ_J ll'i' J ^ i f Jlr r M

S'1 n - | j i | i n r i ^ i r ' r c f i , . " n r Jni,j_ijj j i N g g

 19b
Solo
The Prairie Dog’s Frolic

-0 I17-- —-v 1 ' II 1 1 " _ ^ ^ ^— Ihgzdfl » p ~ —

±-m ir r 9 I \
z ^nm-^g j -—
r r^
ri
H - > + - f *------ jP *fc± f ^
urn
Duet

4'i, E=-1-4= —* ^ *—_4

9 .
•*S4-_~4 f_• -4» >-4. jp jf :^ = r \ e=o r $ .—
d l r
4 *---■
4 :.p4-^
* JO 4 = 4 44= 4=4
4- ^ 4 = 4J-4bM=4=-s-=4
=4
-----
= 4 4 J=J=^
I IT-ri "■~f\
4 4

b & ti'ii ~ f r V l m { m 4 4 -*------ 4 t?—4

4 - i f 4 =-p =n—
f —*
4 * f 4 4 :* • 4 =
=£=i
—

JL — j —• — 4 4 0 * ^ J > '^=
4 = - v J r 44d ::,. m.
4 J 4 J 4s 4=1 4 4 = = £ # } 4 4

~ >
d c 4 t ........ 1 = 4 -T 1 j
/ k - 4 ----- J 4 J aJ ^——-— = J = 4 i, = ia = = = : 3T ~ m jr ~
4 4 7 ----- u----- 0 —T—0 — m— f — 0 -H j E— -------------* - * — ~u- 0 r J 1. - 0 - P ------4 - p = 4 - - * 4 — 4 — tz s
4 * 1 ! • ------- 1 -----------------

_ £ . , i,_________ | _ l ""—" i
— - ■ _ L ■---- j1------- -------- k— 1 "----- ^
p - a ----- i — p a ------------- i P
1
s 4 | --------4 ------j-
(fr ) *\l— £ - J ~ £ - = f f = = p ; — r — •^— i — —P
w r~f
^ — r f - — f - 4 -------------F f p - ' J —r " -S -f—
I I 1 y a 4 ---------— L- — i------------ — — i---------- ------------- jj —
— f r » ----------w -
tJ 1 1 1 1 ^— 4 --------- f—

_____________ - * Jr___ _____________ l,___ m >

JA
f ,_U—
1. ----- 1 »—i-----r-
-H— ---- —w r » - n w ^ — 2) ------T4 --------* - h w
A . 4 ■»—y J--«J— _ J __ ___ ___ L lL__ 1__ —w rr -r* - F l m----- i
iiT \ v l__ *0 m -------- — - if -
"■r ------H —
w Ji!-------2----------------- M__1 ■—- 1
i) 1 I
_ A _ i ______
- A . J- . A * 1 n _
rff> _l_____ T -^ - . ------9 9
‘HP 4 * J ‘ 1 i 1 J -^ — J - 1 —J— — ^— ------0 9 -------——

ff-j£ r j , - -p---------- — J
i-B —# 0 J *—J—uJ=* -Bk

=ff41 > rlriv bjFp b^F*rrJ 44h

'y H h-h ^ j JJB l -----LJJJ— 4m -n P f -PU.-UH
r i p - =T------:----------- _ v 1r~J§;9 -------- bt- ----- A —k— ■ ^ # Z = — p 4 _■ — k__ M — d § T » --------a
-------- !------ V V 0 __ r__ __f __ f r 0 X 0
■/Sr *-r>— jt— i 1j- r___ 1___ _ L — 9— '--^ ------- &--- -----
4 rr— * *—r— ----------1 — ___1___
fJ
r~0 0
______ |_ — — J
- t r ~n ^ r v*- w~~
^~
w - __ —1_ — — 1I______
- r -------- 0 —\— " ■1. ■+■ j .
> z = r 4- --------■ ----- h-0------ M---- ( - a --------0- - ^ » -----~0----- \-0——■ —\-m -m-----14-
\ -0--0- -€r » — v P 4 4 v ? ^ -
r 4

i 1/ i r»----- TT»------------- ----------- 1--- ---- _4^_____ _

L. 1 ■ - - J |—
Jlk-------
M—_ »■r_____n ______n.
-tr — ---- -----— -------- ■ i—
-P -)—== —— i— i— t» r --- V—4-
-. Ji-m — —!v* -4 2>I---------
0— -1— r I
-W+ — — r - --------- ______ L ■ p i - --- 1
—« ------ — — d - = — ------ ;— J — 1 Pt 1
. y- v y - f1—
'' #
4 f- V * w v 5 * >
_____ ______ A —- --« -------------w
*rt>------------ m 9 ------- m ■— ^— it _
4 — r i T — #— 9 — 1__• — —
u i L b ------- sL •
4=^ i j J
— #------- — *—
----------- ±± 3 3 $:
 LESSON XXV 197

The Gruppetto or Turn

Both the th ree-n o te and four-note gruppetto deduct th eir time value from the preceding note or bar.
Example p -rst or three_note species
V3
( J* m --------- r ^- *------
L =
As w ritten -- ' ■J-- p---- * .r ---------- r 'p H

As played £7 ' ... - ^ U ■ pfgg= = i “F - r ' » 1r ------1* ----- m m “fl

-Lp------------ ^ . ---- ! U _
'r c r T ^ H = ^ / —— — 1 3- f - f frf
^ FM
(b) D escen d in g

As w ritten
i m
As played
m :

Second or four-note species

(a) A scending
*®. . . * C/5
As w ritten
y$*T r r i f
r
7 p
v. r r ~ — 4 p .- ..-
= ^M
y p p —|g=| •
-r — --
p
l j
* p
i ^
/£ /* ^____m P t f J ^ n y = g=# = I'UfT p
As played
[|&t:[ r r ^ -7 — ^ y — 1 ■L J ---------------------- = 1 — L— - f i f

Moderato J=72
-4—
s p « p
P r g g g isI
*
r ^ J r ^ f i^ jg y c j f i i ^ J i i,rrn11 fr
198
Exercise on the three - note gruppetto
*r 8 S

•zF
fe /> •?],! 1
[V 1* 1=
^~T i -p—p—
±==j * jb s g r p- r iis==
^ r ‘ :. 112 - . . X '
> p ,
-f— — p—
J ^ . ^ 1 -----------,------ » h > f . 4 .
--------- 1-------
y - - J l= b - ~ i- 1 =E=d ^ 1 1 ? - il F !

ia £ 5 ____ m
m r h-r & IZZI
i

^=T^f=fe^=f — .1 ^m TT
-p ^ -
J3v^=p ^ p—
w r r 1 -r 1 I--J gr --gr=fc- —1 =
1
r

-f&~
r -r r ^-r ir ^ a r gf W
&

jS f!
rr nra:
A ^ r "r i rm
M &
 199

Exercise on the four-note gruppetto

200
Further Examples

fccrr [irr tjJ -M

■-f^7~0'— — =f» ^ :.= p :zti=
t=y
f =*= | ^ r t t r i *=l
=J

^5-
i . f f > < i w » r |r ^ i r T T r - , j n i^ r i
 201

A m. "V1
^ 1 rrr^i .^ > ~ * -
AT

Bp*
1J J j
m * -l- r - - —r *
W
=F$1 : ir wr HUa J Ml* ----------- 1—J ----------------
ffffc=
rFf-p-»-r
5p_*• v...- J_M_ rr—
tf »
J --!—1— —— =——---J— y_ J j h#--f 4 Sa-d'.'A*-
202 Gruppetto Study
J=100
-Q i \y . ^ ^ —p— ... r - r - r n --^T¥------ - /ffft »- j^7 Jja~] ^ ^ ..K—ff---1
ft g~.=t ft- f > f -----u —la C ^ —7m 0 -_g '* tE g -g = = 4====H
------ ------ +------- ■ ------- —
vy “ := y =
^ 4 r 1 = tj - 1 c r * : ------ ~ * = i

- O z V d
-frr
_ j ____ _____ _____
i f a r -
0 K
r
---------------f f h ------------------------ = -
g L J-W — ■ — p -
------ r * ------------
m— ^
. ■
_
»
-
— t r - ■p
r p t - — J
L i ----------- • ~ ’ i
f l —
m '
^
W

= —
I
K — -—
■ T* P ---------------- ------- T W ~ • » • •

\ ---------------------------b d ~

- y tl? -0 .---------------- g . • P — —jlip-.p » W p|?»— i----

■—•«-------- n—
rT M ---m--- ft-!—
7 Mft P1 r—m^ 1p -^ - -P
1r— '» —
t(ny rrT rT — —r-
W
—SSS3=: --ft----iftft—---- j
-S2— U J U L U ^ ------------- ULL-------- r ^LLTl

~dP~ 47------- ---------- ^ ------------------------------------------ r H -!-------

/ t •>
rm p p
4 r l 1J
i A • •
0 • nm 9 m
i
^ m
\ P .J •
“
1
• 1= * : ^
^ • j 'J”
J « — P *4 *
r'
I
m
ft
<mk• | |
• • «
— |- ^ - .^ —|
—J • p 1
r_______• 9 - ip ., p L L j v f — — -j— f t ------- k— * m ' \
t:- K 1 5 - 1

f f ~u □
■c^
--- ft^
1^
^ ---V-!7 m 7 2 ^ ':. r • '' rr j

i» |gr Tf--g~^.^
;-ti
gyg-flp
04*
a—^--- .=iFf^
roly f •tr h‘
< crL i "P~

V "b . , h __ ______ 0 »■ ___ ~ 7 ^ v | - f t - ft 1

it -» i-f— ^ • • 1 ^ I .—|—- _J i __ —C s . — ^ ^ ^ K ^ ^ » —■__ L FP?*, i mi 1
. m. ^ _ i___ — ^ w » _^ g L I
;«7y [ * w
p- r 1 ft u - j~ ^ a _ L ± d

— $ — 1*------9 T- ^ p . ^ - ^ . m— ^ T m - K ^ --------r
_ _ S J L P r P . *-■0^ •— (L M hm r —m J ---- — l ) - ^ ____ m_m — — 1— K-
J ffV y \> K P’ 1 J 1 ■ J _____ ^— - r — [ P PI A ’ r ____ D _ff___ _J=S W
m 1 L s -1-----------1----------- 1--------- V---------------------^ --------1— K H — • - * | j

# i> , 1 ^ n - ------------i ~ P ~ f t ---------^ ^ f t ^ r r , f— I— 4 - - j V — « p » = ----------------------K — - — ft— g =

r - P - !--------- . ^ 3~
v y 1a [ j J - J 11 q | |_ _ J . i. .J 1 ^ 1 = = j

—^ —t?----- j . 0 ----------r— _ m 9 9 r f t f t ^ ^ -----F 0 m ~ T 't

3t = » = ^ t M Ig Z ^ f t = _ _■__
:± = S ^ J T ,r .f t 3
S ’ 1 1 L J 3 d ft — 1 n4 ^ - ft l— — 1

^V -|UD
-tpvp 1-^-----■ ----- p
t-----------
-----S^.
_— m —• 1fw^.——•• p7, m
— trw
•'—ft
iiz
r
1 p» f\/ . Jft r~1 —--Pas
___ c— :----------- L—ft ft •
p m- r^r-
----—— p—
1 - ^7=1
•
_____
m
w-i »1 J!1 *a
-----------—
n— —3H
1-----
mI
—|
y 1 f 1 l r 1 - - " ---------------------------------- ----- ft—a 1—ft 0 ' 1
 203
Solo
A Glimpse of Venice

III 1J—!; ^ --#-<•-f ■ r\ t |r~;-. 1*11 i r

(gr pJJVa-- J J J JJ # Jy J-- ^----- —
4 ft ««—L — <| *Lrr *u*f ivJJ ^ •Lei—

ft •Lr*—)
(fop
4 - ==}-.•-\<*?r—ni n+ TJ^ i J-y-id—
i£ f£ L u g Jls ^ 4 rrrr^ N ^ 1^

fl ,1, ^7-- r ■fVp—r u. B5

-Jo-+e
— H
*=p-p—|-■A r.-r n 4>
* • J rJ
T g - H -Lt-^—4- — --•_'--- *■--

-jP 4 lJI •+ ■■F#6>...

4fo^—^-*w— —[-#-
\ \# J4 llII* &
J- A
»2| fV-»
J- +
J.... = ~9 0 m_:^-W
— -|ibs>^- r r 1 J ~» ii= M ^
/
204 Duet
J=72
= S = - 0 1— k- c !- 0 - ^ • m J ----
1(Aj (*-----
\ 1._0 v*- r* = JjF
t 0 * " ' ‘ ft*1 4 - k e= r v J - ^
vip r
Q — i— K -f A__ WL-. # »
Btr.7t Bi j—
= n—=L.----
---- -----
1----- &
k--
L. s= ------- — i— —r------— -s—
--)---- —1----—F— ) l* Jr 3 7 \l Ji ■—J-!
— ” 0> -p
b— #LUra • 0 r~Z 1 V frfd J M ;---*-*
J— V- -••-V 11

i_

u
l^ fl = f N= & # '^' ' ^ —f to fc
^■lv f = F7“f

l
l
----- ^-----

<
1 1
fAfiL= ------ L__ H -----r i* ~ 7--- ___ I----C-—
!—f —
---- R-
~ r ~ ~
U- / i— -#---- -----— F— #— __— —
1— ----------r 1 1

—
vs
- d l-----H-----U --- —
— 1
K---- ---------Ul
_ ----------- r 7 - • --- m — = ------
UG5— ■• -------W—.__ji_
[^ 5 ff 1
i ^ «i ^ ■
■ t- g-n 7— ' 0 m
1
1
\^ 1
1
-4——i------------U
r- 4-1— __ _ _gJ
=M M I — 1 -M 1
4

F#=n n9— P ft "p4i':i = =

i•
i
j— =■! J —1■M—t- -V4 rr*-g p i ri

0^ j. m ~ w
, =f ^ = ^ F -#—i■ j i & m "a i v"*f_ “■ ii *__ j__
y Pb#
^ 4# F~
L jLj = 1— ■f ■ J -J J = y • 0- J - ir j *^ 1 F'l
J-104 «?
«?
■f
----------------im--- /
-w m -m r ~P— w — e z w fr j
- f - m
-i — 0 -0 -0 -
--J 3--- ««-----f R f
--J------------------- 0---------
0 0 ——0 -
p r JT-r r b = ^ = p ^ f

f s 3 3
J? l ! , 1 sp - r T ^ , f — r4 --------- ^ —
i

— «L -----J J J .
i

ll# -»

:iL ej -■ gzg^ j:g—

u 5 * 1 -0 1:m f
i ' ' — 1„. J 1 r r
# 1 ‘1— 1 = M M r T i r
m t----- — /
6 I ......... r —in— ---- r
—»v—n---- i , j -j i i r b 1 n i-1 4 "T *—
i f J = # ■: \$ i ^ d = ± J & A
' -4 — r J .r

3 «?
4

?---------d*-------- 3*-----
•

= m = F ^ ---------------- «-!-
i.

r P - =F ■ 4 - 1 — - IT T 4 - ---- 7i---- in ------

i

— 1— r T i : — F = = -----0 0 0 0 - 4 M ~ - r
------------- u
1 if t
«T—
X *
3 f ______ 3
?---------1?--------- 3----- = = = = = ------ ■ - -prp t w J — a h * - ' t q | | | -------
- H H "
----- JJ J J j l J L k f 4
)— J-1h
w
y

17 - “ — ^ — -= m fll4 = = * 9----------- ^ r-
f llf
J W-«^
" ■' T
f
r =
■ - - - \i -4 4 - I

a ayam m f e ffl 1 — = f = = = = o a | eaz

—0 — ^ = % y
f c e r ^ 3 «? 3
3
 LESSON XXVI 205

The Mordente or Shake

The word m o rd en te means “to bite” and means a portion bitten out of the trill. The f u l l shake consists
of a five note trill, while the abbreviated shake contains but three notes, the principal note and two small
notes. The shake is usually indicated by the sign w .
1- Example

B. —Abbreviated shake—Begins on the same note as the principal note and always on the down beat.
/a — r£----f
■ p----±
As written 1^)T-------iT * 7'f' jjff
V a v »vl
jYA m0m%
< m0m».■ -m r*1 m0m.. — pft0---—
As played
P ELP-SH ... ggA-^r-L j ,i i*- a p a n i~g^~SCT HJ7 ^ #±y
J=66
w Vl ^ ^ ~ *» ^ 7 • 7 r r # r f c f F r F .
„ Jr a N —-------------- J - l — — p— p— p « f — r ^ r rr.r r r i L f F Lj t-L.T 1 ■
2 (fo £ * ^ * J * U.J r f 1r - - —
*----- P----- ---- ------------------
~ "n -y . ~M
-tr— F---- F-----rr-----
--- ------------ - r1----- * *— m m m
9 9 m
w _0 » ______ ^_____ 1-J-- -------- J----------------------- j-------- ----- 1
-fih---------U ~---- -- |--- — XI__ |~~
1
tr... P • M. w 0 * 4w t_ ■ 0_ ^ ^
W — - 11[_
-—- .11
l U*>* i
J —66 aa,
0 * 41 - . (i 7 - r * Hp , , % — |T^ ^ -,!■ I —---- p p- --- p p --------- n
a d k * j? fr # « « « < , - Lk J ^ 1 kj ^ 1 -^ . T 1- 9

J • r f - fu r -j—
y ff— - # • iJ r c . ——3--- P—m-----*---- *—0— ~3------- ^ m 0~~ ^3 - H------ M
J ^ r 1 J ? ~ r a L ~ J * y r ~ \* ?¥ J 1
^ — f i- — -* — 1 u kr -J ^ t-l * . ^ ^ - ------- ”
Allegro J =144
— ir 4i J* a j3 _ F3 ^ ra K F5 -i——*— -----C --- ^-P--- ----p)--------- @—
— ——P
/l -/5K—9*---- IE 7 v
— *fl 7 •— 1 * 0 1 11 —fy / ---
--- f----r
a--J* a,M.-\Iw
/---- Y •/-----V
—L --f) -/■—-)
7*— .P ^/ ^--- U---Z
-----L.—§i_
-------^
4 vvD A---- z—1---- f—'------ r)— ^F) p
^jr ---- -------- f----- r r “
k---- ----- ---- @------ --^—k--- f4-------— ------ -----
y J*1* j 3 1#. . B g— ^ - j ^ «,-B—
7 —■T 7 7 -F 7 - f 7-^'*# 7 ^ ----- ----“------ 1-----L_r;------- LI--------- U---- l------ LLi------ “__9
-J p ------------ ------ — r Y f f V — Y f r
* Allegretto J.=?2
fJ ,. a ----d------- --------- --- k. a------- a----- # a
^ JsL t>
° w - n ^ I j j k j —-----
^
^ J—U«**— rrrr iCrr^Frlrfr
---- ...f.-f. -i—|—---- «[rrKJJ jJJJi
J—-----------m 9 j P___|
>n
Allegretto J-=72

rij irj-f^fi[jfLrj^^ .*2 3 T

r r
,; I . t v - * : ' ' » 7 1» " — .,i
1J . J 7 ll

Allegretto J =es ^ ■vv /*/V vv

7
dp^g~k r i->
Cj? a J ' U ^ F - ^ i P f
r
I ff . ^ r r~
f 1 r rr , >, 1
— j
r 1 IT » » f - ? - r 1
....L ^ = F - k ^ ^ ~ £ r ~ ^ = ^ i
A . "VV- /W •w vv
■^faphT*p ^ . d f
J » r 1-r.LJ i f f - - it i r
206

Reel
J = 116

8 iw r r r ir r ^ g
mf

/
Kinloch of Kinloch
mm <w

ms m

J ■z 66 -W
9 r t f i c cj- * J I |Jj.tfic2 r JJ'Ji-rn r c j i i £ j ^
-vv

¥ ■- E P f l sj€ 2 f m i173r m

Wk— M.
ft p f ~ r r y f t^ r T r r s f f-ij
w m m m D.C.
O ne-step
J-112 w
* 3l tin t
10
f
Hg m k

mf
i
-w w
* r 11^ iftft
i
w £jit ^s^riujir 4
y*
'W •vv fT — r 112._ ~l_________ , -w
*
i ' i r r v ^ ir . r ? ^ i p^ tj ir ^
/
*
r 3=2=r it p c / ir w ip
*
" t ' .n n f 1

1 r [ C T ir ' l ' i J ^ i|'1 f f l ' i rW |^ g f f l ' iffl'6n , if l'r S a , i|;|ip»i

-W <W -vv . w

|rHl4Jp . i ^ i ir J i r ir r c j i^ r r i t i i i r i i ^ T m ijm

| jT jiu . ffiyrLjj i 'u ii nTr m

 Solo 207

Out in the Forest

Andante Jr63
__ w
= f i * > ------------- ----- ^ ____
- v _u_rr r
M_ l ^ ,-- W---- -W— —j9---—----------------- ,—■------
= ■ ----------- I—— ------------ •
.— P ---- ^u --
m---- — -» — ^ p
• .
i —
1
c ___i.____ m_^ _m W 1 ~1 ---------W—^ -
----------- —
--------

k.

i
/
>

>
~ ^ XX
£ t 1- f
-A-, P P. Bp “in -------- 1—
H " *---- *— r v——-----r------------
=------- " i i—^-----—w
x-—^ ---- w P p W
. --------------- » mw -—
— = i
-Wj ___ j_ t rr
^ ----------1 U ----- J,U 1 n • J ' " ~1—
T— — i —* b —* r~P----H— F--- B—F4=—-------- F i P
LT------------- ---------------l—l m l J
1 P --"

j^» j
f. m p i^ j ’n u . j v i ' i r - m a

4 * - T B r J'lr r c m f ^ f £

*
£ m
pv *
£ mm .p c if i a / g g
w w

y ^ cxir i r"r n Cj j p r j ■i; I [ j ^ T O ^ E j j

W ra il. r \ _ U -w w
*
E r r f iLcf-Eg m f
5 fe 5

$ r j^_f J si*1 S . J11f r f :g.t£ i^ p ^ r - r

/CS
| r p r ir i[ X / J ^r p Lu - r O J>ir f »f i

r t f p Pe ic x t J J>i r 'f |,|t X J J 1r^r r

w-----
5T- •---V--- BT « *"•--- 5= _ ± • g=*—Jr i rn "^~g. r--A
~_m
fe__
m —
_J--- A ---^-- 2= .---B---0 4
- -----
P3r
—M-----K-J
—= /
^ i vv -VV

^ fc E 3 r ir ^ r -*gj T J1 r r r =t^= t=£= i i

d im . morendo jx p p
208 Duet
w w
W fmm
-P ^ *j [ j f - F~iP-p-B—
:,ijf
S r p m. ^ -p— w~*r~
-------- w* J J_**— fcE)
7 #t P- * L > 7 ,jp=
12
CJ u& 4
mf r n

M j .p i ^ i :
^ 3 Z ff^ S -g £ f§ ^

W pm vv_ ^, w i. i i *. rf i i
— 0 r 0
= r # p p p-^ - B i f f i ---------------“ f t $
7 T fP
r ^ p
-P T 7 #LP
p M ____ _ j i ^=

r n r \
W vv

^ 3
* 3 m m

i r s ——-=
Q fi sU ~i ^# rp t- p ‘ —
i at
f#r> \ ~. mW-< -----rn-i—Ji1 ^■\*i»w\
^ . m-[-^r.---------- »» i ^
w« *Tu"s,•________ H
TT - ____
i
JwLJ-
m
Vm/ pJ # F r1—1i 11 ar P " H —— ------ 9 > r —
y—
P -- Q -- --- _---------------r
SS3-J tsa — t

o ' _• _ _ l"'l m1 1 P*l

p r -Hm l __
rm. i----- 1 i wrm I\ _P •P—r
lOK L _l 1
^ ^zl P1nnPi
J - I rp» M w P mA mp A u _I_L
iJ -------- R
^ —K 1 ___
t ____ l h
__L_^ rmJp PJ - •l__
'*)' h“ -^Si|- *+ ' tss..A4—■* -fafed—H Vi - - lt t * P p l P * * lT__ ^ -— —

—
—j--------- ^ w *\.— 112. p^ . 1 ,
H » p r r r l^ J J J ft F ftl F 1------- p 1 P* Fs p d g B £
L J - pn^ TgCT H fi
r ^ l D.C.
::r~ » : .._. -p 5---------
k j 5 r? H ^ - n - F
ffH fJ *•# p —
BBSS
 LESSON XXVII 209

Preparatory Studies on the T rill

There are two principal requisites in performing the trill; first eve n n ess in e x e c u tio n and second r a p i d ­
The student must first study and practice until he can play every exercise with perfect un-
i t y o f m o v e m e n t.
-iformity and rhythm. Afterwards increase the tempo to as rapid a movement as possible but s h o u ld always
practice in conjunction with the metronome.
.. J z 8 0-113
210

J-80- 112
2 12
T he upper note of every pair of notes in trill must not be slighted,but should receive d u r a tio n of
tone as well as strength of tone, equal to that of the lower note.
2 13
215
216 Solo
Viewing Venice

ifly^ rLi- f r t i£—il

r r f 1t J------- =lff
-u ir fmr rr r u n.i-J ll
=rb#f =^==qti=p F tF^I

.6? i-nrn1 ^nrry^s tij m __ qpp.^—l 1 III,#11*—LI —FT*!

—==d

fe m rc ^ irO i --p - f * p j#pj»^ |»ji’rfUff rffi=g

ll^ s
 217
Duet
Moderato
J=ioo
» |l» l»

16
f e i g i --- -- —
' m f -mfc0 m 0 m 0 m
---—j^jj---------——
A , ™f

S i f i z : fp
y*c£tr P z p -y = jJ -
218
LESSON xxvm

The Trill
Exam ple

As the notes in a perfected trill come too fast to be counted, the player must learn to sense the rhythm of
the trill. This can be done by first playing the notes slowly enough to insure eveness and regularity and
later increasing the speed to the desired tempo.

As written
1
As played

______________________

pi Thirteen
r notes Um •Nineunotes s i hP m
Five notes
_ - _ -
P — ------
—
— - _ _ _ szz:_____ _ ■ _
• —
—
m -r n -0 —

3*
0 F

•r-------- 1
f c a : f r r [ f r i
Note: The student should work out the trill examples at the end of the lesson before going- on with the exercises.

The Whole-Note Trill

Sfr* E B
■ O ’. c6 T tsa
w , V ---------- —6 ----------
1
X -IQj IV------------T—
-G
-
1.
—
------m ___ F ^ H ] F _t__=____P
___
- - i f -
219
220
The Half-note Trill
76
ir ta
p r irP - ----- r - ^
::ffl i * ~ 9 — : ^ = F = ^ = ^ * = ; ^ = = 2 — = _
- P -------- - p - H------------------- " --------
u -W ) ^
^ l 1 s = & -j i j : c --------- f - J —

rir n
# = jF f 2 = # fi b ^ ~ r - H
=2=— = « = g ^ : f i t 4 * = « =
i nrp-^ 3 i = f t
------------ f - P
f^ i - = £ — r= -^ - ±=
- t
T v --------^
g p

£ e j f l -?-V *= 0X , X 1 ** . -^ w ~ .
Tt
^ 2f IJ —----fl h t/ 1 T=£3=
l 9 frg 7+~ _rz 5 f^
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-
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fp
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 221

J= 84

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Fd P = p i ^ 5 — p fl— ^ = t= %
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The Quarter-Note Trill
 223

ir tr ** ^ L
12 : i | »*= [ *5 m „ ^--3 7
f * J l: iE ^ E S : #M-■^■y—p ^ j ’^—

* £ rj ^
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p v i p * ^ =5 £ i E S

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#• * "

ir ^ & ir ^* r h *•
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sb=H H[J^U

^ ir ir
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p -^ ' I J ) 7 p 7 f =1

4r *r 4r 1r 4r tir ir *r ir

\ J./?4 ^ ^ 7 P 7 * iJ jj? j j ? j 7 *~HS^

ir $- ^
■— „ k -c--- 1- = ^ ■\ '*/■ i.......
j — J 3 H ?' r " V j ~~^-4-7 " f"
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*r____ ir <tr jfr~ ea #/•
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<tr tir
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lv !g tf£
% W M ? a
224

tr t r #■•=;
S&* •* r 6*t
r* tr
in r — *=> — rj rrH-1 f—z z "Vs ^ fM —H• «— — =-p^ b
— ei r^ f M F=
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JUJ\=^hd m i r 1
 Solo 225
The Canary Bird Polka
A J
Wzl04

15;
w
f pf? |f>-/ r>r ir erf) i r
jar
V f Q f f f i r ) i J ir ^ r f r if -?r u i f . n r ...<• - a

w -w

P * ■ir e r r e f r g
jf^ir c c r r s I
^ L
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y r r fQ.|? n J Lnirprf ^ u i u I i ' ir r l71
Jz!12 /C\
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P m

g s
$ f l ^ f J l f .Jjqg S

p / F in a le

p—% —- ^ ^ M. vv xx W
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y mp P
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3 r--pir M r n r 22:

-vv.
l>^'TrY'jTIf ^Ip- 7)1 >\ *t[7 if =*f if r r f 1

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1 w
E ^ = 5d l"~d— it- |* j# »• \- £ - f U■
— m
# M — 41 — J i-F y 1i=t=^w ! = M ta-i---^ ^ J II
 226 Duet
J.-S4 t r __ _
:=^j~.. P _ «rs—•
T T —F ^ = r - r r z-m------ ^ »= ,. a | n i
r ^ - f ....J - ^ r ■ - [ ■l •• «*-
mf
tr
------------------ "...„ m
/r
_f - i
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j» -----•n w-L ^ r r a ^ 1 i
# F f = J . * = zz= =^ =g z±= ±= + = iL ' L ^ J j “ F

«r -
nftr J' r rt f r r F=/T-^—ftr #-—T
£= -—p*w1
i= r—=
p**. 1
r j=
r r L^~ : ~ i - P f
r * - r -

Tr-* • - - »•
tr

----rrd —
t\ & tr

^■•- > r—^ 1 L J 1^ ' P■t r py| 1 L L t f

~ 1 m — w r f z : 0 + — n - F F
i h

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 227
Table of Trills
The advanced pupil w ill do well to devote a few minutes every day to the study and practice of the
following trills, perfecting each trill in the order given, regardless of whether it is hard or easy.
 LESSON XXIX
228
The Vibrato
Use a relaxed embouchure, keeping the mouthpiece and instrument in a constant quiver by a shaking movement
of the right hand. The student must breathe deeply on all of these exercises.
H^!> Hail,

A ________ _______________ j.
i

gan g’s all here!

Adagio J_-63 w
W w XX XTX-W wr v
XX
1

b X& C P
p
* r ir r r 1,J p

xx 'W W
o
\ r i zz: -19-
p r 11 r 1 r Ftp-f
w w vv__vv -w -w

m
p ■
£
^ r r p iJ r ppp
Andante Jr so -w w
3 i»- ft i»
r 4 ' pr 1 i= M p f -h — -- -J- J J - p *■■■i j j j- i r- ■f» r-J1

M i £ rr ir r J ir~*rIT r PIf-Af-If,r J ^ N
W

Waltz Jr 88

f~PJ- 1 r'T f^ rr
f f

3Zj -6^- -<5^- -6^

r P P
 Kathleen Aroon 229

ABT
Andante i
■— ^=fFF --P \-- p~~N—r-p—}—
------ —* F -ft—f—p—
N= ^ nfr r r i 3
* * /»-e^ M ___ &—
i-
v o c o r it . v? w
r .
— » — f t - - -ft~F
p __________
J B L __ L
J »— *— —f
m —w -------1------- i
Iffi__ _______ ________ Li \ C=J rj f
r Fm ^.J IMI ML F— ^
^ —t---------- J ---- _ « ---- K ---- K.
-------1------- n rf I1
1 r m r

& ______ -Zl

J4 _ _ y . . u
p _____ [ P
O Ye Tears ABT
Andantino

s p in £ U ' |J LXj- j . j....|r'-|T r -r Ir lr JTM

f ~~r~F
3 LT r i
___________~
v^v _____________ —~ j___________________ _____________
* rici/f j u H< < C lr I J * t r - r ^ - 3 ^
P
The Loreley
SILCHER
% w -wv
i— zO
^y k ?---
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r|..
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i
s
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1:
4
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—
^ = ===— 1 k — i
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r „p^ 7v—|i
■

-F r ri v'rr r..................
ft r
•

rm
\
i
i

r r *l L e if r p‘— ■-—
p

The Evening Star

WAGNER

-. f Hf!=| f r r ft - iB _i£B -»- : m---- F - — m- w - ----- s-

■v^v

y
t;
r
^
1 2=
p p
2=
r..^ r p 1 M d e ^ _ * L _ b J-
l
J----gt!---

■v^v
ir p n n_J__
* ftA ft •p*- " F ’ • ___ ! l -n - : g -‘- f t - f t - - F • ^ */ " 1.... f
a — «U5c:- ------P—
ft=
# * * rJ / — - ___r 1 1 " r
P
230 Duet
Jr 78 vibrato: ad lib.

c ....0 ' -m = j i 1 --------------- c ---- V ---------- F p p ^— K-

T P =*L J =S z z ^ z a 1
4 = M r r J

r~ : "3-------------------
• # a " * ' -# — — f — - p — P ------- -P — (•— T r-m -
1
-------^-------- /— ¥ = --------- -J— •-*— p —
1 ~ r r ^

r/L
Jr i>^ P "f ph -f— — v ---------- n n , J T — ----------------\
---------------J-i- |* * J # * r p
* ...j y j }

9---- m------- m------

5£ j > h. - , |V - p ---- *----- ST—p—
* /= z=
t r f -H ^ jj .... r r y p 1

l |l . JL: EJ-/J |« -J- «■

•■*1;)p£J-. J J * ?

r -T - \i i----------p — J).-I9-1------ f
y -P --- • — P ‘ - ~p ---------
f r r r r p 1r r J 1 IL- u X c j 1#^ J J J J tjJ
* . v ib .
■
j • ■"’V » - ■ ------P ----- £ f t • _ ( ■ U —. a ---- w—
------------------- 3-
p r ^ J ‘ P

- — „ 1 j .1 P ~ " __ B“* P
1, j ------7*-----V- * i r — ^ = ? = :--------------------- J =
« ^ J K J W 3 ..P .___j = ^ = a J ~
^ J r -4 J T 1 1

• •* /'VN ?.
----- p “----- *—
P-------- «7---- V ■ ■■ »j
i j P lI> - H - T ^ i 0i• r* ---_
T J n ~ - T
- J. J T
*
3
* *-— y-
g r f J J ■ ' m1
r i

-----p-=----- -p-*— P - p — p —
r r r = l ' r r x c = — y (f =— ? - 4 z l --------y -
 LESSON XXX
231
Staccato Tonguing
In staccato notes the quality of tone duration must be eliminated, the notes being sounded as short as possible,
1 - Example
As written

As played

The attack with the tongue and the manipulation of the valves must be in p e rfe c t u n is o n
A rtic .n la + P ! “ tii” fiflTTlA 9C 4-^ti i n 1 V) O ‘O m r / i

J= 8 0 - 9 2
Rata
JJj JJ^:
— — — ^ ' L i ^
i* * d * d J • d J —
frTS \ j r g rf-J..: 9 9 A • w m-A. • m m A : * « J J j • +
__ » • m m • • * m • • * m • . + m
a ) * * * • • • • • • • . u ^

1 I^ ^ Iy j j ^ j y j 0
232

A *• = 76-104

T ~ r f1 r fg n = q ^ T 1 s= r=
V
—

J jj _. a « «
• T •
■■—<

=& #> r » pr i pjTf p r r r i rrT rrT

CEP t CU LLI ^ x c !T n

fg fffp f3 ^ » i=fS r= tr=C= 5i j*t h r p ^ r ^

U e i_ L y - z J j J L L —

'it ^ — • =^^,=jpT|
f J J i
—r i ^ r * y — ii
f ^ r t u i r 1 • •

A J.-m
------- s

«X W -J- j . • j • j < • • •■ P -J i JJJ* *

J J J J J J J J J J JJ 1
233
234 Three Studies on Staccato Tongue

- 0 — 0 m m m

* r b
# - n - a----- 0 - l a r i - _ M ^
T r r r - F
igu '
P * d J m
m
J J.
i
wrT
J J
1----- aai------ aai------
----------- -------------------------------------= ----------- R - i
—
----------------------------=--- |
I - J 7 1 J i y 1
L U L a — ' k - j — | L L r tf* — 1 J
f
ta a ^ 0 r'fr i m
£
236
 Solo 237

Allegro
The Starry Flag Polka

D. S. Trio
238 Duet