Herbert L Clarke Elementary Studies

Prévia do material em texto

HERBERT L. CLARKE
FOR THE TRUMPET
HERBERT L. CLARKE
m m nm
STUDIES
FOR
TRUMPET
Containing instructive text together with 
thirty progressive lessons and one hundred 
and sixteen exercises carefully graded and 
annotated.
Elementary Studies First Series 02279
Technical Studies Second Series 02280
Characteristic Studies Third Series 02281
Setting Up Drills Calisthenic Excercises 02282
C a r l Fisch er , inc.
62 COOPER SQ U A R E, NEW Y O R K 10003 
BOSTON - CH ICAGO • LOS A N G E LE S
I iiisirumenifls Musicales
IS , Jerónimo, 24 y Reyes Catóiicos, 
I Teléis. 260527 y 224291
f G R A N A D A .
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I
02279 0 8258 0234 2
Some beginners in starting" their first tone, find“ Greasier: -o- othersifC
-e-
o
Practice on the tone that is easier for you. Continue on the same note until, a clear tone is produced. 
ahould “G” be the easier, follow the above instructions; then relax the lips, blow softer, until “C” can be pro- 
uced in the same manner, before starting on the first exercise. ‘
Directions for exact speed of tempo according- to a Metronome: Place the pendulum weight at the figure 
°-iven in brackets: for example in Ex.l, when the pendulum weight is placed at 60, each tick is equal to a 
uarter note.
itudent
1
Teacher
Count 1 2 3 4< Met . ( J . 60)
Met. (J as SO)
C E E D
-o-
i
2
-O-
1
20
P
- 0 — — i— i
....I. = = :
.J
0
1 
3
—* --- ii -fl£ .
Met. (J = SO) 
E E D B
-©-•
o .
-e-
l
2
-e- n T5-
1 ‘ 
3
XT
2' 0
f i ~W~a---- H - j . p..__ «> 1 ^ .1 0----1 = H = t ...1'
-J c 4» M = l
—p-----P—th
Lj— J_J_---- -J
v—
:=f * - V - 1 Q---- ®
Met. (J = SO)
G E A G D E
EE -o-
- 0-
1’
2
JLL
1-
24 r3
O"
0
22=
i
Met. (J 92)
C D- E
EE
G G E
0
m f ■
XT
1
3
331 -O- u : -e-
j8E a
o
/
ig .—J- j» - —p
o -
J2:
483-
SECOND LESSON
A. continuation o f easy studies, arranged in duet form, but ascending a step or two as the lips grow 
~onger, to a full octave.
Jo not practice afte.r the lips feel tired or refuse to vibrate. Rest a few moments, then try ag-ain. 
Use patience always.
Count 1 2 3 4 (Met. J = 92) 
a Cr A- G E A B
ZEE -O-
/
-e-
i2
JS£ -4-
i
(Met. J * 92)
C B G .
3XTT
-O-
12
-e-
o XT2 0
1 = 4 = ---- —.— — j— 1 --- — J—-------—:— 0 — 1----- gj ...jfff ffl
-----K----
— i—
—f -----...r.... ~è
—&—I4 J " ... 8̂ A
(Met. J « 96)
f) G
ï4 hh— ............
c
u
G E D G ' E
1 .. . ........
c
— -u. 0 -------------
J 0 0
— ©-------------
0. 1—0------------12
0
1
3
h -e— ........ 0 ...— □
0 ?2
— J
•e-
0
0 . |I) — -1— =— !— - .... t , ..»
. f. [-— i
(Met. J = 96)
E G B’ A D E
-o- XE i r -o-0
1
_ 5 — _ — }_ 
— r ..... | - | t f f ^ r - & — -P - 0 T B ---- r-J
j '
— 1—
— -m— mW ~
. _ . p ■ ^ ■ m m / » " .. * 7 7 - 1
= £ = “ T f ~ 
—< g - ^ ------------- J ̂ ! 1 - j - f z l:. J . : * N=̂
THIRD LESSON
9
In this lesson the duets are dispensed with, as by this time the student should have a correct idea o f“tem- 
. :>” or “time” and will be able to count alone by marking the time with his foot, or by using the Metronome 
md setting it at the time marked at the'beginning of each exercise, thus: J =100- when the pendulum 
eight is pla6ed at 100, each tick is equal to a quarter-note.
The following exercises are twice the length of the first ten.
i
Cnutit 1 2 3 4* (Met. J =■ 100)
C E G D E
11
£
$ -O -e~1
2
IE -O'-
12V
-cv-
0
G D E D
ZEE TY~
TV -0 -
i2
0
TTtf
Met. J a, 100 
E
XT
I
3
D E G
-XT
1
3
■e-
o
jll□DC -O-
1
2
ZEE
P 2
~CT
1
3
S * tT = -------------------
P -...... B
---------------------3 ! --------------
1—e — -------------- -.Tt " ............ — ri ................... —O------;-------------- 1
13
Met. J = 100 
C
f
E G' B
0
B
J f
> 3 1 i k 1 1 r \ -r > K t j - o — o ..... : :
---------------------------------------------------- _ J ------- © ------------------------------1
--------^ 3 -----------------
P 0 mf
B
-e- i rTV
-e-
:------- I
Met. J » 100 
C
TV
♦J f 0
B A B
....._.u ...
....4 V.................. ----<3--------------- 11-Aj-LZ... ----0 41
4
E
m f 0
A B G
1
E
£
-O- -e--e- TT TV
5
1
Met. J = 100 
C B G D
ITT -e-
3E
f
-Q ■
0 /
15“
J
D E
TT
TV
T~
2
TT
1
-O-
1_2L_ 0
10
FOURTH LESSON
In the previous lessons only whole notes were used-now divide them. A whole note requires fo u r beats, 
onsequently a ha lf note requires two beats and two h a lf notes equal one whole note.
A half note is shaped like a zero., but with a stem, J
Always take a full breath before beginning to play; Notice that commas (?) are placed above the staff at 
ertain intervals; they are used in all the exercises to show when to breathe.
•Count 1 2 3 4 (Met. J 
C D E D
* = ,
i
— 1 ~ " J ’ ... - " r j --------- ■ ~ H q
"■ .......
r v ------------ r ? " 1
s H
•x
= . ^
0 ^ ^
" J - "
0
— & 
0
0 .
---------¿ 2 _ ----------¿ ¡ i ,
1 0 
^ 2
— & 
l
— W
r J — &
0
r 7 -
1 . . . 
o
2 . 1
------------\
0
Met
FIFTH LESSON
11
B y this time the student must have become familiar with the notes and their names with the fingering.. He
must have formed a general idea of the change of pressure, contracting the lips for a higher note, with more
power from the chest and relaxing the lips for a lower note, with less wind power..
This lesson treats of whole and ha^f notes.
Count 1 2 3 4 Met. J = 92 Count 12 3 4
'1.1-----
>
F = j = n ~ f i
..... J sJ- J . . zA — ^ O ------ ---- 6
.a ..... — ©------------
Xf
~ \ J 1 1 . . . "I
*** Tj -----p.-------p---- i* ......
m.f
---& rj o -e .. —G
L 4 —
Met. J. — 92
P
22 . j l = H 5
— s
r )
1 1
------------ e --------------------- a
-------------
------------e ------------------^ r J
— — &
------------- e ---------------
p
rr.
S 2
3X22 -e-
mf f
. JMet. 4 = 96
23
22
c.
-p -
JUl.
V\f p
2 :XT -fg-
i -0-
77\f
~zr
Met. J =96
■0 -
O ' 22- 22
--------- I,. ¿rf . i _
-e- _o_
22 -o--tS1
Met. J = 96
~£T.... -
-..G~2 5 ^ ? 3X ' .f '
J |
22:
m f
12
SIXTH LESSON
There have been exercises in whole and h a lf notes, now the quarter notes w ill be introduced. Each quar­
ter note receives one beat in 4 or common time.
Two quarter notes equal a ha lf note, and fo u r quarter notes equal a whole note.
A quarter note is a round dot with a stem, J
Try and play four measures in one breath, practicing endurance. •
Count 1 2 3 4 (Met. J = 6U)
2 6 4 8 3 -
SEVENTH LESSON
13
This lesson contains exercises made up as a general review, as far as the student has progressed, using 
whole, h a lf and quarter notes.
Give full value for every note, remembering to count 1-2-3-4 for a whole note; 1-2 for a h a lf note 
and i, for a quarter note.
Count 1 2 3 4
y £ " P — "~;j.zi71
1 2 3 4
R = 4 ~ r i
Met. J = 104 1
— ------- :----------- k — t— ::-| ..r l.| I' I— -|———&—̂ — 
• >
~a~a j r « -0---£1------- 0---J---^ ---
’ 1 ^ ---« J ---5I----
..« j® ......w .... ^ .....
l t t — ...h 1 ^ ^
3 1
m f
PPI®—
1 2 3 4 1 2 3 1. Met. J = 100
i32 £-O-
F t 1 1
5
! « ^ F - j - . ■■■ l q ---------------------------------- 1
% — ^
f i
------------0
t ^ = |
— j
“ • — P r _ » —
....... ^ z r ^ i z a L J
■ d
----------------------------------j
- e -
. J =Met. J = 104
i 22: zz -e-
i~ar 2d tv
cresc. /
Mi*t. J = ioo
---- — j—............... J. ■ 4 - j — = ^ = -
-----------
— j ----- e ----- —̂ ------- ¿9-----------^-------1—CU.----gL— a ..• .......... 0
1
= z t = z t 3 | - : - :
1
l = t = q F p = 4 = F — = |
------- J 0
w |
0
-G L - f - — ---- ------- J
---- 0 ------------------ 1
Met. J = 88
J i
35 S 3
£ * —:— —
14
EIGHTH LESSON
The Seventh Lesson taught the use of wholef h a lf and quarter notes. There is still another form of nota­
tion; by placing a dot after any note, its time value is prolonged by one-half. For example; a dot written 
after a half-note> thus: J* gives this note the time value of three quarter notes.
Example
a Count 1 
JzL 4 A
2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 
---- _ -----............~'-j
-ttj) *■"— 1 ... ’ ... ----& ..■ r) - - - -J
By practicing faithfully all the peceding exercises the student will have strengthened his lips sufficient­
ly to add two more notes to the scale above C in the third space, and three notes below C on the first 
line below the staff.
£ I * i ' f - ..J - . ----- -------- n---
------- » .- -9----- :—-n—
— J 1 i — i —
0 1 i 3 2
A B A G F ’
—-~.g - rJ
0 1 
2
E D C B
c t ^
A G
1 0 
c---- ]-£---- d--- :---£-:--J---*) l2 1 o L 
2
... &---- £7 .......
1 i4 3
i " IT -
0 2 i i
.............Z1
-€>*
0
Memorize this example thoroughly before commencing the following exercises. 
Lines above or below the staff are called leger or added lines.
M.t . J . 112 1 2 3 4
= m36
-dl
Tl\f
1 2 3 4
-i i i 1 j ?22 22 a
* I fl 0 ."a™ I -t 1 ■ -...j=E= f f~T
i o i o i o ■gr
Br~.O' i
cresc
2 6 4 8 3 -
0 1 ‘0 1 
2
/
15
Met. J 1 2 3 . 4
Met. J =
p dim .
4 0 ------------------1— - — 1— , ’ I i 1 * = ]
—0 - J ...27 . h r j '
-O------à-------=-------........... > ____________j ■ j - ' ? 1 2 3 . 4
T T 1 . • ■ - - 1 g ■ . .-. ... ~ —
- f ■
' ( 
m j
■—
r
9-----J— J J............._ ¿ z : -----------------------
_^c------1----- j— ^— •— 5
— i®— (•— » ---- = t = .... i.. ■ —.. f
¿ f j [ — — 15> 3 •— <e>— - h j . . .. — ¿ — J ..'""ö .j ~0 1
2 6 4 8 3 -
16
NINTH LESSON
Never change the position of the mouthpiece on the lips, nor hold the lips too rigid. When playing inter ­
vals or “skips” contract the lips for high notes and relax them for lower notes. This strengthens the muscles of 
the face without causing cramps.
Always keep the lips moist, wet them with the tongue because they will vibrate easier, and in time re - 
spond to the least wind from the chest, saving power. It is wrong to wipe the lips or play with dry lips.
This lesson is a continuation of the preceding one, except that greater intervals are used.This will make, 
the “emdouc&ure” more flexible and enable the student to gain greater control of the tone as well as the 
pitch of the notes.
41
Slo'w .
' Met. J - 76
£
r i j r r r ’ i r j f j i z r x jac
Pm i
Met . J 108
$ f' r r 3E
71
------ ------- J ----- ------- 5
----- 0^ ----1H----
— 4 = 4 —- J -----0
----- £ ----- it----- 1----J -*--------------------J a • ... ---- 4-J
JUtf.
n r v r r r r= # r f i f
26 4 8 3 -
. J,
1 7
Met. J = 120
43 xFi ... *—m " n .......W) ' 7 t= |= J * —J n ._ ~.A M = = = ^ ■ rJ J
■̂Lr------ r------ -----A ..-J------
V
— ------------------------------------ J----------------- V — « — « —
§ J— i — J — f----------- J ■ J J
■*£ *s
——j.------- J——W---1--- —---j----1-------
^ r -jd : == g==r= ! 2 = j
“5*-
The next exercise should be played in a bold manner,. striking each tone firmly and with more power, 
taking cape to give each note equal force.
Slon<
44 _____ -= t --- ---- 1----- 1----- --------- p p # - |
>
1 p -J
> --- > -----1---—---
— f ----- — w~~-W -^ -------- *»j >—«* >
;---jjl----■---------&------ « ---------0---------
^
-------- 0-----
* ..> f
— * — J— J A— 1------d— P—
> i
/
n ; >
.....“ j » "
p z p i _ j -------------- L » ^
7
— _ 4 — |® — -------------- »
> >
■ ^ p — & — — ■— ~ — A —
« J . - = >
- J : : ..." 4 ------------a ----------- * —
* > > >
j j
t _ J ----------- J — - 4 -----------------------
--------- 1----------------- -------------- p _
•!=>. -----
— --------------*
> f
-J r J J l J J r H. J ~ MC
■ Octaves are difficult to play on the Cornet. In Exercise No;'45 play much slower*, striking each tone- 
firm ly and boldly.
Slew ,
Met. J = 72
45 SdE
IT . "
7^/
SC
P T 7 i":; j 4 r i r J .14
- p r d fl
---------- — ---------------------- --------j J - -------1; .......;■■■--------------wm
26483-
18
TENTH LESSON
This lesson is comprised of exercises o f longer duration which gives the student an opportunity to gain 
facility^ in reading music and enables him to become familiar with intervals, thereby contributing to his 
gradual improvement and ultimate perfection.
Never p i'actice a moment after' the lips seem fa tigued . Rest a few minutes, then begin once more.
Notice the breathing spaces, eight measures to one breath.
Met. J ^ 120
46 2BE
w f
f f 0 ■
* ..W
/
P ^ j. j j i r
m f
- V — p ................. ¡0 — S f
( j . S 9
r ------------------------- i ~ a *
?
- [
E f t - 1
>■■■" ......- ......................... y 1 p r j .................
r J
-------------- 0
■ d ~ ----------------------------- g | —
■ d — 9
J -
... ..... , t___| j
S- ■g- •&- Cs .O a r
ZZ
dim.
47 ■£L i * &—..r O'— n-.... - » a ' 0~'—1 , 1 1 F = f = , 19 p.Xfn
p. 4 ^ = £ =
nr
>
->3L---A----- -- -jO f , ---------- m j»'::- ------ f — T r B* 0 0---
t = 4 =
i* ..
-------------- -0
s .. ,1:— r p
'I J i . — 1 it 5 __o j» -=> >—rj—..--- ------ *3-----
f ^ r , 1 d e - f - 1 - -............ »------------ =—> e* = F N
: A —jt,------ _j--------- —- —
f
a sc
- ¡» ■ i » - P - 
# | — [—
? & = * — f - f - Fi t j. 1 h M - ' J - M
> > •
- F ~ S ----K ~ l— « —&— —&• — .—
7 ' ...
f . 1* ^ — 1
23483-
19
Met. » = 138
48 : ~ Æ p .............-X ••• rj..........rj — --------jp----------m ----- i t — — 7 ^ ................ ...... -------£?----------0 ---- K ------
5 .
i *
X ...
7 7 ^ /*
E p f 1---------Q ---------- ------------------ <9------ r r i -j
= _ _
z r -------------------- — -------- — -,-------çzzi:,-.. p zr^ zirp
P -e-
g - r. . . j._.|. t = = ñ F=p- I I I F ^ - [ - rj /o H ’ ----b— j . - t - j ■ j . —jP] --------Ä-MS_—S'------- J ^ ¿B5 . ——4---------- M = H
-- _̂ j—Ä—J —
~ rJ 1 ® «
-¿5 ■g - ..& .* IESB -0 -
m f
:. « L
... Z rJ...
...4 H E - - - J l^ i l r —p----&---- f T "~1~~1
7
üg3_.:.r¿, - .
P
=&--.* *' « -—5,------ ---
/
.. ja —j* - j -
—1-----gf------ *■»
— - ---- (5------r ;---- ..... ....... P — r - p 4 = V i N = = q
5
y - H .ï?
£1---J Ò c —& —
. ; p : ..T ....
-------- i—
— 0 ----
— gj.— a —0 ■" B .. L _ © -------zl
# = = j = ^ 4 - : = p — ~ o — f ---------- — H h* r"j B = > - --j; - 4 - p , } - ]
77
tf a
- J ---------- --------- — 1------é —j —^ f = J =
n p V ----- 21—J N = H
1 "J
Met. J = 120
^ ^ i* r H ̂ ̂ «UJ-4 j j i j J- 1 ̂ j* J i p pJ i j J»! * ’ j—X—i
1 m / - I ^ ' c r ö s c ! * 1 r = 
20
ELEVENTH LESSON
In these exercises a few marks of expression, explained in the introductory remarks, are used.
Exert patience for the longer intervals of breathing. This endurance is o f the greatest importance for 
future work. It trains the w ill power, which is the secret of high notes.
51
Moderate* Met. J « 100 
É i ( V . ----jgy.— ~ ^ ...... .... ._ __ .»i ffwr ...........^JBL ■
7n f
-gj- . -&
P P P
f a —
7T\f--- '
j B L
/ 771lf 'wf
^ ± = 1 z = ^ ; z q
-j......... . ------;------
ft
jsj— . 1 <J
~7T
gL-J-gi ..■"? h?
/ 77lf‘
.... , *. « " "J ---:-------[—.J—I ■F j - - i .-T 'I . i n .-1 ------- B
- >
------ f o ~ P " ... J
f ' r r • ¡
—-tf 1.J —* —J—J— —0 ....■«.”T..."— —.—k—L— V---- -H----- ----3 ' - f .. f - 4— -1
f 1 '
92
52 t e
s p 3 ' - ]
~p'~ ........ '~jCP~
wf cresc.
-9— i = .> J _ j
>
----&----------,------ .....Jr*.... . .5.. ----- 1----------j ------
— 1
— - r i - - j- .. 1—1--------si----- ------©---------- —&----- ¿ —. .,eJ „■•-------- 9 ---- ± Z ---- 6— 1
É -J- i j. - j —- j = t= j= j
¿im . ----------
J - — — - -¿J"- J "o -a-
P P
P
o
W*/*-
£
r r f '
I/
■zr -o-
2 6 4 8 3 -
Andante Met. J = 72
aEEEâEEEË5 3 ' j gcB
- * ' . -o-
77?/*
a t » ----- & .—-0^
?
=zJ
3âf.~j0
22 * „1.
P
J —fiL
1 ' 1 .
M—J « : -fib J .—
-0---------------------- p—-----Ç. HZ.
o
w f
_ j . . . .j - . j . i j _ j _ - , i ,, r J _ | . aL , J „ | ^
-*jL I -«-=---
dim.
&-■-----¡b
... ..Br-»:":. p—f-W“ ’ F=}=J
5
—(gl--LU b=MEf f J 1 J * s rJ —«—0—J_-- & --©---
L = A
~ r 1 j r f 1 -—Ç- aci *■ ■' -■ ■ w
p
ia—- —J- a ~ 1 J I
“Ö-
v22
JP
r?— -STT?
d ^ z = ' » itf p!---- 0—» ----/"• ® n ....- — 1— F = h 1 . . . 1 V . .0— 0- — )-85—0
771}e
ï .:.p.. 0__
— * -
W—gÿ— —J -------- — j
A lle g re t to Met. J = 104 
> > > 
z»:::'j.".'.P '
5 5 5 « 3 — ....0 m
- * - - i 1 1
/ m f ¥
M" I .i..
tg I Br I *r- 
■■* --«.—p
g .""i 0 XE
/ /
zz: pczff
-5-~5 t5̂-
—.■ - zzn.. .zr~»..g-~—p.
— j. 1 .y Tt
f f
XT V TT
9 >f-r— > ? f' . ». r'"'"' J"~l = --1
h H --- j ■ j«• >̂ £ f a— j.. . m —£k r 1
2648*
23
TWELFTH LESSON
Common time (C or 4 ), sometimes called four-four time, contains fo u r quarter notes in a measure. 
Two-four time ( 4 ) contains two quarter notes in a measure, and will be taken up in this lesson. Two ad­
ditional tones of the scale, (F and G), are also introduced.
To play these notes properly the lips are compressed still more, and more power from the chest is needed.
Count 1 2 1 2 1 2 v r V
B C D E F G * E D C
Exam*>le 1J J ULJ-I r f 1 1J J I J J f r g i
0 1 [ 2 2 0 1 0 1 0 1 0 1 '0 '2 1 0 ” | j
A dot placed after a quarter note increases the value one-half; viz (J* ) equals one and one-half beats. 
An eighth note is half the value of a quarter note, and is given half a beat. It is written the same as a 
quarter note, but has a tail at the end of the stem: C* '1 ).
To simplify the reading of music, groups of eighth notes are written ( n n or J T T 3 ) instead
of J'
D ivid ing ' the time f o r eighth notes, in two fo u r ^ time $
Count 1 and 2 and 1 and 2 and 1 and 2 and
Example 'ml.::.. w.
llBM
Allegretto Met. J = 10s
56
A Count 1 2
Q ■ >
A 4- ~
1 2
¿0
1 2 
>
&----------- F---- « —
>
— ------ hl .
> 5
» ....
—J
M = i
-ÇL
f
>
—T}---------- m .. a
0. à > ? .— 0---------------- 1
-^ P — & -J :------- ® 1 = 4 = 1
u\f.
ISC
or esc. 
26483-
2 ;î
Andante Met. . J = 72 
Count 1 and 2 and 1 and 2 and 1 and 2 and 1 and 2
JE —0 3C
/
1®— :—¡¡hT
S
ZZ
Moderato Met. J - 100
Count 1 2 and
— ...
1 2 1 2 and 1 2
i = f = ï =
^ ^ -w> -H.- 0 
P
0- —0 ...J 1 V.:— . .1 o1— j - 4 - f — P I f . . . r _ ----- J ---:-----
■ ?
—&--------
i» ¿1 .
---------------- C------------- 1-------- -- ----------_L-------------- j------
— W-T------- J — ^ ------ i j i - j - j —— * .... ^ ...... J ) r « ..•■}• w ^ ...
Ésa
«>
t e ?
mf P :* " ■ p~ =g...------------g *... . ^ = .p— "
J e------L --------- _ =*:::/ ■ » . z q .■ » Z Ê L - . » ---- . V ... ' " —» ------ F — * —
-— — f - r Li— J —
-F -------- -m -h - ».... :::-«3= r ^
Allegro Met. J = 120
Count 1 and 2 and 1 and 2 and 1 2 1 2
60 BOl' « . r r . J ~ ] ------ k— .. — -V" 1 . 5 i¡m h • » a '—J — J b=5tti J'—0 \—0--*—0 "•..."« [X ------J
24
There are rests, or silent beats, which correspond exactly with the value of the note, that is whole, h a lf 
quarter; eighth} etc. ,
THIRTEENTH LESSON
Whole Note
Example
H a lf Note 
d—
Quarter Note
-
Eig-hth. Note
Whole .Rest Half Rest Quarter Rest Eig-hth Rest
Signs are employed to avoid writing the same music twice, they are called repeats, D a l Segnos, Da 
Capos and may be used for one measure, one strain, or back to the beginning.
Example
Allegro Met. J = 120
Repeat Repeat strain D.S.%$ D.C. Fine
same bar Back to sign Back to begin- End of piece
ning"
61 33 a t = p — 1f\ ~ a ..... -f — ■i-¿..' h ____p3-- --------—Sf̂ — p=4=4=q
* 1^ mwi
1
P u j
L-0-- il4J- a ~0 Al- J JS—g LZJL---
à ¿ 0 ... J - J - f k r f f»
U U ! 4 ■■ >
0—0
¥
0~ n r*-,^ = = T = = ¡0- F 0 - 0-
* «9 -0-
:H = \ r -w -
-«*> 9?—srr _-0------=-------------p—.— 0—
> f • 
» - I
/ f
—0
' -— J —0 M = t ——.
f f ^
ü----- J •
—0 \̂ß*
--- ------1------\
Allegro Met. J = h î
62 Jèp t-."1 r ~ - f r = # T - * ------------ 1 . i. ff y T — .Y "^ .g fi* tf»
m f
...p ... .« 0 -0 -^ '0 — ~ g-.. j7-----f"----y --- ._A_p / 7 : ....... « r /-^= J J y ■£—
s n i f - .
.-..- ->■**1
t í ': : z A - j ¿
pagj.
«■■■1 ' ~L ~T " I" ? J “'
JBL 9— :— ™—y
— i» —
JE
0— 0-
3sr pi. » j~3 p » .
_— . j .. -Uwwl.. ' .—
Aatq.
T ^ h T h ' - ^ î
0 -¿T
-36.483-
63
Allegro Met. J =r i a
w 35 á - j d I J n r ; th rwt r\r ( r f-ÚM----:------ 0——— I --—. „ --j rrjT— — ■ ‘ ...p —j— .—-------/
-Æ — Z-m.::»: f® * - p [) ». ?—0 _.
> 5“ja»—...., 0 ■ Ia ß L
• p „ *_. 
.0 -r-0~ ■ .—’ f* T f f = % l
C J
z^::.. 55^,=^'-
E p i - i ..'..I
- V i
--------i —--
=3=
b * ± t f e f = î i ^ >
- » |g -j-—
®
n\f
5£'~jL r r
: ^ r * J- -i?-- 1-- :—
>-0 -
® "jf'..
>
£ ? 3 ^ e e
f cresc.
i ã = ^ y = u £ ----- h—0 ----> - 
> /?
» ■ ■> .."?
cresc.
> -|9»̂ —
F 0 m .. -----,» ,» y.
% ~ L T 
^ f f
 ̂ a_j------ :—J_l ....B-..
> ^ e * ± ■ r K - ^
Moderato Met. J - 92 
Count 1 2 and 3 4 1 2 3 4
64 ' - t r i \ : F . à à
-0- J J0-^ TP~ ::t :.: :i
V
rj >
N , . . h J j ’ f 4 > - . i
>■ > L 
--0-̂ ------- r̂—;—‘ m ' "0—
> 1 ■ 5
■• V " ? —
t T '
/ >
E - ¿ ■ ■■ ■ '
r» A
ac
[rp ~ ' . K 1 j» Í
/
-an*- 3E
/
Moderato Met. J = 100 
iCountl 2 3and4and 1 2and3 4
65 ¿ F * Za ZZZBlZi r ‘ pr ct iccq-̂ j TT~|̂ r r |tP
_S*
-0— F-f 0 0 k
^ r r r r r r H rrJ i— — —1 1 fc—j ; 1 1 j l3h te
VP
I»—J/^-F H f l ■■ Z7- i ri» i J
mf
S E 5 B 
w —J------ -(/-
J3 r o i
JP
FOURTEENTH LESSON
The previous lessons treated only of the Diatonic scale in C. There are thirteen M a jor keys or scalesy 
all formed in the same manner as the scale or key of C. The Chromatic scale, composed of semi or h a lf 
tones' is now introduced.
A sharp ($ ) raises the note a half tone. A f la t iV ) lowers the note a half tone. A natura l (.̂ ) signifies a 
return to the original tone. In ascending the scale sharps are used; in descending f la ts are used.
The Chromatic Scale
Example
B
cit
À ÿ j-
b I>
D D# E S# G GÖ A Aft B
zz:
A 1» G g !? e e !> D
jpr
Tr\
hg- TEZt
1
2
C C$ ( i* ) D Dg UH) E F
ozz:-): *
o
B ̂Ufi) A A k c fl) G fa Grb Fff
~P~
I Z 0 1
Memorize this Chromatic scale THOROUGHLY , before proceeding*.
A pause is marked thus or ^ : which means, when placed over or under a note, that the tone must 
be sustained.^When placed over or under a rest, silence must be prolong-ed. And when placed over a 
Double Bar: |j , means the conclusion of the piece.
To build a Major Diatonic scale, observe the following* rules.
The key o f C ” Major, is the model of all M ajor keys.
Degree 1
Example
' V ■ ^Distance Tone
TS---
Tone HaTTtone Tone
O" 33l
Tone Tone
/7\
Half tone
In ail Major keys the half-tones occur between 3 and 4,and 7 and 8. All other intervals are whole tones; 
making f iv e whole tones and two h a lf tones.
There are thirteen Major keys; each derives its name from a certain number of shatps or f la ts placed 
immediately after the c le f <ĵ ; this is known as the signature.
2 6 4 8 3 -
FIFTEENTH LESSON
Sharps ($), flats (t>) and naturals (fy) not found in the signature but set before a note in the midst of a com 
position, aré called accidentals.
When a note, that is raised or lowered (!?) occurs more than once in the same measure, it is unnecessary 
to .use the accidental again.
g .f # .g ' f # q a !> a !>
Example
G Fy Fij E D#E F E D d 1>D^ C /
.¿ f ¿ ^ircJ-'W c ^
k i ¿ ‘
This is one o f the most im portant rules in music} and must be remembered!
Another sig-n w ill be employed, called the slur: ^----- When written over or under a groutpai not&
shows that they must be played smoothly,sustaining- the tone, using-the tojigueio start the phrase only.
F t = ñ -M -P f • \
3 5 - - . « — ® =r~|. i 4 |
Slur
 ̂This same sign is also used to connect notes of the same degree, it is then called a tin. When two notes ar 
tied the second note is not repeated, it is merely held for the duration of the time value.
Thus:
Never take breath <when a slur is used /
Example
Slur Slur Slur
Moderato Met. J = r ioo
Z— I I» ^ ■ J-) J ¡ kf Jjp J j j
2 6 4 8 3 -
28
6 7
Andante Met. J = eo
w - j
-rf----- V---:--
P
-Z" jg:; 0 0
1111 ai^ ) - f r r z r - + p =
Í Z 1-
Í8C a "• r " f8' jBC
zfi-ZZT ^ ......n ■.TI------]
?
<»
# = * p
r--------4^--1---- ---p------- ;--« --- -~0---
P
E p - - / j»L J ....ar.—®
i- —̂ ...®---
1.....^
T i — £
« ---------i » ......« . - f -------i-P— B - ......V i ---------- — — p -------------&---- 28-----
n ï 3 2 ÿ . 2 0
= j ■ , r . i * — « ----------- J J — ¿— j—0
— H U i . i ^
3¡C
_ e _
£ i i j r i - H d - J r / - i - r l r
Lowj ? ^ i 0 2 1 i 0̂m f 2 1 3 2
0 2 1 1
______ ;______________ 2
Allegro Met. J = 132
68 ----j r
mz -0— * — 0 i — J -~d~- -0~ *
f
—ñ----aff--- 1
*... • ..... ...- P-....-••— *— fN = ? ----- Mil... . I 1.."""',
■MMHOHHMaBMBnMJ
b n z = \—r—i --!--1____ _—0-----.-----0 •""J -J./-m f
—---;----- ;----- :---- 4P
....a ....a ib '■ —
>
9---- :--- 1
>
k ia----:... -
>
0------------;---- ±---- f* Ia----9----» ----
y - J
— J----Ö» ä --- 9--- |0----p----
W"..
- 4 — 1
■ T ^ ... 1 i
5
-(£ )— F------------•
^ /
E t y - z
2
3
£P
: : a
■ f ? •«l .
■ ■ ? 'S
— b í 3 - — !-------
J - 4 V - ?
3 " S • ■ ;gj
? ñ F = ¡&---37 3SL -i»— i-
2 6 4 8 3 -
29
Before closing* this lesson, there are two new subjects to be explained. Anew time or tempo; and a.new key. 
In Common Time^ot ^ , there are fou r .beats to the measure. In 2 time, tvoo beats. Now take jg_ t im e , 
with three beats to the measure, which contains three quarter .totes.
^Countl 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 ^
' J J□BE.&—&
The key of “ F nis known by its signature of one f la t , placed on the third line of the staff, ( immediately 
following* the c le f s ign ) which is ‘cB!>” and this key is built exactly like the key o f hC ” which is explained 
in the Fourteenth Lesson, using- the same degrees, and follow ing the same rules. From 3to4,a half tone, 
also from 7 to 8 . . . .
To attract the attention of the student, the notes to be chang-ed in the different keys,w ill be enclosed in 
brackets.
Signature One F la t 
Example
Key of F
6 7— 8
7 .0
j d . ]0.JJk .. ----- » --------* -------- f*— ^=H
r -----
®---- ~0~ .. ' W I ‘ \ — 1— f = 1 ■— 1
--------0 -------- a L r /
— - ^ - 1
----- BE--------j----------
----- 1---------- j---------- 1----------- . . I T p ~ ^ E —«s-®--------d-------- Tj^.î
0 1 
2
Andante Met. J = 76 
Count 1 2 3 1 2 and 3
Moderato Met. J = 100
4P—0-- 1
•/
time onlv 24 time
W. •0-
m-..BE -&r
P
— ¡5 »----------------- -1 — » — ........» • • p 5 - . --— V—m -m a
...................... e ^ ' F T 1
Z? ' ^ i ” " "
.....r ~ ~
— 5 J— !— 0 —
r
j • J— 3BC
rt\
p g
— //
rs
‘ QJ
2.6.483-
rail.
sc -t&r
10
SIXTEENTH LESSON
A n d a n te m o d e ra to Met. J = so
i ______1
... *r 8~at
I *0 L t It
*_— ar
p 1 ] 'l 0 2l lL '0 L '0
l
re----P W- . -W ~0-
-r~ -g
P II
_____ k ■ k
T!]f
i - i f if ¿g--—’•£2'
P
p 1 — “ = =
—A l l— ...... I — I II 1. 1» I —II 111 II I l«l ijl «".I ■■■! ̂ .1 —
:__ f . ,, J.-W .( fcE
77̂ /
A l l eg1 l’O Met. J = 126 I,
22
-J-/ —3 
J 'with sp ir it
--- ,—jLJBEH'Of \ - flg
= g = ------^ g = _
;____
jf-hr j J ij * i J . i j J?h f'
0 • 1> . 1 . 
jfer: » ■ i»-JZ-*-rTirP-- _ — TT!!1 . '■■■;»•— ...i m —r " ”
jO > >
tQL -9------(---- ... -0 -
= H £ l p 2 0 0 2
r- ’ • i pr-ar-«v A#
7z~y::i.-g m .tpr-
1 1> * > 1?1 / — \ » '■■■• < -. v ■
I,
...... •>._.__. „ .
m -J- 
*
. I........
>
r
— _ ....
— , #■"■ ■ 
0 •
r\
- f —~ 1LT H - e -jy, t-jy j.,r, - .-jjp ) _ ----W. i.M.j__ J-^> > -M=f=" M
_i_ j
«; A n d a n te m o d e ra to Met. J = so
7 3 j |z.. j z j z a = = ^ = z= | ^ =zj
1
■3“
» — **7r_
b , -^^v- 1 1 T i ----- t l .._________ ___... f Li'-r—3H"" pz —e--------- -1—
7
^ JP
—J~W •—®—-fiJ—
TTlf —
W— -------s — p _ ------ J— i. 7 ^ 3
p
SE
j _____ 1?
E E Sg±f c j:-.K T f ) «
7“ 1— *—L»J— =^=— ■ UJ—I-
E 2 T I f3
/?\
--p?.. '..~---- p-----—ZI~fl 5 ! ^
\> I
* f
f) r~ ^
& > . J _ r —
 ̂ k
!>
» 0 ( * ).""*
•—¿ - —..—
Tnf 1
1 J P I . . .L - J z z
• a J m
1 ' ^
I—I..—---0—Ä--- ------- 1
i tI le----- S E J3Z
= = z ij_ Ezi^::.::;jg±g-fa¿ 
-gf.#--* ■ .. -
J ar
T W T i
3 1 3 mf
È (' » .>-4-
/?\
Iir—t---» — w— mr r r r 2 <J" ( |* ) " jg ' (*■I— b
Moderato Mot. J = loo
.— - -1,~X m ( 0 ,̂ _. & [.. h— - a ( J->
—:—j#1 — --1grr i¿fcr̂ igs
P
_
zat -f-g-:)- j* =*'J~ — ~— g
-J*
g - -i nCTÿ -Ij^ L g «:^ ¿= =
TTlf
Hr------------- 1-
2
r..P .. i ’ i . ' t— l- 0 ¡ ■...-... ... .̂\----- • ■ ____ . i i "• fs. f ^ \
* i r J ! r f &
n f = = — p 4 ^ J ^ = =
?
v f 
ib "
^ & r - p ' 1 r i *
m—+TV
Á,~>---
eJ
r r f 
:f-£r*> à ,
P 2
-e-
m f
ã É E i E ^
- <r$ ?
—1j—7m _«c ftaczÄ
______ £\
H
8 2
Another form of notation is the sixteenth note, (J\) which is half the value of the eighth note, (J^) and 
written with two tails to the stem. There are f o u r sixteenth notes to one quarter beat.
Groups of sixteenth notes are connected by a double brace to simplify the reading o f music.
SEVENTEENTH LESSON
is
0 0 \ I
Beat l - _ _ 2 ______ 3 4 - _ -
.Count 1 2 3 4 1 2 3 4 1 2 3 4 1 _ 2 _ 3 _ 4 -
Example 
1 - .
-e-
"Whole Note. Half Notes Quarter Notes
. 3 . _ _ 4 ______ Count 1 _ 2 ______ : 3
Eighth Notes
Count 1 _ « _ 2
w—0—0—til
1» P ;|
0.• 0r”’& 0 0 0 0 S-||
Sixteenth. Notes Three Quarter Time ^ Two Quarter Time
The sixteenth rest also has two tails and when written denotes one sixteenth silence.
A dot written after an eighth note adds to the note one-half of its time value; one-half of one-eighth e 
quals one-sixteenth. In musical notation this is written: J'l or to one beat.
Example f e
76 I
Andante Met. J = 54
Count 1 2 3 4 1 _ 2 _ 3 ______ 4
V a to si
-—4—&
— — I— ....... ifflwwl.....
______ M_____________ H ______
-0 1 I
1 2 _ 3 4 _ 1 2 - ---■ 4 ,
* P77TJ
4 <P 0~&
p p r r | - Q - i j e:* I - j j j j g a s p
7 7
Andante Met. J = 66 
Count 1 2 3 1 _ 2 _ 3
n
g P 7 p 7 =p 7 | j > j » . ,p j*„ .Q j*
1 ______ 2 _ _
aam J85at d d 'd-vrwtrm—* —*
3 -------- 1 2 3
Wl/*
N .vrT L Z S Z4 4
Andante moderato Met. J 80
7 8
~3T*T--- “I----- R--- :-:---0 0ÆVi'1 J ü- J '■—W~0~m—F~ — —2— ..."Wv •* * • "¥1 7t̂ L±j é_z--- aLjLp— bd.tf--- ------ — E±:... r. P-l Ü=4H ■ a fi
..J r ¿ r ¿-f r Hff—-'---- -̂-- p.. p »&~~m—i—— JB* 0' —„__ 59---« > ~JT-Æ=j=<5t̂ --85—:---g-JgjL«—L_i--- w =i—.1—'—! Tnf
TT
s
t r
■ f
0-\— 0
/Cn
22 £
f f
7 9
Moderato M e t.. J = 100 
~q~' r---:-----=---1--------1—I—:---1---Ç^0-
Tnf
S p iz jz :;:.w =j^¡
2E É
•■O« ¿» *--£-»—à ■ 0—as---— ■---* -0~m 1 ' J."" rn n a-------- jy- ■■ .ffl—
J — «0 / . T i P t-=3 p - ~
— r*—W—
H — ^ — =—
75 .”■)'• ® «
--- f-~-jp—&—
P ..P 1 1® ®---jó--1--1~~f L"g~)?—P— 0—i *rq
¡9-------r r i
:rj } " 3
7n f '
"p '£t~~0.. —J -J -------- 1 1 t b= 4 = t =j
B-ILj—j_j--k¡*̂
^ -----
--- -------¿— ]
Allegro moderato Met. J = 112
/
t .
BEsasga
ac
:t 4
EIGHTEENTH LESSON
The h y o f uG ” is known by its signature o f one sharp, placed on the f i f th line of the staff,-(.F 
anÎTis built b y f o l l o w i n g the same rules as in the. preceding keys. From 3 to 4 and 7 to S half tones
Key of G
Signature One Sharp ‘
^ 7 3 . 4 5 6 ----------- ( 1 } ^ 5 ^ 3 2 , ___1
f~7T~ ......T-.. r Ii II....&_^Example
G A 'B Ç0 I 2 02
D
G F# E D ' C B A - G F2 G A B C . D E F
F$ E- D C ' B A G 
2 0 1 o 2 1 0
2
G
0 2 ~0 -è-
0
81
f'j .¿Tempo di Marcia Met. J =
i
3
116
~Ü .jj..
«
? £ -i9 - tzQ z r
i
/
#
£èfc
■>------ar—»•
É £ez =# 1 . r r
I3e — ....ft..
qz:
ere sc. f f ‘ f
% ___ I
 ̂-J- J. -p ^'4 -I U Jzr ,2 ) v 2 • 2 T
82
Andante moderato M«-t. 3
' *----------------- ‘P □Etm
P
iJU; ---------- »«**,---- f“—j———— ---------- w
f . = = _ _ =^ Z - 7 ~ ^ ~ i r f L ~ 7 g = z z = = j g — — T i :; ., i z
X ;
Z2L
2 2
3 3
zv----- ■— —
• 1® J " r n F = f e F # M---
« .i*— 0 - H - v P }i 0 1-P'V"'I". P==?s= i— =====[]
,—- = = > ---- W J
w t l -^1-H
W-*
B ^ p p
1
2
r X T ^
■5
_ ^ _ U
2 6 4 8 3 -
»5
Allegro Met J « 120
8 3
É =jfc& "1 i = & k 
— 5 --* 1 J 0
0~'- ff, I 0 E#
> - Í 
mfm f f
ÿgr-~.~/g~r~r¿ JE-g— p ■ —-»
£t f-'- - g i ¿-=
/
_JL$— g*— tJBh-
> — 
-, • í^jta
*
• *# • •/ ~ãTT'0 m’ 0 '
> • .
P 11 ■ .LJ .
--------- r i - * - - ILJ.„,_a nr £p w"
m f
H = & J
j?__W zi-
E p E p
MHgy
£i.r ’iifl*! O’ --ii^ércf i-¿j St̂ f
■ "" xff“
ürl V t ^w-r * -..«
/
f 4= = f%
> . • 
-0—0-0 )»--p—#—•»—¡j—r--■{Ç&— *̂ —0-------- ̂ —
¿T ~>-0ëé > > • ">■.
p p ' ' '
« # . . . . 1.. 4 J
V ....
<£* ^ J T ^ r r ■ i - . ^ - f f e ^ i r í í n i Í 1 In it l
- p • "1------------- - • _ ^ r— -----r = / ^ ____ - - - - - f f
/?\
8 5
mf
Allegretto moderato Met. J = 108
77l/*(Bolero )
f f i . - . - ' T g r r r S ~JXT'-KjBr;--4h*-£— .... sr # = r f #
- -...»̂• ' '
y - --M s ^ S -í
f~=- W
^ - r f T g j " .. . . .... - ■-. ^ . .~ r-
- W 1- 
711. 4 =
¿ y —
. ■: 1 "• ET"
K i /
F^-p-f
W - E í T O
*¡ • • • • # >• • _
--0U — -
—
>• Tt> -ar mf
f ¥ ñ
e != ± ^
26483-
- p -
pi—=-<a¿ a ®.®
>
dim.
1 — — I
8 6
NINETEENTH LESSON
Still another division of time is a group of three notes called triplets. In counting h a lf time or Alla 
Ifreve (^J^ )equals ( J J ) : or in twor-four time ( j p ) equals or ( J J T T p ) equals ( H i
' f ^ Q
These triplets are also used in various ways; for instance a new time called six -eighth time q denoting 
six eighth notes in a measure and counting six beats in slow time and two beats in faster time.
Slow Time Fast Time
Example l = f ] 1
i _ J t _ J ■ ■ ' j q
* Co uni 1
----^
2
— J 
3
— 0
4
-- 0
5
__0
0
---« ---- » -----St___
1 2 3 4 5 6
1 ^ ' - ^
1
— -0 ---0-- 0
2
_^ ---0 & & ̂
1 2
JL
3 6 9 12There are four divisions of time using eighth notes: g, s> 8> 8 » three beats, six beats,nine beats anc
twelve beats: or one, two, three and four beats in a measure 
Count 1 2 3 1 2 3 1 2 3 12 3 1 2 3 4. 5 6
Example 1 —. 0----0
1 2 3 4 5 6
... ■
or 1 or 1
Jî& L l.• -------------- :------ -------------------A ------ ............. ..— ]
a - H *
or 1
3
.
---- * ----
2 3
i-----4----- :— 0~}- ------
2 3 
4 5 6 7 8 9 10 11 12
rrr-l-------- K J ........ j v -----------------
1
1 2 3 4
-----1--------- ^
___ ?_________jhL----0—̂----------------\
2 3 
5 6 7 8 9 10 11 12
----------------- ----- — 1
w - l l — IW---0---0---4P----------------------- H__ ^L-________ -----j______ 0-1—c .jl:,_¿_g__________________________ \
or 1
86
Alldailte moderato Met. Count Two in a, measure
^ Count 1 _ __ 2 ^ 1 2
J Ï Ï i 1’j j i r J - ’
w f
Jzz: ̂ 0 x=z= us zg r ? ~ : } ) J j f) 7 fJ "tf . * J J-é-rl- ■
m y t - i i J T O i j 'i » hr j m
w ff
W-J—: -0 .¿ .M -0 _ _ -.Q—j
--- r — ---- ;---1—«■ .—• —w—»—1
— •
-t" 0 .1
ê P *
P J P
. / rm f
■m.0 1.P-
/
IIP? -0-
/T\
2 6 4 8 3 -
Andante Met. J ) - 96 Count Six 
Count 1 2 3 4 5 6 1 2 3 4 5 6
37
£ J •8 ? 1®--- ¡S»--- —
P
--0-:---
__>
AS '" •-..... ^ ..0 k« v^ . _ L - . . f_ + . | p p j .|
— : ~~ .....- rrif
... '■....................1-----
■
- f — n * * * - j — .- i — 2.....
p 1
■ f e ^ r r r n ^ _ i . ’ ....N— . —5M- 1 H — K- ^ I j ■ —
?
^ .. «» •-0 - • ^ -------------- -J---------------— — —y " 7 ~ ..r— 1 e J f J V frJ—
¡B .
•̂ 1* .
n. c - 4 - ^ j . , . : i K » * .. ^ ■ - ^ 1
...t r ^ j b
pp --------
J ® .* » /
i - ^ - f P t i , - 1 - p d
1 J * f..
7nf — ........ -~..-.— f =— p
.. ...gt* I
6 0 - jag—
r\
Tempo di Yalse Met. J.« 60 Count One
88
77\f
Count 1
$
£
g E
p . . 1 L X J
/ •
i*Ss------=f4—0—F—0 —
......
> ----------̂
— > -
A •
-3*
*7 r-± = : 0 ~
:. ____
W '* «V
5
" i f
t¿=J
P = i U j—
9------0 ~
t = M
----0
----S
38
Maestoso Met. J .* 80 Count Four
8 9 ¿ H - U L - j . . - 1------ i 3 q - ± q — r - T - r - h n1 t
^ 1 r - .~n
\
---- H- & • --------öL^_f------- ® a *— ------------~w.0______ .....f ' f l ' ' - » - « P
~8b > g .’
J . ---------------- P - ; T f f -
> >
“ f ^ ------------^ ---------- m r ^ E r ii---------— -------- : - 1 , h r ~ f t
> ____ v
- * ' p —
i
® n * i
_2 _ t = 4 c ^
- - 5 = ±
F H = ^
¡~gm c tff- iQ~ f r j f f l t f F
—1—
HX
f
-1—1 _l jsr
V :
9 0
A lld a n te Met. J . = 72 Count Th ree
|prr~ .'1 ' T r 'r r : ..x x i l .:-vs K:I jjE = p = ; _ ü & --3 M zgza
& ], : J.rr ■> ^ |* r-f- i® 0 rj • ~1 ' - f t -------- 0h-j*----- l + W - 1 E—0 — ■—¡0 - | i ä a •y - j f r ^ E -̂----------------------------------t—p r _ j_ ------------------------------4̂ -d~M
f e g n 11 Y r ' .nn 17-y:, j , m i , j , j - = i
alS4> -ti| B -►s. r .y -fje
n f
jBL JBt-& &----OL-q.
TWENTIETH LESSON
Syncopation or syncopated time; is sometimes called broken time, and id illustrated best in the following 
examples. When syncopated passages or phrases occur, the accent falls on the second note c-f the measure.
C o u n t 1 2 3 + 1 2 3 4 1 2 3 4 1 2 3 4
Example f e d - r . . i
.... | ...----1--- 7T3--- f ..-.. n r — r " --------1
...'t~ 'l----------- 5 — 1 . ' J r f ii
The tie is used, connecting the last note of the second measure to the first note in the third measure; to 
be sustained two beats.
These examples present syncopation as used in various tempi.
Count Four Count Two
31
Count Four
/T\
XL
■ U .
f f* ..JL.
p---- > ----kr- 1
—w ....n
I > >
..r) a — "»"■."tV" " «"""S'..V
. r> .
— --0--- ¡0--
5̂-
A
> ̂ — j| p J r .f — p W 1 ■ Lp-i-N-v*-— _p— N = J
Waltz Time
Count One
• ) I~ ... — ZZZ. 4 ----- "
a. o - I — - - & '—cJ— --............_ _ ^ r-
j»------9-----g-
Count Three 
| ..tr-j
■
Count Two
-rT ~ ] i~ n
.. . tfL
/Cs
m....m
M--j-- «■h-T.----------------------
w~m ■' a a.m—m.A - ̂ ..... " f r ? r r p "a .
^ ^ • 
wr-m~....• 0 F 1®—
r - ^ — ii o - 1
- J ' J
> '
L I ----------------------- J— i - —'■■■ m .... i — — —--
> •
3 a r r a r ,_ .f T J ..a=B^=M : p ~ i f f -------— ]
Count Two
3-.-^. a -— «g
£ /Ts
-■ >-
Syncopation in this last form, is usually called Jazz in.the United States; a rhythmic peculiarity characteristicof 
the Negro race in their songs and dances.
2 6 4 8 3 -
40
Moderato Met. J = 100
- 1- , ■ 1 P ....d - i r - - - '= q - q : .-
-----—------ ----- -----------d-----P -— - p - ™r d 11 " —P "" 0 ~m--------------- —r« ' f y I 1 I —— — -■■■’- ni » ..... —■■■ «■ 1 II ■ — ■ ■ .1 ■ Il ' ■ -mi..H. ■ !'■ Il ■ ■ .. . | III 1 ■ M ■ ■■ —
<f—^ —<f— L“a»— ----!——--------- L—j----H---:——j--------- :— — =----
• 1 >
91 S æ . V
m f
■»a
ftm:.
? .
Allegretto Met. J = 108
92 a s
JP
i g' I....J
^ Allegretto M|t. J « 112 ^ ̂ ̂
93 y l J'f p [ffipT f1 ^ppp1 r̂"r- r | ^ -f?n*t 1
77̂ / — - = = = ^ -
l i E J f pipf p jir i .J p ip^pj ’u j ^ ic/pfp iJ-
94 r — f-----------------4 * r — — - t - J — aï— r — .....à ..1 ' - « ' ...as Z. • ........... r r i ■
~ _ ̂ * ----------• ----------------
/ • "
± : ^ - p | j PMBMKSMa J
— = = = --------- --
j ^ T É P
#—ff—* ükT^ | r I
> . - > > "> •
Œ
1 : azaz^j £
Slow Ragtime Met/ J = ?6 comtiî rwo
ï c pîl!—!.— 5. 
—--P - gj- ZTj
-W-
» ^ z £ z » j " ç j
g
3£ jet isf -4P-
771/*
J 7 1 J ^ ) I /Jljp Æ l - i - p ~ ~ p ? 1 ■ J ^ ^ T 3 i J 7 ^ £ f = l
- — 77if cres - - cen -
I=^_ ----------:— ÎS »-----1— > . ? ^
-B T -p -a r-m -p -a — r i— r — P-P-m-..-.■.... Z Z ^ - a - L H q h ?
n
1 > ** - 1
do
- P - sr~ ■ ^ PW = > *>
« h J)-^—j
TWENTY-FIRST LESSON
41
The k e y 'o f MBi>” is known by its signature of two fla ts , which are, “BÎ?” on the third line, and “Ei? ” in 
ae fourth space.
K3y of Bb
xampl
4 1 1 2 
rfL ( i i. i ""
------- - 5 6 ,------8 2
= f - - ~ 1 1 1 1 1 . 7 ':,:P - F - - ^ =
------- -- §
""" g.. ' JT|«-)-----p-------
^ n h
r * ' i ?:n:.^z-....9..... .-■ mn
— -jL ----- *Lz
i 2 1 0
3 3
-7 6 5 4— 3 2
... J “ I -T.
- .:E := E E
1 li. <0 
2
1-^7 B 7—■
I 2 1
— 1 3 5 1 /?N 
.— —r̂ n—
^ 0 1 2 1 b 'i
A llegro moderato j
-\R A j V . ----------------- !
t > 0
let. J «. 112 
■s,
«[ -j.
1 t 1 
2 i 2
„ —̂ ............——•—
1 / J f ; = -
-(V) 1 1 -'i.
1 3 
> v 
[-(pr):.“ —C-̂ dq
i- ..L. :£_̂12—
V n r j ) J • r •
9— C?0 ̂ » ....p4,») .... g_
( • ) J ¿ r j 1
- T T T K JTT~=^------ h
- J w * ^ _ L u P
— .-.^
r C j 1 .-=-b
( > V ■ f ' T f r = i
1 7
-----s s z z f l ...^ ------ :~
. Allegro Met. J =, i6o
— 1-
=F~V> a * 2 *« -J— , _ 
-fesj------ 1----■ •f 1 <-g
or J«- 54 Count Three f o r
.^pl.,,J- J,, (.̂ L.:— ^
160 or One fo r 54
______ .^A■mi Hmtem W...f-~- .... " ■ C-“""'.. JSM T-.
r ■ f = * 
■ i ® 'f C
£ = £ : =
p . 4 ' ^ Q f P p y V B - i l -
>■ > 
^ T B r / ^ 'T 1: ! .̂\ à 0 - —arther
2 « - , P f . . .
( / ) H r n .1 = É
' u 1 ' n j . j 1 1 u------- *^4
-0-,.|>..... ^ ■ :--------- ----------
S i- r -b ------( iP )■■ w{ 0 ) mi M) ! F f* * l ’a ) P
n r g C m f f t
> ■ > 
G B 0 ^ 3 : g . U : * ! . . | * i p
y ) r j r ^ * -d k * ) , r ■ -; 
^ P r y r ^ 1 '~i^~
• . > / r \
t-Cp •<— p i p J r ___
A Moderato M v t . J = i o o
i— i--------- ,-1' h *J— *------
r - • ............... — 0 T ^ f T = r W r
u
j a .
«r ~ * * ^ ~ g . 1 u j ^
^ J o y o u s l y
r * 5 - - ?
U M IM "'•-— —mji ............ —9---^ ------,Ẑ sm--------- pe^St---
■• ' - C J * + C = £ i p
— L P m ^ 0 —a ~ — ~«r— “ P - !
~P~. I?-----f
--------SLbL -0 ^ ----- ^ a l g *
— y L J > 1
>
P— ¿ ' ¡ ^ » » I ""»— 1 . ^ 1 ----r--------------
----1— C-JK-1... r M ----- <%. fr. Ü - * • w
— =h — m — -. r
: • "- , a i p h ®-j s -— -----n ------------- — r - — S z
v H —1 ... ... 1 H ------ = 4 — SC ZZi
— — P - " p î ^ > . :
\ Ji!~ r S9" fl* S> '",Br 9
V H V ......
— p p •-
j " N J 3 J ) ^
b d s a r ^ - ^ i r
IB — :— a - » ^ _ .... _ u l
8483-
T,he key o f “ D” is known by its signature of two sharps, which are, “Fit” on the .fifth line, and “CjT in 
the third sp̂ .ct?.
TWENTY-SECOND LESSON
Key of D
7 n-rri n In /.v/j rT̂is;» a C)i r*
TWENTY-THIRD LESSON
The ¿cy'o/’ “Eb” isknown by its signature of three fla ts , which are, “Bi?” onthe third line, “EM’ in the fourth
space, and “A t ” in the second space.
Cxample
Signature Three Flats
1 2 .T—-"-? 5 6 7-—-»
 ̂ 0-
Key of Eb
H E 3 3 0 (|» ) ... -f -
! I r\
2 ;4 ' 5
I 0 2 I
3
2 0 ^ 2 I 5 ¡1 ^ 0 1 f
A ndante Met. «f)„S4 Count Six
L01 ■pT
5
’̂ rhrrm............ — = r ^ T f ^ - f i =W . 1».(j
mf
J--- ------------u—
p g g p .... *h
g (a):?./-., _̂ z_
1 0 2
* T em p o di M arc ia Met. J = 120 ,
-A b u . r-T i 1
 ̂S -J~ -J-'—J- -= - ■■ J- • * ■ ^ 1 n zzz5 zzzzxzzzẑ !!? nzzi
-W-/,lively
m
s V-
eJ
PE □e
—jjf----0
J hJ-*-
s *—a— ■& I ̂ J ~̂Tji y .
_ g — l--------> ..
- ■ ^ - > . ■ -------f -
• 0 9 ......T"J
> 5 > > 5«S-
.....; f - l
ft i >
^ —|ii------ra..: 1
= M = £ a - * t
■ >-
"'...jB
> .
- J« 1̂ ....
- W ~ n
--- M .
> > > _ 
—4t--- ------ IP----
T-W-
j*
B- z - fEf :' f f ..
6483-
59
M-----
v — = 3 = ..-—Lsl— U----- ^— i f
4 4
TWENTY- FOURTH LESSON
The key o f “A ” is known by its signature of three sharps, which are, UF#” on the fifth line, MC#” in the thi
space, and uG#” in the space above the staff.
Example
Key of A
Signature Three Sharps „ 2
-2-----3 - C * , 5 6 _____2____3----- 5g jf 1 2 3 - ^ 4 5 ' 6 2 3 -^ 4 5
? ? T i i " T i 12 Ï 1 °
2 2 1 2 
3 2
1 ' 1 i-'o C it r J ' J'-J.-rirM— L- 1 1 I ,-£3-4-
2 3
103
Tempo diYa
qz± .
zjzi
7nf
se Met. J. — 60 Count One
(f ) T 2 1 2 £
£ g ± JE
.-.¿a -i.g) r f '^4-\
^ 5
p.*....
F = f = ]
|_ÎH r | r p ‘) —| ( ??■)
-ALp--------- d t t= j n
- 3
— 1-----
f 1
— !— z
É f e Ç j U 22;
E p J I | flJ J w f - .I ...I f I p 1 - .
Moderato Met. J _ 92
104 ^¥2 , b J 7 ? . . ^ I f 
^ f very even
fc ft 1 * f T
ÎÜ^
É
S S I
--r**J.1~"*----1---- te
"at
TWENTY- FIFTH LESSON
The key o f fAJ>”is known by its signature of fo u r fla ts , which are ,“Bt>” on.the third line, “ El?” in the fourth
space, “Ab” in the second space, and“D t”on the fourthline.
Signature Four Flats
1 2 3 -^ -4 5 6
Key of Ab
Ëxampli
(¿) (J) | " ° | T t V ̂ F 1
2 1 0 2 38 - ^ 3 3 a
 5 v 4-^.3 Z 8j 6 5 4'-— 3 2 1 ^ -7 — — '1 a 5 , /C\jps:
J r - 1 - i . I1 0 1 ô ? ) y &i W x i n
■W - aw t T 32
3
| 0 1 2 11 1
I
Tempo di Marcia Met J «. 120
2
3 2 
3
£ r IT fir i \ f.tff ^ U j j 4 W =^FiM
f i i 
3
T* ii'il? -.. :T .— ±—i ---- r 1 -3—
?
--------- 1— - ;......0 i ------- ---
5
r v f — 1
EP ~
....
F = F |
---- ^ —J- J — — £Li------- &—
-= = ~ P ' 4 = N
p -i..—
.
9— — __|------ 1-----p**_
>
—^ — l®np—jfli— j.... T '- à .....J J 1--- x __« qL „, ,> --- • T
'«•.- B ' f “
4 — -----1---- p
— -fit— rJ — f .— |
J------------------- --- * --- -m-----=--- ■ " 0 ff—(®—
p - 5w .::
- J — J-----------Æ * — J— » ------
«J p _ J - J * ; ? u ..-
y —
U J
«Î g|---- g .
- P ~
a r r fc t > "— ^ T l i» i* " ip = N
* -------f9----- 5p ------------- i ----------- s-1®-------m------
--------
... r &— * 0
•^jV— ^ g ■ 
eJ
/
----------<T - —
f
... ■t ^ = d
.-.'jJ'l P..-—‘—m---- 0— 5— -----F=t— _ — up— —— B.,.....
***
a P a . j j ^— p— “---- J-J— -----------0 sm v — p----------------- 4 Jg
28483-
The key o f UE ” is known by its signature o i fo u r sharps, which are, “F#” on the fifth line,“Cj^in the thir« 
space, “G#” in the space above the staff, and UD$” on the fourth line.
TWENTY- SIXTH LESSON
Example
Signature Fot
£ k h v ==•
ir Sha1
K ey o f Er£s j
2 1 5 6 7 -—̂
1 •------=--- CJ-r-
8B ---(-(¿Í-)--- 1̂ f .4/H tf 11 I /
----——— — é— ¿Xjh 
2
b r W - " - ----- r f ----- 4 - -----
Í I I2 li 2 0;. 2 2 1 2 0 0
7 6 5 4 ir------------ - 3 2 1*— .7 6 5
w .
107
u M aestoso Met. J -8 4 
■ g
* 2 2 
3
■ w r2 i 3 2 2 *
3
É Ï ...- - f- i i ' I. ... ... . - ■"■■r— • ........ :........... i
: T ' . •----L-|----Lai——**525— ~ 3 B
?
SC
%- -0mf
U .m
(& ) - 9L0 ft jfr“'
m
gH:i: g
at
Andante Met J) * 104 Co«** S w
108
a u Aiiuanxe
f T f i i > n g f ^ t O T -----—J — ^
P-HT-a w.-
11-i i ■ j ft ■ i. - ..... -.¿B —i"«-—" J9L ■ —j- - i-,„.i ■ 1 ...il—,... .... , „.1——.„i ■—1 -i.ipi ĤiAiÇJL,— Z--------r & , a — -n,.. ft. I — ---------------------------------LLf f PJ ULT [.¿J- 1 rn - F a—<r 3t
> *#■
- m - r n
> «... ..... ■; 
-
>£---.---!_
>
•fr >ft > r “
w J 7" . f* ¿
BtLH. 1 . ?
cT > >
" •......29 —*---=---
> >
---9 -9 - 9—9----
m = 1
TWENTY- SEVENTH LESSON
47
T h e A a y < if uDl>” hm f iv e f la ts , w h ic h a r e , t h e t h i r d l i n e “ F t " in *h~ r
rpace ,“ 1)^” on the fourth line aud“Gl»»on the second line. * ^ ®paCe* A t” in ^ 8ec° nd
E xam p le
Signature Five Flats D VI . 1 n K
2 1 4 j
2 A 3
Andante Met. «f) = 92 Cownji Three
36188-
TWENTY-NINTH LESSON 49
The key o f Go has stx f la ts ̂ hich. are,“Bt>”onthe third line, “Efc>” in the fourth space, “A£>” in the second space, 
“Dt>” on-the fourth line, “Gf>”on the second line and“Ci?” in the third space.
K,ey of G.bSignature Six Flats . v
1 2 . 3 - " * 5 :6, m i ) & < 2 r l A 5 4 - 3
Example
kt
m i <?> =tw>
m
a
7 6 5
r^ = 7 - (V <*, } {é)
k
3 2 
3
Moderato Met. J = ioo
(ai) , J\ -i ) (
6_____7. /?\
-Hr* j K
113 3O T K I
j f c t o — ■■■— :j. 1----- f - —J " Uk- J ■79 - — 1P f f J=}:-:
-------------- ----W—̂¡j“J----0 d—
o
tf .1 d
0 E F ^ ; 1 ' * i
.. j »"w- 3
m f !___j j
ts> -0~
8 5 M — 0 —1 0-» *
m f
fc.1 n.L 5 •0-
= F 7 r f f
^ =--- :----H-r »1 0 bm 0 ^ 0 - 0 ' , ' 0 ~ 0 —. 0 . f0 - #—r~"'̂ 1̂1—Ær. -----j j — a— aJz.„B —V-
1 = ^ n ?
-0~ —
= = Î bn
ig '
>
t= z ±=sA¿~w f i i p f f f l < I [¿j ~M~ZTM w.pp'1»: r f ^ T m m
. o f
The /tey o / “F|i” has six sharps, which are, ‘lFif”on the fifth line, “C#” in the third space,“ G$” in the space 
bove the staff, “D$” on the fourth line, “ A2”in the. second space, and “E$” in the fourth space.
Signature Six Sharps
he ample
2 3-"4
Key of F#
9
____i>______ . 6 . , .8
*— nJy - -(■#)- ■( ttkf' i&- f*1 1 ii»1 
2 "l li r2 2 i ¡2 ll ? 1 2 2 2 i 2 
3 2 3
I ,— -~7 6 5 4 ------ 3 2 3 4 5
12 1 2 
2 3
ft 7-*— 8 ^
~ - ~ 1 
1 ? 1 2 (♦> (5
¿ " J < i) 1 t J r - ^
t ? 1 n
tm
* 2 r (t ' (t - 2
, 3 3 2 3 3 .
N otice : The keys of “G?” and“ F$” both. sound the same, and are fing-ered alike, but axe written different-
f , and are two distinct keys. 0
3483 -
THIRTIETH LESSON
51
After having finished with this series, the student should be sufficientlyadvanced to play music of 
medium difficulty, and I would advise everyone to join some amateur band or orchestra, in order to gain 
more experience.
For your own advancement, the last fifteen lessons should be reviewed thoroughly, playing every ex­
ercise exactly in time and with perfect tonal quality; without breaking on a single tone, and correcting 
each mistake by immediate repetition.
To be still more ambitious p lay each exercise at least ten times consecutively without a break 
o f any k ind .
DO NOT ALLOW A N EX ER C ISE TO BEAT YOU, OR GET THE BEST OF YOU A T ANY 
T IM E !
DO NOT CHEAT YOURSELF!
Remember that YOU have the chance o f becoming the most perfect Cornet player in the world!
There is published a Second Series of Cornet Studies, comprising* 190 Exer c i s es ex - 
pressly fo r technic and endurance for the advanced jflayer, and i f the explanations in it are care­
fully adhered to, w ill enable the student to practice for hours, reach the highest notes above the staff 
with ease, also conquering- the most difficult passag*es known for the Cornet.
No. 116 should be p layed -^ j5 throughout in a single breath, and repeated many times daily when 
beginning* to practice.
P ~ ]
* k •, , L ~ a r - # ~ T y ~ b " g - i? - » — 1— -JL- m - L ---------r n a --------------- “ I-------
t F 1
OTMM--------
C l r y " W —
" a - ¿ 0 — a
«J
26488-
/C\
~ 7—— —f—— ------ WlWyili ________________________________________________________WjULUOM—_______~ ~ _______ " ■ ----- - - - — ——- 1̂
5 2 STUDY
This study will be considered difficult, it calls for practical demonstration of all the experience gained in 
this work, should be played very slowly at first', and not practiced too long at a time.
Andante maestoso Met. J = so 
hi *49 *
r
& - 'j - T Sk 0
 ̂ | --
-4 &}~Z--r -y "B
-L 59---- ........... r - ^ - W --------- = * * ■ i l-^ 1 - a
¥ = 4 = #
— f t 7
' S p y ■
*t a r r
..... >-
j r >
V ' o' ^ • & ■ f j ? 7
g g g
ST.