Scribd
Upload
268 views68 pages

Whites Elementary Method For The Trombone

Uploaded by

Dawid Juraszek
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
268 views68 pages

Whites Elementary Method For The Trombone

Uploaded by

Dawid Juraszek
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
You are on page 1/ 68
HITE’S BOSTON: Pususuzn sy JEAN WHITS, 226 WASHINGTON STREET. _==~. WHITE'S EDITION OF —— “Colebrainh Sustruuenta Works.” Fioun PaisoLoe st. Dante ones ng Ne sets a Serial erect ease eee Se aie ar cee one ar etd Seb tas ines Escistagasebes eariuilsee res omer at ee oan sna Rpt Foy con so eee E Bir et a can eee | sue, DeBeriot, Chas, Vistns's Fist Gui, conscipgtclgnenan vrs le nol tacpestrincnascone. soe, Alard,De Tren foe Telian toi torts Sx om toe favre Opes teeing Doris Mercadanes Rees, Sed Vera arranged by Data, Prof Er of the Violin at the Concerto ‘elg Pin ‘Those soos are adapted to {hear of amateurs of good aan as sre as profesor sian and wil Band que bef i gutting 2 se formule ofa hgh rer, ‘rie of the Teenie elodien, met TWO VIOLINS. eee So teat coy Seer eee Roch ceenerr lees ‘nd on this accbunt of pret aloe fo re ee ee eof Reale ce , 3, See i sive stadies forthe viola, avrangad iy the nove Gehan Se Ps es ie ESE so, Blech Be Eaten ay Dor ‘eek ee bear ee eae seas Wich Spee ig rg; rere epee Saat eenci 1062, . Vint Sree cat waa Fetes ey Heer eee ae pened), Pause" (Gounod), The Ser otte sint eee ito (Very The. Prophet Meyer eet, “The jewets® (Gfnery), The ‘Silla veges" era) andre Bo: emuaa Gir (Balle) "TR aregens tiny bdr he nrltcf the T plate Compt for Sealine wm Regen. Boao ‘alcaion af gona const of thenea om fhe favorit opera, arranged fr two Vi ins, elections egg made fom the mom cgesacwo fcr tie Dee icV and tlaeed san eny and agrestis foie ty WE Kecen. Pre da guirescorksarrenge for Te VIOLIN AND PIANO. 0 Debentote Che Fetin ee epee Chas, Caleta te ‘re rena nee ‘ntapted for ein publ or ta sm nui We arc lan Me Tala sarin Re Teme omer tree iggraea cma sien m2 Dane Chas, gir Woy Meing th Th, vat et Saito nieces ey ea ate ee eae Set ST pois Biipegaten SEE Sisal ame, feng tre brane fantasia for he Vio in ith lan accompaniment writen fx DeBeniov' best vein and sore ofa ware Eo ee Eg care ripen nin re Seer itera Di his. Das | ae hae a Blgpezompaniment all Shee Eevee maureen ee Beene eer ae Fecv ap tetietanene lia ie tae a ow ane rane Ferny WResg Wonraa late Taye a ei Ea a ee renee iat nee teal O Nan? Came Obes > eet a WET LG ree A cp EF GA B 7 He ones B £ But though we have thus our notes, their names, and the stave to place them upon, all will be compar+ atively useless without a clef. lementary Trombone Method, “SOI ——Coygrighty 168, by ean Wane, n Brass Bands two clefs are used; the Treble, or G clef’ and the Bass, or F clef, Je=—"— Each of these clefs has its own notation, or, in other words, one and the same note will have a different name and sound, according to the clef in which it stands. Thus, for instance, take three notes =—F=— Pe cope BF G fd preisng the robe clef his names ae GAPE, and inthe Bas cet JESSE PPS, ON CHROMATIC SIGNS, “ACCIDENTALS.” ‘These consist of the sharp %, the flat », the natural 4, the double sharp x, and the double flat bh. The makes any note before which it stands a semitone, or half note sharper or higher. ‘The ? denotes that the note before which it is placed is depressed, made a semitone lower, or flat. Any note already made sharp or flat, on having a 4 placed before it, regains its normal state—is made natu- ral again. A double sharp x, as its name denotes, when placed before a note raises the same fwwo semitones, and 8 double flat b depresses it in like manner two semitones, or a full note. Every note can be made either sharp or flat, according to the requirements of the melody or harmony. f ae E iz = E eI + F i i i G abarp Bat, Baatural C double sharp. double dat. Chromatic signs either denote the “key” or are “accidental.” In the former case they are placed imme- diately after the clef, and infiuence all notes which stand on the same line or space; for instance, if the “signa ture” of the key consists of two flats, we perceive that the first is on the third line, where the note B stands, and the second on the fourth space, where the note E stands, and they signify that every B and Z in the piece is to be made flat. If oceurring at any other place in the piece, thoy are called “accidentals,” and influence only the one Bar in which they are found. There are two distinct Scales, namely, the diatonic and the chromatic. The diatonic, again, has two modes, the major and the minor, commonly called a major scale or a minor scale. ‘The distance between two notes is called an interval, which may consist of one, two, or more notes, and. is called a second, third, fourth, fifth, sixth, seventh, octave, a ninth, and so on. Ina scale there ought to be no skips, but it should proceed upwards or downwards by “degrees” of one note. ‘The succession of intervals of a major scale consists of five full tones and two semitones, which all bear a fixed relation to one principal note, called the tonic, or key-note, and this invariable progression of certain intervals constitutes the key of the scale. ‘The normal, model, or natural scale, called in the key of C major, consists of two fall tones, one semitone, three full tones and another semitone, thus:— ‘Tonic. Second. ‘Third. ~_—Fourth, ~—“Fifth. Sixth, Seventh. Octave. SSE Full. Full._| Semitone. & — If we want to construct a major scale of eight notes on any other scale but C, we find that these semitones will occur not between the 3d and 4th, and 7th and 8th, but at some other place, and we must use certain acci= dentals to restore the precise succession as shown in the above scale. ‘These accidentals are placed at the begining of a piece, and form the “signature” of the key; and the initial note, upon which the scale is con structed, gives a name to the key. The following diagram will illustrate the formation of all the scales in use, with the signature and name of each:— SHARP KEYS. FLAT Tabe [ rm] SE | pute] am [ram] SS] detetetee| Ee [erie | Jeri] ESSERE 1 3 ao. aD. aa, in Boater, Boater in Fears ia Bat in Bae, in At, in Dat, in Cat, in cat, ‘The minor scale differs from the major mainly in the position of its frst semitone, which is not between the 3d and 4th notes (or “degrees”), but between the 2d and 34, thus making the interval between the 3d and 4th a fall note. Tonic. Second. _‘Thirl: _—Fourth, ~—_—itth, —Sixth, ~—‘Seventh. _Ootave. =: r = = —=E Full_| Semitone | Ful Fal Semitone. Several other modifications, with regard to the 6th and 7th intervals, are given by various writers on the theory of music, but to enumerate them is not necessary here. ‘The chromatic scale consists of a succession of semitones, generally effected upwards by sharps, and down ‘wards by flats. & = =SS= i ~~ oH 3 F - a i & : ea ‘There is another kind of interval necessary to be mentioned, consisting of two notes different to the eye, but the same to the ear and fingering. It's called the enharmonic. Taking the notes Of and D? we have an enharmonic interval, of which the following example affords some other illustrations:— — SS eS ON THE VALUE OF NOTES, “TIME.” Hitherto we have looked upon our notes as representing only musical sounds, but now we have to consider the value of them with regard to time, or their relative duration. ‘The sound of the note depends upon the position of its ead on the stave; but the value is denoted by the shape of that head, the stem, and the hook. 1. The open or white note, © called whole note, % Thecpen note with anton, 7 Balt» 3. The Bac er closed note, > quarter,” 4 Tho Diack notowith afook@ ight,” 5 Thome with feo honks, ff” sxtrnth” os ‘With three hooks, 5 thirty-second note. It is often considered more difficult to learn “time” than it really is. ‘The student has first to impress upon his mind the shapes of the notes, and remember their respective values, which latter is best done by taking any one of the first three notes as the unit of time, and either halving or doubling it will give him the relative value of the others. One 2 is oqual to two? 7, or fourh FP for ight PP PEE 6 for sixton$ 9 ff, or thirty two 9 GGG. Or agai, taking the quarter as the unit we find one quarter P is equal tof f 2 cighths, orf § & § 4 sixtecnths, : YE occ . Te makes no difference whether hooked notes are tached § for hooked together, grouped, Patna? or? 6 f,&e. "When a dot is placed after a note, thus 7", or? *, it denotes that the value of the note is to be prolonged. by one half of its duration, Thus:— a Adoted whole note © inqul Shalt notes: P| A dotted quateraote? ia eal to Seighita: ff Aantiotint nolo P* > aquaan: PP | Aastecigthnte G° ™ Seatac 8 If two dots are placed after a note, the secend one denotes half the value of the first, or one fourth of the note. Po amaioe TF frat bawtnl Fp Every piece of music is divided into a great number of symmetrical little portions, marked by a straight perpendicular line, called a bar or measure: ‘The end of a piece is denoted by two rather stouter bars, called a double bar, SJE via ‘also denotes the close of a longer period of a piece, such period being called a part. If a double bar has the addition of vo dots oF hooks, thus: {| | {f | IF af it signifies that the part towards which these dots point is to be repealed. tis then commonly ealled a repeat. Every bar must contain a certain definite value, specified by the time marked at the beginning of the movement. ‘There are two species of time, the common or equal, and the triple compound or unequal. ‘The sig- natures of the former are 2, &, & and 2; those of the latter , 2, 2, & 8, 8, and 2, the upper figure showing: how many parts are in a bar, and the lower how many of these parts constitute a whole note, 2 standing for twe half notes, and & for four quarters. 2— two 3 — three @ = quivers 4 = quarters Exarus, 1a2s4 1 2 8 4 12 54 1234 123 12 3 123 1238 123 456 12 3 45 68 It is frequently the case that common or equal time is mixed with compound or triple time, in which case the figure 3 is put over three notes, then called a“triplet.” The mere fact of being grouped together is, in many instances, sufficient to identify triplets. c= eee In the performance of a piece of music a cessation of sound often takes place during a difinite portion of time. This is called making a rest, and there are as many distinct signs for rests as there are different signs of value for notes. ‘Whole rest. ‘Half rest. ‘Quarter rest. ighth rest, ‘Sixteenth rst. ‘Thirty-second rest. ‘If dot follows the rest, the same rules apply in this case that have been given with regard to dolled notes. ‘Exauruns equal to equal to equal to eqnal to equal to. At the repetition of phrases of moderate length, the trouble of writing them over again may be saved by an “Abbreviation,” which may be for part, or a whole bar, or even for several bars. 2 bars, 16 notes. Ahotes 1Fnotes. 16 notes. 4 notes, A single note may be divided, or “broken up,” in the same manner. Fou. Ampesviarios. bo. Finally, I may refer to the practice of “time beating.” By this the conductor infuses unity into the per formance of the band, who ought, both individually and collectively, to pay the strictest attention to it. ‘To the young conductor a few diagrams will illustrate the way it is to be done. 2 and & or & time, the bar consists of two beats, the first down and the second up. 4 And in and 2 time,nine beats in » 987 ra the bar are to be indicated thus:— NY In common time, or when a 2 ‘movement is very slow, the beats 7-842 | In the latter time, if the move- 458 are: ment be lively, only three beats— like $ time—are to be given, each 1,2,3" y ‘comprehending three quarters or eighths. 3 22010 3 time is generally beaten. like common time, or,ifitbea 654 ©——>789 In 5 2 or & time, three beats in the 2 | slow movement, thus: bar are to be as follows: — 1 123 It is necessary, for the completeness of the “Rudiments,” to mention those signs which are used to pre- scribe the various shades of “Articulation” and “Accentuation” ‘On all wind instruments the tone is produced by the withdrawal of the tongue from between the lips, tech- nically called “tongueing;” the correct method of doing this constitutes a good articulation, and the degree of smartness with which it is effected determmes the various shades of accentuation. ‘The signs of articulation consist of: a. The “slur” (legato), indicated by a curved line @P P Pf over or under a given number of notes, sige nifying that all of these should be played with one continuous breath, only tongueing thie first. 3. The “soft tongue” (punto-legato, or mezzo-staceato), marked thus: f ff fi where every note is but slightly tongued. wee © The “tongue” (puntato), marked by dots P PP f, where every note is distincly tongued: and d. The “sharp tongue” (staccato), marked by dashes f f f where the notes are separated from each other by the sharp pronunciation of a “t.” ‘The accentuation includes all marks having reference to the various degrees of power, such as 9, J f, ff, dim, eres, sf, =, and ne “GRACES,” OR EMBELLISHMENTS. ‘These are written in half-sized or small notes, called “grace notes,” They are ornaments added to a sim- ple melody, and their execution will generally prove the talent and school of the performer. ‘Jt amounts to almost an impossibility to give rules for the execution of embellishments, by which a begin ner might profit. A performer must be considerably advanced in the use of his instrument before he can -attempt to “beautify” a melody, and unless he has good taste, and the advantage of a skilled teacher, he would be safer in leaving grace notes alone altogether, than, by their incorrect production, to offend god taste. ‘The graces consist of: ‘Tho “Acciaccatura” (jammed note), written thus \,or f,or sometimes §. This note is to be played with great rapidity—“jammed” into the note following. ‘ ‘The “Appoggiatura” (leaning note), which is distinguished from the Acciaccatura by the absence of the stroke through its tail. Its value (duration), is to be taken from the note following it, and it is generally played as if it were a full note. Warnes. d ‘The “Turn,” indicated by two signs, either oe, or 2 ‘With regard to the second sign, 2, there is a double signification, as it sometimes indicates a “simple turn,” and at others an “upward” one; it consists of three notes, and is generally employed between similar notes, thus: Warns. ? Uprard. PLayED. a ee — where the first two signs are interpreted as a simple” and the third as an “upward” turn. Here, as in some other ornaments, the taste of the performer must discriminate which way is best. Its value is always deducted from the preceding note. ‘The “full turn” aw, consists of four notes, beginning with a semitone above theinitial note; if an accidental added to the turn, above or below, it influences the highest or lowest note of the turn, thus: a 2b be ~ 2. wo ~ ed SSS Se : PLaven. 10 Sometimes the turn is written in full, thus: eae es ‘The “Beat” (mordente), indicated thus », over the note, consists in the rapid alternation of the initial note with the one above; itis, in fact, a shake on a note, the duration of which is so short that fhe alternation cannot take place more than once or twice. It should always be slightly accented. Warrres. Allegro Exacus, a — a Puaven, Allegro —~ oe PI : : —_ ‘The “Shake” (trillo), marked f, is a rapid succession of the principal with the note above (like the Beat, but of longer duration). It should always be finished with a turn downward, and if the note be of suffi ciently long duration, it should commence slowly, increasing in rapidity. Most artists begin the shake with the ‘upper note. ‘The “Cadenza.” This ornament was formerly only indicated by a pause, thus: -, at which the solo per~ former or singer was at liberty to perform an elaborately ornamented passage, on which he, asa final and crowning effort, lavished all his ability and invention. In our time composers introduce cadenzas oftener than was formerly done, but always write them down, inventing the form, and leaving only the finish to the executant. Cadenzas may be infinitely varied, and therefore one example will here suffice. a piacere. — From “Dinoral,” by Mevenaeze. eas re E : ee 1— ?P f D a fe Bo Instructions for Playing the Trombone. ‘Tus book is designed solely to teach the Art of Playing the Trombone;—it is presumed, therefore, that the student has made himself well acquainted with the rudiments of music; with which previous knowledge he will save much time, be enabled to concentrate his mind upon the instrument, and, consequently, facilitate his progress. ‘s ‘The compass or general scale of the Trom- 2)=—= bone comprises all the tones starting from following by halftones to SY=—= e One can only obtain all these sounds by using two ways; rst, A modification in the opening of the mouth and the pressure of the mouth-piece; 2nd, By changes in the position of the slides. By lengthening the slides, more or less, one can place them at seven different points, which are called the Seven Positions of the Trombone. It is impossible to determine exactly the point which we use as a limit from one position to another; but one can say approximately, that, commencing from the 1st Position, which consists in having the instrument entirely shut up, if one draws the slides 3 inches, the 2nd Position is found; the rd, by drawing the same 6 1-2 inches; the 4th, 10 inches; the sth, 13 1-2 inches; the 6th, 18 inches; and the 7th, 22 inches. FORMATION OF THE -SOUND. The sound of the Trombone, as that of all wind instruments, is produced by the vibration which the wind creates in striking the sides cf a Sonorous body. Thus our lungs are the origin of sound, the lips and tongue are the agents to modify it. There are two things to consider in the sound; rst, Correctness; 2nd, Quality. . CORRECTNESS OF SOUND. ‘Most of the wind instruments have the advantage of producing all the sounds of their scale by regular fingering. The Trombone is deprived of this means of execution. It is therefore necessary that each note which it produces, be produced beforehand in the mind of the performer. For this, a musical organism is as indispen- sable as it i$ to the singer; for there are no more ways to teach to play the Trombone correctly and in tune than to teach to sing in tune. In order to succeed, the pupil must be endowed with a correct musical ear, and it is of still more importance for him to acquire, by the exercises of the Sourecato, the habit of measuring the spaces or intervals, and the faculty of grasping, without hesitation, the most difficult and trying intonations. THE QUALITY OF SOUND. ‘The fine quality of sound depends, rst, On the good position of the mouth-piece on the lips; 2nd, On the way of throwing the breath, by a stroke of the tongue, into the openings 3rd, On the art of sparing the breath, and of regulating it to the degree of force and elevation of the sound that you intend to produces 4th,-The mouth-piece must be placed in the middle of the mouth, nearly half on the upper lip, and half on the lower one, taking care to have it supported by the lower part of the mouth every time that you want to take breath. Whatever sound you wish to form, low or sharp, the mouth-piece must not change its position, and the lips must be at least shut to the outside edge of its circle. In order to form a low sound, it is necessary for the volume of air to escape by a large opening, with little force; to form sharp sounds, you must, on the contrary, let, the same volume of air escape, by a small opening, with more force. It is necessary, rst, To press the lips a little more, in order to radually diminish the issue of the wind; 2nd, To press the mouth-piece more against the mouth, so that the force with which the wind escapes will not spread the lips. Observe, however, that the upper lip must be ‘compressed double 2s much as the lower one. In order never to lose sight of the rule that all the mechanism of sounds consists in the elasticity of the lips and in the action of the breath, one must take care ALWAYS to proportionate the opening of the lips and the pressure of the mouth-piece. MOVEMENT OF THE SLIDES. In order to obtain precision of motion, you must allow your fore-arm to move with much suppleness, taking care that you feel ao stiffness in the wrist. ‘The upper arm, and the shoulder must remain totally free from the motion, without. being depressed. The slide aust be pushed or drawn in a straight line, with quickness, and without hesitation.” Slowness and hesitation are inconsistent with coFrectness of tone. You must put a great deal of uniformity in the roxcuixe, and the action of pushing and dravring the slides. ‘These two movements must accompany each other, as the least hesitation of the ono or ‘thelother would cause a bad effet, and show an unskillfal performer. EMISSION OF THE BREATH, AND TONGUING, The emission of the breath must be accompanied by a stroke of the tongue in proportion to the sound you wish to form. ‘There is no syllable which can depict the pronunciation, noise, 2nd movement of the tongue. One cannot, give an idea of this action, but Tsay this you must throw the wind into the mouthpiece as if you wanted to throw a crumb off Your tongue. SPARING THE BREATH. 12 First Lesson for the First Position. Ast Study on Intonation, ‘The first study must be played by attacking the sound boldly, and by sustaining it with equal force during its duration, which must be as long as one’s breath can last. _— » » — 2 » a 24 Stody on Intonation. ‘The second study must be played by attacking the sound as softly as possible, and increasing the force gradu ally to half its value, and decreasing gradually to the end. This is called swelling. — aoe 2 #2 SSS SES rd Stady on Intonation and Tengeing, Attack the first sound quickly, with the tongue, without much force, and withdraw it quickly, in order to attack the following sounds as quickly as'the movement requires. Isr EXERCISE. ” » : £ Practice the following exercises, and separate each note by a small est, as ifit were wrigten in the following manner: ee = ez So EXERCISE. # oe 8p EXERCISE. » » » Levee » 2, . 4om EXERCISE. # #: fe N.B. It is not necessary to take a half breath between each note, for the frequency of breathing would be- come too fatiguing to the chest. One ought to breathe only on the small pause of the phrase. In order toguide the pupil, we will mark by a , the semi-breathing, and by ,, the full. 6ru EXERCISE, CISE. ££ » 2, ££, £ ISE. Tru EXERCISE. £ #4 Second Lesson on the Second Position. ‘st Stady on Intonations, Draw the slide about three inches. 4 EXERCISES. No.1, * » tee. » 2 2 ft No. 6. Third Lesson, on the Third Position, {st Study on Intonations, Draw the slide about six inches. 16 No. 5, No. 6. Fourth Lesson, for the Fourth Position. IstStudy on Intonations, ‘Draw the slide about ten inches. 28 Stady on Intonations, — Ww Wo. 1, No. 2. No.8, No. 4. Wo. 5, No, 6. No.7. No. 8 Fifth Lesson, for the Fifth Position. ‘st Study on Intonation, Draw the slide about thirteen and one half inches. — a> 24 Study on Intonation. No.4. Sixth Lesson, for the Sixth Position. 1st Stady on Intonation. Draw the slide about eighteen inches. 24 Stady on Intonation, EXERCISES. No.1. Wo. 2. No. 5, Wo. 8. Seventh Lesson, fot the Seventh Position. ‘Ast Stady on Intonation, Draw the slide about twenty-two inches. ‘24 Study on Intonation, 22 Recently they have adapted valves to the Trombone. To help those who wish to apply the exercises contained in this Method to tn stuiyat he Valve Hroabone we give We bale ad sad GENERAL SCALE. Hotes made without the row ft 2 : fF ‘use of the vaires. By ra + paren 7 were = _ os be Holes made with the + 7 2 2a and Sd ratres. > + =] eee ate — be: st and 3d vaives. = : HW eee three vaires. - 2 N. B—Itis necessary, in playing the pieces“in this Method with the Valve Trombone, not to pay attention to tho numbers in cipher, which are the indications for the Slide Trombone, and not for the Valve, Bxorcises for passing from one Position to another- “No.1, to pass from the First to the Second Position and vice versa. (@) ALLEGRO. @) 1 be fibesd, . be & : ) Aggy a : ae . . Exercise for passing from the Second to the Third Position. 2.3 = a wos . aia No. 2 fae an . — 32, ,;. Exercise for passing from the Third to the Fourth Position. = 4 m4 , 43° 4 No. 3, 3 ‘ > . BE ft) Exercise for passing from the Fourth to the Fifth Position. arg +B Sr 4 » 4 A 4 4, 6 4 aos gh is se Exercise for passing from the Fifth to the Sixth Position. s 6 5 Exercise for passing from the Sixth to the Seventh Position. No 6. Di (@) Read with attention the advice on the motion of the slides—page 3. (@) The numbers indicate the position which it is necessary to take to form each sound. {q Detach every note as is said in the first lesson. It is very necessary in these exercises, rst: that the ear shall have time to conceive the sound which is going to follow; 2d: that the wrist and fore-arm shall be prepared to place the slide at once in its indicated position. (a) Every exercise must be played slowly at first. One will be able to accelerate the movement as he shall feel sure of the lips, and pass with ease from one position to another. Exercise for passing from the First to the Third Position. 21, :2235, 1 pd ys 2 No.7. ‘Bxareic fr passing from the Second tothe Fourth Peiton No.8, Bars fi passing from the Ti tothe FAM Pati soos se sss gs 3 2 seas No.9, No.10, 32 for passing from th Fifth to the Seventh Position oem the Fs, Spon and Tid Pests gy 271 225 9) 4 es + gs 2 sn W12 atseys ph te 2 2 yt » 2g ee ss ae pec ne tro aE Positions. Exercise to employ the Third, Fourth and Fifth Positions. apt es es ee 3 ee , Ezottise toemgloy the Fourth, Fifth and Sixth Positions. | Exercise to employ the Fifth, Sixth and Seventh Positions. No. 16. Exercise for passing from the First to the Fourth Position. aa 4 sea Bom ge ee ee ne ge ee ‘Exercise for passing from the Second to the Fifth Position. ass ere eee oF bys sa se 2 ss5 9) poe eseeee ses ssa sassessas * sot ss so Fuss ss 5 5 5, pee ss () We have marked by a double number the notes that can be made by two different positions. The numbers above, greatly facilitating the playing, must be regarded as the best; however, as the object of these studies is to ac- quire the necessary skill to pass rapidly and easily from one position to another, we advise the pupil to follow, in prace ising, the indications of all the numbers. ‘Exercise for passing from the Third to the Sixth Position. ses es arses as es P= « a— is 63 633) 63 e368 . esses 3 Exercise for passing from the Fourth to the Seventh Position. ane es es aver ree am pare . 27 Exercise to employ the First, Second, Third and Fourth Positions, AD 2am aes ara ae ae sgseoes s 4bes ge ises 4 35 e345 4 sy 6 54m 4.5 sass a535 8 sage Exercise to employ the Fourth, Fifth, Sixth and Seventh Positions. . a4 ss 4 Exercise for passing from the Second to the Sixth Position. sos ee fh S$ fos 5 aos ae ots Exercise to employ the First, Second, Third, Fourth and Fifth Positions. 30 Exercise to employ the Second, Third , Fourth, Fifth and Sixth Positions. 2 es ee a ee 28 Exercise to employ the Third, Fourth, Fifth, Sixth and Seventh Positions. sos 6 se ‘ roe se se ee Exercise to pass quickly from the First to the Sixth Position. \ diets» dipheee. pbedi yo. gad nate 3r ., Exercise for passing from the Second to the Seventh Position. Eunice to employ the First, Second, Thind, Fourth, Fifth and Sixth Positions. (creas . Bon pugug cise se ee 5, “ pana RII OW GAA 2 OW Oe TO Exercise to employ the Second, Thind, Fourth, Fifth, Sixth and Seventh Positions. Exercise to pass quickly from the First to the Seventh Position. (2) ‘ 4, yan an xt 4 ieee tg 4, ~ (@) The usz of the First and Seventh Positions being very restrained, and the notes of which they are composed being performed with difficulty, we cannot present them united, but in a vague form, without any modulations. ‘Now that the pupil _has become familiar with the motion of the slides, and the varied use of the positions, I will give a suit of Diatonic Scales in all the tones, the Chromatic Scale, and the Scales of different intervals, indicating the most suitable position to take for each one. There will be found on a few of the notes some double and triple numbers: time and experience alone will show the best choice. This choice depends principally on. the phrasing which precedes and follows. The pupil will do well, in studying, to make use alternately of the positions indicated by the different numbers. MAJOR SCALES. Bos . ‘ 3 t ‘ 3 3 i ‘ t 2 ae ay ‘Mixon. Muvon, ‘MINOR SCALES. SCALES ON INTERVALS. od] ron oon 36 PROGRESSIVE LESSONS Ix Masor anp Mryor Keys. tees B. Grasse, we ~ te a = + — A. AtizoRo. ££: 9 teh, ~ mt > £2445 4 ( 4 7 Moprrara, ZB. 44. 4. PROGRESSIVE STUDIES. ‘Ast and 24 Positions. Attegro. Late ‘st, 2d and Sd Positions, 42 Meterats. ‘st, 24, 9d and 4th Positions. di; et 45% 2 ra eT Tt ‘st, 24, 24, 4th and Sth Positions, 45 19 EASY AND PROGRESSIVE DUETS. No L F Major. No. 2 D Minor. No. 3, BE Major. No, 4 @ Minor. No. 5 E> Major, 47 No. 6, C Minor. A> Major. No. 10. F Minor. No. 1 @ Major. 52 No, 16, F Minor. No. 17, E Major. No, 18. © Minor. THE ABT O% PHRASING. MELODIES ‘To Stopy Meraicat, Divisiox, Ruvrax, ax SrrLe No. 1. Why do I Weep for Thee. W. V. Wiruace, “ANDANTE, - steno £ ‘dolee. tiple coe tt ote ores. D all No. 2. Puritan's Daughter. Bae. Lagomsrro axrasich = + 2 No. 4. Good-Bye, Sweetheart. Hurtox. “ANDARTE. te ‘No. &. Who shall be Fairest. Burros. Anpaxre, | INo. 7. Twas Rank and Fame. Baur, Anpanre, * INo. 8. There is a Flower that bloometh. > V. Wartace. 2a, f.2+ — s. “Te ¢ oi eba~ ~ te > ftttere o etioe- 56 No. 9. The Heart Bowed Down. Bare. ‘Lanonerro Canraniix. (No. 10. We may be Happy yet. Base, ANDANTE. 223 No. 13. Then You'll Remember Me. Bare WNo. 14. 0, Wert Thou but Mine Own Love. — Movsnar. gp “No. 17. Un Ballo in Maschera. ‘Vent, => = =~ op 23h. am ‘No. 18. I Never can Forget. ANoaxte | Np. 19. Macbeth. 3 Venp, Axoanze Sosrexere 59 ‘No. 20 The Vicar of Bray. Movers. —~ INo. 21. Down among the Dead Men. ALLEORETIO.g ¢tp o- = Hg ee Fee No. 22. The Years roll on. Adaaio, = #0 aon oh o> 2 2435 be obo (No. 23. When the Swallows. Axpaxriso, No. 24. The Lads of the Village. Movsrsto. g, 5g 22 69 No. 25. Beer Song. “Maar” Axpaxre MonEnato. x a No. 28. “Iam a Friar” CONST @ eet fo te are 1 Wola Zt teas +> (No. 27. “Ruddier than the Cherry.” Azsxono Monznsgo. 61 No. 28. Flow, thou Regal Purple Stream. Movengro. tn te af 95,55 the eo — re ee — _— <> se tte ei, 2 + A#t £eom — — gygt ieee SE faery : £2, aS No. 29. O, were my Love. . Cow Moro, —<———-§ = ste, Aveo EE tt te ate a He tie sO oy fem No. 30. Could I thro’ Ether fly. _ AusxonErTO. 4 eee SD — bee seats 62 No. Si. Loreley. Maxoexssomn. No. 82. L’Addio. Souveran. = = peo eaprese, SSS = No. 33. Serenade. ‘Somvneay =I = 7 No. 34. Loreley. (CHANSON. a — SS SS “TEMPO” (TIME) OF MUSICAL PIECES. Fitherto, we have spoken of “time” with regard to the value of notes when compared with each ‘other. ‘But another signification of the word must be explained, namely, when speaking of the time of a piece, ce ‘more correctly expressed, the “Tempo,” by which we mean the speed with which a piece is to be performed. ‘This is always indicated by the prefix to every piece of some Italian words, the right interpretation of ‘which is most important. ‘The following list contains those most commonly in use, arranged in six divisions, indicating by their order ‘the gradual increase of speed, from the slowest to the quickest movement : — — a — sao, serena, Veydow ss. ss Mlegrto . «Now aise Alege = Slay and eles 4 [Gite > Wiedeate 7. o “ Lava, } Allegro Moderato Moderately quick. . AI® Mod® : “ Allegro Marziale Lively’ w+ + Mls Marsiale etguigs dows Zags x [Geis .: Filta” ct quinsosow 28 1 Fie Somined rss Bat Gtigocm fio Wik get al.) div confcca, coe ec dae aes Allegro essai Very quick 1+ Manat Negunesiprenis due |g [A BEE 2 | pi Ae eecconmeta Vere ge} Press,» « # Moosuse) Moder Modenio «=. Bete Pret’ } Tome pid moments Pram Berit J! EsMocbajle” 21] Mou ‘The following words, indicating variations or alterations of a previously fixedtime, are frequently put over the stave, and imply :— Plemoie o . Alitlefater se Moo me 5... Wenge. ey Accilerando | 2 1 Acoclerating the tine—barying | Acct | Piulewo . < . + Contidenbly dower 2 2 5 + Pivaleyo. 2°.) Fasters ee ee Pia AD | Ad ikem.) Sst performer places. 5 5 sd tid Bitardands . . .. Tetarlingthetime ss + + Bitar. | Apiocre . 2. Atplame. .. . 2... Apion LID Getting gradually dower | | 1 1 Bat | Atenpo, or Tempo Ime, At previous time sss st rere Hestaing ss. 2 Biten ‘The following abbreviations of words relating to articulation (and sometimes to expression) are placed, under the stave, and signify : ‘The words relating principally to expression, and indicating the style of a phrase, are placed over the stave, and are: — and gral, thighs and eleganem, Wid tie With With simon ‘Sempre, wed in conjunction with otber words; for istance: sempre 7, meaning all (the whole) forte or sempre pall sot. ‘Da Gap, o¢ D.C, means: rat frm the beaning, "di Seo DS re eign 2 ol fo at bgig sd nd ot in STANDARD METHODS, &c. VIOLIN. sora. Alara New Serge Mate or Aen ay Sonia Bee Wiueside ie che Pa, Pres as mo bee Suceeiaiuie vars wat, Ne Berioes cert Meds Sheet 3.00 400 Practical Violin School, for Vests BS yy fog Vln, aed whichis age et 200 feel Reaied a Se pl gs Epmereneed ata tdacs pnt tom, Dale's Cltrted Visine. Easy Vo. ‘edt val $200; 2 vola bound one, eocplete "co oo eid og oe Bh ne eens aS aes VIOLA, van ape por VIOLONCELLO. 108A. Lee's Cesbmted Conservatory Method Heike Visions, ee Ado Breaela ‘eget + Scans “Pe pet so mo pls Met fs Tee aes CLARINET. so. rages Otter named Sige ae, le ee bar ee pene ieee twcrtarat a joa 1100, Klose’ Abridged Celebrated Method for She Cnet Conan 96 sae SES Pp ne rh 00k, White” Fly Easy and Progressive ,¢ Clare “Arranged im DOUBLE BASS. 1008. Bottesing’s Renowned Method for Double ite: Reduced pecs net" boas, 6507 oth cs se $5 Shetae potae CSS Sar TROMBONE. 1008, Dieppo’s Celebrted Method for Side MP Reise Frobone. ie Base Coat, Fe iepe arbi Cone oe 118, AFbam's New and Complete Method for {he dt Barone B fat enor, Bast Valve Spee ees SAXOPHONE. eer ae Nt oe pom epee rt Sate Ma rere Be tae item Dace Pca ty am sient Gres Soran oon BARITONE. Bees Forgan laiogy CORNET. 1067. The World's Method for Cornet. Palisad tn) volumes oly Sess; alssSesor Vols so. Threetolunes acre Sekt 1068, Cassinus? New Melodic Schoo forthe ‘Eomet “Price complet, paper cores Spoor boards $3 9; othe gett eater! paces 1001, Apban's Compete Method fr the Comet Tice Paper Covers, $3.00; Boards $3905 Sooke eS Sieben Siewert son, Asante badge Ward Renowged Me ER ee gsr pea Pe 00 7 ee pninerier he Bey =— ‘tod cxtemely etal ee ecan treme tn Baticteconse H. Shchasd Dees for Cores or Alcs, PRUE TeE SS Celebrated Elementary Methods. ‘Vita Method, Elementary, net Hist Method, Flemenary ney 200 1. Babardon Method, Elementary, (Tuba, Bawtand EAs ne nee SIDE DRUM. ‘White's New apd Complete Mend for ihe Side Drum, Splophone and Tyan Espechly adapted for Amaters Prose ‘oigand Grcbeseal Performers. Pree, 00 100 Gullbaut’s Conservatory Stole for te re 2 75 2 JEAN WHITE, PUBLISHER, 226 WASHINGTON STREET, BOSTON, MASS. World-Renowned Method FOR THE ORNET = SAXEOR >t(NEW EDITION. REVISED, ENLARGED AND LWIPROVAE, CONTAINING Arban's Complete Method, Arban’s Art of Phrasing. *ARBAN’S SIXTY DUETS* ——1 304 }+—— LARGE SIZE MUSIC PACES. SIXTY MORE PAGES THAN ANY OTHER EDITION AND costs Firry Cents Less, CUARANTEED To be the Largest and most Complete Edition of ARBAN'S METHOD published in the United States. Price, Paper Covers, $3.00; Boards, $3.50; Cloth, $4.00. MAILED, POSTPAID, ON RECEIPT OF MARKED PRICE. -*JEAN WHITH, Publisher,< 226 WASHINGTON ST., BOSTON, MASS.

You might also like

pFad - Phonifier reborn

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.

Note: This service is not intended for secure transactions such as banking, social media, email, or purchasing. Use at your own risk. We assume no liability whatsoever for broken pages.


Alternative Proxies:

Alternative Proxy

pFad Proxy

pFad v3 Proxy

pFad v4 Proxy