Jean Baptiste

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Complete Conservatory

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Method for CC Tuba
Revised for Tuba by Mike W. Roylance
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 Carl FisCher Original MethOds

Jean Baptiste

Complete Conservatory

e
Method for CC Tuba

pl Revised for Tuba by

Mike W. Roylance

Contains:
Arban’s Complete Method Revised for Tuba
The Art of Phrasing (150 Songs and Operatic Airs)
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68 Duets for Two Tubas
14 Characteristic Studies
12 Celebrated Fantaisies and Airs Variés
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Copyright © 2018 by Carl Fischer, LLC

O5553 All rights reserved. ISBN 978-1-4911-5382-6
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Table of Contents
Contrabass Tuba Fingering Chart......................................................................................................................................................4
Diagrams of the Tuba .........................................................................................................................................................................5
Overtone Chart ...................................................................................................................................................................................6
Preface to the 1894 and 1936 Editions for Cornet (Jean Baptiste Arban).......................................................................................7
Editor’s Note.......................................................................................................................................................................................8
About Jean Baptiste Arban.................................................................................................................................................................9
About Mike W. Roylance.................................................................................................................................................................10
Introduction by Mike W. Roylance

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Range.............................................................................................................................................................................................11
Alternate Fingerings .....................................................................................................................................................................11
Tuning Slide..................................................................................................................................................................................11
Mouthpiece Position.....................................................................................................................................................................11
Articulation ...................................................................................................................................................................................11

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Breathing.......................................................................................................................................................................................12
Style and Tone ..............................................................................................................................................................................12

I. First Studies

Explanatory Notes on the First Studies; Syncopation; Rhythmic figures 

Music Studies:
 and   , meter................................13

First Studies ................................................................................................................................................................................14

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Syncopation................................................................................................................................................................................29
Studies in Dotted Eighth and Sixteenth Notes..........................................................................................................................32
Rhythmic Figure    ............................................................................................................................................................34
Meter........................................................................................................................................................................................38
II. Slurring or Legato Playing
Explanatory Notes on Slurring or Legato Playing......................................................................................................................44
Music: Studies on Slurring or Legato Playing............................................................................................................................45
III. Scales
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Explanatory Notes on Major and Minor Scales, Chromatic Scales, and Triplets.....................................................................68
Music Studies:
Major Scales...............................................................................................................................................................................70
Minor Scales...............................................................................................................................................................................91
Chromatic Scales........................................................................................................................................................................93
Chromatic Triplets......................................................................................................................................................................98

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IV. Ornaments
Explanatory Notes on the Simple or Long Appoggiatura; the Short Appoggiatura or the Grace Note; the Portamento;
The Double Appoggiatura, the Turn, the Trill and the Mordent........................................................................................... 106
Music Studies:
Preparatory Studies for the Turn............................................................................................................................................. 108
The Turn .................................................................................................................................................................................. 121
The Double Appoggiatura ...................................................................................................................................................... 127
The Simple or Long Appoggiatura......................................................................................................................................... 130
The Short Appoggiatura.......................................................................................................................................................... 131
The Portamento ....................................................................................................................................................................... 134

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The Trill ................................................................................................................................................................................... 136
The Mordent............................................................................................................................................................................ 146

Explanatory Notes on Intervals; Broken Octaves and Tenths; Rhythmic Figures    and     ;
V. More Advanced Studies 3

Arpeggios, and Cadenzas........................................................................................................................................................ 150

Music Studies:

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Intervals ................................................................................................................................................................................... 152
Broken Octaves and Tenths .................................................................................................................................................... 162
Triplets   ...................................................................................................................................................................... 163
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Rhythmic Figure     ..................................................................................................................................................... 170

Major and Minor Arpeggios ................................................................................................................................................... 178
Dominant Seventh Arpeggios................................................................................................................................................. 186
Diminished Seventh Arpeggios.............................................................................................................................................. 189
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Cadenzas.................................................................................................................................................................................. 194
VI. Tonguing
Explanatory Notes on Triple Tonguing, Double Tonguing,
the Slur and Double Tonguing, and Fanfare Tonguing ......................................................................................................... 196
Music Studies:
Triple Tonguing....................................................................................................................................................................... 197
Double Tonguing..................................................................................................................................................................... 222
The Slur and Double Tonguing .............................................................................................................................................. 231
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Fanfare Tonguing .................................................................................................................................................................... 237

VII. The Art of Phrasing
Editor’s Note.............................................................................................................................................................................. 241
150 Classic and Popular Melodies............................................................................................................................................ 242
VIII. 68 Duets for Two Tubas (Cornets)................................................................................................................................... 318
IX. Concluding Remarks: 14 Characteristic Studies............................................................................................................. 361
X. 12 Celebrated Fantaisies and Airs Variés............................................................................................................................ 390

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Contrabass Tuba Fingering Chart


B¨/A© B C C©/D¨ D E¨/D© E F

T T @T T @T T T T
CC Tuba
@T T T 5234-1234 534 234-514 54-124-513
1 2 0 51234 4-13
BBK Tuba 0 1234 1234 134
234 124-14 24-123


F©/G¨ G G©/A¨ A B¨/A© B C C©/D¨

T @T T T @T T @T T T T T @T

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2 1 2 0 523-24
4-13 23
CC Tuba 523-24
2 0 24-123 4-13 23
12-3 1
BBK Tuba 23


D E¨/D© E F F©/G¨ G G©/A¨

@T T T @T
CC Tuba
BBK Tuba


CC Tuba
BBK Tuba
T
4-13
12-3

T
12-3
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@T

B¨/A©

@T T
23
1

1
T T
12-3

T
2
2

0
T
1
0

T
T

C©/D¨
2
23

T @T
12
D
T
0
12-3

1-13-4
@T T
E¨/D©

2-23
23
1
m
2 0 12 1-13-4 2-23 0-12 1

 T
E
T
F
T
F©/G¨
@T T
G
T
G©/A¨
@T T
A
@ B¨/A©
T T
CC Tuba 0-12 1 2 0 23 12-3 1
BBK Tuba 2 0 23 12-3 1 2 0

@ E¨/D©
T T T TF
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 T T T @T T
B C C©/D¨ D E

CC Tuba 2 0 12 1-0 2 0 1
BBK Tuba 12 1-0 2 0 1 2 0

T @T
F©/G¨
T
G
T @T
G©/A¨
T
A
@T T
B¨/A©
T
B
T
C


CC Tuba 2 0 23 12 1 2 0
BBK Tuba 23 12 1 2 0 12-2 1-0

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Diagrams of the Tuba

Shank

Throat

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Cup

Rim

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Lead Pipe
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Valve
Tuning Slide

1st Valve
Tuning Slide
4th Valve
Lead Pipe
Tuning Slide
5th Valve
3rd Valve
Tuning Slide Tuning
Slide
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Mouthpiece Triggers
1st Valve
2nd Valve
5th Valve 3rd Valve
4th Valve

Tuning Slide
1st Valve
2nd Valve Water Key
3rd Valve
4th Valve

5-Valve C-Tuba 5-Valve F-Tuba

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Overtone Chart
T T T T @T T T T
 T @T T T
12th Partial
(Sharp; lower slightly)
T T T T T T T T
11th Partial  T T T T
(Very flat; unusable)
T T T T T T
10th Partial  T T T T T T
(Flat; raise slightly)

T T T T @T T
9th Partial  T T T T T T

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(Sharp; lower slightly)

8th Partial  T T @T T @T T T T T @T T T
(Normal)

7th Partial  @T T @T T @T T T @T T @T T T
(Very flat; unusable)

6th Partial
(Sharp; lower slightly)

5th Partial
(Flat; raise slightly)

4th Partial
(Normal)
 T

 T

 T


T
pl T

T

T
T

@T

T
T
T

T
@T

@T
T

T
T

T

T
T

T
T

T

T
@T

@T
T

T

T
T

T
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3rd Partial
(Sharp; lower slightly) T @T T T T T @T T T
2nd Partial 
(Normal)
T T @T T @T T T T T @T T T
Fundamental 
(Normal)

T T @T T @T T T T
0 2 1 1-2 2-3
4 2-4 5-4
T @T T T *
3 5-1 2-3-4 5-3-4
1-3 1-2-3 1-2-4 1-2-3-4
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5-2 5-1-4 1-3-4 1-2-3-4-5

5-1-2 5-2-3 1-4 5-2-3-4 5-1-2-3
5-1-3 5-1-3-4
* Not present on four-valve tubas. False tones only.

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 7
Preface to the 1894 and 1936 Editions for Cornet
It may appear somewhat strange to undertake the defense of This, then, is the point upon which I wish to insist, and
the cornet at a time when this instrument has given proof of to which I wish to call particular attention. At the present
its excellence, both in the orchestra and in solo performance, time, the incompleteness of the old school of performers
where it is no less indispensable to the composer, and no is unanimously acknowledged, as is also the insufficiency
less liked by the public than the flute, the clarinet, and of their instruction. That which is required is methodical
even the violin; where, in short, it has definitely won for execution and methodical instruction. It is not sufficient to
itself the elevated position to which the beauty of its tone, phrase well or to execute difficult passages with skill. It
the perfection of its mechanism and the immensity of its is necessary that both these things should be equally well
resources, so justly entitle it. done. In a word, it is necessary that the cornet, as well
But this was not always the case; the cornet was far as the flute, the clarinet, the violin, and the voice, should
less successful when it first appeared; and, indeed, not possess the pure style and the grand method of which a few

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many years ago, the masses treated the instrument with professors, the Conservatory in particular, have conserved
supreme indifference, while that time-honored antagonist— the precious secret and the salutary traditions.
routine—contested its qualities, and strove hard to prohibit This is the aim which I have incessantly kept in view
their application. This phenomenon, however, is of never- throughout my long career; and if a numerous series of
failing recurrence at the birth of every new invention, brilliant successes obtained in the presence of the most
however excellent it may be, and of this fact the appearance competent judges and the most critical audiences, give me
of the saxhorn and the saxophone, instruments of still more the right to believe that I have, at any rate, approached the

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recent date than the cornet, gave a new and striking proof.
The first musicians who played the cornet were, for
the most part, either horn or trumpet players. Each imparted
to his performance the peculiarities resulting from his
tastes, his abilities and his habits, and I need scarcely add
that the kind of performance which resulted from so many
incomplete and heterogeneous elements was deficient in
the extreme, and, for a long while, presented the lamentable
spectacle of imperfections and failures of the most painful
description.
Gradually, however, matters assumed a more favorable
desired end, I shall not be laying myself open to the charge
of presumption, in confidently entering upon the delicate
mission of transmitting to others the results of my own
thorough studies and assiduous practice. 1 I have long been
a professor, and this work is to a certain extent merely the
résumé of a long experience which each day has brought
nearer to perfection.
My explanations will be found as short and clear
as possible, for I wish to instruct and not to terrify the
student. Long pages of “text” are not always read, and it
is highly advantageous to replace the latter by exercises
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aspect. Performers really worthy of the name of artists and examples. This is the wealth which I consider cannot
began to make their appearance. However, regardless of the be too lavishly accumulated; this is the source which can
brilliant accomplishments of such performers, they could never be too plentifully drawn from. This, however, will be
not deny the faults of their original training, viz., the total perceived from the extent of the present volume, in which,
lack of qualifications necessary for ensemble playing, and in my opinion, will be found the solution of all difficulties
decided musicianly tendencies. Some excited admiration and of all problems.
for their extreme agility; others were applauded for the I have endeavored throughout to compose studies
expression with which they played; one was remarkable for of a melodic nature, and in general to render the study
lip; another for the high tone to which he ascended; others of instrument as agreeable as possible. In a word, I have
for the brilliancy and volume of their tone. In my opinion, endeavored to lead the pupil, without discouragement, to
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it was the reign of specialists, but it does not appear that the highest limits of execution, sentiment and style, destined
a single one of the players then in vogue ever thought of to characterize the new school.
realizing or of obtaining the sum total of qualities which
alone can constitute a great artist. —Jean Baptiste Arban

1 The results which I have obtained in France, Germany and England

victoriously plead the cause of the cornet, and prove that the latter
can compete with the most popular of instruments. In a concert
given by the “Societe des Concerts du Conservatoire” in 1848, I
played the famous air for the flute composed by Boehme on a Swiss
theme, comprising, as is well known, an intentional combination of
enormous difficulties. From that day forth I may say the cornet took
its place among classic instruments. In the piece of music just alluded
to, I performed the flute tonguing in double staccato, also the triple
O5553 staccato, which I am the first to have applied to the cornet.
8
Editor’s Note
For generations, Arban’s Complete Conservatory Method purposeful practicing. Make constant use of a metronome
for Trumpet and Arban’s Famous Method for Trombone to develop steady time and rhythm. Begin exercises at
have been imparting the compulsory skills needed to tempi that are not beyond your abilities. Wait until you are
become proficient brass players and competent musicians. able to play them with proficiency and then slowly increase
As the most widely used method books for trumpet and your speed. Sing, buzz and play with a drone to develop
trombone, innumerable trumpet, horn, trombone and tuba your sense of pitch, as well as tone quality. Paying close
players have spent countless hours studying and practicing attention and actively listening to yourself while you are
from these method books. While Arban’s trumpet method practicing will expose areas in need of practicing. If you
book was first published in 1864, and the trombone edition feel fatigue or feel pain from your playing, take a break and
was launched in 1936, this is the first edition published by rest. Practicing when you are tired will surely lead to injury
Carl Fischer specifically for the tuba. and produce minimal, if not negative results.

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My intent is to preserve the comprehensive material Listen to and study as many types of music as you
found in the Arban trumpet book and to augment and clarify can. Today’s successful tuba player needs to be competent
this information so that it is applicable for the modern in many styles of music. Find great musicians on different
tubist. This book can be used for any keyed tuba, but is instruments and listen to them, preferably live, in concert.
specifically set for the CC contrabass tuba. Throughout Actively listen for the very things that you are working on;
my career, I have utilized the Arban method book as a time, pitch, rhythm and musicianship. Successful artists
student, teacher, and as a problem solver. With exacting have all had to learn these same skills that you are working

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clarity, Arban brings to life the many fundamental aspects
of playing a brass instrument through targeted exercises.
These studies are the building blocks to a successful career
as a tuba player; not only teaching the student the specific
task at hand but also guiding the player to develop his or her
own exercises in order to learn a new skill or to refine an
old skill on their instrument.
Practice efficiently and astutely. Remember the three
primary elements of music; time, pitch and rhythm, and
never stop honing these elements, as they are essential to
your success as a musician. These primary elements on your
on in this Arban book. Realize that triumph comes with
perseverance. Great musicians all have grit and staying
power…never stop practicing, and never stop making
music!
Thanks to the following people for their parts in
bringing this edition of the Arban Book for Tuba to life:
my wife, Amanda Roylance, an amazing teacher, musician
and trumpet player. My teachers and colleagues: Gene
Pokorny, Floyd Cooley, Sérgio Caolino, Claude Kashnig,
Robert Carpenter, James Jenkins, Eli Newberger, Dennis
Nulty, Zachary deVries and Kevin Bock. A huge thanks to
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tuba are learned skills that will become better through slow, my lifelong friend, Larry Clark, for asking me to bring this
Arban Tuba Method book to life.

—Mike W. Roylance
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 9
About Jean Baptiste Arban
Joseph Jean Baptiste Luarent Arban was born at Lyons, He was the most brilliant cornet player of his time,
France, February 28, 1825. He entered the Conservatory and his astonishing performance and triumphant concert
at an early age, taking up the study of the trumpet under tours throughout Europe were the means of establishing
François Dauverné, and won first prize in 1845. His military the valve cornet as one of the most popular of all musical
term was spent in navy on board the “La Belle Poule,” instruments. Arban’s artistic ideals, sound musicianship
whose chief musician, Paulus, became Chief Musician of and invaluable instructive principles were perpetuated in
the Garde a Paris during the reign of Napoleon III. his splendid Method for the Cornet, which has succeeded
After having been professor of saxhorn at the Military in maintaining the very highest position among similar
School (1857), Arban was elected professor of cornet at the instructive works and which has never been surpassed in
Conservatory in 1869. After attending to these duties for a point of practical superiority or artistic plan.
period of five years, he left the Conservatory for six years, Arban died at Paris on April 9, 1889. He was an

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returning again in 1880. officer of the Académie, Knight of the Order of Leopold of
Belgium, of Christ of Portugal, of Isabella the Catholic, and
of the Cross of Russia.

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Joseph Jean Baptiste Laurent Arban

1825 - 1889

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10
About Mike W. Roylance
Mike W. Roylance is the principal tuba of the Boston On faculties at Boston University and the New
Symphony Orchestra, joining in 2003. Previously, Mr. England Conservatory of Music as well as the Tanglewood
Roylance has performed with the Chicago Symphony Music Center, Mr. Roylance is an active teacher, coach and
Orchestra, Minnesota Orchestra and Seattle Symphony chamber musician. He has presented masterclasses and
Orchestra. Prior to joining the Boston Symphony Orchestra, recitals at numerous locations around the United States and
he was a member of Walt Disney World¹s “Future Corps” is often called upon as an audition coach. Additionally, he
in Orlando, Florida. Being well-versed in many styles of founded and directs the tuba/euphonium workshop at the
music, Mr. Roylance also enjoyed a diverse and celebrated Boston University Tanglewood Institute.
freelance career including performances and masterclasses Mr. Roylance is on the advisory board of Kids
throughout Europe, China and Japan. 4 Harmony, an El Sistema-inspired program based in
He has been a featured soloist with the Boston Pittsfield, Massachusetts, which transforms the lives of

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Symphony Orchestra, the Boston Pops, the US Coast Guard children by providing them with the opportunity to learn
Band and has ushered in many new works, including his and play orchestral music at no cost to them. He received his
critically acclaimed premiere of Gunther Schuller’s Tuba Bachelor of Music degree from Rollins College in Winter
Concerto No. 2. and his brilliant recording featuring tangos Park, Florida and his Master of Music degree at DePaul
of Piazzolla and Teutonic Tales, a new work for tuba written University in Chicago. An avid pilot with an instrument
for him by Robert W. Smith. rating and an active cyclist, Mike W. Roylance lives in
Boston with his wife Amanda and their three daughters.

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Mike W. Roylance

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 11
Introduction
by Mike W. Roylance
Range Mouthpiece Position
A modern tubist will be required to play from below pedal The tubist’s mouthpiece should be placed so that the
C (C1) all the way to Bydlo’s famous G®4 above middle C embouchure formed inside the mouthpiece is approximately
(C4) from Mussorgsky’s Pictures at an Exhibition (in the half top lip and half bottom lip. This may change as the
Ravel orchestration): player goes into extreme high and low ranges, but a good

G4
T
C1 starting point is half top lip, half bottom lip, with the corners


of the mouth pointing downward. With large leaps in range,
it may be necessary to move slightly the position of your
mouthpiece. As I play higher, I tend to use more upper lip

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T
in the mouthpiece, and the opposite is true as I go lower.

Articulation
The majority of performance repertoire written for the In addition to musical imagination, concept of sound and
instrument lies within a comfortable range from E®1 to E4 goals, there are three physical elements to starting a note on
(found in Wagner’s famous Overture to Die Meistersinger) any brass instrument: wind, buzz and optionally the tongue.
just above middle C. With the advent of four-, five- and six- Learn how to dependably start notes with breath attacks

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valve tubas alongside great improvements in the performer’s
abilities and repertoire, a college performer today would be
expected to operate a three-and-a-half octave range, and a
top professional is expected to maintain a four-and-a-half
octave range. The high range and pedal ranges must be
worked on daily as an integral component of your entire
fundamental package.
Alternate Fingerings
Referring to the Contrabass Tuba Fingering Chart on page
4, be prepared to try many different fingerings for the same
first and then later add the tongue to the equation, making
sure that tongue is the first of the three elements to start
the note. For example, breath attack the following notes,
making sure to synchronize the timing of the air and the
buzz so that neither precedes the other:


 = 60

T
T
T
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note finding the best solution(s) for pitch, tone color and Throughout this book, alternate starting notes with “toh,”
ease of play that suit you and your instrument the best. “tah,” “doh,” and “dah” to develop clarity of articulation
balanced with great quality of sound.
Tuning Slide I have always envisioned the act of articulating a note
Most modern tubas have many slides that are in an easy on any brass instrument as that of the striking of a ball-peen
position to adjust while playing. I am not referring to the hammer. There is no “end-all” syllable to use in articulating
main tuning slide, but to one or all of the valve slides although the desired result of the syllable you choose should
available for fine tuning. These slides should be easy to be that the tongue remains down, back, and low inside your
move but not so slippery as to move back to their original mouth. This is so that the tongue is least obstructive to
the airflow as possible. I have found that using the vowel
position when your hand is removed. A bottom of the staff
sounds “ahh” and “ohh” lowered tongue most effectively.
F played with the first valve may be in tune, but the D3,
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Any tongue position that results in the rising up of the

two partials up, will often be flat, requiring you to push this
tongue (for example, “ee” or “I”) will hinder the flow of air,
slide in only for that note. Take considerable time to learn
resulting in a diminished sound quality. Placing the letter
your instrument’s pitch tendencies so that you can fine-tune
“T” as opposed to the letter “D” in front of these syllables
each and every note.
will dramatically increase your clarity and immediacy of
sound. “Toh” and “tah” can be supplemented by “doh” and


“dah” for some legato passages:
G
     ± œ
toh toh toh toh toh
tah tah tah tah tah
doh doh doh doh doh
dah dah dah dah dah
Other great books to work on articulation are Top Tones by
Walter Smith, as well as the Clarke studies.

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12

Breathing Style and Tone

Proper breathing technique is essential to all tubists Take time to understand the importance of using a musical
regardless of their physical size or vital capacity. The most vibrato. On notes of significance, use appropriate amounts
successful method for breathing effectively and efficiently of vibrato by moving your jaw up and down while playing
is to breathe from the bottom first. Make sure that you are the tone. This will create a “woo-woo-woo-woo-woo”
sitting or standing with good posture along with minimal effect in your sound and can give you greater control over
muscular tension and initiate your breath. The diaphragm your vibrato.
descends, and the abdominal wall should extend outward Having a beautiful tone or color of your sound is a
working to fill the lower portion of the lungs with air first. compulsory element in your development as a tuba player.
Continue to breathe filling the middle and then lastly the Tuba players young and old should approach every note
upper part of your lungs, allowing your chest cavity to they play with great importance placed on the quality of

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expand. Be careful not to allow your shoulders to rise their sound. A powerful way in which to develop good tone
intentionally, decreasing your vital capacity. When you color is by systematic buzzing on your mouthpiece. I would
exhale, do so in the same order: bottom to top imagining suggest as you go through this book, first sing, then buzz
wind rushing in and out, passing over your lips. each exercise on the mouthpiece with a piano or drone.
Always practice your tuba with full capacity breaths While buzzing, check that the corners of your embouchure
unless you have very soft passages of very short duration. A are downward while buzzing the exercise at a dynamic of
good example of proper breathing technique can be seen in mf+, striving for great vibrancy in your sound. Immediately

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babies, as they are breathing uninhibited by incorrect habits.
As your excellent breathing process becomes a saved habit,
you will expand and contract very quickly like a balloon.
This will eventually happen without cognitive participation,
becoming a natural part of your breathing process. A
great source of information on the subject of breathing is
the book Science of Breath by Yogi Ramacharaka. Try to
never catch yourself in a position of negative returns by
allowing your quantity of air to deplete to the point where
you are unable to support the note effectively. Become very
strategic when you take your breaths. Breathe musically so
follow this with playing the exercise on the instrument.
Establishing this technique of buzzing the mouthpiece
followed by playing the exercise on the instrument, all with
the aid of a tone generator AND metronome, will quickly
propel you in developing your tone color, musicianship
skills and endurance.
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as not to interrupt a phrase, but also breathe often enough to
stay ahead of entering the land of negative returns.
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 13
I. First Studies
Explanatory Notes on the First Studies Rhythmic Figure  
In Study No. 1 start or “attack” the sound by In order to lend lightness to these studies, the first
pronouncing the syllable “tu;” keep it well sustained and at eighth note should be played in a shorter manner than
the same time give it all the strength and brilliancy possible. its indicated value. It should be executed like a sixteenth
(See footnote no. 13.) note with a rest being introduced between it and the two
Under no circumstances should the cheeks ever be sixteenths which follow it. The passage is written:
        G
  ±
puffed out nor should the lips make noise in the mouthpiece
even though many performers appear to think otherwise.
The sound forms itself; it should be “struck” firmly using
toh toh toh toh toh toh toh toh toh toh
proper lip tension so as to be accurately in tune.
And should be played thus:
   •    •   • G±
Studies nos. 7 and 8 deal with all of the notes

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 
produced by using the same valves. Studies nos. 9 and 10
take the student through all of the keys and so the required
fingerings have been thoroughly indicated. These lessons toh toh toh toh toh toh toh toh toh toh
should be practiced over a long period so that the student The same applies to an eighth note following, instead
may become completely secure with the fingering of the of preceding, the sixteenth.

 @ 
instrument. From this point on it will not be necessary to Written:
@ @         
mark the numbers of the valves under each note although

Syncopation
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fingerings will appear in passages throughout the book
where it will facilitate a performance.
Throughout Studies nos. 1–50, be sure to strike each
sound and give each note its full value.

Syncopation occurs when the accent falls upon the light

instead of the heavy beat of a measure. Always remember
that the accented note must be sustained throughout its full
value and, while the beginning of the note should be duly
 @@ 

Written:
toh toh toh toh toh toh
Should be played thus:

@  •    •  ••
toh toh toh toh toh toh

 @ @                    œ

toh toh toh

toh toh toh

m
marked, the second half of the duration of a note should
never be cut short.

 @ @       •  • ~ ~ ~ ~  •  •     ~ • ~ • œ
Should be played thus:
Many students have great difficulty mastering
syncopation. Study carefully the solution of the rhythm
problem appearing over each study. A passage of this kind
     
  G    G  œ »
should be played as follows:

  
Meter

toh toh toh toh toh toh

In time, the eighth notes should be well separated,
and should have equal value allotted to each of them.
And not:
sa

Consequently, the third eighth note in each measure should

          œ »
never be dragged out as some players are inclined to do.
Dotted eighths, and eighths followed by sixteenths
are played in this rhythm, by observing the same rules
toh to - h to - h to - h toh toh discussed above in time.

Rhythmic Figure  
In these studies the eighth note should be held for its
full value. Be sure never to substitute a rest for the dot. The

       œ
player should play:

toh toh toh toh toh

  •  •  œ
And not as though it were written:


    
O5553 toh toh toh toh toh
14 First Studies
q = c. 60 (1-10)* simile

c
toh toh toh toh
1.
0 0 1 1 1 1 0 2 0 0
2 2

toh toh
2. c
1 2 0 1 2 0 1
0 2 2

toh toh

e
0 2 1 0 2 1 0
2 2

simile
c
toh toh toh
3.

4.
1
2
2

c
1
2

1
2

toh toh
1

pl
toh
2
1
2

simile
1

2
0 1

0 1
2
0 1
2

0
0

1
2
1
2

2
2

1
2
1
2

2
1

0
0

2
1

0
0

1
1
2

0
0
m
0 1 0 1 0 1 0 1 0 2 0 2 1 0 1 0 1 0

2 0 2 1 2 1 0 1 0 2 0 2 0 1 0 0 1 0
2 2 2

simile
c
toh toh toh
5.
0 1 1 1 0 2 0 1 0 1 2 1 2 0 0 0
sa

1 1 2 2 2
2 2

0 0 0 2 1 2 1 0 1 0 2 0 1 1 1 1 0 1
2 2 2 2 2

toh toh toh toh toh toh toh

simile
6. c
0 2 0 1 0 2 1 1 1 1 0 1 0 2 0 2 0 1 2 0 1
2 2 2 2

0 0 1 0 2 1 2 1 2 1 2 0 1 2 2 1 2 0 1 2 0
2 3 2 3 2 2 2
*Apply the same tempo to studies nos. 1 to 10 and remember to alternate from “toh,” “tah,” “doh” and “dah.”
Copyright © 2018 by Carl Fischer, LLC
O5553 All rights reserved.
 15
simile

c
toh toh
* * * * * *
7.
0 2

toh toh
* * * * * *

1 1 or 3
2
toh toh
* * * * * *

e
2 1
3 3
toh toh
* * * * * *

1 1 1 1 1
2 2 0
* Notes marked with an asterisk are the roots of the chords. Take note of these roots and how other notes relate to them harmonically. (Roylance)

8.

toh

2
c
toh

toh
toh

pl simile
m
toh toh

toh toh

1
2
toh toh
sa

2
3
toh toh

1
3
toh toh

1 1 1 1
2

toh toh

0
O5553
16

9. c
1
1 1 2 1
0 1 2
3

1 2 1 2 2 1 2 2
2 3 3 3
3

e
1 1 2 0 1 2 1 0
3 2 2 2

2 1 0 2 1 0 1 2
3 3 3

1
1
2

0
2

pl 1
2
2
3

1
1
2

0
2

1
1
2

0
2

1
1
2
m
2 2 1 2 1 2 1 2
3 2 2

0 1 2 0 1 0 1 0
2
sa

2 1 0 1 2 1 2 1
3 2 2

1 2 1 1 2 1
2 2

1 0 1 2 1 2

2 1 2 0 2 2 2
2 3
O5553
 17

10. c
0 2 1 1 1
2 3 2

2 0 2 1 2 1 1
3 3 2 2
3 3

1 2 0 2 1 1 1
2 3 2 3 1
2 3

e
3

1 1 2 0 1 2 1 2
2 3 3 3 3

0
2

1
2
2
1

0
pl
1
1
2

2
1
2
2
3

1
0
2

2
3
1
1
2

2
1
2
2
3

1
1
1
2

2
m
1 1 0 2 1 0 2 0
2 2

2 1 1 0 1 2 0 2
2 3 3

0 2 1 1 2 1 2 1
2 2 3 2
sa

1 0 2 1 0 1 1 1
2

2 1 0 2 1 2 1
2

q = c. 60–108 (11–15)

11. c
simile

O5553
18

12. c

13. c

e
14. c pl simile
m
15. c
simile
sa

q = c. 76–132 (16–19)

16. c
simile

O5553
 19

17. c
simile

e
18.
simile

19. c
pl
m
q = c. 92–140 (20–27)

20. c
sa

21. c

O5553
20

22. c

e
23. c

pl
m
24. c
sa

25. c

O5553