ADVANCED DAILY STUDIES from the Charles Colin Complete Modern Method for Trumpet or Cornet CHARLES COLIN — 315 West 53rd St., New York, N.Y. 10019Advanced Daily Studies For those that have the desire to better themselves in tromsposition, stronger lip muscles, increased range, sturdy endurance, firm and sure fingering, rapid tonguing and the mastery of intricate intervals; this book will prove indispensable. An original idea in a revolving scale that gradually expands into a two octave range is ideal for increased range building and added proficiency in scale perfection. The chapters aré so arranged that alll studies with the exception of the studies in keys of C and F, ie,, (4th and 7th chapters) can be interchanged into different keys by a change of key signature. The varied médels and articulations that appedi at the beginning of each study are important for the develop- ment of ear training and speed of the single tongue.Aso play in the key of GD zs = j= See eee oa Ses aS ‘Also play in the key of AD stso pay in oD > AAtso play in ob © Copyright 1975 by CHARLES COLIN, 315 W. S3ed St..New York, N.Y. 10019 International Copyright Secured Made in USA. Al Rights Reserved‘Also play in the key of ab naar 2a aga Also play in the key of AD aay SEE a o ‘jer meee iso play in =e = pete ‘Also play tn cb 4 Ecemeaueuare Ceo Also play én ob #e FP morierttteen| a v BESsans ney tn fe ER i y EB f fee, Et , itfeens, ‘Also play in the key of cb ‘Also play in the key of AD te ois 1 Riso piay in D ‘so play in ob Ase nay 0 ‘Also play in the key of a 4 Also play tn ADa 6 = et ‘iso play in cb — ‘so play in BD ‘Also play in #f] SP 4z E fecal ot = oI aA Aso play in the key of AD As play tn the sey of cb ‘ aa “a Also play in cb a 4 ALAA we’ A1s0 pay in Ob a 4 ‘iso stay in ab a 4 w A ‘Also play in tie key of ob A ‘Also play in the key of AD 4 A + ‘ntso play in ob x 4 . sao tay on ‘ 4Also play in the key of oD Also play sn tne key of AD S ‘iso play in the key of &f nti Also play in 0D ‘iso play in the key of oD Also play in the key of ab 8 E Qt eee < SS ‘Also play in Also play in the key of CE ‘Aigo play in the key of oD sage play nS teat AD 5 ‘iso play in 0b Also play in8 ‘Also play in the key of oD key of AD Also play Ja cl also playin ob \ CERN ‘iso play in the key of a A a * 4 4 un Also play in the hey of oD ‘iso play in the Key of ab . is 12 ees ‘Also play in ob Also play ind nase ney el : bays AEE Sacto13 = SS tone pS As pas ~k Aine ny SEA re ns A AN * At . #) A aS ae Seay an) rw iF sso slay tn be hey ot bg Ais play inthe tos af AD Ws a i ne ts oe ah “u x 15 16 aso pay Teed 4 ‘iso tay so Of sgn inte ero Also play10 ‘iso play in the ey of OP 17 (tr i v 4 sm the key of AD ae payin ee ey of Aso play in D‘Miso play in DD. Heese = ‘Also play in ob Miso pind Ak 18 ‘iso play in cb po ner ah ao paso say nob. 412 sae nay an be ny of b 5 19 ‘ise play in the ey of Ab fag pay $0 th ay ot save sar tn 0b 2 snag er 09D, ‘ 3 sng na 101 ‘ -13 sae oar 120 , Ap A AAT A a 20 Also play in AD i SPDR Rape (EO ‘Also play te at sine sty an ob Sane SPs as CaP 21 dias par ta ab ea ‘Also play in ay Also play in cl a wk novas nth 4, 2p kg ; sso piny in efAlse play in cb 22 Also play in AD fase aey in‘iso play in cb A 4 = === ' . ‘ A 4 A 23 fee SE S Se AA ‘iso play in AD aa 5 2 fp Fetter. 4 pteth feces. feprftteiso play tn 6b8 24 Atso ptay in af i aso play in 9b 4 aul i e ay in AD A SAAARAS 25 aso play 1B a a a Moment # iat : ieee oe A aA ARSAL Also play in cb paso sey tn . iso play tn 0D saise play in 8 & sabe dee 2 sso ptey in. - _ na Sienti= 26 _— 2 “hoe oy ie arnt; # Th ot Sa ESSE ae ee too t, = bt aPaeety $s fponsaorettt ricelifeer ieee gectekes cewet fe enone tt feePReee creer ee aS 3 ee FOES ES eee = = a ‘Also play ta Peon: .£f # may to Fei oesx STOR PRS P Tchr re enero a= q pecisbeetltcert tere’ teerenett frreerrtsis reerAiso play in a Py a Also play in oD ‘iso play in 84 > iso play an ob . . . . 4 27 a Se a SS Ss | ‘Also play in Ab4 Aso play in BH‘Also play in GD +4 29 ‘Also play in ab sono otar tn ef20 Excerpts of Text from ERNEST S. WILLIAMS (Complete Method) HIGH TONES When we are in tune with nature's requirements, the playing of high tones on the cornet or trumpet is not difficult. THREE TECHNIQUES Three techniques should be synchronized and accu- rately developed simultaneously: "BREATH TECHNIQUE, LIP TECHNIQUE and FINGER TECHNIQUE.” The comet and trumpet are not difficult instruments as far as fingering is concerned, but it requires a studious, persevering indi- vidual to develop an accurate, dependable “BREATH TECHNIQUE.” No person can become a reliable and skill- ful performer without possessing the ability to properly govern the breath. TO CONTROL THE INSTRUMENT In training “TO CONTROL THE INSTRUMENT,” we must Jearn the varying degrees in breath management that are required to produce varying degrees of sound. It is generally believed that high tones are more difficult to produce than the ones of the middle register. This is not altogether true. If one has trained properly and has culti- vated the correct method of production, one tone is virtu- ally as easy to produce as anoher. STRAIN AND LABORED SOUND UNNECESSARY In very high parts which must be played powerfully, added effort is necessary, but the effect should "NEVER SOUND LABORED.” There should be no evidence of “STRAIN OR FACIAL CONTORTION.” Correct effort pro- duces purity of tone with certainty and reasonable ease. Good sound, pure, full and free, is the natural result of true adjustments, over which the performer should have complete control at all times. PRODUCTION OF SOUND The sound is produced by the vibration of the lips which is intensified and amplified by the instrument Merely pressing a valve does not make a higher sound. This is accomplished by “LIP AND BREATH MANIPULA- TION." While the lips change very little in going from tone to tone, the breath change is mere pronounced and should be regulated accurately. The breath changes should be quick, positive and co-ordinated with the finger changes. BREATH ALL IMPORTANT Register, quality, ease and certainty depend largely upon the proper "MANIPULATION OF THE BREATH.” Acquiring this essential is a matter of painstaking practice.METHOD for TRANSPOSITION for TRUMPET or CORNET Containing TEXT MATTERS + 36 SHORT PRELUDES + 50 ETUDES 12 CHARACTERISTIC STUDIES + 12 ARTISTIC DUETS by ERNEST S. WILLIAMS Director Conductor ‘THE ERNEST WILLIAMS SCHOOL OF Music ‘The New YorK UNivenstry SymPHoNic BAND Teacher of Trumpet Formerly, First Trumpet JUILLARD ScHOOL oF Music PHILADELPHIA SYMPHONY ORCHESTRA Cornet Soloist ‘THE GOLDMAN BAND, NEW York City The twelve Characteristic Studies and the Twelve Artistic Duets may be played for Bb Trumpets just as written, then used as transposition material as indicated. $4 95