LIBRARY Of

NEWELL DAYLEY
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BY
EDWIN FRANKO GOLDMAN
Price $1,50
C a r l Fi s c h e r
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62 Cooper Square, New York 3 tsr^t^si
BOSTON CHICAGO DAUaS
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Brighain Young Univcrsitf
Ihirold H. Lee Library
(lift of
K. Newel l Dayl ey
LIBRARY OF
NEWELL DAYLEY
PRACTICAL STUDIES
for the
C O R N E T (and T R U M P E T )
m
Y>2
by
ta
EDWIN FRANKO GOLDMAN
e>ta
CARL FISCHER SQUARE NEW YORK
Copyright 1921 by Carl Fischer, N e w York
International Copyright Secured
PrintedinU.S.A.
HAROLD a LEE LIBRARY
8RIGHAM10UN6 UNIVERSITY
PROVO UTAH
1
Practical Studies
Each one of these studies has been written for the purpose of developing-some
certain phase of playing-. They have been called Practical Studies because they
represent the various forms and styles that the averag'e musician is apt to be con
fronted with at anytime. I f properly and carefully practised, these studies should
perfect the tonguing, whether it be in single, double or triple form. They will also
improve the tonal quality, technic, phrasing-, and rhythm, and g*ive to the player a
vast amount of surety and endurance.
The performer who can render these studies as they should be played, will be
able to do justice to any piece of music that may be set before him in either or
chestra or band. He will at the same time be able to perform any of the standard
cornet solos in an artistic manner.
It is not necessary that these studies be practised in the order in which they are
printed. The student may choose any exercise at random.
EDWIN FRANKO GOLDMAN
June, 1920
2
1. Staccato Tonguing
This staccato study should be practised slowly at first,and also with very even tong-uing1. After it has
been mastered in slow tempo, beg in to play it faster. In fact, it should be played as quickly as possible with
out sacrificing* smoothness or clarity.
* -
i _ .
n f
m
1
t r y r m
1

------------ni

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m
-------------7- f t
9 ' P 0 J JJ J
i r e - g p !
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c/
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r p ~ ~ ^ ~ 0 ~ ~
__i i

- r H >
3 - 3 - J - j - B - W T B - m m i r - i b i j i

~ m E g T i

u . B
- i C S T l g f l ~ E t

S p
rail.
a tempo
CQ
2042-41
Copyr i ght MCMX X I by Car l Fi scher , New Yor k
I nt e r nat i onal Co py r i g ht Secured
2. Alternate Tong'uing' and Slurring
3
This study should be played with great care. Slur only the notes marked. All the sixteenths and eighths
must be played as staccato and evenly as possible. In order to make the music sound lig:ht and brilliant ,
also play the second note of each slurred group of two, very short. It is essential to accent the notes that
are so marked. Play slowly at first.
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22042-4]
3. Staccato Tong'uing
In exercises of this kind, the student must be extremely careful to have the intonation accurate. Some of
the intervals are rather difficult. Therefore do not attempt to play with speed at first. Precise , sharp
tonguing1is essential.
a Moderato
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library of
NEWELL DAYLEY
5
4. Staccato Tong'uing'
This study should in reality be counted in 4/8 time, with a triplet on each eighth count. If practised prop
erly it will help to g'ive one a certain degree of lightness and delicacy of tong'uing-, and at the same time,
accuracy and speed.
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220*2- M
6
5. Staccato Tong'uing'
This is another study that will help to improve the tong'uing*. Be careful to play all eighth and sixteenth notes
very staccato, and try to maintain the same quality of tone throughout.^. brilliant style is required for music of
this kind.
Allegro moderato
a tempo
220"2 -41
6. Dotted Notes
7
This particular rhythm seems to bother most players. All the dotted notes come directly on the beat,and
they should not sound too long* or too short.The sixteenths must be played lightly, quickly, and staccato. The
study looks very simple, but requires careful practise.
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8
7. Dotted Notes
While in the same style as the previous exercise, this is perhaps somewhat more difficult. See that all
dotted eighth notes are given equal value. The sixteenths must also be even.
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f
_ B ^ S = S .
8. Trumpet Style
9
Sharp tong'uing* is the feature of this study. Every eig*hth and sixteenth note must be staccato. Play slow
ly at first. Eventually count one in a bar. Always bear in mind that quick tong'uing* must be light tong'uing-.
Much music for the Trumpet is written in this style. It should be played with snap and brilliancy
Alleg-ro
in a bar)
# p i i
1
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i t m
j t i :
/
10
9. Trumpet Style
No trumpet player can possibly achieve success unless he can tongue with precision and speed. Real
trumpet parts call for staccato tonguing1, to a great extent. In an exercise of this kind the eighthsas well
as the sixteenths must be played as short as possible, and the rests must be observed. Brilliancy is a requisite.
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22043-41
11
10. Intervals
The slower this exercise is practised at the start, the greater the benefit will be. Each note should be
played as distinctly as though it stood alone. In going from a nigh note to a low one, or from a low note
to a high one, there must be no difference in either quantity or quality of the tone. The proper practice of
this will give to the player great surety and accuracy of attack. Be careful of the intonation .
Not too fast
/ -
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12
11. Intervals
Accurate intonation and even quality of tone are the important factors of an exercise of this kind,
It is on the same order as the preceding* study.
n ^ 1, V -
p - f

p j
k y = J -
P J
p ......... 0

L
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22043- 11
12. Syncopation
13
Much music that the average cornetist is confronted with, is written in syncopation, particularly the
so-called popular and rag-time numbers. The present study has the form of a fox-trot which is one of
the popular dances of the day. Count two in a bar. Play all the eighths staccato, and give the quarters full
value. This will make the syncopation stand out boldly. Accent most of the quarter notes very slightly as marked at
the beginning.
---------f
> f
.... V ..
^ ...[ L- ,
)----------------------y -
, j f ? 1
' 1 k, -------
w
_ U --------d - J L -
J T r * I'
nf
t
9-
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0 .. he J ) f H . J - * . . . *:
-
g > b t S l I l f M
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p.. -- - p J B .. .
P
j ^
/P u V - V- " r k: ....... K ' ' t/ a i , l . >Iii v-
:(fh ^ r r p J Ji-H
1J>J K * 7 p i
~ iMHr . : r . : f .. .
- M 1-
i)J r f ' f
f r ji
22043 41
14
13. Syncopation
Passages such as contained in this study are met with in most popular and ragtime numbers, and even
in a considerable amount of standard music. The syncopated or Ionger notes should be accented slight -
ly to help bring1out the syncopated rhythm. In music of this kind the eighth notes should be long-, and
the sixteenths very short. Where two sixteenths are joined, they have the value of an eighth.
Moderato
4
>u!t ..
W .. . ^ gj R
9
a m ^ ^ ^
p -
$
w

*
m -
- W -

V
= # = F =
. p -
p
r / a .
f - - - - - - - - - - - - - - - - T i - - - - - -
, -
p H
.
p - p - [ ) .
*
m
N r
^ i
0
* / 7
- - - - - - - - - - -
7^ . 7 T- r
f fp- , f ii ^ - jj 1 h ipi
# [ f j L1=M^
J? ,1; JT1
- QlJ llh/ j -1J i ] 1
a ^ - -P- - - - J - - - m-f -
. ** ^ -
14j r if w f r j ' 1 1rj j p r
i 'u j - - - - - j- i 1
, - - - - - - l>I--" 1p g- *p~4, J-
ig> bfaJaf^g
Pr-------- ----------------------,---------
X ' U ----d - r-
- s 3*^ --------=== i: =ss __:
(fl) P.. ar*p*. _
mf 1
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p9 ^w w~mm-mf- M- - - *- - - - - - - 1 | - -
JrLLd t=d E_U...-* LLJ u- u . . feba
_______> *-____S-e_____ _ ___*____*_?---------
..% m -m-r - - ------Ip m-P- -
I.... r
/ p ' 1*j 1U J *- 1^ - 1
ff~f F1-?- - p- rr f - - - - |/T l P| R 1-- f -f - fh
* T * l . i . L ; . - , . r 5# | .%4# 0 r N p j . f pJ^
i- Ufi i ' LL-
fLi- i- .i ij j*rgjiurk \ /"r| 1
r r r f ir r ^ r f r ip- .~rr/r- ifrrr^ i FTWm
(m 1F - -
tr l l .
aJJ iklJE- UsT l[r j Lfl 1|U^ IJ J[u 11
22043-41
lo
The explanation of the previous exercise will apply similarly to this study.
14. Syncopation
t
- 7- r t ---0

f t M =
V
": .. i
T f f T*
. . ' - 0
= = ;

/ I
J - * -
- w - m .
m I"
0-
0-m-0 . 0
s=
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l i r
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0 0
fl

: = H
fe-r- *5 -
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p-lttp^^ates TJ J L 1
* _tf_/-s
.... !? p-* e
^
--------i i> ; >
b r/ls^ ^ ^
S -
K'hfefaF..- w i r - JEj

r f i l *1
4
*
22042 - 41
10
15. Legato
To render this study properly, smoothness of style is necessary. Sustain the notes well, and give each
its proper value. Be careful not to hurry the triplets. Some of the slurs are rather difficult. If this
exercise is mastered, the performer should have no difficulty in rendering* songs and arias in proper style.
A j J 71
gj
m f f l
=
~d J'
. . . . v, .... . , , , , E
r*r t
f r r i
r V > - i
m
4t
U'-L -
-
y j s u n
22042-41
16. Slurring
Be careful not to shorten the.last note of each triplet. That is a common fault. Only tong-ue the first
note of each bar, but do not accent it.
Moderato
4
mf
& f B ' r r f
^ k L J
- - - - - - - - - - - - - - - - - v .
V- P - ^ |H ^
Q j u y i r r r r r
m - m
g j j j p j U J L [ J P ^
? * V - *" 1 T *
=g > = -
p- k m mr
- - - - - - - - - l [ j - y j L .
- = = P ,
U - i J J ^ ^ * [,
r f =|ffr- r^
p-9 ms 00-^-00^
- - ^ ^

w L aL L T L C r ' a
Tl V
L 3==^
f d^ m m U
- P--I
0 0 P'~0
T ^JL..0,__

=^Ls=__8:=_S:3
IS
17. Slurring
The same advice given for the two previous studies will apply here. Smoothness is very important in this
exercise.
Allegretto
- J r P - - 3 3 3- ^ i 1
b
f -
- f J *
iB
r
i t
w-] m
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- s
! i J
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m
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1
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a

tempo
rail.
3 7
t f r f i
S
22043-41
18. Trill
19
This slow movement is intended to develop the playing- of trills. A trill is supposed to be purely ornamental,
and should therefore be rendered in a graceful manner. Do not move the entire hand when trilling-,but use
only the fing-er. Some of these trills are easy, while others are difficult and require careful practice.
A ndante
# 7 ^
r\ .. .
r7'
?
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f$ *
p
f R-i
. - i.... ------- #
------ J
.. 1 E :.
X-- ; -
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t
k
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fr a
tr -j tr
a little faster
E e l
a 1'*'
f
- i^j j f - i
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9 f p#-#--p-fr
Pr-
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1- mi-p-^ -p-
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=
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Cadenza ad lib.
tr^------ tr
= *
rail.
tr
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p
^ tr
p------ ------a- r
tr
m
p ~ ^ T7 > 1
------- r ------- ^

"
- p hP
P 0
w
.. 0 ,
- j
22042-41
20
Most instrumental solos in the larger forms contain one or two cadenzas. When a cadenza is found, it
indicates that the measure of time is to be suspended, and its performance left to the judgment and taste cf
th player. Cadenzas should be played in a free (ad libitum) style so as to display the tone, technic and
other qualities of the player to the best possible advantage. As cadenzas are unaccompanied,they must
be played with extreme care. Let every note sound, and do not sacrifice precision and style for speed.
19. Cadenzas
/C\
Jt*

33
nz
6

4
k
R
CT ^ P
2*042 - 41
p - z f . m
S t i S
r*---*-
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J-J^1 Fffl 033
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* f
T f 3*
----*|
t 3 = =
-1 j ^ q
j ^ = f 4
+ - 1 =
..........
---- r-<
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- - V- * ^
~ f j
F J y J?J gjf e:
*-
- -pa
jp m a
r
----------*
<
J
a *
rr
Mff-
-------------------JJ-J
^ /C\
H i * -im -
/C\
^ f f - r II
o '
y * i
rs = =
----------
-J- j-J
^ s'
ia-----=J=
-J-J----J-J L
^ ^
1
/C\ /T\ ==:
----------------------^-----r----_J-
---4^4
j i j j j j j ^ T t
r~

t-------------------
9 (ft
-----=#*------ 4- * -T
S- --r
-----m-----
S-
- - - - - 2-- V - - - - - -
* j ** *-------b-- - - - - - - - - - - - - - - - -
--- ---- ...
- J-J.
Grace notes are ornaments, and as their name implies must be played in a graceful manner. Lig'ht -
ness and delicacy are the principal requirements of these notes. Do not accent them. Just touch them
lightly and slur into the following: note. Only single grace notes are used in this study.
Grazioso
22
20. Gr a ce Notes (Sing-le)
p S p - \ r t t p i *r T i * I 1- ! ' 0 p n n V i H > J J ^ J - J - ^ _ p - ^ p r
Q ) _:4 = ? r T T 1 T T X J L L Q K J * > c r X J I
# - G a
T ^ r f ? * W r i r fef t f p ~ r i " r r r * r f r r * . i
. - tem p o ^ _
f ^
r ^ //. _ - - - ^
3 - V r ^ p r i ^ r t t p f f f r * i - i v . . i i j > J - I J _ P h % [ "
1 ^ ^ 'i - [ T - - - - - w
m
T'n if ..... ~ TV- #
...: *r%-.* * * _ * s * : { *
i
i f r
? dolce
^ M v T r i f ' P m r j d u d ' i J ^ p P P I T ' :
^ ^ F I
. . . . . _ : . _____ - - *
# =
p~r I )> !*> 0 . i--------------
; f* P P k P J J ------------ f p = : * - ! f W -
1 _ n s tempo a k
-*C . s i a . f i a * * r . g
rah
i . -i v
4 / \\ F I l J J
r. </
~J j T S ; * p f t f f p t o P ~ ~ P s ^ . i | a P * C - - ~
/j u i - n R f e - ,
> - r - J L g - _ g Z ^
t f . V * ^ g : = y : _ 3 E ---------
^ r r r p r F r g r i i ^
n r ) i r t - r r ^ J J |
22042-41
LIBRARY OF
NEWELL DAYLEY
21. Grace Notes (Double) 83
In this study, two grace notes are introduced. They should be played in a delicate manner, but both
should be distinctly heard. The two grace notes should be slurred to the following- eighth note, making-
three slurred notes in all. Lightness should characterize this entire study.
Allegro

5=tir
pIL-U
f

E z
m

1JT3 j -l Qj
= = 5= ^
f e =
3
I i
i
w/* dolce

1
u
---ft i*' -T J~j .
^ 5
"
m-
-1a
P~1
^ -----
.
4 $J = J
p p H j)j t r
m
^
a m' a
-
#
m
^ T - - - - - - - - -
- A - ?
t t 7 r f f
.
..
P
i "'v .......
g
_
z;
: *=
g
h * R
^ =
= *
- = 4k | 4 = 3
- y
%
r J 1 ~ y " ~ H
a y
5rf
^F=T
.
I
TTf=F
=-7T
^P =h5 c, a "
-ft-a
.

k - L
r * i* # *
9-
W-#-
-*
. ** J
*-----
- J r - k
r
#
p-
-ps
15-*-^
- . 1.4^
= ^ T
-f=n.
a ^ a .

3 J4-
-7 ! *->-
w
f U L
J T f J J 1
^ Z
m
S
*
\ ? I ;
-J T 7^ j f T
B^jTj 1 plir f PyII
22012 - 11
24
22. Grace Notes
The explanatory notes in connection with the two preceding- studies also apply to this one in every
respect. They should all be practised with g-reat care and attention as to detail.
jy I ---i t f m
u 1-
-0- *
I rpFvr^'
-(f)- 4"^ {W=*
J /
j

K -

i f m ' - m 1 ^
m m

p
/
|> ; |^-vf
k- F
' iJrJlT- ? h- . T j -- p=pMi
t
====-
f
^ = l
- s
J - - - ^-2-d-
^ ^ --'ry*-
-- ' '7 '
f

I
Itgfl ttf I L g ^ i l g
/
^ n r "
=---- ^=r F ..Xr- m ifrm----T % ---j1
>
r r . - - n J
I T ] p , I
-to
#-------p-
[ L e i r r i ' m
LL T~p.
-
J ^ - 1
----
*
0
t-
1 1#
1* hfrsf
Ff
4
- f 7-
r a =
A
f m
- A -
r * 4
^ l -t r
. J- It
r 'f . . At
- #
=l=h
E
TTj^ % J 4 J
r a il
.....1! fi-S * t 3
w'l
a tempo
i t
0~mr0-
m9- -A
a
/
/
l - i f
rP- - - -
r >
s
0-
r
- f- j*-
1*-- if
m f 5E
y
0

r r s

==
J
0-

f j
)-------- -
a 1
B
S ^ j
- -

bdd
:a
1
-J- ":#r
L l
i Lt

T ^ i ? - - -
4 a a>-
0
S p 0
- p
* P i

0-
P r
M < ^
- f - - - - -
* r
- j f
-Tt- -

J - *
N i
J J
= 1=
y
9-
m
m
kA\
s
jb------P
tryz' =
22012-41
In a study of this kind it is essential, first of all, to note which notes are slurred, and which are ton-
g-ued. Do not accent the first note of each triplet. Accuracy of fing-ering- is necessary. Play slowly at
first, counting- four eig-hths to the bar.
23. Triplets *b
Allegro

m m
-
m m
a
/
-Ctl* 3) 0 1Ctf ffl 0 1
S P
a- v T *
m m
*
*
~ ?......
A f e p
>^ P
1^ J J'
<?
lr - i I FR
. '.....1-t-
0n
f
I J
- - - 1- f V<
f r N
i
^ = i= ^
] Lr^ - L

SP
U '

a
s T a - j
* a tempo
ffj 1 f t
jjjjyj j j j j h j j i
|l 1^|>| =g
1
:
i
]

<
!
t J *B J7^ J ti i rrpftpft iffl
yf- ^- 'Pp
j ;f -
H ata [.j j 9-*-d
23043-41
26
24. Triplets
This study siiould be practiced with great care, in order to g-ain accurate rhythm. Observe the marks
and count four eighths to the bar at first.
Allegretto
3
:
3
Jk * ^
T r f [ HT P ^ iE T i
i
p
Fwl
p a -
p
p-
Ft f I
r z T T ?
- j 0~p
n v r r j
l p ^ = t
/
* p --
$ S .1
V J .
3 7 + .
_____
ji
_ _ _
=

FSffS-y, I.j m
5"
s
i
--------
1
j*
S.
p-.-
1
El
3
S
m . ip
s
5
-c

[f p 7j
/ - r 4
K-----:------1
R
= =
t
- T ' ?
w
3
m
m
3
0 -r-
m
y
# tempo
__
r - . . J 58! S C *auT
= S
b=i
= i
r
ES9 __
P=q

5
e
3
=
i:*
. J*
i? 4
~ ~3
3
ZM
" f
a
- - - - - J
g
<?
- J

m
-#----# .
22042-41
25. For Lightness and Speed
After this study has been mastered, the student may play it in the fastest possible tempo.Be careful
to accent the notes marked. Remember that without lightness there can be no speed.
Presto ___ > _
i- J " ..
nT T T f irlTr f fwr^H
V "
=Fh
>
--g-g-
- - - - - - It--- -g-fi m*--
i i f r o r r f tf r - 1
J^l 1^- <1| 111^
* * -7T*
-] ia~P.. *
m
=t=ts
m
a '1 mrf y i ' in* b?
^*~=>ZFr
ijg* l*|j* f I 1
1JpJT if fj* ifrr f
T^ir-] Q - g p ] ^ 1 ^ 1 MM
=-|pu I I ==
_. .. J . * *
* F =
=#F=
9 9 r !. JL_a.t
i p. . i r r r f c T- F En
*J. - i - p -
t =*
. . g
If [ i f f I U - L u f m z . l - ^ ~
7p r irlp"* T i-f r p ip7>- T
^-J--84 ---
' ^ VJT
>-
** , .^-rr^m,------- ~.----- *_
- P4f f T U~iU> f r
^ /
? N
==^--s
3=J::-j..Lg-
i* r * s - *- '^=4-
3 3 =_ 3 ^ _ _ l fc.=3
i f F r r i f ? f i r - 1
# =
9J
d----
P m T"k -fV * --= ^ -
r - f y - f i g r c r i * &U'sJ*
T i r T P r f ^ r = ^ i
3 20 43-41
26.Valse Etude
This Valse Etude is a practical study and should be rendered with taste and discretion.
Not too fast
v
S ^ o p
0
F W W r i
r a A/ 1^ ~a -
_ .. l ---- a,------- a
J y
= . j - X - 4 y - J g j
i hb-=>j
p F r \
pf c = ^
h i
P=S==f
*
Hj

-------*-->
# = = 0 y
LJJ
m
. r"7^-
--1+
h H
i
.,
hr-
m
-W-
--Ji i

P m p Y l - - - - - - [ i - - - - r r - f
.r - i r r m > P .
^ . m '
ft
______1________
f t ^ * w m d
r - - - - - - - - - - - ^
J
i r i U f r U 4 f ^
r i
r ? r , r r f 1
e j
P " ' N
r > i *

% f r . - - l r ^ r l
*
\

P m
--P-~
$ = y
i - i
J ----- -
1

m
T {
-

!- - - P
<
M N
Wt
f t
:.........................................
i _ r j r r i i
m~
L r r * i
- W
t v
55a
, .'V ,
55
* ......... =
S
s a f e - - - - - - - *- - - - - - -
=*
9-T$r
J-
H

-pi

f-
ft
#
n -
a
+i-

0
0-
r~
ntp
0
p..
na
m
_
J
j^^
mi
r
M-

k1
^ r ' a
#
--J^f
-y
f c f l
L .-^pa . , ft - |J
11 f j r r n - i ^
(Hfirj

P=p=T=|
j
4 f I-
+
T
i

;
>
h
.
.
a
?
- E 51-
i
p = &
3 E
f X
Y
It p
7-M
. ^
0-----
L .
m _M
i n r
~
' * I* j P *
r ^ - ?

4!
^ ? -
L
J LT *7

4 7 . F=P- a
--;---
0

J#--
p i
r - a - r
f.
------ f ---1--- 1
&
tJ
J UT
->-J

U^BL.d.
...
----- ?----i ----i
23042-41
27. Cavatina
3!)
In this Cavatina the student is given an opportunity to display good phrasing, as well as fine
tonal quality. Do not play the eighth or sixteenth notes short in music of this kind.
Andante
^ = i
3=

/
P lb
- mf
#-p
A -
Tp
P 4
f
i

c
I*- '"^3
O Vif
L-t -
-1^- pr
-t
f f f f
- -
J
J!!~
f k
"T?
--------- ^
__1 >
1 v *
p. '. 1*:y-;
= * V ^ ~ , . I

- ---------------
e * f = ^ ------ -------- -
---------- *
-5
C j u 1
- W
/
i 4 -
- J ------ -----
Tempo I
m f

*
i *
zz
k
F ^ f ,1|

SI

/
i
^ ^ - p T p - = j^
f rail.
22042-41
30 28. Etude brillante
An opportunity for brilliant playing is afforded in this study. Play the music precisely as written.
Allegro maestoso
I
it.
f
i
3
*
Q=k
: > & v t|J \
T P rrT*
3
P -p
nlf do Ice

=S=
"P p !
r ^ - =
---i~*i
-------57h--------^ ^ ; --V^-p&pB-
CO
tJ #
p t
fl
---

----J---
5k/ -i* U=*
^ ; i ?

- - - -
&
S *
&
ft-
' m
-
p
m*
y _ i
m ......
, ......... <
j

- - J
p
L ? - - - - - - ^= ?- J

i
"> ^ I*' 1 F
- - - - - - - _ - - - - - ------- T --------------------V ------------------------------------------------
a tempo
n ^
Hr1
/
/YZ/7. _
/

V
M f = f =I
ss
^ !
J
h f - it
7---
H

f P
h - g ^
=H- - - - - - - n 5> - - - - -
J - 1- *7i- Si --
?- -J- -
37
W----------- ----
=
=
= bH^ J
.
J P #... z . r , : " w ~ .
- f i - & -i .
J; K-- 3---------- t^-1-
* /
* -c l i
-p-p . ^
T #: i
, ...,M J__l.
f W
Ml - * M
r A*. -*. -
a* H t f =
-----------------m.---------^
m
= ? u y j
7-L-, ?. .. ,.r ^ ! -*1
=5
f t
F= P &
^
c ^ j - f -
ft
b ^555
-
M = y
-J
- j

-- <1
L- ^

~9
1
: i
P ?
-#
-J

d-------- U
32042-41
31
Triple Tong'uing'
Triple Tonguing is a form of staccato which is used for playing triplets (singly or in
groups) where the necessary speed cannot be obtained with ordinary or sing-le tonguing-.
It is an effect obtained by the pronunciation of the letters T T K, or the syllables Tu Tu Ku.
It is a muffled articulation of these letters or syllables. This particular kind of tong-uing-con
sists of evenly detaching- a reg-ular succession of notes, without permitting- the stroke of the
tongue to be either too long-or too short. In order to arrive at this degree of proficiency, the
earlier studies, which serve as the foundation, should be practiced very slowly. The first
step in triple tong-uing- is to know how to articulate. It is necessary to pronounce the syllable
Ku for the third note of each triplet.
The following illustration demonstrates the pronunciation of the syllables.The student must
strive to pronounce with perfect equality the syllables:
<? <? s <?
9- - - - - - - - 1

m 1
4
L# - J L- J - 9- 9 - 9
1
~4 -
tu tu ku tu tu ku etc.
For the syllable tu the tip of the tong-ue is pressed against the upper front teeth and drawn
suddenly down, producing- the first sound. The tong-ue does not act at all for the third sound,
but remains motionless at the bottom of the mouth, allowing- the pronunciation of the syllable
ku to come from the throat. The ku may be said to be coughed into the instrument, and
by forcing- a column of air into the mouthpiece, determines the third sound. As the articulation
of the K or Ku is produced farther from the mouthpiece than that of the T or Tu, it must be
more strong-ly accented, in order to make the triplet sound perfectly even. In the beg-inning-,
it will be g-ood to g-ive the Ku an extra accent until-it has been g-otten under control. Later on
just a slig-ht accent is necessary to make it of equal tonal value with the other notes. In order
to acquire this tong-ue to-and-fro movement with ease and regularity, it must be done slowly
at first. The tongue acts as a sort of valve, allowing the same quantity of air to escape at
each syllable. The tu tu ku must always be emitted sharply and with precision. Do not pro
nounce du du gu instead. This latter will always sound slovenly and ragged.
I f these rules are strictly followed, Triple Tonguing will be mastered very readilyand will
be found no more difficult than Single Tonguing. All that is necessary is to practice conscien
tiously and carefully, for anyone can become an expert who has patience and perseverance.
22042-41
29. Triple Tonguing
A____________ 3_________ _______________ 3______________________ <?
M # = a . : - , ; ; ,
c?
p P P--------- 0 ------- -------- 1* m m- - 0
* - u p 1 1 .1 I ) ......h....... 1 - - 1- 1
tu tu ku tu tu tu ku tu
A AAA A AAA A ^ ^ ? __ ^ .
p----- p
tu tu ku tu
= * =
L L r r L u 1r l . l . . i =
- p p P ' " " " p .. ' ' I " > 1 p p *
* f
y
J
---------------------*-------------------------------- ----1-6
5=
p -
------------------------------L-LJ----I 11 I
9 i k m m m --- ---=*
-----------------f f -------------------- - J -
)
7
*r r P-l-PF"P r Fr r r 1f b
g h ,Y ^ > - r r p p p , p r p l
------------------------------------------------gJ
t-
*- k
5_2_l----------------------------------------------------
tu tu ku tu tu tu ku tu tu tu ku
J------------J---------------------------------- J------------
tu
4
(
J - P - f f j L r r r 1J r r r * L r . - r x j
3 )--*i ------------------------------------- --------
J------f -----------------------n ----------p -----------r f
V 1p" m rm p ... mmm~ m m ~ - B P m m 2 ^ 1
- 1 -
O
m * - L U UL-UJ 1 LU 1
---------- ---------- ----------- UJ J f 1

- J
*
* -
n A ---------------------------------------------------------------
tu tu ku
1 1I I 11M 1 I I IJT1 j -
m a pt o M & 0 p p & &
#
\-
u
r f T f r - ddddd d d
___ t - F V 0 M m m I ' ^
:-==- -----
i l r r 1] M P > >-il
>_i----------------------------------------- |- p
---------- J J J J J J J------u --------------- ------ ---- J
22043-41
M s
Btt,
B
B
i::i
B
cc
3
0
.

T
r
i
p
l
e

T
o
n
g
u
i
n
g
iV
V
i:
1
I
"niV
V
V
V
,V V
t?
i :
: 1
:':if
um
: i
E;:'
;
V
V
V
V
V
rV
Co
I
V
V
V
V
t;:
E-'

V
V
V
:
:
V
-V
E::
;:
V
V
l i
'M s
'C
II.
1
1
IP
i
Hi
B
IL
CO
3
1
.

T
r
i
p
l
e

T
o
n
g
u
i
n
g
M
W
0
w
1
i>
,,
>V
36
32. Triple Tonguing
p
3
0 -

T
? r T r r T r p r f p f F J ^ N ' i
-- - - - - - - - - - - - - - - - -
^ T T 8r f f r
T O % n = = - = ! = - - , - , , - - - ^ - g - ^ - 7
J J - l K
1 = - - - - - - - = j b ^ l ^ - |

p
5 ^ t
i ^ H S P
I
____
^ u 2 -V Al ,
m-------------------------------
6 *
# - -------- f
m
P ^ = f
i 3 - " ---------------
------------------------------
to- A

# - - L
4 d h S -
* ' - S
^ J ~ P
' = 3 # l
j - #
i b ^ f r i
- f r

r f -
r ^
- i - - - - - - - - - - - ...... .....
f f -
: z a

__________p
____*
p :P m
j
=;- - - - - -
SS

* L 1
f
f f
i f

f l
^ ^ - ip ftfffr rr r rf
P P ?
* ! > .
!?
* P P I -p p- p-p, p
/
?. . - - - - - - - - - - - - - - - - - - - - - - -
i=d1J L J
m
SS
4 Ifc3LJ3
=SB
=T=H
FF*
>e
irfd 1il
? J ^~i J J J dJ m
zh,
*-*+-J-t
5
1J-
EE' 41
22042-41
37
33. Triple Tonguing (Trumpet Style)
,y ,J I* I*
mmm m m m %* m
1 H 1 7 =
J f r r i r r - f ^
- l ----------------m----------------------- ^ 1 --------------------------
i r f p p r r r r r r i r r r f r r i f r r r r r - - i
5 F - - - 1 - L- = -
tj
i r v r r r r ^ E E
r? # A 9 ?
' ..... " '* --- ' " ..
" f M'B 9 9 f 9 9 9 9 9 9 . ...
S1 1 ' m 1
i J A i l r r #
__________________________________________ /__________________________ L___________________________________________________
3
, r mi m. r r r r r [ r r P r r r i T r o T f e ^
i ^J J J J J f-Hr
' ' ''
2 ( ------=
r n r l l i i t / 1
^ -------2------ R = n ------,---------------------*-----,
-rn-A-mm---F F.F -H*-----a-- *--------* _ J M--- K----9*---0- 0 -0-
-fit) 4- fl -a a t77
I I _ / ~ n.. . .
f ~ v r q* -p ^ ^ " y j l r v- 1
4 - ^ L / r
i t . . . r e L - ^
p---------------j j - j j - -3 3^=------------- ~j j j
^ ..^ ^ --------------------------------------------- p-p-F
"j*... I* P I* - , J J" *" ....' * ----H--" "
^ ^ j j j
A r d f t ^
---------------- p b=----------d -J-d.- ---------------------- -----1= = ----
3
0 0 3 3 at
u V r r r r r r r i r ^ X L r i r 7 1
4; ..............................
J
3 T ^ I T V , . 0 ,
------- B" 'I'" --- ._* --- [ ------H--------2-----
<?
r --I--- " 3 P P PPP P
J J 1r r r r r r , r 1T t i f f r r f l r r ' - 1
* Op 11-
i i>- r r r r r r # -
11LjlJ-- - - - ...............-
J* J^1 0 0000 J J-J i r r r r rt~\
a1 | UL .
-ih ? --------- *----------
r"T" | * .... 1
3
m o 3 p. Ff-pp- -P
] [ r r r r r r ^ r I f Cf - r r r T 1r i ^ y j f ....v~n
J ) l> m m m _
i --------------4 ^ T t - t ----------------------------------- , r < f t i f f f -
S r rPflJCX;
^-----m.--* -----------* --^ -- P--W W W W * ' ' 7
22043-41
Double Tonguing
As a rule, all other forms of tong-uing- are studied and mastered before double tong-uing- is taken
up at all. The stroke of the tong-ue in double tong-uing- is similar to that used in triple tong-uing-, the
only difference being1that the T and K strokes are evenly divided, while in triple tong-uing-we have
two Ts to each K. All the rules followed in triple tong-uing- apply to double tong-uing-.With double
tong-uing- a wonderful amount of speed may be acquired, particularly in the execution of scales and ar-
peg-g-ios. Thoug-h most people believe that double tong-uing- is far more difficult than other forms, this
belief is not well founded. The fact is, that because it is not as brilliant as triple tong-uing-, it is more
neglected. I f it is studied systematically and practiced reg-ularly, it can be thoroughly mastered and
will prove of incalculable value to the player. Passag-es that were difficult and troublesome are played
with ease in double tong-uing-.
No detailed explanations are necessary. The same method of practice and study used in the triple
tong-uing- should be employed in these exercises.
The following- illustrates the pronunciation of the syllables. Pronounce with perfect equality.
Tu Ku Tu Ku Tu Ku Tu Ku Tu
22 042-41
34. Double Tonguing
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NEWELL DAYLEY
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and Tr anscr iptions
Origin
A i r and V ar i ati ons on a Theme from La
Sonnambula"
Cornet or Trumpet and Piano (W 701 ) ..............
Eb Saxophone and Piano (W 294)........ ..........
^A mer i can Capri ce
Cornet of Trumpet and Piano (W 1828)..........
A phrodi te (Caprice)
Cornet or Trumpet and Piano (W 700)............
4Bri ti sh Gr enadi er s (English Fantasia with
Variations)
Cornet or Trumpet and Piano (W 573)..............
Clarinet and Piano (W 184)..............................
Baritone and Piano (W 1050)..........................
*Echo Wal tz
Cornet or Trumpet and Piano (W 1702)...........
Three Cornets and Piano (W 1701)..................
*Emeral d (Irish Fantasia with Variations)
Cornet or Trumpet and Piano (W 572)..............
Clarinet and Piano (W 183)..............................
Baritone nd Piano (W 1049)..........................
Exul tati on Wal tz
Cornet or Trumpet and Piano (W 1847)..........
Three Cornets and Piano (W 1846)..................
^I tal i an Fantasi a
Cornet or Trumpet and Piano (W 575)..............
Clarinet and Piano (W 575)..............................
Baritone and Piano (W 1051)..........................
Loch Lomond (Scotch Song)
Cornet or Trumpet and Piano (W 565)..............
*M y O l d K entucky H ome (Fantasia and
Variations)
Cornet or Trumpet and Piano (W 569)..............
Clarinet and Piano (W 180)..............................
Baritone and Piano (W 1046)..........................
O n the M al l in the Twi l i ght (adapted from
the famous composition "O n the M al l ) Cornet
or Trumpet and Piano (W 1826)......................
*Band and Orchestra Accompaniments are Published
Sans Souci (Free from Care) Fantasie Caprice
Cornet or Trumpet and Piano (W 1420)..........
*T r amp , T r amp , T r amp (Fantasia with
_ Variations)
Cornet or Trumpet and Piano (W 570)..............
Clarinet and Piano (W 181)..............................
Baritone and Piano (W 1047)..........................
When Y o u an d I Wer e Y o u n g , M ag g i e
(Easy Fantasia)
Cornet or Trumpet and Piano (W 211)............
Clarinet and Piano (W 211).............................
Baritone and Piano (W 21 2 )............................
MI NI ATURE CONCERT REPERTOI RE
for CORNET or TRUMPET
with PI AN O ACCOM PANI M ENT
Series I
1. Eveni ng Song (W1 4 1 2 )............................
2. J oyous Y outh. Gavotte (W 141 3 )............
3. Sunset (W 1414)..........................................
4. A Pr ayer (W 1582)....................................
5. A n O l d Story (W 1583)............................
Series II
1. In the Clouds. Waltz (W 141 5)..................
2. M ar s . Polka Petite (W 1416)......................
3. Love Thoughts. Waltz (W 1417)..............
4. A mo n g the Stars (W 1418)......................
5. M er cu r y. Caprice (W 1584)........................
6. Country Dance (W 1585)..........................
Series III
*1. J u p i ter . Polka Petite (W 574)......................
2. T he Rai nbow. Gavotte (W 1419)..............
3. Ven u s . Pol k a................................................
Two Cornets or Trumpets and Pi an o ...............
4. Espani ta. Tango (W 1585).........................
5. Moonl i ght. Serenade (W 1587)..................
CARL FISCHER, Inc. 62 Cooper Square, NewYork 3, N.Y.
W 29
< -
CARL FISCHER
PHRnmoum rono
OF STANDARD FAVORI TES
Arranged by
LESTER BROCKTON
CONTENTS: Cocoanut Dance. Hermann Songs M y
Motfier Taught M e, DvorakTne Ol d Refrain, Kreisler
Roses of Memory, HamblenWaltz in Fb major (original
A b major), Branms Andanfi no. Lemare Largo (from
the New World Symphony), Dvorak Menuet No. 2, Bee-
thoverTwo Guitars, HorlickLondonderry Ai rTango
Serenade, SimonDawn of Tomor
row, Atwood and Terry.
u l $ t a n d i n % -
COLLECTI OnS
FOR
I 0RI 1ET ( TRUmPET)
nno pinno
E U E R V D R V F B U 0 R I T E 5
A Collection of Twenty-One
Standard Songs and Melodies
CONTENTS: Andar i Cantabile, TschaikowskyThe Beauteous
Song, BarriBt >eath Thy Window, Di CapuaCountry Gardens
The Flight of Ages, Bevan- I talian Romance, SohmJerusalem,
ParkerJust a Little Song of Love, PinardThe Last Wish, Abt
Mari a, Mari , Di CupuaM y Letizia, Verdi Northern Lights,
SiegristThe Ol d RefrainSerenade, TitlThe Star of Bethlehem,
AdamToreador Song, Btze' Vi l i a Song, LeharVisions of
You, StillwellWalters Prize Song, WagnerYe Banks and Braes
of Bonnie DoonYearni ng, Pinard.
D R E R P O R I B U R 1
A Collection of Standard, Classic
and Sacred Songs
Revised by
EDWIN FRANKO GOLDMAN
CONTENTS: Al pi ne Flower, Peuschel Ave Mari a,
GounodAve Mari a, LuzziThe Better Land. Cowen
Elsa's Dream, Wagner--Home Song, MoszkowskiIn Ol d
Madri d, Trotere-It Was Not So tp Be, AbtKathleen
Mavourneen, CrouchL Addi o a Napol i , CottrauLet
M e Dream Agai n, SullivanThe Lost Chord,
SullivanLove in I dleness, MacbethMel odi e,
RubinsteinM y Heart at thy Sweet Voi ce,
Saint-SansM y Own, M y Guidi ng Star,
Knight Nigntingale Song, ZellerO ye Tears,
AbtThe ^alrns, FaureSerenade- Gounod
Serenade, Schubert Siegmund's Love Song,
WagnerTill We Meet Agai n, Liebe.
C A R L
COOPER SQ
Boston
W 6
i S C H E R
NEW YORK
Chicago
Pri nted in U. S. A.
SO H CS OF THE G RERT RI RST ERS
A Collection of Twenty of the Most Famous
Classic and Standard Songs with Words
Selected and Arranged by
EDWIN FRANKO GOLDMAN
CONTENTS: Three In A l l , BohmThou Art M y Queen, Brahms
In Autumn, FranzDedication, FranzThose Happy Days, Gotze
With a Vi ol et. Gri jO I et Me Rest, JensenLast Night,
KjerulfGood Night, Farewell, KuckenOn Wings of Song,
MendelssohnElegi e, Massenet When Love Is Kind, Ol d Mel ody
Thourt Like Unto a Flower, RubinsteinThe Dew Is Sparkling,
RubinsteinM y Sweet Repose, SchubertBy the Sea, Schubert- -
I ll Not Complain, SchumannThe Two Grenadiers, Schumann
A l l Soul s' Day, Strauss None But The L onel y Heart,
Tschaikowsky.
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Al l l i b r a r y i t e m s a r e s u b j e c t t o r e c a l l at a n y t i me .
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CCT P a 2012
Brigham Young University
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