This document is the introduction to a book of practical studies for cornet and trumpet by Edwin Franko Goldman. It explains that the studies are designed to develop various techniques like tonguing, tone, technique, phrasing, and rhythm. If practiced carefully, the studies will help players perform any musical style on their instrument with artistry and technical proficiency. The introduction provides guidance on how to practice the exercises for maximum benefit.

3. LIBRARY OF
NEWELL DAYLEY
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Practical studies
for the CORNET (and TRUMPET)
S^J £0
BY
' EDWIN FRANKO GOLDMAN
Price $1.50
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243 Carl Fischer
INC.
62 Cooper Square, New York 3
BOSTON • CHICAGO • DAUAS
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FR 4-2318

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Brigham Young University
Harold B. Lee Library
Gift of
K. Newell Dayley
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5. /v&u/e,// uDcV?<yy-/t- 60
LIBRARY OF
NEWELL DAYLEY
PRACTICAL STUDIES
for the
CORNET (and TRUMPET)
ijg by g
EDWIN FRANKO GOLDMAN
IP
CARL FISCHER S8S51S NEW YORK
-

6. Copyright 1921 by Carl Fischer, New York
International Copyright Secured
Printed in U.S.A.
HAROLD B. LEE LIBRARY
9RIGHAM XOUNG UNIVERSITY
PROVO UTAH

7. 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 average musician is apt to be con-fronted
with at any time. If properly and carefully practised, these studies should
perfect the tong-uing", 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
2ZQ%Z -11

8. 1. Staccato Tonguing*
This staccato study should be practised slowly at first,and also with very even tong-uing*. After it has
been mastered in slow tempo, begin to play it faster. In fact, it should be played as quickly as possible with-out
sacrificing* smoothness or clarity.
a tempo
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22042-41
Copyright MCMXXI by Carl Fischer, New York
International Copyright Secured

9. 2. Alternate Tong-uing- and Slurring
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 ligrht 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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22043-41

10. 4
3. Staccato Tonguing-
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
tonguing* is essential.
Moderato
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22042-41

11. LIBRARY OF
AEWELL DAYLEY
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 give one a certain degree of ligiitness and delicacy of tong-uing-, and at the same time
,
accuracy and speed.
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220*2 U

12. 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. A brilliant style is required for music of
this kind.
Allegro moderato
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13. 6. Dotted Notes
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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220*2-11

14. 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 g'iven equal value. The sixteenths must also be even.
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15. 8. Trumpet Style
9
Sharp tong-uing- is the feature of this study. Every eig-hthand 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.
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320 42 il

16. 10
9. Trumpet Style
No trumpet player can possibly achieve success unless he can tong*ue with precision and speed. Real
trumpet parts call for staccato tonguing*, to a great extent. In an exercise of this kind the eighths as 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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22042-41

17. 10. Intervals
11
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 nig-h note to a low one, or from a low note
to a hig-h 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 .
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18. 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.
Very slowly at first
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22043-

19. 13
12. Syncopation
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*.
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22042 41

20. ii
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 longer notes should be accented slight -
ly to help bring* out 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.
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220*3-41

21. 14. Syncopation
The explanation of the previous exercise will apply similarly to this study.
15
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22042-41

22. 16
15. Leg-ato
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* song's and arias in proper style.
Moderato
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22042-41

23. 16. Slurring" n
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.
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32043 41

24. is
17. Slurring-
The same advice given for the two previous studies will apply here. Smoothness is very important in this
exercise.
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25. 18. Trill
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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.
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22042-41

26. 20
19. Cadenzas
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
tha 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.
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22042 - 41

27. 21
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22042 11

28. 22
20. Grace Notes (Single)
Grace notes are ornaments, and as their name implies must be played in a graceful manner. Light -
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.
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22042-41

29. LIBRARY OF
NEWELL DAYLEY
^
-
21. Grace Notes (Double) * 3
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- eig-hthnote, making-three
slurred notes in all. Lightness should characterize this entire study.
Allegro
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30. 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 great care and attention as to detail.
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32042-41

31. 23. Triplets *»
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 fingering- is necessary. Play slowly at
first, counting- four eighths to the bar.
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33043-41

32. se
24. Triplets
This study should be practiced with great care, in order to g-ain accurate rhythm. Observe the marks
and count four eighths to the bar at first.
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33. 25. For Lightness and Speed 27
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.
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22042-41

34. 38
26.Valse Etude
This"Valse Etude"is a practical study and should be rendered with taste and discretion.
Not too fast
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22043-41

35. 27. Cavatina * 9
In this "Cavatina" the student is given an opportunity to display g-ood phrasing-, as well as fine
tonal quality. Do not play the eighth or sixteenth notes short in music of this kind.
Andante
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22043-44

36. j
30 28. Etude brillante
An opportunity for brilliant playing- is afforded in this study. Play the music precisely as written.
Allegro maestoso
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32042-41

37. 31
Triple Tong'uing*
Triple Tong-uing" 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 tong-uing*.
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 <? <?
i 000 iEg d d d d d
tu tu ku tu tu ku etc.
For the syllable "tu" the tip of the tong*ue is pressed ag*ainst 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 good to give 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 tongue to- and- fro movement with ease and reg-ularity, it must be done slowly
at first. The tong-ue 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 g*u" instead. This latter will always sound slovenly and rag*g*ed.
If these rules are strictly followed, Triple Tong'uing* will be mastered very readily and will
be found no more difficult than Sing-le Tong-uing". All that is necessary is to practice conscien-tiously
and carefully, for anyone can become an expert who has patience and perseverance.
ZZOZ-i.

38. as
29. Triple Tonguing-
-
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32043-41

39. :J3
30. Triple Tonguing
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Double Tonguing-
As a rule, all other forms of tonguing are studied and mastered before double tonguing is taken
up at all. The stroke of the tongue in double tonguing is similar to that used in triple tong-uing-, the
only difference being that the T and K strokes are evenly divided, while in triple tong"uing-we have
two T's 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-
gios. Though most people believe that double tonguing 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 tonguing, it is more
neglected. If it is studied systematically and practiced regularly, it can be thoroughly mastered and
will prove of incalculable value to the player. Passages that were difficult and troublesome are played
with ease in double tonguing.
No detailed explanations are necessary. The same method of practice and study used in the triple
tonguing should be employed in these exercises.
The following illustrates the pronunciation of the syllables. Pronounce with perfect equality.
i s 1 ^
Tu Ku Tu Ku Tu Ku Tu Ku Tu
22042-41

45. 34. Double Tonguing"
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47. LIBRARY OF
NEWELL DAYLEY
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23042-41

48. EDWIN FRANKO GOLDMAN
Solos and Transcriptions
Origin
for
, ts_BAR»TOHE
. AQ UCT (trumpet)
BbCUARlHET-EbALTO
with Piano
Accompanimen.
J*
Air and Variations on a Theme from "La
Sonnambula"
Cornet or Trumpet and Piano (W 701)
Eb Saxophone and Piano (W 294)
American Caprice
Cornet of Trumpet and Piano (W 1828)
Aphrodite (Caprice)
Cornet or Trumpet and Piano (W 700)
* British Grenadiers (English Fantasia with
Variations)
Cornet or Trumpet and Piano (W 573)
Clarinet and Piano (W 1 84)
Baritone and Piano (W 1050)
Echo Waltz
Cornet or Trumpet and Piano (W 1 702)
Three Cornets and Piano (W 1 701 )
*Emerald (Irish Fantasia with Variations)
Cornet or Trumpet and Piano (W 572)
Clarinet and Piano (W 1 83)
Baritone and Piano (W 1049)
Exultation Waltz
Cornet or Trumpet and Piano (W 1847)
Three Cornets and Piano (W 1846)
'Italian Fantasia
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)
*My Old Kentucky Home (Fantasia and
Variations)
Cornet or Trumpet and Piano (W 569)
Clarinet and Piano (W 1 80)
Baritone and Piano (W 1046)
On the Mall in the Twilight (adapted from
the famous composition "On the Mall") Cornet
or Trumpet and Piano (W 1 826)
*Band and Orchestra Accompaniments are Published
Sans Souci (Free from Care) Fantasie Caprice
Cornet or Trumpet and Piano (W 1420)
*Tramp, Tramp, Tramp (Fantasia with
Variations)
Cornet or Trumpet and Piano (W 570)
Clarinet and Piano (W 1 81 )
Baritone and Piano (W 1047)
When You and I Were Young, Maggie
(Easy Fantasia)
Cornet or Trumpet and Piano (W 211)
Clarinet and Piano (W 21 1 )
Baritone and Piano (W 21 2)
MINIATURE CONCERT REPERTOIRE
for CORNET or TRUMPET
with PIANO ACCOMPANIMENT
Series I
1
.
Evening Song (W 1 41 2)
2. Joyous Youth. Gavotte (W 1 41 3)
3. Sunset (W1414)
4. A Prayer (W 1 582)
5. An Old Story (W 1 583)
Series II
1
.
In the Clouds. Waltz (W 1 41 5) . .
2. Mars. Polka Petite (W 1416)
Love Thoughts. Waltz (W 1417)
Among the Stars (W 1 41 8)
Mercury. Caprice (W 1 584)
Country Dance (W 1 585)
3.
4.
5.
6.
»r»es III
* 1 . Jupiter. Polka Petite (W 574) ....
2. The Rainbow. Gavotte (W 1419)
3. Venus. Polka
Two Cornets or Trumpets and Piano .
4. Espanita. Tango (W 1 585)
5. Moonlight. Serenade (W 1 587) .
CARL FISCHER, inc. 62 Cooper Square, NewYork 3, N.Y.
W29

49. BRIGHAM YOUNG yNIVERSITY
in 197 £6373 5177

50. —
—
<- ID ax Co d e
CARL FISCHER
PRRRmounT FOLIO
OF STANDARD FAVORITES
Arranged by
LESTER BROCKTON
CONTENTS: Cocoanut Dance. Hermann — Songs My
Mother Taught Me, Dvorak—The Old Refrain, Kreisler
Roses of Memory, Hamblen—Waltz in Fb major (original
Ab major), Brahms—Andantino. Lemare—Largo (from
the New World Symphony), Dvorak—Menuet No. 2, Bee-thoven—
Two Guitars, Horlick—Londonderry Air—Tango
Serenade, Simon—Dawn of Tomor-row,
Atwood and Terry.
—
—
4 Outstanding
COLLEtTIOnS
FOR
C0RI1ET (TRUH1PET)
una pinna
EVERV DRV FHUORITES
A Collection of Twenty. One
Standard Songs and Melodies
CONTENTS: Andante Cantabile, Tschaikowsky—The Beauteous
Song, Barri—Beneath Thy Window, Di Capua—Country Gardens
The Flight of Ages, Bevan—Italian Romance, Bohm—Jerusalem,
Parker—Just a Little Song of Love, Pinard—The Last Wish, Abt
Maria, Mari, Di Capua—My Letizia, Verdi—Northern Lights,
Siegrist—The Old Refrain—Serenade, Titl—The Star of Bethlehem,
Adam—Toreador Song, Bize' —Vilia Song, Lehar—Visions of
You, Stillwell—Walter's Prize Song, Wagner—Ye Banks and Braes
of Bonnie Doon—Yearning, Pinard.
DH CHPO fllRU
A Collection of Standard, Classic
and Sacred Songs
Revised by
EDWIN FRANKO GOLDMAN
CONTENTS: Alpine Flower, Peuschel — Ave Maria,
Gounod—Ave Maria, Luzzi—The Better Land. Cowen
Elsa's Dream, Wagner—Home Song, Moszkowski—In Old
Madrid, Trotere—It Was Not So tp Be, Abt—Kathleen
Mavourneen, Crouch—L'Addio a Napoli, Cottrau—Let
Me Dream Again, Sullivan—The Lost Chord,
Sullivan—Love in Idleness, Macbeth—Melodie,
Rubinstein—My Heart at thy Sweet Voice,
Saint-Saens—My Own, My Guiding Star,
Knight—Nightingale Song, Zeller—O ye Tears,
Abt—The Palms, Faure—Serenade. Gounod
Serenade, Schubert—Siegmund's Love Song,
Wagner—Till We Meet Again, Liebe.
CARL
COOPER SQ
Boston •
W 6
CHER
NEW YORK
Chicago
Printed in U. S. A.
sonrjs or the greht rirsters
A Collection of Twenty of the Most Famous
Classic and Standard Songs with Words
Selected and Arranged by
EDWIN FRANKO GOLDMAN
CONTENTS: Three In All, Bohm—Thou Art My Queen, Brahms—
In Autumn, Franz—Dedication, Franz—Those Happy Days, Gbtze
—With a Violet. Grieg—O Let Me Rest, Jensen—Last Night,
Kjerulf—Good Night, Farewell, Kucken—On Wings of Song,
Mendelssohn—Elegie, Massenet—When Love Is Kind, Old Melody —Thou'rt Like Unto a Flower, Rubinstein—The Dew Is Sparkling,
Rubinstein—My Sweet Repose, Schubert—By the Sea, Schubert
I'll Not Complain, Schumann—The Two Grenadiers, Schumann
All Souls' Day, Strauss -— None But The Lonely Heart,
Tschaikowsky.

51. Date Due
All library items are subject to recall at any time.
NAY H 2004
fifT ft 9 ?012
Brigham Young Univer-sity

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