INTRODUCTION

The purpose of this book is to teach the student a method of playing, which will
enable him to bring out the full resources of the cornet or trumpet. To this end,
the instruction begins with the important fundamentals of breathing and breath
control and then takes up in natural order, such matters as Tone Production,Tonguing,
Articulation, etc., etc., advancing step by step, until the student becomes well grounded
in all the various requirements of cornet and trumpet playing.
In taking up the lessons which follow, the pupil must realize that the most import­
ant thing in cornet and trumpet playing is the embouchure. This must be formed right,
and in order to keep out of temptation, the student whose embouchure is not properly
established should avoid all low tones and learn to produce the tones in the middle
and upper registers first. In other words, those who w ish to set the embouchure
properly must get the high tones first and the low tones last.
For this reason, I begin the practice exercises with C, third sp ace, and then
gradually ascend the Scale until the student becomes able to play G above the
staff. After this range (C to G above) has been acquired is soon enough to take up
the tones below. The handicap of weak lips, caused by first forming themwrongfy-
while playing low tones, must not be suffered or tolerated. Of course, the pupil
should know that he must not press. In other words, do not press the mouthpiece
unnecessarily hard against the lips, but let the contact between mouthpiece and
lips be as light and natural as possible.
No attempt has been made to make the exercises entertaining,especially the
beginning exercises. They were prepared for the purpose of developing proficiency
on the cornet, and this, like any other accomplishment, requires persistent and repeated
efforts along sane and practical lines. The student can find plenty of music to
entertain after he has become a good player.
The lessons on Extreme High Tones, Lip Trills, Pedal Tones, etc., will at first seem
impractical and in fact impossible, but the fact is that all of these exercises are possible
and can be played by many cometists who have learned correct habits of playing.
Doubtless, there w ill be some who w ill never master all of the studies in this book,
but they should, nevertheless, profit greatly by attempting these difficult studies at the
proper time and many w ill learn to play them well, and with ease.
Do not skip certain lessons or exercises because they seem easy- Neither should
you avoid other lessons or exercises because they look too hard. Take them up in
the order in which they are arranged in the book. Follow the instructions closely,
practice the exercises so ftly and in unison with the metronome, do them over and
over repeatedly, and if you work with persistence and determination, you willbe
able to develop an embouchure and method of playing along correct lines. Afterwards
cornet and trumpet playing will be with pleasure as well as with proficiency.
The A uthor
1

4
i
l

<
 IX

Table of Notes and Rests

NOTES RESTS
whole half quarter eighth sixteenth . , . , thirty- sixty-
whole half quarter eighth sixteenth secon(j f0Urth
a---: .i■----- *- • W,------- ■
— —
-- -]f ■ HV =
5 t
*1= or

T a b le o f c o m p a r a tiv e v a lu e s o f N o te s a n d R e s t s
A whole note Thewis equivalent to o A whole note or rest
equals equals
2 half notes The_«. is equivalent to o 2 half notes or rests
or r or
4 quarter notes rp__ The £ is equivalent to p 4 quarter notes or rests
cr T r~
8 eighth notes The V is equivalent to * A quarter note
or T------- r is equivalent to
16 sixteenth notes j . The ij is equivalent to p 4 sixteenth notes
or or rests
32 thirty-second notes p‘-~|» The ^ is equivalent to p 8 thirty-second notes
or y
64 sixty-fourth notes
The/ ise<iuivaientt°E i6sut^ f™ ^ notes
^ p B LL£3 BSCUES3 BSU83J33EU23S BB&aEBUX&J&U BS^JEEU9E&XLI3 r

T im e S ig n a t u r e s a n d t lie ir m e a n in g

Time signatures are written in the form of fractions ^ etc.

The nu m erator of the fraction indicates the number of beats to the measure, while the den om in ator refers
to the kind of note used in a beat.
_ ^ 3 (numerator) means 3 beats to the measure ) Three beats to each measure,
8 (denominator) means a beat to each 8th note a beat to each eighth note, or its equivalent.

Signature 355?^ * r ^ r
m m m = T? ^
p a *

ft ° fi ~P~~ -p.-p. ie * pr P~P pi -Wvw p i t rpprprpppppl ~pp~pppppppip-p.g:

Measures
------------ 1 = 4 = 4
4
Meaning :
(1; Number of beats
to the measure 4 2 2 3 3 6 9 12
(2) Kind of note
quarter half quarter quarter eighth eighth eighth eighth

Copyright 1922 by W. M. Eby

International Copyright Secured
R e v ise d E d itio n C o p y rig h t 1923 by W M -Kby in te rn a tio n a l C o p y rig h t S e c u re d
 TABLES

Two tablet meed by permitsion of the author Henry H. Dreyer, Sr.

1. Table show ing the use o f each valve and the number o f tones w ith each fingering

3. S h o w in g F in g e rin g for P e d a l T o n e s

* f P *I f f
■ I " ' -»

I f
x
|3 f H i |
t \ \
> 1
 XI
C O N D E N S E D R U D I M E N T S O F M U S IC
Q- What are the four principal characters used in writing or printing music?
A. The staff, clefs, notes and rests.
Q. What is the staff, and of what is it composed?
A. It is the combination of lines and spaces upon which notes and rests are placed, and it is com­
posed of five parallel lines and the six spaces between, above and below them.
Q. What are clefs and how many are in general use?
A . Characters which determine the position of notes. Two are in general use,- the treb le or G
clef
0 and the bass or F clef —V*
Q. What instruments use the treble clef?
-A. Violin, flute, oboe, saxophone, clarinet, cornet, alto, mandolin, guitar, banjo, and sometimes bar­
itone and trombone.
Q. What instruments use the bass clef?
A . Basses, baritone, trombone, bassoon, etc.
Q. What are notes and how many are in general use?
.A. Characters representing musical sounds of various lengths of which there are seven commonly
used,as follows: the whole note o , the half note J, quarter note J , eighth note J'*, sixteenth note

thirty-second note •>, and sixty-fourth note

Q. What are rests and how many are in general use?
A
A. Characters indicating silence, corresponding in value to the notes previously mentioned. Seven
of them are used; the whole rest half rest quarter rest £, eighth rest 7, sixteenth rest thirty-
second 7^ and sixty-fourth rest
Q. How do notes indicate various musical sounds?
A. By their appearance in different positions on the staff.
Q. What are the names of the notes used in the treble and bass clefs?
Lines Spaces
(‘Treble Clef
■* KGB FA C
A.
Lines Spaces
Bass Clef:
G B D F A A C E G

Q. The staff with its lines and spaces, represents only a limited number of sounds. Are not more
necessary, and if so, how are they represented?
A . The range of musical sounds is so great in comparison to the limited compass of the staff that
additions are frequently necessary, both above and below it. These positions are termed leg er lin e s
and a d d ed spaces. By their use, it is possible to represent any musical sound, however high or low in
pitch it may be.
Example treble clef: Example bass clef.-
- - * i t A B 0 » i 1

0 g g = ----------
* E
m
Q. What is the bar and double-bar? Where used?
A . The bar : divides music into measures and the double bar appears at the close of
every strain.
XII

Q. Give an illustration of the staff treble clef with the characters thus far mentioned appearing in
their proper places.
Whole Notes Half Notes Quarter Notes Eighth Notes
Bar
10 A -------- A ... i j j- J J
$ Whole R ests Half Rests * *
Quarter Rests
* *
7
^
7 7
Eighth Rests
7

Sixteenth Notes Thirty second Notes Sixty-fourth Notes

Double
* * * * * * * * / / / / / / / / Bar
Sixteenth Rests Thirty second Rests Sixty-fourth Rests
Q. When a strain of music is to be repeated, how is^this indicated?

A. By a Repeat B ar, formed like this: • | of 6r— I ncas e the following strain also repeats,

the form is :g: or jg i

Q. What is a sharp?
A . A character used to raise the pitch of a given sound one half-step. ($)
One half step
Example higher
■ *
Q. What is a flat?
A. A character used to lower the pitch of a given sound one half-step.
One half-step ~>P i, —-
Example: lower TO —
Q. What is a natural?
A. A character used for the purpose of neutralizing the effect of a previous sharp or flat.(l^)

1
Q. What are accidentals?
A. Sharps, flats or naturals occuring in a piece of music, other than those found in the signature.
Q. What is a signature?
A. There are two kinds of signatures — the K ey S ig n a tu re which is the sharps or flats placed at the
beginning of a piece of music to denote the key in which it is written and the Tim e S ig n a tu r e which
immediately follows the other to indicate the movement and which appears in the form of a fraction,
„„ 2 2 4 n r ft 6 9 12 x
a s 2 > 4 > 4 o r U > 8> 8> 8 » e tc -
Q. What do those figures indicate?
A . The upper figure indicates the number of notes (or their equivalent) in each measure and the
lower figure the kind or variety of note employed. Thus § signifies that six eighth notes or their
equivalent in time value are to be found in each measure of the movement.
Q. Give an example showing the staff, treble clef, key signature, time signature, bars, notes, rests,

Q. How many scales are in ordinary use? Name them.

C G A U E
one three four A
A. Ten. no sharps
or flats sharp m sharps sharps m
F At n\>
one four
flats
p i five
flats
flat 4 ^ flat’s 4 ^ flats 4
Others sometimes met with are:
c#
„»
sharps * 5 SI X
sharps
pH
F-» = * * seven
sharps
All these scales are constructed on the same principle and are alike except in pitch.
 xin
Q. These characters (rjjr_at_) are sometimes met with. What are they, and what is their meaning?
A. The double flat i\>\>) lowers the pitch represented by any note one whole step. The double sharp (x)
raises it one whole step, thus: GW> ( ^ m ) has the sound of F.» (^ L . J ) and Gx ||l ! that
°f A *1 )
Q. What is the effect of a dot after a note or rest?
A. It adds one-half to the value of the note or rest; two dots add three fourths value. Thus J* is
i
the same as J , the same as £ 7, J-- and are alike, also and £ 7 *7“
Q. How are the various kinds of time counted?
A. f ($) 1-2. J ( 0 1- 2- 3- 4. f 1- 2- 3- 4- 5- 6; if quick, 1-2. f 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - if quick, 1- 2- 3.
12
lg usually 1- 2- 3- 4 unless slow, when the numerals 1 to 12 may be used. One beat is allowed to each
figure or number.
© "
Q. What is a slur and what is its significance?
A. A slur is a curved line connecting two or more notes situated on different degrees of the staff,
so they sound smoothly.
Q. What is a tie?
A. A short line connecting two notes on the same degree of the staff so they sound like one.
Slur ____
Example: ^ %
tie
Q. We often see notes with dots or dashes over them, sometimes both. What are the meanings of
these various signs?
A. Dashes over individual notes Q ) indicate that they are to be sustained to their full value. Dots
(J) indicate that the notes so marked are to be but slightly shortened so that there w ill be an almost
unappreciable space of time between the note so marked and the next note. Where both dots and
dashes appear (V d J ) the sounds should be almost continuous, yet each note must be attacked, a l ­
though lightly. These are different forms of staccato, the definition of which is detached or separated.
Q. Is the dot over notes the only indication of staccato?
A. No. When a sharper or more brilliant staccato is desired wedge-shaped marks are placed over
or under notes (J J J) to show that they are to sound like ( 7 7 J ^ l). Notes marked (J J J) are
very different, the intervening space of time in such notes being only sufficient to permit the use of
the tongue on each.
Q. What is the name of the character (/Cs) and what does it mean? ^ ^
A. We call it a hold or pause. When placed over or under a note or rest ( ^ ) its effect is to
prolong the sound or silence indefinitely; over a bar, to create a slight pause; over a double bar, the
close of the movement. — —j —_
Q. What are we to understand by the letters D. C. and D. S. often found at the end of compositions?
A. Both terms indicate a return to the earlier part of the movement. D.C. to the commencement of
it, if a repetition is desired, and D.S. which should always be accompanied by the sign $$, a return to
a sim ilar sign found in the body of the composition, ending at a hold over a double bar ^
Q. What is the meaning of 2- £ and other terms of similar character?
A. Abbreviations used instead of w riting a series of detached notes.
Below we give examples of the abbreviations commonly used, and their meanings.
XIV

Q. We often see, especially in written music, this sign ( / ) .

What is its significance?
A. When this sign is met with, repeat the preceding measure, thus :

is rendered
t ilS
Q. What is a M etron om e ?
A. A triangular shaped, clock-like instrument having an adjustable pendulum which permits it to
tick at various degrees of speed, either slow or fast; and serves as a perfect tim e-guide for the
pupil.
Q. What is meant by (a) J = 80 (fe)J^ioo (c) J - 112.
A . (a) Set the metronome weight at 80 and allow a quarter note or its time value, to each tick.
(b) Set the metronome weight at 100 and allow a quarter note or its time value, to each tick.
(c) Set the metronome weight at 112 and allow a quarter note or its equivalent in time value,
to each tick.

COM M ON T E R M S U S E D I N M U S IC
Accelerando (Accel.) —G radually increasing' the velocity. Grandioso—G rand, noble, m ajestic.
Adagio —V ery slow. Larghetto—Slow, but not as slow as L argo.
Ad Libitum (Ad lib.)—A t the discretion o f the p la y e r. Largo—A slow and solemn m ovem ent.
N ot in s tr ic t tim e. Legato —Smooth, broad and d ig n ifie d .
Affettuoso —W ith m ournful expression. Lento—Slow.
Agitato—A g ita te d , hurried, restless. M a e s to s o —M ajestic, sta tely, d ig n ifie d .
A l le g r e tto —L ig h t and cheerful but not so quick as Allegro. Mancando—D y in g aw ay.
Allegro—Quick, liv e ly , fa s te r than A llegretto. Marcato—A ccented and w ell marked.
Amoroso—A ffectio n a tely, tenderly. M ezzo —In a com parative degreej as Mezzo Forte, (mf)
Andante—A m ovem ent in m oderate tim e bu t f lo w in g ra th er loud.
s te a d ily and sm oothly. Moderato—W ith a m oderate degree o f speed.
Andantino —A little f a s te r than A ndante. Molto Allegro—Very quick.
Animato —W ith life and s p ir it. Morendo —G radually d im in ish in g both the tone and the
Arpeggio—S ep a ra tin g or breaking the notes o f a chord. tempo.
A Tempo—In tim e ; used a fte r some d evia tio n fromthe cor­ Moto—M otion. Con Moto, w ith a n im a tio n .
rect tim e, and m eans th at the perform er must return Non—Not, no-, as Non troppo, n ot too much.
to the o r ig in a l tim e. Piu—More; as Piu lento, more slow ly.
Bravoura—B r illia n t execution and bold. Poco—A little .
Brillante—G ay, ra p id , b r illia n t. Poco a poco—G radu ally, by degrees.
C a d e n za .—A flo u r is h introduced by w ay o f embellishment. Prestissimo—A s quick as possible.
Cantabile—In a m elodious, sin gin g style, fu ll of expression. Presto —Very quick, but less quick than p restissim o .
Caprice—A com position o f irre g u la r construction, usu-t Rallentando (rail.)—G ra d u a lly slower.
a lly b rillia n t. Ritardando (rit.)—S la ck en in g speed.
Coda—A supplement a t the end o f a solo. Risoluto—R eso lu tely, bold.
Crescendo (Cres.) « = —G rowing louder g ra d u a lly . Ritenuto—R eta rd in g the tim e. Same as R a llen ta n d o .
Da Capo (D.C.)—Go hack to the begin n in g. Scherzando—P la y fu l, sportive, liv e ly .
Dal Segno (D.S.)—Go back to the sig n . Semplice—S im p ly.
Decrescendo (decresc.) G radu ally growing less loud. Sostenuto—S u s ta in in g the tone. t
Diminuendo (dim.)—Grow softer g ra d u a lly . Spirito or spiritoso —S p ir ite d .
Dolce (.dol.)—S o ftly and sw eetly. Staccato—D etached, se p a ra tin g one note fr o m another.
Facile —L ig h t and ea sy. Tranquilla—Q u ie tly .
Fine or II Fine—The end. Tremolo—A ra p id trem b lin g movement.
Forte ( f ) —P la y lo u d ly . Tutti—Used in a solo a n d shows where the entire band
Fortissimo ( f f ) - P l a y v e r y loudly- is to p la y .
Forzando^yi >) —A ccen tu ate the note. Vivace —W ith a n im a tio n .
Furioso —F u rio u sly , as in a storm .
 XV

Requisites of Cornet Playing

There are many important requisites of cornet playing,but briefly considered, three fundamental essentials may
be mentioned, without which no one can hope to attain success as a cornet or trumpet player. These are, (A)
proper breathing, (B) correct embouchure, and (C) clean and decisive attack.

A. BREATHING. The fact that the cornet is awind instrument would lead one to suppose that the player would
naturally, of his own volition,devote much time and thought to his style and method of breathing. The fact is, how­
ever, that as a rule, no thought whatever is given to this feature of playing, and as a rule, the cornetist plays along
year after year without ever thinking of the relation of breathing to cornet playing, and never imagines that his
work could be made easier and his playing better by learning to breathe deeply, so that playing, like talking, may
become natural and easy. An ideal example for the ambitious cornetist, so far as breathing is concerned,was set
by the world-famous cornet virtuoso, Herbert L. Clarke, who in order to obtain a complete mastery of his instru­
ment, practiced breathing exercises d a ily for over thirty years.
Deep breathing may be acquired by giving care (1) to the method of inhaling or taking-in of the breath, and
(2) to the method of exhaling or letting- out of the breath. Long, slow breaths,both inhaling and exhaling,canbe
practiced at spare moments with much benefit and if conscious attention is given during the daily practice hour
to the development of lung capacity and perfect breath control,the student will be surprised at the improvement
which this acquirement alone will make in his playing.

B. EMBOUCHURE. More cornetists fail of success for lack of a proper embouchure than from any other
reason. Thin lip players, whose lips vibrate readily, often get a proper start naturally, right from the beginning.
Nine players out of ten, however, begin by opening and stretching the lips across the teeth—a very bad habit
which at once checks advancement and later on results in lip troubles of all kinds.
To build up a correct embouchure, two things are necessary, (1) a knowledge of lip vibrations, and (2) the
knack of producing vibrations on the mouthpiece.
1. Lip vibrations. A correct embouchure can only be build up gradually, the first step being to learn what
I call lip vibration s. When I first originated the term ulip vibrations” some twenty years ago, no one seemed
to understand what I meant, but as a result of my personal teaching and my correspondence courses,the term is
now well understood and is being used by practically all of the best soloists and teachers throughout the country.

Lip vibrations are produced by forcing the breath between the gently sealed lips, and after more or less pa­
tience and practice the student learns to produce a buzzing sound with the lips,resembling the noise made by
a big fly on the window pane, or the buzz made by playing on a comb with a piece of paper. The purpose
of lip vibrations is first, to insure a correct lip formation, and second, to prepare the lips for a proper placing
of the mouthpiece.*

* In this book the word Cornet im plies both Cornet and Trumpet. The instructions also apply to Alto Horn, French Horn,
Trombone and Baritone.
XVI

In iny method of teaching, the lips are never stretched across the teeth, and the mouth is never distended at the
corners. The old time idea of stretching the lips across the teeth results in what is termed the “strong arm” or
“pressure method” of playing, and although the pressure method is still used by untutored players,they are never found
in the front rank and are becoming fewer and fewer as my no-pressure method finds its way among musicians.
In a word, the pressure method and habit of stretching the lips across the teeth, is to be universally and uncondi­
tionally condemned, as it subjects the lips to a continous, never-ending strain and makes it impossible to pro­
duce the high tones, except with straining and effort. It is necessary, therefore, to caution the student against
any stretching of the lips as he places them in formation for producing the lip vibrations. In fact, the lips
should not be stretched at all. In other words, the student should fo rm his lips and not stretch them.

Once the knack of producing the buzz on the lips has been learned, the student should practice holding the
vibrations in one continous buzz for a quarter to a half minute, and later should learn to regulate the pitch of the
vibrations by playing simple tunes just by means of these vibrations alone.

2. The next step is to project these vibrations into the mouthpiece. This is easily accomplished by
placing the mouthpiece on the lips while the lip buzz is being sustained. This w ill require some persis-
tance and experimenting, but when the student has learned to produce the vibrations on the mouthpiece, he
will hear a clear and well defined buzz, which can be controlled to an extent of running scales and playing
difficult tunes—just with the mouthpiece alone.

It should be understood that all of the work up to this point must be done without using the cornet at all —
just the breath, lips, and mouthpiece. After the student has gained control of the vibrations and can run
the buzz-scale on the mouthpiece, he should then pick up his cornet and, while the mouthpiece vibration is
being sustained, slip the cornet on to the small end of the mouthpiece, and observe how readily the cornet re­
sponds in the production of the cornet tone. If each of the three described steps has been carefully worked
out and practiced and the student becomes able to produce the cornet tone as above described, he is pre­
pared to take up the third lesson in this book, with which the practice should begin.

C. ATTACK. Now that the student understands how to breathe, and the various steps preliminary to the
formation of a correct embouchure, I shall explain the third point—attack. To secure a precise and
instantaneous attack, two points must be understood, (1) Tonguing, and (2) Articulation.

1. The Tongue. Because of the wide spread extent to which an error has been carried in the instruction
books and among teachers, let me say that the tongue should never pass between the lips. Instead of tong­
uing from between the lips, the correct method is to tongue either from the teeth or from the gums of the up­
per teeth. This method keeps the tongue away from the lips, prevents disturbing the embouchure once it
has been properly formed, and results in broad musical tones.

2. Articulation. The best articulation for ordinary playing is made by using the syllable “too”. This
is made aspirately and not audibly with throat sound. The effect of this particular articulation is, first,
to direct the tongue naturally to a proper point of attack on the teeth or gums, and, second, to fill the cornet
for the production of a full round tone so much admired but so seldom heard, except from famous virtuosi.
I have now described the three requisites of playing—breathing, embouchure, and attack. There are other
important points that might be mentioned—such as holding the cornet,blowing the wind, the use of expres -
sion, the style of phrasing, etc. Many of these matters are explained, or at least touched upon, in the fo l­
lowing pages of this book, whereas others of these matters must be left to the good judgment of the teacher
under whose guidance the student may be personally working.
 L IP V I B R A T I O N S
Illu stra tio n s show ing p osition s of th e lips for producing th e lip vibrations for low, m iddle and high ton es.

A
I 11u s t r a t i o n s
A a n d B s h o w th e
p o s itio n of t h e lip s
a n d c h in , w h ile p r o ­
d u c in g lip v i b r a
tio n s t o c o r re s p o n d
in p itc h w i t h C a n
o c ta v e b e lo w m id ­
d le C o n p ia n o .
T h e lip s a r e e n ­
t ir e l y c lo s e d a t th e
s ta rt b u t, b e in g
e la s tic , a r e fo rc e d
o p e n b y t h e im ­
p e tu s o f t h e b r e a th
c o lu m n . A s so o n
a s t h e b r e a t h fo rc e
is s to p p e d , t h e lip s
c lo s e to g e th e r
a g a in .
N o t e t h e lin e s of
t h e c h in a s w e ll a s
t h e w rin k le s a t th e
c o rn e rs of th e
m o u th a n d t h e e x ­
t e n t t o w h ic h th e
lip s a re fo rc e d
a p a r t , o n e x tre m e
lo w v ib r a tio n s .

c
Illu s tra tio n s C
a n d D s h o w th e
p o s itio n o f t h e lip s
w h ile p r o d u c in g v i­
b r a ti o n s t o c o r re s ­
p o n d in p i tc h w ith
m id d le C o n th e
p ia n o . O b s e rv e
t h a t t h e o p e n in g
b e tw e e n t h e lip s is
so s l i g h t a s t o b e
b a r e l y d is c e rn ib le ,
t h e w r in k le s a t th e
c o rn e rs of th e
m o u th c h a n g e th e ir
a s p e c t , t h e lin e of
t h e c h in rise s, a n d
t h e lip s a r e in a n
e a s y a n d n a tu ra l
f o r m a tio n .

E F

Illu s tra tio n s E

a n d F s h o w p o s i­
t io n fo r p ro d u c in g
v i b r a t i o n s tw o o c ­
ta v e s ab o v e A and
B a n d o n e o c ta v e
above C and D.
T h e lip s a r e so
c lo s e t h a t t h e o p e n ­
in g is n o t a p p a r e n t,
t h e lip s a r e p u c k e r ­
e d , w ith a t e n ­
d e n c y f o r t h e tip
o f t h e u p p e r lip
to o v e rh a n g a n d
o v e r la p t h e t i p o f
t h e lo w e r lip . T h e
lin e s a t t h e c o r n e r
a r e d e e p e r a n d th e
c h in b e c o m e s firm
a n d se t.
 "C
0-CV-C
<D<
>D
cd ^ ^ cd ' o(J c i5C
aidJ5
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12
 LESSON I
1
Inhaling and Exhaling
Inhale deeply through the corners of the mouth and exhale through the lips, as in w histling, using
an aspirate “hoo” for each note. U se as a daily drill without the instrument, one line a day.

J.60 Inh. E xh . Inh. Exh.

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Inh.Exh.

The Lessons proper begin w ith Lesson 111

 LESSON II
2 B reath Control «[
^ &
Each line is to be performed in one breath, l^t hum, 2n>d sing‘bh\’ 3L.d whistle,4*1?Play on instrum ent.
J : too for all exercises on this page. Use as a daily drill, one line a day.
o

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Any exercises which are too difficult at first, may be taken up after the student is further advanced.
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13 =
 LESSON III
Tone Production
The Whole Note. Four ticks of the Metronome to each note.
The exercises in this lesson are to be played without using the tongue. Attack each note with an aspi­
rate ‘ hoo” and let the breath-force and diaphragm do the work that is usually placed upon the tongue.
Do not pass over this page, nor any of the following pages, until you can play the page well, with ease and in
strict unison with the tick of the metronome. The enthusiastic student will play each exercise twenty times.
Never breathe through the nose in playing: always through the corners of the mouth. And be careful not
to puff out the cheeks.
Jr80 >
q L p 3i- ■ n n ------- n -------- ---------€T ----------n ---------- ----------n ----------
--------------------
12 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1234 1 2 3 4 1 2 3 4 1 2 3 4
Notes under a are to be held as one continuous tone.
J:80 hoo
2 3 ^ 31 33 3E 3 331 XT 33 3E

1 2 3 4 1 2 3 4
J r80 h o o _________
3E 3T 331 33 3T 33: 331 3 XT 331 331

1 2 34 1 2 3 4 1 2 3 4
J =so h o o ______________
4 $ 331 3T 1T 3E 33T 331 XT 33 TT 33:

1234123412341234
Jr 80 hoo _____
—

3E 3E 33: XT 33: 33 33 33 3 33 33

12341234
The whole rest (-«-) receives the same time value as the whole note (o). Do not remove the mouthpiece from
the lips during the rests; simply relax the lips and inhale.
J r 80 hoo

# E
1234
J r 80 hoo
33

1234 1234
33

12 34
33

1234 1234 1234

33

1234
33

4 E 33

1234 1234
Jr 80 h 0 0 __________
33

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33 33

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___________
33

1234 1234
33

1234
___________
33

1234

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8

J ; 80 h00
—^
9
I 33 33 33

As a general rule, the student should inhale whenever he comes to a rest.

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1

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12 m (/ = 1

Note. Haste is a student’s worst obstacle when it comes to playing the cornet or trumpet. An embouchure and style of
playing can only be built up by correct methods coupled with such constant repetition of the exercise as will insure a gradual
development of breath control, lips, tongue and tone. Two excellent proverbs for the student to keep in mind, are “Haste makes
waste1’ and “Slow but sure:’
 Just blow the tone without use of tongue, and use one breath only to each of the first five lines. Play in
unison with the tick of the metronome.

Jr SO

K O rr ------ ---------- <i «i f» |

13 ■fib L ---------------- ------- 0 ----- ----------------- 1
Count 1234 12 34 1234 1234 1234 1234 1234 1234 1234
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J: 80

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24 m
 5

Use one breath only, to each of the first five lines. Learn to conserve your wind.

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6

One breath to each of the first six lines. Inhale deeply and avoid any waste of breath by playing too loud.
J=80
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t __ — o^-—
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 7
Duet
In all duets, the pupil should play the upper part and the teacher the lower part. Each duet should first be
played with the metronome, and afterwards without the metronome.
Breathe only at the sign “V” remembering always to inhale deeply.
J=80

Note. Before taking- up lesson IV, review the exercises in lesson III, producing the tones identically as before, but instead of leav.
in gth e attack ju st to the breath-force and diaphragm, also employ the tongue to assist in making the attack. Use the tongue
in a gentle manner by striking against the teeth or gums - not from between the lip s. Play every exercise twenty times.
8 LESSON IV
How to Tongue
The Quarter Note. The quarter note (J) is the standard unit of time value, one tick of the Metro
nome to each note. ’
Attack each note gently, using the breath-force and diaphragm as well as the tongue. Do not play
loudly and endeavor to accomplish each exercise in one breath.
Repeat each exercise tw en ty tim e s before advancing to the next.
J;7»

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V 1 2 3 4 V i2 3 4 1 2 3
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 9
The Quarter Rest. Observe that' the quarter rest (£) is entitled to the same time value as the quarter note (J).
Do not inhale except when you come to a rest. Do not forget to use metronome.

■55- 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

J: 72

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1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
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J= 7 2

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10
Never play faster than the given tempo, and do not blast. Inhale at each rest, but do not remove the mouth­
piece from the lips.
Jz 78 ^______________________________ 2 _______________________ 2

25
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 11

Deep breathing, while playing, should become habitual. The quantity of breath inhaled, should be
determined by the number of measures to be played. This means that the pupil must learn to look ahead.

iz 80
—n—
1 ri 4MpUi r J
A . i*,—F m m------- » j :-•-------------o F i* r - --------------^ - |
i.

41 sa_ r * — —m— — —e----- 1

.r -g-

4-. 80_______
45 ft |» l» l» M i If JJIJ
Y * ir r ^ i j r

IT —
i r * fi
(P-F-i0—■ |p
_ V F—
n
—
e— —m—
o - 0--- ii
— I
—----1
—aa—
F—4—4—1
=Lz *

Jz 80
47 rrrf J <l J > J i [ r r =3 m m

J- 80 _______
^ r;
r r J J iJ r r
3 E ~T- » T7
48
i I J p rip
 Duet

First with the metronome; afterward without the metronome.

nP-t . P r 1-» m =--- J p , ------ =f=i

mJ r r r ■ r +=* J r r —

l rb m m ^ ■r rir
ir rir i ij j j
:»* ft;
•4— J-i

—«-------------------
r t rrr *— )--■ ---------- «|—^—
p* ^ *-E-|

r n -r r ~~ p r^m-\ J~J~3 — a — 0 ■ -----HI

- - m
11*----
-*----d------0-
§' hK - ir I M f ^
 LESSON V 13

Legato Articulation
For songs and legato passages, articulate “too” with long sound of “oo”, as in the word “toot” attacking
with th« tip of the tongue against the upper teeth or gums.
Breathe deeply and carry over as many measures as possible with each breath. Play each execise
s o ftly and repeat tw en ty tim es.

. f%
o.
i* _
_
_
_
_
_
_u _
__
___
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
O II —n -------------------------rr---------------i
.......... -----------n ------------- -------■
1

j = 80 too too too

4 r* ~ o
12 34
p. rj TV TV TV

r 1r m
r;,-- ti jK_ • m V -p— i dk TI ‘ 1
t=M=J
1
1
1

W — J ..J f P~ =£=a=£=
V 12 3 4
When a group of notes is under or over a slur (,----the first note only is to be tongued.
J-sotoo - oo - oo - oo-oo-oo too too too-oo-oo

4 £
12 3
j-untoo-oo - 00-00
£
4
too
£
£
£ £ £
£
TV

* p .1■ pp -- J_ n —- —p-- 1®
-- f—W- n ■m
~-i.-1
f d i r r f i=*
— f----- ==£=L=I
1 2 3 4

*—-G----0---- -«---- =----1

■1if *r r if r
"g - i "
W) * ==ab= — f - H -
1 2 3 4 rrJ i 1 £ = ----- £ = \

In order to carry over the tone from note to note, you must inhale a deep breath and use “oo?
j_80too - oo-oo - 00-00-00

i £
12 3 4 £ -J-ti-p r r ir r *fda r *nr *^
^=80 too too too too

8 363E
1 2 3 4
TV
lr * I
^=80t00-00-00-00-00-00-00
9 1 1
1 2 3 4 r ^ ■tf-r-f fftr * i
^=80too- 00- 00-00

I
10 I r B
1 2 3 4
j r J k If? *pjfTd-l-U W 'f 0
f-r-ir r r r ir * r^i
^=80 too too
zz:
11 S
I r* o=
1234“
-o- i p-
<*M r i
^=80 too-00-00-00

12 =F=^= =^=F ^ r ir r r u
14
The Half Rest (.«.). The half rest receives the same time value as the half note (d).
It is important that each exercise, each measure and each note , be played in perfect time and exactly as writ­
ten. Constant use of the metronome will insure playing in tim e.
J : SO
too ______

13
m 3 4 2 1234
One breath for this line
pp
1 2 3 4 1234 1 2 m 3 4 1234 1 2 3 4 1234
J: 80
loo
- J h j, * 1----- —
±=M
- p ------- p p p

M=J
14 f i rj — 1

One breath
1 2
----6
l=N= __a

J: 8 0
t\ t o°

r
----------= =

1 r-r-^
■'Ns

l>
' /* - n ------ ~ n ------ ^ — m— — 0 —

)
j —&------ m— 0 ----- |l

1
Tfo-k 0
1 2
*
3 4
1 = E ^ - E
j N
J: 80
- 0 — *°°—<■—

1 r 1=
s P

yi
E #

M =4
^ / i ■ p—^ m 0 \ - p ------------ m —p
-id— *—|E—a 1—
*
—--------- -J — J— ^ —
*>* 1 9 3 A

One breath

- m - r __p__ 0 - - ps.| -G -------G ---- m _ "9 7---- f - j - -p ^ = F -p—

18 - p T - -------
V 1 2
—&----- :+ m =- J -
M M=J

One breath
Q r- ■ m u__ —&__ Z k_^0~ g— -m._:__ V
22 JS) 4-_ ----- --- • - -> ---- -- c*---- -=j S - =
w
5 ■
I-1 — 1LH----- L—\----- M - H I— 1 -MH M M — *
\

—— ~m —r - p — * - T ^==pJ— F=t m _ p — - ___: : 2 ___ i p —M__ ■

w
0 1
1
23
¥ d -f-
a —p - .
a 4
d J f -
I-— - 1 4=^ -----------
 15

Learn to draw out the tones, much like pulling taffy.

J=80
t o o ___________
25
1234
IT
3T
m r r r r iJ r
ZL <9- 31
i
26
w
rr
12
i ' • — ..1 m ' ----3—--i#— I* —1*---- 73---- -
4 -^ -

^ J = 8 0 ___________ _

27 J f r f f i r r J J irrr i f r J n j n if^ 3E
1 2 3 4
The same melody, but in ? time.
4
A *=80
28
P I
32:
? rTr irr i- r u - P i rT r t p i j i

J-80
v **... -- 0 ---- —|--7“^ ^ — -- t“ ---- :--- :— n
— a — — — m___ F — ^ * _£/__ jq____ ■ ^ ~n--- i — 3— H
33 _J___E __■ F g i w ---- x— x— n
tJ 19..U H ------ h - M — I— M - -M— [— 1 4--------- L 1 r i r T IT = F r

:80
331

I
3E
3 T 3 t -e- TT TT TT
34 3E

123 4 (5678) 1 2 3 4 ^5678) 12 3 4 <o6 7 8 9 1011 12 13141516)

16

Care, patience and perseverance, on every exercise, will insure advancement.

r r ir r i r f e
31
37 a u -0-
T T lS %

i f f t l » ___ b z i : ■ — ^ --------
38 i w f ___ ^ ____ _______
^ _____ ______ — r — w------M —w --------------------
• — i ----------
---------- -------------
-------------
^ a
z ---------- ----------r ------------n
i
W —m w
t ^ = T |
iT i 2 *=4 :f = f = ]
 17
Duet
T o o -o o

----» B=j ->3--------

£==---- 3E=F^ [# = j
n r i
U
»7 -E=^=L»' j
_ ir =d^=*=4*-*-
ff-d ■[# =B==±=--^f^ «===
-- fL->^— 7 p—- a g ' k r i-:rt* J
--

----
i r i ^ k = ^ = 4 p ^ r

^ — n ^ = H = n _J>V-1_: e ;=p~ ---------i ---- r

—* — J — _ j — — ■
-------------4— J :■■■
4 = ^
— * ^ j — F j — f—
% P J
 18 LESSON VI

Attack
Strive to acquire a direct and precipitous style of attacking the notes. This requires some knowledge of
pitch and a precise and accurate tongue movement. The student should realize that the fingers, valves, tongue
and metronome, must all four act in unison.
Students who persist in playing loud, will never acquire a good style of attack, as this requirement of play­
ing can only be developed by practicing softly. Use the articulation too.
Jr 8 4
A too too too IUU IUU i
4? „ ■|- | A=£^4-:. 1 , 1 p ^ i -4i— ji i a i. A
(v_J_*1_1_^
1 ^ 1 d -~g P i P— F-F-f-F— F—F—f—F—- -----f---
---- r—-- —p f ' 11 4- 1 11
~ 1 4=4 r 1 1 *-+-
Give each note the same time value, regardless of position on the staff.
J = 84 1

I EE
0-0
f f l f r r i r r r r i r r r r i r r J rirJ J rir.-r-^
J: 8 4 i
i F-1. r r i * i r r r r r * i r r r i"- H
|4-3^r f| i rrr |r r r r i r r r r iJ r r r i r r r r ir rr 11
Q J- 84
prrTirf tf m ^
0~0
^ ’ r r r n r r r r i r r r n r r J J irP n r r r r 'r ' - ^
J =8 4
0 '0
f irrrr- r M r r r ^ r r r f i r 1! ^
8
cJ m
mpv
i f1 f r i r f r J iJ r J r <r r r nr r r r i r r i ^
J,
f l rr|-1r r i f i-h i ■<i J i r ir r r r - i f T r r i r r - ^ ^
10 i i j r J r ir rr<if r r i irn in r-J-H Tr r iJ
11
 19

A clean, precise attack, is one of the principal requirements of a good cornet or trumpet player. Do notplay
loudly.
The Eighthnote. Two eighthnotes (p p or PP) are equivalent, in time value, to a quarter note(J), no more
and no less.
J: 72

13
1 an 2
0B r -if-p i’lp
1 an 2 1 an 2
|T
an 1 2 1 an 2
■ir r r r ir r
an 1 an 2 an 1 an 2 an 12

Jr72
0 —0
14
P
m -.m

1 2 an 1 2 an 1 2 an
$
1 2 an
0 0 0

1 an 2
0

an 1
0 —0

an 2 an 1
0 0 0

an 2 an 1 an 2 an

Jr88 0
is
4 12 3 4
-&■
f'J ^ 0L W 0
r zz:
I
J=84

is J if
4 1
r f * ii
2 3 4 an
ff r i|» f r -J 3 ^ I fT l
Jr80
W r0
i7 feftcrircj’ rrirr*?
4 an 1 2 an 3 4 1 2 3 4 an 1 2 an 3 4
m
1 2 3 4 an 1 2 an 3 4
r r j iJ r r f ir ri
Jr80
0~0 "0
18
P 2 an 1 an 2 an
0—
0 W---0 f 0 0
m
tie tie ti e
IP---- ^ — ■ r : 10
2 % ¥=■— f r r i T — f r i —j#-----a —0 ---- - p — 0 ~ p -------- f9---------
(fo Z - — J— L -L J =— l
2 an 1 2 an 1 2 in 1 2 an l r ~ £ J 1 r 1

Jr88 slur
slur slur
zzT"
20 a ra
12 3 4
i r> ° .if-cr..n r PP
Jr 80

21
* 0 00 & W 00
I 3 ^yffr-rirrfrp p=ff^=n
1 2 an 3 4 la n 2 an 3 4

Jr80
-e - XE 1T0
22 J«r*~cr i~ .ir^r.i
1 2 an 3 4 an
1111 | ILLU | I
Jr80
23annuli 2 an 1 2 an
a

J . on

12 1 an 2 an
20

The Dot. A Dot (•) adds one-half to the value of the note to which it is affixed,
a J-80
25 /L i* p - V ’ hi m - 0 p . fTzfci^ C* - l a F r 1 . . #F» f Tl f ff i H
------- — d 1— -ff---------- ^----- ------ i f h j = l
mP 1 2 an 3 4 an 1 2 an 3 4 an 1 2 an 34 an 1 2 3 4 12 an 3 4 a n l 2 an 3 4 a n l 2 an 3 4 1 2 an 3 4
The same melody without dots.

26 y i* f f ^ f f g. i p p r p --p i» p f* p i,■ » p F r H r f f r r p p ^ 'F tu

— #--------- d — p f — -
^ 1 2 an 3 4 an ' W '
The style of attack is identica illy the same, whether a note is short or long.
^ J =8°
, - E f E E z p - f r = jP - »• f = - B = = _ = C E=C E I= Z = p gp=l
27
r 1 r , , . L l r F f - ^

28 i & 4 ------ --------------- ----------------

V 1 2an 3
/\ J =80 _
f T = = - g= f :p = - p :
29 — if----------— ^------------- ^ -------- 1 ^ = |
^ 1 2 an 3 4

30 iy -^ -d .-* ■*------- ^-------- J - i — | ^ f f r T r i p . i i ' r T l P - T f r n^fJyL *J vI l ^ t i l l p » - it Ip r r p i l

31 4( f o9g = d - • ^F= t T E: ^ -
------------------ ■±= p = ------- E — I^=P ------ ---------------------------
^ 1 2 3
Deep breathing is required.
rtJ=ioo
> 3 — :g =
32 iJ------
n r 1--------
r n -at-J------
j # i f^-----i rU r-----:
r t -----
r r Lr i:-------
f p p i^ -F P if-'^ r p ^
W 14 -----1 —
12 3

Two beats only in each measure.

35 mr r r r l£
1a-an2 an 1
o r n r Jirprnr N 1
| i'i 1 li i'i 1 1 1 1 1 1 1 | || «
\

d-ioo
r t r f t f IfFi^ >--Fa-e-j-TFj[ —
ibrt-14-3=SJ .1j i |U.- --U2---i|pi_|a
rr* mi " M l i|
 21

It is just as important to play in perfect time as it is to play in true pitch.

In the key of F (one flat), B is flat.
J = 84

37 jgpJ\J iJ-'ppJ iJ. pY 'iity-p [' ip-frr ir’ ^r -ir r if h

2 an 3 4 12 an 3 4

> i i
£ i — i j »~ j i = 5 zz:
P M
l 1
Tf
i=Ei rr » HM U2—. —
! & ? {* ;J . p g g j g # . jfc_ ! r f
F P l0 ■mfH*-1 ■ i ■ 1(-2= -0-0 0 1rf9-----
^ -V - pi 1 1 1 1 &
1 2 an 3 an 4 an l.in 2 aii3 4

(9^
ici er' pir pr
1 an 2 an 3 4 an 1 2 an 3 an 4 an
m
The style of attack must be the same on the sixteenth notes, as on the quarter notes.
A common fault is to slight the sixteenth notes, playing them weaker than the dotted quarter, Hold
fast to the articulation “too” and there will be less danger of slighting the sixteenth notes.
J= 88

39^ T C / c TriE 1 2 an3 4

J 0 _ "|»-p »_■ p *
— U 3— .— , r ~ ff. »♦ ff ----- A J— L. -K ^ F=i=±3
f p - —£
T

k J = 88

40:
1 2 an 3 4 an
r r r iJ- ±
P«'P
t £
c/rr
¥ a*- i-PeaTr rpr gaffes ^ a
lJ=88

41
12 3 4

i rpn prpirprp ififMLrcn? irfi/Tpi r 11

j=88
. —#
r. *_w
—-----i.V
42 3S333
1
MZ=?3E

2 an 3 an 4 an
£
^ c/Cj r r o ' Q ’^ r i r t r c rir JY i5
J1 pr c 1 pT'.jjCjcjf a
22
Nothing can be gained by playing the exercises too fast and much may be lost. Repeating each e x e r c is e
tw en ty tim es is none too many where best results are desired.

- f lu J-'M
43
W Ii mp
W P ip if
2 0
-------------- # • m — E t r f j =
4_ ' t r w r w w - ^ - M - . =■ = m •
P = m m if ----- ' r —1 — - --t h s
U — \ * * ......1
m r M r p f g | f ±

116

44 aU J
p w p
&-'■ F d-
J r i J- Ju J Hi

r J i J- • • • • • IF7 e P‘
pp
J=9 2
* f J773! ^
45 % ir r r n ^ r i^ & m
iV t r J ir p i C L f r i^ T ] i r r i ^

46
* J—
92 >5

* v m
W altz tempo. Ample breath is required.
J=120 2 _
*
2
«s^ zz:
47 p i i u r ir inrrrir ir rin r
It — 5?= 'F» 4~p^f f2, i r r FT ---=p=z^atp!»=stn -gJ* =ful
■

1 zpz:
ii

-■^-S---- ,<0-5---------
i

# r 1r V-M-l

48 # P g l >=* £ ^ iriirrrrri

' r ni'frrrrii r‘ rmiirrir'i irrrfrrirr,

 23
One breath for this exercise.

- H h p m— _____ >— —-- “ =-------------- 1--- ----- ------------- F O M --------------1---- --- zr 3 ~-|— |----- 4 = 8
w
m P m ■ ^ fj W m ---—---- 1 --- --- —wr*-^------- f—---- ---- w — ■— _— i—
m -------- — r r 4 — — q - r f * ~ rf= £ g = M ~r~T f • J l- — — ^ — f — 1
^ ^ m h ^ , — —

11— .J1----------K - F 3 ---------- K -r.. P ** — ■ ■---------- .. r r f f F i — _ ■— —

^ tt •~ */ «< T 9------r m V m ~ h 1— ^ \t - V -r_ P *4
w 7 ^ r ^ m / « 1) r' i / r i r\ . \ r i m * r rj / r
■ ____ * t _ * Z
/ u_
■J. — y Ud p=t
1 an 2 an 3 an 4 an
* T- X LJ y ^

&» rr.firfviTirrf r ■r T n i ' p' 'ir, [rJ~m|l- ri [frlr

^ 1 an 2 an 3 an 4 an
'

* r i H r-tf- £ H H
£i
-J Z T .

-fiM-

J : 144
54
-19-4-
f1~f IJ J J IJ J p If1p
~n--- F~
£
: P I — . 1 1 . . 1 1 1 1 1 . = y — — — Z 5 = — 9 - * -------------- » „ ^ ---------1 - - 1 1 — ------------------- ■ = — 7T' -----------1
- f l K ----------- F

— H
- # -

-
J

----------------H
P

- —
d d d
-------------------------------- H
P

—
f

J - —_______
—
- __________
*— i— m
- —
i r — —
r f ------------d i d
-
—
h -— i -h
r - P ---------------------------------------------- 1
>— 1

----7------- 1-------1-- t - -i - l ------ W~ —«__ > g.J—P =E= j-P*__ 2_!___ It 2_?_ It
Fr ----------1—1---------1—4 ---------------------------
' i f ' 4...
-«U— #-- f f 1
 Remember that the breath-force, diaphragm, tongue and fingers must always work in perfect unison.
A Jr 100
4,1 (tl F f f f F *
Fifi
r r r— ffi r----------------
f r r fr r
^-r i ceet' 7ir pr P i^ r r ^ i?r piLixrr—1
~-f>T m \ m - 0-

y -f -i H L L u r ' i y - rlU JJ1 l[» i° =T:- - r r p 7 ~ r ~ f ~p

-r piujji =i t

57 f L ' } P P P q -----------------------
>57 a r f— f r n r r r i
— r r i i ^r i rp* irrnrHf-cfc
■____ - -■
l111if Ji l
---- m m m a _* ^ ■ -f— -77f=> i 1 H
f r-irrnr m m h r_ri r r * ~ iJ r r i r ~ ± \ iijx 1 i [ ir»-i
Play the upper notes a trifle strc►nger than the lower, but the s ty le o f a tta ck is the sjime on every note.
J:88 > > > > > > - ^ > > > > > > > > > >
■ Z
> > > > >
C 0 ^ ^
Fro ft,, p — — •— “------T
tT 1
¥
—- £ - J —
■ = — r - r r s -------- w ------ f -------- “=
— J — P— [T p J — f J [ J - — E E
------- -------
mj .

l 7 j r lF r m
-(jfr? gi- -J----1—J----- 9 ---------
— ------ -- 2 3 r= W Z z£ zV Z + -W Z p ====£=
—
J iJ r|» -r_— —z M
-p T T |

J=120
^ r =^=EF =-^ ^ ::"!^ T = " f» ----------~ t ~ =~g==y:
-^>4- # ------------ h -f---------- 1------ m j= r—f~ c r ^ ^ i 1 1 * C fl1 H ? EB

X
3^ := ^ F = : ^ ^ = ^ = --------- !* m
-(fo-------1 y • "-& — * - * - — “ — = t= -u -t-1 p p = p ^
- r if ir ^
Every note clean and distinct, 1jut not staccato.
^ J:
88 1
ro j f c k * f - 9- f t i ' k r - 9 L - - ^ z * r r w t
u r n-;grf
L L U r rr
r -F v -y r ^ T r
l u j rr e: rr rr rr rr uf i - ^

- ll=r z^ T r T r 1
§ r r r r u o i i£ |p j
k p p p p
__f---—1--------- UJL ■• •*-•—-j_ r p •J ■-
|l,_ r c : - r r i . <r j J ^ ; =i» r f

m m . 0 '* > r f m . m f p 1
X
:-------- - =t=M zjn .w ^*«l » ^ __mg - T f v a
--------------------- ?

^Jr100 - E Z - ^ , ---1
- — -» = ■ = -» A
■
Jr £ » » !• * — j?—i
* .
61^Ei^E^E=P=^===p---- P-- J—^----1
f
------------ J
--------- J—r u i.r -pn
f f ^ f m— 0--»-

n»4r-J. .CJ
UiA. »r ii r~£-ri
p 4 t r Tu *ii 1
T i f- i£B wCJj
1 f U 1r r 1
 25
Always use a metronome, especially the first time you play an exercise. Make every attack exactly the same
- ju s t like the ticks of the metronome. y * *
Jnoo
62 y « r f rfrr-gXiJJJ Jrr^ t f m
ii— m —a ^ ^ p - - f -9 r * _ k .:
*— * -J ---- J1----- m ---- S — • *— 1^-4— d; 1 1— ____--------------

V
m P r P= - IB.—„,m f m m m M l0 -'. mfmf ^ f=w =r z\
■<—— —-r f r L u j iJ J JJ in r*
r -iy ~ £ r ■ r J

^ Jr 100 V___• , V

I an2an3 4 I a n2 a n3 4
V >! > , > i > . -
r -r P - rtri
i - . r r r — = = ^ — tt£ -L ------ i — " i f - r—rm l
/ -
J= too
fCTrpt-J £ i
rr^ irffifirrrJf m
Jr 152 rs

i 3
7ff
65
P ■» J i j -1 r i r r n f f i f ^ -&*■

I m €=m
I-If f i i irrirrirr rnT'Tfij^j mD.C.
J: 100 • •
& m ww E
66

"^*^vI • A
* 1’
“ ----ILl J--- r r a rPn
f f--------- r^-iT-1E 3 R ^ rPPPi TW ■
— k j / t i -1 J 1--HsU J - J- LI L _____ d s f c - 1 U
# = = “* 12 3an4an
Jr U S

67
73~
r crir r r i ^ i r T r t r r nr r r i n jJir rnr rf^
^ 2 <r pi pr f ^- #
ZZj
irfii
it th
ip i r~Pr r iH H J r gi -fUf-ui<7.
26

Ample breath is a positive necessity. Play every exercise and every note j u s t r ig h t.
* *J ;: iu<*
104

68 I ' g r n ii r r J ij j ^ p f e mm i W

-S -f — r T # ;
- 2— i r u
n----- — ______ « ___~E3EEE^r-=-
■« a —•—_ —h
—r~ ---------- w - -
TT
f 1 u x r fcL IL L S u = l f F - u r f t t p r p
1

4
zr
fe ir p r ir ^ ^ r n rl crrc D

* > 1 an 2 3
im j t T f r r r i r n i i- r' r ir rr i-1
Try to be precise in your attack on each note and avoid the temptation to play faster than the metronome
tempo.

ZE
W
 27
Duet
T em po M azurka
p f*,.m 0

1r
------------------------
-(•— 0 * 0 0 ----------wr i f ■■ . r - f i ■ =: > ^ r r~

mf
f ^C/ : --------/ ~Z-----------7 -
*

|J3p 1 f
v - . i
iP p f ^ = E ^ E E
i _ 7 E-----------------^-----

r f^ ----------- ^ e # e = Kt r a : -lirr^- 0—-,* T l

f i f e L ^ n i r —• —i----------
# r j j - I^ L J L / J t a - p -%-— 4 -

> > >

f y . r ^ W *4 \ 04 \04 fT-n---------
-W)----- 4 4 ' 0 " d -f ^ jL ^ = *r r » ■ J >
r i|

1
____. 0
________ a______rt 2 ■ — —— ' — - £ ^ —
rjP ti / - - ^ - P - " ...... • w — : r = — "3--------- ■—
t ® ~: ’0 ' .0 m m __ . # • « r » ----------------------------------« r w~~rnm w
J m ____ i ____ _ --------— - I I ___p 1 • • 0, 7
^T7 --------L - J — J ___ ______ i = f H ----------
- t a 1

/L • • m — a — — - ■ r> >--------- 3^ —7 : “ T S -------

______^ ^ • • P K I a
\vT7 w ^ A' ________ _________ 1 --_ — * — -------------------' |C"— -------- m----------- ------------------------------------
ci i i •

------ - | 1 n 2 ^
Jr M - 0 — ---------- ■1-4>__ ^ , B -m
— wm ^
/£.* 0 J J (^ — ---------- ;!- _ F m • a ■ -------------- y --------------------- ——
r/fs r 0 0 H H ,P .
J--------
— ^5 ___i----------
J— J r
__
— — — r w
___— — — — F—
«) 1

^ ___ 1
y a a i— i i— i ^
i f 11 ___A ____ 11 r
J .. m j 1 1
—B __r - i___ _e ___d _____ • m '
'- Y I 3 J J Ji_ ■•■.——,------- :——-------: m
-fcrf------- H-H ----- H- - --------- ------- ------------ g-m0 J
— -------w— w-------

/■
........... zpy:— -*- * m
iitt „■■ = v ^ - 9 -....— — 4-i ? ± = * = r f 1—
= —
-
« -G---- M -4—m—>
0 — -f—
•

f J 71 = p -

fj.
n _T_ _f^ l---- _a__ i • • ba =
•

r-----* 9 •_____
^ = - ) y • 4==J -^-u -g —
mf

----1®—0—^rri—
^ = r c -]•---- V• ....... ■r
# - ! 0j --- f■4f Ta —*^ — -4—
l -4 -— — T - t f = -e-r.-------------------- —j—B==p=
^ = L L -f—i------- =A= = L

&* ~']’V» ^------- 1------

31 - -«L-
 28 LESSON VII
Blowing the Wind
Endeavor to keep a steady stream of air passing into and through the instrument. This does not mean,
however, that you are to play loudly, as the same manner of blowing the wind is required whether playing
piano, or double-forte; the only difference being in the degree of velocity used. The articulation tod is well
adapted to this manner of blowing the wind. Repeat each exercise twenty times.
Sixteenth Notes (iU Four sixteenth notes (J731) are equivalent in time value, to one quarter note(J) or
two eighth notes (Jj).

Rests? ? ? ? ? ? ? ?
rrrrrrrr
6963 681 EBB i
I
Learn to breathe at the signs only. Play every note clean, but not staccato, and keep the breath-force
continuous like the stream of water from the nozzle of a hose-pipe
-------H I T .
inmtfr irrrrrflrj TI n -PJ3irr-Jirrggffrri
mf
Do notd check
ch the force of breath, while making the attack.
m -M _
____
___
____
___
___
___
___
___
___V

i% r r lu /
The sixteenth rest (.*!) receives the same time value as the sixteenth note (^).
m- ou ^ m

3-ftJi"
'ZU - ir r f efg Jg irrr $ic/pyi i r f r j j gp
—

w ic£j*r^ if ir£rr_Eric-£rczf1 1 v1
■K
m
V

Take pains with the third beat, which consists of four sixteenth notes, playing the beat as smoothly as possible.
V

J g g iJJO T rrffyp 4-2-3 f'Scf

_ i V
.

j L r ’V f icresc.
" ” -r f -igi
k-*
r r f-f/ " iti jfTrrTQ-trrril"n ^ ^
Do not play sixteenth notes like thirty-second notes.
J--»b -- .
P i* ^
r .
I |
r r f
^tfr r ir /r ^
I cj r [ jr ir ar rTin Ifi^rr fr iTfr r i~rr~jcjcp
i l l
•jr/iCfCJfr i v r r f v ^ r it r r r r a
Give each note its true time value and keep up a constant blow of breath, just as in whistling.

t g i c/r cJ i r c je / r jif cjVEt££££ * ^ r r/f a 1!

«/ W . 1

^CUCj-r r if c jf P i r ^ o r < i t r ^ j r I
f^cirir c/rc/if ^i
 29

^ *=80 r ------------- ^ 2 -------- 2—^ , _J_--------JL 2----------

/
<L
f t L n ------ ----9---------- 9 --------------- 4 ---- ---------------- ka---- ----- ---- b-----^ --- -------

'
. r ....a = r ■ j c z j d f f __a 1_— ^ — P HP—P-----——SP— ---- 0 ----- ~m---P --- ----
■tr---------- 1------------------•— ‘-ft*-------- -4-... ’ * T 1— P - 1- ------ 1----- -----------

L. ■* — a----- p——^ " 7

— T^t — r-p------_
----r1a
b J J t_ B l » p p ■
fr
s—0 m--------— w!p—*——0 ~ .' p~
^ ~~
j
r*
—
1
iTnv r p
“ -i--------- -Lf-J- 1
---------—
Tf -n— a— r >a r ------
1
•1 1
- * - *= 1 *-r E

- J =80
A".': K_ _u • 0__ <r r .
Jc_...
jL i * . _t1_ . —
w 11_\rw 1| r
■ a w -r
rmr*r
^
9—
1 ■— _ 111 —
0
* 111 m 1
r 1
■
rfJ - -11
L-l—1- •• t -F— — 1 -3

Notes under the slur are played connectedly, without a break in the continuity of the tone.
f\ a J =100 ___ _
./L, ** 1 *___
m_ -i m w_1mw_ 1m ww ft—t aa ^f ^" it
U—U11
, :■n»
nrw^n
a~ 9^t0-m\
—r
— n ---
» r -w- wrra
1:
m n tiw ^—\—l—-----
mi ^
n—?r
aiFX^T
■t i-i-—t - - ' - ' —* 4 1 ^ ZZP f =ir=
*> m f ------ l ' 1 1

jgH r r
Ifn___1_
wrsr
w 9 ~m — ■
r pp a- ^ --- zP1- - b7^- ^r~r
............A 1, —Vi a 9
b-r-P--- Vt-P
... ---11---m----- 9 ■-■
_ -- 00—1I
l1 1 Mi. rr n - L— F111 — —*---&----- G 1

1ft 3 o p i p fi» r ir h P :-r W r »

—fc-------- n p [ -------- -- —-------- 1— ms=r\—
^ 1 1 L X U It t+ J r 1 1

# = f 3 # -f P -1e!Efj= JP =|4i 1fcltT * P a «. A 1

f J = --------- r l- 1 +:1m1 =
==F=F=^l

11; is not necessary to inhale at every rest. In sxercisesll and 12,inhale at the breathing si ^ns only.

n 15 p* ft *-=.-»# -P—7 p p p :|■— 5

r w i ^ f i r 7m ii 7m a
^ f (no t f f j

rj u f-j---- p e r- ^^--Piia-^*- E^-S-^^Pp-fg ^ p p p tfp h p i p , - " f y = -P ---- pr~.— 1

* #¥■ J-AplpU--[—7 J J p l - [ j - ---- — — 4 — k-U=l----------— i ------------------- _j-------
^ n

Pj J =92
^-fc-ra 4^-—}-1 | j j~H7j—r l i P ~ J^pPf F p ~ ~ f * hp=
12 ^ h ^tzz-c L ju i-jw fp _ q p » |y p p = 1 ^ ------- SL= _ — zi- q p :

— v— ^
J 2 -t— |TJ */P r 1* * --■ t =F 1 ^ p p k= ^ i
| J 7 r l r | r J - j —1 ^ J
1 jJ _ i CTT u x l

]Blow the wind freely, ^especially on the ‘Id.” 1

A J=U6
r L^
13 3 a _ j — — — — *---------- 1— 1— *^ -p— u r r__U
c r __
i f1----r----U,
r n r ___ r1__ tm
rmr ?
r— r r /
83 / 2

rj. k:
,- 7 4 it r r r ttn f5 = - ^ = 1
1_ ------------ 1— 41------- [.. y u -4-L -----L r 1
P ------
30
Do not forget the deep breath,and blow the wind continuously.
Cantabile .
J-=72 w
14 m m
0‘ 0

wp 1
2 2

im
B m i q j if111 r r t m
P
0 --0

f\ u ^‘r’76 i
15 itrrr nr- ^ W r-r rt|r r1txJ
>r r r ny V' .jr

^ j g r f ifr1\rrr if r i if H r |riftg | ip/ rLLffgmi

March
«l>r120 V. 2
16
P Hm f P i p irr f t r r ir' r ip

f r H nr r r ’j ir Fr pir r ir l i t
J =76
17

Full tones, not staccato.

J=116

is |niJ. 3JpirrrfiJJ r rirrrfti w mg

J r r r i r r r r u i r r ir r r r i^ - r ir r r r ir r r r i i a i
l^ . Tongue every note. 2IL<*. Slur each measure. 3rJ*. Slur ingroups of eight measures.
J; 104
 31
Exercise 20 and 21. Play with a continuous flow of breath, hold each note full value, the ending of o n e tone
to ^ r e sf11^ beginning of the following tone, and inhale only at the breathing marks or when you come
J r 80 ( not any faster)

20
^ i j r J r irr Jr |J rrrirrr /iJ-rrrirr r J <rr^ ^

A n J: 100
r « ____
w r T—| n ^w-^
~ #—
pj-T
--—
mm — ■ . m —0^ rm1PII
r-fu —ft- *3
do oo J-/L— -—
leS__ Lv 7 r | w w - -- — 3 1 / 1i i^1i r ^ r - »\ •^ *“i— rt j| t7T~
AJ 1T r T - * - r r i
zSz ^ : _ z£_^----
0—
z i z ] 1 C_^_
ui-J _ LU ---

, i i
fl Ji 2 2 0 .2
y
\rr\
n
Tn
—
m in ~i--- 1 ■ v fI*■ rP i—
7*-r—rfr—1 w-\ “ i «/* 1r»F
”i r 0 r r v-
wr— «. ^ ■
1
1
n—1-■
kj U r *-1
■

Mazurka. Snatch your breath in between th<i notes as best you can.
J:i04 _ ll 1
rf\J______
•» a_________
---- ^^l. w_ ^ ™! “ ^
jr ~wm
w Wffmm'w ~ \ J 1 ^ m w #P'#
W-“■—|---trj---- P-w~ ^TT^W*W\ P 1M* fv-#v— bWU
••P w w :* p _ t Hi ~ r .nc
if
24 -1UJ LJ J
f<D % E i= R F -- -i------^ uj TTJ j ua L,
ua------ ------- 3 = -* - } - F ^ Q -H = 3-+ -F =4- —- U — = = : ! LJ=mI
^ u 4-*

—ir ” 1— n_ E ” . _ —_ ,T - ^ rn m zi. ----^ 0 ‘ 0 m m 0 rp •j r v ib

~rr\ I •3^■ • InI _ _____11-31_____ 0 r r r ^ j — 1
— 3 1
1 w
^ rp*3
rp rv —x—a
i II
■\>u r i r - , tf_rr
I— rn MB-- 1 3 |1 1 J ——“— a
—
1 LfaJ 1------- a

Be sure you get the first beat right. Do not play like a triplet.
flu J =88
—y n
o r ffk * V
> >
------ 1~»"—~ 0 —ri• --- - 0 m , -------0— —
A p- i - y f r - i j ’— T + r~ w
, 0 --- 00mu---- l._
r r .^ .0 -- .m0\ 0 ^ r 0 V0i ~ ^:^0--0"P'.»-
H2._
. t 9 - K0hm —\
1
cn ^ **■ 11 i- 000 V -~H .zQ— ^ "rm I nri»*.f
' r —L-'l f r t — -•iraf-F--
f HPm
!SS

rJ ii _41•1*^ - 0^ , .f > ~ lE r — i
-fftfCTC
■«
32

Learn to c a rry over the tone. See exercise 20 for instruction on this style of exercise.

J; 80

f flr J iitrrrf iYrrnJ rV|'irrJri»ri ■'rirnri ^ rJ rirrJ r W »

L

27^ rfritrrfi-rr %
P i

The attack on the first note of each measure, should be light, but once struck the tone must be kept con-
tinuously going.
 33
Use a continuous flow of breath, as in whistling. Because of timidity in blowing the wind, nine out of ten
will not play the exercises on this page, evenly and smoothly.

Care must be taken not to play the fourth note in each four-note group, too short.

31
34
Two Studies on Blowing the Wind
W altz J . = 72 &

Moderate* J =116

34 f f f : t r r l r > r c i n r y r I |r r r r r t r ' - t f r - t f y j n i l i

f f ™f ^

£ % J^rrJ'ir’ ^rrl[v J^ lJJc if~ r cl

n ir^ i -----------------------

^j»i r^rrnrr|ff^y"rrr:|1
#■' #■ S ffi

^ f T p ir f m b a =PPCprprjE:
^ rC EyiCCT^te
rr 112- <— - =F ^
TT
£ ttl r icjircxr I ^F» 1
■r^ f y
JL ■ - ■= r>'■'■ »
■■"Jr > --- ■L>
— ------- ----- IL------------- i --------- L— —11 1
f f id f c z
^ i ?

= jN = —g — \ . p . . t j r p T r p i __g jE r~ t-p -g » y
- t - ' - H ^ u u 1 i r ’r r *
D C .
 35
The Sail Boat
Solo for Cornet
36
Andante sostenuto J : ee
Dufct
r i t e? r n - .d — p ~ “1------------------ i n i r d f V :----O--------- m — r r i ^ q
—77----------an—
f-*---------- JBt_ _ _ |— ) ------- — ---------- P - = P = t a h o t : —d ----- 0 ^ —
* ~ t *l
------- g -U
....—
P - f - -----F— -■— -p - — 1-aH#
d — F— —H---------- I1 J __ :
n H-----1-----
P
rk o n * i d s -------- — 1------------ h -------------K -i- — f ~ > -
'Z - J P -J - g r/ a — P* =— = P = F
^ ------- * ------------ |--------- L~ 1 — .1 a __ |----------

fh F
p p -’# pP~p---m\ p
»» ~kP=^~f f ' : f P p i -■-p---- m-f c j i= .d >__ = f = :
i
r CU 4— LLJ-
j-r ^

F j j n k~. -1-1 =p3=K =p= ; £

^ - d ----- J —
u—r =P=P:wt>« -f *n J #•»
w = —6)--- --- m— -------- US—

■yP lK j T 8. i - d r r d H ' l 1 .T V rr^ rl tJ i i r n j = f -~ p ->" ^ latotq p :

mpb P * # .
t j ~ C £r

—
J - x t r r f | f ^ rr
r .....t f *— # • P P f
M
9------------ m
m

p-^Pp„--Pi -"173 pr -«^*r ^—tsA --------

■_-pjcd f^pj .J
Ul r j N d h' ppa► D
.G.
r^ri r9-- up-
— |r c j | f rr[f —p----
Allegro J =ss
i t ?h 4 m m m m -M E J J f l . 1.J J J * = 0 = j^ p fp
- *«t*p |H* P —
P m • *t f g g y
A mt H
l i t rn n —■____ m
a
-#arJ-a -•— F R ? -6>-- -j-5—«u — j — ; <■ a . n s - p p p r
-.•W- -*-J—#L