J. W. PEPPER'S MELODIC SCHOOL een “BARITON ES MAY ALSO BE USED FOR Geno, Palve Frombons, (Gree Valves) or Be Bass. —mprrmp er — +. 2. ROLLINSON. Published by J. W. PEPPER, Philadelphia, Pa. 8. E. CORNER NINTH and FILGERT STREETS, MAND AND CRCHESTRA MUSIC DUFTOT. Copyright 1880, by J. W. PEPPER.INTRODUCTION. In presenting this book to the public notice, I do not wish it understood that I have advanced any new and valuable ideas, that will make the path of the pupil short and easy. On the contrary, I desire to present a thorough and progressive course of study, and advocate faithful and hard study, combined with a determination to overcome all obsta- cle, however difficult. In your progress, master one difficulty before attempting the next, and determine in your mind, that whatever you do, you will do well. Trusting that the issuing of this work will be beneficial to many, and that it will receive a friendly reception from the musical fraternity, Tam, Yours truly, T. H. ROLLINSON.PRINCIPLES OF MUSIC NOTES AND LINES, Notes are characters which determine the length, or duration of « musical sound These notes are placed upon five horizontsl and parallel lines. These lines are i Between the five lines are four counted upwards the lowest being called the first li spaces, in which notes are also placed. These spaces are counted the same as the lines, the lowest being called the first space. These five lines and four spaces form a Staff (or Stave) (Plural Staves.) Short lines drawn perpendicularly across the staff are called Bai Bar. SPACES. LINES. ‘ave Example. § a STAFF. These lines and spaces are called the degrees of the staff. These degrees are designated by the first seven letters of the alphabet, viz - A. B.C. D.E.F.G. When the instrument requires @ greater compass than the staff, short lines called Leger lines (or Added lines) are added over the staff for the higher notes, and under They are numbered from the staff. for the lower note: Example. CLEFS, THEIR POSITION AND USE. namely -The G olef These clefs are known ‘as There are three different kinds of Clefs in Common ui the © clef [p|- |p orf and the F clef 9 or C’. G@ clef. © clef. F clef, sprano or Truble Clef, Viole or Tenor Clef. cue @ on the 2d line, © on the Bd line. F on the 4 line. to the lines upon which they are placed .and serve other notes . These Clefs give the na as starting points to determine the names of the As the Baritone, and Trombone is commonly played from the Bass clef we will confine our study to thet clef.a upon the 4th line of the staff, therefore the 4th line The F-Clef is pl is oalled F. This partioular F, we will designate as the Clef note. The other degrees of the staff take their names in alphabetical order from this note - Clef Note. Example. THE DIATONIC SCALE. A succession of sounds from a note to its octave or 8th is called a scale. The Diatonie scale is composed of eight degrees, or notes, the 8th being » repetition of the 18 degree of the scale. Example with name of each degree - DIATONIC MAJOR SCALE. BE Degree. oeggre- ¢ E D Cc The distance from one note to another is called an Interval. The interval from any note in a soale to the next highest is either a tone, or semitone (Step, or Half Step) Tone or S The Seale comprises five tones and two semiton: signifying distance. ¢ D E F G A 2 3_—_4 5 6 ‘Semi-Tone. Seni -Tore. ——— Tone. Tone foeee tone Tone. Tone It is seen by the above example the proper intervals occur between the letters in their natural order if we commence on C, and also that the semi-tones must occur in every Major Seale between 8 and 4 -also7 and #- the other intervals being whole tone To preserve proper intervals in scales, commencing on other letters contain signs,or characters are used whioh alter the note without changing its position upon the staff.Effect of Alterations produced by Sharps and Flats when placed before a note. Sharp. | Double Sharp. Flat. Double Flat. Natural. # x shor # b bb k Raises the note | Raises the note | Lowers the note | Lowers the note | Restores » note a Semitone. another Semitone | » Semitone. another Semitone | in both oases to its above the ove below the one {natural sound, already raised by already lowered by] which has been altered ® single #. a singleb. by sharps or flats. The Chromatic Scale proceeds by intervals of Semitones, by means of Sharps,or Flats. Ezample The Minor Soale like the major scale proceeds by tones and semi-tones but in adifferent order. Ascending. Descending or Descending . 1e2Tone tet Tone Example 1-1 Fone NOTES AND RESTS. ‘There are seven charnoters which determine the duration of sounds. There are also seven rests which indicate silenee, which oorrespond exactly with the value of the not. Example of seven Notes and Rest. satan gue Eee fin “Baars be eum BRL far Rost. | aait Bor Rest Toa stvenot — Binim Reve OF Croker Ren oF Car TO Rert. Sat Rent aT Re orWhole Rest. MAIC'Rest. "Quarter Rest, BU RELATIVE VALUE OF NOTES. One Semi Breve or hole Kote ravnote Sue Squats iit Notes tourerABBREVIATIONS. There are a great many sbbreviationsin Common u: Words relating to expression or tempo are generally ebbreviated such as AlI° for Allegro. f for forte, &o,&o. ‘Abbreviation of notes is very common in military band and orchestra music, and it is therefore neccessary the player should be perfectly familier with them One of the most common is the abbreviation of an entire measure of music, which is signified by this sign BExegend is interpreted thus — As Written. As Played. It will be seen by this interpretation that the sign \ in » measure signifies that the measure in which the sign is placed is to be played exactly like the preceding measure. When a repetition of two measures is desired the sign is placed thus — Written. Played. Abbreviation of Part of a measure, Wratten. Played. Written. Played. or 4,f, Notes are abbreviated by dashes, over, under, or across the stem of a note, or from one note to another .thus — Written. Played, Bis- (Twice.) This term signifies that the bar.or bars included with it in the drawn over or under the notes are to be played twice ,before proceeding to the suo bars. Bis me curve eding bar,or Bis ‘Bzample' Bis Abbreviation of words are so numerous that I this work, but reccommend the pupil to pureh: Terms", 1 not attempt to illustrate them in ¢ a standard dietionary of “MusicalA Dot placed after « note incre This applies equally to rests. 6 it by one half of it's value, Example Equals Equals Equals Equals A Triplet is equal parts of the next inferior notes, whieh are to be performed in the two such notes. group of three notes arising from the division of a note in three of Example Sometimes the notes into 5-7-9-11 & equal parts instead of 4-6-8 &e In such a ease ® curved line is drawn above the group of notes and figured as in the case with the triplets. aT ~~ bee ett Exempls & = ee eee ee bs : TIME, A Musical Composition is divided into equal portions, called Measures or Bars. by short lines drawn across the steff which are also called Bars. These Measures are also divided into equal parts called beats There are three kinds of measures. namely - That of four beats or Common time marked Y4 or GC: that of two beats marked % - %-2- or@: and that of three beats marked 8 - %- 3% or %.~EXAMPLES OF SIMPLE TIME Count 4-in » mea: vase a2 sa 1 Count 2 in a measure,one to 8 quarter note. 1 2 Count 2 in a measure, or one to each half note. fen 1 2 Count 8 in # measure Petes es Count 3 ine m pres ene es eevee 12a From these measures are derived many others which are called Compound Times. EXAMPLES OF COMPOUND TIMES. In 8 time derived from 4 beats in a measure, or $— st notes to each count. Derived from 24 time. Derived from 34 time. When a very slow movement isin %/ time it is beaten differently, or as it is indica- ted by the upper figure (6.) SLURRED AND DETACHED NOTES. When this sign ————~ called « Slur, or Tie is placed over or under » group of notes, it shows that the passage over which it is written is to be played as smoothly as possible. When it is placed over two notes on the same degree the «1 be held over and not struck again. This sign SEXEGY placed over the notes show that the notes are to be played nd note should merely crisply and detached, eee ie eee A Syneopated note is one which is divided into two others of less value,and which finishes one beat and commences another. ExampleTHE PAUSE. tes that its value,or duration may be over or under @ rest hes the same effect A Pause placed over, or under a note indi: d,and sustained at pleasure. The Paw inere SIGNS OF EXPRESSION. Many different signs are used. Some of the most common are all we will introduce in in this part of the work. This << shows that the sound must be gradually increased in power. this — that it must be graduolly diminished. and this ———— that the sound must inerease to the middle and then diminish to the end. P. means play softly. 7p very soft. f loud. ff very loud. To show the gradual increase of sound from soft to loud the word Crescendo, (ab- breviated Cres) is used; and to decrease from loud to soft the word Diménésh, ( Dim.) The abbreviations fz - sf or fz - are used as signs of expression for a single note.as also the signs — | | and give a marked accent to the note over which they are placed GRACE NOTES. A Grace Note is a small note placed befure another as a decoration or improvement. The Grace Note is short and borrows its value from the preceeding note . x > The Double Grace, or Double Appogiatura is played in a similar manner, and consists of two small notes. fa t Pa a £ sf + INSTRUCTIONS. The Baritone (or Solo Euphonium) is one of the most important instruments in » military band. hence the need of a thorough course of instruction. The(Bb) Valve Trombone, is played from the same staff, and the seale is the same, therefore the studies in this work are equally prac ~ ticable for it, These instruments should play from the F. or Bass Clef, and play at Concert piteh that is Bb, on a Baritone , Valve Trombone or any other bass instrument should be Bb at concert piteh. The manner of learning to play a brass instrument differs essentially from that of Jvarning ‘any othe! It is necessary to learn to produce sounds the lip being the vibrator, or tone producer, and also to give these sounds purity and equality. By means of the lips. and wind you mst ren— der these sounds soft and sweet, or strong and loud at will. ‘The great desideratum of the player should be to produce a good tone whether soft.or loud. ‘and to obtain @ good embouchure for all the notes upon the instrument. To accomplish this it is necessary to faithfully practise the first st the lips have acquired = good muscular development and are under the control of the pupil.10 ‘The ordinary Baritone and Valve Trombone has 3 valv The 1% of which is neare: the mouth. By pushing down this valve, the instrument is inereased in length ,and the piteh is one tone lower than the open tone or the tone prodused without the use of yalves The 2d or middle valve lowers the instrument one semitone, and the 34: valve one and one half tones. Some of these instruments are made with 4 valves, but as 3 are commonly used I write this work for » 3 valve instrument . I consider the best form of Baritone the style termed Bell Upright . The trombones do not vary materially in shape, nearly all being with the bell to the front, and are grasped and fingered similar to the Cornet. The Left hand should firmly grasp the instrument leaving the Right free end. independent of the Left. The instrument is fingered with the Right hand, using the first 3 finger: Care should be taken to always press the keys,or pistons quite down to the bottom. The mouthpiece should be placed in the middle of the mouth, with rather more of the mouthpiece on the upper than the lower lip. but this depends somewhat on the on of the lips. If the lower lip is considerable thicker than the upper the player will need more of the mouthpiece on the under lip, and vice versa. ARTICULATION. There are different modes of articulating the tone,the principal mode being from the tip of the tongue. To secure the proper movement of the tongue try voeal practice in pronouneing the syllable Tu (hard sound of U.) and then the mute articulation of the letter T Then place the mouthpiece on the lips. The lips should rest on the teeth and should be extended equally as in » smile. then the tongue should be introduced between the lips until it encounters the upper lip. It is pressed strongly or lightly (according to the desire to pro- duce loud or soft sounds.) In long notes, the tongue must not come back to the lips to stop the sound at the end of the notes as many suppose. As long as the sound is sustained, the tongue should remain perfectly quiet, and only return to make a new sound. I shall use the letter T, to indicate single tongueing. T. K. for double tongueing and T.T.K. for tripple tongueing. There is another tongueing which may be ealled tongueing in the sound, that is without ceasing to blow. This is used in playing “Piano” or slowly. You bring the tongue near the lips and articulate something like the letter D. In very rapid movements this is also the articulation used . You will see by this example that these passages are commenced with T., and continued with D. The compass of the Baritone or Trombone is from <= By pressing down a valve, you lengthen the instrument and thus lower the piteh. The 1% valve lowers it a Tone. The 24 valve lowers it a Semi-Tone. The 34 valve lowers it a Tone,and a semi-tone." TABLE OF THE HARMONICS OF THE BARITONE FO PACH OF THE SEVEN LENGTHS OBTAINED ON INSTRUMENTS WITH THREE DESCENDING VALVES. Without valves The 2 valve Towers aa ator Chromatic Beato. 31 LESSON 1%! Commencing on 5‘! degree of the seale of Bb. Attack the note strongly and the decrease to the end. Pley slowly, Semitone under, £ t Sete > Whale Notes, Half, Notes, Quarter Nutes. > Dytted Notes and Quarter Reste. Halg Rests. 2 = Slurred.Interval of Minor Second above ond below. Enkarmonit Result, So ane See ne hrvinatle Reeult of the preceding exéreisen RR ap yore oer EXERCISE. $80) A, isthe Th Degree gf the key of B>. | Semitone under, Sturred. ——~=8 Interval of Third, mn Slurred. Buth degree of key of B > . . > 7 +2 Semitone under. 2 Slurred. —p Interval of Fourth. ie Frharmenic Sponge ous, a ey a EXERCISES. e 1 eee = Met.-Feur times P = 100 t0 182 (or erice di no to12.)Met. fs potouz. Abbreviation of the sume. @ __g Three beats ina bur,Met ~ J. 60t0 140, 4, Slurred Notes. 2 Interval of the Fisth. Slurred. terval of rt = ers > tone under. Semitone under, = Interval of the Sisth. Slurred.16 EXERCISE ON OPEN NOT! Practice sluely at firet. 2 3 ‘Nos a Timay also be practined according tothe following Models. 2 24> Pr ESS = SS St7 tee 100 t0 10, An tfere 15 Satta ett eee Lg LESSON 4th. Semitone under. nA z = = Ss Ss oat lt Sturzed. 49 Ny Ie, 7 7 Enharmonic. Chromatic. & D_ A AGA aes Ath, Degree ofthe Key of Bh, A Semitonender..Sturreds Synonymous.1% Interval of Octave, Slurred, aw, Pelgmonig te Signing S—"" i : aoa 2 Interval of 2a: descending. Diatonie Result. 2 SCALE OF > MAJOR. a RELATIVE MINOR.- C Minor. E> MAJOR. £ Brds. Exercice with the 1st, Valve.EXERCISES ON DIFFERENT ARTICULATIONS. 19 SCALE OF Bb MAJOR. Chord of Bs, 7 3b 2 Chromatic, Chromatic, : ian 2 Enharmonic Synonymous: Finharmonie&sSymamtamons. Enkvirmcnie 8eSynonymeas. Enharmonic ok Sonemvaee paren ea a'T OF TONE & EMBOUCHURE. EXERCISESFOR DEVELOPMI Play cory stuwly. Attack each note very powerfully. Blow strongly and sustain the full pearer of every note to the cery end. Let each tone be full, strong and brilliant. Do not press the mouthpiece hard on the lower lip, but let the pressure be firm on the upper lip. Key of Rey oF Key B, Rey BD. Key A, Key D>: Key 8, Key R. Rey B. Rey A. Key D.DOTTED NOTES 21 Let the short notes be distinct and clear, with a good attack of the tongue. Tempo di Marcia. Allegretto. Allegro vivace. SYNCOPATED NOTES. Moderator > 2222 thy te In ve > ze Aes ‘See Allegro Modgrato. s Allegre. RESTS. Great care must be taken not to allow a note to interfere in the least with the value ofa rest. Moderato. Allegro Moderato.2B Allegro. Allegro. t Andante Moderato. eo. MAJOR SCALES ‘Too much importance cannot be attached to the practice of the seales in all keys. Begin at first slowly, taking care to have the tongue and fingers work simultaneously, and let the artieu- -lation be elear, with equal power on each note, +25 1026272Hxe. MINOR SCALES. A> Relative Minor of CoMajor, t 1 D- Relative Minor of F-Major. 2 @- Relative Minor of Bb- Major, sas, 3 OF Relutive Miner of B>- Major. 7 Os ete” ¢ 9, 4 F- Relative Miny o£ Ab~ Major, 3 Bd- Reluthoe Minow of D?~ Major, ieeee 8 2 6 sey Fb - Relative Minor of @3- Major. are 7 F lative Minor of A= Mgr. 8 see pepe et i B= Relative Miner os 9 E- Relative Minor of @- MajoPe Staley, 10: CHROMATIC SCALES.31 EXERCISES RESUMING THE PRECEDING LESSONS. Det J 280t0 120, ter Modete forthe vame Mees S @- MINOR. 2 s z Play Ge eare(No2) in @ Miojor, by wring BH & MG or considering the flats erased in the sigratare, Mote dz 10 torsg.. 2tite. Other Modelayfer Kor 3.45. eee, : Leethtstims. pa Peano > 7 2 w sete tite,‘4 times, 3 | rr | 2 te fo) Repeat ad lib, il Moderato, > > brs, > 13 EXERCISES. CHROMATIC & SLURS. th Number Four times. ” 2 " 2 weatecetsf.MINOR CHORDS. = ‘CHORD OF THE DOMINANT 7th. 7thChord. Ne,CHORD OF THE DIMINISHED 7th. Diminished 7th. Dominant hcg MinorKiy, fe 2 Recoleed tn A Minos Dom: 7th. of Minor a Diminished Th. on In D Minor’ Diminished 7th. Dom: 7th. of Minor Key. Dom: 7th. Diminished, Diminished 71h. ae Dom 7th. In 3 F MinoDiminished _7ph. Diminished Tth, a Dominant 7th. te ‘ Dominart 7th. Dominant 7th. Dominant 7th. Dominant th. 2 Dominant %th. ~3 TRIPLETS. Modérato. 2 239 nae Model for N08, Play b oe 8 ri 3 Se SS See TRIPLETS. 3 Madele in Articulation for $47.ot Fee i—-—! : spare eters SSS D.S. Ending nC. MODELS FOR N28. Wo: 2. Nor8. Commence on 18 note of 24 measure and end Commence on 1% note in the 87 measure on the same note. and end on the same note, In Db. Tor Not. Commence on the 18 note of the fourth measure; and end on the same note. nov. Bane inh. tt tg SSS SS SS SS ey % Wo.5. No-6. Mn. Commence on 18 note of the BYE Commece on 18 note of the Commence on 1% note of the measure and end on the same note. 17% measureund end om the same nate, measure and end on the same note. eee t. Z = : Met -100 10140. 9 SSS = t Fete. Pree Other Models for the seme 1Mer-d2eotono. Other Dtodele for ¥2 10, 2 1 meted = n0t0120. pa fel meee 5! ite are THE SLUR The study of the Slur is undeniably of the greatest importance. The fingering indicated should be serupu- -lously followed in practicing these studies; not because I reccommend such fingering, but in order to in- -vest this study with an amount of difsiculties, which must be absolutely overcome, by Compelling the Lips to move with-out having recourse to the valves or tongue for assistance. This practice will impart great strength and sleribility to the lips, ond thus become the foundation of an cosy ond brilliant execution. The interval of Third is the most digicult, and is often met with in situations where it is impossible to he recourse to the valves. For this reasim I have had recourse to artificial fingering to gain the necessary practice of thirds. MB. Practice at first very slowly. Commence the Sirat note very softly and increase the power to JF a2 you pass to the second note, and as you shir to the second note produce a little more pressure af air in the mouthpiece,42 J Nos 4,5,&6 attack the first note very powerfully and then diminish as you slur to the 2d.note. 4 Practice as No.4. 7 Practice same as No 6. 10 Blow easily and slur hy museular contraction and relaxation of the upper lip. When you, wish to ascend draw the corners of the mouth hack and slightly inerease the pre: of air.Other Bfodele for 219, Other Models for 8220, a . 4 5EMBELLISHMENTS. THE TRILL, The Trill is the most difyicult embellishment for an instrument with valves. A trill in half tones is easy. Whole tone trills are difficult and great care must be taken to prees the valves entirely down, and let the em- cbouchure be for the upper note of the shake. In practicing the trill, first play the notes forming the shake, slowly; and then gradually quicken the movement, ientil it becomes very rapid, TABLE OF PRACTICAL TRILLS WITH FINcERiIne. ; ig F fis a Se es Trill notes in the third octave have the same fingering as in the second.“w CGRUPETTO. The Grupetto is ordinarily placed between two notes of unequal value It is also sometimes placed before a note. expecially the grupetto consisting of three notes and takes its time from a preceding note That is, the note following it should be played in time, just as though the grupetto was not written. : ‘The Grupetto of four notes, or Turn. consists of a note surrounded with Appogisturas. The upper note should be a whole tone,and the lower note a half tone from the note for which the grupetto is written, This grupetto is generally expressed by the sign w . Sp. = Bot os ae >= ae Written ae Played Grupetto of three notes, PREPARATORY EXERCISES IN THE GRUPETTO. Pragtise at first very slowly. 2 ane ee Play N° 2 in E Major.play the} as, and the asq, in the new key 3 . A ri Play NOB in A Major. three sharps. Play the Dz, then as_D#. 6_. Spe. tisk tok tt, Play N° 6 in G> Major. 6 flats making C# as Ct. Z Play N° 7 in D> Major. 5 flats making Gt as Gh. 8, —— ,—— |; ; i > Play N?10 in A Major. making Dj as D#. oo ee eee eee a eee > Play N11 in D Major, Play Gt asG#.he hs Is cate in Grupetto, Mideraty, a Written, She The Mordant is merely u precipitated shakesand does not require a preparation om finish like the trill. It ix indicated by the sign: Allegro. Esgect Allegro. Eofect in slow time- SHORT APPOGGIATURA OR PETITE GRACE NOTE. Moderato. Tess : 45 A ete a, 2%, 5 Eee — = eS i > oft sds as 2. atetet etcate, “Andanting. toy ~ ee iia. . a 2THE PORTAMENTO. 49 The Fortamento ix little note,which really isa repetition of @ note,which the performer desires to carry to anther by alurving. Neither this,nor the Appoggiatura should be used tho greely: This iza pernicious habit with many persor— = mers on various instruments, When it becomes ckronis,it ie no longer un embellishment but a defect. The practice of the atur isthe foundation Wf these two graces; aathey require a flesible and Sérm lip, and a good embouchure. Andant, 20: + gs £ £3 z £ ne: Se et aay Andante, 21 STUDY OF INTERVALS. These studies shiild be throughly practiced; and great care tuken not to chunge the position af the mouthpiece om the lips,in order to pass from alow note toa high one; or “vice versa’, Practice at first very slowly,and attack” each note decisively until you acquire certainty in taking each note, and greut fucility af execution. ee >_> =» » >» > 2 > >> >> 2 @ 1 Pructice the same intervals in various keys commencing on the fifth of the scale. OCTAVES. Play very slowly at firet.al Other Models for 2.14. 1 2 £3. Other Models for 8215. LL Sey Other Moadefor se = . 3TONGUEING. Staccato tongueing is striking the notes witha rather sharp stroke of the tongue; and detaching the notes, Each note should commence as clear as the tone of a bell, and the sound not sustained after striking the note, The Portato (Tongueing én the sound) is a tongueing used in pieces of broad execution, and in making notes of long duration. The attainment of this is very essential to every Baritone player: as it ie characteristic of the instrument. Itahudd not be practiced until you have mastered Staccato tongueing. The Portato is execut- ed by carrying the sounds,one to another, without slurring or separating them, and by giving very soft strokes of the tongue, similar to pronouncing the letter D: The articulation is shown by dots eurmounted by fn slur, As the previous lessone are replete with exercises adapted to the Staccato, J wilintroduce no new ones here, THE PORTATO. meted e003 i stha5m>Be Binary or Deable Tongueing is the nate articulation of the letters tuk.The k must be more strongly accentuated than the ty» the k ia produced by the back of the tongue and farther from the mouthpiece tham the t. Tirnury or Tripple (Treble tongueing (Trumpet Tongueing) is produced by the mute articulation of the letters tt. Ternary togueing is sometimes required to a emall extent by Trombone players; yet neither Binary o7 Ternary, are of very great practical benefit. The ability to play one or two tripplets, ia easily attained and és all that i necessary. 1 therefore do not reccommend a great amiunt of practice in this line, J will however give u few ex “ercizes ae fundamental practice. Commence at Met deta and increate to Bet.e d= 10 1. fhe k Bekker ye 7 Practice until several measures can be sustained in succession. TERNARY TONGUEING, Met= Jem to 100 then d= "to 4, 2 Pructice until several measures can be maintained.- TWENTY EXERCISES IN TONGUE AND LIP PRACTICE. IN. VARIOUS ARTICULATONS, b72t0de104, ‘Staccato, Other Models of the tame. Models to Note 12 a ee er 5 "> 10Ada EE before every F and make triplet, WAdaG before ech ce ya 710 3p ak tp eg Met d 2 5440 120, es pt5 Another Model to No.2. Lori e.Dtet- denotes. Other Moats to Nor. 2h —— 2 oom Guher Meaetrto Not $6 Pe chs ce teste 45 Staccato. 5 ueee “Anothes Model. 19: Other Models to No.9.oe LIP PRACTICE WITHOUT THE USE OF VALVES. sete 5 Practice the above exercise for lip practice, with the first valve down; then try it with the secund valve; also first and second together; and read ét us written Sor open tone. TWENTY STUDIES. Take breath at marke» ,50 Pew Moderato, Tempo di Mazurka. : <, ets A Sameas No 6 in Ab,61 Allegro Moderato. g Marcato. ~ meted. Bonniseau. # sttittasetes pp HTS pt ee ae 33 a ee ee ==Metedee 100 49120, Die Lecitoxo Con motor... it £ sien tee 258. 2 i f 5 ppp tetite63 Bonniseau, Detad 2 105 to 198 2! 13 In B-Minor altering PaRADLoBAB Lo. Other Models 2 lm ~ ‘Aivo play Nod with rae pbraringe7 Now 82 Moderate, ct ches Tempo di Waltz, >Pin lenty, Bonniseau, 2,65 meredei0n. 5 Allegro. Bonnisean,6667 Allegro Moderato. Maraiate. iu viva, Triplete. Pi viro, Triplet fe) Dosisee PHRASING. A thorsgh atudy of Phrasing ia strictly necessary for every one who plays a solo instrument or a part containing « melody or part of @ melody. Without some knowledge of Phrasing hie rendering of a melody will be meaningless, void of all taste and expression, It is neccessary’ not only to study it but you must also take oppertunitics of listening to the performance of artists, and thus by study and a conception of the ideas of various authorities becometng samiliar with the essential pointe. Expression is inborn. Phrasing a study én the sormation und rendition of sentences, you must know where to commence and end at least, and an intelligent idea of it is only gained by study and experience . 1 cannot in this work enter into a complete study of the Art of Phrasing, but will give some ideas of formation. A Phrase isa melody which és constituted into a whole, by having a determined be- hich ginning and end. Its conclusion és efpected by the melody’s beginning with a Tone becomes émportant through out and concluding with the same, and in respect to Rhythm by its beginning on the chies part of a bar, or an ex.- chief part and closing exclusively on a simélar part. The important tone is the Tonic, but some other tone belonging to Tonic harmony , (the 34 or 5th) when it acts as a constituent part of this tonic harmony must be considered as 2 close: more over,a phrase may close in tone different from that in which it begun. in which case the tonic of the new scale and its harmonies are available as closing tones The Dominant and its harmonies may become the closing tones of a phrase. Example Phrase in Three Bare. Tonic Tonic Four Bars Closing on an ex~ehief part. which Us in fact enly the echo of the really cloting tone in ite octave, Real clos 7 e ing tones Closing + Tonle.6 3 This iva phra indeterminate in the initial bar; ond alec tonically, but atillelosing satisfactorily, 4; N24 Isa Phrase closing wnsatisfactorily, even in rhythm.It is only by the tone,that we guess at its close. Such indecision is not perhups ty be considered an absolute fuult, It may be for scmeidegs, an appropriate form. Every Phrase,like every meludy, consists of regulated motives which are connected interruptedly,ir are formed into separate divisions, I Section. Beotion. 5 A phrase'of Sour bars, which in ite second bar, makes a well defined rhythmic separation. Sections may be divided in members; thus: [emer ems ee eee Pear ere 1 set 42 6 Section 2. ‘Section T- L i Phrase of two sections; of equal dimensions; euoh section divided into these members «f unequal dimensivns. A. Subject consists af a Phrase and Counter-phrase: or of several united phrosrs; forming together a com- =plete Musical Subject. (pasorest eee pt Pe — The study of Rhythmic formations is usepul,and ehould to a contain extent, be throughly understood. This is @ point where many players fail, who really have thegerms uf artistic genius, but fuil in interpretation; for no man canintelligibly interpret what he dors not understand himself.STUDIES IN PHRASING. ‘Twinkling Stars. Moderato Legato. Ordway, Ta Sections Td. Phrase Wt Brotign- Toniotnding.. = Tie Sing Pint —=> CPhpenn Ta Section ipa ona aR 7a Fras, “Dominant ending] =e = 5% orar, Herume of it asin (or Subject, horas Rename of et eigen [or Bubs ) “ot the closing phreve of tho} ig Phrase of th Spates The Moon Behind The Hill. Moderato con espress. Poe «24 Section. G, 24 Section. 2 ronie ending. End of anbject. 0 Ye Tears! Andante. Con espres: oo Opening Phrase 2d Phrase. = as sth Phrare. kugthm ending of melody. The Old Sexton. Allegro. eeRocked In The Cradle Of The Deep. kniont Andante Moderato, ~ = night. Claribel, Thousand Greetings. Moderato Grazioso. Abt. P Fs 2 2s 2 > Pi Good Bye Sweetheart. Hatton. Andante con mot. : BL ia Bo The Image Of The Rose. ren Andante con espress.. ~ Pin mitoP 9.. Andante. Andante. 10 po Sehlu Mod!? con espress, ” con esp 7 : merlied. Kiieken. P P Pi Auf Wiedersehn. a 5 = The Good By At The Door. Glover, z 6 a : pire A rs > =a 13 BRE = —The Home Where The Roses Grow. 73 Moderato, ~ Millard, Pad up. pall. The Dear Songs Of Home. Abt, Moderato. ees a Eaco, String! ~ P Send Forth The Call Victorious. (Puritana.) | Pin Maestoso. Drinking Song. (From La Traviata) Allegretto Con Grazia. — a To. $ $F cae Toe ta 17 By Fortunes Fickle Frowns. (From Lucia. eee Muterate. 9@—~¢ tte # 29: P Moderato. 30: Pe Calazdo. — TF ORTETAD,Waltz From Ballet in “Precioso” Weber,77 Lonely Am I No Longer. (Song From Precioso,) Laryhetto. ae Serenade. Schubert. Moderato, eatites : 2 2 The Exile’s Lament. Andante con espress, a Roch Albert.. Andante: Hartmann. coer 35 The Heart Bowed Down. Ratfe. Larghetto Cantavile. 362 Mona Macree. (Song. Allegretto. _ ee ; : The Snow White . Rose. Andante Affectuoso. Blamphin,Over The Bounding Waters. 79 Megretto Linley. SS 39 The Bird Of Song. Allegro Hatton. Is Jennie True To Me. Danks. - 983 2 Andante Grazioso, 4 P ————— 2 Angel Faces O'er The River. Lawrence. Moderato. 42 con mos? ot fit pt 99 tty = = ed) 2=BO The Lone One By The Sea. Cox. Moderato, —_ Caprice. Andante mavstos. ap — 4 Crantiong ~ = ft 3 = ———s Grandioso. “g. g Moan express. 2 % Scenes That Are Brightest. Moderato. Cantabile. a a. a You And I. Claribel. Moderato. 46 PReverie. Andante con espress,. Rollinson tte» ft 2 ty Sate o ehte Fates me) oo eS Satie te tee 5 = 1 o Ty, PP —= —> => The Day Of My Vengeance. 5 : Donizetti. Marsiale, 2° “gz z te >. > 48 Moperato. Lindsay, 2f fF ge - Tl Balen. (Il Trovatore.) Laryo, bef. 23, de oy