Famous Method for Slide and Valve

and Baritone 9:

Edited by
Charles L. Randall
and Simone Mantia

CARLFISCHER,Inc
61 COOPER SOUARE. NEW YORK 1 W 3
UOSTON - CHICAGO - LOS 4NGELES

Copyrig!lt 193b b! xrl lFi.w!ii:rnIii, .. Scw YvrL

Copyri$[~[I ~ C I(>LI
IC~
I n icmafior~ICoj)j~riglitSYcured
Prinlcd in U.S.A.
 L
Tbc follawtig fotitteen etudies were composed in order to incdcate h studente an tinconquerabh & q t b
of will. They wiU dotlbtleser be f-ed, especially at the otdmt, bg pieces reqnifing soch iength of breadb.Sody
and experieace WUteach them io triumph m r W diffide,aud will provide them reaoarces wbich will
enable tbem withoat dlfnculty to reach ihe end d Wir t a&. Amo= the means to thls end ofYered by dmc#it
rp cqosrition, the d r r b i l u passages are to be pointed out, ahicb W recommended io Um stoBent to be per-
formed with utmost erpression, at tb eiame Urne, m o d i f w the tone as much # posrible. As with the voice,
- cbar tones may be obtained by Pirldedng the ilpo, and vefied bnes by contracting them. Tbls drcrimstan* &
for& the performer an opportdty io resi whlle etilf continahg to piay, and at the same time, enables Mm to h-
troduce effective contrasts into the execution. ft i8 to be repeated that by Wle artiffces of tbts kind, and
skilfdiy hosbaading his remmrceta, t b *t dli read the end ofthe longest and most fa- solo, mt only
- wlthout difficrilty, M =o a rea- h powm wblcb, when broaght to b a r on iha fmal nwas
of ~ h n g t and
area of a performance, never f& to pfoduce itr effect on an aodience,
-
These characteristic studieai together with tbe f o l l d n g solos, of cotirse, are drictiy Valve btrrrment dud-
ies and bave beeo carefnlly rwised as euch by M o m h r Arbaa
- Tbc editoni of thls work, as weU asr many other te=-, have coasiderabh #cceaa with pqdh by
dmegar&g tbe pdnted artiwlations and subdtnting for them the articalatioos which belong to Slide T -
de8c-d h the order h which they oceiix h thIs work I* i8 poseibe if done nioskitry a d does not entirely &
- bv their Evmy p l w eh& coasider bIs own technlqm and dove ail, play deti'berately.

80LOS
Fantasie8 and Airs with k r i a tioas
The twelve @wrrSB 8dw wtdch foflow, m?i b embodiment of the varims instrociions contained in this
voiame; they wii! be foond to contain al1 ths artidaiions, ail the diffIcd~esfor which tbe midiori haa alrrrady
- k e n given. They wiU aiso be fotmd to contah mebdies cdcolated to develop the taste of the stadent, and b
ent t b work as complete ond perfect os poisibfe.
I
I -

Ai Wa point the task d Jooeph Arbm m profemiaor (emp1oJflng as he now does the rritten instead of the
spoken word) has come to on %ad. I'hew 8re thtigs rhich appear ctear e m q h when ottered voce, but
whicb cannot be c o d W to pqm taitboat engendering confdon and obscdty, or withoat appeariq pmilii.

There are other oi so elevated and mbtie a nature that neither m c h nor writiog cam expldn &m.
They are fslt, they are conceived, bot tbey are wt to be explained; and yet W a e -t mnstibte tbs ehated
style, the g r a ~ d eeaols, nhtch it ha8 been bis iamòition to institnte fox the Cornet and Trombone, sai they
already exist for s w qg ad &CI ~ a r b u skhb of ~nskomenb.

Snch of ihe readers as may d s h to arrive ai this exalted pitch of perfection, s h d d above dlm, endeav-
. or to hear good music, wetl interpreted. Tùey most wek mt, amidst shgers and hstrnmentailsts, tha mod illus-
triotis modeb and this practise having purrfied their taste, developed their sentiments, and brought ihm as near
as posdble to #e beautifnl, may perhaps reveal to them the innate spark tahicb may somedw be deaihed to il-
_ iomine their talent, and to render them worthy of being,In their t-, cited and imitated in the future.
 Some of ìhese studies con be performed acceptably on the Slide Trombone if played with Jegato strrcoaf o -
attack where slurs are indicated for valves. Try to play a6 close to regular positions as possible.

Allegro 'moderato

1
 Moderato

3
t-. --
 Allegro

5
d
Allegro
A U e ~ r omoderato
---
IL-
See note on page 104 ISIur in Doubfe Staccato)

Aìle~ro

Più lento
 Ine 1- shrs ìndicated in the otudes 12-13 and 14 to be disregarded on the Sfide Trombone.
l

Allegro moderato
- + . ' . *. .
eoi
Legato chrornatic
.. -
FANTASIES and AIRS with VARIATIONS
Sec ysge i for explanatory note
Cavatina from "Beatrice di Tenda"

- UV".
-'
*l,1

THEME
VAR.
and
Più lento
 Vivace

VAR. I.

VAR. 11.
 Oli
Brilliant Fantasy
Alleero maestoso

THEME
ro. f P -

Tempo I -
9 -
VAR.m.
 i
.. Andante maestoso

4 L

Moderato
Piu lento
 Andante moderato

Andante

TEEME
r .&p!.a'--\
VAR. II.
 Variations on "Le Petit Suisse"

Andante

W rma

THEME
D - ,
m-
 VAR.

ti-
?
VAR. N
and
FINALE
 Andantino

Andante moderato

TWEME
AUearo moderato
(facili te)
 FANTASY and VARIATIONS
On a Uerman Song
,I
Allepro maestoso

Andante
 Andante oaasi Allemetto

VAR.
FINALE
 Cavatina and Variations
Andante

u
 Variations on a Favorite Theme
By Carl Maria von Weber

AUwro moderato

Andante non troppo

VAR.
 --
-
=--
cc-

VAR.
Andante
1

d
VAR.TV
V- P - -- m-

CODA