ADVANCED DAILY STUDIES

from the

:C h ar les Colin :complete I

;Modern Method i )

:for )

:rrumpet or Cornet )

)

I

CHARLES COLIN- 315 West 53rd St., New York, N. Y. 10019

2

Advanced Daily Studies

For those that have the desire to better themselves in transposition, stronger lip muscles, increased range, sturdy endurance, firm and sure fingering, rapid tonguing and the mastery of intricate intervals; this book will prove indispensable.

An original idea in a revolving scale that gradually expands into a two octave range is ideal for increased range building and added proficiency in scale perfection.

The chapters are so arranged that ali studies with the exception of the studies in keys of C and F, i.e., (4th and 7th chapters) can be interchanged in to different keys by a change of key signature.

The varied m

3 Also play in the key of Gl7 ~ ~ ----o--

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Copyright 1975 by CHARLES COLIN, 315 W. 53rd St., New York, N.Y. 10019 International Copyright Secured Made in U.S.A. AI! Rights Reserved

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6

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Also play in the key of Gb 1: ~- A< ~ ~ ~ i i 8 'loolo> i:h :oy ''.'" A A A A A 5 s " a @J e t I& c = = 11 ~~#~~ J ] a , a a Q ~

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Also play in the key of GD Also play in the key of Ab ~ -- ----- -

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20 Excerpts of Text from ERNEST S. WILLIAMS (Complete Method)

HIGH TONES When we are in tune with nature's requirements, the

playing of high tones on the cornet or trumpet is not difficult.

THREE TECHNIQUES Three techniques should be synchronized and accu-

rately developed simultaneously: "BREA TH TECHNIQUE, LIP TECHNIQUE and FINGER TECHNIQUE." The cornet and trumpet are not difficult instruments as for as fingering is concerned, but it requires a studious, persevering indi-vidual to develop an accurate, dependable "BREA TH TECHNIQUE." No person can become a reliable and skill-ful performer without possessing the ability to properly govern the breath.

TO CONTROL THE INS:rRUMENT In training "TO CONTROL THE INSTRUMENT," we

must learn the varying degrees in breath managemen t that are required to produce varying degrees of sound. It is generally believed that high tones are more difficult to produce than the ones of the middle register. This is not altogether true. If one has trained properly and has culti-vated the correct method of production, one tone is virtu-ally as easy to produce as anoher.

STRAIN AND LABORED SOUND UNNECESSARY In very high parts which must be played powerfully,

added effort is necessary, but the effect should "NEVER SOUND LABORED.~ There should be no evidence of "STRAIN OR FACIAL CONTORTION." Correct effort pro-duces purity of tone with certainty anel reasonable ease. Good sound, pure, full and free, is the natural result of true adjustments, over which the performer should have complete control at all times.

PRODUCTION OF SOUND The sound is produced by the vibration of the lips

which is intensified and amplified by the instrument. Merely pressing a volve does not make a higher sound. This is accomplished by "LIP ANO BREA TH MANIPULA-TION." While the lips change very little in going from tone to tone, the breath change is more pronounced and should be regulated accurately. The breath changes should be quick, positive and co-ordinated with the finger changes.

BREATH ALL IMPORTANT Register, quality, ease and crtainty depend largely

upon the proper "MANIPULATION OF THE BREATH." Acquiring this essential is a matter of painstaking practice.

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)J.A~AM:A~~ I

METHOD for

TRANSPOSITION for

TRUMPET or CORNET

Containing TEXT MATTERS 36 SHORT PRELUDES 50 ETUDES 12 CHARACTERISTIC STUDIES 12 ARTISTIC DUETS

by

ERNEST S. WILLIAMS Director Conductor

THE ERNEST WILLIAMS ScHOOL OF MUSIC THE NEW YORK UNIVERSITY SYMPHONIC BAND

Teacher of Trumpet )UILLARD ScHOOL OF MUSIC

..

' Formerly, First Trumpet PHILADELPHIA SYMPHONY RCHESTRA

Cornet Soloist THE GOLDMAN BAND, NEW YORK CITY

The twelve Characteristic Studies and the Twelve Arristic Duets may be played for Bb Trumpets justas written, then used as transposition material as indicated.

$4 95 [ [ 8 CHARLES COLIN- 315 West 53rd Sl, New York, N. Y. 10019 ""