40 solos suitable for any treble clef brass instrument.
This is just great value - FORTY complete solos for just £6.00 - this works out at 15pence per solo !!
Is there any better value ?
CONTENTS
1. Air and variations Pilgrim of Love
2. Air and variations Dear Little Heart
3. Polka Sweet Smiles
4. Air and variations Home Sweet Home
5. Romance The Wanderer
6. Air Lamour
7. Morceau Souvenir de Concert
8. Polka Imperial
9. Serenade The Evening Star
10. Galop The Royal Stag Hunt
11. Valse Joyous Moments
12. Cavatina Vie-Ni
13. Air The Grass Hopper
14. Hornpie Heel and Toe
15. Air and variations Keel Roe
16. Valse Fairy Revels
17. Polka Pretty Jane
18. Lancashire Clog Dance
19. Air and variations Blue Bells of Scotland
20. Cavatina A Lady Fair and Lovely
21. Barcarolle La Mer Calme
22. Polka The Bessonian
23. Divertissement La Syncopation
24. Cavatina Emani
25. Scotch Jig Orange and Blue
26. Polka Bob-O-Link
27. Bolero Iberian
28. Serenade Queen of the Night
29. Air and variations Poor Mary Ann
30. Polka Ivy Glen
31. Tarantella Castille
32. Valse Sleeping Beauty
33. Polka Express
34. Caprice Dance Diabolique
35. Polka Royal Trumpeter
36. Air and variations Yankee Doodle
37. Reverie L’Adieu
38. Song Loving and Hoping
39. Polka Star of Paris
40. Air and variations God Save the Queen
Regarded by most brass teachers world wide as "The" tutor book or the "brass players bible". Used by all aspiring brass players at some stage to develop their technique and ability. Also available in bass clef for lower brass instruments.
INDEX of Chapters in the book :
1. Introduction 2. Table of fingering 3. Compass of the Cornet 4. Cornet in C 5. The Slides and tuning 6. The Mouthpiece 7. Producing the Sound 8. Breathing 9. Faults to be avoided 10. Explanation of the exercises 11. Exercises 12. Syncopation 13. Dotted quavers 14. Six - eight time 15. The Slur explained 16. Exercises on the Slur 17. Scales explained 18. Major Scales 19. Minor Scales 20. Chromatic Scales 21. Chromatic Triplets
PART II. 1. Grace notes explained 2. Preparatory exercises for the Gruppetto 3. The Gruppetto or Turn 4. The Double appoggiatura 5. The simple Appoggiatura 6. The short Appoggiatura 7. The Portamento 8. Preparatory exercises for the Trill 9. The Trill or Shake 10. The Mordente or passing Shake 11. Intervals and Chords explained 12. Mixed Intervals 13. Octaves and Tenths 14. Triplets 15. Exercises in Semiquavers 16. Major and Minor Common Chords 17. The Dominant Seventh 18. The Diminished Seventh 19. Fourteen Cadenzas 20. Triple tongueing explained 21. Double tongueing explained 22. Exercises in Triple tongueing 23. Exercises in Double tongueing 24. The Slur and Double tongue 25. Trumpet tongueing
PART III.
1. Index to Eighteen solos 2. Final Observations 3. Fourteen Grand Studies 4. Eighteen Solos
IN compiling this course the objective has intentionally been not to cover too much ground; but rather to concentrate on the acquisition of a thorough musical background and solid foundation in good Trumpet and Cornet playing. These two requisites are inseparable. A brief section is devoted to the simpler rudiments of music which should be thoroughly understood as the need arises.
The learning of new fingerings as introduced should be insisted upon.
Cultivate in the pupil the halit of careful listening. The familiar hymns and folk-songs have been selected because of their melodic interest as pieces, and because, in addition, in each appears some technical point to be mastered.
The value of learning to “think count” from the very beginning cannot be over-estimated, Only in this Way can a pupil sense rhythm. Rhythm, one of the most essential elements of music, and usually conspicuous by its absence in amateur ensemble playing, is emphasized throughout. Many teachers do the thinking for their pupils, instead of helping them to think for themselves. Insisting upon the mastery of each point will not dull their interest. What greater gratification can there be for a pupil, whether child or adult, than self-accomplishment in a set task? Lessons marked, “Supplementary Material” may be given as a reward for well-prepared work.
Class teaching should be a combination of individual instruction and ensemble playing. At every lesson there should be individual playing so that all the necessary correction can be made. Never allow pupils’ mistakes to go unnoticed, since only by immediate correction will they develop the habit of careful thinking and playing.
A decided advantage of group-teaching is that it provides experience in ensemble playing and gives every pupil the opportunity of listening to the others, of observing their mistakes, and of profiting from the corrections.
For the best results each class should not be made up of more than six for a half-hour lesson, and twelve for an hour lesson. Irrespective of the numbers, the teacher must see to it that there is individual instruction al well as general class direction.
Classes should be regraded whenever necessary so as not to retard the progress of the more gifted students, or discourage the less musically endowed. This procedure also acts as an incentive for greater effort on the part of the pupils.
The lip slurs on page 31 should be used whenever necessary according to the individual student’s requirements. The tests, following each five lessons, are given as a definite check on the pupil’s progress of knowledge and accomplishment. These tests are most important and should not be omitted.
Eventual success in mastering the instrument depends on regular and careful application to its technical demands. Daily practice should not extend beyond the limits of the player’s physical endurance—the aim should be the gradual development of lip and breath control alongside assured finger-work.
C. PAUL HERFURTH Director of Instrumental Music East Orange, N. J.
Amaryllis / Amazing Grace / An die Musik / Ave Maria / Barcarolle / Sous le Dôme Epais / Das Klinget so herrlich / Greensleeves / L' Eco / La Chanson du Vannier / Melodía / Nel Cor Più Non Mi Sento / Ode an die Freude / Pie Jesu / Santa Maria etc...
Category: Beginner/Youth Band Composer / arranger: Stuart Johnson each part
The pieces in this book introduce the players in as simple a manner as possible; to most of the rhythmic idioms that they will encounter in the easier brass band scores to which they will progress from this book.
A short mp3 audio extract and the solo cornet part are provided here to give you a sample of this work. Access them by clicking on the "MORE DETAILS" button.
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