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.
871 hymn tunes available in 2 volumes of The Salvation Army Tune Book
This revised edition has in Book 2 numbers 531 - 871, and book 1 has numbers 1 - 530
THE BAND ARRANGEMENTS The band arrangements agree with the keyboard versions in The Tune Book of The Salvation Army. In the arrangements of the tunes a basic four-part pattern has been followed:
SOPRANO - Solo and 1st Cornet Bb. ALTO - 2nd Cornet Bb, Solo and 1st Horn Eb. TENOR - 2nd Horn Eb, Baritone Bb, BASS - Bass Eb., Bass Bb.
Other parts are employed in doubling, decoration or colouring.
*A separate Solo Horn part is not issued. There is no division of Baritones into 1st and 2nd, the parts being combined in one book, mainly in unison. A lower alternative is available where appropriate but the tenor part will be the upper notes.
You can view the Solo Cornet part as a PDF image of this work on your computer, by clicking on the "MORE DETAILS" button on the right - this will the PDF image for you to sample.
part of the Roger Webster Solo Series Bb.Cornet Solo
The widely acclaimed Mexican Hat Dance became so popular that at one point it was declared the national folk dance of Mexico. Its popularity is attributed to the great Russian ballerina Anna Pavlova. After a visit to Mexico in 1930, she fell in love with the culture and spectacular costumes of the country, and decided to include the dance in her permanent repertoire. The ecstatic Mexican cultural authorities felt that such honour could only mean that the Hat Dance was indeed the most important dance in Mexico. Mexican Hat Dance was for many years inextricably linked to the charismatic trumpeter Rafael Méndez, whose flamboyant soloistic style was the inspiration behind this arrangement.
Includes : Amazing Grace; Fairest Lord Jesus. Holy;Holy;Holy; Imortal;Invisable; A Mighty Fortress Is Our God; Onward Christian Soldiers; Book Only - 9.95; Book & Cassette Package - 14.95
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