Goldman---Double-and-Triple-Tonguing.pdf

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LIBRARY

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NEWELL DAYLEY

ONTHI-fflBNFL/TRIJMPIHSTEITOH-NIS-IN

H)WINHJANK(Hi01 DMAKI Carl Fischer O 242

INC. 62 Cooper Square, New York 3 BOSTON • CHICAGO • DAUAS

Digitized by the Internet Archive in

2012 with funding from

Brigham Young University

http://archive.org/details/goldmanexercisesOOgold

T LIBRARY

.£,1,4

OF NEWELL DAYL FY

Hi 3k

NEW AND REVISED EDITION

THE GOLDMAN EXERCISES for

DOUBLE AND TRIPLE TONGUING on the Cornet, Trumpet and Other Brass Instruments (IN

TREBLE

CLEF)

-o»o-

A COMPLETE AND SYSTEMATIC COURSE FOR

MASTERING THE MORE ELABORATE FORMS OF TONGUING AND CONTAINING SUITABLE EXERCISING MATERIAL WITH INSTRUCTIVE TEXT FOR THE GRADUAL ADVANCEMENT AND PROGRESS OF PLAYERS IN GENERAL. by

EDWIN FRANKO GOLDMAN \\4vii let

a

BOSTON

Carl Fischer Inc. Cooper Square

NEW YORK

0242

CHICAGO

THE GOLDMAN EXERCISES for

Double and Triple Tonguing on the

CORNET- TRUMPET And Other Brass Instruments (IN

TREBLE CLEF)

INTRODUCTION In presenting this work to players of the Cornet, Trumpet, and other Brass Instruments, professional as well as amateur,

the author's intention to explain the art of triple and double tonguing

1

it is

more thoroughly than has been done in previous works, and to give

to the student all the suggestions

and

points of information which are necessary to a complete understanding of the subject. All Cornet Methods contain

good tonguing exercises, but

they explain them thoroughly. For this reason,

all

many

do not dwell sufficiently upon them, nor do

students

who

are not under the guidance of

a capable instructor, are unable to succeed in this particular form of playing.

Most

of these exercises are original;

cises contained in the standard methods, such as all

well written, and cannot be improved upon.

tirely

and exclusively to the art

Some

of triple

No one

Arban,

should be taken up at the very start.

should begin triple tonguing

is

only effective

for the first

when

two notes

well executed.

It is

15877-42

it

Good

single tonguing

pronounced

not difficult to learn it

tonguing

until the single

of each triplet are

diligently practised. It is even less difficult than

should be able to master

Jacome, Gatti, World's,

etc.,

-

are

The exercises herein contained are devoted en-

der control, and a good staccato has been acquired. triple tonguing,

St.

The exer

and double tonguing.

teachers believe that triple tonguing

absolutely wrong.

methods.

others are taken from leading-

tu, tu.

if it is

MCMX11 by Carl Fischer, N.Y. International Copyright Secured. LEE LIBRARY

BRIGHAM YOUNG UNIVERStTV

PROVO, UTAH

necessary

-

for

Fancy tonguing

and

appears to be, and the average good player

Copyright

B.

is

well un

correctly studied

without trouble in a comparatively short time.

HAROLD

is

is

This

3

All beginners, and

tonguing.

master

more

Its display appeals to

this particular

too soon.

most audiences, are much impressed by

kind

them.

of playing, but

of ten used, and for solo playing

it is

and single tonguing

is

rarely necessary. In the Band Triple tonguing

a requirement.

must be practised each

day.

is

it

more popular

is

spoil the single tongn

the fancy forms are correctly practiced, and the tone

should not be practiced to the

Sustained notes, slurs, scales and other fundamental stud-

Great care should be exercised in the

selection

suitable

of

Many

should be the aim of every performer to play solos that are of musical value.

of the solos that contain triple

it

its brilliant effect.

not neglected. Triple and double tonguing

exclusion of other kinds of exercises.

It

if

to

spoil their playing entirely by attempting

and more generally used, because of

and the tone. This will not happen

solos.

many

of

performer

every

to be the ambition of

has often been said that too much triple and double tonguing

It

ies

seems

In Orchestra playing the triple tonguing

than double tonguing

ing,

It

more elaborate forms

the

tonguing

variations, and

many

mere

of the so-called Polkas are

trash.

Most pupils do not know how progress.

There

is

Running exercises over

in

and study, and that

is

why

is

written with a specific object in view;

The only way

to do this, is to begin

of no value.

know

reason.

that

ana

-

by playing slowly and becoming familiar with ev-

must be accomplished. Details are always of utmost importance. it

is

so little

therefore, exercises should be

ery note. The student should never practise without thinking of what he

mastered in a slow tempo,

make

they

an off-hand way, without any thought,

a reason for the existence of each exercise, and the pupil must

Each exercise lyzed.

to practise

This

is

doing, or of

what

After the exercises

will be a very simple matter to practise

each day, so that they can be played in the desired tempo.

is

them

a

the only real

are

trifle faster

way

to se

-

cure a fine and perfect technic, and particularly so in triple and double tonguing.

To improve and perfect any kind of playing, whether more

essential than to practise slowly at first.

importance of

this. Nevertheless, it is

nothing

for tone or for technic,

Most teachers and students do not

realize the

a fact that has been proven again and again,

performer who has the most perfect technic and control of his instrument,

is

is

the one

that the

who

be

-

gins by practising slowly.

After having perfected the studies given in this book, the student

may

take up the scales,

perfect chords, chords of the diminished seventh, arpeggios, and other exercises in any of the

standard methods, and play them in double or triple tonguing, difficult

passages

may be executed with

all

and he will find

that the

desirable speed, accuracy and ease. Edivin Franko

i5377-42

most

Goldman.

Triple Tonguing Triple Tonguing

groups

is

a form of staccato which

is

used for playing triplets

(

singly or

where the necessary speed cannot be obtained with ordinary or single tonguing.

)

in It is

an effect obtained by the pronunciation of the letters T T K, or the syllables Tu Tu Ku.Itis a muffled articulation of these letters or syllables. This particular kind of tonguing

consists of

evenly detaching a regular succession of notes, without permitting the stroke of the tongue to

be either too long or too short. In order to arrive at this degree of proficiency, studies, le

which serve as the foundation, should be practised very slowly. The

tonguing

is to

know how

to articulate. It is necessary to

the earlier

first step in trip-

pronounce the syllable "Ku" for

the third note of each triplet.

The following strive to pronounce

illustration demonstrates the pronunciation of the syllables. The student must

with perfect equality the syllables:— 3

3

3

3

0000000* tutukututuku

For the syllable "tu", the

tip of the

drawn suddenly down, producing the

tongue

first sound.

etc.

is

pressed against the upper front

The tongue does not act

at all

for

the

sound, but remains motionless at the bottom of the mouth, allowing the pronunciation syllable

"ku"

to

come from the

throat.

The "ku" may be said

to

be

'

and

teeth

third of

coughed" into the in

strument, and by forcing a column of air into the mouthpiece, determines the third sound. the articulation of the

Tu,

it

K

or

Ku

is

it

will be good to give the

Later on just a slight accent

is

As

produced farther from the mouthpiece than that of the T or

must be more strongly accented,

beginning,

the

in order to

Ku an

necessary

In order to acquire this tongue to-and-fro

to

make

the triplet sound perfectly even. In the

extra accent until

make

it

it

has been gotten under control.

of equal tonal value with the other notes.

movement with ease and

regularity,

it

must be done

slowly at first. The tongue acts as a sort of valve, allowing the same quantity of air to escape at each syllable.

The "tu tu ku" must always be emitted sharply and with precision. Do not pro-

nounce "du du gu" instead. This latter will always sound slovenly and ragged. If these rules

are strictly followed, Triple

Tonguing

be found no more difficult than single tonguing. tiously and carefully, for anyone can

15377-42

All that

will be mastered very readily and will is

necessary

is to

practise conscien-

become an expert who has patience and perseverance.

Exercises The

first

To be played very

Tu Tu Ku

Repeat the

4

2.

Tu

first

—

Tu/

in half

Ku

Accent the

slowly:

—m

4

Tonguing

and quarter notes so as to give the student an opportuncorrect strokes of the tongue, before taking up the real triplets.

few exercises are written

ity of learning the

1.

for Triple

a

trifle, until

can be pronounced

it

—& Tu Tu Ku

Tu Ku

Tu

Tu Tu Ku

3 Tu Tu

Tu Tu Ku

two exercises until the tongue becomes accustomed

to the

new

distinctly.

Ku

m

Tu

stroke.

y Ku

—

g

-OTu

<

o g

Tu Tu Ku

Tu

>

-o-

Tu Tu Ku

Tu

—

-OTu

Tu Tu Ku

Play even quarter notes, and observe the rests. Practise numbers 3 4 5 and 6 over and over again, until they can be played smoothly.

%

5

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5 ^3

Tu Tu Ku

Tu Tu Ku

tJ

Tu Tu Ku

0—0

T, Tu Ku Tu

Tu Tu Ku

m 6

$ 4

Tu Tu Ku

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m

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Tu Tu Ku

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Tu Tu Ku

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r r r

Tu Tu Ku

Tu Tu Ku

r r r Tu Tu Ku

irrr Tu Tu Ku

i

Tu Tu Ku

Tu

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by Carl Fischer, N. International Copyright secured.

Copyright

15377- 42

Tu

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Tu Tu Ku

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5.

Tu Tu Ku

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6 and the following exercises must be played very staccato. They must also be very even. Practise quite slowly at first until the tongue is under control. The triplets must be very distinct.

The

triplets in this

7. Tu Tu Ku

3_

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8.

in the

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Tu Tu Ku

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same manner as

Tu

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Tu Tu Ku Tu

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the preceding exercise.

Tu Tu Ku .

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m m

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Tu Tu Ku Tu

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To be practised

Tu

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Here we have two if

necessary.

9.

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Always play

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3

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3

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Study each bar separately

Tu Tu Ku Tu Tu Ku Tu

Tu Tu Ku Tu Tu Ku Tu

3

1

the triplets as staccato as possible.

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triplets together. Practise this exercise with great care.

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