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FLEXIBILITY STUDIES TECHNICAL DRILLS for Cornet or Trumpet by Del Ctaigers PUBLISHED IN TWO PARTS Part | Studies in Flexibility 0 3564 Part II Technical Drills for Finger Facility 0 3648 Studies for Flexibility ‘These exercises have been developed and used by the com- poser inhisdaily practice for many years, and have also been appliedas material for his pupils with great success, Diligent practice of this material utilizes and developsall the muscles employed in playing a wind instrument. Each and every ex- ercise can be playedand played well, but perserverance and will power are prerequisites, Crescendos, decrescendos, and breaths have been carefully marked, Exercises of this nature provide no benefits unless practiced in strict rhythm. USE THE INDICATED FINGER- ING. TECHNICAL DRILLS FOR FINGER FACILITY Finger exercises have been written for piano, violin, cello, viola, clarinet, flute, etc., but so far the three-valved brass instrument has been neglected. Present-day requirements demand great facility, The material contained herein is of- fered asa means of attaining the desired objective, Practice slowly atfirst and master the difficult exercises. NONE ARE IMPOSSIBLE. These studies are not offered asa substitute for any of the recognized METHODS, notably Arban. Brass instrument per- formers have progressed in their art to the point where ar- rangers and composers call upon them to play passages that until recently would have been considered impossible. The need for material to develop great facility and reliability is well known among the better teachers and performers. Del Staigers Part I Studies for Flexibility DEL STAIGERS Play slowly and very rhythmically. Do not interrupt rhythm when breathing. Breathe where indicated. Count carefully. Use indicatedfingering. Pay particular attention to crescendo (—) and decrescendo (—) marks. Remember RHYTHM is 75% of your success. Slowly and rhythmically Breathe (but do not interrupt rhythn) breathe _ rege = 24 nis77 Conyit MOML by Ca Fk, n, New Yar ‘rents Cra Sad 03564 Aries oete nding Be perma fr rot maa77 *Also play these articulations. ‘ 3 simile | rt z (ad Lib) ‘Also play these articulations. A ete. < Sete. "Observe the accents and play very rhythmically, Ee This exercise should be practiced as softly and rapidly as possible "In exercises 12 to 18 also play with these articulations. > ® — = — SS Se SS ae eS cot waa77 Isuggest that you singafew bars. Notice that you produce the syllable ‘Ha’ to avoida gliss- ando. Do the same when you play your instrument. This will eliminate the ‘in-between notes”, Be sure to observe the (—) crescendo. Play slowly and count carefully. Move the valves quickly. y, ta Ha Ha a 20 i977 z Berit art 10 Slowly Ha Ha 27 Be sure to slur four notes and use the *Ha’ syllable. (Your low register is important.) 28 say (Tea) Tea Tea Tea Tea Tea Tea waa77 One in a bar _ " 29 Nasr? 12 Very rhythmically 31 transpose also to B-Bb-A-Ab&G eS eee ee 33 masz? Naar7 TECHNICAL DRILLS 14 *from 2 to 6 times is the ultimate goal from 2 to 6 time: fron 2 to 6 tines last from 2 to 6 times last PY as ecereeres fronm_2_to 6 tines last 10 Headgert sgegee? eae gare Fae geee ul *Also practice using the following articulations. ete, ete. 15 Press the valves dom firmly. Try for ‘clean’ playing rather than speed. Practice carefully and thoroughly. This is the most difficult register for Fingering combination. 13 see example nia? also--