THE BOOK. Intermediate/Advanced Method. Allen Vizzutti. [dlfred

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1 THE TRUMPET METHOD BOOK з MELODIC STUDIES An Intermediate/Advanced Method Allen Vizzutti [dlfred

2 2 INTRODUCTION TO BOOK 3 П НЕ MELODIC STUDIES contained herein represent most of the trumpet techniques and harmonic material developed in Books and 2 of this method in a purely musical context. Many of the duets and etudes in Book 3 are intended for use as unaccompanied recital pieces as well. For maximum benefit, Books and 2 should be studied extensively. As always, trumpet players should warm up thoroughly as detailed on the next two pages before playing anything demanding. This is necessary in order to consistently improve one's playing rather than just maintain the status quo or possibly regress. Refer to Book 2 for text on expanding one's musical ammunition with systematic study of harmonic material.

3 PRACTICING M USIC HAS THE POWER to enable anyone to feel good. Trumpet is one of the most versatile of instruments, an instrument that is capable of crossing any stylistic or cultural boundary. The gifts of studying music include: Creative problem solving Controlled concentration Developed motor skills Greater emotional expression Acquired skills in the art of self-discipline Raised social status Creative interaction with other people Raised awareness of art, beauty and more These skills are as basic and useful as any other skills taught in school. The freedom and enjoyment available in music can be had through daily practice. The more organized your practicing is, the more fruitful it will be. Here, then, is a suggestion. Practice in three 5- to 30-minute segments, resting where necessary. Segment one is the warm up, segment two is technical study and segment three is playing music material such as solos, etudes, orchestral literature, etc. Vary the material to avoid forming bad habits, boredom and to learn new things each day. You must be your own best teacher. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughts on breathing and sound. Most problems will correct themselves. Best wishes and good luck.

4 4 THE W A R M UP П Ы ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm up. Preparation is required, not only to meet the physical demands of trumpet playing, but also to initiate the mental focus and concentration necessary for making music. The following is a warm-up routine in four parts with variations for each day of the week. Remember to concentrate on the basic fundamentals from the first note of each new practice day (i.e., beauty of tone and utilizing large volumes of air when inhaling and when blowing through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you are about to play in the most musical and artistic way possible. (D Buzz the mouthpiece in the approximate range indicated. The sound should be "fat," full and without gaps as you slide downward. Keep repeating until there are no gaps. Buzz anywhere from a few seconds to a few minutes. Be aggressive and demanding of yourself. It is possible to improve your trumpet sound almost immediately by working on the mouthpiece. For extended buzzing, use the following triads. Check pitches at the piano while buzzing whenever possible. Be sure you are producing a fat, forte tone.»~ fcs / ' ' Ф- $ а i > 9 y- Л, i w (h>3 m

5 5 Approach the following exercises mentally as if playing one long note. Articulate heavily. Make the legato notes very long and the marcato notes fat and spaced no breathing allowed in the middle of a line. This method is an excellent tool for relaxing the lips and warming down as well. For additional "loosening up," repeat the preceding exercise 8va, resting wherever necessary. Play long tone exercise #, 3 or 4 with as beautiful a sound as possible. Start each playing day with the three steps above. Some days may require more warming up than others due to the playing demands of the previous day or your biorhythmic cycle, but warming up well never hurts, it only helps. Finally, play the technical studies found in Book that are indicated for each appropriate day. In this way you can vary your warm up, maintain interest and learn new scales and fingering patterns quickly. Work gradually day to day through all of the keys until you can play each study with a minimum of technical "hang-ups." It is not necessary to play the studies higher than third space "C" in your warm up, though advanced players may wish to do so. Ideal warm-up time should eventually be 5-20 minutes. Monday Book, Technical Study # Tuesday Book, Technical Study #2 Wednesday Book, Technical Study #3 Thursday Book, Technical Study #4 Friday Book, Technical Study #6 Saturday Book, Technical Study #7 Sunday Book, Technical Study #8 In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They are physically demanding and, therefore, useful later in your practice time. Lip strength (more accurately, the strength of the muscle structure around the lips) as a goal is greatly overemphasized. Although strength is important to a degree, range, endurance, a beautiful sound and advanced technique as a complete package are based on efficiency of breath control, not brute strength.

6 6 PERFORMANCE ANXIETY ERFORMANCE ANXIETY (i.e., nervousness) is a common and natural thing. Players at all levels of competency experience butterflies, dryness and other symptoms of nervousness before a performance. The goal one should pursue is not to be totally relaxed, but to maintain sufficient mental and physical control in order to enjoy playing music and play well. Experience is the real key. The more often one performs, the easier it gets. Take every possible opportunity to perform. Play for friends and family. Casual settings can be of great help when done frequently. As a useful by-product, the more one performs and is heard, the more likely one will be asked to participate in other musical settings. That is the process through which one rises to the top of the music community, no matter how large or small the community. Here are a couple of practical pointers to help you defeat performance anxiety: Ф Warm up well several hours before performance time to ensure lip suppleness and good response. When the butterflies come, don't resist them. Resistence causes tension. Tension causes playing problems. Let the wave pass through your body. Observe the feeling as it happens. Don't panic. Scrape your tongue lightly across your top teeth to cause saliva to flow. The less you concentrate on dry mouth, the sooner moisture will return. Let go of the inevitable mistakes. Do not dwell on them. There is always time to think about that later. Think musically, not technically, except for breathing. Breathe deeply and project the air confidently through the instrument. This is the one fundamental you should always fall back on when you find your confidence faltering. Finally, stay in present time. Don't worry about what has happened or what is coming. Don't sacrifice an entire piece for the sake of a high note or a tricky passage. Make the note or phrase you are playing as beautiful as possible. The rest will fall into place. Present time is the key to performing from memory without slips as well.

7 Intermediate Etudes 7 I n t e r m e d i a t e E t u d e s 20 i Ш Я if "if Г r If".Д л те p i г г г 32 ас = 3.i 52 2 Ш Lf Г Г Р Л Г Г T и) is)

8 8 Intermediate Etudes Freely ( = 08) ~l о i W 4» * те*» -Г * «ла? - -и,' - -,- v щг d ф- L m/l j l j r> F=E - * % p-p 5=** ~7t i $ - ft j тер _ = = i i i - -f v «. MM 9 _. _ i те/ i г I ss; =±= =./ - 44 те; д j Щ T Я * I j Л 7 i Л i iff. = 52 5 ^ i i f^ Щ r j r ' N

$l b With spirit ( = 32) 9 Ш f mm Я w ^ g л 3 л i m m f T ] i - j j j i - j ii / - *\ j * =^= = * = = ш м я ') *» - l m Lf-E l Г * '.- U ( - а!$

11 Intermediate Etudes * г PF=f 4 n f r» "Tr j "3 f i y C _. V mf ^ тор f ny. (ф ' «* ) ^" «*> ~л и CC ' i j mj> T 0-я - Ш m я ' Л n n *- ijd mf - 4 t t Pi r * - I Г. l b With spirit ( = 32) 9 Ш f mm Я w ^ g л 3 л i m m f T ] i - j j j i - j ii / - *\ j * =^= = * = = ш м я ') *» - l m Lf-E l Г * '.- U ( - а!* -AT f= П Г Н Г L r mf г *i - ЯШ L L -«*-т=и n Я -&г и f I ft - r

12 2 Vocalise Studies V o c a l i s e S t u d i e s

14 4 Vocalise Studies

15 Vocalise Studies 5

16 6 Vocalise Studies = 04 mf Ш p p -is p тор "27 22 Г Г ' i Ш TO/" P Legato ( = 32) 3 Я тор w w -* ' «' Э --fm f»-= ' pb V Я» f Г я Г 5 s Г У Г Г" 4- Ь» HI [ ГШ t-_ > 0 0 у - г Ш-0Щ» * Я - Г Э ] -m j 0-* ' 9 с f * «**-«я /> lit.

17 Vocalise Studies 7

18 8 Low-Note Etudes L o w - N o t e E t u d e s i Sempre staccato ( = 44) Ш ЙГ IP I 4 i I «2

19 Low-Note Etudes 9 Sempre staccato ( = 60) о ч «. L ** 4 * i Si.. ** F TP p ' 7 <r ' 4 I я b ; F#" j> < f * * F m * 4

21 Rhythmic Etudes 2 R h y t h m i c E t u d e s Evenly l /lb 4 (. 52) ' > ~\ f- a i i а ' - 0,и m af" a ^ Г L ^ 7 V. а a a a sempre staccato i i i : ч ^ i *. - ^ -a a a ' m a a...,. a M +- r hk к 5 ш = ^l. "P*l? L * _ ^ -= * «;»r * a a i i a ' a' a a a r a =^= g «^ f r, p - * - Г т У M -a ' r и Г л r* } * '-i Да Г 0 t m ±±= h - = i. -* } mf a K - - ш* а a ~i mf f- * ' "ГСО! v~p =#=?= z - L f a a =FT b T f 0 а Ш = А -л- «4F=F=F= S= > V. 'j - л PI - a и * 7 p i Г- i гт ч «:. g ^ ^b mf i! **l a < * i i,} af - a ' a ; Г * as: 0 - "fe i i «W g' l h ' / г т-^ " i- -г- 5= Г 7 j y - =гу^: 7 _.. i } P ^... d i i I

$2^ * 3 i p m/ 3 ars nr Ш я - ш jg т а Я - я Ь\ f Ё~~» 5«f j в = _ q L Г T а. Я^} uu fj^ 7> -=T=-= rftwi 3 3 И ГП _H fflf -a-jhi -H W»» Яф\я.- 0 j 3 3? mmm P H I - * /TV nr.$

22 22 Rhythmic Etudes a ' a * ~* aj ' a i " 4 4 П r > a) L f 7 j-h* a m/) та/ p g > ЕЁ ЕЁ я я я 5=5 я' mr mt > > > > > > > > > > > Ballade { = 84) з Ш ИТ 0 m Ш ф Ш g0 a 22 m/ 2^ * 3 i p m/ 3 ars nr Ш я - ш jg т а Я - я Ь\ f Ё~~» 5«f j в = _ q L Г T а. Я^} uu fj^ 7> -=T=-= rftwi 3 3 И ГП _H fflf -a-jhi -H W»» Яф\я.- 0 j 3 3? mmm P H I - * /TV nr.

23 Rhythmic Etudes 23 With spirit ( = 60) a» - -» I л n - * it m/ 7^' г err ц cresc. f P *r=tt * f-i П -psr- ; j 3 P - - «Qj 0 m Ш f fee - г 9 p * г *» г 7 Ar a m я *, j - T #L. f. $ b i - M - * ' =6

$24 Rhythmic Etudes 4 ^ 4 = 52 m/ 7 p j r 7 ^ 7 ^ 7 ^ 7 ^ 7 ^ 7 Hf f p - EP3q I I i л Г =*=\ a a Ф - * < P- n 7 p ^ p P cp * * 7 P mf Л- т l *f _Ь "Те a - f> ' ГГ - -~ ~ tm P 2 lr ri ^ s ^ s«.$

24 24 Rhythmic Etudes 4 ^ 4 = 52 m/ 7 p j r 7 ^ 7 ^ 7 ^ 7 ^ 7 ^ 7 Hf f p - EP3q I I i л Г =*=\ a a Ф - * < P- n 7 p ^ p P cp * * 7 P mf Л- т l *f _Ь "Те a - f> ' ГГ - -~ ~ tm P 2 lr ri ^ s ^ s«. v u u ((T)'l? 7»/n» Q I f f Г=Ё±.ji* j г г Ч Ц l.m ' l mu я [ mmf / Г %, ^ Як." * Г"*г И / "ТТЛ ~тг П ч 7 a = j = d «"r ;P : W j P p 7 l ё> t ё> \ * P fl *»* p ^ *-.) - p 7 7 ; г p LU РГ pip mf - ^ «== та/ = fth ^ CT l > P fl r j - 7 N 7 r ' у -B- # I - и <ч я 0 0 " 4 ' Г - Д 9 mf -y- / / Ц 7 fi mf - «, Ь_П a a P /TV j j> -та 7 p ' - -al -^ 7 «Г 7 ai 7 ; _Z_i. i' j jc/r =

26 26 Rhythmic Etudes Waltz-like (. = 69) б Ш Лр I Щ ^ Лг p r p i ' V ^ = 5 3p те/ РГ ^ r fee l с l CI " - 4 p'. r fl F 3= г fl ei P Г N i- j f

$- f ^ V \ V ' mp й / -i V *_ r. _ - > / > > > > > > I ^. «= i чщ- mf }z hi П : Л а I Г ; е m a _ П s ' Г PI CI " r p r pi Г -Llfi ^- ' Г rvi 4> I е 5 «Г ж' Г.$

27 Rhythmic Etudes 27 p = # > > > > > i > 2 a a > fl п I; > t ш л F* P* m k- " P " я l" U LT Г ' ь I L i C f и ; P Л - at af"i V d s ~ "F T~ * > Г P -^rs - [ г f» a * a i PrH-^ П ; i_l / a Г A4? - f ^ V \ V ' mp й / -i V *_ r. _ - > / > > > > > > I ^. «= i чщ- mf }z hi П : Л а I Г ; е m a _ П s ' Г PI CI " r p r pi Г -Llfi ^- ' Г rvi 4> I е 5 «Г ж' Г. a ' «a ^ -j» a mf 5 " r ч *-a- я > i, а Г " C f r > > > r i» r r > r.. M -A. - 5 PI P > 5 i I r a Presto ( = 68) r v П 4 * a T irvf " - «L n ^ у ф ^ i 9 n - П ±f> f p " * 4 = -m fc=: ~* " - щ \S Г *=F=P _ n i о - *i ' О ^ = P = ' и и - "'

28 28 Rhythmic Etudes Щ Л Л п Г2 i в Щ i Л П = т = п = г те/" Г i ЩШ I m л w L ' rd fl -ft = Щ > I -ml-* 7 *4=d I ^, 35 г т * I. n^t] - т а «7! j^jj 7 p * 'v m я I -fl i 4 -- r r * r m cresc. f mf i 4 ^ r i i г ptp M i j i ~L/3/ i/i 'Д л i m n f >

29 Rhythmic Etudes 29 о i L a. - Smoot hly (= 20) T - Г n П -m =t=f =H=I : * 4 - i U ^ Р «p _pj j_ у L-lL p p - -p p i A S- hi IS ' Г ' b p p p mf та p i? «ь и f * FT г ~ р L I _ U h = Ф LP f a С-Г m P * - r a ^ *_f *±= g=j # # ^ = p = _ а fy C-Г Г * l p P P i p j ft u г., r... r* уш ч э * - _M > *> п 2= EE I е > с _ C fl r fl fl =» 7 &- LP P n i f S (- "^_> P p i # # i j P & дао ^u* И H = l mji * с fl fl F^l я т я * = [ mf I» p P я -ы = ± * = ф =4=t >s~z~~h> P- I fl r Tl P Г / fl flt" Д- j fl "* I е " * r A 6 Л П 7 Р Р «тр» --к -i» 0 el p к j

30 30 Rhythmic Etudes Ш mf W 3 Ж- 4 b [ T l P C l r Щ ш ^ Ш i

31 Rhythmic Etudes 3 TO/* j I 0 0/0- Г Т Э ^ л Л ] ^ Г ] i r j ^ n Rest whenever necessary. With expression ( = \ M,«к r, ftl - - =+») /- "» ^. F~ft~" ft" M = cr i r ft я H =? - 4 L» -f-r-"- =y=t= ft N r. 7 * ] j Ь " г «" w * г Tlrfe ft~ -» r= ft-" г"» \= " я» r~p f =##» Я F " P fl~n н и l г f f r? r ft V lib ' I.' u LIT p - С Я 0 Г=^ j -* " 5 -L_ ± F = p. ' "% _ v I j f " 4 i j nr ^ О r - # p «ь Г "tf - - Г IH i e ^ P r ctr r> P j сгг г у r l r r > Г If с г ц г г? ^

$. ~ i _ГЗ p «N г Г l ^ ' Г С-Г' ' r 'f U ' г ^»ulp e g l, b Г C mf hk±, ^ " - f t г ^ ' r * ч Г рг'» jr^ Г 'i Г if or г A # 4 * * гт гй \ ^P!>y> jg to Г; i r TO P 9 Г u f\} г i r r Г* Л.$

32 32 Rhythmic Etudes W- *- > шы- j j i и TP n~ г «r " L Г r # # п j j i (Ф р шы- i j, л Г г. - "-^ п л I T l hrh. t ~ * TTi 9 r rf f"^. f P~«-?. ~ i _ГЗ p «N г Г l ^ ' Г С-Г' ' r 'f U ' г ^»ulp e g l, b Г C mf hk±, ^ " - f t г ^ ' r * ч Г рг'» jr^ Г 'i Г if or г A # 4 * * гт гй \ ^P!>y> jg to Г; i r TO P 9 Г u f\} г i r r Г* Л. ^ 4 Г Г 4f > M L =i=l=fc= "if h = = e i * r ' /,tt r ] * p ' I T * i n I ^ p»~4 f 4 cs Г Г '[ mf^ * Apj if" Г»' 'Г i H Г С/" ' г ы. iff* jm n \ ц г r r Г Г г wt~f f~^f г r?j _ I = -? Д f I. I «Г^Ч г гг> i f Г7; r lr = т Us, i ' Г '' ч г i Г U Ul j jt; t i n о > i r * * >r * ]~ I p >v Г Г HH hp.-, * «Н PP -6t * ^ т err г j i I«I L! 9 A h гз л jf r ^

$Rhythmic Etudes 33 Throughout { - 60) p г""i*-f- ' -H l t T ft ' - = f = - я j -ft -vy-n W ^ «* 77. i : i r f ^ ^ TV И м м * Ь "if j P 4 - Я я^. i Г Р= ' D У =^=^ P.$

33 Rhythmic Etudes 33 Throughout { - 60) p г""i*-f- ' -H l t T ft ' - = f = - я j -ft -vy-n W ^ «* 77. i : i r f ^ ^ TV И м м * Ь "if j P 4 - Я я^. i Г Р= ' D У =^=^ P. -n - * mw^ N 9 7 f» p \ L T "' mf * * - / * f N - > = ( = > > - s If w > ' ll «me) l_e \ 7 p~^' F"^4 "> U r * *> * - / p- / ^ * л p p! L T - i j 4F=- L r L r 4 ^ j > С г u ^ >

$34 Concert Duets C o n c e r t D u e t s Allegro ( 26) P P Щ Р P I p P л» M M» w- fl P - \ *i m =#= m _ ~f - -fc / -fr> ^Pf fftffl mf.$

34 34 Concert Duets C o n c e r t D u e t s Allegro ( 26) P P Щ Р P I p P л» M M» w- fl P - \ *i m =#= m _ ~f - -fc / -fr> ^Pf fftffl mf... ' p- Г ft- *ftft> ЕШТ ^ rftt, g-s * ш 4 - щ ГГП> * * -У pfff-j., w* 9 tjj ^ "р «i игр!: ice c 0 р К. j ш..., ' _ - ^p- r^f- - "" i г Ч - - v П ^ 'ftft pft ft * са*ь ё= / ". Pf-fti»V -f j 4 -* ггггг pft Г pft

35 Concert Duets 3~

36 36 Concert Duets 4 Allegro marcato ( = 52) 772./" C C fa s» 5 p Й ± Г С ± & P m 9 ш 4f r dxr si m/ г / i P p e ^ -f я = = : иь"- r [ j * ri - «м л и i.*r.ftj_ е... r

37 Concert Duets 37 m n / m ~" ^ f f f "ft i p *" * L 4 Ш - Г - Г~Р m ' ' ' m /^» g I * i* i* - mm f mp F=R= ы " Г [* г - j -- -mi f «г f7-- i - p T ^ Г я } ^* ' Us i =c P 4 4 *r ' " i -П i И я 0 I *.-. л^ьи - C <^ ш Lf 7 If is -r I Й r n= П r иф " ' g ? г-0 m l * С Г Г-Г C - T > i 4 ft «т > P m L P 7 - L p- * m ' *" f

38 38 Concert Duets h i > г Я _ i d * t» * i p m : p " - c >^ i 9 > : > ; f p, 4 p T > > p > > «< r * > ; > 0 / p " Г 4 ' 0 f Щ, 4 m P» ' mi ' mi -i P )н frrr - ^ m ^ F 0» 0 a ~0 P ж # > L L L r Г Г Г И ЁШ.. ^ This duet is to be played one bar juxtaposed. The second player should start at the beginning after the first player has completed the first bar. Appropriate fermatas are notated at the end. Allegro (B 32) з ^i [iff/r mf i л B ЩЛ5cjp^iE ' Г C* i...- >г г? ' г Ё» ~г ^ л ' Ш " Д. ( it* P *P * > р Р в -т- Л т - = I > fft3 ^ Ч з з г j j * i Л - я

39 Concert Duets 39 у - : fzm- 00 0* p 0 -» «* g*/ mf / 9 9 * ^ mf L ^ г Д H ffl # j * -rl ГТ ~ у 7 - ' ** Wr ГгГ Г г г Г * Т ~ П * ' 0. m P - *~ - = ё TO/? Л p ^ - - ^ p r T V л?t] B&p, Lid i Ыа Г[^ mf izrj * *T p-_i 5 p, Tj" _ Ь * L_i. Tj'sTPjf^ my? я. _ L «Г Г Г Г 'Г i г f r - Су 7 ^ z ^ j - «-a -=-f ; Г Г Ш=4 т Г то/? ИВ* r i r r>r g» * - _ - - Г 5 -. p - p - 9 ^ я p TO/? (У XL р -. ДО ife п з - г - 4 II y. -* ^ i a i " «0 0 m p p * «e С m/ -yf-fc = H' 0 ttcr-fttft F p ш ' U j j i L f l Ц LXI ^tj j^p M M 2 : UL*. ^ 2

40 40 Concert Duets Moderate ( = 92) я * i m P P P P P^P m PI P^ P *t=z: m г? mf f f w mj) Ms 5ЁЭ 3 p p a t * U P p 5fe g mf s: P 3 = У r П Л г -rto #L '~gf «= д = * j=i r j n """I p а jj

$( : ri \ г ^cjf т cj- ^ г Д ЛI ' р^м-» та e-b ^- _ r p w- * г г * Г mf -т- Г C Cр S i Г CC?$

41 Concert Duets 4 Щ 5ЁЭ mf P mm s -B!( : ri \ г ^cjf т cj- ^ г Д ЛI ' р^м-» та e-b ^- _ r p w- * г г * Г mf -т- Г C Cр S i Г CC? р г 9 : г г j j г г * ^ ~ Т ^ Я г г ^ i j*) г г г"* р "I F s П Г ^ г? а рг г j. су ь ь Г If L r г Ь. ' г/г..

43 Concert Duets 43 Щ w I P "if cresc poco a poco mf it "5 f a щ Г > шг * 3. ж ~ - v «<» f-p i 7 P L, 7 g ^ В Г P I E! * ^L, ^, r - ip > П. - f г Г г ^ ^ v, г г Г Г =) Р р Л ' г EU L r = «LLX й Г Г Q j ад Л. Р Р т r* aw ll FT г ЧУ Г Е г 'Г ^- Г -* rf,j'rrrr[_rr-jis -o ТУ

44 44 Concert Duets p cresc. poco a poco m m E T til us nf. sub. cresc. poco a poco. T CLf u i f^f** r f Г Г P ЩТ : Lj* ' Лк V r " ' U i - 99 ш т ш т Ы=5 E f=* i г г ы " rf i г -p p= Mi r p= Г Г г l : i i i n 0 Lr - p * p r «i U <jl ^ 3C TT3 I > r

45 Concert Duets 46 ^ j ^ = ЕСГ (= 4 < О 43 ( H ' i I P * i 3 ЕСТ Г c" Ш T Г Г /7\ m rit. Vivace lightly (=60) if 0>0>F я mm - С 0 mj-тщ- -шу >

46 46 Concert Duets p m щ щщ i i щ =^=r P i LT Elf I TO7 WW да H P E g " г»»v ату mh S g

47 Concert Duets 47 «П}П}ГйПЬ Qj Ш W Ш W - «3 m-m - : "i ^ чг Sfcl i т гггггг m m >»тт rr Fm -'fp,pff^ шш 0 у ' i -===- И - f, d= f т г - я I S U ГГгг Ш - г г P i el_ j g r a t e d ' в P P ш9 " TTT=R 44= *L «Ы V«R = f = ж m 9 j> EE y4 A W m s = = /

$48 Concert Duets ( mp Smoothly ( = 2) g L l n r n *Щ г =аш - г- i я г г г T~"~ itr p =ы= ш [ 4_ =fc= г "*П " -в а -Д ^ ш 0 4 ~ * =Ь ч\_* р* ^9 ^# _[**!$

48 48 Concert Duets ( mp Smoothly ( = 2) g L l n r n *Щ г =аш - г- i я г г г T~"~ itr p =ы= ш [ 4_ =fc= г "*П " -в а -Д ^ ш 0 4 ~ * =Ь ч\_* р* ^9 ^# _[**! г* == L- W w <i * f A, i * > i, j Г] j Г' т i r~r> /'^fri «L = Г r - Г ''- \ [ j u Lr r j j ] ', m ri ^= 7 if mf _ *~ щ Ф #= 4_j? - L. p"~"\ rtf г p i * =T г Г =f = H : Л r> p I ih j_i Лт r]~t> I r / U C L- ij»l Л л л и

50 50 Concert Duets

51 Concert Duets 5

53 Concert Duets 53

$r jjp f r f r r r ", I H щ i i 4 i r; w j -j i j j - f^^-^-zf-- 9 0 r 9 Г ^-s L-ra- _ ZSliZ r~ P M r 3 r i ' > M / T^i Л"^ =^-г-=- (Ufa "PIP. ' P " p P P - \- ; P -L 0 -щ} lip Г Г Г Г г r p - H ^' L.$

55 Concert Duets 55 r d g = - - Г I 'I I I I -i I ~~] i l^ * 2 ~ * j ^ =-^F f m "г? "т-р 4.У Г Г Г V p» * Г f P. f r ^ Г r^~-. m I Г BP m (iii Г ^ П j :: n,""3-3 I г «-,! r jjp f r f r r r ", I H щ i i 4 i r; w j -j i j j - f^^-^-zf r 9 Г ^-s L-ra- _ ZSliZ r~ P M r 3 r i ' > M / T^i Л"^ =^-г-=- (Ufa "PIP. ' P " p P P - \- ; P -L 0 -щ} lip Г Г Г Г г r p - H ^' L. R C= - R -i /l/f Г г "Г Г If ГГ -т-ш щ P-j-* ц Я? fl, г г i r u r r -[- EL * _ 2 )LP I f=f vffi *, * * H, * ^ m s a --a r_ г i[rl Г Г Г =^ / KL _ u «... _ i ^ N = = ^ = ^, ^,,, Щ j «i f " «P...-па «/7Т PI* * f P «" (? r-f Г f r ГГ - * " ff* lk A' j - * ' j ^ j j j

56 56 Concert Duets

Concert Duets 57-0 m > * W-4 4 и т-г ^, i 4 - в «j * P 7 i f PC/* * ^ N = a F «- * т ft- *-w- *-7*=m a * г г < и P C / L-LT 3 ^ =» Л л, - 4 - * - i >.

57 Concert Duets 57-0 m > * W-4 4 и т-г ^, i 4 - в «j * P 7 i f PC/* * ^ N = a F «- * т ft- *-w- *-7*=m a * г г < и P C / L-LT 3 ^ =» Л л, * - i >. si * Ш г i s I * 8 S i I ал, в Urn I j p, I? jj Psjgg sub.p a 7 'fr Г i I? P i P V P ttmt i i Е ЛГ] -5 i I*» p p -4 j ц - p C г i ир* ^ Щ в -F г -т; - - '"Т^ т " -^ -+- k-z i а - >

58 58 Concert Duets mf P-n t -ra P Й" i Лг. П TOR >. > rгз r-i i Л Д i r* - Й" - 5bp pргг^. - д. n r= mf > > i -Vr ' --* b Г^Ч" =п=р= 9 r=i pj «у > I ту 4 им 4 Г " > > и з 4 I -0- > * > «и > > > > i r p»f> ' -P- rn a id - -Pп п г ' pp" * ^ T i P P и. ~ i' mp } ~ ff rl _ p-г» r~r rs l; '»"rjj = \ -f f- r p 0 = H = ~jr ft Pif Я f Ш f rrrrt t r г г r f> i \ s ffffffr ^ й -f> 4 _ % * _^ mf ^ e^ fb 8 та iu *_ ft- i-# -* да s> W vjl f» p

$r p M=s= - ' Г ^ > SI/ r p " f r - ^ p p IГ Г Pip" Г p I я _ ж r r a a P a a sa! чг-р^ /irf г г v-p f = НЛ i r~> ~f~r р Ьр р.- Ц Y q i 7 ц I 7 p mf ap ft=?= " a *t \ * Ё= =«=_.$

59 Concert Duets 59 VT) 4 «' IKfy w) 4=*- и Г Г lit ГПЗ 4 ^, fl «! if P Г Г -=r sab 4 r D ГГ- = p i ft г Г ^ < ' > * я i; ; r if. r p M=s= - ' Г ^ > SI/ r p " f r - ^ p p IГ Г Pip" Г p I я _ ж r r a a P a a sa! чг-р^ /irf г г v-p f = НЛ i r~> ~f~r р Ьр р.- Ц Y q i 7 ц I 7 p mf ap ft=?= " a *t \ * Ё= =«=_. *~p"~-~0 e j _H p j» 7 Г ' } ' д 7 i_. «Д- =; rrj Ш 0 ~f + P C p r~ ш л я -4 Г" ri p i n м р* с Г p L. Чф* «Яг IH т ft- Г L p * -p -H r -к HV- a " - г ft - -в U p_p -e - j -Г* У w У rt i Г г p - р LLr If г 7 р_^/ m/" ~c r, я ^ P P -P i 'Г j L

60 60 Advanced Etudes Advanced Etudes

61 Advanced Etudes 6 F MAOR-F MINOR Sempre staccato (j = 68) 2 ^ P i t j j f $ b j j j 7 I Як. Ii V k» h Л Г я я я Г ш, к Я Я Я ш ' ' PLTC Я) К" р k''i> ГЦ Л II " ш я я ш я я - W 4 = Тг _Ь а "г Р я Г T P _Г f я я я - ^ «^ р ^ ^ р * ^ i'i> Л, r. и j Г "jj jff mm i s * п яш Утя *f _h Ъя -уш ha?в 7 _Р pfajt^ Р * AZ-d i я ця vw т я -5 >. 7 я" ИР»» я

62 62 Advanced Etudes в!> MAOR-B' MINOR. «-~а г ) ^ ' таг ^ ГРР'Ш r " p ^ frnr P я я^ / д > - mf ^=, р>, а [Я «74 FF я я f F а> * У 'ч а Я V I 0 ' м>я 7 0 Zgml Я ф / л Г"ч * f- ГГГя # г ш к [[If?-aV- а я у а р -Л ьь» \ ш 0 i Pi* Р ча я-0 / ' т / -* = ifjo- - lsjj ijjrvjy ; ь Я- -> i P-Ц a ' * d M 0 y^ d K 9 d~ a ~ ^ 'ч~ a) T mj> 0 _ I mf EE my

63 Advanced Etudes 63 ё> MAOR-EI' MINOR 4» Vivace ( = 00) A 3 (y, 4 ^ рок 3 5 h U - 4 ~ «-*" =«и ««= 4 & = ^e* з з L - з E ~~3 Ё Ы mf i ЕЕ M г f mi

64 64 Advanced Etudes

65 Advanced Etudes 65

66 66 Advanced Etudes я Я F F p Orr-ni.. f Ш i i i $ ^ Ш : / ЕШ / - 3 mf p _L_ m L -г-... f i n 4 p f y-^p r * ш : 4= P Я r - f t ' Iе я я F _ m mf p - * я -P я f^j i я «~f у ь ь Ft MAOR-FH MINOR Quickly, lightly ( = 26) ^ > ~~T~~p ^ =r=-^; -i \ _ML* u L] " f Я rit PP f m

67 Advanced Etudes 67 pp^ mm тя Т Я00 mm 3 Ff «I т' т Г я ГРЁ At -ft- Щ imp Л)=щ m mm я m w - Ш Г я л m I m m 0 b^4: m - i ; m j j. f i 5i g да -m l=^=i ~ к j) 7 * - -** WWW w ««V 8 4P> # r- m Ч» * m t m и Ш m (ф п ^ff CLpT -j* m f mf t ' w fcu t 4m 0 * Г r Г ГI - С И I с_ 4 ь4=н fl* ЛЯП» ^ к- ш.. ш! t ^ ' mmmm a 4fr -f* ч m я -m С < / -«mp =5H! 3. p» > > === П I i=~ } ^ ЕГ :/ > p> T

68 68 Advanced Etudes

69 Advanced Etudes 69 # i i P p p P I p j i > О i..f.... [r f ' Г j j Г Г ' ' Г! If О 4t P > ^ г :ir P * -o* " * Г 4 N T ' ' - 'r E MAOR-E MINOR A Allegro ( = 60) - s Ш i Щ i j"u Д j Ш pp simile Ли Л f rrrccrccrccf p -p mr- Ц Н И И ffii^ Tl TfF >]] H m Г Т Р F \. ш) я ^ [fr ^ т я mjr Й * ЯГ P H ft $ U - В Д > (jfflr ^ * cresc y.

70 70 Advanced Etudes тугт i PjTUr CO L ССГ CCP *. ^ (иг я ifггр* U j j щ a Г,Г f rr r^ftf LLTC L jtt 7 >, mf mrt та/" сити г ш Ш 4! P S p f* я f* LC-ELLI ULr ч А А A MAOR-A MINOR ю Very slowly /freely ( = 66 ) К. ^ p V m Г PC 'Г,.... ЖШ A W r ll n mp P» m L 4р=Ь i=& Г P ч i "- i i ГП6] p~^l Г ^ - 77 Ш Г 'Г - г r.

$Advanced Etudes 7 Slightly faster ( = 76 ) $ P c Г ^ - ji* - ' mf Ь C4 mf т T T i i f7t\ ГГ-л i У^ГЧ* Д»\, в Ё_ц»_.. я 4 [f Г Г П " Ш -«-Я* «T r Гг7> ' I \W _.. -ф ^р y nr.$

71 Advanced Etudes 7 Slightly faster ( = 76 ) $ P c Г ^ - ji* - ' mf Ь C4 mf т T T i i f7t\ ГГ-л i У^ГЧ* Д»\, в Ё_ц»_.. я 4 [f Г Г П " Ш -«-Я* «T r Гг7> ' I \W _.. -ф ^р y nr. f м Tempo_l_ ( = 66 ) fen g z. Г' Рр'Г 4 ^. i7r "~r < ^. - = ^ 5 ^ -»-я> \ u - * ~ - x ^. i "7 W 0 -- * p Hi mf > / ^ " 2 #=4- p ~*4» N «rr 4j= г Г j \ D MAOR-D MINOR Vivace ( = 60) - w p у < Н» Я»-р Ж~Ш *" ш M Р-Р ж ж Г*"Р~~ 2 prf- WW- = t > ~ :яэг * «mm я я Я~ яц т Я! 0- я '00 ттш i U a Я ЕЭС ЯЕЗС Я Д тр эта:

72 72 Advanced Etudes m }f m 0> mm MM. w m m MM I СЕГ j" Г СГ I j- ^ -P :===( ^" = = j l * f * # * w f 7Н.... я 4 -d-._ i «

73 Advanced Etudes 73 G MAOR-G MINOR Lively (# s 26) 2 i Ф ft *i ' mf =& д - i * э Г T s -Tl Л '"г f - ^ / г v <p г i» r^- =%= I LT [j_? i r r - ^ = ^ = ' '/ ' ^ ' 4*= т f~ я -* -i>,, j г- с - if Ф ri I я ё 9 i _р I U-' П.->, Л "~r» r-r-, i 3 Э H F f 7 m\e* d *m\ ё я я - я ё ё т я я f Г > mp I f~~~m = " Я = = = = = ^ Шшш» Я, ё ё ё Я U ч mf ё * ' ^ Р Г i^ff^ ~ N - j ч ^ - Ь / «i -A ё i- j ё ZM Ф Ф fp 3! 4 я a - -hё- i x^; йи=р да -ф ё~щ)~ ш т я ё ё ш т я F^i I i - p f l i i с-** ё -d-> *-ё ч - ё ё Yi mf ^ r* w я ===# b Fl 9jp \ Я ^^_ф Y~i я^г ~~ LT О -

$74 Advanced Etudes iof= Г Г~> E ^ ^ = =! = L I U. - ^ = ' : : j, / ^ Л ^ g Г г r^/ - ^ = - -Nr- j - v Г \ f -3- d!$

74 74 Advanced Etudes iof= Г Г~> E ^ ^ = =! = L I U. - ^ = ' : : j, / ^ Л ^ g Г г r^/ - ^ = - -Nr- j - v Г \ f -3- d! ш : - ^ T ~' «j 3 Ш D LYDIAN-A MIN OR, Spirited, marc ato ( = 60) ) г T " 4 j= -3 -I f # Л > л г ^ g_jr r p_*t, \ ш u ш > _._. _. _. * _. ~ M > i i i i p=i,ii 3 i ^ j, i j ^ j j ' - ^ j j " i7^' ^ Л I I I i i I I I i i I = «ф ^ «У.. i ^-T--, n ^ i h m, Г Til T P "T \ \ mi Щ mj штшшт ттштттяттт _._(._. _... "" * i * * # * 9 i i i i i i i m i Я П i mj я Я w с ф mi mi.l * * ^ ш Ц -f ; 4 = ^= * У

$9 m 4 L ГЗ [ j \ U и лш mm mm i P~5 9 -m- «Я и p j IT. _ -«."» _» : / - п r!$

75 Advanced Etudes 7~' я я P 5 * Г H I 3d * Я f t * ««* - -я _. 9 m 4 L ГЗ [ j \ U и лш mm mm i P~5 9 -m- «Я и p j IT. _ -«."» _» : / - п r! t \ я CHROMATIC 4 -I ldi mj)

76 76 Advanced Etudes

77 Advanced Etudes ftm. ii lu _] Ц Hrr Г r *- km 4 l - W ITW ; B 4 #7» r w TK) mf f ff mj) ц»»ууу УУУУУ (f ^^^^^^^^^^ Grand Concert Etude 5 A, 4 ч V, - jt~^ =5 У~»» Tr I - r-t = ' PLTE -? * j 5 r m mp -

$78 Advanced Etudes Slowly i 0 * It f) simile «a \-mi-* -m ш 0 * 0 * * Д- - U P -0 M 0 я -~ 3N=i?resc. p о со а LIS ' poco.$

78 78 Advanced Etudes Slowly i 0 * It f) simile «a \-mi-* -m ш 0 * 0 * * Д- - U P -0 M 0 я -~ 3N=i?resc. p о со а LIS ' poco... Fast ( = 60) i 4 ч РГ Т 0 l Hi m i, p > -P л П «Г^ Р^Т"» "~P P -ft- IH U l l = H : f t - ' р Г p~~w У = r f 5- ^~ g-^p f м 4 2 X - / > ' ж -4 - и.- N i I "!. 0 ^-Kf- '* Cj P" - 0 B 0 я я f - i - Ш 5 7Л./ С/ COS I" "C" CLrtf EE ^ 5 m го/ = >. >_ f 5& щи

79 Advanced Etudes 79 * 7' fib / 4 LT Г «< 4 «? 7? i4=fjp=. *>~p.у..._i_;;p * _ ; г. m ir, T W* i p ==Ы= - mf if- ^ й ч_у 4 = rfrfr i гъ, i T ' 7> ' Г, ; j */ V B *"rd = т*ч» 4- m it Lf ^tf _. :> :> QT Lf IUT L I Ltf L I US i Slowly, freely ( = 92) HP f -»!/ [ IN l il± >< " \» Щ i Ч Ш Щ W w г г а j j ШI j B " r Fast ^7N m ( = 60) rtr pltfr r Л Л F#T i,,- 4-. Ш ^ If c -4 _>IH

80 Advanced Etudes Ш з з 3 3 mji 0 0 0 Ш 0 a i ~3 3-0 0 0 0 I ^ - / P f fell 9 IHr-f r m C Q <f "> *~?т^гг > :ГЗ i - f h ULT i -m Tempo ff m Tempo I f Wfe 77./ к i П *-.

80 80 Advanced Etudes Ш з з 3 3 mji Ш 0 a i ~ I ^ - / P f fell 9 IHr-f r m C Q <f "> *~?т^гг > :ГЗ i - f h ULT i -m Tempo ff m Tempo I f Wfe 77./ к i П *-.= P i f -K i Г m 9 * я ~ W Г я f^f 4 y «-^ m/ L» ft - f i -e - f ЯК. -i» i -0 л 0-, * CI ^ M U./ Lj- Uj L\LS ' я -0-0 Slightly slower than Tempo I я Г] р~ т marcato m; Si ET cxr LC'CLT LT" cttf bctf bctfg»тг0шг0я т 0я 35» cresc. 3 3 ff f Fast subito _2 L ПГ. > > >

81 THE TRUMPET METHOD BOOK з MELODIC STUDIES An Intermediate/Advanced Method in Three Books Allen Vizzutti Alfred

uninsta un in sta 9 weights & italics 5 numeral variations Full Cyrillic alphabet

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