Viz - Book III

8/13/2019 Viz - Book III

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T H E

T R U M P E T M E T H O D

B O O K зM E L O D I C S T U D IE S

A nIntermediate/Advanced

Method

Allen Vizzu t t i

[dlfred



2

I N T R O D U C T I O N T O B O O K 3

НЕ MELODIC STUDIES contained herein represent most of the trumpet techniques and harmonic matedeveloped in Books 1 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 1 and 2 should be studied extensively. As always, trumpet players shoulwarm up thoroughly as detailed on the next two pages before playing anything demanding. This is necessaryin order to consistently improve one's playing rather than just maintain the status quo or possibly regress. Referto Book 2 for text on expanding one's musical ammunition with systematic study of harmonic material.



P R A C T I C I N G

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 inthree 15- to 30-minute segments, resting where necessary. Segment one is the warm up, segment two is technicalstudy 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. Y o u must be your own best teacher. Listen with honest ears. Always try to improve. When problems occur, refer back to fundamental thoughtson breathing and sound. Most problems will correct themselves. Best wishes and good luck.



4

T H E W A R M U P

Ы ORDER TO ENSURE consistent improvement through practice, it is absolutely essential to warm 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 partwith variations for each day of the week. Remember to concentrate on the basic fundamentals from the firstnote of each new practice day (i.e., beauty of tone and utilizing large volumes of air when inhaling and whenblowing through the horn). Finally, prepare mentally to approach whatever exercise or piece of music you areabout 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 slidedownward. Keep repeating until there are no gaps. Buzz anywhere from a few seconds to a few minutes. Be aggressive anddemanding of yourself. It is possible to improve your trumpetsound almost immediately by working on the mouthpiece.

For extended buzzing, use the following triads. Check pitches at the piano while buzzing whenever possiblBe sure you are producing a fat, forte tone.

— J —

•cs

—»~

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Ф -'—J—

$ а i > J 1

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5

® Approach the following exercisesmentally as if playing one long note.Articulate heavily. Make the legatonotes very long and the marcato notesfat and spaced—no breathing allowedin the middle of a line. This method isan excellent tool for relaxing the lipsand warming down as well.

For additional loosening up,repeat the preceding exercise 8va,resting wherever necessary.

® Play long tone exercise #1, 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 dueto 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 1 that are indicated for each appropriate day. In this wayyou 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 n o t necessary to play the studies higher than third space C in your warm up, though advanced playersmay wish to do so. Ideal warm-up time should eventually be 15-20 minutes.

® M o nd a y Book 1, Technical Study #1

Tuesday Book 1, Technical Study #2W ed n e sd a y Book 1, Technical Study #3Thursday Book 1, Technical Study #4F r i d a y Book 1, Technical Study #6Sat urday Book 1, Technical Study #7S u n d a y Book 1, Technical Study #8

In my opinion, lip slurs (except in the lowest seven partials) are not a particularly good warm up. They arephysically demanding and, therefore, useful later in your practice time. Lip strength (more accurately, thestrength 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 packageare based on efficiency of breath control, not brute strength.



6

P E R F O R M A N C E A N X I E T Y

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 inorder 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 ogreat help when done frequently. As a useful by-product, the more one performs and is heard, the more likelyone will be asked to participate in other musical settings. That is the process through which one rises to the topof 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 confidentlthrough the instrument. This is the one fundamental you should always fall back on when you find your condence faltering.

© Finally, stay in present time. Don't worry about what has happened or what is coming. Don't sacrifice aentire 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 slipswell.



Intermediate Etudes 7

I n t e r m e d i a t e E t u d e s

120

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8 Intermediate Etudes

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Intermediate Etudes 11

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12 Vocalise StudiesV o c a l i s e S t u d i e s





14 Vocalise Studies



Vocalise Studies 15







18 Low-N ote EtudesL o w - N o t e E t u d e s

Sempre staccato (J = 144)

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Rhythmic Etudes 21

R h y t h m i c E t u d e s

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22 Rhythmic Etudes

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Rhythmic Etudes 23

W ith spirit (J = 160)

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26 Rhythmic Etudes

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Rhythmic Etudes 27

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28 Rhythmic Etudes

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Rhythmic Etudes 29

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30 Rhythmic Etudes

J - 126

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Rhythmic Etudes 3

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32 Rhythmic Etudes

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34 Concert Duets

C o n c e r t D u e t s

Allegro (J • 126)

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C oncert Duets 3~



36 C oncert Duets

4

Allegro marcato (J = 152)

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38 Concert Duets

Jh i > г Я_ id * — t »—•—* i• p — m :

p " - c J >^9

> :

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4

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» ' mi ' m i

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P— ж 1# — > —L L L r Г Г Г И 1 Ё Ш . — ^ —

This duet is to be played one bar juxtaposed. The second player should start at the beginning after the firstplayer has completed the first bar. Appropriate fermatas are notated at the end.

Allegro ( J B 132)

з î [ i f f / r i л J B Щ11Л5cjpîEm f

' Г C J* i

> г г ? — ' — г

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- = I — > ffT31

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^ Ч з з — г j j J * i

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Concert Duets 39

: f zm - 00 0* 1 —p— 0—• - »у — - « J * J g * /

m f /

Д H ffl

9 9 J J * J ^ — •

• ' — • — •• — •• ** •

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Л p ^ - - ^ p r T V

- — = ё JTO/ ?

л J ? T ] B & p , •у 7 J J J -

i Z r j — * •

J L i d i Ы а£ Г [^1m f

—*T1 •— p-_ i 5 p—

Ь * J , • TjJ " _

J я .

L _ i . T j J ' s T P j f J ^ J

my?J_ •— J — •— L J « —

г f r -

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Г Г 1J Ш=4 J 1

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т о / ?

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g J » * — - — _ — - —

J — J — a J—i

1 9 — ^— —я pTO/ ?

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Concert Duets 43

Щw

i f

I P

cresc

it — 5 —f

poco a poco mfresc

it — 5 —f

poco a poco

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•f - p — i3

J .ж v ~ —-

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JP I

—

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1 J , г г Г Г —=) Р р —

Л •1 • ' J

г EU L r =1 «—• L L X J 1

й Г Г Q j

Л . Р Р т r* aW ll

ад

F T — г

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rf,J j'rrrr[_ rr-jiS - o

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4 4 Concert Duets

mE£T i l

sp cresc poco a poco nf.

sub. cresc. poco a poco

£T CLf £u

J J J — f ^ f f Г ГP

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Concert Duets 46

1 ^j J

^ =J J

ЕСГ ——J J J • 1 — •

(=11 14 <J О J 43 •1 ( J J J J H—• • • P *

i 3

ЕСТ Г • c J "

Ш £1 T Г Г/7\

mr i t .

Vivace— lightly (J=160)

i f

—0>0>F я m m -С

0— m j - т щ -

- ш У>



46 C oncert Duets

p m щ щ щi i щ —= =r

P i

L T Elf I JTO7

W W

даH P E g

"•г» »v ату m hJ S J J J J g



Concert Duets 47

П } П } Г й П ЬQ j Ш W Ш

W - : «3 —m-m —"i J ^ • чг

S f c l J i т ггГГгг1 m m r r F m 0

>»т т ш ш -'fp,pff г - я J —у—J ' i —J - = = = -

11 И - • f, •JJJJd=£f

I S •U J J Г Г г гШ - 1 г г

P ieL_ j g r a t e d —' • J

в P P ш 9 — T T T = R 4 4 =

R = f =

—*L J J J « Ы

ж m 9

VJ «

—j>E E • y J 4 A • W — 1

m

s

— = = /



48 C oncert Due ts

Smoothly (J = 112)

T ~ " ~

• * Щ г=аш 1- г- — i

( mp

l £ n rJ g L J

iT r np =ы=

г—"*П "

я

ш

г г г[J 4_J J fc J - в —а -Д ^ 0 ш

• 4

~ 1 * — •р*

J ^ #_[** г*1 == J

=Ь —ч\ _*J ^ 9 •

L-J • W w J <i * f —

| A 1 1 , i > i , j Г ] 1 J j Г i r~r> / '^ fr iт « L J J =Г r J - J Г J ' '- J \ J J [ j u L r J

1 r j j ] ' J , 1

mr i 1

— •

— _7

—

^ =i f

* ~ щ —

p"~"\

1

rtf—гm f

p i

1Ф #=4_j? -J L J . 1

1 г Г=f = H :

Л r> p IiH j_ i Лт r]~T> I

*¥=T

r / U J J CJ1 1

L-J —ij »LJ 1 J J

Л

л л и





50 C oncert Duets







Concert Duets 53





r d g = - -J 1

Concert Duets 55

1 Г I ' I I I I - i I J ~~] il ^— 2 J J — * J j ^ —

f m " г ? — " т - р —

J J J J =-F J JV p » „ * Г f — P . J f r ^ Г r ~-

4 .У J J J 1 1 Г 1 1 1 11 Г Г1

( i i i Г ^ П n , J 3 I г , r

. m m I Г BP

f ^ ^ - ^ - Z f - - 9 0 9 Г ^- s — L - r a -— • 3 J j—::J - « - —

j j P f r f r r r J | ,1 I H — —

_ — ZSliZ — — — • J

| — r ~1 P M r —

щ i i 4 i r ;w j

- j J J i j j -/• J J T ^ i • Л " ^ = ^ - г - = - ;

3 r i J ' > J J J M J 1

( U f a — " P I P . ' P " p P J P -J —\-1 P -JL J 0 - щ }

lip Г Г Г Г „ г r p - H^ ' 1 — 1 R 1 L. C=

/ l / f г г Г г "Г Г I f ГГ

-J 1 R - i 1 J

- т -ш — щ P- j-* J ц 1 Я •?fl, г г i r u r r | - [ -

)LP 1 1 1 1 11 1 I J 1 1 1 f = F

ELJ * _ — • J 2 J

^ m • s 1 • a --avffi * , — * * J H , — * —

/ JKL J J _ u.„ ... . - • «. .. _ •

r_ г J i[rl Г Г Г J = ^

• « i f " « •• • P ....-па •—«i ^ N = = ^ =

^ , | , , | ,Щ J J J J J j J J

/ 7 Т PI* * f P « "(? r-f Г f r Г Г № - 1 —

* J " ff* J

lkA' j J J J -1 J 1 * ' j ^ j J j j



56 C oncert Duets



Concert Duets 57

— —

4 и — в т - г ^ — , — i —

—- 0 —m> •*

— i fW - 4

^ N = a F «

• 4 — • - *

- * т — ft-— * - w -

j — J —

•

*-7*=m 1 a * г г

P 7 P C / * 1

= » Л л ,

— *

P C / 1 и L - L T 1 —1<3 ^

- 4 — - * -

i i> J.

si * Ш г J s

I * 1

8 1 S i I

Urn л , в 1 I j p , I? jj Psjggaub.p

1 7 'fr Г iJ I? • P i P V Pitmt

i Е Л Г ] - 5 — i J I * » p p

Щг• - т ; - - 1 '"Т^—т —

иР* ^ ™-F

•-^ - + - k - z

-4—j1 ц - p C J г i

i а- —•



58 Concert Duets

rJ ГЗ r-i i Л Д i—— r*—Й"mf —

4Г J >

• >

и з

> >1 J J ~i'

m p~ —

'

- 5 bp p РГГ

4I - 0- >

>> >

i r p»f>

i

P — P — и. ff rl

- д. n r=m f

«и 1 '

rn a _—p-г» lr~r rS

P - n — •t— - V r

-J-*—bJ id J -

-P - - P -

п п г'»"rjj

11 =

= H

= ~ j r

— ГЧ"=п=Р=—9 —r =i

J ft Pif-ra— P —

> >— i

| и м

' p P"

J 1 \ J

-f—f- —r p 0 Я f Ш f

8

Й" i JЛг. П

pj

1 «у

I

ту

•* 1 1 1 1 1 1 1 1

T

rrrrtTOR > J .

>>

4ÔR

tr¥ г г r f> i \ f f f f f f r ^ •й— J-f> • Jта— i-

u

4 — _

*

_ *_mf

— ê f b

— f t -

i-#

-

да 1 s > W v j l f 1 •» J p



Concert Duets 59

lit ГПЗ 4 — ^, >* я i; ; r if. r p • •

VT) 4 J

| «J '

fl J « •

if - = r

4 r

D — Г Г - = — p — iM=s=- ' Г 1 ^

SI/

f — r - ^r p

• — p —p IГ Г Pip" Г p IIKfy w ) 4=*-

и Г Г

J sab

P Г Г

J ^

ft г Г

'

я _— ж

r 1 r

• J a a P a a

/irf г г v-p f = •

— J s a

Н Л i r~> 1

чг-Р

~f~ r 1

р 1 1

Ьр р .-Y I 7 p

m fa *t \

ft=?=Ц J q i 7 aP

1* Ё = • = « = _ .*~p"~-~0

} J 1 •i_J J 1 J . — « Д -1

= 1 rrj Ш

ш л я 0~ f +

ц| J J J

e

j _ H

1 1 1• p

P CJ J p £-4 Г " ri —

— r~p i n м

_ _ j » —

т ft-L

7 Г '

Г

'— д 7

-к HV- • a "

р * J с Г J p L.- — г — ft— -

— p — •*•••J -p

-H—r71

— — — - в —

m/"

Чф* «Яг J J J IH

• rT i Г г

J J U J p_ p • -e - J J — J j - Г *

р _ ^/

If г J

У w У

р L L r1 —J p - • —1 J~ c

1 1

—J p - •

JJ,

я 1 1 • J P P -P i — 'Г j J L



60 Advanc ed Etudes

Advanced Etudes



Advanced Etudes 6

F MAJOR-F MINORSempre staccato ( j = 168)

2 ^ J i t j j f•

$ b J J J j J J J j j J 7 J J J J J J I

Як. Ii V k J » h Л Г Г 1 ш , к—J я

я

1 Я Я Я ш • J ' ' PLTCJ— Я ) — — —

К "• р |k''i> ГЦ Л |

II " ш я я ш я я

W 4 = 1 -1 1Тг _Ь а "г Р я Г T P _Г11 f я я я |

1 - ^ • •— « ^ 7 р 7 ^ — ^ р 7 7 J — * ^

i'i> Л , r J . m mи j Г " j j j f f

i s *

п я ш У т я *f _h Ъ я — - уш ha ?в — 7 _Р pfajT^ Р — *AZ -d— i я ця v w т я-5 • >. 7 я И Р » » я



62 Advanced Etudes

в > MAJOR-B' MINOR

таг ^— Г Р Р Ш r " p ^ frnr P я я^ /

J J. J «

д > -

-~а J J

^ = , р>, — аF F •

г • J J '—• [Я 7 4 |«

я я f F а> 1* 1

mf

У 'ч а Я V I

0 '• м > Я— 7 0 Zg-

ml

Я ф л f- ГГГяГ ч|* » \

# гш к — [[If 1 ?-aV- а — яу а -Л р ь ь

1

ш 0 i P i * Р—ча-

я-0

/ ' т

— = ifjo- — - 1 — J lS j j i j j r -vjy | ; ь —Я - 1 J ->J i P-Ц a * d J M 0 y ^ J d K 9 J

0 _

J J I J E E~ a|~ ^ 'ч~ a) Tmj> mf

my



Advanced Etudes 63

ё> MAJOR-E I MINORVivace (J = 100)

A 34 »рок

з з JL £ з

~~3 EЫ

3 5

J h U - — 4 — ~ J J J J «

(y1, 4 1 — * J J Je*— •—• —

= « и •« « = 4 & =

m f

i ЕЕ

M г J Jf

mi



64 A dva nc ed E tudes



Advanced Etudes 65



66 Advanced Etudes

я Я

f

• F F p • O r r -ni .1 J .1

Ш i i i 1 mг - . — 1 . . f n$ ^ J J J J

J / -• 3 mf

_L_J L

ip•: /

Ш Е Ш1

p f41

P1 Я • •1 r - J f t 1— 1 1 '

y- p— r—* J Jш

: — J — • • 4= я я Fmf

_J J m

• p 1- —

- P 1 • f ^ j iя 1—• • я « — •

~ f1 ^ —> ~~T~~p ^ =r=- 1

-i— 1 \у ь ь J —J

Я

f

_ M L u L]

r i t

" f J 11

PP

F t MAJOR-FH MINORQuickly, lightly (J = 126)

m



Advanced Etudes 67

pp ^ mm тя Т Я 0 0 mm

3F f «• I т ' т Гя ГРЁ

At -ft-

Щ imp Л =щ m mm я _ _m w- Ш — Г я л

•— I• •

m • m 0 • „- i 1 1— 1—m — •

b 4: • m

m 11 j JJJ J j . f i¥ J5i g

да

l= =i-m

~ к j ) 7 *—J - 8 -** — WJ WWJ w ««V 4P> ——

1 #1 1

r- m m t • • — •Ч» *m

4m 0

•*Г r Г Г I -

• 4

ь 4 = н(ф п f CLpT m и — Ш - j

— m

fcU—tf

1 С И I с_

•» • • •

•

fl* ЛЯП |mf

—t— w

^ к ш .. ш t • ^ '—mmmm a —

4fr -f* ч— m я—-m С

< -«mp

£ = H J J3.

p»=== П I i=~

> >— }

>

p>T|

: /J 1 ^ —ЕГ



68 Advanced E tudes



Advanced Etudes 69

#i iP Pp

I 1 p j J > О i [r— J J 1f 1 1 1 1 ' Г j j

.. f ... .

P• Г Г 1 ' J ' Г f J О

:ir P — * — 1

г•> 1 1 1 1 o* 1J * Г 1 4 J J J N T ' ' -• ' r 11

pp

E MAJOR-E MINORAllegro (J = 160)A — 1 Ш Щ J i j"U Д J j Ш—

4 tsi mi l e

Л и Л1

fr r r c c r c c r c c f 1

ffii JT l JTfF

— p — 1-p m r-

>JJ]J]

Ц Н И И

H m Г Т Р |^ [ f r ^ F \ . т ш )яя

mjr

Й P Hft

* ЯГ

$ JJ JUJJJ - В Д > ( j f f l r^— * cresc y.



70 Advanced Etudes

1 тУгТ i P J j T U r

1 * . (иг я —

1

COJ Li f Г Г Р * Г ,Г f r r r fT f

ССГ J C C P

U J |j j щ 1 a LLTCJJ L j T T J 7 J > J ,

1mf

mrt

та/

с и т и г ш — Ш

p f* я f*

LCJ-ELLI U r

4P S

чА А

A MAJOR-A MINORVery slowly /free ly ( J = 66 ). ^ p V mю

Г PCJ 'Г,.. .. Ж Ш

— • A W J 1 r l l n J J 1

P » m L—

mp

••1 —i

4р= Ь i= Г 1

Pч i

1 - J 1 i

1 Г 1 П 6 ] p~^l Г ^ 1 J - 177Ш 1 Г J ' Г -1 г J J

rJ .

1



Advanced Etudes 71

Slightly faster (J =76 )

J T T 1 i i f7T\ ГГ - л i$ P cJ Г — ^

mf

-•ji*- J '

prf-

У ^ Г Ч * J Д

» \ — | , £ в _ _ Ё _ 1 ц» _

- « - Я * «1

T r Г г 7 > 1

•

Ь J 1 J C J 4——mf

.. я4 [ f Г Г П " Ш

I \ W .. -ф —р Jy

т

f м Tempo_l_ (J =66 )fen g z № .

Г' Р р ' Гnr.

4 ^ J . i 7 r "~r—. -

= ^ 5 ^ -»-я>. i"7 W 0 - -•—*•—p 1 H i

£J J — ^ \ u * ~- x ^ —mf

> / ^ 2 1 #=4-1 p ~*4 » N«

•rr 1 1 4j= 1 г J Г j \

D MAJOR-D MINORVivace (J =160)

J J -J •

w pЖ ~ Ш*1"

у—<•ж ж —

Н» Я»-р • 21 ш M Р-Р Г*"Р~~

WW-

= № t 1 > J • • ~ :яэ г • 1 00mm • я я

1 яЦ

* • — — «Я~ Я 1 0-1 т т ш U a i 1 Я

т

•ЕЭСЯЕЗС Я Д э т а :

тр



72 A dva nc ed E tudes

w m mm 0> m m MM.

mf

MM I СЕГ " Г£СГ I £££j- J ^

-P • :===(

^ = j = l

f * w *

f

7 Н 1 . . . . я — 4-d - J ._i «



Advanced Etudes 73

G MAJOR-G MINOR

12 i

Lively (# s 126)

1 д - i 1* э Г 11 T s - T l 1 Л ' " г f 1

2 i

1Ф ft *imf = & J—

— ^ —

— г — i —

-—J—

—r^-

/ г v • <p

— ? i r r - ^ = ^ =

4*= т f~

— —

я —

=%=

-*

I L T [j_

- i > , , j

J ' ' / ' ^ '

• —Ф r i I J 1

— 1 г - с 1 - —i f

я1ё 9

i J J

1 П .-> , 1 1 Л "~r » 1 r-r-, 1_р I—U-'

3 Э H 1 Fi

я я f Г 1 —>

f7

I f ~~~m

m \e * d*m\ ё я я - я ё ё т J

= Я = = = = = ^mp

•Шшш» Я , ё ё ё Я —

Р Г N i^FF^—~

« —

U 1 ч

• mfJ ё

йИ =Р

* •™ '

я ё ё ш

- j — — ч ^ -

F J J î I J J J J i - p f l i i

/

Ь

- A — ё — i -

Z M ——Ф Ф f P 3

j ё

да

ш т т я-ф

— 4я a - - h -

ё- i x^;

—Yi

—

—•—r*

ё~ щ )~

я

с-** ё -d->

=== b Fl

• * - ё ч - J J ё ё J

—Y~i я ^г ~~ J - J — - ——

mfw 9p 1

\Я ^^_ф

1 J

- L T1

О -



74 Adva nc ed E tudes

Г Г~> E - £ ^ = = ^ = ^ = - ^ = : : ' £ - — Л g Г гiOf=

- N r - j - v Г \ f -3-

J L J I U . J J 1 j , / J ^ J 1 ^ r ^ / 1

£ d J ш — : - ^ T 1 J ~' 1 « — j

Л > — • л г— 1

13

Ш

D LYDIAN-A MIN, Spirited, marc

№ ) г T

g _jr r • — p _ *t , J 1—1 \

f # ш u ш >

ORato (J = 160)

13

Ш4 1 J

-3 J - I J J J J J

M >

_ . J _ . J _ J _ J _. J _. J J J * J _. J J • _ J _ ~

i i i i p =i — , i i — 3 —i ^j 1 , i j ^ j j ' - ^ j J j 1

J J i 7 ^ '

—^ Л —I I I i i I I I 1 i i I — =1

. i 1 -T - - , n ^ i h — m — , Г J T i lT P™ T™ штшшт \ ттштттяттт \ ——m— Щ • mj—

— « ф ^ « У .

№ i *

_ . _ ( . _ . _ | J J J . . J . J J J • "" *

1 i i i i i i i 11 m i | Я П i №

# * 9

- f ;

J mj я Я w с 1—1 ф mi mi . L J J J ^ ш 1 Ц

4 =

^ J 1J У



Advanced Etudes 7~'

я я

P 5 1

* ГJ H I J J J 3d

f tЯ

—

1 1—«1— —«1—

—* -J— J —

-я J _.9 « 1

4 L ГЗ [ j \ лш mm m m i P~5Я —и • — p j

— • — • 1 UJ и — 9 - m - •: /•

- 1 — п— rIT J . J _-«

."» _•»

t \я

CHROMATIC

14 -I ldi

m j )

•



76 Advanced Etudes



Advanced Etudes

ftm. lu _] Ц Hrr Г r *- • km - •

4 1 l1 W I T W

— | ; B

1 4 #17»

r w

TKJ) m f

f ff

m j )

^ ^ ^ ^ ^ ^ ^ ^ ^ ^ц »1»ууУ У У У У У ( f

G ra n d C onc ert E tude

15 A, 4 —ч — V— 1, - jT~^ У ~» 1»=5 1 J T r1 J I - r- T § =1 1 ' P L T E

5

- •— ? J J 1 * jr m

m p -



78 Advanced Etudes

Slowly

i 0 —It—•

f) simile-1 J U • P 1

-0 —M 0 я ~ 3N=• a -m i-* • m • ш 0 0 Д-

?resc. p со а

J LIS 'poco. .

Fast (J = 160)

i 4 ч Р Г

l H i m— , —— л — П « Г ^ Р ^ Т » "~P • P -ft-

— — p >• -P — J 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 1" 0 - K f -' • J * Cj — P "— •- 0 —

0я я — f - — i -

Ш 57Л. /

С / COS I "CJ" C J L r t f

EE

^ 5 m

1о =

> . >_ f5 & щ и

http://-mi-/

http://-mi-/

http://-mi-/



Advanced Etudes 79

•ib• . *>~p .У . . . _ i_;;p — _

/

4—LT Г i4=fjp=;

;j * V— *"rd—5—-

' Г 1,1

-—•=—т*Ч » — 4-

— * • J7'

«< 4—«7?

mJ it

1г . m 1 J ir, J TW* 1

i — p ==Ы =- mf if- 1 ^ й ч_у

7>J L f 1 ^tf J J _.

4 = rfrfr i г ъ i J T' 1

Q T Lf I U T L J I L tf LJ I US

:> :>

iSlowly, freely (J =92)

P f

- » / [ IN 1 lil±J ><J \ •»

Щ J i 1 Ч Ш Щ W 1J w

Ш IJ j B r

7Nast (J = 160)

mг г а 1 j j

rTr plTfr r J Л 1 Л F # T , — — - _ _ —4-

. J J Ш J

^ 1 I f cJ J -4J—J _>IH J





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Viz - Book III