104 Progressive Exercises #1-Cornet

Cornet ou tout Saxhorn Clé de Sol-Little known composer Pierre Clodomir lived during the 19th Century and worked as a brass teacher. His study guides including Complete Method for Cornet and Saxhorns in treble clef have accompanied many brass player's instrumental technique progression. The first volume of Clodomir's Complete Method for Cornet and Saxhorns in treble clef includes illustrated instruction on how to hold the instruments as well as exercises focusing on scales arpeggios intervals breath control note values dynamics articulation varying time signatures rhythm phrasing tempo markings performance directions andornamentation. For all aspiring Cornet and Saxhorn players Clodomir's Complete Method for Cornet and Saxhorns in treble clef will provide you with the necessary progressive studies to improve technique to a high standard.

Although this book has been written as a logical sequel to Book I of the Breeze-Easy Method for Trumpet (Cornet) it may be used advantageously as a follow-up to any good beginning method. As in Book I the trumpet and Trombone books may be used in conjunction with each other thus facilitating the organization of brass classes. Four major areas are emphasized in each lesson: Embouchure Development Each lesson has a warm-up exercise progressing from long tones and easy lip slurs in the early lessons to moderately advanced flexibility studies in the later lessons. Interval studies are also frequently employed to give the student drillin tone placement. A playing knowledge of scales Each lesson contains concentrated scale practice in the belief that a mastery of scales is essential to general technique an facility. Rhythmic reading All rhythmic studies are designed to develop independence in reading and all duets are contrapuntal in style giving the student the responsibility of carrying his own part. This individual independence in reading is a basic to efficient ensemble performance. Developing a conception of legato (song style) playing Folk ballads are generously interspersed throughout the book in the belief that the development of a singing tone is a most important and oft-times most neglected phase of wind instrument performance.