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Digitized by the Internet Archive


in

2012 with funding from

Brigham Young University

http://archive.org/details/foundationtoclarOOrein

VAT

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Foundation

to

Clarinet Playing

AN ELEMENTARY METHOD
INTERESTING
SIMPLE

COMPLETE

MELODIOUS
13

CARL

R E

FORMERLY WITH

N E C K E

THE

NEW YORK PHILHARMONIC AND

METROPOLITAN OPERA HOUSE ORCHESTRAS


SI

CARL FISCHER,

0221

Inc.

COOPER
SQUARE

NEW YORK

Copyright,

1919

by

CARL FISCHER, Inc.


International Copyright Secured
Copyright Renewed

HP

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CONTENTS
PAGE

PAGE

Introduction

Syncopation

30-31

The Clarinet

Construction of the Major Scale

32- 33

Position

The

34-39

Care of Instrument

Miscellaneous Exercises

40

Rapid Tonguing

41

Triplets

42-43

Legato, Tonguing

44- 45

Major and Minor

Chromatic Scales and Exercises

50- 51

Additional Advice

Grace Notes

52-53

How

The Gruppetto

54-57

The

58- 61

The Reed
The Mouthpiece and

Its Position

on

the Lips

Before Playing
After Playing

to Practise

What

to Practise

Tuning

Tuning with the Piano

Time

Breathing

Special Breathing Exercises

The Two Systems

Fingering

Transposition

Playing from Vocal Music

Most Frequently Used


Rudiments of Music
Signs

Different

Kinds of Notes and Rests

Sharps, Flats, Naturals, etc

How

to

Make Your Own Reeds

Tone Production

10
.

n
1

12-13
14- 25

rase:

^s

Trill

62

Common

64

Mistakes

Broken Major Chords

65- 67

Broken Minor Chords

68- 71

Diminished Seventh Chords

72

Exercises on

Major and Minor

73- 75

Scales

Celebrated Cadenzas

76- 77

Collection of Songs and Solos

80- 86

Fifteen Practical Studies

87-103

Table of Trills (Boehm System)

104-107

Table of Trills (Albert System)

108-111

List

of the Principal

Words Used

Chart for the

Boehm

in

112-

Modern Music
Clarinet

Chart for the Clarinet with Fifteen Keys /

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46- 49

Scales

The vShake (Mordent)

Dotted Quarter Notes Followed by


28- 29
Eighths

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to say that

needless

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are

there

many

wonderful methods for the Clarinet, most of which

were written by the foremost

There seems

artists.

however, to be a lack of methods which dwell sufficiently

playing,

upon the fundamental

and which progress systematically by slow

degrees,
each

principles of Clarinet

the

giving

item

time

student

Then

properly.

Naturally,

it is

aid

master

most books

again,

cannot be studied without the

to

of

a teacher.

always better to have the guidance

of an instructor, but

when we

consider that thou-

sands of ambitious students are not within reach


of

a teacher, a book of

kind ought to prove of

this

value.

Besides aiding

the

this

Each and every

greatly aid the teacher,


carefully

student,

and thoroughly explained

in

that the pupil will readily understand.

and

special

studies

at

When

been completed, the student


foundation,

and

his

will

manner
The solos

are

have a good and


success

will

assured.

E.

is

these studies have

future

CARL

will

exercise

the rear of the book

melodious and interesting,

solid

book

REINECKE

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The
The

Clarinet

Clarinet was invented at the end of the

17th century by the Flutemaker. Johann Christoph


Denner, in Nuremberg, Germany. At this early stage
the instrument had only five keys and was quite imperfect, especially in regard to the intcnation.

ing the beautiful

Realiz-

tonal coloring the Clarinet would

add to the orchestra, the best musicians and instrument makers of the x8th century set out to improve
this new instrument, and through their untiring efforts,
and those of the later and more modern masters, the
Clarinet has been developed to such a degree that to-

plays a most important part in all bands and


orchestras, and is also used extensively as a solo

day

it

instrument.

Such world renowned composers as Mozart,


Beethoven, Weber, Spohr, Brahms and numerous
others have used the Clarinet to wonderful advantage
in various combinations of chamber music, composing Sonatas, Trios, Quintetts, Sextets and Octets
wherein the Clarinet plays a most prominent part.

There

is

for the Clarinet

a great variety of musical literature


and Piano. It is of great importance

that the Piano should be properly pitched, because

very

little

change of tuning can be made on the

Clarinet.

The Bb

used mostly, and liked the


best by all Clarinet Players, yet the A Clarinet has
a more mellow and perhaps a little larger tone. In
spite of this fact, many Clarinet players use the Bb
The reason is that most music
Clarinet exclusively.
is written for the Bb Clarinet and it is well to avoid
the change of instruments as much as possible, on
Clarinet

is

account of the tuning. An instrument gets warmed


up after using it a while and consequently gets
higher in pitch.
If suddenly the music calls for
the A Clarinet, without having time to warm up,
it will be flat.
In order to avoid this calamity,
the performer is often compelled to transpose
the music. This is done by reading the music for
the A Clarinet a half tone lower and playing it
on the Bb instrument.

Position

The pupil should strive to acquire a


manner of holding the instrument.

graceful

Stand erect and expand the chest.

Hold the instrument

naturally, without

stiff-

ening the fingers.

Put each finger

Hold the
joint

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proper place.

arm which manages

five inches

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the left-hand

from the body.

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POSITION Confmued.

arm extends a little further.


means
should the elbows or the foreBy no
arm rest upon the body.
Stand before a mirror when practicing in

The

right

order to correct any faulty position.


Avoid puffing out the cheeks, forming wrinkles

on the forehead, getting red in the

face, or

any other

contraction of the features.

legs,

normal condition is to be desired.


In a sitting position, guard against crossing the
stooping or bending the body forward.
Endeavor to secure a condition of perfect

repose

when

playing.

Care of Instrument
Be
and

careful to

keep your Clarinet clean inside

outside.

wipe

off

all

accummulation from the wood, then

readjust the keys.

when playing

After playing, always run the swab through


the instrument, remove the reed, and dry the mouth-

ially

piece.

properly.

After cleaning and drying, readjust the reed


to the mouthpiece.

Never allow anyone

else to

use

your own

mouthpiece, for hygienic reasons.

Learn how to unscrew all the keys and


place wornout pads if necessary.

re-

After keys are removed, take a soft cloth and

climates,

Keep

all

at

the

rivets well oiled, espec-

seashore

keys

otherwise the

will

damp

or in

refuse

to

work

This thorough cleaning should be given about


four times a year, under normal circumstances.
If water appears under any one of the keys,
put a little oil in the corresponding hole.
The Clarinet should be oiled three or four
times a year on the inside, by running a feather
through it which has been saturated with linseed or
olive

oil.

The Reed
The beginner cannot be expected

own reeds, and it would be a waste

to

make

his

of time and energy


try until he has some command of the
instrument. What every Clarinet player should know
is how to adjust the reeds which can be bought.
On
Pages 12 and 13, the making of reeds is described for
those who are sufficiently advanced.
Most reeds are made of cane which grows in
southern France, Italy and Africa. The best reeds
come from France.
for

him to

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reeds are too thin, and a little bit taken


off at the point with a reed cutter very often im-

Most

proves them considerably.

a reed is hard playing


at the point.
If

down

The

success

of

it

has to be thinned

Clarinet

player depends

almost entirely upon a suitable reed.


the weakest point of the Clarinet.

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The Mouthpiece and


Position on the Lips

Its

Next to the

reed, the

mouthpiece

is

the most

important part of the clarinet. Mouthpieces are made


of various materials, ebony, hard rubber, crystal,

and

plastic.

When

preparing to play, draw the lower

lightly over the teeth, insert the

lip

mouthpiece, put the

upper teeth firmly on the upper part of the mouthpiece

about 34 of an inch from the point of

mouth must be

of the

may

The

it.

closed,

tightly

corners

so that air

no other escape except into the instrument.


The cheeks must not be inflated. Do not press too hard
find

would prevent the reed


from vibrating. The higher tones require a little more
on the mouthpiece, as

pressure,

and

somewhat

this

for the lower tones the lips should

be

relaxed.

Before Playing
Always be sure
play.

Remember

between

F and

of the

key

there

that

in

which you are to


a vast

is

difference

example, especially in the

G, for

instrument which is to be used at the same time.


Before starting to play, always look the music
over well, and figure out how you are going to count

and divide the

fingering.

Always see that


tuned to the

the instrument

pitch of the

is

properly

piano, violin or other

beats.

Do not

play directly after eating a heavy meal.


Give the food time to digest.

After Playing
Before putting the Clarinet away, see that
Dry the joints
all moisture is removed from it.
the
barrels.
This will
and run swab through

prevent the wood from cracking. Also clean and


dry the mouthpiece and reed, and then fasten the
reed in its place again.

Additional Advice
Above

all,

secure a good instrument and a com-

petent instructor. Although perhaps a trifle more


expensive at the outset, it will prove much more economical in the end.
If

you haven't a musical dictionary, you should

secure one.

It is

a real necessity.

Ensemble playing
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duos,

trios,

orchestra and

band

practice

is

exceedingly beneficial, and should

be indulged in whenever possible.


Orchestra playing is generally better for the
student than band, as the latter is apt to be too
strenuous, and tone quality is sacrificed to power.

Hear good music,

especially

when rendered by

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ADDITIONAL ADVICE Continued.


eminent performers on different instruments. Embrace every opportunity of hearing great singers, and
imitate their style of performance as much as possible.

Aim
fied

for the highest in

do not be

music

It is

It benefits

and try to have nothing

interfere with

it.

Do

not attempt too much at first, and do not


get discouraged if the first studies prove tiresome
and monotonous.

Play

music exactly as written if the comit to be performed in any other


manner he would have indicated it.
all

poser had intended

Do

not over-exert yourself when playing.

manner that you can play

Practise in such a

without apparent

from

and can derive pleasure

effort,

it.

Do

not practise too long at one time in other


words, do not overdo it. Too much or too strenuous
practise is as harmful as too little.
Use discretion.
to

Always cease practising when the


grow tired.

lips

begin

not try to practise for an hour or more on


a stretch. It is often an impossibility, and always
does more harm than good.

What

When the lips are in good condition, do not tire or

be necessary and what


you are not familiar with. Do not neglect the
remote keys.
tores

for

ten or fifteen

This strengthens the lips, and


minutes each day.
greatly improves the quality of tone. Nothing in the

way

is

of practise

more important.

Do not sacrifice tone for technic.


a performer's most valuable asset.
Do

scales,

not

fail

to practise

and do not give up

mastered.
[Die*,

is

all sorts

To utilize the
time whilst lips are resting, do finger exercises only,
without sounding the instrument.
Take, for instance, one of the weak fingers, and move it rhythmically (up and down) until it becomes tired. Move
it in a relaxed condition as high and with as much
freedom as possible. Always be sure that it moves
under your will, and takes the exact tempo which you
have in mind. After exercising several of the fingers
separately, take one finger of each hand and manipulate them together.
Take the third finger of each
hand, and then the second, and so on.
Move the
fingers with vigor, so that the click of the key can
be plainly heard.
Playing when the lips are tired weakens them,
and is to be avoided whenever possible.

strain them.

Rest every

little while.

minutes of correct practise


beneficial than four hours of carelessness.

good tone

of exercises

Listen carefully and you will hear

good or not.

Play

it

over until

it

if

is

more

a tone

is

sounds good.

to Practise

may

Practise sustained

even advanced players to play the

Fifteen

Do

Practise whatever

too easy to practise.

to Practise

Set aside a regular time for practise each day


possible,

at a time.

All kinds of exercises are beneficial.

all difficulties.

How
if

is

much

careful

simplest kind of exercises.

conscientious practise the student will ul

timately master

not good to attempt too

Nothing

satis-

with anything mediocre.

By

Advancement can only be made by


study and practise.

and

In striking tones, especially in rapid execution,


the fingers and the tongue must work simultaneously.

Do
much

of

not spend too


this

sort

of

much time on high


practise

tones; too

weakens the

lips

materially.

Let your practise be mostly in the medium


registers of the instrument; the higher
lower
and
register will take care of itself.

also

Give particular attention to quality of tone,


to style of performance, and phrasing.

Avoid the "tremolo" or "vibrato"

until they are completely


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See that your tone

is

style of play-

absolutely clear and pure.

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Tuning
Never start to play together with some other
instrument or instruments before tuning carefully.
All the tuning that can be done with the
Clarinet is to draw or pull out the barrel about a
If the Clarinet is flat when
sixteenth of an inch.
playing with the piano, a shorter barrel may be
substituted.

No

wind instruments, whether reed or

brass,

are perfectly in tune; but they can be regulated,

and

the bad places humored, if the performer has a good


ear and a fairly strong lip.

Train your ear and you will have little difficulty in playing well in tune.
Heat and cold have opposite effects on the
When the Clarinet is cold, it is flat,
instrument.
and when too warm, it is sharp.

Tuning with the Piano


has always been the custom for all orchestra
players to tune the instruments according to the A
In tuning with the Piano, the A is also
of the oboe.
sounded. In this instance, the Bb Clarinet will have
to play B natural.
If Bb were sounded on the Piano,
the Bb Clarinet would have to play C. If the A
Clarinet is used and if the A is played on the Piano,
the Clarinet will have to play C.
It

If

the Piano

is

not in the right pitch as

is

often the

case, the Clarinetist finds himself in a predicament.

the Piano is too low, the barrel and bell may be


pulled out a trifle, but if the Piano is higher than the
Clarinet, nothing can be done unless the player has
a shorter barrel on hand, which he can substitute
If

a little. On the whole,


very little can be done with the Clarinet in regard
Players who have occasion
to changing the pitch.
to play with the Piano should always endeavor to
see in advance that the Piano is properly pitched.
in order to raise the pitch

Time
Always bear in mind that time is the most
important factor in music.
Without time there is no real music.
Practise your exercises slowly at first, in order
After you have mastered
to play the correct notes.
begin
play
in
the proper tempo, which
the notes,
to
is generally indicated by some suitable Italian word.

Do not

or the

count or keep time by moving the body


That is a very bad habit.
Counting must be done mentally.
You must think as you play.

feet.

It is essential

to give

all

notes their proper


and with perfect

time-value, to play in correct tune

rhythm.

Breathing
The breath

a very important item to every


wind instrument player. If the breathing is done
properly, the study of a wind instrument becomes
If care is
taken to breathe
healthful exercise.
the chest will
develop
rapidly and
correctly,
is

expand considerably within a few months.


To play a wind instrument well, the control of
breath is essential. To accomplish this, it would be
wise for the student to indulge in some special breathing exercises,

Special Breathing Exercise


and place hands on your knees.
Exhale every particle of breath within you.
Breathe in slowly, counting mentally up to
Sit erect

seven.

Breathe out, counting mentally to seven.


Do this exercise for three minutes, mornings

and evenings, before meals.


All the breathing has to
slightest noise,

mouth

be done without the

and through the

nostrils.

Direct the breath

downward

first

phram and then


first

Keep the

closed.

into the dia-

fill up the chest.


In breathing out, expel from the diaphram
and keep the chest up as long as possible.
You may be compelled to count up to seven

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quite lively at the beginning of the exercise, but

time you may count slower and slower.


Never overdo this exercise. Use no force in
controlling the lungs.
While playing the Clarinet, the breathing has to
done
through the mouth and nostrils, as there is
be
often very little time to take a breath. This must be
done without noise.
Breath control is essential when we try to produce a tone. The performer should endeavor to produce the largest tone with the smallest amount of
Do not try to play as much as possible on
breath.
one breath.
Take breath frequently but in proper
places.
A small breath will sustain quite a long
phrase, so do not inhale more breath than necessary.
after a week's

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The Two Systems


Before starting the first lesson, it is necessary
to say a few words regarding the two different systems
The older
of Clarinets used at the present time.
system is the Baerman or Albert Clarinet, a well developed instrument along the original lines of Clarinet
making. The more modern instrument is the Boehm
Clarinet, invented by the flute-maker, Theobald
Boehm, of Munich, Germany, before the middle of the
last century.

The Boehm

Clarinet was

first

adopted in France

where
a

it

has since seen

its

greatest development.

more expensive instrument than the

It is

older model,

many

advantages over the other, it


is advisable for those who take up the study of the
instrument to secure a Boehm Clarinet at the start.
After one has become accustomed to the old model
and desires to make a change, the new system would
involve quite an amount of hard study, but if the
Boehm system is adopted at the outset, it is no more
difficult than the other.
but as

has

it

Important
All the

music

in this

book can be used to ad-

vantage for Clarinets of either system.


As the fingering for the two systems differs in
some instances, it would be impractical and contusing
to mark it under or over the notes.
So as to simplify matters, the correct fingering
of the scale of C for both systems will be given.
After that, whatever new note (flat or sharp) appears

be marked. In this ma ter, little or no difficulty


will be experienced.
If only one fingering is marked, it holds good
for both systems.
If two fingerings are marked, the
will

first

and the

applies to instruments of the old system,

Boehm

second to

For

all

instruments.

other fingerings, the student must refer

to the chart.

Fingering
It is

with the fingering. Make use of the charts constantly


from the start, until you are familiar with them.

The

on the front of the


instrument are operated by the fingers of both hands.
six

holes

(or rings)

(See chart).

The mark

mark

The keys

an absolute necessity to become familiar

(o)

an open hole.
must be closed.

indicates

() indicates a hole that

chart.

little

numbered as seen on the


attention
will soon familiarize
detailed
are

all

the student with them.

The short line across


the two hands.

The

The
third,

and

fingers

are called,

denotes separation of

thumb,

first,

second

little finger.

Transposition
Those who take up the study of the Clarinet with
the intention of becoming professional musicians
should make every effort to learn how to transpose.

The musical

instruments. The A
Clarinets are used principally in the orchestra.

for A, Bb, C,

and Bb

literature for the Clarinet is written

D,

Eb and Ab

When

a piece of music is written for the C Clarinet,


the player can avoid playing it on the C Clarinet by
transposing it one tone higher on the Bb Clarinet,
or a minor third higher on the A Clarinet. The C
Clarinet is seldom used because its tonal quality is
not so pleasing as the Bb instrument. The C Clarinet
is the only Clarinet that sounds in concert pitch.
If you play C on the C Clarinet it actually sounds C,
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it

play C on the
sounds in reality one tone lower (Bb).
on the A Clarinet, it will sound A.
it is

named.

When you

Bb

Clarinet

If

you play

It would be well to remember that if you play C


on any Clarinet, the sound produced will in reality
be the tone after which the instrument is named.
For instance, if you play C on the C Clarinet it sounds
C.
If you play C on the Bb Clarinet it really sounds
Bb concert pitch (or according to Piano or Violin).
If you play C on the A Clarinet, its real sound is A.
This rule applies to all wind instruments. When any
Eb instrument plays C, its real sound is Eb. When
any F instrument (such as French Horn) plays C,
it really sounds F, and so on.

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TRANSPOSITION Continued.

Clap.

Bl>

Clar.

Clar.

El.

ii

soundsC

To produce the

scale of

sounds

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in sound, the following notes

Clar

Bt>

"

sounds

sounds

j pg r r'T
The Ab

Clarinet

is

practically obsolete,

and

*7

is

At Clar.

JEC

"

sounds

would have to be played on the

sounds

five different clarinets.

DCIar

A Clar

Clar.

Clar.

EV Clar.
if

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only used in a few large foreign bands.

Playing from Vocal Music


the Clarinetist desires to play from vocal music
he must be able to transpose unless he uses a C ClariWhen the Bb Clarinet is used it is necessary to
net.
transpose one tone higher. If the music is written
in C major, it must be played in D major.
If vocal
music is played on the A Clarinet, it must be played
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a minor third higher, and music in C major would


have to be played in Eb major. One can easily become accustomed to reading the music a full tone
higher with a little practice. This gives the player
an opportunity also to become familiar with songs
that are not specially arranged for the instrument.

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SIGNS MOST FREQUENTLY USED.

as J J

ing

it

by

by

would be the same


second or third dot prolongs the time value of the dot immediately preced -

Dot placed

after a note or rest prolongs its value

half. d--

would be the same as d J J

Tenuto. This line

when placed over

half. J-

J*

or under a note signifies that the tone should

be well sustained, for its full value.


f?\ or Vi/ Hold or Pause, placed over or under a note or rest indicates an indefinite prolongation of its time value, at the performers discretion.

bars

is to
}

Repeat. This sign signifies that the division

'H

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be repeated.

Breathing mark.

*>

-^

between the dotted double

sign which indicates where breath

Slur or Tie. This sign indicates that

may be

taken.

when two or more notes are joined by

they are to be played in a smooth and connected manner. (Legato.) If the notes
so joined are on the same degree of the staff they are held over as one note.
it,

Crescendo , increasing in loudness, by degrees.

growing softer by degrees.


marked or sudden emphasis.

Decrescendo,

A Sforzato,

***%%* ir Trill,

the rapid alternation of a principal note with a higher auxiliary,

(major or minor second above).


co Turn or Qrupelto, a melodic grace consisting in what may be termed the typical form (the direct turn), of four notes, a principal note (twice struck)
with
its
higher and lower auxiliary (the major and minor second above and below,
each
struck once.)

M.M. J

mark often set at


tempo. The J = 60 means,

60 Metronome mark, a

for exactly indicating its

the beginning
that the

of a composition

time value of one quart-

pendulum- beat with the slider set at 60. With the slider
set at 60, the pendulum makes one beat per second. M.M. actually stands for Maelzel's Metronome" named after its inventor, Maelzel, of Vienna.
The Metronome is
much used by beginners and students, for learning to play strictly in time and in
timing their practice.
J forte, means loud strong.
JJ Fortissimo, means very loud.
"if- Mezzo-forte, half loud.
-Piano, soft.
PP Pianissimo, Very soft.
D.C. Da Capo, from the beginning.
D.S. Dal Segno, repeat from the sign.
er note is equal to one

For other signs,


17518- 95

etc. see

Coon's Standard Pocket Dictionary of Musical Terms.

10

Rudiments of Music
Music

is

divided into two parts:

It is

Melody
cession,

the art of combining sounds in a

manner agreeable

to the ear.

Melody and Harmony.

a combination of sounds which, by their elevation, duration and


serve to form a tune.
is

Harmony

by their spontaneous union,

another combination of sounds which,


serve to form chords.
is

The signs used

to represent

suc-

sound are called notes.

The

five lines

The

staff consists of five lines

upon which notes are written are called the

staff.

and four spaces.

Extra lines are used above and below the


Seven letters of the alphabet are used

staff.

They are called ledger

to designate the notes; they

are.-

lines.

C-D-E-F-G-A-B.

At the beginning of each line of music you will find the clef sign: (=5=1)

The Clef

used to determine the position and pitch of the scale. This clef is called
the G or Treble clef.
thereby giving place to the other notes.
It shows where G is,
The sign crosses the second line "G" four times.
is

which is added an eighth tone, which,


only a repetition of the first tone an octave higher.

There are seven natural tones


however,

is

When

in Music,

to

names of the

the notes are written in the Treble Clef, the

are as follows:

lines and spaces

Lines
5 f-h Line
4Ln Line

3rd Line
2'ldLine
1st Line

Spaces
4*i*

Space

3rd space

2nd space
is t Space

The notes

be written on the staff are not enough to enable us to indicate all


the tones that are within the range and compass of the Clarinet. For this reason, it becomes necessary to go beyond the staff, and use what are termed "Ledger Lines and Spaces'.'
that can

edger Notes

i
C

'


"

-: z: z:

B A U
a

gabcdefg

The distance between two notes


20568

'

is

called "Interval".

11

NOTES.

RESTS.

There are seven characters which determine the value of notes.


o whole note 4 beats or counts.

note 2 beats or counts.


quarter note 1 beat or count.
eighth note 4- beat.

4'

sixteenth note

There are seven characters that

de-

note the value of rests


~mwhole rest 4 beats or counts.

&

half

half rest 2 beats or counts.

quarter rest 1 beat or count.


V

eighth rest 4- beat or count.


sixteenth rest

4 1 thirty-second note
Jj sixty- fourth, note

thirty-second rest

f
A

sixty-fourth rest

Rest

a character used to indicate


silence, or a temporary suspension of sounds.
is

SHARPS, FLATS, NATURALS ETC.


The Sharp'(|) raises the note half a tone.
The Flat (l>) lowers the note half a tone.
The Natural

(Ij)

restores the note which has been changed by the

or

!>

to its

former position.

The Double Sharp

raises a note a half tone higher than the simple if)


would raise it. In other words, it raises the note a wnole tone.
The Double Flat (b|>) lowers a note a half tone lower than the simple
would
lower it, in other words, a whole tone.
Always after the Clef, we must look for the Signature, or key, in which we
are to play.
The word Signature signifies a certain number of sharps or flats placed immediately after the clef.
Either sharps or flats found after the Clef as Signature, influence the notes placed
on the same degree, or at the upper or lower octave, during the whole of a piece of music,
unless a natural comes accidentally to suspend their effect.
If a sharp or flat is written in any bar without being designated at the beginning
(in the Signature), such sharp or flat is called an "Accidental'', and holds good only for
the bar in which it is written. If this sign is to be contradicted, in said bar, a "natural"
must be placed before the note in question.
(x)

!>

MEASURES AND BARS.


Musical Composition is divided into equal portions, called Measures or Bars, by
short lines drawn across the staff which are also called Bars.
A double Bar is placed at the end of each strain of music.
Measures are divided into equal parts called"beats".
All music dpes not begin with a perfect or full bar. The first bar may be imperfect
and contain what is known as "start notes" There may be one or more of such start notes.
However, the first and last bars of strain, or of a complete piece, must together form
.

full

bar.

TIME MARKS.
Immediately after the signature comes the Time Mark.
There are various kinds of time marks, but those most frequently used are,54-%-%.and%.
~1
_
e * c -> e * c but n
There are many other time marks, such as,
'
this book,only the simpler forms will be used.
The upper figure (numerator) indicates the number of notes of a given kind in the
measure.
The lower figure (denominator) shows the kind of notes, taken as the unit of meas-

% % % % %-% %

ure.

Time

refers to the

Tempo

to the measure.
the rapidity of the beats.

number of beats

indicates
The two are often confounded.
17513-96.

>

12

How
The making

to

make your own reeds

of satisfactory reeds Js delicate

work which can only be perfected through ex-

perience.
First, cut off a piece of cane about the thickness of

a half dollar coin (see

illustration N91).

This piece of cane should be about the size of the lay (see N9 3). The Lay is the part of
the mouthpiece on which the reed is placed and fastened with the ligature or reed -holder.

The cane which

and rubbed upon it until the surface


or inside is perfectly flat (see N9 2). After this, it is placed on the lay, and screwed in to
ascertain whether the opening is correct or not (see N9 5). To ascertain this, the mouthpiece
should be held up sideways to the light (see N9 4). The opening should extend one inch down
(see

N9

5).

is cut off,

After

this, the

is laid

on a broad fine

shaping of the reed

is

file,

begun. Remove the reed from the mouth

and with a sharp knife reduce it from the center (see N9 6) cutting gradually to the
top (see N97). Care should be taken not to cut off too much at a time, but always allowing
enough to remain in case it is necessary to take off more. The edges should be rounded
from where the cutting begins (see N98) and show an elongated angle from the middle (see
N9 8). The cane remains thicker in the middle (see N9 9) than at the edges (N910). The thin
end can be shaped with a sharp pair of scissors.
After this, the reed is given a trial. If it proves too hard, some of the thickness must be
filed off the top, sloping toward the edges (N91J). If the top is already thin enough, then
file off between the center (N9 6) and the top, being careful not to take off too much. From
the top downwards (N9 12) about l/8th inch should be filed perfectly flat across with a very
smooth file. This will leave the thin end almost transparent when finished. The reed is now
again placed on the lay (N9 3) and the opening (N9 5) examined. Should it be too close, unscrew the top screw of the ligature and tighten the bottom screw. If the space is too wide,
piece,

simply reverse the screwing.

The flat surface of the reed (N9 2) after having been manipulated may warp and become uneven. It must then again be rubbed on the large file, or on the very finest sand
This should be done on a flat surface, a piece of plate glass being very good
for the purpose.
paper.

Sometimes when the reed

on the mouthpiece for a day or two all the little defects will disappear. Often, however, the faults can be traced to the mouthpiece, in which
case it should be taken to some reliable repairer to be re -faced. The reed will frequently
turn out to be bad even though the greatest care has been bestowed upon it. If the reed
continues to be hard, place it on the lay (N9 3) so as to show just a little below the top of
the mouthpiece (N913).

(N914).

If

is left

too soft> place

it

little

above the top end of the mouthpiece

This experiment will at once show the defect.

If the

reed

is

too hard, reduce

it

on the end of the curve (N915). If it is too soft, cut the top off (N916). After long usage,
the reed will warp, but it might again be brought into use if carefully rubbed on a large file.
Care must be taken however, not to make it too thin at the heel (N17).

20568

(16)
(14)

(13)

(11)

(11)

-(15-

(17)

Heel

(5)

(10)

(6)

Piece of cane cut for one reed


(17)

(2)

Inside

vor the Surface

Top Screw
Ligature
or Reed Holder'.'

Bottom Screw

Mouthpiece Complete
With cane cut ready to be shaped

T-136

[(BlttllllllllllluliiiiillHll

First Lesson
N9

In the first exercise

1.

we

::

find the note

This note requires no fingering. The

in-

strument rests mainly on the thumb of the right hand. The thumb of the left hand takes its
position right before the thumb-hole of the upper joint, to help balance

The three

fingers,

1,

down

G downward need

tones are less

N9

very

little

pressure of the

lips,

After the tone C has been firmly established in

3.

close neighbor to C, just a half tone lower which


in addition to the three fingers of the left

N9

note

lower

in its full length.

we

2,

find another note, a very

This note we secure by putting

is

hand, the first finger of the right hand for

the Baermann, and the second finger of the right hand for the

N9 4

All the

as the vibrations of the

=g=

down

will result.

number. The reed must have freedom to vibrate

in

in-

the three fingers of the left

hand, close the hole with the thumb of same hand and the tone
tones from

Put

4.

After this tone has been well established, put

2.

instrument.

2 and 3 are placed right over the holes of the same joint.

strument into the mouth as indicated on page

N9

the

=&:

introduces a note one step higher, called

Boehm System.

Lift

up the third finger and the

will sound.

N9 5

which we

leads us another step downward to the note

two holes with

N9 6

first

and second fingers of right hand;

will get

by closing

same on both systems.

takes us one more step upward to the note

fingering the

same on both

systems, namely the first finger of left hand down; all other fingers are released.

N9 7
closed.

presents to us another stranger, the low tone

The bar

rest

tone to the other.

This requires

all six

holes

between the notes we have given up, expecting the pupil to go from one

The taking

of breath after each note should take very

little

time and

is

to

be done noiselessly and without any visible effort.

N9
tone

8.

In this exercise

we have

E and open Key N9

the note

The

old system has this fingering:

9 with first finger of right hand.

Boehm,

take the

just lift the first fin-

ger of the left hand and keep thumb-hole closed.

N9 9

goes down to the F just an octave below the former note and fingers

on either system

N9 10
gering.

20568

this way,

takes us up again to the very first note

we

started with, the tone without fin-

15

Lesson

1-

Tone Production
G
Count: 12

4E

Count:

1234

1234

34

1234

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1234

1234

1234

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1234

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16

Second Lesson

The

first lessons have the

same object

in view, viz:

to help the student to give the right

number

attack and to produce a clear and even tone to be sustained for the required
counts.

It is

only through such practice as this that control of the tones can be obtained,

the tone itself be improved, and the lips

The

first

of

become strengthened.

lessons are purposely written in the key of C major so that the exercises can

be made as simple as possible, and so that the student will not have too many things

He can then

think about at once.

N9 1

is

devote

all his attention to

cending again to C.

Count evenly and not too

the tonal production.

C down

again an exercise in whole notes running from

to

to the lowest note,

quickly, four beats to the

and as-

bar as indicated.

Take breath after each note. Breathe through the corners of the mouth, never through the
instrument. This exercise covers the lower register of the Clarinet and leads us

very lowest note on the instrument. This will require some effort, as
to play,

and the whole Clarinet has

to

be closed for the tone

The

especially for people with short fingers.

and the

little

finger of the right, key

N9 2 leads
tion.

The

first finger of the left

make

hand has to get up

will not get the

little

on, the exercises do not

jumps.

playing, as guess

20568

finger of the left

This

is quite

hand has

come

a hard

to press

in-

task,

key N9

This tone requires special atten

to this

hand out of

key with very


its

little

motion.

Just

position.

3 and 4 need no special explanation.

From N9 5
but

all the fingers

to the

3.

us from C six tones upward to

bend the finger upward so you


N_s

N9

little

down

By

run step by step up or down as the previous ones,

this time the pupil

should be well acquainted with the notes he is

work would only bring confusion.

17

2 n_d Lesson
Tone Production
C
1.

?SFB

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20568

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18

Third Lesson

This lesson consists of eight exercises mainly for the study of the lower register.

N9
son.

1 has only three notes, C,

B and

The

A.

fingering has been given in a previous les-

As each note occurs several times, the pupil will get well acquainted with the looks of

names and

the notes, their

N? 2

their fingering.

consists of three notes

low

for these

N9 3

is

notes,

A,

G and

Release the pressure of the lower lip a little

F.

and make the tone as steady and even as possible.

good practice

for the key

N9

l,

stopped by the

little

finger of the left hand. If a

squeak should come forth instead of atone, look at your fingers. They may touch a key and

open

partly.

it

N9.s

This usually results

in

4 and 5 have four notes each

same ground again

N9 6

brings

a squeak.

in the

same

register.

to impress the fingering thoroughly

all

the notes

we have had so

far,

They

practically

go over the

on the mind of the student.

running

in rotation

from C down

to

E and

up to A, then back to the starting point.


N9.s 7 and 8 bring all the notes in a rather

the first glance the

name and fingering

mixed up fashion. The pupil should know

of each note.

at

he may go on to

If

he can do

in

order to prepare the student for a

that,

the fourth lesson.

The
little

third lesson

must be practiced very thoroughly

stumbling block which will soon appear.

This seems hard for every pupil and

if

It is

the tone connection from

he cannot play low

^~
try to get

with ease

it is

~n

of no avail to

TT

.
|

Take plenty of time and do not imagine that these exercises can be mast-

ered in a few minutes. Keep at them day after day until they begin to sound fairly well.
student of music must have above everything else, plenty of patience.

succeed, rest a while and try again.


ing the time you refrain from playing.

Do

20568

you don't

not forget to take your silent finger exercise dur-

Remember you have

with the greatest rapidity at your bidding.

If at first

The

(This

is

to develop nine fingers to

explained under

"How

move

to Practice".)

19

3 r- Lesson
Tone Production
C

13^

TT

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20568

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20

Fourth Lesson

N9 1
gard

to the pitch.

underlip.

The

player can easily force

the lower lip

If

Keep

er.

an exercise for the practice of the tone

is

is

The exercise

Watch

this note carefully in re-

too high by using too

too loose the tone will be

as steady as possible.

it

it

flat.

much pressure of the

See that the tone does notwav-

consists of whole and half notes. Count four

on the whole notes and two on each half note, as indicated. The counts must be evenly divided.

N9 2 leads

to the tone

B
g

net, as nine fingers have to

be put

above the thumb-hole remains open


octaves are

all

produced through

it.

This
in

is

by far the most

motion to produce

all the

time and

is

difficult note to get

on the Clari

From B upward the key found right

it.

called the octave key because the higher

This note will appear quite frequently, and has to be studied

with great patience.

The notes from C

B on

ter the

is

in

N? 3 are new

to the student, but are not at all

the third line has been mastered.

The fingering
scale of C

to

is

for these notes

is

Open

Boehm

Clarinet,

Boehm

is

as

Instruments,

the

whereas on the old system the

produced by opening key N9 5 with the third finger of the right hand. The

on the old Clarinet

af-

or release one finger after the other.

very simple especially on

the natural scale on the

hard to get

produced by a so-called forked fingering and

is

natural

F
F

marked with the

open ring above the note.

N9
tem
ed

In the third, 10th

4.

in the

in

way

just mentioned.

The half bar

is

an exercise consisting mainly of half notes. The 7th bar has a whole note

with a hold or pause over


its

it.

ordinary time value.

This means that the note should be held a

Wherever

rest the duration of time is prolonged.

20568

rest in the eighth bar should be count

strict time.

N9 5
than

and 11th bars the note F should be fingered on the old sys-

this sign

i7\

is

little

longer

placed over a note or over a

21

4 * Lesson
1

Tone Production
Count:

12

S2=

i
.

fe

cn

1?

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r.

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22

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20568

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22

Fifth Lesson

N9

This lesson begins with the scale of C major extending through two octaves.

1.

As has been said before, the higher notes require a


to increase the vibrations.

In case the student

B, C, he should not spend too

when

the muscles around the

N9 3 introduces
count. Play until the

in a

not able to bring out the high notes A,

is

2.

2
o

the chord of

the, reed

**.

is

more pressure upon

much effort on them as they will respond more readily


mouth become more developed, and the lips have adjusted

themselves to the mouthpiece.

N9 2

little

2
o

o
o
2.

o
o
o

C major, also passing through two

octaves.

very simple form, the first quarter notes. Each quarter gets one

rhythm

is

well established and proceed to

N9 4 which

consists of half

notes alternating with quarters.

N9 5

is

the

same exercise only

in

a higher register.

The note
|

needs special

care in the beginning.

N9 6

consists of quarter notes only.

to play the

dent

whole exercise through

may then

an even manner without a stop or break, the stu

try to accelerate the tempo.

being played too


N887

in

Start this exercise in slow tempo, but when able

fast,

Every hesitation

or that the student's mind

is

is

proof that the exercise

not concentrated on what he

is

is

doing.

23

5*?

Lesson

Tone Production

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12

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-s*-

Count:

-O-

2Z

M
20568

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o
o

5^

9.

2.

o
o
o

>

o
o
o

-O-

99

?r .f

.fc

2.

4*

331

-o-

-o-

Count:

G
G
B?G>C>E>X>^>>BC>G>E
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3H
33

??

^
V

^L

24

Sixth Lesson

N9 1

is

the scale of

N9 2

is

the chord of

N9 3

is

an exercise

last
its

major.

in

It

has for

Play evenly.

in quarter notes.

The note

key signature one sharp, F#.

whole notes.

bar we come to a new sign the dot

value one half.

its

is

().

Each quarter has one

beat.

In the

dot placed after a note or rest increases

a half note, consequently with the dot after

it,

it

has the

value of an added quarter, making in all three quarters.

N9 4

is

a melodious exercise in eighth, quarter and half notes.

quarter, therefore play

two eighths on one beat. This number

is

Two

written

in

which means that each bar consists of two quarters or the value thereof.
counts to each bar. Until the rhythm
COUnt:

and
J

N9 5

is

1
I

is

established

20568

for

Two
the

beats or

student

to

an exercise to strengthen the

little

in

fingers and

fingers can stand

it,

is

almost every hand,

cises have to be practiced in order to develop and


little

advisable

two quarter time,

and

These fingers are by nature the weakest

the

it is

eighths equal one

make them

of great value to the student.

and therefore special


strong.

exer-

Repeat as often as

and then as recreation play some of the songs on page

87.

25

6Lh Lesson
Tone Production

!* _
g

ft

XX
l

--

tj

.fei

"cr

-o-

-o-

-o-

TT

-O-

-O-

-&-

^^

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is

y^

-o-

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XT

3-

z:

nlJ jJ

<C\

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is is

ft

5.

ft

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:

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P^

f r p r

rf pr prpp ^ppp pppp^


i

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i

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20568

-o-

26

Seventh Lesson
N? 1 opens with
in

the scale of

major.

key signature

Its

is

one

flat,

Bk

It is

written

quarter and eighth notes.

N9 2

is

the chord of

N? 3

is

another exercise in quarter notes, the tongue and fingers should derive great

benefit from

sound

make

Fingers and tongue must act absolutely together to

it.

is

this

exercise

minuet in 3/4 time, which means three counts to each bar. The note

little

before the first bar line

not played too loud.

much more important.


more emphasis,
it

major.

right.

N9 4

that

is

called an "up-beat".

The next following note

Care must be taken that the up-beat

F,

the first beat in the bar

is

by

all

is

means

In three quarter time the first quarter in each bar can stand a shade

we

especially in this case as

should be sustained for

its full

find a dash (-) under the note, which

length.

means

The following eighths have dots over them

and should be played as short as possible. Some expression marks will be found here,
such as,

P piano

f forte

(loud).

(soft),

crescendo (swelling),

After the notes of this

little

decrescendo (diminish),

minuet have been mastered, try to observe

the marks of expression which will add considerable interest to the little tune.

N9 5
at

is

again a finger exercise for the

once to make these notes sound

When

clear.

little

fingers.

Both fingers must come down

See that the fingers are

in

the student notices that his fingers are in a cramped position,

no way stiffened.
he must relax

at

once, otherwise this study will be of no avail.

IMPORTANT
After this lesson has been completed, the student will be ready to begin

some of the simpler songs


the

monotony of the

in the "collection" at the

daily routine,

rear of this book. This will relieve

and make the practicing more

however, not to attempt more than your progress warrants.


N887

the study of

interesting.

Be careful

27
'th
7Lesson

fej I n

gig I

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Jj jlJ^ JJ Jj

g)

zz

Z2

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3

J 4

J^JJ Jjj J lJfpJlpJj.^


l

r J r

rr r

r
i

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Count:

12

>

pi
^
pq

crescendo

MZZ

lN
-

>

(7\

repeat 5 times

ii\

II

ppp

5.^S

20568

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9

HE

PlPip

28

Eighth Lesson

This lesson treats mainly of dotted quarter notes followed by eighths,

rhythm too often incorrectly played. The time


and

and

if

is

a form of

such exercises must be strictly counted,

notes must receive their proper values.

all the

beat,

in

and

The eighth note

gets half a count or

the directions are followed as indicated above the notes, these exercises should

be easily and readily mastered.

Since the dot increases a note one half


the value of an extra eighth.

Therefore,

its

it

eighth note making up the other half count.

value, the dotted quarter

gives the

note

counts for a beat and a half, the following

The dotted notes must

all

be of the same

length, as must the eighths.

N9 2

is

N9 3

is

N9 4

is

N9 5

is in

the chord of

major.

again the scale of

major, this time in dotted quarters followed by eighths.

a melodious exercise in dotted quarters.

3/4 time

but on the

same

principle. Attention

must be paid to the dot as

does not always come on the same beat. In the third bar, for instance,

it

it

comes on the second

count.

N9

6.

finger exercise for the third and fourth fingers. Start slowly and let the fin-

gers move with the greatest freedom and as evenly as possible.

N9 7
in

N9

20568

6.

is

an exercise for the same purpose. Almost the same fingers are employed as

The

exercise

is

in

a higher register.

29

8^ Lesson
Dotted Quarter Notes followed by Eighths

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2.3S^

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Count:

5.

tt

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!

2 and

t
I

and

4 and

2 and 3

4 and

if

'i

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ES

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4 and

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4.

a and
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2

uount: l1
Count:

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6

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20568

30

Ninth Lesson
Syncopation

Syncopation occurs when the usual accent

in

a bar

is

displaced,

and

notes in an unaccented part of a bar to those in an accented part; or from a


to a strong accent, also

from tying

results

from placing long notes between shorter ones.

weak accent

For instance, half

notes between quarters, or quarters between eighths, etc.

An accent should always be


notes

is

given to the syncopated notes.

The mark over

or under the

the "accent" sign.

In all music, the first note in each bar

is

generally given a slight accent.

It

is

a sort

of unconscious accent, and should not be very pronounced, unless designated with an extra accent mark.
third

much

In four quarter time, the first

lighter than the first.

Syncopation

a forced accent on the

is

All so-called

called

and third quarters both have accents, the

"Rag Time" music

is

weak part

syncopation,

or parts of the bar.

but not all syncopation

be

could

'Rag Time"

N9 1

is

the scale of

N9 2

is

the chord of Bb major.

N9 3

is

the scale of Bb major in syncopated form.

N9 4

is

a very simple form of syncopated music with a slight accent on the notes as

is

somewhat on the same

B\>

major.

indicated.

N 5

and sharps

N9 6

with a few accidentals such as naturals

(\\)

(#).

is

of the bar

style,

is

another form of syncopation

in

2/4

time. In

some

instances the fourth eighth

held over to the first eighth of the next bar.

To those who have


troubled with the time,

trouble in mastering syncopation, and particularly those


it

would be a very good idea for them to divide the bars

who are
into eighths,

and count the required number of eighths to the bar instead of quarters. For instance, count
eight eighths,

where 4/4 time

is

marked, four eighths where 2/4 time

is

marked, and so

This will facilitate the playing of these exercises. In counting eighths to the bar,

be remembered that a quarter note would receive two eighth counts,

it

on.

must

and a half note,

four eighth counts.

The accent should be


a

trifle,

and

to help

distinct, but not too

strong

Just enough to

keep the rhythm steady. Devote plenty of time

make

the note stand out

to these exercises,

be sure that they are thoroughly understood, before proceeding to the next lesson.

20568

and

31

9^ Lesson
Syncopation

l.

2.

BB

fa E

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20568

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0-jt

Tenth Lesson

32

CONSTRUCTION OF THE MAJOR SCALE

This lesson
It

is

more for study than for practice, and

is

of vast importance.

shows the construction of the major scales.

Note where, the tones and semitones appear.


In every

major scale the semitones must come between the third and fourth,

and the seventh and eighth degrees, as

examples.

we were given scales

previous lessons

In the

in the

to play.

enter into any explanation as to what a scale really

become familiar with the

Scale

is

An Octave

intervals,

is.

purposely did not

The student should

first

and hear how a scale should sound.

a succession of sounds from one note to


is

its

octave.

the eighth interval, or a repetition of the fundamental tcne in

a higher or lower register.

The Scale

is

composed of eight degrees

or notes.

There are two kinds of scales. Diatonic and Chromatic.

There are two kinds of diatonic scales, major and minor.

When

the notes proceed from line to space, or from space to line(as

example,) the distance from one note to the next


from whence

comes that the scale

it

is

is

in

called a Diatonic Interval,

called a Diatonic Scale.

The Major Scale consists of a series of eight notes, which form an


tave.

Between these eight sounds there are seven distances or intervals,

of which are

the

whole tones, and two semitones (halftones.)

The semitones

ocfive

ap-

pear between the third and fourth and the seventh and eighth degrees.

The tone or semitone


the next, whilst the degree

The scale

of

the distance or interval between one degree and

is
is

C Major

the note itself.


is

called the

tone intervals fall naturally into

When

a scale is

ploy sharps or flats

the

Natural Scale, because the semi

requisite positions.

formed upon any other note,


in

it

becomes necessary

to em-

order to obtain the proper sequence of intervals through

out.

Minor scales should be taken up after the major scales have been more
carefully studied.

17518-96

10th Lesson

33

CONSTRUCTION OF THE MAJOR SCALE

Scale of C Major
2nd

l s.t

Degrees:

3rd

Tone

Tone

TJ

4 th

6 th

Semitone

Tone

-O-

7 th

6 t_h

Tone

XE

--

8 th

Semitone
1>

-O-

Descending Scale
(C Major.)
Degrees: 8th

Semitone

6 th

7th

XE

5 th

Tone
-O-

Tone

XE

Tone
-O-

2 n_ d

Tone

Tone

Semitone

I8t

Tone
--

Tone

TT

Tone

T
IE

7th

gth

6t_h

ir

XE

2 I1-d

F Major.

4th

3 r_d

Semitone

XE

Scale of
Degrees: M$

3rd

4 th

Tone

Tone
--

8 l-h

Semitone

Scale of
Degrees:

2 nd

IS.*

Tone

3rd

Tone

XE

-O-

4 th

Semitone

Major.
6th

6th

Tone

Tone

-o-

Tone

XE

XE

Scale of

Tone

i
XT
1

17518-88

2nd

l s.t

Semitone

o_
n

Degrees:

^th

7th

3rd

4th

XT
i

Major.

-O-

8th

Semitone

Tone

Tone

XE
2

gth

5 th

Tone

Semitone

Tone

Bf>

XE
T~
2

-O-

34

Eleventh Lesson
The Slur

The curved

line

under the notes

is

similar to the "Tie", but in this instance

is

called

a "Slur".

The Slur

is

a curved line placed under or over two or more notes occupying different

positions on the staff, and signifies that they are to be

played in a smooth and connect-

ed manner.

"Legato"

is

the term applied to this style of playing.

Connect the notes well and

closely,

and sustain the tones throughout

in

a continuous

strain, as in singing.
In the first three

exercises, two notes are joined with the slur.

be struck with the tongue and connected with the second.

The

first note

must

The second note should not

be struck.
In practising slurring exercises, do not press the mouthpiece strongly against the lips.
In fact, use as little pressure as possible.

In slurring to a higher note,

the

muscles of

the lips must be contracted, and in slurring to a lower note must be relaxed.

The breath must be well controlled

in the playing of slurs.

is

the scale of

N? 2

is

the chord of

N? 3

is

our first slurring exercise and at the same time

N?

for the

thumb of the

left

major.

major.
it

furnishes a special study

hand. The thumb must be so placed that the octave key can be

reached and manipulated without leaving the thumbhole.

N9 4

is

in

2/4 time where

the pupil will find four notes slurred. Great care must be

taken that these four notes are played evenly.

N 5

is

a finger exercise.

The notes are shirred

number should be played several times

20568

in succession.

in
It

groups of four

all

through.

will bring fine results.

This

'

35

IV-

Lesson

The Slur

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2.

3
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i

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20568

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36

Twelfth Lesson
The Slur
This lesson takes us to the scale of Eb major and the chord of Eb, followed by an

2/4

exercise in

Two

time in the same key.

notes are slurred throughout the third exercise which

note has to get a stroke of the tongue.


simultaneously.

N9 4

in

is

means

that every

other

Care must be taken that fingers and tongue act

Start this lesson in a very moderate tempo.

6/8 time and includes a

slur of three notes.

Count six to each

bar.

Give

each eighth one count. Quarter notes, two counts.

N9 5

finds that one bar


ficult

If the

a finger exercise with a slur extending over eight notes.

is

is

one and repeat

good exercise for the

more
it

difficult

until

little

it

than another,

it

student

would be wise to dwell on the

dif-

can be performed with ease. The seventh bar makes a

finger

if

repeated about ten times.

Thirteenth Lesson
The Slur
This lesson introduces the scale of

major and also the chord of the same key. Four

notes of this scale have sharps and the student will notice that the fingering gets more
difficult as the

number of sharps or

these difficult scales

N9 3
ly

is

to be played short

is

N9 5

is

little

all

more careful study of

highly recommended.

written in 3/4 time.

with bars where

N9 4

is

flats increase, therefore a

Two

notes tied and the third quarter tongued, alternate-

three notes are slurred.

The

dot under the note indicates that

(staccato).

melodic study and should be played with expression.

again a finger exercise and good practice for legato playing.

eight notes slurred, others have only four. Start in slowly,

Some bars have

see that the fingers move with

great freedom and precision, but do not stiffen the fingers by the force of will.
N887

it is

37

Lesson

12 1 *

The Slur

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38

13^ Lesson
The Slur

2.

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20568

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V? V?

V?

39

Fourteenth Lesson
Miscellaneous

We

now arrived

have

at the scale of A\> major,

which has four

Do not forget

flats.

which notes are lowered a half tone.

N9 3

is

little

melodic study with two and four notes slurred alternately.

ted quarter note tied to an eighth will be found in the second bar.

count four eighths to the bar at the start.

and one count

ter

N9 4

is

5.

an exercise

dot-

advisable to

This gives three counts to the dotted quar-

to the eighth.

Ab major, three quarter time, where very short tonguing

in

terrupted by two legato notes.

N9

It is

It

is in-

gives the tongue a slight relief and rest.

finger exercise in four flats for the study of legato playing.

how many

are tied in the first bar and four in the second. Be careful to observe
are affected by the slur, and play accordingly. Start slowly and

without a break five times in succession, the speed

when

Eight notes
notes

the exercise goes

may be increased.

Fifteenth Lesson
j

Staccato

(Rapid Tonguing)

This branch of Clarinet study manifests itself differently

comes without

effort, while others

it.

It

will

be advisable to try the tongue

pronouncing the sylable "da"


it

every student. To some

have to labor very hard to acquire

importance to have a brilliant staccato, the less gifted pupil


gently to acquire

in

in rapid succession,

will

it.

As

it is

it

of great

be obliged to work dili-

first without the instrument

"dadadadadadada"

etc.

After this,

with the instrument but take good care that this "da" does not sound like "dha".

in

try

Also

observe with the assistance of a looking glass that the mouth, face and throat remain in

Keep on practicing.

a calm and natural position.

In the third bar of

makes four sixteenths


ly,

especially in

we

find a quarter note with two lines

of that quarter.

band music.

ink for the writer.


N887

N9

Practice makes perfect.

It is

This way of writing

is

through

it.

This

found very frequent-

easier reading for the player, saves time, space and

40

14^ Lesson
Miscellaneous

..

ate

2.

7^FITT

fc*

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3.

3Z

&

&H*

^m
J

!*

pH

20568

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fc

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41

15^ Lesson
Staccato

(Rapid Tonguing)

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20568

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42

Sixteenth Lesson
Triplets

This
to.

The

we

is

a very simple exercise

It is

to

be practiced very stacca-

little

N? 3 shows

in

3 placed under

follow-

4/4

to acquire.

time.

Play one triplet on each beat. Whenev-

or above three notes

it

indicates a triplet.

study showing triplets followed by two eighth notes. This

rhythm but one that

is

very

common

in

several triplets in succession and herein a danger

fault}7 playing, the

is

a very pe-

Spanish, Cuban and Mexican music.

tion to play the triplet incorrectly as outlined in the lower staff.

qual value.

from the

practise of this kind of tonguing will lead to a rapid and brilliant stacca-

find the figure

N 2
culiar

is

in triplets.

to be cut short so as to stand absolutely separated

which every player should be anxious

N9 1
er

another tonguing lesson written

Every note has

ing one.
to

is

is

involved, a tempta-

In order to avoid such

pupil must take care that all three notes of each triplet are given e-

There must be no pause between the

last note of

one triplet and the first

note of the next one.

N? 4 presents

triplets in various

are to be slurred and which tongued.

20568

forms of legato and staccato. Observe which notes

43

16^ Lesson
Triplets

-ar

Pis
Correct
<?

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si

Tii

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1

rrf

Incorrect s yle

3.

^__y

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20568

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.y

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^sps ss
syism is a

is

3ff

Pff*f#--

<y

3:

4.

B=P

-#,y

,y

,y

J*J

*3-

^
wm

s
H

44

Seventeenth Lesson
Legato Tonguing

This introduces to us another form of tonguing, the portamento or legato

staccato

which requires a very soft stroke of the tongue. Pains must be taken that the sound
not interrupted in going from one note to the other.

Pronounce a soft D instead of a T.

is

This tonguing must not be sharp.

This kind of soft tonguing

is

most essential

in the

rendition of songs, arias and phrases that have to be rendered in a singing style.

N9 1
notes

is

a slow movement in
m 3

3/4

time.

In the first bar there are three

quarter

with dots and a slur over them. This indicates that legato tonguing

to

be employed. Observe that the tone carries on after the stroke of the tongue

If

you are not able to do this at once on the instrument take the sylable "om" and hum

Open your mouth

for

the"0" and as you close your

lips for the

"M"

is

made.
it.

the sound will go up

your head. This procedure will soften the end of each note somewhat and that

into

is

is

what

you should do on the Clarinet.

N9 2

is

an exercise

in the

same

style.

The lower

register is brought into play here but

should not be very difficult for the student at this stage.

this

N? 3

offers

more

of a variety of style, and changes from legato tonguing to a

slur

very frequently. With careful practice the student will soon be able to play this exercise properly.

20568

45

17^ Lesson
Legato Tonguing*

Andante
3=

1.

r r if

VTT

Moderato

Eif^

#-

^j|pffgp^jf|3|P

MO
Moderato

fl

Pi^glg

#-^-

^m
rpfpp
i

fc$

tr

T
20568

PICT'

ylCT

^
0-0

Z2

*T T

r?fr

CTtt

^^

""r

rr*

EX

"^^

Si

5^?^

mm

m~^

fHf r rrrr
Ill' r r

v!T

P-0

[EflLT'P

'

?W
L

'
I

w -

la
.

/
^

.'j

j^ rM^tfg
i

-f-

firr

rri^ rJ iJjj
i

46

Eighteenth and Nineteenth Lessons


Lessons 18 and 19 contain major and minor scales. The scales are written in 4/4
time and should be practiced in strict time. If possible, use a Metronome which is a mechanical time keeper and a most valuable instrument for the student. Practise all the scales staccato as well as legato. A conscientious study of these scales alone would make a good Clarinet player of any pupil as far as technic is concerned, but they must be practiced in steady

tempo and with even tonal quality. Good results will then be rapid.
It would be a good idea to play these exercises first in a legato manner,

then with

staccato tonguing, and finally with the legato tonguing as given in the previous lesson.

You will notice that these scales are arranged in groups of two. The reason for this is
that each Major scale has a relative Minor scale, and the signatures of both are the same.

C Major and A Minor have the same signature.


G Major and E Minor have the same signature, and so on.
But while the signatures are the same, the scales sound vastly different.
Minor scales are related to the Major scale of which their Tonic (or key-note) forms
the sixth degree, and each minor scale is written under the key signature of the Major
scale to which it is related.
As an example, A is the sixth degree in the scale of C; therefore the scale of A minor
is the relative of C Major and is written without key signature of sharps and flats.
E is the sixth degree of the scale of G Major, therefore E is its relative minor, and
is written in the key signature of G Major, and so on, such alteration as may be necessary
to any note being indicated by #,
when such notes occur.
or
The Minor scale always bears the same signature as its relative Major scale, and
the difference in its intervals is made by substituting extra sharps, flats or naturals inl>

l|

stead of writing them at the signature.

The

Minor scale to every Major scale is found a Minor third below the Major.
For instance, the relative to C Major is A Minor. A is a Minor third (which means atone
and a half) lower than C.
E Minor is the relative to G Major. E is a Minor third lower than G, and so on.
There are two kinds of Minor scales, Melodic and Harmonic.
The Melodic Minor Scale has two forms: When ascending, its semitones are between
the second and third and the seventh and eighth degrees, but in descending, the semitones
are between the sixth and fifth and the third and second degrees.
Study the illustration carefully.
With the Harmonic Minor scale we will not go into detail. It is not used as often.
The Harmonic Minor scale has three semitones, viz: between the second and third, the
fifth and sixth, and the seventh and eighth degrees, whilst between the sixth and seventh degrees
it has an interval of a tone and a half (tone and semitone). The latter is called an augmented interval. The Harmonic Minor scale does not change in descending.
(No illustration given.)
This lesson will treat only of Melodic Minor scales.
Play the scales so that your ear becomes familiar with the differences of intervals, etc.
Study the diagrams and you cannot fail to understand the positions of the tones
and semitones.
Many of these scales can be played an octave higher or an octave lower, but for lack
of space they have not been written out.
20568

relative

47

18^ Lesson
Major and Minor Scales with Sharps
C major

|'jmjj3JNJ%U

iM

A minor

G major

mm

A major

44

20568

-dekFtte**
[cer

'

^JJByia
F

48

E major

frggj^ggfcggl

pp^
C# minor

^t^fff^^

MMf4
B major

ipp^
F# major

^^

life
i

Dtf

forf^St.

Pggg:

L.

.<

'I

minor

k3P*

19^ Lesson
Major and Minor Scales with Flats

feu
gJigtegggggto

^m^
20568

I,B

Eb major

20568

50

Twentieth Lesson
Chromatic Scales and Exercises

N9 1

is

a Chromatic scale running through three octaves, ascending and descending.

The Chromatic

scale proceeds entirely by half tones.

half tone

is

the smallest

in-

terval in music.

The

student

may form chromatic

scales on any note he desires, but in whatever man-

ner he practices them, great care must be taken to have them sound even,

therefore

well to play the scales in a fixed time and stick conscientiously to that set time.
sible use the
ly as

pos-

Metronome. Start on a slow but sure basis and increase the speed gradual-

is

an exercise on chromatic runs ascending and descending. Everything that

has been said about the practice of the chromatic scales also applies to

Chromatic runs of

all

this chromatic exercise.

kinds are met with very frequently by the Clarinetist and often

a very fast tempo, so be sure to practice these runs well.

These exercises

20568

is

you acquire command and smoothness.

NP 2

in

If

it

if

practiced properly will give great surety in fingering.

20^ Lesson

51

Chromatic Scales and Exercises

TJ
2.

^tt^'^^^'^^A^ ^^^ ,,^^^^

ara

m
#

WW
^te

TOffl^

JJ
tt

#-*

09*

'^^

*-^#
fc

0^0

jtJ

J
tt

fr

#-^*
fc

JJ w

r[^fiiic^!rC!rrjiLLLrcij

55 VfV^
ii>.

>b

ib

t9#
I

rr

tt

Yr^ r

r ]flpf

V*b

-,
|

ll

^^

tt

.^ ^b
'

{|

20568

jl

r f Bf

. ,b

JJ^JJjtJJ

^^JJUJ

j^JJbJJ *F^f

i ^ijjj'jjjjl

tt

f^lf*ff

'

V^

gpfapst

jJ3p3^

g|

lJJI^JIJJiJ^

JjMJJJ^

Us
gppft

52

Twenty- first Lesson


Grace Notes

Grace notes are ornaments of melody which are written


their

name

indicates, Tire introduced as embellishments.

in

smaller characters, and

They do not form an

of the time value of the bar, but appear as a surplus, and their actual value

ther from the note they precede or follow.

The long grace

Three kinds of grace notes are generally

N9 1

presents to us long grace notes.

the lower line the

way they are

to

in use.

The upper

be played.

We

half the value of the following note. This style

Such grace notes have no line through the

N9 2
through

is

3.

fall

is

essential pari

is

deducted

an exception to

ei

this rule.

long, the short, and double grace notes.

line

shows how they are written and

plainly see that the long grace note takes


is

found mostly in old classical music.

top.

consisting of a small eighth note with a line drawn

stem which signifies that

its

accent may

N9

the short grace note,

The

note

as

it

must be played lightly and

quickly,

so that the

on the principal note.

The double grace note

exceptions to this rule and they

is

may be played

appears before the bar and not on the


of music and very

much upon

generally played as marked in

bar.

as outlined in

N9

3, but there are

N 4 where

the grace note

This depends upon the character of the piece

the conception of the player. Opinions sometimes differ in

regard to the execution of the double grace note.

N9 5

is

little

kinds of grace notes.

20568

exercise in which the pupil

may

try his skill in playing various

53

21^ Lesson
Grace Notes
Long Grace Note

Short Grace Note

as written

as played

as written

Double Grace Notes


as written

fe

JI.

as written

I
trng Pp S
tf

played

7^"

Allegro
fl

ij

'

..p j0 \*^

ISL

m5 i

A gftf-r Mr frfcf >7frigfff.^fif#


p

^^^^ ^^^j fc S^j


J

w5jj
20568

3^S
*=H

nfc

=^S

fefrt

*2

#i J ^!L-'V j^

&n?i

AS played

ftrn-vJ^^i*
#

5.

ZEE

^^ll
^ ^ t^'vjJ]
l

J
i]'Q
ij *J J
*_

@' jg^j

MJ^ij^

54

Twenty- second Lesson


The Grupetto

The Grupetto

(or

ter the principal note,

Turn)

is

indicated thus-,

The

(oo).

and consists of three grace notes,

sign
viz:

is

placed either over or

af-

that on the degree nexta-

bove, then the principal note followed by the degree below and the return to the prin

cipal note.

N9 1 shows how
same may be
In

the grupetto

is

formed and also shows the different ways the

to be

played.

N9 2 we

find a sharp placed under the turn.

This indicates that the lowest note

of the turn must be sharpened.

In

N9 3 we

find in the first bar a natural sign below the turn which means that the

lowest note in the turn must be

natural.

In the

second bar

in

N9

we

find a flat a-

bove and a sharp below the turn. This indicates that the upper note of the turn has to
be lowered and the lower note sharpened.

If

there are no accidentals marked over or un-

der the turns, both the upper and lower grace notes

must be played

in

accordance with

the key signature.

N9 4

is

a sample of an inverted turn.

These are usually written

out in

notes and

not indicated by the sign.(oc).


In whatever

20568

way the grupetto appears

it

should be played smoothly and gracefully.

22

n-d

55

Lesson

The Grupetto
as written
go

3T

as played

aS:

Z3T

1.

SHI

or
-7y-

-ri-

m-0-W-

* F 0mW

*~^r Pff=^

as written
gc

as written

3.

^
i

GO

GO

as played

m
mVi

7*

SE

Efe:

""^"

#-'

Andante
as written

GO

-GO-

as played

^m

=*i

SH

WT

or

i
=

20568

JJr*

^$

8^
r

P
e*

"&

56

Twenty-third Lesson
The Grupetto

In this little lesson on the grupetto, the pupil

was said

N9

in

regard

to

it

in the

may put

into practice everything that

previous lesson.

1 begins with a dotted quarter note followed by an eighth.

notes the turn has to be established.

The

twenty-two (N9 2) gives an example as to

The turn

in the

how such

it

value.

in the sixth

bar which

may be played

Lesson

should be played.
is

also

ex-

1).
is

over a half note takes

establishment, and should be played like this:

slow tempo,

grupettos

its full

second bar between a dotted eighth and a sixteenth

plained in lesson twenty-two (N9

The turn

eighth note must get

Between these two

like this:

l-f

turn comes exactly on the second beat,

and

f f r

in the

etc.

in

f jetc.

full

quarter for

its

In case of a very

In the first instance, the

second example

it

comes

after the

second beat.
In the playing of grupettos,

as well as

all

deal depends upon the taste of the individual.


to play all grupettos

20568

according to set rules.

other forms of embellishments, a great


It

would indeed be a difficult matter

57

rd

23 - Lesson
The Grupetto
Moderato
oo

tz

9
i

nrr,

1,

GO

tB

*
/>

*:

oo

iH

H P J

-o-

Andante

S
go

jgjjjjj fij

go

22

fe^W J

F^

rail.

i.

PP

e^-i

19-

^P^

mf

pp

Pi

^^ t^,

<VD

r#.

S5

is

go
k.

HP

is:

te

20568

^m

is.

OS

*li#

cr

is

r^rcayi^

s:

58

Twenty- fourth Lesson


The

The

trill if

played in perfect style

from the technical standpoint.

rinetist

voted to this

The

is

Trill

one of the highest accomplishments of the Cla-

great deal of time and energy should

study.

trill

marked

or shake,

or *v

thus, "4r"

consists of a rapid alternation of the

note so marked with the note on the next degree above

word

of the

It

is

be de-

it.

ir" is an abbreviation

trill.

necessary to practise the

trill

slowly

at first.

Then

the velocity

may be

increased until the utmost rapidity has been reached.

as a rule,

trill,

of grace notes, but this


In
to

Lesson 24

it

is

ended with an appoggiatura, a turn, or some other kind

is

always indicated by the notation.

is

plainly demonstrated

how

the trill

is

written and

how

it is

be performed.
In playing a trill,

fingers as rapidly and as


at the right time

how many notes

do not calculate

Move the

are to be played.

evenly as possible and take care that the grace notes

and are played with the same quantity and quality of tone

come

as

the

others.

Always see that the trilling finger

is

in

a relaxed condition even

if

moving ve-

ry fast. As soon as the finger gets in a cramped condition, stop and start slowly again.

N 7
This

is

trill

started slowly and getting more rapid gradually.

a very good way of studying the

The
overcome

20568

an example of a

is

trill

all

trill.

depends mostly upon the evenness of fingering. Careful practise

difficulties in a short time.

will

24

-h

59

Lesson

The

Trill

as written
<tr

as written
*r

b=f

5 played

33:

#-

IE

as written
jCE

<v

r*

as played

3.

*=:
f r
i=

(*

331

as written

zr
^

*'

<*r

<rfr

i*

as played

4.

<fr *^v^*v^^^

msm

*&
as written

5.

i 3^played
as

20568

f
=***

as written

<tr

m
y^w s

fe

te

UK!"

^~7S~

fmfm m

32:
\

60

Twenty- fifth Lesson


The

Trill

This gives the student the opportunity to observe


previous lesson regarding the

N9 1.
N9 2

The grace
is

everything that was said in the

trill.

notes are to be found after each note.

a chain of

trills,

running from one note to the other without grace notes

end, and should be practised in that way.

at the

N? 3 has grace notes after each half note trill.


N? 4 gives some trills which end with grace notes, and some
them.

that end without

Great care must be exercised in the playing of this study.

A
at the

complete chart of

all the trills for the

Albert and

Boehm

systems will be found

end of the book.

The

student should be reminded again that the fingers must run in a relaxed con-

dition in order to

make a good

your chances for making a

The

trill

If

trill.

your fingers get

into

a cramped condition,

beautiful trill are lost.

need not be so extremely

fast, as

long as you get the fingers under control.

Twenty- sixth Lesson


The Shake
(Mordent)

The Shake
It is

is

another form of embellishment and

indicated thus {w) over the note.

produce a shake, as

The following

is

demonstrated

in

is

the shortest kind of a

Only one movement of the finger

between the shake and the

trill.

ercise effective, the student must play everything very short,


the shake but every other note as well.

Try

to do

try to produce a big tone in an exercise like this.


will sound.

There should be nothing clumsy about

it

may

In order to

also demon-

make

this ex-

not alone the notes with

without hurrying the tempo.

The

Do not

less force you use the better

this study.

style are highly essential in music of this character.


N887

required to

lesson 26.

exercise will acquaint the pupil with the shake and

strate the distinct difference

is

trill.

it

Grace and lightness of

61

25*-h

Lesson

The

Trill

Andante
sir

sir

sir

sir

sir

3^g3

sir

***

sir

223

sir

sir

5^

P3
sir

sir

^*P,^f M H^ ^f n ^rn
^_$L

.p

^_fr_$-

^is

^r *

sir

sir sir

r^

fr $r

sir

sir

3.2S

sir

^l

sir

*
*
g gj? ft

sir

s*r

^3f

80568

b
|

sH

n ^T
^l

*ri>~

sH

sir

P dfl\r)

sH

sir

iiE

k:

sir

^.

sir

<*r

sir

I
ff

^^i.

iji3|5
sir

sir

sir

J
-ig

sir

sir

Ji

sH

sir

22^2

sir

<&

'^
**^*^ tnVn&H

sir

sir

sir

^ 53

sir

#.

;UkJijj*

gj"jj3Jj t^"JJ g

jfti? *J?

sir

'

"#*

fgf H ^nfja

"^"

.^"

sir

sir

<tir

5>
sir

^a

"&* _,

*rjr_jr

.^^

Z2

fe

_^^

1-

*r

<tr

s<u

sir

<tr

J:

*:
sz

sir

-s^

sir

sir

=t

* i
**[>

J
-&-i +

sir

t>

gj J

<

^3

S
v ~~ii
sir

sir

r^

sir

sir

sir

sir

sir

#*

3
sir

((9

sir

[>

sir

sir

sir

*
sir

<tfr

2Z52

it

sir

sir

zzz

sk-

sir

sir

sH

Pf!

J rJ J *

ff

m
62

26^ Lesson
The Shake
{Mordent)

as written

as written

"is m

g p

as played

"

^
-

c/f

Moderato
++

^vv

Zj.

-^

=5 $->$->

y y

-W

-vv

^5

r 7

^-.^-^

^ n

*e:

**

-w

<&

s^
J
f/>

*
jtflttf

ri

ii

*W

-w

#.

s?

*V

/VV

pTT* **

<w

-w

SF

20568

cres

ce

w ~ -w

:z^~

63

Twenty- seventh Lesson


Common
This lesson

which are most

Mistakes

a sort of warning to students, and will show some of the mistakes

is

common among

Clarinetists

in general.

There are thousands of young people who desire

whom

to

become musicians, many

do not have the opportunity of studying under -competent teachers.

Self-taught

students in particular should try to avoid making the mistakes pointed out
In almost all

bands these mistakes and similar ones are quite common.

and attention

will

soon make such

faults

Each one of these exercises shows


certain

phrase.

of

in this lesson.

little

care

disappear.

the correct and incorrect ways of playing a

Observe very carefully.

Twenty- eighth Lesson


Broken Major Chords Dominant and Tonic

This lesson contains the dominant and tonic chords of


in

broken form.

Take

tempo

to play all the scales

at the start

you

still

proceeding
N887

and as

have

it

memorized.

in a similar

it

smoothly and evenly as possible.

C major

without looking at the music.


If so,

you may go

manner, and so on

cannot be found.

and chords from memory. Play these

for instance the first exercise in the key of

and over until you can render


if

the different major keys,

better study for development of tone and techni'c

The student should be able


studies in a slow

all

until

to the next,

you master

for to-day.

Then
in the

all of the

Play

over

the next day see

key of

chords.

major,

64

27 -h Lesson
t

Common Mistakes
2.

1.

correct

^^Pm
correct

i
# ife

"

fc

4.
correct
J
f

(!

^
m

is

7.
correct

3te*

f^

4*

F^fT*

&

(S- 8-

3=ZZ

^ #^

incorrect

8.
as written

r/r

# s played correctly

ejq*

incorrectly

E
20568

fc

3E

incorrect

incorrect

correct

zz:

rf

PPE

3.

^ P p
incorrect

incorrect

E a

:{

v g y

it

s f

& pm
r

65

28^ Lesson
Broken Major Chords- Dominant and Tonic
Key of C major

Key

of

Ct

major
'

Dora linant^.

&
75k
69

JT^J]J

fi f 0-^f

d-*-

tJ

Key

of

U^_

MM

^
.

f fr
J

=-f r

'

Tonic

'

'

'

-**+m^
N

JTTtPM
Jj
p

^"^
^

f~m
#

Tonic
**rj

%^M

Key

te

20568

L#

5j

#'

fe
^* *.
i

y-M^

*-*

"-*,._.

^rr

>

^ ^

r^E

major
Dominant
2:

fffttfi

Tonic
(-=

-*

1*

^s

of

major

D omina nt

IIt

*
i

f~m

^^

>

*9=

s:

-*

I.V*-~'

-J-

* Hj

T3"

28*& Lesson

66

Key

E major

of

Dominant^-----

^>*

^EM,

*-

U-^

Tonic

^-^^

LI

n
*>

-J

j-j* <^j

j
*

#-=

A
p
Key

(continued)

vr *

B major

of

Dominant
Tonic

i>

yg
i

#=^

Key

0-=.

r~#

*
z:

major
Dominant

XT

of Fjt

Tonic

rpCTTi
Key

of F

major

Dor ninant^--

/L/i

#^N

--

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68

Twenty- ninth Lesson


Broken Minor Chords
This lesson contains
ic

ory.

When

the chords of the dominant seventh,

all

Do not

of the minor keys.

Dominant and Tonic

rest until you can play all these

followed by the ton-

broken chords from mem-

reaching the chords with many sharps or flats, the student must exert great
Start slowly, but do not neglect to play in the keys with

patience and perseverence.


four, five

and six sharps or

will also

sound

flats.

After diligent practise the chords in those keys

brilliant.

Thirtieth Lesson
Diminished Seventh Chords

This lesson presents to the student three chords of the diminished seventh. Such
chords are used very frequently, and
ing for these chords

is

it is

well to

become

The

familiar with them.

finger-

not always so very convenient and they will therefore require

diligent practice.
It

would be a good idea

to practice all of these exercises first

manner, so that the tongue and fingers act in absolute unison.

tempo

first.

Then

play the

same exercises

in

a legato manner.

in

Play

in

staccato

a moderate

Do not be

content,

unless you can play smoothly and with surety.

Thirty- first Lesson

These exercises are


cle of all the

in the

form of

scales, leading the student through

major and minor keys. They start with the scale of C

ceeding through the various keys return to the same key.


orized by the pupil, as
tips of his fingers.

it

is

most essential to have

Music consists mainly of scales.

everything else has been derived.


N887

all

the

and after pro-

This lesson should be mem-

major and minor scales

From

cir-

scale

at the

of seven tones

29

-h

69

Lesson

Broken Minor Chords- Dominant and Tonic


Key

minor
Dominant sevenths
of

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71

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76

Thirty- second Lesson


Celebrated Cadenzas

For
is

this lesson the author

has selected some very well known cadenzas. The

the beginning of the Overture to "Mignon".

the

It is

a fine study.

2nd and 3rd bars must be very evenly played and

lowing run not too fast and a

little ritard

time represent a beautiful passage for the

first

The sixteenths

will require

some

study.

towards the end. The three measures

in

The
in

fol-

4/4

Clarinet and should be played with great

expression.

The

Huguenots

solo from the

Aria sung by the Page

in

is

very well known and a most

Meyerbeer's Opera.

the Clarinet generally plays the voice part


iar with a solo of such

is

20568

It

in this case,

if

he

is

No Clarinet Player

will

not thoroughly acquainted with

For that reason you will find both parts given. As the Clarinet plays
it

is

the duty of the performer to follow the first part.

The Cadenza NP 4
alone.

air,

and every gopd Clarinetist should be famil-

also very important to know.

be able to follow the voice exactly

the second part

arrangements of this

importance.

The solo from Traviata

the voice part.

In orchestral

brilliant part of the

is

from the Traviata Fantasie and

is

contains very brilliant passages for the instrument.

played by the Clarinet

32 n-d Lesson
Celebrated Cadenzas
Mig-non

Traviata by Verdi
Clarinet

z.s

Fantasia from Traviata by S chreiner

4.S^

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Thirty- third Lesson


Celebrated Cadenzas

important that Clarinetists should become acquainted with the cadenzas that ap-

It is

pear

in the

The

various Hungarian Rhapsodies by Liszt.

should be quite long in the cadenza of the First Rhapsodie

trill

lowing triplets not very

fast,

The famous cadenza

in

Liszt's

Second Rhapsodie

natural

to. G(t,

is difficult

and will require

make them sound too


music.

Some

through the reoccur

diligent practice.

stiff

from the high F#

way they are written which would

and cold. There must be a great deal of emotion

to lowest

in the

D on

same Rhapsodie

Hungarian

in

is this way-,

indication of this writing is not satisfactory, but


little

starts with the scale in

if

we

start fortissimo

The

^^ J B

jj

J J~|

= To

start the first three notes a

towards the second figure, then hesitate towards the third

ing the last notes very broad, the cadenza will sound flexible
third

writing;

D major down

the instrument, followed by three triplets.

of these three figures in the orchestra parts

and hurry a

five

felt.

The second cadenza

The

and the

of the effects are so subtle that they cannot be committed to

they can only be

is

six eighth notes after the big run should be played with a little emotion

consecutive C's following must not be played just the

ly,

fol

but smooth.

ing of the augmented second from

The

and the

and Hungarian

cadenza consists of a chromatic run, leading up

and diminish gradually

into pianissimo.

to a

trill.

The chromatic

notation

follow the

little

broad-

triplet, play-

in character.

The

trill

should

figure after the

trill

also to be played softly and slowly.

The cadenza
ished chord and
tice.

is

for

very

The descending

Clarinet in the Third Rhapsodie by Liszt

difficult.

The

triplets should

brilliant run

up

to the high.

is

also based on a dimin-

F will

require

some prac-

be played with a broad staccato leading naturally into the

ritard.

The cadenza from


Whenever we

the

Mignon Polonaise

find figures of the


etc.

is

also one every Clarinet Player should know.

same kind repeated as

the music

is

in this

cadenza

strength or

20568

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|"

apt to get monotonous, but the player can add consid-

erably to the interest of such passages by playing each figure a


in

? f p f Ef p

little differently, either

79
rd

33 - Lesson
Celebrated Cadenzas
Cadenza from Hungarian Rhapsodie N9l, by Liszt
Orchestra
fit

inA

"

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Collection of Songs and Solos


America

HENRY CAREY

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4.

108

Table of

Trills

for
Albert System Clarinet
Reed
Ligature or

Reed Holder
Mouth piece
Socket or
Barrel joint

Top joint

Bottom joint

The

Bell

Published
8465-99

by

Carl Fischer,

New York

100
Difficult.

tr

tr

W^.

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ste

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ii

-OTake B^ in the
ordinary way
to oegin the
shake,thenA^
and execute
the shake with

key

N<? 13.

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13
11

12

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11^"

List of the Principal


With

Accelerando
Accent

(accel.).

Adagio.

Ad libitum (ad

A due

(a 2)
Agitato
Al or Alia
Alia Marcia

lib.)

....

Allegretto

Allegro
Allegro assai

Amoroso
Andante
Andantino

Ani/na, con

Animate

.'.

piacere
Appassionato.
Arpeggio
Assai

Words used

their Abbreviations and Explanations

to, in or at; a ternpo, in time


Gradually increasing the speed
Emphasis on certain parts of the measure
Slowly leisurely
At pleasure: not in strict time
To Be played by bcth instruments
Restless, with agitation

Bis

Bravura
Brillante
Brio, con

Lively; brisk, rapid.

Obbligato

Opus

Affectionately
In moderately slow time
Diminutive of andante; strictly slower than andante, but often used in the reverse sense

Ossia

With animation

An

Cantabile
Canzonetta
Capriccio a
Cavatina

...

Chord
Coda
Col or eon
Crescendo (cresc.)
Da or dal

Minor Key
Moderately.

An

{Op.)

Qttava (8 va )

Pause
(/?\)
Perdendosi

spirit
elaborate, florid passage introduced

as an embellishment
In a singing style
A short song or air
.At pleasure, ad libitum
An air, shorter and simpler than the aria,
and in one division, without Da Capo
The harmony of three or more tones of
different pitch produced simultaneously
A supplement at the end of a composition
.Swelling; increasing in loudness

From

Pianissimo (pp)

Piano (p)
Piu
Piu Allegro

More
.More quickly
Quicker

Very sweetly and softly


The fifth tone in the major

Dominant
Duet or Duo .... A composition
E
And
Elegante
Energico

for

or minor scale
two performers

Espressivo
Finale
Forte(f)
Forte - piano (fp)

Fortissimo

(ff).

Forzando(fz>)

Forza

.Accent strongly, diminishing instantly to


piano
.Very loud
.Indicates that a note or chord is to be
strongly accented
Force or tone

Fuoco,con

With

Giqcoso

Joyously, playfully

Oiustoi

Orandioso
Grave
Grazioso

Harmony

note.

....

hargamenle

Larghetto

fire;

with spirit

Exact; in strict t'ime


Grand; pompous; majestic
Very slow and solemn
Gracefully
In general, a combination of tones, or
chords, producing music
The first degree of the scale, the tonic
.Very broad in style
Slow, but not so slow as Largo; nearly

Largo

like Andantino
Broad and slow; the slowest tempo- mark

Legato
Ledger-line

Smoothly, the reverse of staccato


A small added line above or below the

formers
t

Repetition. Senza replica, without


repeats

Replica

Rin/orzando
With special emphasis
Ritardando (rit.) .Gradually slower and slower
.

Resolutely; bold; energetic


In slower time
Playfully; sportively
.The second singer, instrumentalist o
part
For
Follow
on in similar style
Simply; unaffectedly
.Without. Senza sordino without mute

Senza
Sforzando

.Forcibly; with sudden emphasis


(sf).
Simile orSimili. .In like manner
Smorzando fsmorzJDiminishing in sound. Enuivaient to
.

For one performer only. Soli; for all


A mute. Con sordino, with the mute
Sustained; prolonged.
Below; under. Sotto voce, in a subdued

Sordino
Sostenuto
Sotto

tone
Spirito
Spirit, con Spirito with spirit
Staccato
Detached; separate
Stentando
Dragging or retarding the tempo
Stretto or stretta. .An increase of speed. Piu stretto faster
Subdominant
.The fourth tone in the diatonic scale
Syncopa.tion .... Change of accent from a strong beat
to a weak one.
Tacet
"Is silent" Signified that an instrument
or vocal part, so marked, is omitted
during the movement or number in question.
Tempo
Movement; rate of speed.
Tempo primo
.Return to the original tempo.
Tenutojten.)
.Held for the full value.
Thema or Theme .The subject or melody.
Tonic
The key-note of any scale.
Tranquillo
Quietly.
Tremolando, Tremolo A tremulous fluctation of tone.
Frio
A piece of music for three performers.
.

Triplet

Troppo

regular rhythm.
Too; too much. Allegro,

group of three notes to be performed


in the time of two of equal value in the

ma non troppo.
not too quickly.
All; all the instruments.
A, one, an.
On one string.
The transformation of a melody by means
of harmonic, rhythmic and melodic changes

staff

Lento
Vistesso tempo.

Loco

Ma
Ma

Slow, between Andante and Largo


In the same time, (or tempo)
In place. Play as written, no longer, an
octave higher or lower

But

non troppo.

Maestoso
Maggiore
Marcato

Meno

.....

Lively.but not

.too.

much

.Majestically; dignified

Major Key

so

/!"*'

U
Una corda
Variatione

and embeljjshments.
Quick, rapid, swift.

._

,
Veloce
Vibrato

A wavering tone-effect, which should be


sparingly used.

Marked
Less

little faster

Morendo

The end
Loud
.

little

Jlalle ntando(rall.) Gradually slower

Solo

.Alike in pitch, but different in notation


With expression
The concluding movement

Fine

little

Elegant, graceful

With energy, vigorously

Enharmonic

.Gradually, by degrees; little by


.A little faster
A little slower

Semplice

.Softly; sweetly

away gradually

At pleasure
.Very softly
Softly

Segue

arate instrument

Key

Then; afterwards
Pompous; grand
Pomposo
Prestissimo
.As quickly as possible
Presto ....... Very quick; faster than Allegro
Primo (li*o).
The first
Quartet
A piece of music for four performers.
Quasi
As if; in the style of
Quintet
A piece of music for five per-

Scherzando
Secondo (2 dS>)

Piu tosto
Poco or un poco
Poco a poco.
Poco piu mosso
Poco meno
Poco piu
Poi

Decrescendo(decresc.jJ)ecTesLS\ag in strength
Diminuendo (dim.). Gradually softer
Divided, each part to be played by a sepDivisi
.

indispensable part

work.

Pyin.fc

Risoluto
Ritenuto

Dolce (dot.)
Dolcissimo

Piacere, a

.From the beginning


(D. C.)
Dal Segno (D.S.). .From the sign

Da Capo

Allegro moderato, mod-

Or; or else. Generally indicating an


easier method
To be played an octave higher
.The sign indicating a pause or rest.

With

Moderately soft
erately fast

Very rapidly

With much

Cadenza

Minore
Moderato

In the style of
In the style of a March
Diminutive of allegro; moderately fast, lively;
faster than andante; slower than allegro

In the original tempo


Attack or begin what follows without pausing
A Venetian boatman's song
Twioe, repeat the passage
bold; spirited
Brilliant;
Showy, sparkling, brilliant

tempo

Mezzo-piano (mp)

Much; very
Molto
Dying away
Morenao
Equivalent to rapid. Piu mosso, quicker
Mosso
Moto ....... .Motion. Con moto, With animation
Not
Non
The art of representing musical sounds
Notation
by means of written characters

At pleasure,- equivalent to ad libitum


.Impassioned
A broken chord
Very; Allegro assai, very rapidly

Attacca
Barcarolle

Modern Music

in

O. vae0

With vnraeity; bright; spirited.

lvel y; spirited.
&? * ii +'
L
ir*,- -.M
Voltx Subxto
F.S. .Turn
Turn ove/
ov
quickly.
.

N?25
NOTE: The black

DESCRIPTIVE TABLE FOR THE BOEHM CLARINET

points () denote the closecLholes

and the white points (o) the holes open.

WITH VARIOUS EXAMPLES ILLUSTRATING

The numbers indicate the keys to be opened or closed.


The letters A,B,C, indicate the extra fingerings
for

keys

i. 3.

ITS

Price

.25

MANY ADVANTAGES

by C.ROSE.

3.

little finger is used on four different keys as


also the first finger of the right hand which has
in addition its hole to open and close.

Each

Professor at Paris Conservatory.

ia

Again close the thumb hole and open the 12th key.

'

Close the thumb hole.

toio.
12

--

o-

o.o

o-o

oo-

"-*

ooo *

o-

OOO

oo

-oo-

OO-

o oo *

-e-o

OOO

oo

oo-

oooo

'

ooo

-o-e-

---

---

---

*-

OO

oooo o-o OOO

ooo *

oooo oo- ooo oooooo oo OOO oo

oooo

M!

ooo *
^-o-

o-o

oo

'.

10'!'

-Ml'.'

oo--

o-o oo- > oo


oo-

OO

fe

o^

o-o

---

12

oo*-

ooo ooo o oo 0*0 o* oooo oo

>

-o- *---

--

oo t o

O^OlOb.i

'ft

.to 10.

o-o-

o-*

fa

OO

'

.c

o-oo

o > o

oo^

7hj- .. ..

o-o

OtOOO

o-o oo-

o
o

OO- -o-o-<
o-

-*y*y-

o-o

OO oo

OO-

OOOO- --00- -GOO

o--<

ow
.4 .4 .4 .4.. .4
'.

EiJ

2. 8.

4. 6.

6.

7.

8.

U12.t3.14

9. 10.

16.

16.

1718

19.20.21

These numbers correspond to-the examples below.


i.

2.

Oopyrifht

1898

4.

by Car/ Pfchar

Nno

York.

7.

8.

22.23.

24.25.

26.27.

II

10.

28.29.30.31.32.

33.34.36.
II.

36.3738.

39.40
13.

4142
14

CARL FISCHER, INC .,i88S6? NEW YORK

4344.

46 46 47.48 49

50

51.

52

53.

54.65.66.

57.68.69.

60.61.62.63.

64.66

66 67.68.

69.70.

71.

.'.

72.73.74.76.

.76

77.1

78 79.1

60.

Ubert System|

SCALE FOR THE CLARINET WITH

N2 25

15 keys

4 rings
(The

15

KEYS.

AND Cjf ACTION, ALSO SIDE Ek AND


WITH SEVERAL OTHER EXAMPLES AND FACILITIES OF FINGERING

GIVING VARIOUS EXAMPLES ON THE USE OF THE

black dotsOare closed hules-

Th xeros o the open holes.


The numbers on the keys indicate the holes,
\ that must be opened or closed.
The letter S indicate the side Eb and BbKey.
f
V
The letter A the duplicate F# and Cfl action.

by

C.

Ftf

Bl>

NOTE: The
is

KEY,

thumb hole and

thumbhole

ROSE.

raise the 13'.n key.

common system

Clarinet to be obtained.

By meansottherings on the upper joint the^p


alone and

pening the key N?

therfc

13 or

is

jt*^

made by stopping

made by stopping

the

the thumbhole and o-

thumb key.

making those notes.thus making

ny passages in sharp keys much less

If"

is

This improvement doeB away with the


the execution of maVarious other keys have been
invented in addition tothoBe already mentioned, but they are of doubtful value and are not
recommended.
-
use of the 8th key in

Professor of the Clarinet, at Paris Conservatory.


'Reclose the

IB keyed Clarinet, with rings on both upper and lower Joints,

the most desirable

#^5

difficult.

Jtfi*S

Ptpe key or 11th key.

7th.

O-

Key

th Key.
1st

Key

Side Key
<r'

2nd. Key.

.1.

To~

Avoid these lingering*


much
possible, except in the
of the third #F, u In ezamnlea N? 18, and aneh like ]pMamgee.

we

Copyright tSS 6p Cart Pitcher

New

York.

CARL FISCHER,lNC

iSSSSf

NEW YORK

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WmmlMKm

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imsm

Wm

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Mill
m

m
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mi
wm

Kf

illlli

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KH

9
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UP*

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8/99

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