Professional Documents
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http://archive.org/details/foundationtoclarOOrein
VAT
|1H
Foundation
to
Clarinet Playing
AN ELEMENTARY METHOD
INTERESTING
SIMPLE
COMPLETE
MELODIOUS
13
CARL
R E
FORMERLY WITH
N E C K E
THE
CARL FISCHER,
0221
Inc.
COOPER
SQUARE
NEW YORK
Copyright,
1919
by
HP
:=2S5S=
rose
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zzsmr-
=2S52=
=5s;-M:-==
CONTENTS
PAGE
PAGE
Introduction
Syncopation
30-31
The Clarinet
32- 33
Position
The
34-39
Care of Instrument
Miscellaneous Exercises
40
Rapid Tonguing
41
Triplets
42-43
Legato, Tonguing
44- 45
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
Time
Breathing
Fingering
Transposition
Different
How
to
Tone Production
10
.
n
1
12-13
14- 25
rase:
^s
Trill
62
Common
64
Mistakes
65- 67
68- 71
72
Exercises on
73- 75
Scales
Celebrated Cadenzas
76- 77
80- 86
87-103
104-107
108-111
List
of the Principal
Words Used
Boehm
in
112-
Modern Music
Clarinet
zsats^
46- 49
Scales
m~
Slur
ss*Xw!w! bc
|
=^52=
as:
^CB.
It is
305C
3B^{Ca=
ra=
-^Si^fc-
to say that
needless
ane
:^a?:
are
there
many
There seems
artists.
playing,
degrees,
each
principles of Clarinet
the
giving
item
time
student
Then
properly.
Naturally,
it is
aid
master
most books
again,
to
of
a teacher.
of an instructor, but
when we
a teacher, a book of
this
value.
Besides aiding
the
this
student,
in
and
special
studies
at
When
and
his
will
manner
The solos
are
will
assured.
E.
is
future
CARL
will
exercise
solid
book
REINECKE
be
.m-ar
=KSKXL
ZG>r2Z
55K
=^!S=
>sb:
SB'X^'I'BS:
The
The
Clarinet
Realiz-
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-
day
it
instrument.
There
is
very
little
Clarinet.
The Bb
is
Position
graceful
naturally, without
stiff-
Hold the
joint
=5>I"t>>3^:
about
ZtZTkZ.
left
proper place.
five inches
^SfSC
in its
the left-hand
ZPOSZZ.
^sxsez
--*
wbl
*--
111=
"^^fr^w**
jjk
-*""*
^s:
=2522=:
ZZ2BC
'"HI
POSITION Confmued.
The
right
face, or
any other
legs,
repose
when
playing.
Care of Instrument
Be
and
careful to
outside.
wipe
off
all
when playing
ially
piece.
properly.
else to
use
your own
re-
climates,
Keep
all
at
the
seashore
keys
otherwise the
will
damp
or in
refuse
to
work
oil.
The Reed
The beginner cannot be expected
to
make
his
him to
5B8SC
assaa
Most
down
The
success
of
it
has to be thinned
Clarinet
player depends
^a:
The
^ocs^
reed
7BSC
is
=[!
SB=
^oc
xaez.
ZZSXScZ.
^Q*%**W*%^V^
Its
Next to the
reed, the
mouthpiece
is
the most
and
plastic.
When
lip
mouth must be
of the
may
The
it.
closed,
tightly
corners
so that air
pressure,
and
somewhat
this
be
relaxed.
Before Playing
Always be sure
play.
Remember
between
F and
of the
key
there
that
in
is
difference
G, for
fingering.
the instrument
pitch of the
is
properly
beats.
Do not
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
Additional Advice
Above
all,
secure one.
It is
a real necessity.
Ensemble playing
bk
zaiac:
ssa
:ts.c=
duos,
trios,
orchestra and
band
practice
is
especially
when rendered by
^oaez
r^ya-
agwe
vtaa^
ZZXtCL
=a="8">=
;s=*i
3SBC
Tfsr^er
3K
=>ane=.
:^^:
Aim
fied
do not be
music
It is
It benefits
interfere with
it.
Do
Play
Do
Practise in such a
without apparent
from
effort,
it.
Do
lips
begin
What
for
ten or fifteen
way
is
of practise
more important.
scales,
not
fail
to practise
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.
good tone
of exercises
good or not.
Play
it
over until
it
if
is
more
a tone
is
sounds good.
to Practise
may
Practise sustained
Fifteen
Do
Practise whatever
to Practise
at a time.
all difficulties.
How
if
is
much
careful
timately master
Nothing
satis-
By
and
Do
much
of
sort
of
tones; too
weakens the
lips
materially.
also
:=bs:-C-8"X
is
style of play-
nr
zxvz&z
=zsoe=
=oMc
=zse=
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
brass,
and
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.
If
the Piano
is
is
often the
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
feet.
It is essential
to give
all
rhythm.
Breathing
The breath
seven.
mouth
nostrils.
downward
first
Keep the
closed.
=39
ZBSStZ.
3C
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0'
T^i
"
^g-
j>-^g<
~r-^s
^^tg'
*-*
^?*>>?'
^^&
'
****
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m^mar-
--=
=(5)
The Boehm
Clarinet was
first
adopted in France
where
a
it
its
greatest development.
It is
older model,
many
has
it
Important
All the
music
in this
first
and the
Boehm
second to
For
all
instruments.
to the chart.
Fingering
It is
The
holes
(or rings)
(See chart).
The mark
mark
The keys
(o)
an open hole.
must be closed.
indicates
chart.
little
all
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
D,
Eb and Ab
When
srsnr-
=SC2=
=5355:
S^tfZ
sa/BC
as
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
sofy&wac
see
=2sas=
TRANSPOSITION Continued.
Clap.
Bl>
Clar.
Clar.
El.
ii
soundsC
To produce the
scale of
sounds
~*r~
Clar
Bt>
"
sounds
sounds
j pg r r'T
The Ab
Clarinet
is
practically obsolete,
and
*7
is
At Clar.
JEC
"
sounds
sounds
DCIar
A Clar
Clar.
Clar.
EV Clar.
if
jjijjJ i
it^
:=&=
=75.!St^
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mSm'** !s^
tM
as J J
ing
it
by
by
Dot placed
half. d--
half. J-
J*
bars
is to
}
'H
I| ;
be repeated.
Breathing mark.
*>
-^
may be
taken.
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,
Decrescendo,
A Sforzato,
***%%* ir Trill,
M.M. J
60 Metronome mark, a
the beginning
that the
of a composition
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
etc. see
10
Rudiments of Music
Music
is
It is
Melody
cession,
manner agreeable
to the ear.
Harmony
to represent
suc-
The
five lines
The
staff.
staff.
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
is
When
in Music,
to
names of the
are as follows:
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
edger Notes
i
C
'
"
-: z: z:
B A U
a
gabcdefg
'
is
called "Interval".
11
NOTES.
RESTS.
4'
sixteenth note
de-
&
half
4 1 thirty-second note
Jj sixty- fourth, note
thirty-second rest
f
A
sixty-fourth rest
Rest
(Ij)
or
!>
to its
former position.
!>
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
perience.
First, cut off a piece of cane about the thickness of
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.
N9
5).
is cut off,
After
this, the
is laid
on a broad fine
is
file,
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,
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.
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
it
little
If the
reed
is
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)
(2)
Inside
Top Screw
Ligature
or Reed Holder'.'
Bottom Screw
Mouthpiece Complete
With cane cut ready to be shaped
T-136
[(BlttllllllllllluliiiiillHll
First Lesson
N9
1.
we
::
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
N9
very
little
pressure of the
lips,
3.
N9
note
lower
we
2,
is
the Baermann, and the second finger of the right hand for the
N9 4
All the
=g=
down
will result.
in
in-
hand, close the hole with the thumb of same hand and the tone
tones from
Put
4.
2.
instrument.
2 and 3 are placed right over the holes of the same joint.
N9
the
=&:
Boehm System.
Lift
will sound.
N9 5
which we
N9 6
first
will get
by closing
fingering the
same on both
systems, namely the first finger of left hand down; all other fingers are released.
N9 7
closed.
The bar
rest
This requires
all six
holes
between the notes we have given up, expecting the pupil to go from one
The taking
little
time and
is
to
N9
tone
8.
In this exercise
we have
the note
The
Boehm,
take the
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,
we
15
Lesson
1-
Tone Production
G
Count: 12
4E
Count:
1234
1234
34
1234
-O-
1234
1234
1234
-O-
1234
1234
-O-
1234
1234
-O-
-O-
12 34
2. :73r=e=
-o
o
o
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TT
o
o
o
o
T3"
o
o
o
i
E
6.3^
TF
D
TT
C>B>A>G>A>B>
o
o
o
-
C
>
8.3?S
JL
tt
FJEJD
>
JOL
-oo
o
o
98
o
o
o
>
TT
-O-
T3"
F?G?A?B>C
9.3^2E
I
TT
10.
W^
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C>D>E>F>G>
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16
Second Lesson
The
same object
in view, viz:
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
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
N9 1
is
devote
cending again to C.
C down
to
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,
to
The
and the
little
N9 2 leads
tion.
The
make
little
jumps.
playing, as guess
20568
This
is quite
hand has
come
a hard
to press
in-
task,
key N9
to this
hand out of
little
motion.
Just
position.
From N9 5
but
to the
3.
N9
little
down
By
17
2 n_d Lesson
Tone Production
C
1.
?SFB
>
>
>
>
E?F?G?A>
>
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TT
C?D>E>F>G> A)G>F>E*D>C
2.3^
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xe
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xe
-o-
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331
XT
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o
o
o
o
o
o
C?D?E?F>E?D?C >D>E*F>E>D>C
:
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xt
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C?B?A?G?A?
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4.3SS
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XT
TT
C
5.^3
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6.
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XT
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TT
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F>E>G>F*A>G*E>F>D>E>C>D*B>C
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I
20568
1
XT
18
Third Lesson
This lesson consists of eight exercises mainly for the study of the lower register.
N9
son.
B and
The
A.
As each note occurs several times, the pupil will get well acquainted with the looks of
names and
N? 2
their fingering.
low
for these
N9 3
is
notes,
A,
G and
F.
good practice
N9
l,
stopped by the
little
squeak should come forth instead of atone, look at your fingers. They may touch a key and
open
partly.
it
N9.s
in
N9 6
brings
a squeak.
in the
same
register.
all
the notes
we have had so
far,
They
practically
go over the
running
in rotation
from C down
to
E and
of each note.
at
he may go on to
If
he can do
in
that,
The
little
third lesson
if
It is
^~
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.
Do
20568
you don't
If at first
The
(This
is
explained under
"How
move
to Practice".)
19
3 r- Lesson
Tone Production
C
13^
TT
TT
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TT
TT
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JZrtjfL
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TT
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C>B>A>C>B>A>B>A>G>B>A>G
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20568
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20
Fourth Lesson
N9 1
gard
to the pitch.
underlip.
The
If
Keep
er.
is
is
The exercise
Watch
as steady as possible.
it
it
flat.
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
be put
all
produced through
it.
This
in
is
motion to produce
all the
time and
is
on the Clari
it.
B on
ter the
is
in
N? 3 are new
The fingering
scale of C
to
is
is
Open
Boehm
Clarinet,
Boehm
is
as
Instruments,
the
produced by opening key N9 5 with the third finger of the right hand. The
af-
hard to get
is
natural
F
F
N9
tem
ed
4.
in the
in
way
just mentioned.
is
an exercise consisting mainly of half notes. The 7th bar has a whole note
it.
Wherever
20568
strict time.
N9 5
than
and 11th bars the note F should be fingered on the old sys-
this sign
i7\
is
little
longer
21
4 * Lesson
1
Tone Production
Count:
12
S2=
i
.
fe
cn
1?
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22
Fifth Lesson
N9
This lesson begins with the scale of C major extending through two octaves.
1.
when
N9 3 introduces
count. Play until the
in a
is
2.
2
o
the chord of
the, reed
**.
is
N9 2
little
2
o
o
o
2.
o
o
o
octaves.
very simple form, the first quarter notes. Each quarter gets one
rhythm
is
N9 4 which
consists of half
N9 5
is
the
in
a higher register.
The note
|
needs special
N9 6
to play the
dent
may then
in
fast,
Every hesitation
is
is
is
is
doing.
23
5*?
Lesson
Tone Production
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o
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3.|p
12
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Count:
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M
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o
o
5^
9.
2.
o
o
o
>
o
o
o
-O-
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2.
4*
331
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Count:
G
G
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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
whole notes.
its
is
().
beat.
In the
it,
it
has the
N9 4
is
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
little
in
fingers and
it,
is
advisable
and
the
it is
make them
exer-
Repeat as often as
87.
25
6Lh Lesson
Tone Production
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g
ft
XX
l
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is
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is is
ft
5.
ft
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P^
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26
Seventh Lesson
N? 1 opens with
in
the scale of
major.
key signature
Its
is
one
flat,
Bk
It is
written
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
it.
is
this
exercise
minuet in 3/4 time, which means three counts to each bar. The note
little
major.
right.
N9 4
that
is
called an "up-beat".
F,
is
by
all
is
means
In three quarter time the first quarter in each bar can stand a shade
we
its full
length.
means
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),
little
decrescendo (diminish),
the marks of expression which will add considerable interest to the little tune.
N9 5
at
is
When
clear.
little
fingers.
in
no way stiffened.
he must relax
at
IMPORTANT
After this lesson has been completed, the student will be ready to begin
monotony of the
daily routine,
the study of
interesting.
Be careful
27
'th
7Lesson
fej I n
gig I
nr^Trrafa
Jj jlJ^ JJ Jj
g)
zz
Z2
^
3
J 4
r J r
rr r
r
i
Menuetto
Count:
12
>
pi
^
pq
crescendo
MZZ
lN
-
>
(7\
repeat 5 times
ii\
II
ppp
5.^S
20568
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P
9
HE
PlPip
28
Eighth Lesson
and
if
is
a form of
all the
beat,
in
and
the directions are followed as indicated above the notes, these exercises should
Therefore,
its
it
gives the
note
all
be of the same
N9 2
is
N9 3
is
N9 4
is
N9 5
is in
the chord of
major.
3/4 time
but on the
same
principle. Attention
does not always come on the same beat. In the third bar, for instance,
it
it
count.
N9
6.
finger exercise for the third and fourth fingers. Start slowly and let the fin-
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
frjrjrmn g
*
2.3S^
pi
JJJ.^
iin
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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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jU M J.J'J-.M
r^r Pr
J.
ES
i_h 3t*=
=
lll.
h
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2 and 3
fa
cr
4 and
j^^^
j;j.
j.
^lt
4.
a and
ana 3 4 and
2
uount: l1
Count:
TT
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6
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30
Ninth Lesson
Syncopation
in
a bar
is
displaced,
and
from tying
results
weak accent
is
or under the
is
It
is
a sort
of unconscious accent, and should not be very pronounced, unless designated with an extra accent mark.
third
much
Syncopation
is
All so-called
called
is
weak part
syncopation,
be
could
'Rag Time"
N9 1
is
the scale of
N9 2
is
N9 3
is
N9 4
is
a very simple form of syncopated music with a slight accent on the notes as
is
B\>
major.
indicated.
N 5
and sharps
N9 6
(\\)
(#).
is
of the bar
style,
is
in
2/4
time. In
some
who are
into eighths,
and count the required number of eighths to the bar instead of quarters. For instance, count
eight eighths,
is
is
marked, and so
This will facilitate the playing of these exercises. In counting eighths to the bar,
it
on.
must
trifle,
and
to help
strong
Just enough to
make
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
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--
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pf HP
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mm m
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Tenth Lesson
32
This lesson
It
is
is
of vast importance.
major scale the semitones must come between the third and fourth,
examples.
previous lessons
In the
in the
to play.
Scale
is
An Octave
intervals,
is.
first
its
octave.
The Scale
is
or notes.
When
it
is
is
in
of which are
the
The semitones
ocfive
ap-
pear between the third and fourth and the seventh and eighth degrees.
The scale
of
is
is
C Major
called the
When
a scale is
the
requisite positions.
it
becomes necessary
to em-
out.
Minor scales should be taken up after the major scales have been more
carefully studied.
17518-96
10th Lesson
33
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
is
is
called
a "Slur".
The Slur
is
a curved line placed under or over two or more notes occupying different
ed manner.
"Legato"
is
closely,
in
a continuous
strain, as in singing.
In the first three
The
first note
must
be struck.
In practising slurring exercises, do not press the mouthpiece strongly against the lips.
In fact, use as little pressure as possible.
the
muscles of
the lips must be contracted, and in slurring to a lower note must be relaxed.
is
the scale of
N? 2
is
the chord of
N? 3
is
N?
for the
thumb of the
left
major.
major.
it
hand. The thumb must be so placed that the octave key can be
N9 4
is
in
the pupil will find four notes slurred. Great care must be
N 5
is
a finger exercise.
20568
in succession.
in
It
groups of four
all
through.
This
'
35
IV-
Lesson
The Slur
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2.
3
s.pfagre
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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
N9 4
in
is
means
that every
other
bar.
Give
N9 5
If the
is
is
more
it
difficult
until
little
it
than another,
it
student
dif-
finger
if
Thirteenth Lesson
The Slur
This lesson introduces the scale of
notes of this scale have sharps and the student will notice that the fingering gets more
difficult as the
number of sharps or
N9 3
ly
is
to be played short
is
N9 5
is
little
all
highly recommended.
N9 4
is
Two
The
(staccato).
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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iz
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38
13^ Lesson
The Slur
2.
i.
<
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ritard.
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20568
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V? V?
V?
39
Fourteenth Lesson
Miscellaneous
We
now arrived
have
Do not forget
flats.
N9 3
is
little
ted quarter note tied to an eighth will be found in the second bar.
ter
N9 4
is
5.
an exercise
dot-
advisable to
to the eighth.
in
N9
It is
It
is in-
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
when
Eight notes
notes
may be increased.
Fifteenth Lesson
j
Staccato
(Rapid Tonguing)
comes without
it.
It
will
in
in rapid succession,
will
it.
As
it is
it
of great
"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.
especially in
we
of that quarter.
band music.
N9
It is
is
through
it.
This
40
14^ Lesson
Miscellaneous
..
ate
2.
7^FITT
fc*
^^
3.
3Z
&
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^m
J
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pH
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f^
&
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fc
sI* cr^itr e
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41
15^ Lesson
Staccato
(Rapid Tonguing)
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42
Sixteenth Lesson
Triplets
This
to.
The
we
is
It is
to
little
N? 3 shows
in
3 placed under
follow-
4/4
to acquire.
time.
it
indicates a triplet.
is
very
common
in
is
a very pe-
qual value.
from the
practise of this kind of tonguing will lead to a rapid and brilliant stacca-
N 2
culiar
is
in triplets.
N9 1
er
ing one.
to
is
is
involved, a tempta-
pupil must take care that all three notes of each triplet are given e-
last note of
N? 4 presents
triplets in various
20568
43
16^ Lesson
Triplets
-ar
Pis
Correct
<?
Li
st3'le v
tmmi
si
Tii
1
1
rrf
Incorrect s yle
3.
^__y
<H*
Allegro
.
.y
^S
f-w-r
.,
- t
ss
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mmm
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44
Seventeenth Lesson
Legato Tonguing
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.
is
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.
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
for
"M"
is
made.
it.
your head. This procedure will soften the end of each note somewhat and that
into
is
is
what
N9 2
is
an exercise
in the
same
style.
The lower
this
N? 3
offers
more
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
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ylCT
^
0-0
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*T T
r?fr
CTtt
^^
""r
rr*
EX
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Si
5^?^
mm
m~^
fHf r rrrr
Ill' r r
v!T
P-0
[EflLT'P
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la
.
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46
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.
l|
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
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F
48
E major
frggj^ggfcggl
pp^
C# minor
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B major
ipp^
F# major
^^
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i
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minor
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19^ Lesson
Major and Minor Scales with Flats
feu
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^m^
20568
I,B
Eb major
20568
50
Twentieth Lesson
Chromatic Scales and Exercises
N9 1
is
The Chromatic
half tone
is
the smallest
in-
terval in music.
The
student
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
has been said about the practice of the chromatic scales also applies to
Chromatic runs of
all
kinds are met with very frequently by the Clarinetist and often
These exercises
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NP 2
in
If
it
if
20^ Lesson
51
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name
in
of the time value of the bar, but appear as a surplus, and their actual value
N9 1
to
in use.
The upper
be played.
We
N9 2
through
is
3.
fall
is
essential pari
is
deducted
an exception to
ei
this rule.
line
top.
its
accent may
N9
The
note
as
it
quickly,
so that the
is
may be played
much upon
bar.
as outlined in
N9
N 4 where
N9 5
is
little
20568
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53
21^ Lesson
Grace Notes
Long Grace Note
as written
as played
as written
fe
JI.
as written
I
trng Pp S
tf
played
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Allegro
fl
ij
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54
The Grupetto
(or
Turn)
is
indicated thus-,
The
(oo).
sign
viz:
is
af-
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
to be
played.
N9 2 we
In
N9 3 we
find in the first bar a natural sign below the turn which means that the
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
der the turns, both the upper and lower grace notes
must be played
in
accordance with
N9 4
is
out in
notes and
20568
it
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:
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#-'
Andante
as written
GO
-GO-
as played
^m
=*i
SH
WT
or
i
=
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56
Twenty-third Lesson
The Grupetto
was said
N9
in
regard
to
it
in the
may put
previous lesson.
The
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
slow tempo,
grupettos
its full
The turn
like this:
l-f
and
f f r
in the
etc.
in
f jetc.
full
quarter for
its
In case of a very
second example
it
comes
after the
second beat.
In the playing of grupettos,
as well as
all
20568
57
rd
23 - Lesson
The Grupetto
Moderato
oo
tz
9
i
nrr,
1,
GO
tB
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oo
iH
H P J
-o-
Andante
S
go
jgjjjjj fij
go
22
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rail.
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The
trill if
rinetist
voted to this
The
is
Trill
study.
trill
marked
or shake,
or *v
thus, "4r"
word
of the
It
is
be de-
it.
ir" is an abbreviation
trill.
trill
slowly
at first.
Then
the velocity
may be
as a rule,
trill,
Lesson 24
it
is
is
is
plainly demonstrated
how
the trill
is
written and
how
it is
be performed.
In playing a trill,
do not calculate
Move the
are to be played.
and are played with the same quantity and quality of tone
come
as
the
others.
is
in
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
The
overcome
20568
an example of a
is
trill
all
trill.
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.
*=:
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i=
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as written
zr
^
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i*
as played
4.
<fr *^v^*v^^^
msm
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as written
5.
i 3^played
as
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60
Trill
N9 1.
N9 2
The grace
is
trill.
a chain of
trills,
at the
A
at the
complete chart of
Albert and
Boehm
The
student should be reminded again that the fingers must run in a relaxed con-
dition in order to
make a good
The
trill
If
trill.
into
a cramped condition,
fast, as
The Shake
It is
is
produce a shake, as
The following
is
demonstrated
in
is
trill.
Try
to do
it
may
In order to
also demon-
make
this ex-
The
Do not
this study.
required to
lesson 26.
is
trill.
it
61
25*-h
Lesson
The
Trill
Andante
sir
sir
sir
sir
sir
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62
26^ Lesson
The Shake
{Mordent)
as written
as written
"is m
g p
as played
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63
Mistakes
is
common among
Clarinetists
in general.
whom
to
Self-taught
students in particular should try to avoid making the mistakes pointed out
In almost all
and attention
will
faults
phrase.
of
in this lesson.
little
care
disappear.
broken form.
Take
tempo
at the start
you
still
proceeding
N887
and as
have
it
memorized.
in a similar
it
C major
you may go
manner, and so on
cannot be found.
all
until
to the next,
you master
for to-day.
Then
in the
all of the
Play
over
key of
chords.
major,
64
27 -h Lesson
t
Common Mistakes
2.
1.
correct
^^Pm
correct
i
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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
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incorrect
correct
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rf
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3.
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incorrect
incorrect
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it
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& pm
r
65
28^ Lesson
Broken Major Chords- Dominant and Tonic
Key of C major
Key
of
Ct
major
'
Dora linant^.
&
75k
69
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fi f 0-^f
d-*-
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Key
of
U^_
MM
^
.
f fr
J
=-f r
'
Tonic
'
'
'
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Tonic
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Key
te
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major
Dominant
2:
fffttfi
Tonic
(-=
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1*
^s
of
major
D omina nt
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f~m
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28*& Lesson
66
Key
E major
of
Dominant^-----
^>*
^EM,
*-
U-^
Tonic
^-^^
LI
n
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j-j* <^j
j
*
#-=
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p
Key
(continued)
vr *
B major
of
Dominant
Tonic
i>
yg
i
#=^
Key
0-=.
r~#
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major
Dominant
XT
of Fjt
Tonic
rpCTTi
Key
of F
major
Dor ninant^--
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Tonic
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Key
of B\>
Lesson
67
(continued)
major
Dominant
Key
-0-
Crr.&TUf.
of El?
TT
major
Dominant
Tonic
>
Key
of
fefe
^^
9-b
At major
Dominant
Key
of
Tonic
Dt major
Dominant
ji
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68
ory.
When
all
Do not
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
will also
sound
flats.
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
finger-
diligent practice.
It
tempo
first.
Then
play the
same exercises
in
a legato manner.
in
Play
in
staccato
a moderate
Do not be
content,
in the
form of
it
is
all
the
From
cir-
scale
at the
of seven tones
29
-h
69
Lesson
minor
Dominant sevenths
of
___^___^
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Tonic
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Key
of
---
E minor
Dominant seventh
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.
j'nr[tlf
Key
of
X*
B minor
Dominant seventh
is
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Key
of F(t
XT
minor
Dominant seventl
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29^ Lesson
70
Tr
Key
of Cfl
minor
'
(continued)
Dominant seventh
Key
of Gj}
minor
Dominant seventh
Tonic
.-<^.
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x-#
lirr^hi
Key
of
_X_
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fT^
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minor
Dominant seventh
Key
of
G minor
Dominant seventh
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29 ti Lesson
1
Key
of C
71
(continued)
minor
Dominant seventh
,^.
Key
fii
F minor
of
Dominant seventh
Tonic
S2*
Key
-^
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hHii
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of Bt> minor
Dominant seventh
is
Key
of El?
minor
Dominant seventh
^S
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Tonic
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30^ Lesson
Diminished Seventh Chords
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Lesson
Allegro moderato
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76
For
is
the
It is
a fine study.
little ritard
first
The sixteenths
will require
some
study.
in
The
in
fol-
4/4
expression.
The
Huguenots
in
is
Meyerbeer's Opera.
is
20568
It
in this case,
if
he
is
No Clarinet Player
will
For that reason you will find both parts given. As the Clarinet plays
it
is
The Cadenza NP 4
alone.
air,
arrangements of this
importance.
In orchestral
is
is
32 n-d Lesson
Celebrated Cadenzas
Mig-non
Traviata by Verdi
Clarinet
z.s
4.S^
50568
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77
7S
important that Clarinetists should become acquainted with the cadenzas that ap-
It is
pear
in the
The
trill
fast,
in
Liszt's
Second Rhapsodie
natural
to. G(t,
is difficult
Some
diligent practice.
stiff
to lowest
in the
D on
same Rhapsodie
Hungarian
in
is this way-,
if
we
start fortissimo
The
^^ J B
jj
J J~|
= To
ing the last notes very broad, the cadenza will sound flexible
third
writing;
D major down
and hurry a
five
felt.
The
and the
is
six eighth notes after the big run should be played with a little emotion
ly,
fol
but smooth.
The
and the
and Hungarian
into pianissimo.
to a
trill.
The chromatic
notation
follow the
little
broad-
triplet, play-
in character.
The
trill
should
trill
The cadenza
ished chord and
tice.
is
for
very
The descending
difficult.
The
triplets should
brilliant run
up
to the high.
is
F will
require
some prac-
ritard.
the
Mignon Polonaise
is
the music
is
in this
cadenza
strength or
20568
in time.
|"
? f p f Ef p
79
rd
33 - Lesson
Celebrated Cadenzas
Cadenza from Hungarian Rhapsodie N9l, by Liszt
Orchestra
fit
inA
"
<^^>^f^gh
toJijj^i'viJ
ti
Band
inBS.
j.^
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Rhapsodie N
2,
by Liszt
ig)4 qg
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8-3
trff^
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accel.
ritard.
2 j^s^P*
Rhapsodie N<?3, by Liszt
V^^
Polonaise frorn'Mignon" by
Thomas
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20568
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HENRY CAREY
Maestoso
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SAMUEL ARNOLD
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EMMETT
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Table of Trills
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BOEHM CLARINET
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105
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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^.
tr
tr
tr
&
3Q*
J:
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Difficult.
tr
tr
tr
tJ
Impossible.
tr
^ ^
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o-
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tr
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o-
tr
tr
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o-
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tr
o-
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o-
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-oo-
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-o
Verv
tr
o-
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oa-
o-
-o
o-
-o
o-
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-o
-o
-o
-o
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oo-
o-
-o
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o-
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-oo-
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o-
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oo-
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o-
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o-
465-99
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o-
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o-
tr
tr
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oo-
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o-
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o-
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o-
oo
o-o-
10
10
tr
a^i^d
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o-
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tr
-O
11
11
10
10
a
o
110
Difficult,
Difficult.
zfcsfc
tr
tr
6-
tr
very
Difficult.
Difficult.
tr
M^l^^V
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is:
Difficult.
/^
i
ste
Difficult.
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ii
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ordinary way
to oegin the
shake,thenA^
and execute
the shake with
key
N<? 13.
-#
-o-
O-
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-O
O-O-
13
11
12
13
10
11
11
13
12
3
1
11
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J-
tr
is:
Ie
13
d
13
3^
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11
13
3
13
.13
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PAJ
6465-99
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13
13
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13
3
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13
13
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tr
4 *Ua
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l^_J3
13
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Difficult.
tr
13
-o
o-
WM
o-
-o
13
13
bi
-o
-o
Difficult,
o-
o-
-o
13
13
o
O
111
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ii
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o o-4-o
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-oo-
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o-o-
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-oo-
-o
oo-
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-o-o-
o-o-
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oo-
o-o
oo-
^_n
\in
13
13
13
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13
153
13
l& A&
4\
13
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13
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13
ti
13
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oo~
13
65-99
4 A
13
13
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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
Bis
Bravura
Brillante
Brio, con
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
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
Fuoco,con
With
Giqcoso
Joyously, playfully
Oiustoi
Orandioso
Grave
Grazioso
Harmony
note.
....
hargamenle
Larghetto
fire;
with spirit
Largo
like Andantino
Broad and slow; the slowest tempo- mark
Legato
Ledger-line
formers
t
Replica
Rin/orzando
With special emphasis
Ritardando (rit.) .Gradually slower and slower
.
Senza
Sforzando
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,
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
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
Marked
Less
little faster
Morendo
The end
Loud
.
little
Solo
Fine
little
Elegant, graceful
Enharmonic
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
Da Capo
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
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
Attacca
Barcarolle
Modern Music
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Price
.25
MANY ADVANTAGES
by C.ROSE.
3.
Each
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Nno
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N2 25
15 keys
4 rings
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KEY,
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ROSE.
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New
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