RUBANK EDUCATIONAL LIBRARY No. 52
MÉTODO RUBANK
INTERMEDIÁRIO CLARINETE
Inicie os seus estudos sempre com o acompanhamento de um professor de Clarinete.
“A música exalta o espírito humano, é criativa, auto-expressiva e permite a expressão de nossos pensamentos e sentimentos mais nobres.”
METODO DE CLARINETE RUBANK NIVEL INTERMEDIARIO
RUBANK
/
.... /
EDUCATIONAL
LIBRARY
No.
52
I
CLARINET
J. E. SKORNICKA and ROBERT MILLER
---
A FOLLOW UP COURSE FOR INDIVIDUAL OR LlKE-INSTRUMENT ClASS INSTRUCTION
Instrumentos de sopro Naipe: Madeiras Instrumentos de sopro do naipe “madeiras”, embora feitos de madeira ou metal como o saxofone, algumas vezes têm plástico ou metais na composição da estrutura e de seu corpo. Seu som é produzido pela vibração do ar em um tubo oco. O ar vibra, soprando-se no bocal, nos casos da flauta e a flauta pequena ou flautim – ou através de uma palheta simples – no clarinete e no saxofone, ou de uma palheta dupla, no caso do oboé, oboé d’amore, corne inglês e do fagote. A altura do som (a afinação) desses instrumentos pode mudar abrindo-se ou fechando-se os orifícios feitos no corpo do instrumento.
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Fingering Chart
(Simplified)
by
ROBERT MILLER The purpose of thi8 chart is to acquaint the pupil with the correct fingerings in particular passage: '--'
and keys, and its simplicity is conducive to quick comprehension. This chart is built on the assumption tha the pupil already knows the standard fingerings for practically alI the tones on the clarinet, and needs only ~ eas~
guide as to which one of several he should use in some particular passage or key. This chart makes it
to mark the fingering on the music without drawing a picture of the instrument, and if the pupil will refe: to this chart at every opportunity, he will find that it is very easy to memorize in a very short time. '--"
As indicated on the chart, the upper half of the clarinet is played with the left hand and the finger
'-'
ings with that hand are designated by means of nU1nbers, while the lower half of the clarinet is played witl
'--"
the right hand and the fingerings are designated by means of letters. 18:
All that the pupil need remembel
LEFT HAND-NUMBERS, RIGHT HAND-LETTERS.
Since certain tones may be fing ered by either the right hand synchronized thus: Key~
'--"
the left, the numbers and letter8
ar~
1 ar · A wiU produce C# upper register and F# lower register.
Kt"Ys 2
'-'
01'
01'
Keys 3 or
B will produce B uppei· register and E lower register.
e
""iH produce C upper registe,· and F lower reg-ister.
Either numhers or letters wiIl appear above the notes \,\'hen a pa rticular finge ring is desired, allo thel it will be aparant which hand i8 to play that particular tone ano what key i8 to he used. '--'
In some ca8ef
both a number and letter "vil! appear over a note, signifying that both such keys are to be used in the pro duction of that particu lar tone. x
g
wiU he used over the high Bb and Eb -1st line thus: .
~bX x
o o
EXAl\IPLES
'-'
.....,
'--' ........
\.... \,......
~ r C
3
2
B
F I
A
r r I #r
5
F
F I bj
j
1
j I br
~
2 '-"
B
~ r?f rª C
C
olR
3
I b" qr Copyri~ht
195
Ccpyright Renewed
3
F I
r r Ir D
MCMXXXV1 by Rubank IIlC., C h icag-u, li!. lnternationa l Copyri g ht S e cu r"rj
b
4
b
r
6
!,J
F
B
3
7 8
x
f I
r
D
"r b5
f
EssentiaI PrincipIes of
GOOD CLARINET PLAYING
1.
Good TOJ).e
is necessary in order that one's playing be a pleasure to the listener as well a s the player. Good tone can be produced only when the instrument is in good playing condition, equipped wit h a good mouthpiece and reed, and played with a COI-rect embouchure.
2. Intonation. When two successive tones of different pitch are produced, it is necessary that each tone be in tune with the other, relative to the interval being played. 3.
Tune.
-i.
Note Values.
5.
Breathing and Phrasing.
6.
Expression M arks.
7.
Relaxation and Proper Position of Bodyand Hands.
8.
Sufficient Time for Practiee.
9.
Proper Care of the Instrument.
10.
Mental Attitude of Teacher and Pupil.
The player must develop and train his ear so that a difference of pitch can be distinguished when playing with others.
The player must develop a rhythmic sense so as to give pI'oper value to tones a s represented by the written notes. Each is usually dependent on the other. Since teachers of wind instruments differ 011 the methods of breathing, no special method is advocated, but it is evident to all mu sicians that in order to get good phrasing, it is necessary to breathe properly. It is always to the advantage of the pupi} to spend much time and effort on this phase of clarinet playing and take seriously all sugge s. tions given by the teacheI'. Expression marks are considered as valuable to the playing of music as punctuation marks are to the reading of prose and poetry. Good phrasing is the performance of mu,.,i(; tha t has been properly punctuated . ExpI'ession marks put character into a mass of notes and if properly ob served vvill produce satisfying musical effects. \Vhether playing in stand ing or sitting position, ít is necessary that the body be erect but relaxed. Relaxation i8 the secret to the accomplishment of success in many otheI' pI'ofessions and trades. The arms must be relaxed, the elbows a way from the hody, and the hands aSi::iuming a restful position on the body of the clarinet. Since different pupils require different types and lengths of practice periods, the objective that every pupil should estahlish is: aI will master the assigned task wheth er it takes 'h hour or 2 homs." The accomplishment of a task is far more important than the time that it consumes. Carelessnei::is in the handling of an instrument is the most preva lent handicap to the progress of young players . No pupil can expect to produce good results if the instrument is in poor playing condition. The clarinet must be handled carefully and when a disorder is found, have it remedied immediately. Constant attention to the candition of the instrument wiIl pay divi dends in the end.
In order that the results be satisfactory, both the pupil and teacher must be interested in their task, and must have a perfe'ct understanding of what that task is. The teacher must understand the leaI'Iling capacities of the pupils so that the pupils in turn will get the type and amount af instruction that they will understand and be able to master.
195
5
LESSON 1
a. Have instrument in good mechanical condition, and the proper lay on the mouthpiece so that a f'ouno and full tone \:viU I'esult. b. One of the important essentials in the playing of an instf'Ument is a rhythmic conception at sight, ano a cOlTect evaluation of note and rest valueso c. In playing thfl sllcceeding studies, special attention should be placed on the proper adjustment of emhouchl'e ano the pl'oper evaluation of notes and restso , 'lfAndante -
1.
B
Keep the tempo steady.
';7J7N'
'llf/,- Natural
~ I F F I F' 01'
~
IFF
r
F
IlGll'mal tone,
I
-
r'
--
r r I F'
~ Ir ~
~ I
r Fr F I
-
4 rnlnr'ITr Ir r I F" IEF Fr I r Fd IrUfo li! 4 r--:t=~tt=t=lr r I r Ir r I r~~l I r ftlFFn 4r E rtftl I Cco r I r I C r r I E Cr I rat· I 1
3
1\
1
1
11
1
11
1
'll!t
1
4
1
1
1
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r unirE llrcrr WllC·ucrrrr HWrt'ICr11 'llif
4r ur r I rrjH;cr CC I r llr Ef'r EIr rr:r r IerrE· /11 +±r 1 t@!f Itr 1 1 U Ir" 1 ICn Q3rr - I fi U CIa 1 I fr 1 1 Cf Ifi - h@ 1 EJ IF" 1 I r l I a ÊB a I (Dl 1 I 5
li!/,
Note: Evely pupil beginning \\"ork in this hook should he ahle to sight read all the studies
011
this pageo
}JyelY pupil is I'equested to pl'o\ide a music note hook for the ptll'pose of \\Titillg' rhythms ano melodies that tbe tcachel' m,lY regui I'f'. l'IS
Copyright Renewed
Cupyrig-ht l\ICMXXXVI by Rub"nk Inc .. Chicag-o, 111. Internatiunal Cupyric;ht S"cured
6
Marks of Expression and Their Use
LESSON 2 Pianissimo ----____ w _____ Very soft Piano ________________ p _______ Soft
Fortissimo ______ ff--------Very loud Forte -----------_-_ f ______ ._Loud MeZlO forta _____ nif---. ___ Medium loud' (Normal tone)
Mezzo Piano_____ _mp______ Medium soft
In playing a tone on the clarinet (unless otherwise marked) the tone should be held at the same leveI of volume, without increasing or diminishing the volume of sound. This type of a tone wiIl be indicated hy means of parellel lines, thus: = = = = = = =
The distance between the parellellines wiIl signify the difference of volume to be used. Thus: pppmpnif f .ff - -
mp
p ==========
=&" T'u?T7" Td J -
I :----I::..--......... I : -----J Ij~-
7
1
n
-&-~-&--------&---
mp
=========================
4E:I:~2q'
. ~~-------
p
I
HARMONY p = mp==nif'=====f----p= 7111'
2
'I; C 52D âp
"'!-- ---- ~~===-----====== , "'4>"·4;;;1>51 F 3
~ Il mp
€i?~Gf
i
I
p
j
J IJ
-----.
I
I J~J
P'=============
, I J""r I
l>GD'(I?;;Q2 ~ - I
I
I j~J
mp j
I j~J
p============ mp=======
r' , I (35Iw
mp==========mp============ p
I
pp=======
f------11if============== nif
4j-LJJ 95
nr/==========
r-r±r' , I (Tir'
I
I CF
De
pp'==== ~f!:-'
Ir f I t=
J
I 7
Studies in Expression SOUND GRADUATIONS
LESSON 3 Crescendo (cresc.) -
GraduaIly louder.
Dimin~endo (dim.) - O:~~:rlly
Decrescendo (decresc .) or
In playing a crescendo or a diminuendo the pitch of the tone should not change. tendency to become flat when playing loud and sharp when playing soft1y.
The clarinet has a
Rinforzando >- (r:f) is placed over a note for the purpose of bringing out that note more strongly than the other notes in the same sequence, and is commonly known as an accent.
In order to play the sound graduations ar nuances correctly, it is necessary that the quality of the tone is not affected but retain its rich and mellow fullness. Oniy the volwme slwuld clwtnge.
When a note is followed by one ar more shorter notes, the shorter notes are played with one half the volume of the Ionger note. There are exceptions to this rule, but it is a good pnlicy to learn to play alI phrases as mentioned, since the great majority of music played in this way will be properly pcrformed. A player interested in the pl3;ying of solos wiIl be greatIy aided through adherence to this rule.
2
,., F
U I F (J I r lr I r tU I F lr I r Fr I r
ff f
f
l1U
3
f
l1if lIif mp
rrif mp
mp· p
1 r' F I F' FI F r f
lIU f
rrif f
f
p pp
l1if
u I r' crEr p
lIU mp
f
BLUE BELLS OF SCOTLAND
f
rrrifr
I
r ruI!
11
f"'lf mp
Scotch
11 J u Note: Refer to lines 2 and 3 for patterns used in the song
BLUE BELLS OF SCCYfLAND.
Write the volumes, namely, mf, f, mp , p etc. in all the measures of this song with the patterns in sec tions 2 and 3 as a guide . 195
8
•• •• •
Studies in Accents and Expression Marks The rinforzando (>-) is placed over a note for the purpose of bringing out that tone more strongly than the other tones in the same sequence and is commonly known as an accent. The accent punctuates the im portant notes of a measure ar sequence.
LESSON 4
MELODY
Give each note and rest its full value.
-i.
>
>-
,2 i J J I r r I
1
f
>
>
rr r I r 1I 3J ti Ir
>
>,
>
>-
r I r r r I li 1 I
>
>-
>
> ,
,
~
>
>,
~
>
>
~rEr Itrr IFEr IFr r IFEe IErr IEEr IFrr I ~:;7
:;7
>
:;7
>
,raa li j a Ir; r lErE IEEE I=EE Iraa 1;11 1
ª
Observe carefully all marks of expression and p]ay with a steady tempo
~ ~
2(' p
J
j j -
I ~F· ~ I ~ F r F I r~=E ~ I ~r Fr I ~ ~r ~F I ~r ~t2J ='TTff P = n!ft=-P vu
-1. ~ j. J I J J J I t· ===- mp P nif >
:;7
-J:.
r----========f r r I r· >-
~
:;7
>
>
>
>
J
>
Ir :;7
J
-=-
I r F r F I F r J I r F F I r· F=t P =vft-:::::==-p n!! >,.. fi'- f:
F r I F r c ~ I r r r I F Ê J I
;;
=
>
mp~mf
f
>
~~~
~ ·
r r ft:
I~ FF >-
vif=
~
3
r
IF Fr I >
mp=
=rr
p
==-
r F r I ;71t· = I
>
f~
---->
J
II
pp
LEGATO ETUDE ~ ---,>-
~
~
@"rRIFFt IgErlrEr 1F1HIEF Erl kE Fifj f~
vif
p
-w ' CU I F (r I f F t ~
>
f=
-, f- r f -::
vi!
ar
,..-...
,~
:?
I E1 F F I r Df F r A f
ff=======-
.ff
GJtr
I
v1f
,>
=====- -=::::::: ~nif========--
I rEr E li '(TE I mp =f=
~,17ft rfLt 195
>
= mf
í fFEr EJR'd = I
f
I
Oi
I rj]2'r
f======-- Jaa
p=----
~
;;p
11
9
~ J
Articulation and Expression
LESSON 5 Moderato -
1
Play with a steady tempo.
~
B
iJ Rr3J] I tE Fi tE Cf I cC E1 te cri iJ 33:i:) UJ
~Il
I
"fi c
2
B
B
~filnEEr;ldEfrrCf 1i]3J f3J9ln JJ crrP I
c
c
c
, cfc rtcE; IccEi Ec Ei In n iJ JJliJ f1 ccf; I 1
, Play above study with each of the following articulations. Observe all
-e-
accents~
,
;;:> ~
;;:>~ ~-
1-;--
~ Uo~~ In
-....-/
:>
-
r
;;:>
-Ir r L I
"!f
,
':É',
;;:>
,
~ :>
:>
6J
a kg::EJ- I Dn::::---h I cifra --------
Play daily for tone production.
•
~
j
1
I
P
Andante
3
195
'11 rUf- r Ir (R2 íFff F I H CF I r rJJ I J fl1BgJ f
and
p -
even volume all the way through.
10
Daily Studies for the Development of Technic LESSON 6 The studies on this page are intended for daily home practice. These studies,if practiced diligently, will develop a clean and fluent technic. Most of the awkward intervals in the key Qf C major are in cluded and every finger gets the opportunity to develop independence of action. Playeach study with a steady tempo, slowlyat first, but increase the tempo each day until every study on this page can be played fast or Allegro. Breathe as indicated by the commas, whether you need to or noto Breath marks may be skipped if two complete phrases can be played in one breath.
4 cu; CRt I (fijCE[r I ~r I c1fêfFEC1 1 11
1
mf
.
(iêrcrrr rir r li &tEu fi I rB c nu I @r rm I Frih :11 ---------------2 411 cir crU I OH I JJJJJ3 I tilitiFi:1 1 í r~t I fii1}
I
I
j
F
.
JJjJ J
J
Keep right hand down when going to the lower register.
~---~ , J3~~ JJ J J J J I JZJ J JjJj I J J J J J JE I rl r mf
3
tê
:11
Em rv IGr fÊ?bl ~ 11/3] J Jilll ar F ar I 8ft! &r? Itwt :11 ~ 11 E@ ErU I ri rRV I
E
Keep right hand down for alI lower register tones except E.
4
5
C
'1\ r1fi CfU 16 Cem I m; (dI I riiR?t :11 mp
Play fast and briskly.
6
7
195
~ i)âhrMrcrrl@fdVICEErl_lcFrrljff01 r- I
&2f HlrrErl@iàlrEErl_IRdiWIr- 1
11
Legato Duet
LESSON 7 Moderato ~
~
::-----.
>---
~
p ::;...--
~
~
..flf~
..
p
l"'"
~ ..
.----
--.......
~-~
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::=:::=-
,.
::>----.
=
- !L'
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4
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fl
..; f) t.
~
. f)
, 195
r- ..
-r'""-r
--
p::>
-
>-
..
-
~'
-~-~
..
mf-- f=
--- =--=-
= 'T1!Íy" p --
=
p
:
/..fL.,...~
_____ A
~
~
-
1nP
-
I
---,...,.,.
--.......
,
= ====>
====-
,
---
..
f f
-r-~
.---:
~
>-~. >-.........----.
p
-
>
> .- .-
-
~
= 1lff-;;---. ---=----. ~--. "'If
..
~A >
-:::::::=
~
~
~
P~
-
p ;:;;:
.--..
--::::::.
.ff._~
-
p
>
P >
-.,. _H- .,.
----
-=::::::::::.. "fI" =
,
-
1F •
- --==
-----
::mf::--------=-
mp~
-::.... ~
.
~
>-p
.....-: -
,-
I
:
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===-p~
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~
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~
.
•
- -=..
::---
f _____ ..---====== f ==-=-=== mf --mf
::>
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-- -
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>
~
'11if- =::=f ~
--
mf -
::>
~
>
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--
p
-
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-
:::-.
rrif
>-
-........=....
-
===- p-"
:
..
-
::>
===== 1,
~
: f-;::;;_ _
-
.....---x
":;7
-
>-~
~
J. E.S.
A
~
--
-
..
.
::>
~
fl
,
::::=-p
::>
fl
'"If
>
-
A
::>
~-~. ~
-
--
mf
..
c
:::: 2 C
~
>
~'
f >
f 12
Staccato Studies
LESSON 8 ~
1
® A.s wn"tt en
..
As played
~
.
.
~
2@~
.
.
. r
r
~
®
.
T
Accent the first and third beats of each measure Moderato
lJNW '444441 4 I JJª400 J I PJJp4 'JP4iP I ~
1\
'liif'
'lití cresc.
&&
-../
JJOJpJ 'UH O\$P4'JPh I 'JJ4,:;P. 4 14 ~JmJ
J'Op,J ~& n:;r@pJ
IHJmJ
-J-
jtL ~1'
&&
IJl4)Pl
1
-'
144Ml IJJ@up' J IJH)pJ IjO;JO~J '9 P ?NH '?#OJJ ';"
~~
=
I :
I
p. aFt 'LEU RJ] IJil? aFt IS
3 ;-
~
B'
.
~
~
J'
-----
•
.
~
.
C
.
,
.~
.
~
..
~
ü
MELODY
195
13
'-'
Syncopation
LESSON 9
@he longer note of each measure is to be accented.
t
-
-
I'}
• ~
@
I
==--
==--
==--
:?
==--
-
f
1'\
==---
::>
.
==---..-...
---.
--..
::>
f-
~
==--
:?
==--
==--
.
==--
:?
==--
. ..
--..
. I
==--
:?
.
I
f-
I'}
==--
:?
:?....--.,
==--
>'....--.,
==-----..
==--
==--
:?
::>
>'
::>
t.
~
==---
:?
::>
::>
r
I
f-
\-...
.. ..
A\legro
SYNCOPATED MELODY F
'--' ,,'~ i ~ C ~ I r EE r I PC P I ~ r Cr I ~ r P- I PEt Ip-f f I L I
'--"
5
~& pFp IlUr IPC p I~rp 1ft ÊltrU I~E Ê Ir I \....;
~ ,~HPIVEV-lffflr'IHPIHP;lfffl~'M
-i. Allegro
SYNCOPATED CHORD MELODY
5@! Jla J I la F Il F F I f I~ r v IlU J1IJJ '-"
~ \....;
'# 195
J I J1 J IJ a dll p E
i IJ
~ IPr p Il U ;1 J a J I; ~
14
LESSON 10
t
Studies in G Major
+
~q ~B. p~ gff f@ ê~ == Il~==I~twl~=~I=§~ 1 =i ~.
~
ti G MAJOR ÇH7~oB:
'-'
,ü Eij] fUJ I @J @D IJW Pl f Ifr@3I J. = ,ti:\:tiIilip IJGÔ ~ ijJ I rffffjtt d1 r ii?tt I J
11
2
2
,ti te?JJJi~lrGãEjal dftit{)
Iu I
~
THE USE OF THE F# IN VARIATION FORM li
5 195
,'I&!4@J~®'~'®JJ~J§Y'- :11 ~1l&:,r~1 tftêp[ID I~ léPffF :11 = 15
Daily Studies for the Development of Technic
LESSON 11
The purpose of tms lesson is the sarne as lesson 7, only that an entirely new set of keys and finger ings is concerned. When you see a letter or a number above or below a note, refer to the chal't 80 that you might be acquanted with the key intended to be used in the various passages on this page. Increase the tempo after each playing of the studies on this page. The use of the E key.
& r5ffl r tnr I @f'r rU I r~ I áfiFEiU I
f
Il
11!1
4_
tféi ErO I 6ct-cU! I 'irm
c@ I
:11
The use of the F and G keys. F
2 &15 ePJJqQ:JIi@)J~ggAli@~le:ft3JqY31
~ ~ I V 3ft J @J I QWqJJ§J I@; :11
Low F# as fingered when played chromatically.
4(\ J~lJJJ#jJIJIDJ I~JIJEtJ :.
3
~
Low F# fingering as played diatonically.
4 JJiJJJiJ IJiJJJ 'JJiIJJiJ'JJiJJ ÜII
4
~~~~
:11
4 (fíffIrQ I~1iffih I(fêiftlEr Irêijt = ~ rrrtEt:h Irêfti]H Irêfr1fF1 I tífCtr :11
:
D 11
5
I
D
RAPID FINGERING ETUDE
~
Alleg~
6
..
~
...•
~
.•
~. i iw~,.rrltrrrl,Ff1rrttlrrrfl bJ±n~r: ItCrr
I
mf
'--'
~ &ü :
aitlW I r ,rJiri@1 tttt Imrfij}lttEt1
&» c1i nrCU I Q1f1ffEICf I (fif(Ul I U r :1
195
16
LESSON 12
Studies in F Major
,~:\ ~1FiP IrE9 eU
f
,~
195
I
../
6íE tij I fffi Gir I
Êft) QgJ IQD~ IfB9 6fIlae~ IJ. ~ I
17
'--"
~
Daily Studies for the Development of Technic LESSON 13 The purpose of this lesson is the same as that of lesson 7 and 12. Accelerate the tempo each time that a study is played. Tbe use of the E key.
1
'~~:@;ll!@I~JJJ!J I@~I~' I
~ '~· @J~lil~J 1@4 J O!ljIJ1V} :11 "-"
Keep right hand down until the last measure.
~
2
'~~rf{@{hqeªI@"3JJ@ l@njJtlHIEftUf) I
The use of key F.
~
~
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5
"-"
v
,~llfrt;E~ltlrrertrr IfrtrEeC;ICEr:ftLF:11 1111'
6
~
=
7
,~ :;, ?EdQ J JitJ I
é!39 .I i@ fg3 18 3W.r :11
Left hand study
,~II Aif9MJ~rl@qJJJ 1~iJ] rldiMiPJ.lJII 1111'
Duet
LESSON 14
MAlAS
Andante
~
mp
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dim
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Fine.
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ti
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rnf
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mp Dc.dl Fine
::=::::=~
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-
-
T
= ====--
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mp DOal Fine 19 _
6/8
LESSON 15
Rhythms
Play as a duet, and count carefully.
:&~ ~: ~: I ~ f~: I rui II J:
d: d ti ffid: d fi ti ~: rui d: I ffl fi I ~ iu: Igi Uiji II ~: I
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fl
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no
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rrif
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o
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o
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o
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>
.
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~
o
t.
o
B o
o
o
-->
4
t.J ~
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o
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fi
• 195
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.
C
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o
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DUET IN 6/8 TIME
-
Moderato r--.
l
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.
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.
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•
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20
Triplet Studies
LESSON 16
Example: Similarity between % and ~
2/4
tempo when the triplet is used.
. .
.
.
~
1
~
tJ
195
3'
-
'3'
3'
3'
3' r
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7
-7 -
r
-
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r
21
~
Bb Major Studies
:::
~ ~
LESSON 17
x
,~TrpriP!l3 Imiê @ ImorrúJl E11 mtéN I v ..:Y
,~ fQffi E1J ,tU EU QJ, ID QJ QJ '~j
I
,~i;Pi:itQf!Y,6E.fiflqttu I EtCJn I J]1J;g 1
'~·p~,@iIldDlE4tEfI_IJ.1I B~
195
MAJOR CHORD ETUDE
LESSON 18
Articulation Studies
Practice each line until played smoothly and fluent1y, then accelerate the tempo.
x
,~' Eiq 195
An I JjJU nn IlJJ$ ÚH I ati fOi Ir
11 23
~
'-'
'-'
Danse Negre
LESSON 19 Allegretto
fll
,
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mp
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p
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marc. x
~
lJIarc. 24
D Major Studies
LESSON 20
Observe ali fingerings as indicated.
CHORD in D MAJOR
t
~
:4*Do ~6rnlaat&-IÊfufmIEfÕQn I
'T S1~ ~ ~·ft @J€1j I :mf!J21 eL;LEIb!W Er Ef 1-
11
DAILY STUDIES FOR THE DEVELOPMENT OF TECHNIC
,~I' r1êfii7! I r1dEIêr I~ I EM ~
!!,l Ddt4i}ated
fingerings.
25
Etude in D Major
LESSON 21 Moderato 1!:.
~
~ .l:.
1!:'"
.
Wohlfahrt
~~ftJ.tftft Ipfr I #h I mete IEcr J J 3IpJ ÊrfJ
1
m ,Cf
,~ cUQr I mqJ I fJ:J rÊrlrP EEEI jll ErEl Cu I ~~ alEte I#eg cc: IE6 er:eltrOe cr I ccrefe I l ~ ~ rfr [ ~-r I aO j EEI r:Ji- cte Ifel Er r I WiJ. J I J. * '11 PETITE DUET
Andante ~ ~
t
2
----------- --~ .
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41
.
=
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li fl~ tJ
195
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mf
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mp
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26
LESSON 22 R
Articulation Development
hmic patterns of 2 sixteenths and an eighth.
1
2
,~E nJJ IhJnlJU JOJ I J I J ±lU In nU I JjjU Jnl J I ~ MODULATING ETUDE
J 3
Allegro
• S . ~ .. . t=::t F9. ~ .. . @~! Q$j;F IE etc Ir qtr 14ZR~ I$;qr I c I F Eftt I tJjJd
~
tJJJ Iffl r I arE! IUu IJ:e13 Ime IGEre 9"1 rbr a: I
~
Ftr
mp
,~
simile
,~[ONU ItctE Icera late IwUICttE Itrio: IEEtjY
'~c:GQ'lcr'rr IbeaaltUr Icct'b[!ICarI L "EdlbC(f1 ~ ,~d nDlbCd'r InriJl~;JJ I~J:snlbEEfr ICCl!BliJl>JI ~
,~
ma IJJt3 ro I~ma II'CEtro I ;n~JJ Iil!lr I E=rtc li Ikf I POLKA Allegro
4
x ,.
,~!ralW:E! IS'EÚlr "Ndlr I"FUICEEm
'lf'UU l!refl Igr cf I r r I gtrg! 199 r ~ lQ":fi! I r I F
era IeFFea IcêlfE.r I crer I JfiJ I &IfJjjJJjlI '" JJ IJ:lJj11 J I p.J mI$l gr I C&E 6t1 ID q
@lfl!f!f! I are P'I",Ú I E
)(
195
27
'--'
Dotted Eighth Note Studies
LESSON 23
......,
Dotted eighth note patterns
.
fj 7'1 Uft.
n
- . ............
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1
-v
-
~
~
~~
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.
.
........
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-
MELODY
Md O erat O
.
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-
.
.
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@~ JJ.flIJ 3 IriJ.) la IJJ j. j lU J IJjj.j I j lJ.jJ.JI
2
......,
~ ~# 13 b.44.,1 j lJ.jFJ IJ J InJ la IDt.,lr FI[lf:1 ~
,# F r IC1ftlftfil[It';l
In tJlr E 1["{f:IE
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~ ~D C"tfflf;C"I Ird~Ê r IL1f~Ê r IEit u IrIU IJ J la I
. ... . .... .. .-:--...... . . .
DUET
fj
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J . E S.
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tJ 195
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dimo
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.
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4
.
. cresc
t. ~'4.~
-
cre.<;c ~
_.....
11 2
··
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......... . .
r7
I
.
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o
rzt. 28
Etudes On the Use of Eb and Bb Fingerings LESSON 24
y..
CHORD ETUDE
x
rr '-3 J13 J J W IZ Er 4 J.IJ JJ coE t I
:'w rU lJ 3 IJ 3J c:F r lÊ E:t a J 13 J J brF Ircr E~ I
Ê ~ ~~
1
~
i =~ ft 3J J tU Ii Modera!o
F
~
•
x
F
x
~
x
;J
x
)(
x
x
x
x
x
" cFi rri If E1 FÊJ IccJ r cnI cr c Ê Fr I Êr r r Ô :~V! Êr F r Cf I fJ J F Ê FI f j nir r I r: f r j r r I j Er F· 1I
195
29
195
30
La Verginella LESSON 26
ITALlAN MELODY
.
Moderato
~
@
~-----
---- )(
mf--
--=-= ==--
x
-------
------ x
)(
5
--==~====t==== f====-mp dimF F
(';\
G
dim 195
ri! 5
5
ri! 31
Andante
4
WALTZ
..
r I Ê r I tU F r r I F: r I F F r I
,~~ i rnpf F r I r-
r rr L I U cc Ir tH 4
,~~.~ F r I
fi
mf cresc
~ ~~~~ L r
I rr 17if
*
F-
r I rr: L I r r L I r ,
cresc
r I r- r I r r I r-. I LF r I r- r I Ef r I r
*I
LULLABY Andante dolce
Bohemial ~
k a=n I !l:e.g I Lr r I r I L Eí7& I Qh q ~ ~v L aoI J * I(f~. ~ ILf~· ~ IW· ~ I LFiflBi I L ® ~
5
1C
Wj,~ i
3A
C1
5~
C
crese
-
-
' d Im
-
-
cre/;c
1C
mP :/
i ~ ~~b&~?Jd!1gILLr I WI~fL!EJlfln;rIL eOI J *
3A
195
DAILY STUDY FOR THE DEVELOPMENT OF TECHNIC 2
3
-J. 4
DEVELOPMENT OF RAPID TONGUING
AlIegro
F
&~~ijJOOJ IUJ;;; IpJjlJJjlJ ~ I:V??J IbJ:11 1 11if~
~
'-.!
o
o
0000
00
00
,~jJJJ?nlJ i IjjOOJJJJ 1âJJUJ44 IP4jj$$1i14'b4J I o
195
•
33
'--'
LESSON 29
v
1
Studies in A Major
'~~:;ijUÍP I@ JZª, I (U~ IruE ~ Iur fr? .
I
/4
o
~~H~ W t1F~ 10 {lj IQJ Q@ I nO E1 (-1 14 -4
2
~#-I~ ií@9? Idifir rr IUfüfu I 4~ I
_Y~ :I fiin 0 :
4#~
w)t
~~
-;-•
oo
o
'o
tUilllJ 11~ I Qu JUiJ 14l1!4
11
TECHNICAL ETUDE IN A MAJOR ~
Allegro
3
,
~
~
"# ! J,lU ái Ireg Iütrrrcr Irw Irfã, ill'n:rr
· 5~
I
~~~~,
'"#dker U Ir ~ IkFtCCrrEIcrrrf Itrrrt I""ti]
'"# @rfGrlurtf IffuWi 1f t lúã~ Irf 11 1
4
'1 @l!?J @j ~ &tU 14@@JJffl9ªr I
I
I
I
'"# gs:r!W IJ ~ I@JJ]J I aRE liH 3if ligo JJ I
,~# @JJWI@;IQg;JWIJ~ I@@IJ ~
'"t 195
11
ARTICULATION ETUDE
uJn8jJ I JJ9J8J:J IJ~JlljQ I . LEa IEÊttfcÊM .. "' r....... . Êj' êU;Ête; Iflft rrE I cC r? rr IErtc rr t FI ~J " "Moderalo
5"W ~
ri;
1\
fu
6
.. ' A
B
~,
.
• ~~.
A
'.
~
~.
..
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~A.
A
34
Duet
LESSON 30
MAZAS
AlIegro modera~o.
:>
nif
1.
==
C1"eS(,
f
dim
@
dim
vif
C1"eSC
fl~
®
.-oII!!!!I
.,
.. ~
~
"
.~
.-
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~
*..:;
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I
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-.
*-/' .
;::..
- . .
;::..
-.
...
•
. . . .j
•
:>
r-.~ ~ ;
.. I
;::..
:>
r.-.. r.-.. ~
2
195
35
LESSON 81
Chromatic Scale Studies
: : 'C H lir r ! qr li! Iekf rr r
195
J
I Ê E~rE IrE 2 C
c
1
rli F I r"E tf f
I
E
36
Grace Notes
LESSON 32
There are two kinds of grace notes, short and longo Long grace notes are seldom used, but the short are used quite frequently. Instead of using long grace notes, it is more practical to write out two notes of equal length. In addition to the single grace notes there are double and triple grace notes,811dthese are usually writr ten out and played quick1y either on the beat or before the beat, the piece of music played determining which it shall be.
EXAMPLES OF GRACE NOTES
Long As written f)
1
.
Short
I
I
b
"
~
'"
,..
-
O
IJ As pl~ed
-
t.
fl
-
.
.........
- - -
- .
EXAMPLES OF GRACE NOTES (Double and Triple)
...
As written (A.head of the beat)
--
(On the beat)
.......-=
-~-
- .
-
~
t.J
2
f)
t.
As played (Ahe, d of the beat)
_.
.
-
-.
(On the beat)
- .-
......
-
.
-
.
-
~
.
DEVELOPMENT OF THE GRACE NOTE
fJ
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tJ
f)
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··:k
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··:k
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t-
Il t.J f)
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-
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k
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L~
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.
k
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k,..
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.
. br-
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···
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·· :
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..
llr••• ••• 11>r___k-__ 11>.
. : .. .~~__ ]f .tt-l~ .~ L~~~.lr.~.l k ..•.)r_~~ L", .-Jr. ·
~
··
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~
ti
THREE SHORT GRACE NOTE ETUDES 4
jlll rr 1& r?: 10& I$jr 1% rj IFffIrlrJl'Er EIn III
5
'11 yft IW IfitE loor IrÊr EIlErE lyEt EIftlli
6
&if(?@IErF lt?ulEír Ifi&lur IlrUFUft
1%
37
. . . .,
Grace Note Etudes
LESSON 33
TEMPO DI MINUET
~~injaie% IU-aE! 1[1 [ Ir J 1% }, t (ti*lrt [ Ir J :1 ~~ yUtt Ir tÊ Itiiifi Ir r ÊlíttW}éiilil It.r@
2
mp
~~ triEJi31J tA te I&iili:! IFt r Ir It ~ llirtID: -i @~ r,. FIr UE! t11~ I;JílJ Ij la t.J t.J l@g I J
}f
...
J
J
~d ~ J lU t.J t IJ ~ t léítrCht J J I~ I:!J J la III
DOUBLE GRACE NOTE ETUDE
3
~
1!:1 Fr I.[rl 'I~r E1tal~::fJ I l!ir r F IM rr I
Andante
::>
~ aUêfrllltfr
::>
ªº
uJ loJlk:ll I J.) ia I ~ &s II~j ;u I&-@ IJjIlJIJJ.JIU eu I~;J; J I ~ tDl J P IJ1pl r r Itir (f I dk r '!k F I §r r t r Ir {in r I ~ r& [ r IFru JJ I; (!JJ J IJê ibl r IF~r ~t r If I Ff I~ I
J
ItU
J
195
38
Triple Grace Note Etude
LESSON 34
'fl f=?iJ anUE M!B --- --diii?!'tO lW Andante -Playvery legato
1
~~~
I
J I
Wohlfahrt
Ij J ~ I ~
---~ ~ ~ I @fIf Ifkr:/jJjJjJ91 QJ3JJ . , I
i ,
~
'jfi J J jJlI r~~ ~ I
J~-p úU I t1idf~ I {fI! em I F rfWêr I
F~ttD I t1§4P:J
~ Fidt4Jd9I~;l.----..... I tl1ME!0
IJ J ~
~
CiPrw I tfà ~ If kriJijjfpJ I d2flgJ J ~ ----=----~ ~ ~ l F t2!dm3 I F lmaf!lrrr l C =OL® I fb
9
48M3 rmrtlfJàU
r If~r1d IrE.
FOLK MUSIC Valse
2
Lively
.
I 11
Bohemi an .
J Ir_lttn 4~2êJJaalar laaalf1 1fIf Shorten and soften the second eighth note ofeach beato
195
39
Trills
LESSON 35
A trill is produced by alternating the given or written tone and the next scale tone above in rapid sue cession. As an example, if the given or written tone to be trilled is E in the key of C Major, the scale tone a bove which will be used in the trill is F natural. If, however, it is the key of G Major, the tone above E wi be F#. Thus, in the first case,the trill would alternate between E and F natural while in the second CasE the trill would alternate between E and F#. The approximate number of notes usually pllWed on a tone that is to be trilled is shown below. Thi is not always the case, becanse sometimes on long tohes, the trill starts out slowly and accelerates in rapid ity to the end of that tone, however, the examples will show the number of trilled notes that are to be usec f}
1
'Ir
'Ir
V
I' ~
~
,
-
--
-::-
----
....
--
-
::--..
On long tones, a trill is usually closed with an additional tone which is the tone directly below the gi, en 01' written tone. In pllWÍng trills on short tones, this closing tone is not used because of the rapidity witJ which the tone following the trill, must be reached. If the trill (Ir) appears over a long tone, the closinl tone is the next scal~ tone down from the given ar written tone. ~.
V_ _________. 'Ú'
-
'Ir
'Ir
I
I.
2 11
..--:-:---
- =-===
I.
-- ____
liiiiiiiiiIiiii lIiiIiiiiIiiiI lõiiiiiiiiiiIii
liiiiIiiiiiIiii liiiiIiiiiiIiii
- I
Sometimes it is necessary to alter the pitch of the closing ton'e, and this is done by indicating below th trill thus Cf) as to what that particular tone shall be. The key in which the trill appears , deteJ mines as to which one of the three symbols is to be used, although the purpose of these symbolsis the sam! namely, to have the closing note either a half ar whole step from the given or written tone.
ct) cn
I)
3
11.
-
-
V
-
f} I.
lii!iiiIiiiiiiI - - - iiiiiiiiiIIiiii
'Ir ii __
-
----
# ~-----. #--
V I
V
1_~.
:11_
lL
I:f:::.
-
Where the closing tones are to be emphasized and ritarded, they are usually written in to make sure ti: they will be pllWed. This is done especially in case of long tones that serve as a closing to a phrase 01' a c denza. ~
'Ir..-
~
F1.
•
~
----., .•..•....... -..
t.
t. 195
"
~
F9.
~
-:;;:;-:---;
=== === = ==== 4
Trill Chart
LESSON 36
It is a good policy to trill for long periods on each of the given tones so as to become acquainted with the proper fingerings and also attain the desired nimbleness of fingers that is necessary in the proper play ing of these trills. The first section wiIl concern itself with the trills that are fingered in the normal way 01' fingered diatonically, while the second section will be concerned with the production of trills through fin gerings not normaIly used in the diatonic scale. Trills in which the natural or normal fingerings are used. ~
'Ir
~
~
--
--9
-u
--9
-u
.e
-
'Ir
'Ir
'Ir
'Ir
'Ir
u
1 f)
•
.....
u
'Ir ..n
'Ir -&
fi
In order to trill on certain tones, it is necessary to designata certain fingerings not normaly used in the diatonic scale. These fingerings are indicated below each note and have reference to the production of the up per note of the trill, since the written 01' given note is fingered normally or diatonicaIly. AlI trills between the double bars are fingered the same, even if the different registers ofthe clarinet are concerned. b b # ~ 'Ir
2
,
ir
b"
: ~~
~
~o F G
II
Z
J I #~
E
;
&!
'Ir
II
6
6
'-'
!
II
F
-&-
II
F
'-"
-9-
I'
F G
b
F
'Ir
~~
~:t
#'Ir
b
F
E
o" D"
V
'Ir o
'Ir
b
'Ir
II
o H
'II
b 'Ir
Ir
'Ir
'0
II
'o
bn
II
H
H
7
V ~o
'Ir
'-'
II #1'
11
H
ETUDE 'Ir
JIJ201 J
3
j ~IJ
J
I V-f7f?F1 ~
~
195
t
I
#
'Ir
Ij
I f ~f
15 J
1l5J ijJ I 11'
tê &J6J I 41
LESSON 37 ~ Móderato
v
Articulation Etudes UAPID TONGUING ETUDE
1/1,3 1Opn ti IJ ;1JJ J * IJUlHOJ snnzle
I J 333S J ~
~ JiJ JH9 r Ir 'EÇfr~ Illr iEiFUlsrr+_U1IL "~dL I
'P1;r.Ú tlr Urrar IL5Htp Ir crr;á t I(Hum * I
@'.r b(Eir I ;HrSCUr fi ErEFU CEru I CHcrrc!Gr:cn I
, dtrá 'Feri::! I 'l' ifPF~ r I JjJst---1 JUBj ' I J;JJJJil bjOJ I
, i§J'J) ;Jjaa I nBPJJnJ IFrrrEF Oicrtr I Q:g!Qj5J 1
CHORD ETUDE
19.')
42
Duet Brilliant
LESSON 38 Allegro
., -----
~
4
1l!Í
.
fl
t:
.
--...
mp
. .
mp fi
iJ
. 1l!Í
~
......
-
~1l!Í
~
.
.
.
-----
-- .. ..... .----------~-----------
---
1l!Í
..... ........
mp
--
li
- .-; -
.-------. .1#'......_
•fi
95
.."
mp
...
mp
---
.
...
~
-
~
4
..
mp
~
mp
"
~
~
.--.
.
mp
tJ
.
-- _
-'~,.
.
11/Í
__~________---
J. E.S.
--
T:!!. -
.---.........
.
~
--
--
mp
•
•
mp
-
•
--------
.
;.
~
-
11if..
mp
--------
...
-"
11!Í
-
•
~
--'--.-.-,t ..
•
•
"'-iJ-" • ....---:
~
- ~-
f ...... f
.~.
....
-=-- ,.........
---.J
43
Articulation Study
LESSON 39
ger 6- ã I Cru aar ,6ft? oro I Cf SE ($ r 1 ,~ tE fJ ar la, (fr Ifi affr Iaflr ,~ GL? ar t €Itr éfJ I ã6kftt11 gaGa Alleg!"0
1
,~ t
>
>
x
:::>
:::>:::>
>
1
11
Ali egro
2
,1l,,~8'rr
~j
FAST TONGUING STUDY
r:r-
C
r;JJJj la j§;JJOcuJjJjl
JOIflJj PtJOJj I J iJph h I r ffu(n: ~
.
aEre; I
, c Y~CrCtc p i5 nI tU EC &te: EUGCI' c: jJ!fb , J
l
I
:Jag;tC hêtl a~rrrc frrt StI [gCHfElffgrtl
~ r UC;CIt§ErnErlsrucrr;{J
, CC!í'CUrGcrtt rts\rrO
l
IEJr;Dzir.ÊJ!tE*rn~rrl
r*iC çr~E etc"V;' UCJ;cClª,,~r"l
, EQ"~cr'1nJ n;brnUI~Ut~~5§lnjJbJ.31 SfC5Lf c"b;U'
~ if~ cr &F r f'- I cUC;rzur J33'01 J flJS=
, ª ta '0:[2
JJ
iJina
a, Iifi rP 5' r l 'f flrr rr c:frrt 'n
, eJt~tr;51E ElEs,,' J[CCUPttrr;r1 s úJSnJ 195
l j 44
Etude for Technic Development LESSON 40 AlIegro
,,,mpJ~ ol J ol :P ;p J ~ aJ ~J I t~ J ol JjJ j J J j ~ Jj ~j I ,
jJjJjJjJjJj~lJJJI jJjJJJJjjJjJJjSjl 3;JsjJJ5 rprEEEfaI
,,7Y!!fC -----
-:P-
~
-----
-----
~
.~
i1 rnErrrrrOrf[rErl @
--
n
~;:;L
~
JoIJoI rfEHrbr IwE ErEreurrcrr l l1lÍ
, rWrfrHcEr WI dãrfrifrnWà Ir,bEEEr WWFI
, iUEcFr FrErrnr l@jrOrcurOru I 6@ftfrrifi%
, ófrr rfrr,rrJrfir I drrrM fEMrE;FfteFr@rl
f
mp
C7Y!SC
, @r.ErFsHlf I EWrE;FftrFrr'WF I tíFfcrrFW;ra I
dzm.
mp
dzm.
C7Y!!iC
, @rFcfEWJ I EfifrErrcwr I ccFijitrfrffWrl
~
,Wf- JJ~3J -~
~.
®
IjJjJjJjJJjJjJJJJI ]jJjJJJJjJjJJJjl
mp ~
-------
------
---
'JJjJjJJiJJjJjJjJI jJJJjJJJp J3; IJJJJJJjJpJjJjJjJI
~
--=-
~
11
195
Major and Minor Scales
LESSON 41
4
Observe fingerings carefully.
FM -&
A
Dm 2 A
MELODIC
C
Drn '--' '-"
5
.........
5
C B~M
Gm \.....
u
'-"
MELODIC
5
C
C
Gm "'õ
E
5
C
C
EM
'-"
2 C
HARMONIC
'-'
5
2
C
C
C
5
Cm
.........
MELODIC
'-"
em \.....
'--"
........ '-'
t), A~M
~
-t:
'--'
'-'
fl
-.;t I
Fm
t:
~
fl
'-'" '--'
195
...
'"' -,T
*--.--- • '1
MELODIC ~
I
C 1
-
_.
#
.
F4
............
.. .*.
~
-
C 1
C
1 C
-11
....~ ~
I
1 C,..,...,..
JI.
t '-"
I
~
~
HARMONIC
~
v Fm
4 F
~ -,T..... ~.~
'V"
, . #jf
-&
4
'-../
'-"
Major and Minor Scales
LESSON 42
'--'
Observe fingerin!s carefully '--'
2C
'-'
GM
•
""(T
DO
'--'
3 B
B3
F
~
Em
'--'
""(T
B
c2
t
Em o
~~
DM
~
1.
~
~
t.
fi
Bm
~
~u:
t
n~
Bm
_.# f:.
2~
. -HARMONIC
7 .,. MELODIC
LL
2
A
I
.
2
A
••
-.../
o ~.,.
•
DO
.. _
A2
-
.~; ~~!.
-
. -. .*-r
'-'
.-#
I
.~.
ti:
~ b..b. _
u
B
A
A
I
t.J
A 2
...
2 I
n
-u '-'
2 A
'-'
AM -&
F G
HARMONIC
2 A
G
'--'
FIm -e F G
B 1
'-'
A 2
E
'--'
FIm -.../
-e 1B
'-"
EM O
o•
·
c
F "-'
Clm
'--'
-&
MELODIC
c
1
B
F
C#m -e 195
47 "-'
Maggiare from Piano Sonata
---
Moderato
------.......
fj
•
"
t.
P
•
H_
-
10_
-
-
"
-
I
I
dolt,'rJ
Beethovell
cresc.
fJ "
t.J
-
"
P dolá]
fJ t.J
!J
-rr----:'
•
t.
fJ
• .J. ---------
-rJ
-&-"
7J P d~----------n....--.....~ J.+
-..
c::::::::
.
.
~
I
J.+~ "
·· . -
"
T
dim.
-- 1
I
tJ
I
-
dim.
.. ·
í
fJ t.J
~
~
~T
~
,..
-------
t+~
----.....
~
t.J
U·
&
~
.
~
n-----n"
f;"
.
-
---
-
-
t.J
--
--I
~
--
tJ
q---.::---
77-
-----
-
---"
f
P
..:-dim.
cresc.
fj t.J~-6'-~
--
--
~
~---=--. C7'esc.
....
•
--------::----. " -
:j
rit. {.\
..
"--~
.
'-...
P
fJ ~~
t.J
I-
"
--
. ... "---------
4-"
p 195
~"
J
fJ tJ
~
dim:
cresc.
~
v
.fi- ~
·
71
-
" - J.-
- rito
"
t:\
-71
--.
... '---------- rito
~:
=.
4:
Andante Andante
fJ
~
.....---.
•
"']l1lI
""iJ
....,fl fl
I
.J-J
m:p
I I
,
I 1 J
mf
fl
~ .~fLr
u
tJ
fl
~
.fL
•
~
-
..
10-'"
=
~
f
....
.-+
-,t.-:J..y.
~T~
.--::--....
-/
':
mp
--=---- • •
. r
mf
t)
fl
....
?f
7t
tJ
r
-
. -..
~
L
P
=
=
==
~
I
=
-
~
7f
f
- - •
=
rrvp -
"""tJ
-
-
Gluck
-
.;
=
:
I
mf-
~
ü
I
·t
.-:J
~J
fl
ü
•
r
t:
fJ
...-
ü
t.
I
• • ~.#~
----
--
= =
-
-
~ü.~
~
~fL
-
----
.
~
=
P
--
-
~
I
-===
~
:;si:
•
~ ~H'"
....--....
•
tJ
• ...tt--- .:.~
~
J
•
~.
~
;* -
I I .I
l I
~
:i:~ ~
~
~~
~~.~
iJ ~ ü
•
m,
p --===
~
mp-:J
,..,
.
,
r
-
P
=
fm,n~
rito
fl u i
I I
~ ü
t:J
195
?f
I I
I
I
=
... ..
T
~
'!"
~
~
-Jt
~
I
I
.~
---- rít.
~.~.-.t" ~. ~rif.
•
71.
Andante Cantabile
Flowing melody
Oancla
1
a tempo
~
~'i
. li . i . li
o _:To .. ~~ .. _ .. °7~°'1l
'';''''~
rtt.
~
~n
r
-.....,....,
- - o
' f.J
..,
L
•
/ o
-..
- - -- - ~T
1l . ~
- =
'.;,.=-~.
mt1Ircato 3
3
3
-
I
j
I
1 J
I
I
-
~
II
ad lih.
r+. ~::j:~"
-....:
I
Risoluto ed aitimato
195
-
-=-= r=-=.'I
•
3
~
t.l
"';".-... --. "
a ÚYf(tpo
o
,--,JT f.\
-3 •
3 .
50
Andante Cantabile (Cont'd)
fi ..
espressivo
~
""D'I'IL ~I
-
~
~~o~7~ :-0 o
.:J
f)
.J.J
~
-
0o
-
LL
~
o
o o
o ! o !' mil.
.
~
I.~
~
o
a tempo
o "i jo !' ..... ~-:: o ° o o
I
mll.
-....,>
~~~"II_
o o o... ° a tempo ° °
0
oi oi
oi
"li
=
';;:==::~" ~
_3
.J ro. -.:
"11
:>
C1YJSc.
~I
0_
r
~
T
T
liiiiiiIIi7
I""T"I
fJ iJ
Tl
-~
-
.,-
I
adlih :::>
'" ....
r J::±:i~~ -~7 ~ ==-
-..;;;;:z
.1, '
-
{.\
-.:
~
rL.= ~
-
:;
•
-
T I
Menuetto fi
I
.~
~I
mp
mp~
~
fJ,
v
--
Moderat o
FROM PIANO SONATA
-
o
--
I
~
,,, .--::. . .
.-.
--===
...
...
•~
~
..
~
kl~
.--.......
B ee th oven
-
--.....
- ---===
~
-"""'!I 2 ,....
====-
~'--- . -~
I
q
7J
mp
~?F
P
C'l'8sc.
p
C1YJsc.
-.
4
--
~:-.
'-----------------------
-~. ~
ff 51
Menuetto (Cont'd)
=
p C7YJsc.
~ ~
fl
b~ ~~.b~
I
mp I
~
(j L
"
-
J~
I I I
--.
flJ ~
cresc.
..
::::=-p
~
~
.....
l'---"'"
-
I
-
...
.... ~~ .Fi1be
,
~
./
I
-
cres~
-
I
I
~
.... ---.
.
~
. -- .
.
.. -....;;:.
I
.-J
I
-Y-:W ~
~
:::;
J1J
v
-"
p
~
~
19 5
-
cresc.
~
)r~.-...........
cresc.
~ I.
...
----
,
~
~
...
~
'--"
-ri
.--..... cresc.
P
. ..
?J
7:f
~
p
cresc.
(j L
~
.tn
~. ~'1it
mp
~
~·~qf~
cresc.
-
-
l'-" #fI-.
creso.
rito
=i
1":\ ~
'"""rito
... ....- . . ---
..".
.. ,
.. 1":\
~ ..... ~ : •.• ~r*~y
-.....-.::
--
52
Clarinete Soprano em Sib texto de exemplo
12 Escalas Maiores e Arpejos Séries & Tonalidade
Escala
Arpejos
1 2 3 4 5 6 7 8 9 10 11 12
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