t 11.99
G A T T ^ T T T ? / A I / I J J / X V
C L A R I N E T
M E T H O D
Book 1
by Avrahm Galper
with accompaniment chords by
Rob Carli
ISBN: 0 - 88909 - 171 -4
P U B L I S H E S
3 5 1
M u s i c CO. LT*.
5.995 by WATERLOO MUSIC COMPANY LIMITED. Wafcrloo. Oncano. Canada Internafonai and Umtcd State, copyngh. secured. AJ1 Righu Reserved.
HOW TO PRACTICE
Here are some basic rules for practicing properly. Ask you teacher for help in setting up a practice routine that's good for you.
1. Set up a daily practice routine and stick to it.
2. Know what you want to accomplish in each practice session. It is better to practice WELL than a lot of time carelessly.
3. Do not ignore difficult passages - practice them SLOWLY until you get them right
4. Warm up on the low register Tone Development Exercises. A well developed sound in the low register is the key to a beautiful clarinet tone.
5. Play with a ful l sound - make sure the air stream is steady through constant abdominal support
6. Listen to good clarinet players in concert and recordings to acquire a conception of a good clarinet tone.
7. Use good quality reeds and change them often.
8. Keep fingers curved and near to their respective keys and tone holes - practice in front of a mirror to correct finger position problems.
9. Learn the fingering combinations in this book - the command of many fingerings is important
10. Always LISTEN TO YOURSELF to make sure that what you are playing is in time and in tune.
Fingerings are presented with a chart and picture of their own in most cases. Pupils should learn these carefully. Knowledge of different fingerings will become invaluable. Here are explanations of some of the signs used in the book:
a) I 1 TOGETHER, play the notes below (or above) this sign, TOGETHER. Use the fingering shown
b) Although there are other notes between the first B and C, play the first B and C TOGETHER without removing the fingers for the notes in between.
c) I LEAVE ON. This sign means to leave the C key depressed while playing the note B. d) I1 This sign is a combination of two LEAVE ONY
YOUR NEW MOTTO: PRACTISING PERFECTLY MAKES PERFECT!
LESSON 1 To start the sound: (1) touch the reed lightly with the front part of the tongue. (2) blow into the mouthpiece and pull back the tongue AT THE SAME TIME. Remember: without blowing, there will be no sound! Start the G with the air and tongue movement AT THE SAME TIME. Do not stop the sound with the tongue.
J - four beats to the bar. ' - take a breath.
I I I SBL > (Q
TP" 1 2 3 4
• o No fingers o_ on the noles. o o o
CD (a)
J
1 2 3 4
o Close the left _o_ hand thumb. o o o
1 2 3 4
•
• Close the left o hand thumb and o~ index finger. o o
1 2 3 4
5 Close the left • hand thumb and
~ first two o fingers. o
A half note d equals 2 beats; a whole note o equals 2 half notes. Start the slur N • with the air and tongue movement AT THE SAME TIME. Keep blowing to support the sound.
-e-1 2 3 4
• Close the left • hand thumb and -~ first three o fingers. o
repeat sign
-4 r — Jf f / T T "
7 7 7 1
7 r l
.a h—— 1 J 1 1 L o J L_e 1 1 di L 1 1
(b) 1 2 3 4 1234 7
3 T 3t 22
(c) 2 3 4 1234
d *
1 2 3 4 1234
o=J+J+J+J Bb Eb
Your First Notes Bb 9 Bb Eb Bb/D F Gm Cm F Gm
2E J J J ^ i J J ^ 1 ^ ' J J i ^ i J J J | u ' J J ^ 1 J J ^
Bb Bb 9 Bb Eb F $ Bb/D Eb F Bb
J J I J1 II m w m * a
Your First Tune Try clapping the rhythm while counting out loud. Ask for your teacher's help. Bb Dm Gm Cm F . Cm F F/A Bb
' ^ a — 4 — j p i —(S j j ~ J J J J I J ^
Gm D Gm y Cm F ? Cm Eb Bb/D F
LESSON 2 As you descend, make sure the holes you cover are completely closed, or else the instrument will not "play", or it might squeak.
> (B) » (A) ' (G) — — —
. C p L _ . — — ,
• All left hand • finger holes g closed. o
• Add the middle JL finger of the o right hand. o
J Add the first two fingers of the
• right hand.
o
All the finger holes closed.
J . - the dot after the half note indicates that its time value is lengthened by half; therefore J. = J J J
[~4~] | - three beats to a bar.
J j ' J J j U . ' J J J N j j i j j j
J 1 4 J J U
fs] Support the sound. F
Folk Song
F ? F/A Gm C F
Gm Dm Am C7
-^7
Study On The New Notes Play with clean finger movement. Bb Gm Bb _ Bb/D F Gm
Cm Bb/I) I t> ( I Cm 1 Bb
4 ! 3 3 ' £ f r J I J -f J I j j j I J - - f J J J i j j j I j p i ^ p
LESSON 3 Review of Notes You Know
m Do you remember the names of the notes? —1 Write the name below each note. Listen for steadiness in your sound as you play.
i Vi 'i ' J ' j ' j ' i ^ F i
A slur from one note to another of the SAME PITCH means that they are "tied". The player does not repeat the "tied" note again* but adds its value to the first note. \ - two beats to a bar.
J J 1 J j U U
J j l j J U j l j I j l l
j . n A quarter note equals two eighth notes.
7
1 A 2 A 1 A 2 A i A 2 A !A2A
10 c r* c c
tF c F » 1
The Bee C F C F C F
| • | I | | |
Christmas Carol
n Observe the separate and slurred notes.
Gm Eb D Gm
Bb
D Cm Bb Gm
-^—r ^ ^- J u j j JU- i
Dm Gm Bb Dm Gm
4 mm
12
P
Study on A Open the A key with the first joint of the LEFT hand. A and G should be played louder than the other notes. Play many times.
HE
Study on Familiar Notes 13) Keep the air well supported so that the notes are well connected.
7
_4 al
14
Au Clair de la Lune Play notes G and A louder than the other notes. Articulate ("tongue") the notes not connected by a slur. Breathe only where marked. Eb Eb/Bb Bb Eb Bb Eb Eb Eb/Bb Bb Eb Bb Eb
I K T T HE
Bb F Bb7 , Eb Eb/Bb Bb Eb Bb7 Eb
a m m 3 E
Polly
15 Play this tune slowly and sustained. Think of a good tone and try to produce it.
p
Bb Bb Gm Eb F Bb
* * m
^ 1
Bb F Gm Cm Bb Bb/D Eb F7 Bb
16
Melody
Bb Bb/D Cm/Eb Bb . Dm Gm Eb
—
Bb Bb/D . Eb Bb Eb F Bb
LESSON 5 There are rests, during which you do not play, but count time.
17 four beats (whole bat)
one beit two beats (quarter i half bar) bar)
<• 11". '1.1 ^niii - ., Z« la n - "i ^
18 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
j ^ . j ^ ^ - j - p E p ^ - j — Z — j J j «-^| «i j ^ j j j j J •^^--J-j^.-J-.^——
1 2 34 12 34 1 2 34
19 Try not to breathe at each rest Take a breath where the breath sign is: ' Clap die rhythm before playing.
J J J f c i J J J * ' J J J * 1 J j j > » I J J J ' I M J ' i j J l B j
i iPP Long, Long Ago
"D.S. al fine" (Dal Segno al fine) means "return to the sign & and play until you get to the word 'fine', (pronounced 'fee-nay') which means 'the end*."
m B I , F7
F7
3 *
Bb fine
i
Bb
F7 Bb $ B b
* 1,1 J j j M j j
F7 Bb Bb F D.S. $ al fine
F7 Bb
Bb/F F Bb
LESSON 6 Low Register Bb Warm-Up A flat (») lowers the . .
note a halftone. |22| A flat (b) or sharp (jl) applies to the same notes in the bar. Play this exercise 5-10 time* 7
23 Support the sound.
Eb
Sostenuto (sustained) Bb Bb7 Eb 9 Eb
Fm Eb/G Bb Eb Fm Bb Eb
• r f 1" 1 11 • *m | — >
i u j v«U J J ij
Ab Bb Eb Fm Ab B Ab Fm Bb Eb Fm Bb Eb
24 Observe the rests. Eb Bb7
Hickory Dickory Dock
Eb Eb Bb7 Eb
3 ~ *
Cm Gm 1 2 , r
Ab Bb , Eb Bb7 Eb
~B * ^ ** 1 2
Study in Waltz Time Support the sound in this study. Learn it in a slow three. Then, when it goes well, try it in one, as if in a waltz rhythm.
13 Eb Bb7 9 Bb7 Eb
• -wt. -m w •
Eb G7 G7 Cm 9
• i l M J I s * r J ^ aj'
Cm
l lP Fm/Ab Eb/Bb Eb/G Bb7 Eb Bb \ \
•m—w I I I I l " l
LESSON 7 Low Register Warm-Up |26| Play this low F study with a well supported sound.
[Tfl Play with a sustained sound. St. Paul's Steeple
1 ,
- 1 1 ~
7
•4
l i t 1
J i i t to
1
I
Aria from the Opera "La Traviata' 28
Verdi
Bb7 y Bb Eb
I Eb Bb7 ^ Bb Eb
Ab E b / G Fmin Bb7/Eb Eb Bb7 Eb Bb7 Eb
29 Eb
J ' J J J U j ' j ^ J ' i J ' ^ R J i f f P
Nursery Tune Bb . Bb7 Eb
Eb/G Eb Fm Bb ? Eb/G Eb Bb Eb
L 7
L E S S O N 8
(Bb)
Low Register Warm-Up 30 Play slowly. Si
Jph a i —
iipport the . sound in the 7
* * i
large i nterv als. 7
ir rn
J - J -
7
1
__, 1
J ^ :
r j j j You have to open two keys for the Bb. (keys 10 and 12)
•J —
4 » ' I J J J ^
_ _ J _ J i
l 1 —9 i>JTJ j - j -
L J #LJL_
I I 1
More TIED NOTES. See lesson 3 for the explanation. 33 Eb Cm Ab Fm
»<© j mJ I
Bb Bb
- h i =
/D
s=s=:
Eb Cm Ab
4^4- r - * • 3-a— - a
Bb Fm Bb Bb/D Eb
LESSON 9
(E)
Low Register Warm-Up on Low E Before each practice remember to warm up with these low register exercises. You will get a better tone by warming up in the low register.
7
TJT
* 3 4J T I 1 i 1
i
-n Golden Slumbers
Watch the counting in the last four measures. Bl» Ek . Bb
•9 r
Cm G7 Cm Bb Bb Eb F Bb
Jfc j l j J l j J I j p p
J_2^3 1 2 3 1 2 3
Landler (Austrian Country Dance)
Bb Eb Eb Bb7 F7 Bb 33 Eb Bb Eb Eb
Bb Bb7 Eb
I
Bb/D Eb Bb 9 Eb
37 Review on Low E
( f * 4 4 4 4 l 4 1
L E S S O N 10
(F#) 38
Play this warm-up slowly and repeat many times.
7
. j *
7 —— —
- J —
TZ. * J. -m- Tm-
I ""I
j j J J~J J J
F# Warm-Up
$az^zlzi: # » i o -cr
m n n i = ^ 1 1 j j p 7 , ,
vy j 1
Most of the notes are articulated (not" legato" or connected) S 3 F Bb F Bb F C F 9 F/A F Bb 1
J M ^ J I J J J J l j j I M l * — *
Bb F C F ? F Bb F C F/A Bb C I
i i I j j ^ ' J J J J J j j ' j v — v
|41 j Tell your teacher what you think is different about this tune which you will recognize from before
I N
m • ' i j j i ' i J j m *—zx
42 Bb English Country Song
C F F/A Gm/Bb C F
4 j J ' j j i mf ^ ^ T • 7»»
. . * * Bb Gm C
P i
F/A Gm/Bb C
w " ^ *—zr—zr
^
^
m
m
n
LESSON 11 Eb
7o o o o
f j | *
* *
(»)
0
• T T • F H
' w
"T=*f
!!",!, J!!"" _
M ' l l " WW
1 J , . - J * —
» • • J" • m s ^ 1 W ^ #
HI] Play many times! Eb Warm-Up
S3 Db
Here We Go Gathering Nuts In May
Bbm Ab Db . Eb Ab Eb Ab
J |J Db
R
Bbm Ab R
Db Ab7 Db
* — » 9 * # M\ H0±
4 6 Al
J J ' 3 r
> Eb Al » Eb Ab Fm Bb Eb , Eb Bb7 Eb Bb7
R
J J » #
R * 1 -d m m
Eb Eb7 Ab Ab Eb Ab Eb Ab Ab Ab
Early One Morning Play the slui
4 7 Ab rs as ir Ab/C
idicated.
—Ez!
This piece is Db
- I I I
in Bb major, p lay Bb andEb. Ab \b/C Db Eb
- I I I
J J J J « a J " J I • J
L E S S O N 12 Remember the Warm-Ups, lessons 6-11
The Dotted Quarter J.=J+J>
Oo you remember what a dot after a note indicates? Look it up in lesson 2. In this lesson you have quarter notes lengthened by half. Ask your teacher to help you clap this rhythm.
Count: 1 A 2 A 3 A 4 A
A M * , f*1
Ab Db Ab
Home, Sweet Home
Eb Ab Ab Db Ab Eb Ab
Ab Eb Ab Ab Eb Ab
5 35t i—j — ZZ - J "- 3 t
The Merry Peasant Follow the articulation marks carefully. The key of Bb major has two flats: Bb and Eb. R. Schumann
[50]
111' » -4 E >b Ab Eb Ab Bb7 Eb
—H
r —J 4 -4
Eb Eb7 Eb Eb7 Eb Ab/C Eb Ab/C J r + - 1 K—
r I S / ^ — -
—
r — mY *
r Ab Db Ab Eb Ab Eb Ab-
Deck the Halls
Eb Ab Db Eb Ab, Eb HI Ab 9 Eb Ab Db Eb Ab, Eb Ab
¥ * L | : J - ^ J 1 j J J j l j g u - j > l i j j : " i J J J I J . H p
Ab Bb Eb Bb Eb , Ab
R R
, D b Ab/C Ab/Eb Eb Ab
NJJJJ^J>Ij j j II
[52] Listen for smooch connections in the large leaps.
7
|53] Repeat this warm-up on Ab many times.
f t* r i J f J j j l I I I I j I 1 ] j I I j i H l - i j 1. J '" j n I *" J J J W J * J J ' l y j J J J y 1 J t J J J g " J J J i w j w ^ J J :
Lullaby
Bb7 9 Bb7
Study on Ab Practice this study slowly and repeat many times.
LESSON 14 There are many warm-ups in previous lessons (6-U and 13). Play them before the new maicnal |
Warm-Up on C# 56] Practise this warm-up many times.
J'ai du bon tabac Alia Breve: two beats to a bar (the half note gets one beat).
LUI ^ G D7 D7 G Em Am ft '
f *jJ|ij lJJfi'JJ l|ii ljJfij lJJ|J D7 G , Bm Em Am Em
a 0'
a Bm Em Am G G/B Am/C D7 G G ^
^ i 111 , , 11 i i l | , , i , i 11 i I I I I \ ] - = \ ]
D (i
Oranges and Lemons
i i ° f P 7 O G t D7 ( i
^ 1 J
G# is the same fingering as Ab. G C
Thanksgiving Song
D G Bm Em 1)
^J a —<i a y JV J- ~j J ^ • < - j $ ^ E E ^ »•
—
v - -=f#=j —] ^ — } 1 1 , , | . ;l
J J 1—J 1—L : *
|
I
H
i
U
1
LESSON 15
(Ft) 60
Warm-Up on Low F# 1st and 2nd endings: When you reach the repeat sign under the 1st ending, RETURN to the beginning and play again. This time, skip the 1st ending and play the 2nd ending.
P i
62 Coventry Carol
Fm Db Bbm6 C Fm Bbm Fm C7
R
I P ' R
Bbm G C ^ Fm Bbm Fmaj
1 i t J ' j J ' j F l 63 c c
— — R
G7 K
G C 7
# 3 * * * y j J J 1 j . 1 LJ I j l l
J?'
L E S S O N 16
(G»)
Warm-Up With Low G#
Triplets: Instead of playing two notes to a quarter beat, you now play three.
m *
M — 1
4=- - # —
r — 1
I
Swedish Song
PL
English Song
c G D D
i G G A7 D C G/B
t_ 5
Am D G Am/C D G C
I J Z J 1 4 I j ^ j j J J . " j ^ T O i I I P
D G
Ole King Cole 6 7 Gm Eb D7 Gm Eb D
* Bb F
i - i 1 0 ' J g ^ 1^ _ L | _ _ ^ - _... J J 1
*
LESSON 17 The low register you have been playing until now is sometimes called the chalumeaux ("shall-u-mo"). The chalumeaux was an instrument that existed until 1690 when it was improved and turned into the clarinet by Denner. You should develop a good low register by practising the various warm-ups during these lessons. This will enable you to play the upper or clarion register with more ease.
/T\ - fermata (pause)
Play the low register note strongly and ease into the clarion register by opening the speaker key (#12) slowly and gently. Yon may have to increase or decrease the blowing to suit the transition. You also need a good reed for this. Listen for a well focused sound. Hold fermatas as long as possible.
Now name: (F) ^ ( G L /* (F) ^ (E) _ (D)
69
c. P~1 mr r*—
m~ *- E." m 1 m—i m— #— — 1 _ ——t—
2SC
Your First Tune in the Clarion Register
L E S S O N 18 More Clarion Notes The low register notes should be played slightly louder than the higher ones.
72
3 B i —
(D)
~f* , * s: ^ » > — t — - —
tB)
i — i — i
—^-fg—^.rf^-^i
JF *f—mt 0 •
P
jp 0 -«•= • —
—4
/ * i
0 0 m
>
• "
! 1—>\
_ P — . — p _ .
—» 0 •
r ' r
# ' j | — - sS!SS
^ r r f r ' r 1 r T r r 1 r r r 1 4 - 1
Slowly Connecting 74]
_* • p ,» . Gm Eb _ ~ Bb
a • - "•
Gm
• TITS * "
Gm F -M—0—_——
± = # :—F~f-
F Cm F j ^ k . 7
Bb
0j- p i Study With Right Hand Clarion Notes
75] Bb Eb Bb Eb Gm gfc. Cm F Cm
w.
E__^Bb Bb Eb Bb Eb Gm Eb
0=W * f r r f jc
Bb Gm Cm Bb
r r i Q r r r r r > i i
76 —y—-y—' MMp> >i| mi M*MM. JL«w H M H H • m' ' ' MMMMMMMIII y ^ ^ ^ p — — ^ ^ W M W M M H ^ M - MWMM. »' '•• -"-- MMMM—H ^ M M M M H M M M H ^ ^'"^ 1'"
KBM > MM . '•"» " ^ B * 1 " 0^m*mwg-40m K ^ ^ B H . KM HIWH PM—MII IKMMJMHMM MWM ^ w ^ p H H P MMM. tmm mm•ii—.. —i.n.n* IMMpajwHiM ——.i HL MMMM K n w n J ^ M n n JM - • • j | «2lMH0Ka HI I M— IMMMM MHHH MMMWaWMMH MM •MMJMKHMWMM BMMM MMJKJ! — I M^Ha HMM MMMMJHEIH MMI » — M M M M M MMMMN MOTMMN MMXMBLM IMMMMW MMMMMI MM MMMM MM MMMMMJKMM MMM^LM I fiff B,
LM} -- - U " j 1 U M U \ U 1 ' [ 1 1 ] j j 1 ' | 1 J '
1~m ' ' [ I I ' [
The Tree Bb F Bb/D Eb Bb/F F Bb fine
I LESSON 19 Preparing to Go Over the "Break"
Where the chaJumeau register ends (at the Bb) and connects with the clarion register is called the "break
fM W I I
t! m
•
ftj * J * d J • I f « 0
j J j l l I * ± 'V-
When crossing the break downwards (B to A) make sure not to lift the LEFT hand index finger off the tone hole BEFORE opening the 'A' key. Keep the RIGHT hand fingers down plus the little fmgers of both hands pressing on their respective keys. Play the note 'A* louder.
a f l r i I f I f I f I * I f l * = t f
Farewell, Winter
79 p Dm C7 ^ ^ F Dm Gm
m m • m—3T" -m
ffi * f — f — ^ — T r J 1 i f r i i f L T r i
Dm Am C7
m ft j f f I f ' J f I f f f
L R J L
First and second endings were explained in Lesson 15, if you need a review.
80
Oranges and Lemons 81 F
i n 1.0 . 0
C7
_ — _ —0
F F
£—~ 0—
Dm Gm C F
.'1 $ 4 - l - - f —
1 J l J l | c C
f=Lk c
f=f=f= A
lj» J J « * 1 jn Dm
r *
G
=f=j= C
y 0m\— • 0 4 * - , a J
7 " ^ J JJ1 * , mr--
0 U. I'
l l
l l
L E S S O N 20 Warm-Up with Low E Left Hand Little Finger rs
How E)
L
j J J J J J 4 J 4 L U j i j i j J j U i ' J J J ^ f
_ L L ^ L — . —
Girls and Boys Come Out to Play Play A an d Glouder
-r-- 1 j a 1 "TBI—
i .
— —
'2.
|j j | r '
- f l a k=4± « «_ — — • - I 1 L R L R
g4 Whenev
— a r — I T M ~ ^
erpo! ssible, lca\
^ _K
'e the little finger ke ys depressed whi en crossin] I the >rcak.
P « J' 7
^ -(Jk t" P P a r | ^ T m * ~e
85 p
Jr ^ v x — n - v =
F
r r ^ i
F/C C
; .—-M ' i
F
*P w r r f
C F
Jf 0 P m
I I i r ' 1
1 1 l L K
-#
F
J — * — p —
i j j . j
a) ' a
C F
i _ h , P r - J
t = H =
C C |
J M F m
_ .....
dim
$ i r r J 1 J
Dm G C
' ' r ^ F F/Eb
r-* " • • - - ^ — ~ m m
0 ' i
E
i
9
b/D
a a f 4-
Bb
i j e r r J
F/C ^ ^
A l l .
a f i m
C F
— a # v j * J r 1 r r r r 1 r m\ P a r — 4
4 4 4
4 4 I 4
i
I
I
LESSON 21
HI
Tf5— n fc9.
Over the Break Studies
These notes are sometimes called "throat" notes. Generally, they should be played slightly louder than the other notes.
Leave the little finger keys depressed when you can.
87
* L L r J J J | c x r S I
88
Swedish Song F/A BbC7
C7 F F 3k C7
CCf'IfLf JljjjJJJ m
The low notes you see are the equivalent of the clarion register notes. This shows you the kind of jumps you have to make when you cross the break. Practise first with the low notes, then with the upper notes.
90j Bb
A
Little Piece R. Schumann
f Eb Gm Bb C F Bb Bb/D F _ Cm Gm Bb F7 m m m i f- v. 19- m—m-m—
Bb F Bb Gm Bb F Bb I °_ Cm Gm Bb F Bb
5
L E S S O N 22
<F*)
Over the Hills
V v c r*r r i M r iirtfi 12
# • > ml * • p f , 1 1 — _iL_5?— ,gt m i f 1 1 T • " L J M i • i = B 1
1 I
1
I . Over the "Break" Review
^ P 3
•
o o
I [J 1 I R R
1
j ^ jMT ' """"" """" ' 111 1 ' ' '' ' p""™" ""'"""""** ***""*" """""""" • mmm" M™™™"* " M ' • •MIIIIWMIIIIIII
^ if L L R
- 6 beats in a bar. Mozart Theme
93 F/A C OE F/A C F / A c cm
L R
3=3 j» Qpj» "J | p- pp |*" | J . *t=^~
L R R . L
F/A F F/C F Bb Bb F F C
L R
E F/C C
L R
F F/A C _C/E F/AC F F/C C F F/C F
Tarantella Learn to play this dance slowly. When you know it really well (and your teacher says it's OK), play it a little faster. Always, though, practise it slowly.
1 1 I I
I I
1
|
( l I I
1
1
1
LESSON 23 Low E - F# Transition Warm-Up
H| [95] Keep the little fingers VERY close to the keys. This will smooth out the technique.
1 m m
N ft
m t 3: if.
^ — i ^ i f 5 w I* 1
IP * a 9 7
7
Sing a Song of Sixpence
Em C D
R L
-Hs >
1—f=—• 1 \ . J f f i J 1 1 1—j—J—J—J—J 1 • J ' -0 1 I • 0 M l
Alia breve: in two Over the Hills
7
:
ft
C D C D
I f
q
R L
Scottish Song
G O
R
C D
4 ' j U4 j j ' J J 3 i z Q ' J J i ^ * 3
R L • I ^ Em Bm Am C G C
* ff '
q
D G
R L
LESSON 24
99
In a quarter note there are four sixteenths. J-J7J3 Sixteenths do not denote fast playing. Practise these exercises slowly and then slightly faster (with your teacher's OK).
1 A 2 A 3 & 4 A 1 2 3 4
cur \ f j
1001 Practise slowly T f f r I I I B — r n n T rill—in p ^ ^ ^ P*PS
' m p— jJ ^. 0 ' 9 0 "
zzz B B B B B F P B M T T I I
Remember the previous lesson - practise slowly and keep the little ringers close to the keys.
1011 Play MANY times. A • • • • • •
& f 7 J 3 f | » L r | J ' l J J j J J l l j i j ' j J j i ^ l J ' W S J J J ' J I j 11
Warm-Up
I
*
I I
I
fljj i
1
LESSON 25
.(low E)
Warm-Up With Right Hand Low E 103
/XL f 1
7 7
R L L ' —
'1 j B J j ^ j l ^ j j j j U^W=
Blue Bells of Scotland
i low F#) 104 D G
-fa r -JJ
.
D G D/A A
tap D , D/F| Bm
A E A D G D G D/A A D
Merry Widow Waltz Lihar
C D G Em C D B ^ Am D G E m C D G
zr-m
I
jU
106 When low E preceeds or follows low Cf, play the E with the RIGHT hand litde finger. Learn the use of either litde finger to play tow E.
L 7 L
1
^ R R w
J _. w L
w w -w L R -5 R R
P 1 ? i ' : - J
LESSON 26 Over the Break through Bb
107
When crossing from throat Bb to the upper register, leave the 'speaker1 key (#12) open. Make sure you keep the LEFT hand thumb hole closed.
i i
b
i i
b
k
[ f a
h
k
urn •
1 • • M P
fe
fc
+ m m? my P 3 E
Rondo
Eb Bb E b ,
J J J J L
Gm Cm s
_ ' L L_,
7
:m Ab Bb _ E b
1J-, T r J J n r r r i [ ' J J ' 1 4~B 1
109
Andante ( 7 - eighth rest)
Eb Ab Eb
Drink To Me Only With Thine Eyes
_ a i . £h. i . Eb
r P ' U L T 3 e m m m »
"^Eb Eb Ab Eb Bb Ab Eb
* m m
Eb/Bb Bb
D.C. aifine
110 Moderato (in 6)
Eb Ab
The Lorelei Eb Bb Eb Bb Eb Bb7 Eb Ab
S—m ' . 0 m 0—0 M 7 p |_=z~_ |_ I — # j #
1 2 A 3 4 5 6 Eb Bb Eb Bb Eb Bl> Bb/F F
S i
Bb F Bb Eb/G Ab
jj ."'Ti'*' 1'' 1'^ ' • •• wn.i.™.j M«gSflr I "" pTr p Eb
—
LESSON 27 More Clarion Register Notes Practise the higher notes the same way as in lesson 17 and 18. Warm up on the low register exercises you have encountered so far.
(A) * (Bi, /*
I l » j N f > l 8 1 Hi! / p
You need a good reed for higher notes.
/ 9 o o o
/ p
rr 1 r 1. ' '2.
L R
Nowell Moderato
1131 Bb
114 Bb Eb Bb
Blue Bells of Scotland Bb Eb
Gm F Bb Bb Bb/F p
m m f r r i r r t f
tH^T! —.-. mmXmmmwmtm+m-mgmm^ \m«a n i •• ¥.nM.nn.Xi*[!lhi frlllr 11• 111L l— • • n - m\\ i J^nim XlT I |II LNIM "" » fl^ •• " ^ ^ ^ .. " ^ ^ ^ "fnT
[-z* m z-p: I [ faaz: 1 | q^fc-p-[, 1 H—1 | - j — | U
Bb/F F Bb
New World Symphony Theme Dvorak
115 (2nd X only)
(A) 1. i r C7 Bb C
3 T « ' O
Bb C F/ABb Bb C Bb Bb C F/ABb Bb C
C7 F C/E Dmin F/C C7
i t
LESSON 29 121 ^ Practise this warm-up many times. ,
1221
T T B — j [ ( j f $ f TP- *V f l 1
J - i - j ' ff^y 1- J
J L44=T*
RL R L R R
723] Cm Cm Cm
Marche Slav Cm G7 Cm
Tschaikovsky G7
( D # )
A/C#
f* (G#)
D
Musette D A D D G LVA
J . S . Bach D
D
^ ^ ^ ^ ^ ^ ^ ^ | pMMMMMy r - ^ .
D/Ff D G D G D G A D
Bless This House 125 G
i / i Jim r r ~
C G
i f f f ) ; i
C G P G G C G C G D ^G
P f i ' p J « J 1
G C D C G C D G
M \%& P tf i $P P J f , *
^p»p»- WW——Ml All m — « M I L W M ^ p — — w m \ * m |» j * P ^ p j
C _ G D
I H E
L E S S O N 30 Study on Eb "f26| Play Eb with the little finger of the RIGHT hand.
127 Fmin
Sonate Rbmin At Gdim
Geminiani Fmin Dbmaj7 C
p err igffr if pNijar P fSP" 1
Ab Eb Db Eb Db Eb Ab 7
C/E Bbm7 C7 Fmin
p p : j f t f i r f f
C with the Left Little Finger 1281 Bbm Ebm
*5
L L L
Ebm F Bbm Bbm
Ebm
L L
F Ebm F Bbm Bb
is*-1
129
The Steeple Ab Db Ab Eb
* C r i r r [ f i r J M j p Ab Db Ab Eb Ab
Eb Ab Db7
i i r
Eb Ab Db Ab
* 1 r* i » 1 L
Eb7 Ab
j j g E i l i ML
LESSON 31 Practise the low register warm-up many times.
HO Ia6 Bbm Greensleeves
Ab Bbm Gb
Bbm Gb F I • , It
Gb Bbm
Andante
132 Play slowly and expressively. Ab Cm
Eb Ab Ferling, arr. Galper
• T F m
Cm Bb Eb Bbm Eb
^ T f F9+ I p Jvp f z|E * i r per [f N ^ c j r j " ^ Db Ab/Eb Eb7Ab
1 uTj-i[x£fJCpr t*" L L
My Sweetheart At first, play in 3 - one eighth note to a beat Then play it one beat to a bar.
L E S S O N 32
M l \*'L
I i 3 properly.
each hand. The note produced by this ipper register. Ask your teacher to showfl rked" or "one and one". While intended!
X S ?or practise wim the "X" fingering is slighUy sharp in the o low register
* - Gb is the same fingering as low Ff. ** - A t is the same Fingering as low Gf.
o o_ Upper Bb played with the "X** fingering. This is a very good and useful note. Learn it well. • o o
Eb Bb
Play the low note mezzo-forte (medium loud). Although the upper notes should be played a litde softer, try to get a nice "ring" to them.
Db/F. •0-
^ Ebm Eb7 A^/^6k A k 7 /^6i . — hd r l — j — w ~ f — I — - f r p - T 1—jrd
• » • ' ———4gpj—— ' ' "~WMW~~ [ l * " J^mi———
Db
r J
/^^M. /^$M. . /_%m. /^fei> ^T ' 'f* ^ ^ 4 * -' T T i i r r ' I I T T ' I . rTT l . f r i 1 . f j i »/• r [ I i # r i i i x r i i L
m + U 1J uJ 1|>J U -« • R =^===^—1^- R — N L f c
X
Db
— —
00
LESSON 33
l l i f l Play all Ekj with the LEFT.
• • $ „ r l • f T T JJ
B o ' * JU r» I.
'-jrtMP' i r r 4
Eb with the LEFT is very useful. Work on it.
B9| Marche Slav Tschaikovsky
4& J—J •1 1
~ i r - 1 — W-—J-—i J J J J —^— 'J. * 11
The Huron Carol 140
— 4 • j — j — z 1 Ebm Fm Bbm Bbm ]
1 . 1 .11 J J , j 1
Ebm jr-i r -
ffi* I i 1 ^ _ _ L *"jr. -4— J - W — - -
# 4 7
J i i J y i J j
b
Study
r -B'
on E
1
' J J J W 1
^ ^ L
—..{. • • "* b
j 11 1
r w R R w # W R * * J . * » 1 _
R 1 rw R R R vl. L
1 ' I , , ! I I I , T R
LESSON 34
144 b b
Exercise on Eb » b b b
^ ' J l l J I I i J I I J I I » 1 S ""M s
^ > b b b b b b
1 s R R I *
„ Gl./(F»)
50 o
Chromatic Study Use the Gb (Ff) key (key 5) with the third ringer of the Right Hand
145] Dbm A Dbm 0 m • M 0 0 i \m^mW0
m
Ab Ab
LESSON 35 -•=r: is the symbol for CRESCENLX) which means: start softly and increase the sound gradually,
is the symbol for DIMINUENDO which means: start loudly and decrease the sound gradually. 146
j f Wk — —-
ml — o- -1 '
22 w a -0 ^ w
147 Slowly Bb
Play the CRESCENDO or DIMINUENDO at the middle of the bar.
Cm F Bb
jj? J J g
Bb F7 Bb F7 Bb
J j l j j j j l j j j j l p l 22
148
Start the CRESCENDO or DIMINUENDO at the middle of the bar. Andante (slowly) Bb F F Bb F Bb
Bb F7 9
Bb Dm Gm Bb/F F Bb 7
j j i j ^ ' i y i j j j j l j . Ml
149 Bb F Bb
31
Study With Triplets F ^ C ^ F ^ Cm
7
Bb/F p
f 1 cTftiriifLD y Q J U J rni I T rn j ^ Bb Gm C m F Bb Gm Cm p
41 1—T I » - ^ " a i
L E S S O N 36 Staccato means "detached" or "separate". The procedure is as follows: 1) Lightly touch the reed with the tongue. 2) Blow arid move the tongue away from the reed at the same time - the sound will start. 3) Lightly touch the reed and the sound should stop. Touching the reed should be done with the lightest touch and with the front part of the tongue. Play staccato with a lot of air. Generally speaking, the value of staccato notes is halved as shown below.
150 j J J J S Pkyedlike J l f
E D BP
Jk1' J J
Twinkle Twinkle, Little Star
Eb Bb F Bb F Bb Eb Bb F Bb F Bb Bb 7
[ ( 1 """* j 1 a a — —^J-—<i > mm J.— J.J. • — : f f 1
m m
£ 1 1 I M j 7
- J > i _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ i —
~ W — m * a a 0— ' m m g J J * J —m—a j ^
1521 Bb Gm
Mixed Slurs and Staccato
Eb Bb F Bb
J J * I r* ~ T 4 l» If # 0- c | r c 'r F/A Bb Bb
4 J
I I Mi i ^ r j . 0-
8 r f#f= = £ - L
7 r — # 1 9
1_ 1 • — f p j J — # ~
__£__.. -._ .
Eb
1 J i l l Bb Bb/1 D
m
_JEb
= f f =
F
1
m m a L ' 4 =
_Bb
_ j _ _ R
Eb/G Bb /F
— * _
4 = -F
Bb
T—r~\ 'R
J ' • L J . 1 J i ±£= 'R
-J— - — <
153 Bb F/A^
P 0
M e n U e t W A M o „
F Bb_^ Cm/Eb Bb/F F Bb
L i * I—H
c r
r * ¥ l f
/ A C - F
1 h f •
F/A J tSb _ F
r f l
C/E F Gb
T f * * r F m
Bb G C A Dm
_,_jL-__
— - 1
F7
" r f " 1
I '
F7
- fc:fz S * p t =
_L_|
1*T
Bb C
K ^
:m/Eb
I 1
Bb/1
i
F F Bb
— I u _ .
5 ^ 1— h # - ~Tr _ T
