INTERMEDIÁRIO MÉTODO RUBANK CLARINETE. Inicie os seus estudos sempre com o acompanhamento de um professor de Clarinete.

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1 RUBANK EDUCATONAL LBRARY No 52 MÉTODO RUBANK NTERMEDÁRO CLARNETE nicie os seus estudos sempre com o acompanhamento de um professor de Clarinete A música exalta o espírito humano, é criativa, autoexpressiva e permite a expressão de nossos pensamentos e sentimentos mais nobres

2 METODO DE CLARNETE RUBANK NVEL NTERMEDARO

3

4 / RUBANK EDUCATONAL LBRARY No 52 / CLARNET J E SKORNCKA and ROBERT MLLER A FOLLOW UP COURSE FOR NDVDUAL OR LlKENSTRUMENT ClASS NSTRUCTON

5 nstrumentos de sopro Naipe: Madeiras nstrumentos 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, soprandose 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 abrindose ou fechandose os orifícios feitos no corpo do instrumento EscolinhaMusicalcombr Materiais didáticos para estudantes de música, músicos, organistas e regentes Explore o site para baixar estudos musicais Colabore ou solicite o que você precisa no ou siganos no DVULGUE ESTE PROJETO ASSNE SEU EMAL E RECEBA NFORMATVOS CONTEÚDO NÃOCOMERCAL: DEUS SEJA LOUVADO

6 Fingering Chart (Simplified) by ROBERT MLLER '' 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 al the tones on the clarinet,and needs only guide as to which one of several he should use in some particular passage or key This chart makes it eas 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 All that the pupil need remembel 18: LEFT HANDNUMBERS, RGHT HANDLETTERS '" '' '' Since certain tones may be fingered by either the right hand 01' the left, the numbers and letter8 ar synchronized thus: Key 1 ar A wiu produce C# upper register and F# lower register Kt"Ys 2 01' B will produce B uppei register and E lower register Keys 3 or e ""ih produce C upper registe, and F lower register Either numhers or letters wil appear above the notes \,\'hen a pa rticular fingering is desired, allo thel it will be aparant which hand i8 to play that particular tone ano what key i8 to he used n 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 particular tone g bx x x wiu he used over the high Bb and Eb 1st line thus: o '', EXAl\PLES '' 7 C 3 B 2 A 1 5 F 8 \ \, r F r r #r F bj j j 6 b 4 x b r!,j r "r 2 B b F b 5 r?f olr r ª b" qr F r r '" C C B D r f r f D Copyriht MCMXXXV1 by Rubank lc, Chicagu, li! 195 Ccpyright Renewed lnternational Copyrig ht S e cur"rj

7 Essentia Principes of GOOD CLARNET PLAYNG 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 with a good mouthpiece and reed, and played with a COrect embouchure 2 ntonation 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 The player must develop and train his ear so that a difference of pitch can be distinguished when playing with others i Note Values The player must develop a rhythmic sense so as to give p'oper value to tones a s represented by the written notes 5 Breathing and Phrasing 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 musicians that in order to get good phrasing, it is necessary to breathe properly t is always to the advantage of the pupi} to spend much time and effort on this phase of clarinet playing and take seriously all sugges tions given by the teache' 6 Expression M arks 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(; that has been properly punctuated Exp'ession marks put character into a mass of notes and if properly observed vvill produce satisfying musical effects 7 Relaxation and Proper Position of Bodyand Hands \Vhether playing in standing or sitting position, ít is necessary that the body be erect but relaxed Relaxation i8 the secret to the accomplishment of success in many othe' p'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 8 Sufficient Time for Practiee Since different pupils require different types and lengths of practice periods, the objective that every pupil should estahlish is: a will master the assigned task whether it takes 'h hour or 2 homs" The accomplishment of a task is far more important than the time that it consumes 9 Proper Care of the nstrument 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 wil pay dividends in the end 10 Mental Attitude of Teacher and Pupil n 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 lea'ling 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

8 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 '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 n 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 Keep the tempo steady 1 B ';7J7N' F F F' F F r F 'llf/, Natural 01' lgll'mal tone, r' r r r F' r Fr F 4rnlnr'Tr 1 r1 r F" 1 EF Fr r Fd rufo li! 3 41\ r:t=tt=t=l r 1 1 r r 1r 1 1 r r l r 1 ftlffn 'll!t 4r E rtftl C co r r 1 C 1 r r E1 C r rat 1 4 'li r unire llrcrr WllC ucrrrr HWrt'Cr11 'llif 4r ur r rrjh;cr CC r llr Ef'r E r rr:r r erre /11 +±r 5 1 tr 1 1 U r" 1 C n Q3rr fi UC a 1 li!/, fr 1 1 Cf fi 1 EJ F" 1 r laêb a (Dl 1 Note: Evely pupil beginning \\"ork in this hook should he ahle to sight read all the studies 011 this pageo }JyelY pupil is 'equested to pl'o\ide a music note hook for the ptll'pose of \\Titillg' rhythms ano melodies that tbe tcachel' m,ly regui 'f' Cupyright l\cmxxxv by Rub"nk nc Chicago, 111 l's Copyright Renewed nternatiunal Cupyric;ht S"cured 6

9 Marks of Expression and Their Use LESSON 2 Pianissimo w Very soft Piano p Soft Mezzo Piano mp Medium soft Fortissimo ffvery loud Forte f Loud MeZlO forta nif Medium loud' (Normal tone) n playing a tone on the clarinet (unless otherwise marked) the tone should be held at the same leve of volume, without increasing or diminishing the volume of sound This type of a tone wil be indicated hy means of parellel lines, thus: ======= The distance between the parellellines wil signify the difference of volume to be used Thus: pp p mp nif f ff p ========== mp 7 J 1 =&" n T'u?T7" Td J : :: : j &&& mp ========================= 4E::2q' p HARMONY p= mp==nif'=====fp= 7111' nr/========== '; C 52D i âp i?gf 2 "'! ========= p pp=======, "'4>" 4;;;1>51 F l>gd'(?;;q2 f11if============== nif P'============= p============ mp======= 3 l j J J JJ jj j jj 4 mp jlj J, J""r r', (35w CF De mp==========mp============ p pp'==== rr±r', f!:' (Tir' r f t= J mp 95 7

10 LESSON 3 Studies in Expression SOUND GRADUATONS Crescendo (cresc) Gradualy louder Decrescendo (decresc) or Diminendo (dim) O::rlly n 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 n 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 onger note There are exceptions to this rule, but it is a good pnlicy to learn to play al 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 wil be greaty aided through adherence to this rule 2,, F U F (J r lr r tu F lr r Fr r r r 11 ff f f l1u rrif mp mp p p pp f l1if f rrif 3 f l1if lif mp 11 r' F F' F F r u r' crer r ru! f lu f rrif f lu mp f p f"'lf mp BLUE BELLS OF SCOTLAND 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 sections 2 and 3 as a guide 195 8

11 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 important notes of a measure ar sequence LESSON 4 MELODY i > > > >, > > >, Give each note and rest its full value 1,2 i J J r r rr r r 1 3 J ti r r r r r li 1 f > > > > >, > >, rer trr FEr Fr r FEe Err EEr Frr :;7 :;7 :;7 > > > >,raa li j a r; r lere EEE =EE raa 1;11 1 Observe carefully all marks of expression and p]ay with a steady tempo ª = 2(' J j j F Fr F r E r Fr r F r t2j 1 :;7 p ='TTff P = n!ft=p vu > ;; > > = > > j J J J J t J r F r F F r J r F F r F=t === mp P nif P =vft:::::==p n!! > > fi' f: J: > :;7 :;7 >, r r r r J r F r F r c r r r F Ê J ========f = mpmf f > > > > > r t: r F F r F F r =rr r Fr ;71t J f vif= mp= == p =f pp LEGATO ETUDE >,> gerlrer 1F1HEF Erl ke Fifj J vif f p ===== =::::::: nif======== w ' CU >,>, :?, F (r f F t E1 F F r Df Fr A f= vi! f ff ff=======, fr ar rer Eli '(TE GJtr rj]2'r f :: mp =f= f======,17ft rflt íffer EJR'd Oi J a a 11 v1f = mf = f p= ;;p 195 9

12 LESSON 5 Moderato Articulation and Expression Play with a steady tempo B 1 l ij Rr3J] te Fi te Cf cc E1 te cri ij 33:i:) UJ "fi c 2 B B filneer;ldefrrcf 1i]3J f3j9ln JJ crrp c c c, c fc rtce; ccei Ec Ei n n ij JJliJ f1 ccf; 11, e Play above study with each of the following articulations Observe all accents,<aflp 1J lifiíi15lj C1J #ª ªta t)g sjo ;;:> / ;;:>, :> ;;:> :> ;;:> :>, 1; ':É', 6J Uo n r r r L a kg::ej Dn h cifra j 1 Play daily for tone production Andante "!f :::: '11 ruf 3 r r(r2 ífff F H CF rrjj J fl1bgj f and p even volume all the way through P

13 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 included 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 (fijce[r r c1fêffec mf í (iêrcrrr rt fii1} rir rli j &teu Ffi rb c rm Frih : cir cru OH JJjJ J JJJJJ3 J tilitifi:1 1 Keep right hand down when going to the lower register, J3 JJ JJ JJ JZJ J JjJj JJJJ JJE rl rtê :11 mf 3 11 ErU ri rrv Em Erv Gr fê?bl Keep right hand down for al lower register tones except E 4 11/3] JJilll ar FCar 8ft! &r? twt :11 5 '1\ r1fi CfU 16 Cem m; (d riir?t :11 mp Play fast and briskly 6 r 7 &2 11 f

14 Legato Duet LESSON 7 Moderato c J ES A > :: :::: 2 C x ::: ":;7 mf p '"f, ===== 1, ::; > l"'" rrif mf A, ::> > = > > flf ::> ::::=p fl p : f;::;; p ::> ::> = p::> """! ::> : === p" ===p = :: : >p : ::, _H, ::> p ::>::::=P ::=:::= ::> >!L' fl, r > > '11if=::=f mf f= p ::> f mf '} > ====== f ====== == mf p 4 /= m, = 'T1!Íy"p = 1lff _: ' ; f= mp ::mf::= 1nP =::::::::::"f"= "'f ;; = > fl r'""r r 1F, A ; = : p t > > :::::::=f) /fl,,,,, :::::: A == P > > >, r ff_ ' = ==== f P f f) :, > 195 f ====p ;:;;: f > 12

15 LESSON 8 A s wn "tten 1 As played r r T Staccato Studies Accent the first and third beats of each measure Moderato 1\ ljnw ' JJª400 J PJJp4 'JP4iP 'lití cresc 'liif' / && JJOJpJ 'UH O\$P4'JPh 'JJ4,:;P 4 14 JmJ 1 = ' && J'Op,J HJmJ 144Ml J JH)pJ : & Jl4)Pl jo;joj '9 P?NH '?#OJJ J Allegro B' jtl 1' ';" C '' 3 ; paft 'LEU RJ]Jil? afts<t18jj n 4ªEla J' & Stttma tm uttl5wdjjj gop u!djlcfttlj)j, & ull G:tt8JJ1 T Pfrtt mo JYJ) noº Erttl fi &ü Oft D WR fitt ar cte(f ttu fft; 104 5JO J Jj MELODY

16 LESSON 9 t longer note of each measure is to be '} == == == == :? == f 1'\ == ::> == ::> f :? == == == :? == == :? f '} == :? :?, == >', == == :? t == == :? ::> >' ::> ::> ::> f r SYNCOPATED MELODY \ A\legro F '',,' i C r EEr PCP r Cr r P P E t pf f L '" \; 5 & pfp lur PC p rp 1ft ÊltrU E Ê r,hpvevlffflr'hphp;lfffl'm SYNCOPATED CHORD MELODY i Allegro Jla J la Fl F F f r v lu J1JJ i J '" '# J J1 J J a dll p E P r p lu ;1 J a J ; \;

17 LESSON 10 Studies in G Major ti G MAJOR ÇH7oB: q B p+gff ê '' t == l==twl== 1 =i,ü JW Pl f J J 11 = 2,ti:\:tiilip JGÔ ijj rffffjtt d1 r ii?tt 2,ti te?jjjilrgãejal dftit{) u THE USE OF THE F# N VARATON '' JJJ Y' :11 li 5 1l&:,r1 tftêp[d lépfff :11 =

18 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 fingerings 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 ncrease the tempo rtnr after each playing of the studies on this page The use of the E key & r5ffl f rur áfifeiu 4 _ 11!1 tféi 'irm ErO 6ctcU! :11 The use of the F and G keys F 2 &15 V QWqJJ :11 Low F# as fingered when played chromatically 3 4(\ JlJJJ#jJJDJ JJEtJ : Low F# fingering as played diatonically 4 4 Ü JJiJJJiJ JiJJJ 'JJiJJiJ'JJiJJ :11 4 : 5 (fíffrq 1iffih (fêiftler rêijt D 11 = D rrrtet:h rêfti]h rêfr1ff1 tífctr :11 RAPD FNGERNG ETUDE Alleg 6 i iw,rrltrrrl,ff1rrttlrrrfl bj±nr: tcrr mf '' &ü aitlw tttt mrfij}lttet1 : &» c1inrcu Q1f1ffECf (fif(ul U r :

19 LESSON 12 Studies in F Major /,:\ 1FiP re9 eu 6íE tij fffigir f '", Êft) QgJ QD fb9 6flae J

20 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 :11 "" Keep right hand down until the last measure 2 The use of key F 5,llfrt;Eltlrrertrr frtreec;cer:ftlf:11 "" 1111' v 6,:;,?EdQ JJitJ é!39 fg3 183Wr :11 Left hand study =7, 1iJ] rldimipjlj 1111'

21 LESSON 14 Andante Duet MAlAS mp 4 ' f) ;t t :# T rnf,, : :: Fine F f :, = ===:: ':J f q1f' ti ::::::::= mp,r r::; E ====== mf dim 11ff C1YJ8C f) dim, ===== C ' mp 2 c t 1= ==:::::: === = ::=::::= mp Dcdl Fine f) 1":\ t T " === ==== = mp DOal Fine 19 _

22 LESSON 15 6/8 Rhythms Play as a duet, and count carefully :& : : f: rui J: d: dti ffid: d fi ti : _E' id: mrui d: ffl fi iu: gi l Uiji : DUET N 6/ 8 TME Moderato fl r ::> ::> B ::> J17 l Jil 'J7 tj ::> ::> 17if 2 2 B C o rrif o r ::> ::> no ::>o > ::> > o o L o t o ::> > ::> o > ll ::>, o ll J'!"l>: 2 C C > C > ::> :::> ::> ::> > ::>, t, o B_,,, B fi,", o o o o > > 4 > > B,, fi > > > o tj > o B >0 > o > ::> t 'J t f) fi > o 2 _::> > C C 2 C > C ::> >,!, ::>, ::> > ::> o o o

23 Triplet Studies LESSON 16 1 Example: Similarity between % and 2/4 tempo when the triplet is used 3' '3' 3' 3' 3' tj r 7 7 r r

24 Bb Major Studies ::: LESSON 17 x,trprip!l3 morrújl E11 mtén v :Y, fqffi E1J,tU EU QJ, D QJ QJ 'j,i;pi:itqf!y,6efiflqttu EtCJn J]1J;g 1 ' B MAJOR CHORD ETUDE 195

25 LESSON 18 Articulation Studies Practice each line until played smoothly and fluent1y, then accelerate the tempo,' Eiq An JjJU nn ljj$ ÚH atifoi r 11 x ''

26 '' LESSON 19 fll Danse Negre, Allegretto 5 F,,, ""t';"f MAZAS " fj mf F tj 1if y fl mp J '1,J fj L,!L mp = fjl T ': P : : L',, jit P t: p \" t) L J LJ p, G 1 ' P,, p fj, ' ' 'F f' /J ': ",, : CD ': f / marc "' rit x 5 ''" Q) f F ;: : ' '""!" \, ri! ljarc '' ''"

27 LESSON 20 t D Major Studies Observe ali fingerings as indicated CHORD in D MAJOR :4*Do 6rnlaat&ÊfufmEfÕQn 'T S1 1j :mf!j21 el;leb!w Er Ef 1 11 DALY STUDES FOR THE DEVELOPMENT OF TECHNC, ' r1êfii7! r1deêr EM!!,lDdt4i}ated fingerings 25

28 LESSON 21 Etude in D Major Moderato 1!: 1!:'" l: Wohlfahrt 1 ftjtf tft pfr#hmete Ecr JJ3pJ ÊrfJ, cuqr mqj fj:j rêrlrp E EE jll ErEl mcu alete #eg cc: E6 er:eltroe cr ccrefe,cf l rfr[ ao r j EEr:Ji cte fel Err WiJJ J * ' fj 4 t Andante 1lff li PETTE DUET =f JES, = = 4:J ' 11!Í mp f mp _n " ' #i,,f: === 1lff = === p ==== = _: ==== "'!Í p :=:::::::= === :,4 #' _ 1"",;;, li fl tj 195 f:::::= = : A, ===, " : :::: + r r mf cre'c, / crec = 2 A ==::::::: === ' = ':::::::::::= f U 26

29 LESSON 22 1 Articulation Development R hmic patterns of 2 sixteenths and an eighth 2,E njj hjnlju JOJ J J ±lu n nu JjjU Jnl J MODULATNG ETUDE Allegro J S t=::t F9 Q$j;F E etc r qtr 14ZR $;qr cftr F Eftt tjjjd mp, tjjj ffl rare! Uu J :e13 me GEre 9"1 rbr a: simile,[onu tcte cera late wuctte trio: EEtjY 'c:gq'lcr'rr beaaltur cct'b[!car L "EdlbC(f1,d ndlbcd'r nrijl;jj J:snlbEEfr CCl!BliJl>J, ma JJt3 ro ma 'CEtro ;njj il!lr E =rtc likf Allegro x, POLKA 4,!ralW:E! S'EÚlr "Ndlr "FUCEEm 'lf'uu l!refl gr cf r r gtrg! 1 9 9r lq":fi! r are P'",Ú Eera effea cêlfer crer JfiJ )( &fjjjjjjl '"JJ J:lJj11 J pj m$lgr C &E6t1 D q

30 '' LESSON 23 Dotted Eighth Note Studies, Dotted eighth note patterns fj 7'1 Uft Jl n v 1 Md O era t O MELODY " JJflJ 3 rij)la JJ j j lu J Jjjj j ljjjj, # 13 b44,1 j ljjfj J J nj la Dt,lr F[lf:1,# F r C1ftlftfil[t';l Ê n tjlr E 1["{f:E r '" D C"tfflf;C" rdê r L1fÊ r Eitu ru J J la DUET A n d an t e fj : 7 3 1lJÍ fj it t f} '4 cre<;c cresc F dimo fj f'' H f o J E S P _ f: d1mo J=t t r f :> t 5 F '!t :> ÇL fl' 1* 1'"' :> 4 "1 tj ::: F 11 2 f} " fl'# 1 r n!í r7 j o ::: :> :::,o!!! tj loooi rzt

31 Etudes On the Use of Eb and Bb Fingerings LESSON 24 y CHORD ETUDE x Modera!o 1 i = ft 3JJ tu i rr '3 J13 JJ W Z Er 4 JJ JJ coe t :'w F F x ru lj 3J3J c:f rlê E:t a J 13 JJ brf rcr E x x x ;J )( x x x x Ê x " cfi rri f E1 FÊ J ccj rcncrcêfr Êrrr Ô :V! Êr F rcf fj J FÊ Ff j nir r r: f r j rr j Er F

32 195 30

33 La Verginella LESSON 26 TALlAN MELODY mf )( x == == x )( 5 ======t==== f====mp F (';\ dim F G ri! dim ri!

34 Andante WALTZ 4, i f F r r r Ê r tu Frr F: r F Fr F * rnp 4, Frrrr L U cc r th rr r rr: L r r L r, mf cresc fi 17if cresc L r r r r r r r L F r r r Ef r r * LULLABY Andante dolce Bohemial 1C C1 5 Wj,i k a=n!l:eg L r r r L Eí7& Qh q v L ao J * (f Lf W LFiflBi L mp 3A C 5 1C d ' crese m cre/;c :/ i 3A b&?jd!1gllr WfL!EJlfln;rL eo J * 195

35 DALY STUDY FOR THE DEVELOPMENT OF TECHNC 2 3 DEVELOPMENT OF RAPD TONGUNG J Alegro F 4 &ijjooj UJ;;; pjjljjjlj :V??J bj:11 1 '! o o if 00,jJJJ?nlJ i jjoojjjj1âjjuj44 P4jj$$1i14'b4J o

36 '' LESSON 29 Studies in A Major v 1 JZª, (U rue ur fr? o /4 H W t1f 10 {lj QJ no E1 ( difirrrufüfu fiin 4 _Y ::0 ; o o 4# o 'o w)t tuilllj 11 TECHNCAL ETUDE N A MAJOR Qu JUiJ 14l1!4 11 Allegro 3, "#! J,lUáireg ütrrrcr rw rfã,ill'n:rr 5, '"#dker U r kftccrrecrr rf trrrt ""ti] rtf ffuwi 1f t lúã rf &tu 4 '1 '"# gs:r!w are lih 3if ligo JJ,# ri; 11 ARTCULATON ETUDE "Moderalo 6 B A 5"W 1\ ujn8jj JJ9J8J:J JJlljQ LEa EÊttfcÊM fu ', ' '"t "' r A êu;ête; flft rre cc Êj' r? rr rr, A A Ertc t FJ "

37 LESSON 30 Alegro moderao :> Duet MAZAS 1 nif == C1"eS(, f dim vif C1"eSC o!!!! o! fl, ;:: " u ;:: ;:: r :> ; r :> r *:; */' j

38 LESSON 81 Chromatic Scale Studies ::: 'C H lir r! qr li! ekf rr r J Ê ErE re rli F r"e tff 2 c 1 E C

39 LESSON 32 Grace Notes There are two kinds of grace notes, short and longo Long grace notes are seldom used, but the short are used quite frequently nstead of using long grace notes, it is more practical to write out two notes of equal length n 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 1 t Long As written EXAMPLES OF GRACE NOTES " '" Short f) b O J As pled fl, EXAMPLES OF GRACE NOTES (Double and Triple) As written (Ahead of the beat) (On the beat) = 2 tj t f) As played (Ahe, d of the beat) (On the beat) _ DEVELOPMENT OF THE GRACE NOTE fj }r k ]>r ]>r!r, '0 i' ':) k k, "" '" tj f) :k br L,br l!r_ 1}; 1r lk Pc : t l! :k k : ]>r l fr llr 11>r k 11> 1 "" :k k ]f ttl Llrl k )r_ L", Jr : tj ti : / : f) '" THREE SHORT GRACE NOTE ETUDES 4 jlll rr 1& r?: 10& $jr 1% rj FffrlrJl'Er En 5 '11 yft W fite loor rêr ElErE lyet Eftlli 6 lt?uleír fi&lur lrufuft 1% 37

40 , LESSON 33 Grace Note Etudes TEMPO D MNUET 2 injaie% UaE! 1[1 [ r J 1% }, t (ti*lrt [ r J :11 mp yuttrtê tiiifi r trieji31j ta te &iili:! F t r r t llirtd: J i r, Fr UE! J t11 ;JílJ j J la tj tj d J lu tj t J t léítrcht J J :!J J la 3 DOUBLE GRACE NOTE ETUDE Andante ::> ::> 1!:1 Fr [rl 'r E1tal::fJ l!ir r FM rr auêfrllltfr J tu uj lojlk:ll ªº J) ia &s j ;u JjlJJJJU eu J ;J; J tdl J P J1pl r r tir (f dk r '!k F r r t r r{in r r& [ r Fru JJ ; (!JJ JJê ibl r Fr trf F f

41 LESSON 34 Andante Playvery legato Triple Grace Note Etude Wohlfahrt 1 'fl f=?ij anue M!B J diii?!'to lw j fkr:/jjjjjj91 QJ3JJ, i FttD t1 4P:J 'jfi J J jjl r, Jp úu t1idf {f! em F rfwêr Fidt4Jd9;l tl1me!0 J J, j CiPrw tfà f krijijjfpj d2flgj J = l F t2!dm3 F lmaf!l rrr l 9 C =OL fb<d 48M3 rmrtlfjàu r fr1d re 11 Valse Lively FOLK MUSC Bohemi an 2 42êJJaalar laaalf1j r_lttn 1ff Shorten and soften the second eighth note ofeach beato

42 LESSON 35 Trills 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 f, 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 ' 1, f} 'r 'r V :: :: On long tones, a trill is usually closed with an additional tone which is the tone directly below the gi, en 01' written tone n 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 f the trill (r) appears over a long tone, the closinl tone is the next scal tone down from the given ar written tone V 'Ú' 'r 'r 2 11 :: ==== liiiiiiiiiiiii liiiiiiiii lõiiiiiiiiiiii liiiiiiiiiiii liiiiiiiiiiii Sometimes it is necessary to alter the pitch of the closing ton'e, and this is done by indicating below th trill thus Cf) ct) cn 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 # V 'r V V ) # ll 3 11 ii :11_ f} 1_ lii!iiiiiiiii iiiiiiiiiiiii :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 t t 'r F1 F9 " === === = ====, :;;:;:; 195 4

43 LESSON 36 Trill Chart t 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 playing of these trills The first section wil 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 fingerings not normaly used in the diatonic scale 1 Trills in which the natural or normal fingerings are used 'r u e u u 9 u 9 f) 'r Al trills between the double bars are fingered the same, even if the different registers ofthe clarinet are concerned, b b # 'r b b" 2 ir J Z &! ; o F :! E # F F F E o " D" V o F F G G 'r 'r 'r 'r 'r 'r fi & n n 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 upper note of the trill, since the written 01' given note is fingered normally or diatonicaly 'r 'r b #'r :t b & '' 'r 9 b 'r 'r 'r r 'r V 'r ' bn o ' 6 o #1' 11 '0 6 H 7 'oh H H ETUDE '" '' 'r 3 JJ201 J j J J Vf7f?F1 f f t 'r j 15 J # 1l5J ijj 11' tê &J6J

44 LESSON 37 Articulation Etudes v Móderato UAPD TONGUNG ETUDE 1/1,3 1Opn ti J;1JJ J * JUlHOJ J 333S J snnzle JiJJH9 r r 'EÇfr llr ieifulsrr+_u1l "dl 'P1;rÚ tlr Urrar L5Htp r crr;á t (Hum b(eir ;HrSCUr fi ErEFU CEru CHcrrc!Gr:cn, dtrá 'Feri::! 'l' ifpf ' r JjJst1 JUBj J;JJJJil bjoj, i J'J) ;Jjaa nbpjjnj FrrrEF Oicrtr Q:g!Qj5J 11 CHORD ETUDE 19') 42

45 LESSON 38 4 t: Duet Brilliant Allegro, ; 1l!Í fl fi mp 1l!Í ', _ 1l!Í mp 1l!Í ij mp T:!! mp mp J ES " 11/Í mp mp mp mp " tj mp 11if li ; m " "'ij" p 1#'_ fi 4 11!Í : = f, ',t J f 95 43

46 LESSON 39 Articulation Study Alleg!"0 > > x :::> :::>:::> > 1, t ger 6ã Cru aar,6ft? oro Cf SE ($ r 1, te fj ar la, (fr fi affr aflr 1, GL? ar t tr éfj ã6kftt11 gaga 11 Ali egro FAST TONGUNG STUDY 2,1l,,8'rr r:r C r;jjjj la j ;JJOcuJjJjl j JOflJj PtJOJj JiJph h r ffu(n: aere;, c YCrCtc p i5n tu EC &te: EUGC' c: jj!fb l, J :Jag;tC hêtl arrrc frrt St [gchfelffgrtl r UC;Ct ErnErlsrucrr;{J l EJr;DzirÊJ!tE*rnrrl, C C!í'CUrGcrtt rts\rro r*ic çre etc"v;' UCJ;cClª,,r"l, EQ"cr'1nJ n;brnuut5 lnjjbj31 SfC5Lf c"b;u' if cr &F r f' cuc;rzur J33 '01 J fljs= ijina, ª ta '0:[2 JJ a, ifi rp 5' r l 'f flrr rr c:frrt 'n, ejttr;51e ElEs,,' J[CCUPttrr;r1 s újsnj l j

47 LESSON 40 Etude for Technic Development Alegro,,, J ol J ol :P ;p J aj J t J ol JjJ j JJ j Jj j mp, jjjjjjjjjjjljjj jjjjjjjjjjjjjjsjl 3;JsjJJ5 rpreeefa,,7y!!fc n :P ;:;L i1 JoJo rfehrbr we ErEreurrcrrl l1lí, rwrfrhcer W dãrfrifrnwà r,beeer WWF, iuecfr f, ófrrrfrr,rrjrfir drrrm mp EWrE;FftrFrr'WF tíffcrrfw;ra dzm mp C7Y!!iC EfifrErrcwr ccfijitrfrffwrl,wf JJ3J jjjjjjjjjjjjjjjj ]jjjjjjjjjjjjjjl mp 'JJjJjJJiJJjJjJjJ jjjjjjjjp J3; JJJJJJjJpJjJjJjJ =

48 LESSON 41 Major and Minor Scales Observe fingerings carefully 4 FM A & Dm '' Drn MELODC 2 A C '" 5 C 5 BM \ '" Gm Gm MELODC C C 5 u EM 5 C C E "'õ '' '" '" \ '" '' '' Cm em AM t: fl '' Fm t: v Fm J t HARMONC 2 2 MELODC t), 4 F fl 5 C C # C C 5 _ C 1 ;t * HARMONC C 1 '"',T * '1 MELODC C,T 1 C F4 1 C,,, 11 'V",#jf & '" ''" ''

49 LESSON 42 GM Em Observe fingerin!s carefully 2C Major and Minor Scales DO 3 B B3 F ""(T '/ '" '' '' '' '' '' Em DM 1 t 2 B t c o o DO f:, _ A2 A 2 _# 2 u *r ""(T / Bm Bm fi HARMONC 2 A ;! A B u: t 7, # n MELODC n 2 A ti: bb _ A 2 LL tj u '' AM 2 A '' '' Fm HARMONC F G 2 A G & '' Fm F G B 1 E A 2 '' e '' e / EM 1 B '" O o Clm c F & "' '' C#m MELODC c 1 B F e "'

50 Moderato fj t P dolt,'rj fj Maggiare from Piano Sonata H_ 10_ " " " " tj P dolá] fj tj 7J &" cresc c:::::::: rj J P d Beethovell!J n J+ rr:' J+ " t dim " T fj tj 1 í dim fj tj T t+ & U, f;" nn" fi v tj cresc dim: : tj fj cresc tj6' 77 q:: = :j C7'esc :: " " tj f P rit {\ fj tj " fj P ' " " "J J rito dim " t:\ 71 = 4: tj 4" 71 : p " ' rito 195

51 "']l1l fj Andante Andante L ""ij rrvp = P, fl 7f """ f tj JJ 1 J m:p == = = mp fl T =, f / r Gluck = ':,t:jy tj 7t?f = mf fl u flr fl :: ; tj mf fl t) mf fl ü J :J m, 10'" + fl ;* fl r = : # :i: tt: ü ij = = P = ü t === === t: r l J p fj ü t :;si: H'" mp:j ü,, tj fl u r, P rito i ü t:j?f = = fm,n T '!" Jt rít t" 71 rif 195

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