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RUBANK EDUCATIONAL LIBRARY No.

52


Inicie os seus estudos sempre
com o acompanhamento de um
professor de Clarinete.
MTODO RUBANK
INTERMEDIRIO
CLARINETE
A msica exalta o esprito humano, criativa, auto-expressiva e permite
a expresso 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

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Materiais didticos para estudantes de msica, Materiais didticos para estudantes de msica, Materiais didticos para estudantes de msica, Materiais didticos para estudantes de msica, msicos, msicos, msicos, msicos, organistas e regentes. organistas e regentes. organistas e regentes. organistas e regentes.
Explore o site para baixar estudos musicais. Colabore ou solicite o que voc precisa no e-mail:
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DIVULGUE ESTE PROJETO ASSINE SEU E-MAIL E RECEBA INFORMATIVOS CONTEDO NO-COMERCIAL:
http://www.escolinhamusical.com.br
Instrumentos de sopro
Naipe: Madeiras
Instrumentos de sopro do naipe madeiras, embora feitos de madeira
ou metal como o saxofone, algumas vezes tm plstico ou metais na
composio da estrutura e de seu corpo.

Seu som produzido pela vibrao do ar em um tubo oco.

O ar vibra, soprando-se no bocal, nos casos da flauta e a
flauta pequena ou flautim ou atravs de uma palheta
simples no clarinete e no saxofone, ou de uma palheta
dupla, no caso do obo, obo damore,
corne ingls e do fagote.

A altura do som (a afinao)
desses instrumentos pode mudar
abrindo-se ou fechando-se os orifcios
feitos no corpo do instrumento.


DEUS SEJA LOUVADO
Fingering Chart (Simplified)
by
ROBERT MILLER
Thepurpose of thi8 chart is to acquaint thepupil withthe correctfingeringsin particularpassage:
and keys, and its simplicityisconducive to quickcomprehension. Thischartisbuiltonthe assumptiontha
'--'
thepupil alreadyknows the standardfingeringsforpracticallyalI thetonesonthe clarinet, andneeds only
guide astowhich one of severalhe shoulduseinsomeparticularpassageor key. This chart makesit
tomarkthefingeringonthe music without drawinga pictureofthe instrument, and ifthe pupil will refe:
to this chart ateveryopportunity, hewillfind thatit isveryeasyto memorizeinaveryshorttime.
'--" Asindicated onthe chart, the upper halfof the clarinetisplayedwiththe left hand andthe finger
'-' ings withthat hand aredesignatedbymeans ofnU1nbers, while the lowerhalfofthe clarinetis played witl
'--" the right hand and the fingerings are designatedbymeans of letters. All that thepupilneed remembel
18: LEFT HAND-NUMBERS, RIGHT HAND-LETTERS.
Since certaintones maybe fingered byeitherthe right hand 01' the left, thenumbers and letter8
synchronized thus:
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 reg-ister.
Eithernumhers or letterswiIl appear abovethe notes \,\'hen a parti cularfingeringisdesired, allo thel
itwillbeaparant which handi8 to playthat particulartone ano what key i8 to heused. In some ca8ef
'--' botha number and letter "vil! appearovera note, signifying that bothsuch keys are to be used in thepro
duction of that particulartone.
g
x wiU he used over the high Bb and Eb-1st line thus: .-
x
o
o
EXAl\IPLES
'-'
.....,
'--'
7
6
b
4
C 3 B 2 A 1 5 F 8
........
r F
I
r r
I
#r
F
I
bj
j j
x
I
b
r
!,J r
"r
D
\....-

\,......

2 B
b
F
b
5
'-"
C C
B
3 3 3
r
?f
olR
r

II b"
qr
F
I r
D
r
f
I
r
f

r
I
MCMXXXV1 by Rubank IIlC., Chicag-u,li!.
195 Ccpyright Renewed lnternat ional Copyri ght Se cur"rj
EssentiaI PrincipIes
of
GOOD CLARINET PLAYING
1. GoodTOJ).e isnecessaryin order thatone's playingbea pleasure tothelistener as well as the
player. Good tone canbeproducedonlywhentheinstrument is ingood playingcondition, equipped wit h a
good mouthpiece and reed, and playedwith a COI-rect embouchure.
2. Intonation. Whentwo successive tonesofdifferent pitchare produced,itisnecessarythateach
tonebeintunewiththeother, relative to theintervalbeing played.
3. Tune. The playermust develop andtrainhisearsothat a difference ofpitchcan be distingui shed
whenplayingwith others.
-i. NoteValues. Theplayer must develop a rhythmic sensesoas to give pI'opervalue to tones a s
represented by thewrittennotes.
5. Breathingand Phrasing. Eachisusuallydependenton the other. Since teachers ofwind
instrumentsdiffer011 the methods ofbreathing, no specialmethodis advocated, but itis evident to all mu-
sicians thatin ordertoget good phrasing,itis necessarytobreatheproperly. It is alwaystothe advantage
ofthepupi} tospend muchtime andeffort onthisphaseofclarinetplayingandtakeseriously all sugges.-
tions given by the teacheI'.
6. Expression Marks. Expressionmarks are consideredasvaluable tothe playingof musi c as
punctuation marks are to the reading ofprose and poetry. Good phrasingis theperformanceofmu,.,i(; that
hasbeenproperly punctuated. ExpI'ession marks put characterinto a mass ofnotes and if properly ob-
served vvill produce satisfyingmusical effects.
7. Relaxationand Proper Positionof BodyandHands. \Vhetherplaying in stand-
ingor sittingposition, tisnecessarythatthebodybe erect but relaxed. Relaxation i8 the secret to the
accomplishment ofsuccessin manyotheI' pI'ofessions and trades. Thearms mustbe relaxed, the elbows a-
wayfrom thehody, and the hands aSi::iuming arestful positionon the bodyofthe clarinet.
8. Sufficient Timefor Practiee. Since different pupilsrequire different types and lengths
ofpractice periods, the objective that everypupil should estahlishis: aIwill mastertheassignedtaskwheth-
erit takes 'hhour or2 homs." Theaccomplishment of a taskisfarmore importantthan the time thatit
consumes.
9. Proper Careofthe Instrument. Carelessnei::is inthe handlingofaninstrumentisthemost
prevalent handicap to theprogressofyoungplayers . Nopupil can expect toproduce good results if the
instrument is inpoorplayingcondition. The clarinet must be handledcarefullyand when a disorder is
found, have it remedied immediately. Constant attention tothe canditionofthe instrumentwiIl pay divi-
dends in the end.
10. Mental Attitudeof Teacherand Pupil. In order that the results be satisfactory,
boththepupil and teacher must be interestedin theirtask, and must have a perfe'ctunderstandingofwhat
that taskis. The teacher must understandthe leaI'Iling capacities ofthepupilssothat the pupils in t urn
will get the type and amount afinstruction that they willunderstandand be able to master.
195 5
LESSON 1
a. Have instrument in good mechanical condition, and the properlayon the mouthpiece so that a
f'ouno and full tone \:viU I'esult.
b. One of the important essentialsinthe playingof aninstf'Ument isa rhythmic conception at sight,
ano a cOlTect evaluationofnoteand rest valueso
c. Inplayingthfl sllcceedingstudies, special attention shouldbeplacedonthe proper adjustment of
emhouchl'e ano the pl'oper evaluationof notes and restso ,
'lfAndante- Keep the tempo steady.
1.
B ';7J7N' ~ IF F IF' ~ IF F
r
F
'llf/,- Natural 01' IlGll'mal tone,
Ir' ~ Ir
-
~ r
--
r IF' ~ Ir FrFI
-
4rnlnr'ITr1 Ir1rIF" 1IEF FrIr Fd IrUfoli!
3 41\ r : t = ~ t t = t = l r 11rI r1Ir 11rI ~ ~ l Ir 1ftlFFn
'll!t
4rErtftlIC cor Ir1IC 1 rr IE1 C rIrat 1II
4 'lirunirE llrcrr WllCucrrrrHWrt'ICr11
'llif
4rurrIrrjH;cr
CC
I rllrEf'r
E
Ir rr:r rIerrE /11
5 +r 1t@!f Itr11U Ir"1I C n Q3rr- I fiUC Ia1I
li!/,
fr11CfIfi - h@ 1EJ IF" 1IrlIaB a I(Dl1 II
Note:Evelypupil beginning\\"ork in thishookshould heahle to sight read all the studies011 thispageo
}JyelY pupil is I'equested to pl'o\idea music note hook for theptll'pose of \\Titillg' rhythmsano melodies
that tbe tcachel'm,lY reguiI'f'.
Cupyrig-ht l\ICMXXXVI by Rub"nk Inc.. Chicag-o, 111.
l'IS Copyright Renewed Internatiunal Cupyric;ht S"cured 6
Marks of Expression and Their Use
LESSON 2
Pianissimo---- ____ w_____ Verysoft
Fortissimo______ ff--------Very loud
Piano________________ p _______Soft
Forte-----------_-_ f ______._Loud
Mezzo Piano_____ _mp______Medium soft
MeZlO forta_____ nif---. ___Medium loud'(Normaltone)
Inplayinga toneonthe clarinet (unlessotherwise marked) thetoneshouldbeheldatthesame leveI
ofvolume, without increasingordiminishing thevolumeofsound. Thistype ofa tonewiIl be indicated
hymeans ofparellel lines, thus:=======
Thedistance between theparellellines wiIl signifythedifferenceofvolumetobeused.
Thus: pp- p- mp- nif f .ff ---
p ==========
mp .
7
----- ..--.........-----J
1 =&" n T'u?T7" Td J -
I:I:: I :


mp =========================
p
-
- II
HARMONY
p= mp==nif'=====f----p= 7111' nr/==========
2
-
'I;CI52D
i
p
"'!-- ----
p pp=======
, "'4>"4;;;1>51F
l>GD'(I?;;Q2
-
II
f------11if============== nif mp
3 Il j J I J I I I I j I
------
P'============= p============ mp=======
4
mp
j-LJ
.
J
, IJ""r Ir' ,I(35Iw I I CF De
pp'====
mp==========mp============ p

It=
I r-rr' , I (Tir'
Ir f
J II
95
7
2
Studies in Expression
LESSON 3
SOUND GRADUATIONS
Crescendo (cresc.) - GraduaIly louder. Decrescendo (decresc.) or (dim.) -
In playing a crescendo or a diminuendo the pitch of the tone should not change. The clarinet has a
tendency to become flat when playing loud and sharp when playing soft1y.
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.
,., F U I F (J Ir lr I r tU I F lr Ir Fr I r r r 11
ff f f l1U rrif mp mp p p pp f l1if f rrif
3
f l1if lIif mp
11 r' F I F' F I F r u I r' crEr I r ruI!
f lIU f rrif f lIU 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 sec-
tions 2 and 3 as a guide.
195 8


Studies in Accents and Expression Marks


The rinforzando(>-) is placedovera note for thepurposeof bringingout that tonemorestrongly than
the othertonesin thesamesequence andiscommonlyknown as an accent. The accent punctuates the im-
portantnotesofa measurearsequence.
LESSON 4 MELODY

Give eachnote andrestitsfull value.
-i. > >- > >, >- > >- ,
1 ,2 i J J I r r I rr r I r1 I 3 J ti I r r I r r r I li 1 I
f
>
> > > >, > >,
Itrr IFEr IFr
r
IFEe IErr IEEr IFrr I
:;7 :;7 > > > >
,raa li
j
a Ir; r lErE IEEE I=EE Iraa 1;11 1
Observe carefullyall marksofexpression and p]ay witha steadytempo

2(' J j j I F I Fr F I r E I r Fr I r F I r t2J
p - ='TTff P = n!ft=-P vu
-1. :;7 > ;; > > -=- > >
j. J I J J J I t J I rF r F I F r J I r F F I r F=t
===- mp P nif P =vft-:::::==- p n!!
-J:. >- :;7 >,.. > > fi'- f:
r r r I r J I r
:;7
F r I Fr c I r r r I F J I
----========f = f
>-
>- > > >
t: r r I F F r I F Fr I =rr I r Fr I ;71t J II
f- vif= mp= ==- p = pp
LEGATO ETUDE
----> ---- ,>-
3 @"rRIFFt IgErlrEr 1F1HIEF
E
rl
kE
Fifj J
vif p =====- -=:::::::
> ,> ,..-... :?
-w' CU I F (r I f F t I E1 F F I r Df Fr A
f= vi! f .ff ff=======--
-, f-r ar I rEr Eli '(TE I GJtr Irj]2'r
f -:: mp =f= f======---
I rfLt fFEr I EJR'd I Oi Ja a 11
v1f = mf =f p=---- ;;p
195 9
Articulation and Expression
LESSON 5
Moderato - Playwitha steadytempo.
- B
1 iJRr3J]ItEFi tECf IcC E1te criiJ 33:i:) UJ I
"fi
c 2 B B
1i]3J f3J9ln
JJ
c
rrP I
c c c
, c fcrtcE;IccEiEc Ei InniJJJliJf1ccf;I 11
, -e-
Playabove studywitheachofthefollowingarticulations. Observe all
,<aflp #ta sJO II
-....-/ ;;:> , :>
;;:> :> ;;:> :>
,
1-;-- - -- ':', 6J
InrIrrLIakg::EJ I Dn h Icifraj 1 I
"!f - ::::---- --------
Playdailyfortoneproduction. P
Andante
3 '11 rUf- rIr(R2 Fff FI HCF I rr
JJ
IJfl1BgJ
f andp - evenvolume all thewaythrough.
195
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 bythe commas, whether you need to or noto Breath marks may be skipped if
two complete phrases can be played in one breath.
11
1 4 cu; CRt I (fijCE[r I ~ r I c1ffFEC1
1
mf .
~ t I fii1} I (ircrrr I rir j rli
&tEu FfiIrBc nuI @r rmIFrih :11
.
2 4
11
circrU I OH JJjJIJJJJJJ3 J ItilitiFi:1 1
Keep right hand down when going to the lower register.
~ ~ ~ ~
, J3 JJJJJ J IJZJ J JjJj IJJJJ JJE Irl rt :11
mf
3 ~ 11 E@ErU I rirRV I EmErv I Grf?bl
Keep right hand down for alI lower register tones except E.
4 ~ 11/3] JJilllar FCarI 8ft! &r? Itwt :11
5 '1\ r1fiCfU16Cem Im; (dI I riiR?t :11
mp
Play fast and briskly.
6 ~ i)hrMrcrrl@fdVICEErl_lcFrrljff01r- I
7 &2 HlrrErl@ilrEErl_IRdiWIr-
11
f
11
195
LESSON 7
Legato Duet
Moderato J. E.S.
c
A

:::: 2 C
..
":;7
:::-. >----
mf
---

..

::-----.
-
p
'"If
=====-
,
---
-
1,
-
::;...--- >- -
.....---x
rrif
mf -
---
A
,
::>
-
l"'" .. ..
=
>- >-
..

.. ::>
::::=-p
p
:
f-;::;;__ p----
-
-
-
::>
-........=....-
p::>
"""!
-
---
-
-=..
::---- I
:-
>-p
fl .-----

--....... ::>
-
-
::>
:
===- p-" - -

.....-: -::....
-

---
-.,.. _H- .,.
.. ::> p
::>::::=-P

::=:::=-
-----
>-
.
>-
::>----.
fl
,.
r- .. >-.........----.
- !L'
..
'11if-=::=f
mf---
f=
p

----
--
- >- >-
.- .-
..
::>
f _____
..---====== f ==-=-===-
=--=
p
-
--mf
mf
I'}

.-

-----

-
4
-./=


=
'T1!y"p - =1lff

..
-

---
-;;---.
---=----.
..;

::mf::--------=--
1nP -=::::::::::.."fI"= "'If
fl -r'""-r r-- .. 1F
-
,
.. >-
..;
---
=
:-
p -
I
-:::::::=-
f)

---,...,.,.
--....... ,
--::::::. .--..
- t.
--==
P
>- >-

-


_____ A
>-
,
..


..
=
====-
f f
f)
-
-
.---:
-
,
>-
----
f
>-
p ;:;;:-
====-
f
12
195

A "tt s wn en

. . . .
1
..

As played
. . .
r r T
Staccato Studies
LESSON 8

Accent the first and third beats of each measure
Moderato
1\ lJNW '444441
4
I JJ400
J
I PJJp4 'JP4iP I
'lit cresc. 'liif' -../
&& JJOJpJ 'UH O\$P4'JPh I 'JJ4,:;P. 4 14 1 =
-'
&& J'Op,J IHJmJ 144Ml IJJ@up'
J
IJH)pJ I :
n:;r@pJ IJl4)Pl '9
P
?NH '?#OJJ II -
-J- Allegro B'jtL ';" C '-'
3 ;- p. aFt'LEURJ] IJil?a
Ft
IS<t18JJIn 4Ela I -
. J' .

&.StttmaItmuttl5WdJJJ IgOP. u!dJlCfttlJ)JI -
. ----- .
, ..
t@P ullG:tt8JJ1TIPfrttImoJYJ)I nO ErItt l -
..fi
& Oft D.IWR fitt IarctE(fIttufft;104 5JOIJ. Jj -
MELODY
195
13
Syncopation
LESSON 9
@helongernoteofeach measureistobe accented. @
I'}
-
-
t

I

==--- ==--- ==--- ==---
:?
==---
f-
-
---.
1'\ ==----
::>- ==---..-... ::>-
--.. ..
--..
.
.
f-
I

==---
:?
==--- ==---
:?
==---
.. ==---
:?
.
.
f- I
I'}
==---
:? :?....--.,
==---
>'....--., ==-----.. .. ==---- :?
t.

==---
==---
:? ::>
>' ::> ..
::>
::>
f-
I r
SYNCOPATED MELODY
\-... A\legro F
'--' i C Ir EErIPCPI rCr I r P- IP Et Ip-f f ILI
'--"
5
pFp IlUrIPC p 1ft ltrU Ir I
\....;

SYNCOPATED CHORD MELODY
-i. Allegro
5@! Jla J I la FIlF FIf r v IlU J1IJJ i IJ
'-"
'#J IJ1 J IJadllpE IP r pIl U;1Ja JI;
\....;
195
14
LESSON 10 Studies in G Major
ti G MAJOR +gff f@ '-'
t ==

=i -
, Eij] fUJ I @J @D IJW Pl
f
Ifr@3I
J
. J 11 =
2
2 ,ti:\:tiIilipIJG ijJ I rffffjtt d
1
r ii?tt I -
,ti dftit{) I u II
THE USE OF THE F# IN VARIATION FORM
li - :11
5 = tftp[ID lPffF :11
195 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 tobe 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.
f Il &r5ffl r tnr I @f'rrUI IfiFEiU I
4 _
11!1
c@ItfiErOI 6ct-cU! I'irm :11
The use of the F and G keys.
F
2 &15
IV 3ft
J
@J IQWqJJJ I@;:11
Low F# as fingered when played chromatically.
3 4(\ :.
Low F# fingering as played diatonically.
4 4
II
JJiJJJiJ
I
JiJJJ 'JJiIJJiJ'JJiJJ :11

: 5 4 (fffIrQ I I(fiftlEr Irijt D11 I
= DrrrtEt:hIrfti]H Irfr1fF1 ItfCtr :11
RAPID FINGERING ETUDE
.. ... .
6 i ItCrr I
mf
'--'
& aitlWIr ,rJiri@1tttt Imrfij}lttEt1
: & c1i nrCU I Q1f1ffEICf I(fif(Ul I Ur :1
16
195
Studies in F Major
LESSON 12 ../
f - IrE9 eUI6E tij I fffi Gir I
'--"
ft) QgJ IfB9 IJ. II
195
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 I
1@4
J
O!ljIJ1V} :11
"-"
Keep right hand down until the last measure.
2 l@njJtlHIEftUf) I
The use of key F.

5 IfrtrEeC;ICEr:ftLF:11
"-" 1111'
v 6 :;, ?EdQJ JitJ I!39 .I i@ fg3 183W.r :11
Left hand study
=7 rldiMiPJ.lJII
1111'
--
---
Duet
LESSON 14
MAlAS

::::::::=- mp
rnf
Andante
.--'
.-
4
f)
4
..
mp
-
-
-:# ... ......

I
-
T

-

,,--...
.-:. ::--..
....
-
ti


@




t.
I
1":\-
@

...
Fine.
.......
F f
...---:--,.
.. -
=
---=----==:: -
'..:.J q1f-'
f
,.r---..


....
..
r::;


-


.
mf
======-


dim
f)

-
dim
C1YJ8C
I
I
, ..
......

...
-.
-
"'j
...
--

=====--
@
mp

2
.
-
mp DOal Fine
- ==-=--
-
- - .-
====---
.---...... .---...... C
t
c.-
'- -
I I
-
1=
-==::::::
===-
-
= ::=::::=-
mp Dc.dl Fine
f) 1":\
t. - T

"--- ---
-
=
19 _
--
--
LESSON 15 6/8 Rhythms
Playas a duet, and count carefully.
I I rui IIJ: d:dtiffid: dfi ti
_E' I I mruid: Iffl fi I iu:Igil Uiji II I
DUET IN 6/
8
TIME
Moderato
::>
.
::>
.
fl r--. ::> ::> B ::>
-
. .
...
.JI17
-

-
17if
2 2

B

::>
.
Il
Jil --
. .
.
. o
-r
t.J
'J7

-. -
rrif


::>

no
>
-
-::> >
o o
.L
o


-
-
-

-
::>
.......,
........
.
l.L
o .
t.
::> > ::> -
..o
>
2
C
C
>
::> .- :::>- ::>
::>
>
::>
>
C
..ll
.-
. o o
o o
-
o
..IJ'!"l>:

.,
t, -.....
-
B_ ,...,...,
B
fi
,....", ......
o
o o
--> 4 > >

> >
-
@O
B.-., .,.
fi ........
.-...
> .- >- >-
.
o .
...
t.J
.......
>
B >0
.- ::> o >- >-
o o
.
t. ......
'-..J
f)
t.
fi

195 20
>-
2
. >-
-


.. >-
C C

. .
.
-
2
C
>
C ::>
.,.-
>-,...!.,..
::>
::>
.

::>
.
.
.
I
-
-.
..--
I
Triplet Studies
LESSON 16
Example: Similaritybetween%and 2/4 tempowhenthetripletisused.

. . .

1

3' '3' 3' 3' 3'
tJ
-
r
-
.
-
7 7
-
r
r
-
....
195 21
x
Bb Major Studies
::: LESSON 17
Imi @ ImorrJl E11 mtN I
v ..:Y
fQffi E1J ,tUEU QJ, ID QJ QJ I
IEtCJn IJ]1J;g 1

MAJOR CHORD ETUDE
195
Articulation Studies
LESSON 18
Practice each line until played smoothly and fluent1y, then accelerate the tempo.
x
, ~ Eiq An I JjJU nn IlJJ$ H I ati fOi Ir ~
195 23 '-'
11
Danse Negre
'-' LESSON 19
MAZAS
5 F
. . ,
Allegretto
, .

, .
fll
,
-
-

" -

fJ I mf F
tJ
1if-
.. .. y-
-
..
fl I
-

...
mp

--J-
..'1 -,J.
-
..
fJ I L
,
-!L.
P
-.------....
:- .:. L'
,
. ,
-...

-
mp
=
p
fJl
-
31.

T
.'-:
-

.-
-
.... .. ..

.

.111
P


---. .

t)
p
IJ I
,
.f-
---...
G

'.
1
,
,
@
.LI .-


- P
I
-
-
-
.LJ

..


fj I .,...-. '.I '
,
..
.-:....
CD
,
-
'.:.

..I. '-F-
f-II' .

...
./J I
-
f
F
.;:
'-:

... -
.. ..

.
-
' '""!"
-
f
Q)
--
\"....I
.-/
marc.
"--'
rit x

5
'-'"
lJIarc.
ri!
\.....,..
195 24
'--'
'-'"

LESSON 20
D Major Studies
Observe alifingerings asindicated.
CHORD in D MAJOR
t :4*Do
'T
@J1j I:mf!J21eL;LEIb!WEr Ef1- 11
DAILY STUDIES FOR THE DEVELOPMENT OF TECHNIC
r1fii7! Ir1dEIr I IEM

!!,lDdt4i}ated fingerings.
25
-----------
------
LESSON 21 Etude in D Major
Moderato 1!:. 1!:'" .l:. . Wohlfahrt
1 J.tf
tft
Ipfr I#hImete IEcr
J
J3IpJ rfJ
cUQr ImqJ IfJ:J rrlrP E EEI jll ErEl mCu I
a
lEte
I#eg cc: IE6 er:eltrOe cr I ccr
efe
I,Cf
l
rfr [ I aO j EEI r:Ji- cte Ifel Er r I WiJJ I J *'11
-r . .
PETITE DUET
J.E.S.
Andante


t
1lff

li
--
..,... .
=f
..
-


mp
-".
4:J
I
'--
.... mp
11!
-- =---
=
f
-
2

41

4

. '. .-#i- .. ...
..,..f:.
---=== 1lff
=
===- p
====-
=
---.
_-:--...

.--

.
.
-==== "'!
------ p
-
:=:::::::=-

-
===---
:




,4 #-'.
_ 1"" .,.---;---;,.
...-
-....
f:::::=-
=
:


.
==-=--
., ..

....

....
:
::::

li

tJ
195

.+

r-... r-.-.-.
. .
mf

-
f -==:::::::
==--=- 2 A
-
=
.
,...
./
---
...
----
'-.

U

=
'.:::::::::::=
26
1
Articulation Development
LESSON 22
R hmic patterns of 2 sixteenths and an eighth.
2 nJJ IhJnlJU JOJ IJ I J lU In nU I JjjU Jnl J I
MODULATING ETUDE
Allegro
J S . .. . t=::t F9. .. .
3 Q$j;F IE etc Ir qtr I$;qr IcFtr IF Eftt ItJjJd
mp
tJJJ Iffl
r
IarE! IUu I J :e13 Ime IGEre 9"1 rbr a: I
simile
ItctE Icera late IwUICttE I trio: IEEtjY
IbeaaltUr Icct'b[!ICarI
L
"EdlbC(f1
nDlbCd'r ICCl!BliJl>JI
ma IJJt3 ro II'CEtro I Iil!lr I E =rtc li Ikf II
POLKA
Allegro x ,.
4 IS'Elr "Ndlr I"FUICEEm
'lf'UU l!refl Igr cf I r r I gtrg! 1
9
9
r
lQ":fi! I r I
F
@lfl!f!f! Iare P'I", I Eera IeFFea IclfE.r Icrer I JfiJ I
)(
&IfJjjJJjlI '"JJ IJ:lJj11 J Ip.J mI$l gr I C &E6t1 ID q
27
195
'--' LESSON 23
Dotted Eighth Note Studies
......, Dotted eighth note patterns
fj
7'1
. . . .
Uft.

n
--
-
--
-v
1
. . . . . . .


-
........
............-
-
- -
.......
MELODY
Md t
O era O
" 2 @ JJ.flIJ 3IriJ.) la IJJj. j lU JIJjj.j I j lJ.jJ.JI
......,
13 b.44.,1 j lJ.jFJIJ JInJ la IDt.,lrFI[lf:1
,# FrIC1ftlftfil[It';l IntJlr E1["{f:IE rI
'-"
C"tfflf;C"I I rI rIEit u IrIU IJ Jla I
. DUET
J . E S . .
n an e A d t
7
.
dimo
cre.<;c
-
.
. .
-
.
. .
fj I

...
..- .-:--......
. ....
- .


1lJ
3
fj
.
.

..it-
I
.
.....
cresc
d1mo
o-
F
t.
f}

-

fj
-
.
.

.P- _. f: ..
.
.

:::..
-


.J-.=t-.
.
. .
I
t.
r I
.
..... I
f :>
5 F

..
... I!t. :> .L

fL' 1*- _ ....
.
-t.

-
....... :>
_.....
. .
. . . .
.

. .
4
--
- -
"1 I
- -
f}
." ... .fL'#...

2
F
11
.

. . .

tJ
n!
1 r
j
r7 o
.... :::..
:>
:::.. ,..o!!!I ..-.-
-
.........

. .

.
tJ
-
I
looo.iII
-
-
I
rzt.
195
28
Etudes On the Use of Eb and Bb Fingerings
LESSON 24 y.. CHORD ETUDE x
~ ~ ~ Modera!o ~ ~ ~
1 i ~ ft 3JJtU Iirr'-3J13 JJ WIZEr4J.IJJJcoE tI
F F x
:'wrU lJ3IJ3Jc:F rlE:t aJ13JJbrF IrcrE I
x x x ;J
: ~ V rFrCf I fJJ FFIfj nirrIr:frj r rIj ErF 1I
)( x x x x x
" cFirriIfE1 F
J
IccJrcnIcrcFrIrrr
195
29
195 30
La Verginella
LESSON 26
ITALlAN MELODY
Moderato
~
.
@
~
-----
--=-=- ==---
)(
x
--------
-------
mf---
x )(
5
F
= = ~ = = = = t = = = = f====-mp
(';\
dim
F
G
ri!
5
5
dim
ri!
195 31
Andante . . WALTZ
4 i fFr Ir- rI rItU Frr IF: r IFFrIF- *
rnp -
4
FrrIrrLIU ccIrtH I rrrIrr: LIrrLIr ,
mf cresc fi 17if cresc
LrrIr- r Ir r Ir-. ILFr Ir- r I Ef r Ir * I
LULLABY
Andante dolce Bohemial
1C C1
5 ika=nI!l:e.g ILrrIrILE7& IQh q
3A C 1C

LaoIJ* I I IW ILFiflBi IL
d
' mP
crese - - Im - - cre/;c :/
i 3A
I eOI
J
*
195
DAILY STUDY FOR THE DEVELOPMENT OF TECHNIC
2
3
DEVELOPMENT OF RAPID TONGUING
-J. AlIegro F
4 IUJ;;; IpJjlJJjlJ I:V??J IbJ:11
1
'-.! 0000 00
11if 00
i IjjOOJJJJ
1
JJUJ44
I
P4jj$$1i14'b4J
I
-
o
33
195
Studies in A Major
'--' LESSON 29
v 1 I@JZ,I IruE Iurfr? I
.
o /4
W 10{lj IQJ Q@ InO E1 (-1
14
-4
i@9?IdifirrrIUffu I fiin I I 2
: :0
-;- o
'o o
w)ttUilll
J

I
o
QuJUiJ 14l1!4 11
TECHNICAL ETUDE IN A MAJOR
Allegro
3 , "#!J,lUiIreg ItrrrcrIrwIrf,ill'n:rrI

'"#dker
U
Ir IkFtCCrrEIcrr
rf
Itrrr
t
I""ti]
'"# @rfGrlu
rtf
IffuWi1
f
t Irf11
11
4 '1@l!?JI@jI I&tU14@@JJffl9r I
'"#gs:r!WIJ I@JJ]JI aREliH3if ligoJJ I
I@@IJri;11
ARTICULATION ETUDE
"Moderalo 6 B A
5"W 1\ uJn8jJI JJ9J8J:JI I.LEaIEttfcM
fu ..' '. ..
.. r.......
"'
'"tU;te;
A .
.
Iflft rrEIcC
.,
j' A
r?rrIErtcrrtFI "
195 34
Duet
LESSON 30
MAZAS
AlIegro :>
1.
nif
==
C1"eS(,
f
dim
@
dim
vif
C1"eSC

-
:>
.-oII!!!!I .-oII!
; r.-.. .,
;::..
-- . .
. . .
.



"-
-

.--
-
;::..
-
;::..
:> r.-.. .
.
. .
. .

*..:;
I
*-/' .
...

....j I

2
35
195
Chromatic Scale Studies
LESSON 81
::: 'CHlirr!qrli!Iekf rrrJ IE r IrE rliFIr"E tf f II
2 c 1 E
C
195
36
2
Grace Notes
LESSON32
Therearetwo kindsof grace notes,short and longo Longgracenotesareseldom used, but the
short areusedquitefrequently. Insteadofusinglonggracenotes, itismorepracticalto writeouttwo
notesofequal length.
Inadditionto thesingle gracenotestherearedouble andtriple gracenotes,811dtheseareusuallywritr
tenout andplayedquick1yeitheronthebeatorbeforethebeat, thepiece ofmusicplayeddeterminingwhich
it shallbe.
EXAMPLES OF GRACE NOTES
Long
As written
Short
f)
I I b ..
,..
-
" '"
t.
1
O
IJ As
- - .
. .
-
-
.........
- -
--
EXAMPLES OF GRACE NOTES
(Double and Triple)
As written (A.headofthebeat) (Onthebeat)
fl ...
---
.......-=


-
t.J
f) As played
(Ahe, d ofthebeat) (On thebeat)
-

- -
- . .
. . . .
t.
-
_.
......
-
-
DEVELOPMENT OF THE GRACE NOTE
fJ
}r ]>r ]>r

i'
k,.. ..
k
,.. '0 I':)
"" .../ '"
.
tJ
.


f)

:k br-
.,br

!r_ 1};. .1r lk.
..Pc .. :
t- .
. .
. .
. .


Il !. :k k
]>r
__llr 11>r___k-__11>.
.1.

:
""
. .
. .
:- t.J
-
-


. .

.:k k __ ]f k ... L",


.-Jr.
: I.. f)

'"
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 Irr EIlErE lyEt
E
Iftlli
6
&if(?@IErF lt?ulEr Ifi&lur IlrUFUft
1%
37
Grace Note Etudes
......., LESSON33
TEMPO DI MINUET
2 IU-aE!1[1[Ir J 1% }, t(ti*lrt[Ir J :11
mp
yUtt IrtItiiifi I rrlttW}iililIt.r@
triEJi31JtA te I&iili:!I F trI r J It llirtID:
-i }f ...
r,.FIrJ UE! I;JlJ Ij J la t.J t.J l@gI
JlU t.J tIJ tltrCht
J
J I:!JJ la III
DOUBLE GRACE NOTE ETUDE
3
Andante ::> ::>
1!:1 FrI.[rl Il!irrFIMrrI
aUfrllltfrJ ItU uJloJlk:ll I J.)ia I
&s ;u I&-@IJjIlJIJJ.JIUeu J JI
tDlJPIJ1
p
lrrI tir(fIdkr'!kFIrrtrIr{inrI
r&[ rI FruJJI;(!JJJIJibl rIF rIfIF f I II
195 38
---
Triple Grace Note Etude
LESSON 34
Andante -Playvery legato Wohlfahrt
1 'fl f=?iJ anUE IM!BJ I diii?!'tOlW Ij J I

---- --
I@fIf Ifkr:/jJjJjJ91QJ3JJ . , I

i It14P:J 'jfi JJ jJlI I
, U I I {fI! em I F rfWr I
I tl1ME!0 I J J
.----.....
, jCiPrwI tf If kriJijjfpJ I d2flgJ J
----=-----
l F t2!dm3 I F lmaf!l
rrr
l
9
C =OL Ifb<D I
48M3rmrtlfJUr IrE. 11
FOLK MUSIC
Bohemi an
Valse Lively . .
2 laaalf1
J
Ir_lttn
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} 'Ir 'Ir V-
I'
1

-----
-::--
---
-
....
- - -
::--..
,
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 pllWng 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 tone down from the given ar written tone.

V-__________. ''
'Ir
-
'Ir
I.
I
2
11 ..--:-:----
--
---
--
I.
=-===
liiiiiiiiiIiiii lIiiIiiiiIiiiI liiiiiiiiiiIii
____ 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) 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- 'Ir V- V-
I)
--
--
ii __
- I
#--- lL
3
11.
f}
-
-----
:11_ I:f:::.
I. lii!iiiIiiiiiiI --- iiiiiiiiiIIiiii
-
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.
'Ir..-- F1.

F9.
"
----., .......... -..
-:;;:;-:---;
=== === =- ====
t.
195 4
1
2
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.
concerned.
,
b
ir
: ~ ~
" o
D"
~ ~
V
~ o
~
F
F
G
G
~ ~
'Ir
~ - -
-
-
-u
.e-
u
- -
-u
-9-
u
-9-
'Ir
'Ir
'Ir
'Ir
f)
-
'Ir 'Ir
'Ir
..... fi
-&
..n

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
b b
#

'Ir
'Ir 'Ir
b #'Ir ~ : t b -&-
'-'
F
b"
II II
J
&!
;
II
!
II
E ~
Z
o
F F
F
E
'Ir
'-"
'Ir
-9-
'Ir 'Ir 'Ir V 'Ir Ir
b
II II
'II bn
II
~ o
II #1' 11
'-'
6 o
I'
'0
II
'o
6 H 7 H H H
ETUDE
3
JIJ201
J
j ~ I J J
'Ir
I V-f7f?F1
~
f ~ f t I
~ I
#
'Ir
I j 15 J
1l5J ijJ I11' t &J6J I
195
41
v
Articulation Etudes
LESSON 37
Mderato UAPID TONGUING ETUDE
1/1,3
1Opn
ti IJ;1JJ
J
*IJUlHOJ IJ333S
J

snnzle
JiJ
JH9
rIr IllriEiFUlsrr+_U1IL I
'P1;r. tlrUrrar IL5Htp Ircrr;
t
I(Hum*I
@'.rb(Eir I;HrSCUr fi ErEFUCEru I CHcrrc!Gr:cn I
, dtr'Feri::! I'l' --- '
rIJjJst
1
JUBj I J;JJJJilbjOJ I
, iJ'J);JjaaInBPJJnJ IFrrrEF Oicrtr IQ:g!Qj5J 11
CHORD ETUDE
19.') 42
-----
4
LESSON 38
Duet Brilliant
Allegro
J. E.S.

., . --... ;. . .
.---.........
-----

mp
1l!
.
fl
.
.
. . .
-- .-
.. .....
-
.
t: ---
mp
1l!


-
---
--
. fi
--------

_
.

......
mp
1l!
- --
.--.
.
iJ mp T:!!. -
-
mp
--
.. .."
11/ mp
...
__ ________---- mp
mp mp
"
.....


tJ mp
........
-
- -

11if..
11!
li
---
- .-;- -
m
... -" -

"'-iJ-" -
....
p


.-------. .1#'......_ ....---:
-=---
-
f ......
,.........
-
. ...
f
---
'--.-.-,t .. ---.J
--------

---
fi
43
95
4
LESSON39 Articulation Study
Alleg!"0 > > x :::> :::>:::> >
1 tger6- ICru aar,6ft?oroI Cf SE($r1
tEfJar la,(fr IfiaffrIaflr 1
GL?ar t Itr fJ I 6kftt11gaGa 11
FAST TONGUING STUDY
Aliegro
2 r:r- C r;JJJjla j;JJOcuJjJjl
j JOIflJjPtJOJjI J iJphh Irffu(n:aEre;I
.
, c p
i5
nItU EC &te: EUGCI' c: jJ!fb l I
, J :Jag;tC htl frrt StI [gCHfElffgrtl
rUC;CItErnErlsrucrr;{J l I
, C C!'CUrGcrttrts\rrOr*iC etc"V;'
, E SfC5Lfc"b;U'
cr&F rf'- I cUC;rzur
J33
'01 JflJS= iJina
,ta'0:[2JJa,Iifi rP5'r l 'fflrrrrc:frrt'n
, ElEs,,'J[CCUPttrr;r1s JSnJ l j
44
195
Etude for Technic Development
LESSON 40
AlIegro
,,, ol Jol :P;pJ aJ I Jol JjJj JJj Jj I
mp
, jJjJJJJjjJjJJjSjl3;JsjJJ5rprEEEfaI
,,7Y!!fC
----- ----- ----- -- n
-:P-
i1 rnErrrrrOrf[rErl@ JoIJoI rfEHrbrIwE ErEreurrcrr l
l1l
, rWrfrHcErWIdrfrifrnWIr,bEEErWWFI
, iUEcFrFrErrnr l @jrOrcurOruI6@ftfrrifi%
f
, frr rfrr,rrJrf
ir
IdrrrMfEMrE;FfteFr@rl
mp C7Y!SC
, @r.ErFsHlf IEWrE;FftrFrr'WFItFfcrrFW;ra I
dzm. mp C7Y!!iC dzm.
, @rFcfEWJI EfifrErrcwrIccFijitrfrffWrl

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11
195
Major and Minor Scales
LESSON 41
Observe fingerings carefully.
4
FM
-&
A
Dm
MELODIC
2 A
C
Drn
'--'
'-"
.........
5
C 5
B ~ M
Gm
\.....-
u
'-"
C C 5
Gm
"'
E
5 C C
EM
'-'
HARMONIC
2 2
5
C
C
C
C 5
'-" Cm
.........
'-" MELODIC
em
\.....-
'--"
........
t), 4 F ~ I
C 1
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~
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fl
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t:
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Fm
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195
'-'"
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MELODIC
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-
............
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~
HARMONIC
C 1
-
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-
~
MELODIC
1 C,..,...,..
~ I
C
I
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-&
4
'-../
'-"
Major and Minor Scales
LESSON 42
'--'
Observe fingerin!s carefully
'--'

DO
2C
'-'
GM
""(T
'--'
3 B
B3 F

Em
'--'
""(T
2
B t c
Em
o
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o
DO

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A2 A 2


DM 1.

t.
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-
-
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fi
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2 A A B
'-'
Bm

t
7 .,. I
..
I .-#
n
MELODIC
2 A 2

A ti: b..b. _
Bm
LL
t.J
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-u
'-'
2 A
'-'
AM
-&
F
G 2 A G
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FIm
-e-
'-'
HARMONIC
F
G B 1
E
A 2
'--'
FIm
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-e-
1
B '-"
EM
O

o
c
F
Clm
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1
B
F
C#m
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"-'
195
47
-----
--
--
--
v
Maggiare from Piano Sonata
Moderato
Beethovell
fj ------.......
----

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t.
P dolt,'rJ
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cresc.
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t.J
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t.J
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t.
dim.
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fJ
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p
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71.

195
Andante Cantabile
Flowing melody
Oancla
1 a tempo
---
o _:To .. .. _
"';".-.- ..
" . . li . i . li
..
a Yf(tpo
rtt.


r
-.....,...., -
-=-= =-=.
r 'I
--
=
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I j 1 J I I I
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3
o
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t.l
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/-
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ad lih.
II r+. ,--,JT
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-
Risoluto ed aitimato
3
mt1Ircato 3 3
-3 3 .
50
195
Andante Cantabile (Cont'd)
fi espressivo
..-

""D'I'IL

-
-

.:J
f) :-0 o
.
.J.J
LL

-

_3
r
.J ro.
T
-.: liiiiiiIIi7
0-
o ! o !'
o
mil.
I
mll.
fJ I""T"I
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iJ Tl - .,--
M d t
fi I
o era o
-

o
o
o o
a tempo
o "ijo !' ..... 0_
oi oi
0-
oi
o o o o... "11 "li
o o
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a tempo
:>
= C1YJSc.

T
adlih
I r -.:
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.1,' {.\
rL.=
T
I
.... --
-
:;
-
Menuetto
FROM PIANO SONATA
B th ee oven
-
.-.- ,,, .--::. .--.......
.
--
--.....
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-

--===
====--
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---

mp

-.
P C'l'8sc.
p C1YJsc.
ff
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51


-
I
mp
o . 2
,....
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...
...
I

fJ,
mp
q
v
7J

.. -. 4-
----
---
---
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=
p C7YJsc.
-
I
l'-" #fI-. .tn .--.....
...

cresc.
cresc. -
mp p
fl I
--
-


-
-"
mp cresc. P cresc.
(j L

7:f ?J .. -ri
..
'--"

.....
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"-

,
cresc.
p
I. I I I I I

--.
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cresc.
::::=-p
flJ
..
:::;


-Y-:W
... ....

.Fi1be
J1J
.. ,
1":\
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..
..... : .
-.....-.::
-

,
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.. .. ..
--
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I -....;;:.
rito
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I
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creso.
rito
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.... ..
..
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--
52
195
v

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Materiais didticos para estudantes de msica, organistas e regentes.
Instrumentos Musicais, Naipes e diversos assuntos relacionados com msica.
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texto de exemplo
Sries &
Tonalidade Escala Arpejos
1 2 E s c a l a s Ma i o r e s e A r p e j o s
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