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Full text of "Daily exercises and scales : clarinet"

LIBKABY 

Brigham Young University 






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Revised by 
E.CLAUS. 



Daily Exercises and Scales 

Clarinet 
Major Scales. 



G. PARES. 



To play the scales well, the tone must correspond to the run of the passages, viz: the strength of 
tone must be increased on the ascending and diminished on the descending scale. The tonal shad- 
ings are indicated by th usual signs: — ==T for increasing and m^=— for diminishing. 






KEY OF C MAJOR 



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It would be well for the student to practice the following exercise immediately after the exer- 
cises in ,C major. To be played evenly carefully sustaining the high notes. 

Slowly. 



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KEY OF F MAJOR. 
Sustained tones, to be played before practising the scales in F. 



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etc. 





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KEY OF B\> MAJOR. 

Sustained Tones. 



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KEY OF Eh MAJOR. 
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KEY OF Al> MAJOR. 
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KEY OF G MAJOR 
Sustained Tones 



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KEY OF A MAJOR. 

Sustained Tones 



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5857-40 



24 



KEY OF E MAJOR 
Sustained Tones 





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P fyfy /* " 1 ° 1 1 1 == F=j 


2 2 2 n * 

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staccato 



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15857-40 






27 



Minor Scales In Keys Of Most Frequent Occurrence 

As in the preceding exercises, play these scales slowly and increase in rapidity as the diffi r 
culties in fingering are overcome. 
A minor (With minor sixth Ft; 




28 

Chromatic Scales. 

As in practicing the major and minor scales, commence the chromatic scales slowly, and ac- 
celerate gradually. 

The student should play rigidly in time, no matter at what speed, and press firmly on the keys 
and holes, so that the tones may sound clearly, and that none may be skipped or dropped. 

Avoid forcing the tone, i. e. do not let it sound "breathy?' Attack the first note of each gjroup, 
Tind sustain the tone as though a long note were being held; the fingers take care of the notes. 

Strict attention to these remarks will ensure evenness of tone. 








15766-36 



1 ??4P5 



Play twice without taking breath _ increase the tone in ascending and diminish in descending. 

2d time 




The same exercise in sixteenth notes. Follow the above instructions 



2d time 




15857,40 



30 



Diatonic Triplets. 

In practicing diatonic or chromatic triplets the student should be careful to give the last note 
of the triplet its full value. 



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Not to be played thus-. 



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The three notes of the triplet must be of equal length. 



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32 Arpeggios. 

An Arpeggio consists of the several notes of a chord, played successively. 



Ex. 



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To be played evenly, without moving the mouthpiece. 

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Practice the following exercise slowly at first, increasing in speed to Presto. When the stu- 
dent has mastered this exercise, it should be played every day as fast as possible. 




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15857-40 



34 



Exercises In Fingering. 



The following exercises should be practised carefully and very slowly in order that the 
notes may issue clearly. Increase in velocity as the difficulties are overcome. 

Play the following as long sustained tones, in order to ensure perfect embouchure and a 
true tone. 



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To adjust middle B\> ( j C t><> ■ stop one or several holes with the right hand. 



Middle 



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is generally too flat; to adjust it, take the key C with the little finger 



of the left hand. 



Middle F A „ _ : is always too flat, and must be adjusted by taking first side key with 

the first or index finger of the right hand. 

In passing from A to B the third finger of the right hand should be left on the hole. (Repeat 
as often as necessary.) 



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15857-40 



35 



Slide from E to F# with the little finger of the left hand. 



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Slide from G# to Fp by dropping the little finger of the right hand so as to permit of taking 
the E with the left hand. 



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In exceptional cases Eb may be taken with the corresponding key for facility,but in general 
the side key should be used for trueness of sound, because Et> should be a trifle flatter than D#. 
In Ex. 21, play D with the key for the left hand first finger, retaining the fingering of C. 

Same fingering. 



21 



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T»f g 






Play D# with the corresponding key. 




In C minor, play El> with the side key 

24 



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15857-40 



36 



25 



Mechanical exercises to insure immobility of the third finger. 

Use the little finger of the right hand only. 

Commence slowly and increase in velocity to the highest speed. 

RIGHT HAND. 

7^^ '\i i'' r ~~m Iff 




ij dj ^li ij 



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29 






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Use the little finger of the left hand only. 
LEFT HAND. 



35 



same fingering. 



. — — • — - - same i ingej nig. 

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39 




38 






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41 







same fingering. 



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In the following exercise play Ff with the small key for the third finger of the right hand, 
to avoid change of fingers. 

same fingering 

43 



fer^¥ 



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The student should practice several of these fingering exercises every day for at least an 
hour, carefully observing the instructions given- 



15857-40 



Octave Exercise. 



37 
C. BAERMANN. 



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38 



Etudes. 




Db Major. 



C.BAERMANN. 




p'h jftJXltftfft 







G\> Major. 







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39 



B Major 







F# Major 







15857-40 



40 



Etudes In Triplets. 



C BAERMANN. 



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15857-40 



" 1 

1 > , 



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the clarinet, cornet, trumpet, French horn and pianoforte. 

THE TECHNIC OF THE BATON Albert Stoessel 1.50 

An invaluable aid to the bandsman who is ambitious to lead as well as play. 

THE POCKET STANDARD DICTIONARY OF MUSICAL TERMS 

Oscar Coon (Cloth Ed. .40) .25 
Gives concise definitions of all the terms and phrases a professional musician needs 
to know. Also contains a treatise on the rudiments of music. 

THE ESSENTIALS OF MUSIC THEORY C. E. Gardner 1.00 

An abbreviated work on the several subjects necessary to the instrumentalist; contains 
nothing which the student can afford to neglect. 

PRACTICAL MANUAL OF HARMONY N. Rimsky-Korsakov 2.50 

Presents the use of all the chords of the various degrees of the scale, from triads to 
ninth chords.' These are treated in 4-voice fashion, with special emphasis upon the 
best practices of pa^-fwrjring and chord connection. 



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CARL FISCHER, Inc. • C £Z • ? E R l& • SSSSbTt 

(L) Printed in U. S. A. 



BOSTON: Metropolitan Theatre 
imball Hall 




3 1197 00260 6462 



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