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ASSISTE VERY LEEMING :
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U61C
HOW TO PLAY ALL THE POPULAR INSTRUMENTS
FRANKLIN WATTS, INC.
285 MADISON AVENUE NEW YORK 17
COPYRIGHT, 1948, BY JOSEPH LEEMING
Printed in the United States of America by General Offset Co., Inc.
This book is dedicated to
Margaret Scoggin
whose idea it was, and whose
help was invaluable to the
author.
CONTENTS
1. It's Easier Than Most People Think 9
2. The ABC's of Music 16
3. The Piano . 26
The String Instruments
4. The Ukulele 36
5. The Mandolin 43
6. The Guitar ' . 50
7. The Hawaiian Guitar 58
8. The Tenor Banjo 66
9. The Violin 74
10. The Viola, Cello and Double Bass ...... 88
The Wind Instruments
11. The Saxophone . 90
12. The Trumpet and Cornet 97
13. Other Brass Wind Instruments
The French Horn, The Mellophone, Alto Horn,
Tenor Horn, Baritone Horn, The Euphonium,
The Recording Bass, The Bass Tuba, Sousaphone 103
14. The Clarinet 106
15. The Oboe, Bassoon and English Horn 114
16. The Flute and Piccolo 116
17. The Trombone 125
18. The Recorder 132
19. The Harmonica 136
20. The Fife 145
21. The Bugle 148
22. The Ocarina or Sweet Potato 153
The Percussion Instruments
23. Drums and Traps
The Bass Drum, The Snare Drum, The Kettle
Drums, The Cymbals, The Tom Tom, Tam-
bourine, Castanets and Triangle 160
24. The Glockenspiel or Bell Lyre 169
25. The Xylophone and Marimba 171
26. The Piano Accordion 176
This May Not Be Music But It's Fun
27. The Comb Kazoo 184
28. The Bazoomer or Humbuzzer 185
29. A Pin Piano 186
30. A Rubber Band Harp 187
31. Box Drums 188
32. Drummers' Traps, The Sand Blocks, The Tambourine 189
33. Home Made Cymbals 191
34. Tin Can Tom Toms . 192
35. Bean Rattles (Maracas) 193
36. Musical Washboards 195
37. Thimble and Jar-Lid Music 196
38. A Rubber Band Banjo 197
39. Indian Musical Instruments
Water Drum, Earthenware Drum, M or ache
Stick, Bull Roarers, Jangle Rattles 198
40. Musical Glasses and Bottles 201
41. The Musical Saw 202
42. The Rosin Can 204
THE STRING INSTRUMENTS
4
FOR ACCOMPANYING singing, the soft and mellow harmony of
the ukulele has few superiors. It is a wonderful instrument for
accompanying informal group singing, either out-of-doors 011
summer nights or around the fire during a winter evening.
One reason for the ukulele's great popularity is the ease with
which it can be played. It calls for no technical knowledge of
music and is probably the easiest to play of all the stringed
instruments. The average person should be able to strum a tune
or play an accompaniment of rich and harmonious chords after
no more than a few hours of experimenting and practicing.
One thing that is a great help to beginners is that in music
arranged for the ukulele, the chords that are to be played are
usually indicated by fingerboard diagrams printed over or
under the notes. These diagrams will help you to use correctly
the chords described in this chapter.
The Strings and Notes of the Ukulele
The ukulele has four strings, which are tuned to the notes
A, D, F# and B. The strings, together with the piano notes
to which they correspond and the position of the notes in
printed music, are shown in Fig. 17. You will notice right away
that the fourth string is tuned differently from the fourth strings
on other stringed instruments. Instead of being lower in pitch
than the other three strings, it is almost as high in pitch as the
first string.
The ukulele is tuned to the piano notes to which its strings
correspond, The method of tuning a stringed instrument is de-
scribed in "Tuning the Violin" in the chapter on "The Violin"
36
D
which we would ask you to please refer to for a full explana-
tion.
If no piano is available you can tune your uke as follows :
Tighten the first or B string until it is taut and gives off a
clear tone. This will probably make it sound pretty close to
the tone B.
Put a finger against the second fret of the fourth or A string
and then tighten the A string until it sounds exactly the same
as the B string. What you do here is to "stop" the A string
with your finger in the position that makes the tone B. After
you have tuned, remove your finger and the open A string will
sound A.
Put a finger against the fifth fret of the second or F# string
(the position to make the tone B on this string). Tighten the
second string until it sounds exactly the same as the B string.
Release your finger and the open string will sound F#.
Put a finger against the fourth fret of the third or D string
(the position to make F# on this string). Tighten the D string
until it sounds exactly like the F# string. Release your finger
and the open string will sound D.
37
FRETS
3RD STRING 2MD STCINGr 1ST STRING-
ABCDEF S- A
FRETS 023023 13
BCDEFG-AB
I 5 5 fe 10 12
FIGURE 18
Fig. 18 shows the range of the ukulele and the notes that
you make by putting your fingers against the different frets
(raised cross pieces on the fingerboard). To avoid confusion
in the diagram of the staff, the notes of the A or fourth string
are written an octave lower than they actually sound. You will
not need to learn all these notes at the beginning, since for the
most part you will only use a few of them. Furthermore, since
the uke is played by strumming chords on it rather than play-
ing melodies one note at a time, the thing you have to do is to
learn the chords rather than the single notes, This figure is put
in here, so you can always refer to it to spot any of the notes.
In the drawing of the fingerboard in Fig. 18, we have shown
both sharps and flats, which puts two notes at some of the
frets, Actually, these notes signify the same sound, but they are
written with a sharp when the music is in a sharp key and with
a flat when the music is written in a flat key.
38
FIGURE 19
How the Ukulele Is Played
The ukulele is held as shown in Fig. 19 and is usually played
by strumming the strings with the fingers. There are two meth-
ods of striking the strings the plain stroke and the roll stroke.
The plain stroke is made with the first finger of the right
hand. It should be held perfectly limp to get the best effects.
Stroke it down over the strings, just above the sound hole of the
instrument, striking the strings with the fingernail. Then stroke
it up across the strings, striking them with the fleshy part of the
finger tip.
Some players like to use the thumb when making the plain
stroke. To do this, combine the thumb with the first finger,
striking down with the ball of the thumb and the nail of the
first finger and coming up with the fleshy part of 'the tip of the
first finger alone.
The best strumming effects are obtained with the roll stroke.
You play the downward roll by striking the strings with the
nails of all the fingers, beginning with the little finger, and com-
pleting the stroke by striking the strings with the ball of the
thumb. Play the upward roll in exactly the opposite way. Move
the hand up across the strings, striking them first with the nail
of the thumb, followed by the fleshy parts of the tips of all
four fingers.
Now Learn Some Chords
You have only to learn a few chords to be able to play the
ukulele and accompany almost any song or piece of dance
music. We are giving you in Fig. 20 diagrams that show how
to make the chords you will need to play in nine different keys.
39
C Major Chords
G Major Chords
E Major Chords
E Major Chords
J
I
'.2
1
'3
4<
A Major Chords
Ukulele chords
FIGURE 20.
VOICE
UKULELE
Old Folks at Home
FIGURE 21
5vJa- flee nb - er
These are about all the keys you are likely to find music written
in.
Please try not to be bothered by the keys like E major which
has four sharps, and Ab major, which has four flats. If you
come across music written in these keys, just look at the chord
diagrams for them and you will know what chords to play.
With the ukulele it is just as easy to play in these keys as in
the good old key of C, which has no sharps or flats.
Three different chords are given for each key. This is so you
can vary the chords, using first one and then another as they
fit in with the melody. An example of how the three different C
major chords are used in this way is given in Fig. 21, which
shows the opening measures of Stephen Foster's "Old Folks at
Home."
Where to put your fingers on the strings to make the differ-
ent chords is indicated by the numbers in Fig. 20. Do not put
your fingers on the frets. Put them just behind the frets on the
side toward the head of the uke.
Notice that in sopie chords two or even three notes are made
with one finger. See the first C major chord for an example,
where two notes are joined by a curved line. This is called the
barre.
41
Start with the C major chords and practice strumming all
four chords shown. The first and fourth chords are the same.
Then practice the opening measures of "Old Folks at Home"
(Fig. 21).
What you will need next is a book of songs or some copies of
some popular music you like. Get these at a music store or ten-
cent store and go to work on them. If you can get books written
specially for the ukulele, this will be a help as they will show
you what chords to use. But this is not really necessary. All
you have to do is to look at the key a piece of music is written
in (the number of sharps or flats), and then use the chords
shown for that key in the diagram in Fig. 20.
42
Chapter 5
MANDOLIN
THE MANDOLIN is a grand all-round instrument and one of the
easiest of the string instruments to learn to play. Originally it
was very popular to use as an accompaniment to singing, and
many people can remember sitting by picnic camp fires or
drifting in a canoe on a moonlit night while everybody sang
"In the Evening By the Moonlight" and other old favorite
songs to someone's tinkling on the mandolin.
Later, the mandolin was taken up by schools and colleges ?
many of which had mandolin clubs and orchestras. Today it
is still a favorite for accompaniments to singing, either alone or
with a piano, and is also used in some dance bands. Music writ-
ten specially for the mandolin includes solos for the mandolin
alone or with guitar or piano accompaniment.
On the mandolin you can play any song melody in any key
directly from the music.
The Mandolin's Strings and Notes
The mandolin has four double strings, which are tuned to
the tones of E, A, D and G (Fig. 22). The two strings of each
pair are tuned exactly alike in pitch and each double string is
spoken of simply as one string.
The notes on the piano and on the staff to which the strings
are tuned are shown in Fig. 23. Please see the section on "The
Violin" for directions as to how to do the tuning.
Fig. 24 shows the natural notes (without sharps or flats)
that are most commonly used on the mandolin. The figure also
shows the positions of the left hand fingers required to make
the notes. The numbers above the notes show which left-hand
43
Mandolin
FINGERBOARD,
SOUND HOLE
BRIDGE
TAIL
PIECE
HEAD
TUNING-
KEYS
NUT
POSITION MARK
& STRING-
D STRIM&
A STRING-
& STRING-
&UAR,D PLATE
TOP OR FACE
FIGURE 22.
finger to place on the string. The numbers below the notes
show which fret to put your finger against. The fingers are not
placed on top of the fret but against its upper side. The sign
O in Fig. 24 means an open string the note is the tone of the
string itself untouched at any point by a finger.
Sharps and Flats
The frets (raised cross pieces) on the neck and finger-
board of the mandolin are spaced one half-tone apart. Since a
sharp is one half-tone higher than the note that is sharped, all
you have to do to play a sharp on the mandolin is to move your
finger up to the next fret beyond the note.
Notice in Fig. 24, for example, the position of the note F on
the first string. You make F by putting the first finger of the
44
right hand against the first fret. To make F# 9 one half-tone
higher, just move your first finger up to the second fret.
A fiat is a half-tone lower than the note that is flatted. Ac-
cordingly, to make a flat on the mandolin, simply move your
finger back to the next fret toward the head of the instrument.
Take Bb as an example, because it is the flat you see most
often. Notice in Fig. 24 that you make the note B by putting
your first finger against the second fret of the second string. To
make Bb, just move your finger back to the first fret of the
second string.
For ready reference, Fig. 25 shows all the notes of the man-
dolin. Only the sharps are shown, but remember that the sharp
of one note may be the flat of the note next above it. Thus, F#
on the first string is also Gb a note, by the way, that you will
seldom have to use. Eb is very often used and in Fig. 25 it is
the same as D#.
How the Mandolin Is Played
When playing the mandolin seated, you should rest the body
of the instrument on your right leg and support the neck with
your left hand. Let the lower side of the fingerboard rest on
your left first finger, on the first joint nearest to the palm of
D A E
FIGURE 23
TJ"
45
your hand. The left thumb should rest on the top side of the
fingerboard about even with the second fret.
The mandolin is played with a small pick or plectrum, which
is held between the thumb and first finger of the right hand.
When you first start to pick out notes and play easy tunes,
use a down stroke for each note. This means to move the pick
in a downward direction across the string you want to strike.
You should let your hand swing freely up and down from the
wrist when striking with the pick. Thus, in making a down
stroke, first swing the pick upward toward your face, pivoting
your right hand on the wrist. Then swing your hand and the
pick down, again pivoting your hand on the wrist, and let the
pick strike the string and slide quickly over it to come to rest
against the next string. When you strike the first string there is,
of course, no next string for the pick to come to rest on.
The tremolo is used a good deal in mandolin playing. It con-
sists of a rapid up-and-down movement of the pick over one
string. On the mandolin, of course, one string means a pair of
strings, as we have already mentioned. The tremolo is used
most often on half notes and whole notes in order to sustain
their tone for the correct length of time.
Now Try to Play "Yankee Doodle"
As soon as you have learned the most commonly used notes
(those which are on or near the staff), you should have no diffi-
culty in picking out simple tunes, playing them slowly at first,
and then, after some practice, as fast as you wish.
Fig. 26 is the tune of "Yankee Doodle" written in the key of
G (one sharp). It contains only seven different notes D, E,
F, G, A, B, and C. These are played on the second and third
strings, as you will see by looking back at Fig. 24.
Start out by playing G on the third string. Put your third
finger against the fifth fret and keep it there while you down-
stroke the string twice. That makes the first two notes.
Play the second note A on the open second or A string.
46
N6ER
FIGURE 24
ABC DEFG-ABCD
1 2 3 O I 2 3 O J 2 3
E FG A 8 C
012344
245023502350i357S
r STRING- D STRING A STRING- E STRING-
& D
1ST FRET
2ND FRET
SRDFRET
4TH FRET
5THFR.ET
fcrmFRET
7THFRET
STHFRET
FIGURE 25
Mandolin Notes
and Strings
Play the third note Bon the second string, putting your first
finger against the second fret.
If you have not yet learned to read written music quickly,
write in the letters of the notes above or below the notes in the
music.
Mandolin Chords
In addition to playing melodies one note at a time, the
mandolin is used a good deal for playing chord accompani-
ments for songs. To make it as easy as we can for you to learn
the most commonly used chords, we are illustrating them in the
following five figures. These show the principal chords used
when playing music written in the keys of C, G (1 sharp ) , D
(2 sharps), F (1 flat) and Bb (2 flats), and give the fingering
for each chord.
For an explanation of the three chords given for each key,
please see the section on "Guitar Chords" in the chapter on
"The Guitar."
Yankee Doodle
6-&AB6-BAF G-G-AB G-F D G-frAB C B A 6- F D E F 6-6-
FIGURE 26
48
L,noras in
'2 V
C F
0"
O O
C AFC G-FB
FIGURE 27
& D0 GH C AFC
FIGURE 28
AF D 6 G-D Afi-C
FIGURE 29
4
e
F)
4
fi
)
1
)
4
> 4
>
i <
1
>
4
a>F C
4
\
>E (
l b F P
[CURE 30
8bF D
Chapter 6
THE GUITAR
THE GUITAH is most popular perhaps with people who love to
sing and want to be able to play their own accompaniments on
this wonderful and versatile instrument. It is the traditional
instrument that goes with cowboy and hill-billy songs, ballads
and folk music; and it is a favorite with people who like to sing
and play the old favorites like "Juanita," "The Spanish Cava-
lier/' "Drink To Me Only With Thine Eyes," and dozens of
others. The guitar is also a grand instrument for a dance band,
where its strong vibrant chords furnish a provocative back-
ground for the other instruments.
Most people today play the guitar with a pick or plectrum.
This is held in the right hand (Fig. 32 J, while the fingers of
the left hand make the notes on the guitar's six strings. The
pick is held tightly, as shown, between the thijmb and first
finger.
FIGURE 32
ffJIfllifBfCT
.MIDDLE C
FIGURE 33
The Guitar's Strings
The guitar has six strings, E, A, D, G, B and E, which am,
shown in Fig. 33, together with the piano notes with which
they correspond. Note that the tones of the guitar's open strings
are so low that they are written in the bass clef.
Music for the guitar is written in the treble clef, as for any
other instrument. But when you play, for example, the note C
in the treble clef, the guitar gives out the note C an octave
lower. All notes on the guitar sound one octave lower than
written in treble clef music.
Tuning the Guitar
The guitar is tuned from a piano or from a pitch pipe, in
the same manner as the violin. How to tune is fully described
in the section on "The Violin/'
Playing the Guitar Notes
The first thing to do is to learn how to make the different
notes on the guitar. This is done by placing your fingers on the
strings at positions already indicated by the frets or raised
cross pieces on the neck and fingerboard of the guitar. The
fingers are not placed directly on top of the frets, but at a slight
distance above them, or toward the head of the instrument.
51
(Fig. 34).
The frets on a guitar are one half tone apart.
always.
Fig. 35 shows the rauge.of natural notes (without sharps or
flats), which are generally used on the guitar, together with
the positions of the left-hand fingers as they make these notes.
Careful study of this figure and a little practice will enable you
to master most of the notes in a short time. Concentrate chiefly
011 the notes on the staff itself. These are the ones you will use
most often.
In Fig. 35 the numbers above the notes show which left-
hand fiaget-to-place on the string. The numbers below the
notes show what fret to put the finger on. The sign O means
an open string just play the string without touching it with a
finger. This figure is condensed but comprehensiye. Take your
guitaFancl start taligure out the notes, one string at a time.
You will soon get the hang of it.
Playing sharps and flats on the guitar is quite simple. You
always know that a sharp is a half-tone higher than the note
that is sharped, and a flat is a half-tone lower. The frets on the
guitar are always a half-tone apart. To make F#, therefore,
you simply move your finger up to the next fret beyond F. This
is shown in Fig. 35. This figure also shows the position of the
commonly used B flat, which is in the same position as A#.
Playing Simple Tunes
The average person should be able to play simple tunes on
the guitar at the end of the first week or even before. Playing
tunes that you know is the quickest way to get familiar with
the location of the different notes on the guitar's fingerboard,
and the fingers with which to make them. This is partly be-
cause you can tell at once if you strike a wrong note. Refer to
Fig. 35, if you need to, as it shows you exactly where each
note is.
To play the tunes, you will need a book with a number of
songs in it. If possible, get a book arranged specially for the
guitar, as it will usually show you the fingering for each note
52
FlGUBE 34
E FG ABC DF GA BCD EFG-A
FINGER 013 023023 02 O I 3 0134
FRET I 3
E STRING A STRING D STRING GSTRIN& 6
E STRING-
1ST FRET
2ND FRET
3*D FRET
4 FRET
FRET
E A D &B E
: .
(
: F
I
$ E
r >
\
;c
: f
: E
ibt
> (
F
*
/
E A D G B E
STRING'S
FIGURE 35
printed directly above the note. Play "Oh, Susannah," "Old
Black Joe," "My Old Kentucky Home," and other similar melo-
dies, one note at a time, until you are able to pick out the most-
used notes quickly and instinctivelywithout having to stop
to figure out their location each time.;
Guitar Chords
The guitar is most often used to accompany someone who is
singing or to provide a resonant background for other instru-
ments, as in a dance band. In both cases, the guitar does not
play the melody on single notes, but most often plays a single
note, then a chord, another single note, another chord and so
on.
The greatest fascination of the guitar is learning how to play
as many chords as you can but take your time about it. First
learn the chords needed to play in the key of C, G (1 sharp),
D (2 sharps), F (1 flat), and B flat (2 flats). These will enable
you to play a very great number of pieces. Later on, you can
add little by little to your collection of chords.
The chords most frequently used for playing melodies in the
key of C and the bass notes with which they are commonly
played are shown in Fig. 36. The names of the chords are
shown by the letters above the staff.
There are three principal chords in each key. The tonic
chord is the ordinary or major chord based on the first note
of the scale. For C chords, this chord is based on the note C.
Major chords are made up of the first, third and fifth notes of
any scale. Thus, CE G is a major chord.
The subdominant chord is a major chord based on the fourth
note in the scale. In the key of C, the fourth note is F, so
this chord features the note F.
The third principal chord in each key is the dominant sev-
enth chord. It is based on the fifth note of the scale. In the key
of C, the fifth note is G, and the bottom note of the dominant
seventh chord is G.
In Fig. 36 and those for the other keys, the chords are given
54
In order tonic, subdominant and dominant seventh. Before
each chord is written the note on which it is based. The notes
and chords are arranged as they are commonly played on the
guitar when it is being used to accompany a song. The num-
bers beside the notes tell which fingers to use.
In music written for the guitar the chords to be used are
indicated by letters printed above the staff and by chord dia-
grams. The symbol for a dominant seventh chord is the letter
name of the chord (the fifth in the scale) followed by 7.
Figures 37 to 40 show the chords for the keys of G, D, F
and B flat.
To illustrate how the bass notes and chords are used in
accompanying a song, Fig. 41 shows the opening measures
of "Old Black Joe," written in the key of C.
. First you play the bass note E, then strum the three C chords.
In the third measure you change to the F chord, then go back
toC.
As you play the accompaniments to different tunes (which
are printed in music specially written for the guitar), you will
soon learn when to use the different chords. You can go a long
way with the simple chords illustrated in this section.
55
Chords in C
FIGURE 36
FIGURE 37
FIGURE 38
Guitar Chords
Chapter 7
THE HAWAIIAN GUITAR
BECAUSE OF the beautiful singing quality of its music and the
ease with which people can learn to play it, the Hawaiian
Guitar has become very popular in this country. It is also called
the Steel Guitar, because of the way it is played, the strings
being held down with a steel bar instead of the left-hand
fingers. It is this steel bar, called a "steel," which produces the
peculiar, haunting tones that are characteristic of the instru-
ment.
A regular guitar is changed for the Hawaiian method of play-
ing by inserting a special steel nut which raises the strings
entirely clear of the frets (Fig. 42). This is put in place by
loosening the strings and slipping it over the nut on the guitar.
You should have a standard set of Hawaiian guitar strings
for steel playing, and these can be furnished by any music
store. The first three strings are plain wire strings, and the
Steel Nut
Thumb Pick
Steel Bar
Finger Pick
FIGURE 42,
A I": A
_ 2 X X i
t \ \ \
fflffl
FIGURE 43
X-MiDDlE C
heavier fourth, fifth and sixth strings are wound or wire-
wrapped.
The strings are tuned differently from those of a regular
guitar, the strings from left to right being tuned E, A, E, A,
C# 9 E (Fig. 43). When the open strings are struck, they pro-
duce a perfect A-chord. Fig. 43 shows the piano notes to which
the strings of the guitar correspond.
Tune your Hawaiian Guitar, one string at a time, by striking
the note on the piano to which it corresponds and then tighten-
ing or loosening the string. If no piano is available, use a pitch
pipe, which your music store will provide.
If you use a pitch pipe for tuning, you must tune each string
a full octave lower than the tone produced by the pipe. You
can check your tuning by "stopping" each string at the twelfth
fret, which means to put a finger on the string at a point just
above the fret. Then pick the string and, if correctly tuned, it
should produce the same tone as the pipe for that string. This
is because "stopping" the string at the twelfth fret raises its
tone a full octave,
59
Playing the Hawaiian Guitar
The Hawaiian Guitar is played sitting down, with the body
of the guitar resting on your right thigh, and its neck resting
on your left thigh (Fig. 44). The guitar is slanted a little to the
left, which permits the left hand to move freely up and down
the fingerboard. The right elbow rests on the guitar, at its
lower edge.
The steel bar is held in the left hand between the first finger
and the base of the thumb. The first finger rests along the top
of the steel. When playing, it is placed lightly on the strings,
with very little pressure. The third and fourth fingers rest on.
the strings behind the steel.
It is the pressure of the steel on a string that produces the
note you want. Where to place it to produce the different notes
is described in the next section.
On your right thumb you put the thumb pick (Fig. 42) and
on your right first and second fingers you put the two finger
picks. The first and second fingers are used to pick the first and
second strings. The thumb plays the remaining four strings,
moving down or away from you, and also plays chords, sweep-
ing downward across several strings.
SlH STRING-
BCD
1ST STRING-
SRoSTRlNGr J2No51fcl
A B
*
E P &A
T^
JUL
^0^O
O Z 4 5 O 2 H- O 2 O t
FIGURE 45
O 2
Learning the Notes
We are giving two sets of notes, Figs. 45 and 46, to help you
learn how to make the notes on a Hawaiian Guitar.
Fig. 45 shows the notes you will use most often. They are
shown arranged in the scale of A major, which has three sharps,
F#, C# and G#. This is the easiest for a beginner to learn,
owing to the way the guitar is tuned. The letters on top give
the names of the notes. The numbers under the notes show the
frets over which you hold the steel in order to produce the
notes. That is all you have to doput the steel over the fret
indicated and then pick the string. The symbol O means an
open string. Do not use the steel.
Practice playing the notes in order to get a good idea of
where they are, so you can find them when you see them
written in music.
Fig. 46 shows all the notes that can be produced OB each
string. Play up and down each string, moving the steel from
fret to fret and naming each note out loud as you pick it and
listen to it sing. You will not ordinarily need all these notes, but
they are included just in case you might want to use some of
them some time.
Notice that most of the notes can be made on more than one
string, thus, all the notes on the first string from E (the first
61
note) to F# can also be made on the second string. All the
notes on the second string from C# (the first one) to D can
be made on the third string, and so on. Most of the music for
the Hawaiian Guitar takes care of this for you by indicating on
which string to play each note.
The notes in Fig. 46 are shown with sharps. You can make
the flats, however, by remembering that the sharp of one note
may be the flat of another note. Thus Bb, the one you see most
often, is the same as A#; and Eb, also seen a great deal, is
the same as
Now You Can Play a Tune
If you have learned how to make the notes in Fig. 45, you
can easily play a tune such as "Aloha Oe" and other Hawaiian
tunes, as well as old favorites like "Good Night Ladies/' "Old
Black Joe" and so on. We would say that the sooner you start
"picking out" these tunes the better. Get a book of songs or of
pieces arranged for the Hawaiian Guitar, and start to play real
music as fast as you can. The Hawaiian Guitar is an easy in-
strument to play, so we have little hesitation in saying that you
should be able to master almost any melody in your music book
within two or three weeks.
The Glide and the Vibrato
One of the effects that makes the Hawaiian Guitar so pop-
ular and so fascinating to listen to is the glide, or, as it is often
called, "sliding the steel." This is done by putting the steel on
a fret to produce a certain note, picking that note with the
right hand, and then sliding the steel up or down to another
note. It is easier to do the glide on the first string than on the
others, so practice it first on the first string. It is very easy to
do, as you will find when you experiment, and it makes a fas-
cinating effect that is peculiar to the Hawaiian Guitar alone.
In music arranged for the Hawaiian Guitar you are told to
slide the steel by a slanting line printed above the two notes
involved.
62
Notes on the 1st String
i 2345678 9 10 n 2 13 14 JS 16
Notes on the 2nd String
2 3 4- 5 <b 1 8 9 10 H 12 13 fH 15 ib 17
Notes on the 3rd String
i
rrTfrrfff
O "J^3 ^,5618 9 *0,H IX, 13 1^ IS \h
Notes on the 4th String
O i 2 3 H- 5 678 9 JO H I2 43 IH I5 Ib 17
Notes on the 5th String
o i a 3 ^ ^ 6 nr S 9 10 n 12. 13 M*i5 Ho rr
Notes on the 6th String
O l 2_ 3 4-5 6 1 & ^ I0 H 12. 13 W- ' 15 lb IT
FIGURE 46
The vibrato or tremolo produces another beautiful effect and
is used to sustain a note or keep it singing for a moment or
two. The vibrato is accomplished by moving the steel quickly
back and forth over the fret on which it has been placed to pro-
duce a note. Hold the steel firmly and at first practice moving
it slowly back and forth. Increase the speed of the movement
as you continue to practice. The steel should be moved only a
fraction of an inch to each side of the fret.
Hawaiian Guitar Chords
You can obtain beautiful effects from the Hawaiian Guitar
by playing chords. The chords can be used in conjunction with
single notes when playing a melody or can be strummed as an
accompaniment for a song.
The major chords are all very easy to form on the Hawaiian
Guitar because of the way it is tuned. All you have to do is put
the steel straight across the strings at any fret and you will
have a beautiful harmonious chord. This is called "barring with
the steel."
The chords formed with the open strings and the chords
formed by placing the steel on the different frets are shown in
Fig. 47.
Experiment with the different chords until you get familiar
with them. Take a simple melody written in the key of C to
begin with and play the C major chord (3rd fret) and the F
major chord (8th fret) as an accompaniment. First one chord
and then the other, as they fit in with the melody. As you play
tunes in different keys you will soon learn by ear how to use
the right chords. A good deal of the music arranged for the
Hawaiian Guitar tells you what chords to use and this will be
a help to you as it has been to all other beginners.
64
=F
3E
b
OPEN STRINGS I*T FRET 2ND FRET SR.P FRET
A MAJOR CHORD B MAJOR CHORD B MAJOR CHORD C MAJOR. CHORD
4-m FRET SIM FRET <biw FRET 7 FRET
MAJOJ^ CHORD P MAJOR CHORD Eb MAXTOR CMORD E MATOR CHORD
STH FRET 9m FRET 10 FRET IJ-rwFRET
F MATOR CHORD F# MAJOR CHORD & MATOR CHORD Afc> MAJOR C140RP
12-ro FRET
A MATOR CHORD
(ONE OCTAVE I4I&HER THAN
ON OPEN STCIM6S)
Hawaiian guitar chords
FIGURE 47.
8
THE TENOR BANJO, with its distinctive vibrant tone, is now one
of the most popular stringed instruments. The modem banjos
are beautiful instruments fitted with wood resonators that am-
plify and improve the volume and tone and help produce the
clear and powerful s,ound of the notes. A lot of people have a
good time playing solos on their banjos, and others like to play
with a dance orchestra. The instrument is a favorite for both
purposes.
The Tenor Banjo has gradually supplanted the old-style
banjo which is seldom seen nowadays. The old banjo had five
strings, whereas the Tenor Banjo has four, and the tuning of
the two instruments is entirely different. This section deals
with the Tenor Banjo only, and for convenience sake, we will
usually call it simply a banjo.
STR1HG-S
CGDA
FIGURE 48
It'
r I
\
/
v\
ill *
\ " Xv -
iF /
\ ^A
"JnT\ j
\ o
\1rif X
^ * T 1
3 G-
TJf"m
H TW
t
FIGURE 49
MIDDLE C
The Banjo's Strings and Notes
The Tenor Banjo's four strings are :
The first or A string
The second or D string
The third or G string
The fourth or C string
These strings are shown in Fig. 48.
The A string is tuned to the first A above middle C on the
piano (Fig. 49). The D string, is tuned to the D just above
middle C. The G string is tuned to the first G below middle C,
and the C string is tuned to the C an octave below middle C.
For tuning instructions, please see the section on "The Violin."
You will notice from Fig. 49 that the range of the Tenor
Banjo's notes is different from most other string instruments and
that if there is much playing on the low G and C strings, the
music would be hard to read. The notes would be written way
below the staff, and it is harder for most people to read these
low notes.
When playing the Tenor Banjo, most people use regular
music such as that written for the piano or violin or for popular
songs. This music is written mostly on or near the staff and is
67
-o-
MIDDLE C G- D A
FIGURE 50
easy to read. The notes, however, are an octave higher than
those to which the strings of the Tenor Banjo are tuned.
What the Tenor Banjo player does is to read the regular
notes and play from them. These notes, which correspond . to
the banjo's strings (although they are an octave higher) are
shown in Fig. 50.
When you see middle C in the music, you play your open
fourth or C string on the banjo. When you see the G above
middle C ( Fig. 50 ) , you play the open third or G string of your
banjo, and so on.
In piano and other standard music, you do not often find
notes below middle C. If you do see them, however, play them
as they are actually written. If you see the B directly below
middle C, for example, it is a note that you can actually make
on the G string of your Tenor Banjo. You play this B and it
sounds exactly like the B on the piano written in the same
position on the staff. The other higher notes from middle C on
up all sound an octave lower than they would sound on a piano.
This is a little difficult to explain in words, but we hope we
have made it clear. Don't puzzle over it too much at this point.
When you take your banjo and some music and start picking
out the notes, it will be clear to you after a very short time.
How the Banjo Is Played
The banjo is held so that it rests on the right thigh, when
you are seated, with the left hand holding the banjo's neck con-
siderably higher (Fig. 51). The strings are struck with a
tortoise shell pick or plectrum, which is held between the ball
of the right thumb and the right forefinger. The pick is laid
68
across the forefinger between the tip of the finger and the first
joint, and at right angles to the finger. The ball of the thumb
is then placed against it ( Fig. 51 ) .
When playing single notes the down stroke is used. The right
hand is moved downward and the pick is swept across the
string.
The short eighth and quarter notes are usually played at one
stroke, but the longer half notes and whole notes are played
with the tremolo. This is a rapid up-and-down movement of the
pick over one string which sustains the tone for the required
length of time. You should practice the tremolo a good deal, be-
cause it is used all the time in playing the Tenor Banjo.
Be sure always to start the tremolo with a down stroke and
end it with an up stroke. By ending the tremolo on an up
stroke your hand is always in position for the next down stroke
or the next tremolo.
Making the Notes on the Banjo
The frets ( raised cross pieces ) on the neck and fingerboard
of the banjo are spaced one half-tone apart.
Accordingly, if you wish to play A# on the A string, you
put your finger on the string at the first fret and press down.
This gives you A#, which is a half-tone higher than A, the tone
of the open string. To get B, a whole tone higher than A, you
put your finger on the string at the second fret, and so on up
FIGURE 51
69
CDF F &ABCDEF6- A BCD 6
FINGER 0134 01240124 0)2 34
FRET 024502450235 02357
C STRING G-STR1N& D STRING- A STRING-
OPEN STRlMfrS C 6- D A
IST FRET
2w FRET
3RD FRET
4iH FRET
5-m FRET
bin FRET
7-mFRET
A
B
C G- D A
STRIN&S
BANJO NOTES AND STRINGS
FIGURE 52
4
789 JO u 12 S3 14 15 to 17
FIGURE 53
the scale. The tips of the fingers are used and they should be
placed very close to the fret, but not directly on top of it.
Fig. 52 shows the range of natural notes (without sharps or
flats, which are most used on the Tenor Banjo, together with
the positions of the left-hand fingers as they make the notes.
The numbers above the notes show which left-hand finger to
place on the string. The numbers below the notes show which
fret to put the finger on. The sign O means an open string-
just pick the string without touching it with a finger.
With Fig. 52 in front of you, take your banjo and start to
figure out the notes and play the scale shown.
Playing sharps and flats will follow easily and naturally after
you have learned the natural notes. To sharp any note^ you
simply move your finger up to the next fret. To flat a note you
move your finger back to the fret below it or toward the head
of the banjo.
For ready reference, we are showing all the notes of the
banjo in Fig. 53. We are showing only sharps, but remember
that the sharp of one note may be the flat of the note next
above it. Thus, A# on the first string is also Bb.
71
Chords in C
o o
c & e c c A
Chords In G
T-^-
Chords in D
A7
DAFfrb P&PB EA
6-C*
Chords in F
*:
Q O
Chords in B
. _i
id" . b
FIGURE 54
FIGURE 56
FIGURE 57
FIGURE 58.
EbGrEbBb CA EbC
Playing Simple Tunes
With the notes shown in Fig. 52, you can play any number of
tunes, when they are written in the Key of C (no sharps or
flats ) . The thing to do is to get out your music and start picking
out the notes of tunes you like. It does not take the average
person long to be able to play the melodies of the popular
dance tunes and the old favorite songs.
When you run into sharps or flats, refer to Fig. 53, if you
have not already learned how to play them.
As you play, keep practicing the tremolo, for it is needed to
sustain the tones of the half notes and whole notes for the
proper length of time.
It has been our experience that average people can learn to
play easy popular melodies on the Tenor Banjo within two or
three weeks' time. We hope that this will be your experience
too.
Playing Chords on the Banjo
After you have learned how to play tunes on single notes,
you will want to learn a few chords. These can be used to-
gether with single notes when you are playing a melody, in
order to give more depth and fullness to your playing.
For example, if you are playing "Old Black Joe," page 57,
you can start with a single note for the word "I'm, and then
strike a chord for the word "coming," instead of using the
tremolo on the single note.
The different chords that are most commonly used on string
instruments are described in the section on "guitar chords" in
the chapter on "The Guitar." If you will look up that explana-
tion, we will not have to repeat it here.
In the following figures we give you the chords you will use
the most at first. They will enable you to play music written
in the keys of C, G (1 sharp), D (2 sharps), F (1 flat) and Bb
(2 flats).
The chords are written, for easier reading, one octave higher
than they will sound on your banjo.
73
Chapter 9
THE VIOLIN
THE VIOLIN, admittedly, is one of the most difficult instruments
to learn to play well. That should be said. But now that we
have said it, we are going right on to point out that thousands
of people have taught themselves to play the violin and can
now play practically any piece of popular music they want to,
as well as all the old favorite traditional songs and hundreds
of beautiful semi-classical and classical melodies drawn from
the world's great store of music available to anyone who will go
into a music store and buy some inexpensive collections of
popular violin pieces.
In these books you will find different arrangements of some
of the world's most glorious music; some arrangements so
simple that you can play them as soon as you learn the finger-
ing of the violin, others more difficult, and others that you will
have to work up to by degrees. Brahms' "Lullaby," Kreisler's
"Alt Wien," Mendelssohn's "On Wings of Song," and dozens of
others are there for you to play, if that is the kind of music you
like. Many people do not realize that this beautiful music is
available for them in simple arrangements that even beginners
can play.
One reason why the violin is more difficult to play than other
string instruments like the guitar and banjo is that there are no
frets (raised crosspieces) on the violin fingerboard to guide
your left-hand fingers to the proper position for each uote^ In
the beginning you have to feel your way toward the notes.
With the help of the diagrams in this chapter you will be able
74
to do this. Before long you should be able to find the notes
instinctively, without the aid of the diagrams.
The Violin and the Bow
Fig. 59 shows the different parts of a violin and of a violin
bow. It also shows the location of the four strings the E or
first string, the A or second string, the D or third string, and
the G or fourth string. The E string is made of steel wire; the
A string of gut; the D string of gut covered with aluminum
wire; and the G string of gut covered with silver wire.
The function of the end button is to hold in place the tail
piece, to which it is fastened with gut.
The purpose of the chin rest is to enable the player to hold
the violin securely. It also protects the top of the violin from
TIP
STICK.'
HAIR.
SILVER,
WINDING-
D STRIN&
TUNING- PEG-
& STRING-
TUNING PE6-
FIM&ER,
BOARD
G STRING-
D STRING-
A STRING
E STRING-'
FROG-
/
CHIN REST
BOW SCREW FIGURE 59
SCROLL
A STRING- TUNIN& PEG-
E STRING- TUMI M6- PEG-
NECK
-TOP.
PURFLINGr
F HOLES
BRIDG-E
E STRING- ADJUSTER.
TAIL PIECE
END BUTTON
75
being touched by the player's chin. This contact might injure
the tonal quality and volume of the violin.
The bridge should always be straight upright and should be
positioned directly between the little nicks in the F holes. If
the bridge is in the wrong position it can ruin the violin's tone.
Inside the violin there is a small round piece of wood just
behind the right foot of the bridge. This is the all-important
soundpost. It braces the top against the pressure of the strings
and both transmits and regulates their vibrations. The entire
violin is made resonant by this little piece of wood, which is
sometimes called the "soul of the violin." Never try to adjust
the soundpost. That is a job for the expert violin repairer.
Glued to the inner surface of the top parallel with the G
string is a narrow strip of wood called the bass-bar. This is
needed to strengthen the top against the vibrations of the big
G string and to equalize the vibrations.
The stick of the bow is usually made of Pernambuco wood,
and the frog of ebony. The hairs are horsehairs.
Before playing, the hairs are tightened by turning the screw
and are rubbed with rosin. The tightening is done to give
the necessary tension to the stick. This tension should not be
so great as to make the stick straight; it should always be
slightly bent in toward the hairs. The rosining is needed to give
the hairs a good grip on the strings.
After playing, the hairs are always loosened to remove the
tension on the stick, and the rosin dust should be wiped off the
violin with a soft cloth. You should not touch the bow hairs
with your fingers and very important you should not touch
the violin's strings with your fingers where the bow touches
them.
It is important that you have a violin and bow of the right
size. Small people use smaller violins than those intended for
large people with large hands. The music store where you get
your violin should be able to help you choose one of the right
size.
76
Tuning the Violin
The violin is usually tuned by striking, one at a time, the four
notes on the piano that correspond to the four violin strings,
and then twisting the tuning pegs until each string gives the
correct tone or pitch. Fig. 60 shows the piano notes that cor-
respond to the violin strings, and also the position on the musi-
cal staff of the note made by each string.
Always tune the A string first; then the D string; then the
G string; and finally the E string.
To start tuning, hold the violin upright, scroll on top, grasp-
ing the neck with your left hand. Play A on the piano with
your right hand; then pluck the A string with your left thumb.
If the string sounds higher than the piano note, loosen it by
turning back the tuning peg until the string sounds a little
lower than the piano. Strike A on the piano again to get the
exact pitch. Then tighten the string again very slowly, pluck-
ing it with the left thumb as you do so. As soon as the string is
tightened so it sounds exactly like the A on the piano, it is
tuned. If a peg is too slippery to hold tight, chalk it with chalk
that you can get at your music store.
The most important thing about tuning is always to finish
tuning a string with a tightening motion of the tuning peg. If
you finish with a loosening motion of the peg the violin will
get out of tune almost as soon as you start to play.
Tune the D string next in exactly the same way.
Then hold the neck of the violin with your right hand, while
you tune the G string and E string. Pluck the strings with your
right thumb, and turn the pegs with your left hand. Always
tune the E string very slowly because it is under high tension.
Use the E string adjuster when the tone of the string is almost
right.
If a piano is not available, you can tune your violin with a
pitch pipe, which can be bought at any good music store.
(Fig. 60.) It consists of four blow pipes pitched G-D-A-E, to
which the four strings of the violin are tuned. You simply
blow into the pitch pipe instead of playing the notes on the
piano.
77
How to the Violin
The violin is held in a horizontal position between the left
shoulder and the chin. The top should slant a little, the right
side being lower than the left. (Fig. 61.) Learn to hold your
violin firmly between shoulder and chin without support from
the left arm. This arm and hand must be free to move at will
along the fingerboard.
Put your violin in position and rest your left fingers on the
fingerboard. Look at Fig. 61 and you will see that the left fore-
arm and hand are in a straight line. This is important. Do not
let your wrist bend out or bend in to touch the neck of the
violin. It is an excellent idea to practice while standing in front
of a mirror to be sure that the scroll is always a little higher
than the left shoulder. Turn sideways to watch that the bow
always stays at right angles to the strings. Keep the left elbow
well under the violin, bending it to the right so you can almost
see it under the right-hand edge of the violin. This brings the
left little finger within easy reach of the strings.
How to Hold the Bow
The bow is held between the four fingers of the right hand
and the right thumb. The stick should touch the second joint
PITCH PIPE
*
A
III
II
Iff
11
1
G- D A
\ \ \ \
* j
fe A
TJ
G-
\
u
D
t :
A
E
FlGUKE 60
of the first finger and the tip of the little finger. This is indi-
cated by the line in Fig. 62. The thumb is placed at point A,
Fig. 63, just where the frog joins the under side of the stick.
The thumb should go between the stick and the hairs and
should touch both the frog and the stick. It should be directly
opposite the right middle finger (Fig. 64), and should also
lightly rest against the edge of the bow hairs.
Now, for what is possibly the most important point about
holding the bow correctly. The end joint of the thumb should
be at a definite right angle to the second joint. This is shown
in Fig. 64. This is the easiest grip and the best way to get real
control of the bow, which is one of the hardest things to do
when you are just starting.
Bowing and Fingering
The bow is not held straight up and down over the strings,
but is Keld in a slightly slanting position with the stick further
away from you than the hairs. Hold it at a right angle to the
strings. It should then be drawn across one string (any one),
touching only that string. Keep the bow midway between the
bridge and the fingerboard. Do not press the bow heavily
against the string. Move it lightly, freely and evenly. This lets
the string vibrate clearly.
There are several special signs and numbers printed on violin
music to guide you in the use of the bow and the left-hand
fingers.
The sign V means an up bow. This means that you push the
bow upward.
The sign n means a down bow. You are to pull the bow
down.
The numbers 1, 2, 3 and 4 are placed above notes to indicate
which finger of the left hand you are to use in making the note
the first, second, third or fourth finger.
The sign O means open string. The note indicated by it is
played on an open string, that is, a string not touched by one
of the fingers. You might play the note E, for example, on the
79
TOP SLANTED SLIGHTLY
FIGURE 61
FIGURE 62
FIGURE 64
FIGURE 63
open E string, which sounds the tone E when it is not pressed
down by a finger.
The word Pizz. ( pizzicatto ) means to pluclc a string with the
finger instead of sounding it with the bow.
The sign x*"""~ is called a slur, and covers two notes. It means
that the two notes are to be played with one stroke of the bow
either upward or downward.
Playing the Open Strings
Your first exercise on the violin should^ be to play on each
open string, E, A, D and G. Practice until you can get a good,
clear tone.
Start with the E string. Use the middle part of the bow,
Draw the bow down slowly and evenly. Do not press against
the string. Then push the bow up slowly. Practice until you
can make a clear, singing tone.
Next play on the G string. Move the bow slowly but steadily.
An important point is not to touch the edge of the violin with
the bow.
Practice next on the A string and D string. The important
thing here is to touch only the one string on which you are
playing.
When you have practiced on all the strings, do the simple
exercise shown in Fig. 65. This consists of playing E with a down
bow, and A with an up bow. Then play D with a down bow
and G with an up bow.
These simple exercises will get you started. You should con-
tinue to play on the open strings until you can play first one,
then another, and then another with a good bit of confidence.
It is right at this point that a book of easy violin exercises
would be a real help. Such a book, which you can get at any
music store, will give you a number of open string exercises to
work at. We are really sorry that there isn't room for some of
these in thi& book; but we feel that it isn't asking too much of
Dur readers to ask them to help themselves along by getting the
music they need at one of the regular music stores.
81
n
mT? 7 " 1
JJ
1 n - I
a ___
1,^3 11
<AJ
J
r& i
E
n
A
E
n
A
V
foM
T7 O
Gr D
FIGURE 65
Making Notes with the Fingers
After you are familiar with playing the open strings, the next
step is to learn how to make notes by putting your left-hand
fingers on the strings.
Here we come to two other special terms used in violin play-
ingwhole steps and half steps. These refer to the distances
between your fingers when they are placed on the strings to
make notes.
For whole steps the fingers are placed a little distance apart,
usually about three-quarters of an inch.
For half steps the fingers are placed close together.
Probably the most important point about how to hold your
left-hand fingers is to keep them arched when they are press-
ing down on the strings. Curve them nicely. Never let them
buckle in.
The First and Second Fingers
First learn to play the notes that you make with your first
and second fingers. You make notes with these fingers on all
four strings.
Begin with the E string, which is shown in Fig. 66. Curve
your first finger and put it on the E string, close to the nut.
Draw your bow across the string and you will hear the tone F,
82
which is a half step higher than E, the tone of the open string.
Now put your second finger on the E string about three-
quarters of an inch beyond the first finger. This gives you the
tone G, which is a whole step higher than F.
To make F sharp, move your first finger up close to the
position for G. The F sharp position is a whole step higher
than the open string.
Practice playing E, F, F sharp and G on the E string until
you can make all the notes clearly.
Then proceed to the A string (Fig. 67. ) Put the first finger on
the A string a whole step higher than the open string. This
gives you the tone B.
Put the second finger close to B (a half step from it). This
will give you C. Notice that C on the A string and G on the E
string are exactly side by side.
Next comes the D string. (Fig. 68. ) Put the first finger on the
D string a whole step higher than the open string. This gives
you the tone E.
Put the second finger close to E (a half step beyond it).
This gives you F. Notice that the fingers are placed on the D
string exactly as they are placed on the A string. To make F
sharp (which you will need), put the second finger on the D
string a whole step beyond E.
Now you are ready for the G string. (Fig. 69. ) You will have
to press your fingers down firmly on this heavy string to get
clear, resonant notes.
Put the first finger on the G string a whole step higher than
the open string. This gives you the tone A.
Put the second finger a whole step from A. This gives you B.
Notice that A is exactly side by side with E and B on the D and
A strings.
The notes shown in Fig. 69 are shown again in Fig. 70, as
they appear on the musical staff . Fig. 71 shows you all the notes
mentioned so far, including open string notes, as they appear
on the staff.
83
What you have to do now is to practice the notes made with
the first and second fingers until you know them well and can
play them from Fig. 71 or from written music. Here again an
exercise book of simple tunes written with these notes only
will be a tremendous help. There are a great many easy tunes
and melodies that can be played with the notes already de-
scribed. Examples are "America," "Flow Gently, Sweet Afton,"
"The Blue Bells of Scotland" and "Yankee Doodle," to mention
only a few of dozens. If you want to make your practice more
fun, get some of these songs and work at them until you can
play them.
The Third and Fourth Fingers
The next step is to learn the notes that are made by putting
the third and fourth fingers on the strings. These fingers are
not as strong as the other two, and violinists have to practice
using them in order to make them stronger.
Begin with the E string. (Fig. 72.) Put the third finger on
the string a whole step beyond G. This gives the note A. Put
the fourth finger on the string a whole step beyond A, and you
will have the note B.
1ST
2 MO
3-pT
r
FIGURE 66
DAE
FIGURE 68
84
A Bl
FIGURE 67
F
f
r-| -
Gr
2
B
I
c
2
E F
1 2
A
J
B
2
Iffiz |
L d
ESTRIN& A STRING D STRING & STRING
FIGURE 70
O 1 2
O 1 2 2
A B C
I 2
E
O
F P& G-
_r_
~ gp
"
\;V/ j
"S" A B
G STRING
D E F F*
D STRIN6-
A STRING*
E STR1N6-
FIGURE 71
Next comes the A string. Put your third finger on the string
a whole step from C. ( Fig. 73. ) This gives you the note D. Put
the fourth finger on the string a whole step from D, and you
will have the note E.
Now for the D string. ( Fig. 74. ) Put the third finger on the
string a whole step beyond F. This gives you the note G. Put
the fourth finger on the string a whole step from G, and you
will make the note A.
Last of all comes the big G string. ( Fig. 75. ) Here the finger-
ing is a little different. Put the third finger on the string a half
step from B to get the next higher tone, C. Then put the fourth
finger oxi the string a whole step from C. This will give you the
note D.
Fig. 75 shows you the notes we have learned how to make,
and Fig. 76 shows where they appear on the musical staff.
With, these notes you can play many, many tunes; but as we
said at the beginning, the violin is more difficult to play than
85
most of the other string instruments and you will have to prac-
tice on it a longer time to get good results.
Remember, however, that thousands of people have taught
themselves to play the violin simply by following guides to the
notes such as we have given you here. With the first, second
and third fingers, and sometimes the fourth finger, they play
all the well-known old favorite songs, many simply arranged
classical pieces, and all kinds of popular dance music. They
may not have the tone of a Kreisler or a Heifetz, but they do
play a lot of music and have a lot of enjoyment.
Actually, finding and making the notes is not as difficult as
is sometimes supposed. Your fingers hit the right spots naturally
and easily after you have practiced for a while. More practicing
and playing more tunes will develop the strength of the third
and fourth fingers.
F
(y
A
B
E
FIGURE 72
1
<
B'
C'
F
&
3fu> <
>D<
A
4TH ,
>E<
B
/
\ E
FIGURE 73
F <
A o
Bt
'D
E
(y
A
B
DAE
FIGURE 74
ABODE E F Rf^Gr A B
01 1234
Of 234 012234 OI254 ^
G- A B C D
G- ST&iMG-
D E F
D STRING-
A STRIN&
E STRJNG-
FlGURE 76
As with the other instruments in this book, we would recom-
mend that you get as much enjoyment as possible out of play-
ing the violin and that you practice on tunes and melodies that
you know, rather than on scales and exercises. Get a book or
two of simple tunes arranged for the violin and indicating the
bowing, and go to work. We have known people who could
play simple tunes fairly well in two or three weeks' time after
starting. You can do the same if you really want to.
FIGURE 77
POUBLE BASS
87
Chapter 10
VIOLA,
DOUBLE
WE ARE INCLUDING pictures of these other members of the
violin family because we think they belong in a book of this
kind; but we are not describing how they are played because
relatively few people wish to learn them as compared with the
number who are interested in the more popular instruments.
The general principles of playing the viola, violoncello and
double bass or, as it is often called the string bass or bull fiddle,
are the same as those used in playing the violin.
The viola stands in point of size between the violin and the
cello and is known variously as the tenor and the alto instru-
ment of the violin family. It is pitched a fifth lower than the
violin and has a sweet, mellow tone, less brilliant than that of
the violin. This is partly because the strings are not tuned to as
high a tension as violin strings.
The cello is considerably larger than the viola and consider-
ably lower in pitch. It has a glorious full, rich tone, which is
invaluable in the orchestra and in chamber music such as trios
and quartets.
The big double bass is the largest of the violin family and
the lowest in pitch. It is so large that the stretches for the
fingers in making notes are very great, almost double those
required for the cello. Owing to the thickness of the strings
real strength is needed to press them against the fingerboard
when they are vibrating. The double bass has become a popu-
lar dance band instrument in recent years, its powerful deep
tones and the rhythmic plucking of its strings providing a
wonderful bass accompaniment to the other instruments.
88
THE WIND INSTRUMENTS
Chapter II
THE
THE SAXOPHONE is probably the most popular of all the wind
instruments, for everybody loves its mellow, sonorous tones
and is familiar with it from hearing dance bands and many
other kinds of music in which it plays a leading part.
It is not a difficult instrument to play, and beginners can
usually learn to play the scale in an hour or two. Within a few
days the average person should be able to play popular music
and any other melodies he has a mind to. It is partly because
of the ease with which it can be learned that so many young
people have taken up the saxophone. Many of them play in
orchestras and earn a good deal of money, as well as having
a good time.
While the saxophone has reached its greatest popularity in
the United States, it was invented by a Belgian named Adolphe
Sax, who named it for himself. Sax perfected his first instru-
ment about the year. 1845.
Saxophones are available today with six different ranges of
notes. The highest is the soprano Bb saxophone. Next in order
come the Alto in Eb, the melody tenor in C, the tenor in Bb,
the Baritone in Eb, and the Bass in Bb. The saxophone that is
most widely used and played is the Alto saxophone in Eb,
which is the one described in this chapter.
When we say that this saxophone is in Eb, this means that
when you read and play the note C, your saxophone will give
out with the note Eb next below the C you are playing.
Points on Playing the Saxophone
The saxophone has a strap attached to it, which goes around
90
your neck. The strap should be adjusted so the mouthpiece is
in a comfortable position for playing.
The fingers of the right hand play the notes at the lower end
of the instrument. Your right thumb should be placed under
the thumb rest and should press gently upward against it.
The fingers of the left hand play the notes of the upper end
of the saxophone. Put your left thumb on the thumb button
just below the octave key and your hand will then be in the
right position.
You produce tones on the saxophone by blowing into the
mouthpiece, to the under side of which is fastened a reed. One
of the accomplishments you will acquire as you go along will
be the strengthening of your lip muscles. As they develop and
strengthen, you will be able to produce a fine, clear quality of
tone. The best way to strengthen the lips is to practice playing
sustained tones.
Now take up your saxophone and put your lips over the
mouthpiece. Let them cover about one-half of the curved part
of the mouthpiece. Rest your upper teeth on the top of the
mouthpiece, and draw your lower lip over your lower teeth
so they do not touch the reed. This is important, so please pay
good attention to it.
Now you are ready to blow and see what happens. First, be
sure to keep your lips around the mouthpiece so no air will
escape at the sides of your mouth. Second, put the tip of your
tongue against the end of the reed. Third, draw the tongue
back quickly and at the same time blow into the mouthpiece,
holding the tongue almost as though you were saying the letter
"T". Your first attempt may produce only a squeak, but with
a little practice you will get good, clear, resonant tones.
Making Notes on the Saxophone
Fig. 78 shows an Alto saxophone and the fingers that are
used to make the different notes up to high Db. The fingering,
for the notes above Db is shown in Fig. 79. The range of the
91
Saxophone
fingering
FIGURE 78.
B C
E F
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Alto saxophone is from Bb below middle C to high F.
To avoid needless confusion Fig. 78 is highly simplified. It
shows, on the saxophone itself, only the pads and keys that
you press down with your fingers and the inner part of your
hands in order to make the notes. The pads on which your fin-
gers operate are numbered 1, 2, 2J/2, 3 and so on up to 13.
The keys, which are used chiefly when you are playing high
notes, are lettered A, B, C, D, E, F, plus the octave key.
The pads and keys that are used to make each note are indi-
cated in the column under each note. Thus, to make the first
note, Bb, you press down pads 1, 2, and 3 and 7 with the first,
second, third and fourth fingers of your left hand, and pads
8, 9, 10 and 12, with the first, second, third and fourth fingers
of your right hand.
In the left hand the first, second and third fingers always
rest on the same pads, except when you shift the second finger
to the little pad numbered 2 } /2 to make A# or Bb. The left
little finger must be more versatile, for it plays pad 4 to make
G# or Ab, and must also shift to pads 5, 6 and 7 to make the
three lowest notes.
Much the same thing is true of the right hand. The second
finger has to shift to pad 13 to make F# or Gb, and the little
finger has to press two pads, 11 and 12, for some of the low
notes.
All of this sounds harder on paper than it is to make the
actual notes when you have a saxophone in your hands.
When you need to press on the keys A, B and C, you do so
with the inner part of your left hand. In the same way, you
press down the keys D, E and F with the inner part of your
right hand.
Please be sure to notice that the higher notes of the scale
(except the very highest) are shown at the bottom of the
columns. The fingering for them is the same as for the notes
shown at the top except that you have to press down the octave
key with your left thumb. This opens the key.
94
Fig. 79 shows the five highest notes of the Alto saxophone.
It is arranged in exactly the same way as Fig. 78, although the
saxophone is not shown.
B
B-A
B-A
B-A
FIGURE 79.
95
Points on Fingering
The Octave Key. Starting with D on the fourth line of the
staff and for all notes above, you must press down the octave
key at the back of the saxophone with your left thumb.
Highest Notes. The highest notes, from high D to high F
(Fig. 79) are made by pressing against the keys A, B and C
with the inner part of your left fingers. The key D down below
at the back of the instrument is also used. To make high D
press against key B. To make high E press down keys A and B.
To make high D# or Eb press down keys A and B with your
left hand and key D down below with your right hand. To
make high F press down keys A, B and C with your left hand
and key D with your right hand.
Alternate fingerings. Alternate fingerings are given for F#
or Gb, A# or Bb and for C. Start in with the first fingering,
the one shown at the left, and experiment with the others
later on.
Playing Simple Tunes
As we said at the beginning, it does not usually take people
long to learn to make the notes on the saxophone. And as soon
as you have learned how to play up and down the scale, there
is absolutely nothing to stop you from starting right in to play
simple tunes or even popular music. If you know how to read
music, it is a fairly simple matter to follow the notes, and the
more you play the better you will get. We have known so
many people who have taught themselves the fingering on a
saxophone from diagrams such as those in this chapter, that
we have little hesitation in repeating that any average person
should be able to play popular and other simple music within
a few days after they get hold of a saxophone and start
experimenting.
96
Chapter 12
TRUMPET AND CORNET
THE TRUMPET has been used for many years in the great sym-
phony orchestras and in military bands, and in recent years it
has become one of the grandest of the instruments used in
dance bands. Its brilliant tone is marvelous for playing a mel-
1ST VALVE
UPPER VALVFCAP
VALVE
TUNING- SLIDE
MOUTHPIECE
VALVE CASlNGr.
BOW KNOB
/WATER, KEY
2*ND VALVE SLIPS
LOWER, VALVE CAP
Cornet
BELL
5RD VALVE
SLIDE
Trumpet
FIGURE 80
ody and many people like to play solos on the trumpet at home
to enjoy its rich, golden tones.
. The cornet differs from the trumpet in appearance and in
tone, but both instruments are played and fingered in the
same way. The trumpet is longer and has a clear, brilliant tone;
the comet's tone is more mellow. It is perfectly possible for a
person to play both instruments since there is no difference in
the methods of fingering or tone production.
Both instruments are among the easiest to learn to play inso-
far as making the notes is concerned. It is more difficult, how-
ever, to learn to blow into them or "tongue", to produce a good
tone. This does take time and practice.
Fig. 80 shows both a trumpet and a comet and their princi-
pal parts. Each has three valves or pistons and connected with
the valves are slides which are used for tuning. Heat and cold
affect these instruments, making them play a little sharp or
flat, and the valve slides can be moved to correct these condi-
tions or others that might put the instrument slightly out of
tune. There is also a water key, placed where most of the water
gathers during playing, by means of which the water is dis-
charged from the tubing. A good deal of water also gathers in
the third valve slide and is removed by taking off the end of
the slide.
Xrumpets and cornets are pitched in Bb. This means that
when you read and finger the note C, the note that comes out
is Bb. Thus, if you and a friend who plays the piano are play-
ing together from the same music, your friend would have to
play each note a whole tone lower than written in the music
in order to be in tune with you. Trumpet and cornet music is,
of course, written with this in mind; so in a band or orchestra
all you have to do is to play your part and it will fit in with the
other instruments.
The trumpet is held for playing as shown in Fig. 81. The left
hand holds the instrument in a horizontal position, with the
fingers clasped over the valves. The arms should be slightly
98 5 J
away from the body. The first, second and third fingers of the
right hand are then put on the buttons of the first, second and
third valves. When you are playing or practicing, always keep
the fingers on the valves. Put the right thumb under the upper
tubes near the valves. This helps to keep the fingers in the right
position.
Tone Production
The most important thing to learn about playing a trumpet
or cornet is to produce a good, clear tone. This will come as
you play and practice and your lips develop the needed amount
of strength.
To produce a tone, put your lips together except for a small
opening in the center for your tongue and for your breath to
pass through. The tone is produced by a combined action of
the lips, the tongue and the breath.
Put your lips against the mouthpiece and place your tongue
against your upper teeth as though you were going to say the
letter "T". Then blow into the mouthpiece, at the same time
saying "T" or "tu" under your breath. It is important that you
do not move your lips when you do this, as that would make
the tone weak and indistinct. Keep your lips entirely motion-
less, letting the tongue do all the work.
An important point is to learn to draw in your breath through
the corners of your mouth. Don't breathe in through the
FIGURE 81
i 'ii ' / \
99
mouthpiece. As you practice, you will learn to breathe in
accordance with the length of each phrase you have to play.
You should breathe often, but at the right places, after one
musical phrase is finished and before the next one starts. Don't
try to play as long as you actually can on one breath.
The best way to gain good tone production is to play sus-
tained notes, holding them as long as your breath comes freely.
Making the Notes
The different notes in the scale are made on the trumpet or
cornet by a combination of two things ( 1 ) the valve or valves
you press down with the fingers of your right hand and ( 2 ) the
manner in which you blow or more properly "tongue" into the
mouthpiece.
Fig. 82 shows the range of the instruments, which is from
F# below the middle C to C two lines above the staff, and
shows which valves to press to make each of the notes. Some
of the notes have the symbol O printed over them and this
means an open tone played without pressing down any of the
valves.
Notice, that the same valves or combinations of valves are
used to produce more than one note. Thus, there are six open
tones notes made with none of the valves pressed down.
These notes range from middle C up through G, C, E and G to
the high C. Then there are six notes made by pressing down
the first valve-the low A# or Bb, F, the next A# or Bb, D, F
and the high A# or Bb. The same is true of other notes. You
make the higher notes by tightening the lips and. using quicker,
more forceful tonguing.
When you play the lower notes, your lips should be fairly
relaxed and not too tightly pressed together. There should be
no great effort when you breathe into the mouthpiece and pro-
nounce "tu". Take it easy.
Start with middle C and with G on the second line of the
staff. These are open tones and fairly easy to produce. When
you can make them clearly, try the other notes just above and
below them.
100
fingering cnan
for
trumpet or cornet
VALVES PRESSED DOttW
u
1
3
2
3
1
2
i
2
2
3
I
3
2
3
J
2
j
Jfcn- 1
1 1
y"
T*
a-
# A- CJ
o
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A^oRBb B C
E F
2 1
20321 20
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i
21201
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H F
2
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3212
4trobo o ^
, fi ^ * <&>n n
L fr c
JfroeAb A A*o*Bb B
C
FIGURE 82.
When you try the higher notes, tighten your lips by tighten-
ing the muscles at the corners of your mouth. This will tighten
your lips at the center, too, where they touch the mouthpiece.
Avoid the mistake made by many beginners of pressing the
mouthpiece too tightly against the lips when playing the higher
notes. This is important to remember.
With your lips tightened as described, draw your tongue a
101
little further back in your mouth than when playing the lower
notes and then pronounce "tu" with considerable force. Don't
use all your force, and don't try too hard just at first. Try the
high D, E and F, and if you don't do very well, forget them for
a day or so and then come back to them.
As you practice the easier lower notes, your lips will gradu-
ally gain strength and the higher notes will present no difficul-
ties. So do not try to force them right at the start. It is like
trying to run before you can walk and is the wrong way to go
about it. Have patience and in a week or so after you start you
should begin to get results.
Playing Tunes
When you can play the most commonly used notes, which
are those from the low E to the E on the fourth line of the
staff, you are all set to start playing tunes. Get whatever music
you like best at the music store or ten-cent store and see how
well you can make out.
As with any other instrument, you should start with simple,
slow-moving tunes like, for example, "Long, Long Ago," "Amer-
ica," "Home on the Range," and so on. Any good song book
will provide you with dozens of well-known melodies with
which you can get started.
Each time, before you start to play, be sure that your instru-
ment is free of water. Then warm it up by playing single notes
and some sustained tones to strengthen your lips and improve
the quality of the tone you can produce. Don't play for too
long a time at the beginning. Stop when your lips begin to be
tired of being under tension.
After playing, be sure to let out all the water in the instru-
ment before putting it away. If you don't do this, the water
will harm the insides of the tubes.
Once or twice a week you should rinse out your trumpet or
cornet with lukewarm water. Many players pour a little water
through their instrument once every day. This keeps it clean
and helps to keep the valves in good condition.
102
Chapter 13
IN ADDITION to the well-known trumpet, cornet and slide trom-
bone, brass bands use several other brass instruments. Some of
these are also used in the brass sections of big symphony
orchestras. Everybody knows in a general way what most of
these instruments look like, but we have found that very few
people are sure of what they are called. For this reason we are
including pictures and brief descriptions of them. The instru-
ments are the French horn, the mellophone, the alto, tenor and
baritone horns, the euphonium, the recording bass, the bass
tuba, and the Sousaphone.
All these instruments are played in the same general way as
the trumpet and cornet, by pressing down three or sometimes
four valves to make the notes.
The French horn, which consists chiefly of a very slender
conical tube wound round in coils, is one of the most difficult
of all wind instruments to play. Its beautiful, mellow tone,
however, makes it one of the most valuable instruments in a
large orchestra where it produces a tone quality no other
instrument can duplicate. A fine French horn, like a fine violin,
is practically a hand-made job, and every inch of the tubing is
as smooth as glass and is correctly and uniformly graduated in
thickness.
It is said that expert players use seven different kinds of lip
efforts to get the tones they want from the French horn, and
even the best players will sometimes "crack" or make the wrong
note now and then, owing to the remarkable difficulty of playing
the instrument.
103
The mellophone is a simplified French horn. It has much the
same full, rounded tone, but is much easier to play. For this
reason it is used in many school bands and orchestras.
The alto, tenor and baritone horns play these three differ-
ent parts in band music. The alto horn plays the higher parts,
the tenor horn sings along as a tenor voice would, and the
baritone horn corresponds to a man's baritone voice. The tenor
horn is a relatively new instrument, which was designed to fill
the wide gap that previously existed in band instrumentation
between the alto and baritone horns. When one or two tenor
horns are used, the entire tone color of a band is enriched to a
surprising degree. The shape and appearance of a tenor horn is
almost exactly the same as that of an alto horn.
The euphonium is essentially the same in tone and range as
the baritone horn. It is made either with one or two bells. On
the two-bell type there is a fourth valve, which brings into play
the smaller bell, providing an added tone color which is dra-
matically effective in solo work and for such efforts as imita-
tions and echoes.
The recording bass is the powerful instrument that goes
oom-pah, oom-pah in the band to mark the time and accentu-
ate the beat. It has a deep, rich tone of really thunderous
power.
Most symphony orchestra players prefer a bass horn with an
upright bell, instead of the curved bell of the recording bass.
They also prefer to call their instrument a bass tuba, although
it is also known as an upright bass. In an orchestra the bass
tuba marks the time, but is also used to provide soft, rich bass
notes to complete chords made by the other instruments.
The function of the big Sousaphone is much the same as
that of the recording bass. It is an instrument that most of the
time goes oom-pah, oom-pah, lending its own distinctive power
and richness to the general ensemble of the instruments. It is
named for the famous band director and "March King," John
Philip Sousa.
104
French Horn
Mellophone
Double Bell
Euphonium
Recording
Brass
FIGURE 83
Sousaphone
Chapter 14
THE CLARINET
THE CLARINET is one of the most valued of the symphony
orchestra instruments and in recent years has come into great
prominence in dance orchestras, both "hot" and "sweet." It
also has an important place in military bands where it plays
many parts that the violins play in an orchestra. The clarinet
has a resonant "reedy" tone and a very wide range of tonal
expression. It is not a loud instrument and for this reason is
well suited for home playing.
There is a great variety of music arranged for clarinet and
piano, and every clarinet player should make his or her own
collection of the pieces arranged in this way that they like best.
Clarinets are made that are pitched in the keys of B flat, A
and E flat, but the B flat clarinet is the most popular and the
most widely used. When you read and finger the note C in a
piece of music and blow into a B flat clarinet, the note that
comes out is B flat. It makes tones, that is, that are a whole
tone lower than the piano tones played from the same written
notes.
The clarinet was invented a little before the year 1800 by a
flutemaker of Nuremberg, Germany, named Johann Christoph
Denner. His first instrument had only five keys and was very
primitive as compared with the beautiful instruments of today,
equipped with key mechanisms that permit extremely brilliant
and flexible execution.
Clarinets today are usually made of Grenadilla wood, though
some are made of metal, and their mouthpieces are made of
ebony, hard rubber, crystal or plastic.
106
How to Hold the Clarinet
Fig. 84 shows how a clarinet or "licorice stick," as it is called
by swing band players, is held when you are going to play it.
The fingers of the left hand rest on the upper keys and holes,
and the left arm should be held several inches clear of the
body for freedom of movement.
The fingers of the right hand rest on the lower keys and
holes, and the right elbow should be held a little away from the
body. The right thumb should press slightly upward against
the thumb rest to balance and support the instrument.
FIGURE 84
107
Producing the Tone
To produce a tone on the clarinet you do not just put the
mouthpiece between your lips and blow. There is a little more
to it than that, but it is all simple to do.
First, moisten the reed thoroughly. Then draw your lower
lip back over the lower teeth to keep the teeth away from the
reed. Put the mouthpiece between your lips and put the upper
teeth firmly on the upper part of the mouthpiece about one-
quarter of an inch from the end or point. You must hold the
mouthpiece firmly but without too much pressure, for this
would keep the reed from vibrating.
Close the corners of your mouth tightly so no air can escape
through them. Then blow gently into the mouthpiece. The
first few tfys may sound something like the trained seals in the
circus, but that is only to be expected. Everybody goes through
that stage; but everybody soon gets over it. As with other wind
instruments, playing long-sustained tones is the best way to
strengthen your lips and improve the quality of your tone.
Making the Notes
Fig. 85 shows the section of the clarinet that has all the keys
and holes with which the notes are made with the fingers.
It also shows all the notes except those from F# in the first
space of the staff to Bb on the third line of the staff and the
very highest notes. These are shown in Fig. 86 and Fig. 87.
Notice that there are notes at both the top and bottom of
Fig. 85. The notes at the top of the column are different from
those at the bottom; but both notes in each column are pro-
duced by the same fingering.
In Fig. 85 the holes of the clarinet are numbered 1, 2, 3, 4,
5 and 6. The keys and there are quite a lot of them are desig-
nated by the letters A, B, C and so on down the alphabet to P.
Where these numbers and letters appear in the columns it
means that the hole indicated is to be covered and the key
indicated is to be pressed down.
For some of the notes you will see that there are two or more
108
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methods of fingering. Players gradually learn these and use
the one that is most convenient as they are playing along.
Here is where the fingers go when playing:
The left first finger plays on Hole 1 and the A and B keys.
The left second finger plays on Hole 2.
The left third finger plays on Hole 3 and key C.
The left little fiiiger plays on keys D, E, F and G.
The left thumb plays on the thumb hole and the octave key.
(Fig. 86.)
The right first finger plays on Hole 4 and keys H, I, J and K.
The right second finger plays on Hole 5.
The right third finger plays on Hole 6 and key P.
The right little finger plays on keys L, M, N and O.
Fig. 85 is condensed and may seem a little confusing at first.
Take your clarinet in your hands, however, and start to figure
out the fingering, starting with low E and working up the scale,
and you will soon catch on to how it is done.
Notice that for all the notes at the tops of the columns you
keep the thumb hole closed with your right thumb. The octave
key is also closed. For the notes at the bottom of the columns
the thumb hole is closed, but the octave key is opened by
pressing it down with your thumb.
Fig. 86 shows how to finger the middle register notes from
F# in the first space of the staff up to Bb on the third line of
the staff. These notes are shown separately because they are
made somewhat differently from the other notes, using different
keys. Fig. 86 shows the octave or register key and the thumb
hole that are on the under side of the clarinet. It also shows the
little keys H, I, J and K, which appear in Fig. 85.
Since the figure shows the under side of the instrument, it
cannot show the keys marked A and B in Fig. 85. The A key
is used to make A, A# and Bb; and the B key is used to
make G#.
Notice that there are two ways to make F#, one with the
thumb hole open and the left first finger on Hole 1; the other
110
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with the thumb hole closed and the right first finger on keys
J and K.
The other notes are all made with the thumb hole open. For
B you press down key B (Fig. 85) with your left first finger.
For A you press down key A (Fig. 85) with your left first
finger. For Bb you press down key A with your left first finger
and the octave key with your left thumb.
The higher notes are shown, together with their fingering,
in Fig. 87. The numbers and letters in the columns are arranged
exactly as in Fig. 85, to which you can refer to locate holes and
keys. These notes are all played with the thumb hole closed and
the octave key open.
The higher notes require a little more pressure on the reed to
bring them out clearly.
Playing the Clarinet
The average person has little difficulty in learning how to
finger the notes. What takes practice is learning how to make
a good tone and this comes about gradually as you play and
practice holding long-sustained notes.
As with any other instrument you can start to play tunes
and melodies just as soon as you learn to read and finger the
notes. Your progress is really entirely up to you. It always
helps, though, if you have musical friends with whom to play.
Start your practicing with the middle register notes and
those just below them, and play them up and down the scale
until you know them. Then try out some simple tunes and go
on from there at your own pace.
113
Chapter 15
THE OBOE, BASSOON AND
ENGLISH HORN
LIKE THE clarinet, the oboe, bassoon and English horn are reed
instruments on which the tone is produced by causing a reed
to vibrate. All three of these instruments are indispensable to
a symphony orchestra, but are seldom used for solo work or
for playing popular music. They are played on the same gen-
eral principles as the clarinet.
The oboe is the treble member of the wood wind instru-
ments and has a double reed mouthpiece, which is quite hard
to learn to use. Its range is from Bb below the treble staff to
high F, and it has a distinctive thin, reedy tone. The oboe's
name comes from the French word hautbois, meaning "high
wood" or high-pitched wood wind instrument. In early days
the oboe was commonly called the hautboy, and this was
gradually modified to oboe.
The bassoon also has a double reed mouthpiece and is a
member of the oboe family of which it is the bass. That is how
it got its name, which indicates that it is the big bass of the
wood wind instruments. It is a large instrument about four feet
long, and its mechanism and fingering are very intricate. The
notes are produced by using the fingers on seven holes and
seventeen or nineteen keys. The bassoon has a tremendous
range, which extends from Bb below the bass staff to Ab in the
second space of the treble staff or by means of an additional
mechanism to C or even F. Partly because of this and partly
because of its unique deep tones, the bassoon has been a great
favorite with many of the master composers such as Beethoven,
Mozart and others.
114
The English horn or COT anglais Is the tenor of the oboe
family. It differs slightly in construction from the oboe, being
wider and longer and having a globular bell at the lower end.
The double reed mouthpiece is attached to a curved metal
crook at the upper end. The fingering and method of produc-
ing the tone are, however, so similar in both instruments that
a person who plays one can easily master the other. The tone is
penetrating and reedy, like that of the oboe, but mellower.
It is not an English instrument and nobody is certain how
it got its name. The favorite theory is that it is a corruption of
the French words cor angle, meaning "angled horn" and refer-
ring to the angular bend of the early instruments.
Oboe
English Horn
FIGURE
115
Chapter 16
THE FLUTE AND PICCOLO
THE FLUTE is made of silver and its tone is usually described as
"silvery," which is about as close as one can come to it. It is a
beautiful, pure tone, which is used in many different ways to
supplement the tones of the other instruments and enrich the
ensemble tone of an orchestra or band.
For playing solos, and for playing duets or trios with the
violin, viola, clarinet or saxophone, the flute is an ideal instru-
ment, for its tone adds a quality that no other instrument can
produce.
The piccolo is used chiefly in orchestras and is usually played
by one of the flute players or flautists. It is a high-pitched,
exciting little instrument that plays an octave higher than the
flute. You have probably heard it in the "Ride of the Valkyries"
in which its shrill trilling, piercing through and over-riding the
sonorous tones of the mighty brasses, whips the music up to its
tremendously exciting climaxes.
Producing the Flute Tone
The flute is held with the mouthpiece or embouchure just
below the lips, and with its length extending out to your right.
The fingers of the left hand rest on the upper keys, and the
right-hand fingers on the lower keys. The word embouchure,
by the way, is built up around the French word bouche, mean-
ing "mouth" and is pronounced "ombooshure."
At first, most people have a little difficulty blowing into the
embouchure the right way to get a good tone. If you have the
116
same difficulty, you may be sure that it is the common experi-
ence of all beginners. With practice, anyone can soon learn
how the thing is done. We will give as explicit directions as
we can.
Rest the inner edge of the embouchure on the center of the
lower lip, at the bottom line of the lip. This is the best position
for most players, but you may find it easier to have the
embouchure a little higher or even a little lower. As a rule,
the embouchure should be turned in a little toward the mouth.
Let your upper lip project slightly over the lower lip. Then
tighten your lips a little by tightening the muscles at the cor-
ners of the mouth. Have the center of your lips slightly parted.
Now, the next step, the actual blowing. Do not blow directly
down into the embouchure. Blow against its outer edge, the
edge furthest away from your mouth. The tone is produced by
your breath striking the edge of the embouchure. Some of the
air should pass over the edge of the embouchure, but not too
much, for this produces a loud, high-pitch tone. Also, if too
much air goes into the flute and too little over the edge of the
embouchure, the tone will be poor and low in pitch.
Those are the secrets of how to produce a flute tone, and
they may take you a week or two to master. One fault to guard
against is holding your lips too stiff. Most beginners do this
without knowing it during their early struggles and produce a
hard tone.
When you get to playing tunes, you will want to practice
"tonguing." You use your tongue when striking a note to make
it sharp and clear. The method is to pronounce silently the
word "tu" each time you start to blow. This forces the tongue
forward to a point between the top of the teeth and the roof
of the mouth. Do not let the tongue drop down and touch the
teeth. That does not help the tone. The main rule about tongu-
ing is that you should always start each tone by tonguing it, so
it is a good idea to start practicing the "tu, tu, tuY* right from
the start.
117
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FIGURE 89.
Making the Notes
The flute that is most commonly played today is one that
has the Boehm system of keys and on which the G# key is
closed. This means that when you want to play G# you have
to press down on the G# key with the little finger of your left
hand. We mention this because there are also Boehm system
flutes with open G# keys and everyone should know about
the two kinds. The chances are ten to one today, however, that
you will get hold of a closed G# key flute, which is the kind we
describe here.
Fig. 89 shows the flute and the fingering for the notes of its
first or low octave, from middle C ( on the piano ) to C in the
third space of the staff, and also for the three next higher notes,
C# 3 D and Eb.
There is no diagram for the next higher notes, from E to C
two lines above the staff, because these are fingered exactly
the same as the corresponding notes an octave lower, shown in
Fig. 89.
Fig. 90 shows the fingering for the notes of the flute's third
octave, from G# up to high C. The numbers in the columns
are arranged just as in Fig. 89.
The figures in the columns indicate the keys and levers that
are closed to form the notes at the tops of the columns. In
studying the diagrams, however, there are several things to
keep in mind.
One is that the G# key, number 5, is always closed unless
you open it with the little finger of the left hand. Therefore,
when you see the number 5 in a column, it does not mean
that you have to press down key number 5. The key is already
closed. Press down and open the key when no number 5 is
shown.
The Eb key, number 10, is another key that is always closed
unless you open it by pressing down with your right little
finger. The way the flute is arranged, your right little finger has
to be kept on this key, pressing it down, practically all the
120
time. You remove your little finger and allow the key to close
only when you are playing the note D in the two lower octaves,
and the three very highest notes, Bb, E and C (Fig. 85). This
is important and is indicated in Fig. 84 by the number 10 at
the bottom of most of the columns. Number 10 means to press
down the Eb key, number 10.
The two lowest levers on the flute, numbers 11 and 12, are
rarely used. They are used to make the two very lowest notes,
C and C#. When you press down the levers, the keys marked
C# and C are made to close. You press down lever 11 to make
C#, and you press down levers 11 and 12 to make C. The rest
of the time these keys stay open of their own accord, and you
do not have to pay any attention to them.
The important thumb key or B key, number 2, and the little
Bb key just above it, number 6, also require a little explanation.
Your left thumb rests on the thumb key almost all the time,
keeping it closed. This is indicated by the figure 2 in the
columns. The only notes for which you remove your thumb
and allow the key to open are C in the third space of the staff,
the C# just above it (Fig. 89), the high G and high.C (Fig.
90 ) . When the thumb key is to be open, no number 2 appears
in the column.
The little Bb key, number 6, is used to make Bb. Simply
slide your thumb over to cover it and press it down.
Apart from these rather specialized keys, the fingering and
playing of the flute is very simple.
The first three fingers of the left hand play on keys 1, 3 and
4. All the left little finger has to do is to work the G# key when
you want to play G#.
The first three fingers of the right hand rest on keys 7, 8 and
9, and usually spend most of the time playing them. Each one,
however, has one extra duty.
The right first finger works the lever and key marked C,
which is a key used for making trills. The subject of trills and
the use of the trill keys is more complicated than one might
121
think and, since beginners rarely need to use these keys we
are not including the special fingering diagrams that would be
needed to explain all the details about them.
The right second finger works the lever marked B. This lever
opens the D trill key at the top of the flute. In ordinary playing,
you use lever B only when making the very high Bb (Fig. 90).
The right third finger works the lever marked A. This lever
opens the D# trill key. This is used only when you play high
B, the next to the highest note (Fig. 90).
The right little finger's chief function is to press down the Eb
lever. It also, however, presses down levers 11 and 12 when
you need to play low C# and C.
Reading what we liave felt we should write about the finger-
ing of the flute may be more difficult for many readers than
picking up their flute, putting their fingers on the keys, and
making the notes one by one. The flute fingering is not difficult.
We have given explanations of the use of the several special
keys because it is really difficult to figure out how to use them
from the usual fingering diagrams.
Playing the Flute
The greatest difficulty that most beginners have with the
flute is in producing a good, clear tone. This comes with prac-
tice and, as with other wind instruments, one of the best exer-
cises to develop the lip strength needed for a good tone is to
play sustained notes for a few minutes every day.
There is no reason on earth why you should not start to play
tunes you like, including the melodies of popular dance tunes,
as soon as you learn how to make the notes and can get a
good tone. You only have to play one note at a time, and you
will find that most melodies do not call for a wide range of
notes or for very rapid playing.
Play as slowly as you like at first. Don't try to build Rome in
a day. The more you play, the easier it gets, and little by little
the blowing and the marking of the notes will become second
nature to you.
122
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FIGURE 90.
Flute high notes
The Piccolo
FIGURE 91
The Piccolo
The piccolo is simply a small flute (Fig. 91). The keys are
closer together, but the fingering is the same. As a conse-
quence, anyone who can play the flute can pick up the piccolo
very easily. By the same token, if you want to learn to play
the piccolo only, you can do so by following the blowing and
fingering instructions we have given for the flute.
124
Chapter 17
THE TROMBONE
THE GREAT increase in the number of dance bands has brought
new and widespread popularity to the trombone, which plays
a prominent part in making their music. Expert players can
'produce many novel effects and go in for "rips," "breaks" and
other "hot" maneuvers. For those who like more serious music
the trombone, with its rich golden tones, also has much to offer.
It is an outstanding solo instrument and blends beautifully
with other instruments for informal ensemble playing at home
or in band and orchestra work.
Of all the brass instruments, the trombone has the most
perfect pitch. Each note in its range of more than two octaves
can be played exactly in tune if the slide is handled properly.
Producing Trombone Tones
The trombone is held by the left hand in the manner shown
in Fig. 92. The first finger is put right by the mouthpiece, and
the remaining fingers curl around the upright crosspiece. The
fingers hold the instrument against the palm of the hand to hold
it steady.
The right hand holds and guides the slide, which is moved
in and out to form the notes. It holds the slide by the second
or lower crosspiece, which it grasps between the thumb and
the first two fingers, as shown in Fig. 92. The most important
thing is to have the end of the thumb well positioned at or
near the point where the lower crosspiece and the lower slide
meet, and to keep the thumb there while playing.
When you are ready to start to produce a tone, put the
125
mouthpiece against your lips, at the center of your mouth. Put
one-half of the mouthpiece against your upper lip and one-half
against your lower lip. This is a good position for many players,
but if it doesn't seem right for you, move the mouthpiece either
up or down a little until you find the position that suits you
best.
Put your lips lightly together and draw back the corners of
your mouth, leaving a small opening at the center of the mouth
for your tongue, which moves forward and backward when you
are playing. Hold the mouthpiece against your lips and take a
deep breath, drawing the air in through the corners of your
mouth. Never breathe in through the mouthpiece.
Now blow gently into the mouthpiece, at the same time pro-
nouncing the letter "T". This throws your tongue forward as
required. The tone is made by this tongue action, plus your
breathing into the mouthpiece, plus the vibration of your
tightened lips. You use the tongue and the pronouncing of "T"
to divide one tone from the next or, put another way, to make
each separate tone.
When you make the low tones, the tongue should go forward
a little further between the teeth and lips. For high tones, you
pronounce "T" a little more forcibly. Also, for high tones, the
lips are drawn a little tighter by drawing back the corners of
the mouth.
Never puif out your cheeks. Your face is to be kept motion-
less. Only the tongue is to move.
Making the Notes
The trombone most generally used is the one pitched in B
flat. This means that when you read the note C in written
music and play it on your trombone, you produce the tone B
flat, one whole tone lower.
You make the different notes on a trombone by moving
the slide in or out with your right hand. There are no marks
to tell you just how far to move the slide, but every player soon
learns the different slide positions that form the notes.
126
Right Hand
Left Hand
FIGURE 92
Seven slide positions are used. These are shown in Fig. 93,
together with the principal notes made at each position. The
first position means that the slide is closed or drawn back as
far as it will go. The approximate distances the slide is moved
forward to make the other positions is indicated. You will have
to feel your way at first and experiment until you can hit the
different positions unerringly.
For the second position the slide is drawn out about 3J/2
inches. For the third position the slide is drawn out about 7
inches. To reach the fourth position you draw the slide about
3J/2 inches from the third, or 10>^ inches from the closed or
first position. The fifth position is 3>i inches beyond the fourth.
The sixth position is about 4J/2 inches beyond the fifth, and the
seventh position is 4J/2 inches beyond the sixth. At the seventh
position the slide is about 23 inches from the closed position
a good, long reach for your right arm.
Try from the very start to memorize the different positions
by measuring them with your eye and your arm. After a bit,
this will become automatic if you apply yourself to it from the
beginning.
In addition to knowing the distances of the different posi-
tions, it is most important that you use your ear at all times
to ensure accurate pitch of the notes or tones. If a note sounds
too sharp, draw the slide a little further out. If it is too flat,
push the slide in a little. Hitting a note "right in the middle"
depends chiefly on your ear and your simultaneous movement
of the slide.
Notice that music for the trombone is written in the bass
clef. Notice also that although most of the accidentals (corre-
sponding to the black notes on a piano) are marked with a
flat, they are at the same time sharped notes. At the 5th posi-
tion, for example, Gb is the same note as F#, and Db is the
same as C#.
To get familiar with how the notes are made, a good practice
is to play the scale of B flat. The trombone is pitched in B flat
128
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and this note is in the first and easiest position. The scale is
shown in Fig. 94, together with the position of the slide at each
note. Play this scale up and then play it down, and you will
begin to get the feel of the instrument and how it works. Then
play all the notes made at the first position, and at each suc-
ceeding position. Play them slowly and carefully, as this prac-
tice will then familiarize you with the different note positions.
Then try playing "J in g^ e Bells," playing D for the first six notes
-"Jingle Bells, Jingle Bells."
Points on Playing the Trombone
You will need some simple tunes on which to practice, and
should get a book of melodies arranged for the trombone at
your music store. They will give you "Jingle Bells" and many
other pieces that you should be able to play without difficulty
once you have learned how to make the notes. They will also
familiarize you very quickly with the principal notes that are
used in much of the trombone music.
Keep in mind that when you are playing, and particularly
when you are playing quickly, you must work the slide and
your tongue at the same instant in producing the notes.
Do not spend much time at first in playing the high notes.
Wait until you develop your lip strength, when they will come
more easily.
You should find at your music store music written specially
for the trombone or for the trombone and piano, if you have a
friend who can play the piano with you. The music that is spe-
cially arranged for the trombone can be played right from the
written notes. It does not have to be transposed. If you are play-
ing from a regular song book, with the melody written in the
treble clef, you have to transpose each note one tone higher.
Lots of people can do this, but it is hard for beginners.
When you are playing, you should quite frequently free
your trombone of water. This is done by using the water key at
the front of the slide. Be careful never to let the water drain off
through the mouthpiece.
130
bQ
JJ^_-
fro
_ t?rr _^
- z - cr
NOTES F
o ^
6- A Bk> C
D Efc> F & A
FIGURE 94
Bb C > Eb F
As you play, you will become familiar with a number of
notes that can be made with the slide in different positions.
Thus, the F made with the slide at the first position (Fig. 93)
can be duplicated with the slide at the sixth position. The
higher A made with the slide at the second position can also
be produced when the slide is at the sixth position, and so on.
As you go along, you will learn to play the note that is nearest
and most convenient to reach, whenever you have a choice of
this kind.
Your trombone needs different care from that required by
other instruments because of the nature of its mechanism. You
should clean the slide every so often with kerosene or gasoline
and then put a few drops of oil on it so it will slide easily. It
is best to use oil specially made for the trombone, which you
can get at music stores. Once a week you should clean the in-
side parts by running lukewarm soap suds through the tubes,
and then rinsing with clear warm water.
131
Chapter 18
PEOPLE of all kinds have taken to playing the recorder in
recent years, charmed by the mellowness of its tones and
pleased by the simplicity of the fingering used to make the
notes. To some extent, the instrument's new popularity may be
due to the concerts given in all parts of the country by the
Austrian Trapp family. This delightful group has introduced
recorder playing to thousands of people, many of whom have
gone right off to music stores to get their own recorders.
The recorder is a very ancient instrument, which has a fas-
cinating historical background. It was used by the ancient
Egyptians, Assyrians and Greeks and by the Aztecs of Mexico.
During the Middle Ages it was played throughout the Euro-
pean countries, and its popularity is attested to by the fact
that Henry VIII had seventy-five recorders, which he was very
fond of playing. A century and a half later, we find Pepys re-
ferring to the recorder in his famous diary. Thus, on April 8,
1668, he wrote: "Did buy a recorder, which I do intend to
learn to play on, the sound of it being, of all sounds in the
world, most pleasing to me."
One of the greatest pleasures that recorder players have is in
playing duets, trios, and quartets with their friends. This is
possible because there are soprano, alto, tenor and bass record-
ers, each with a different range of notes and each able to play
its part as a voice would sing it. The alto is the one that is most
widely used for solo playing, though the soprano is also pop-
ular.
132
Playing the Recorder
There is no trick to producing a good tone on the recorder.
You simply blow gently into the mouthpiece and the sound
comes forth. You should cover only about a quarter of an inch
of the mouthpiece with your lips, and you should not touch the
mouthpiece with your teeth. As with other wind instruments,
the best way to develop a good tone is to practice playing sus-
tained notes for a few minutes every day.
"Tonguing" is also used on the recorder to get clear, sharp
tones. Do not use the tongue at each note, but silently pro-
nounce the word "tu" each time you begin to blow. For the
lower notes, use the word "du".
The recorder has only eight holes, of which one, the thumb
hole, is at the back. The first, second and third fingers of the
left hand cover the three upper holes, with the left thumb on
the thumb hole. The little finger of the left hand is not used.
The first, second, third and fourth fingers of the right hand-
cover the four lower holes.
The fingering of the soprano, alto and tenor recorders, the
three most commonly used kinds, is shown in Fig. 96. This
FIGURE 95
133
fingering applies to most recorders, but a few notes differ on
instruments of different makes. In the figure a white dot means
an open hole and a black dot means a hole closed by the desig-
nated finger. The half white, half black dot means a partly
closed hole. This is accomplished by putting the finger very
lightly on the hole so some of the air can escape through the
hole when you blow. This is a little tricky until you get used
to it.
You will notice one other symbol used in connection with
the left thumb hole. This is a black dot with a small white space
at the top. When you see this, it means to press the end of the
thumb into the hole, leaving open only a small space above the
nail.
Study the fingering chart (Fig. 96), and practice the notes
slowly one at a time until you can play up and down the scale.
Once you reach this stage, you are well on your way and can
start in whenever you wish to pick out simple tunes.
134
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Recorder fingering
Chapter 19
HARMONICA
WHAT A FLOOD of music a good player can get out of a har-
monica or mouth organ! It is almost a magic instrument when
an experienced player gets hold of it. Single-note tunes, melo-
dies with three-note accompaniments, and sonorous chords all
come flowing out of this simple instrument when you get the
knack of making it work for you. And another thingyou don't
have to be able to read music to play the harmonica. You can
play tunes you know by ear, as we will explain.
There are three principal kinds of harmonicas. These are the
plain harmonica, the concert, and the chromatic types. The
plain harmonica (Fig. 97) is the most popular one, and the
best kind for a beginner to start with. It has ten tone holes,
each of which produces two different notes, one when you
blow, and the other when you draw in your breath. This is due
to the fact that there are two reeds in each holeone for the
blow note and the other for the draw-in note. The concert
harmonica (Fig. 99) has two rows of holes, and the reeds in
the upper holes are tuned one octave (eight notes) higher
than those in the lower holes directly beneath them. Thus,
when you blow, you play two notes an octave apart. The
same thing happens when you draw in your breath, but you
make a different note. The concert type makes a grand noise a
good deal like a small brass band.
Both of these harmonicas are made in several different keys,
ranging from G up to F. The ones in G are pitched very low,
136
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DEG-G-BCDE F&ABCDEFGAC
SOL ^ c ^ UL RE FA LA
FIGURE 97, Harmonica notes
while the one in F is very high. Between these two is the har-
monica in C, which is the one most everybody uses. That is
the one we would recommend a beginner to get, but we will
tell you how to play one pitched in any key.
The chromatic harmonica (Fig. 100) is relatively new and
is quite some instrument. On the plain and concert type har-
monicas you can play only natural notes no sharps or flats. The
chromatic harmonica, however, can play both sharps and flats,
which enables you to play a good many more tunes than on the
ordinary kind. How the chromatic harmonica works is ex-
plained below.
How to Blow the Harmonica
There is a certain knack to blowing the harmonica and it
takes a little practice to learn it. But once you do, you are
all set.
Each hole of a harmonica produces two tones. You make one
tone by blowing, and the other by drawing in your breath. The
first thing you must learn is to blow into only one hole and
sound only one note at a time. This is done by what is called
"tonguing."
Hold the harmonica in your left hand, with the first and
second fingers on top and the thumb beneath. Have the No. 1
or lowest tone hole at the left. Put the harmonica well into
your mouth, with the lips covering only the first four holes on
the left side. Then press the flat of your tongue (the front part
of its top ) against the first three holes, covering them so only
the fourth or right-hand hole is open. Be sure to use the flat of
your tongue, not the tip. Now blow and you will sound the
fourth note only. Draw in your breath and you will sound the
other note made by the fourth hole.
The other, higher notes are made in the same way. Each
time you cover three holes with your tongue and sound only the
note just to the right of them. You should practice to have your
lips always cover just four holes at a time. This helps in sound-
ing just the one note you want to play.
138
Playing the Harmonica
We will assume that you have a regular, plain harmonica
pitched in C and with ten tone holes, which is the kind most
commonly used. The notes that it will make are shown in Fig.
97. The white notes are the ones you make by blowing, and
the black notes are the ones you make by drawing in. Notice
that three notes are missing the low F and A, and the high B.
As a general rule, the first three holes on the left are not used
very much. This is chiefly because tunes played on the har-
monica rarely go lower than middle C.
Start by learning to play the scale. Blow into hole 4 to make
C. Then draw in your breath through the hole and make D.
Now move your lips a little to the right so they cover holes
2, 3, 4 and 5. Cover 2, 3 and 4 with your tongue and blow into
hole 5. This makes the note E. Draw in and make F.
Continue on up the scale, going slowly in order to get the
"feel" of how the notes are made. Notice that when you come
to hole 7, you draw in to make the hole's first or lower note,
and blow to make C, the higher note. Notice also that it takes
only four holes to make the complete eight-note scale from
C to C. Practice at first going up as far as G. You will probably
not use the high A and C very much at the start, and can pick
them up after you have mastered the other notes. After you
have gone up the scale several times, be sure to practice coming
down it. You will have to know it both ways when you start to
play tunes.
We have found that it helps some beginners to notice and
remember that you always, blow to produce the notes C, E and
G; and always draw in to produce D, F, A and B. The only
exception to this rule is the low G, which is seldom if ever
played as a single note. This G sounds when you draw in.
Once you have learned the notes, you can play dozens of
tunes like "My Old Kentucky Home", "Oh, Susannah", "Home
On The Range", "John Peel" and "Santa Lucia". Play them by
ear or from music written in the key of C (no sharps or flats ).
139
Playing by Ear
If you can't read music, you can play the harmonica by ear.
It is practically the same thing as whistling or humming a tune.
Tunes for the plain harmonica almost always start on the notes
C, G or E. Try out which note seems most logical, and if it
doesn't work out try one of the others. Just imagine you are
singing and the tune will almost play itself if you have become
good and familiar with the harmonica's notes.
Harmonicas of Different Pitch and Size
If you have a harmonica that is not pitched in C, you can
play it just the same, without any difficulty. Look at Fig. 97
and you will see the musical names of each note written under
it Do, Re, Mi, and so forth. Play the fourth note from the left
on a ten-hole harmonica and it will always be Do, the first
note of the scale in which the harmonica is tuned. Play right
up the scale, as explained above, and you will have all the notes
that correspond to those of the C scale on a harmonica pitched
or tuned in C.
Some harmonicas have more than ten holes and can, there-
fore, make more notes. Some have two full octaves and some
even run as high as three octaves. Each octave is usually played
exactly as we have described above the playing of the octave
on a plain ten-hole harmonica. On some of the larger har-
monicas, however, each tone hole makes only one note instead
of two.
If you have a harmonica with more than ten holes, all you
have to learn about it before starting to play is where to start
the scale. In other words, you must locate "Do," the first note
in the scale. On the larger harmonicas "Do" is usually found
oft the fifth or seventh hole, depending on the make of the
instrument. After you have located "Do" you play up and
down the scale in the same way as on a ten-hole instrument.
140
Chord Accompaniments
Most players prefer to play only one tone at a time on the
harmonica, just as though they were playing a melody on a
violin or flute. Others, however, like to add a chord accompani-
ment. This is easy to do by the use of the tongue. Just remove
your tongue from the three holes to the left of the hole you are
playing, and as you blow or draw in the reeds in these three
holes will produce a three-note chord in perfect harmony with
the note of the fourth hole.
Always play a single note first. Put your tongue on the instru-
ment as usual, then take it off and put it back on quickly to
make single notes and chords as required.
Keep your tongue on the instrument for single notes; take it
off for a chord.
The Vibrato
Another effect a lot of harmonica players like to use is the
vibrato, which gives a tremolo effect as the notes are played.
Fig. 98 shows how the hands are placed to produce this effect.
Put the left or low-note end of the harmonica against the
middle joint of the left thumb, and put the other end between
the second and third joints of the right second finger. The right
hand should point up with the fingers bent slightly forward.
OPEN
CLOSED
FIGURE 98.
Move the fingers of the left hand to meet the same fingers of
the right hand. The two little fingers and the sides of the hands
should touch or almost touch. This forms an air chamber be-
tween the hands. Now, by opening and closing the right hand
quickly in a vibrating manner, you can produce a first-class
tremolo. Some players like to move the left hand to get this
effect. It seems to be a matter of personal choice.
The Concert Harmonica
The concert, octave or double hole harmonica (Fig. 99)
could be described as two plain harmonicas in one. It is a little
larger and the tone holes are divided in two. This makes a
total of twenty holes instead of ten ten upper holes and ten
lower holes. Each double hole produces the same note, such
as C, but the C of the upper part is an octave higher than the
C of the lower part.
You play the concert harmonica in exactly the same way as a
plain harmonica. The only difference is that the concert har-
monica produces two notes instead of one and you therefore
have a larger volume of tone.
Concert Harmonica
FIGURE 99
142
Ten Hole Chromatic Harmonica
^"^T~ 2. 2> 4 5 <b 1 8 3 ><TX
C D
E &
& B
C D
E
& A
B C
D E
F G
A C
C V
G*
.c
c v
F#
G A*
c c *
0* F
6*
F*
A* *
L V ^
FIGURE 100
The Chromatic Harmonica
A chromatic harmonica may best be described by saying
that it consists of two separate ten-hole harmonicas placed one
directly above the other. The lower instrument is tuned one
half-note higher than the upper one. Thus, if an upper hole
produces the tone C, the hole beneath it produces C# 9 one
half -note higher.
Inside the harmonica there is a metal slide with rectangular
holes in it, which is pushed in by a knob operated by the right
hand. When the slide is out, in its normal position, the upper
ten holes are open and the lower holes are closed. When you
push in the slide, it covers the upper holes and opens the lower
ones.
With a ten-hole chromatic harmonica you can make all the
notes of the chromatic scale except the F#, A and A# in the
lower octave and B in the top octave. (Fig, 100.) The lower
notes are rarely played singly. The first three holes are used
only for chord accompaniments. With a twelve-hole chromatic,
you can make all the notes. (Fig. 101.) In these figures the
higher letter in each tone hole indicates to blow, the lower
letter tells you to draw in. Only sharped notes are shown, but
each of these is also a flat. A.# 9 for example, is the same as
143
the frequently used B flat; and D# is the same as E flat.
There are some differences in the arrangement of the notes
in the twelve-hole chromatic harmonica. For example, C in the
lower parts of hole 4 and hole 8 is made by drawing instead
of blowing as is usual for C. Also, high D has been placed in
hole 12 to give an extra note.
Playing the Chromatic Harmonica
The chromatic harmonica is held in the left hand in the
same way as the regular harmonica with the fingers on top and
the thumb beneath. The right hand rests against the right end
of the instrument with the fingers pointing up so the first and
second fingers can work the slide. The right thumb rests against
the end of the side of the harmonica that is toward you.
You play the chromatic harmonica in exactly the same way
as the plain harmonica, blowing and drawing in to form the
different notes. The only new thing you will have to learn is
how to operate the slide to produce sharps and flats. After you
have practiced going up and down the scale, including all the
lower hole notes, we would recommend that you start right in
playing simple tunes slowly either by ear as though you were
whistling or from printed music.
Twelve Hole Chromatic Harmonica
/"^ . 2 '3 4 5 6 7 8 9 10 ii I2^\
C D
E
F
& A
B C
c
D
E
F
& A
B C
C p
E
F
G-
A
B C
D*
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6*
C
C*
D*
F
A#
G C *
C#
F
F#
Att
C*
D
V_i Z 3 4 5 678 9 10 it 12. ^/
FIGURE 101
144
Chapter 20
FIFE
WHO is there that hasn't thrilled to the piercing shrilling of
the fifes as a fife and drum corps marches past in a parade
playing "The Girl I Left Behind Me" or some other stirring
march song? To many Americans the fife is as grand an instru-
ment as are the bagpipes to a Scotsman.
Many Boy Scouts learn to play the fife and many other young
people who are members of school and academy fife and drum
corps master it after a little practice. The only hard thing about
it is learning to blow into the mouth hole or embouchure to
produce the tone. With only six holes, however, it is the easiest
of the wood wind instruments to play and usually can be
learned fairly well in a couple of weeks if you practice every
day.
Making the Notes
Hold the fife with both hands in a nearly horizontal position
and projecting out to your right. Cover the three holes nearest
your mouth with the first three fingers of the left hand. Cover
the other three holes with the first three fingers of the right
hand. The right hand little finger rests on the fife beyond the
last hole.
Now tighten your lips a little by using the muscles at the
corners of your mouth and blow across the blow hole so the
air strikes its inner wall. Instead of blowing straight down, you
blow at an angle, so some of the air goes into the fife and some
passes over the farther edge of the blow hole.
145
OPEN HOLE O
CLOSED HOLE
HZ
Ri&HT
HAND
1ST FINGER
D E
LEFT HAND
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5feP FIKGER
Of
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FIGURE 102. Fife fingering
Fig. 102 shows the range of the fife, from low D to high A,
and shows where you put your fingers to make the notes. The
fife plays only F# and C# (no other sharps or flats) and as a
consequence its music is written in the three keys of C (no
sharps or flats), G (1 sharp), and D (two sharps).
To make low D, all six fingers are down, covering the holes.
To shift to E, the next note higher, you simply raise the right
third finger. For each higher tone, you raise an additional finger
until you get to C#, which is played all open holes with no
fingers down.
D is played with the first finger of the left hand raised, but
the notes up from D to the high C# are fingered the same as
in the lower octave.
The four highest notes, E, F#, G and A, require a little
different fingering. This is clearly shown in Fig. 102.
Playing the Fife
The best way to start playing the fife is to learn to play the
notes up and down the scale. Go up as far as A just above the
staff. Try the higher notes if you want to, but it is just as well
to leave them alone for the first week or two. Play them later
on when your lips get firmer and stronger.
Every day practice playing sustained notes, as this is the best
way to improve your tone quality. Play G, for example, start-
ing softly, making it gradually louder, and then tapering down
to a soft ending.
After a few days of this get a music book containing a lot of
well-known songs. Pick out melodies written in the keys of
C, G (1 sharp) and D (2 sharps), and start to play them. Play
slowly at first, disregarding keeping time, and trying to make
each note come out clear and vibrant. Before long you should
be able to pick up speed and play right along in correct, time.
The fife is really easy.
147
Chapter 21
THE BUGLE
WHETHER OR NOT you belong to a drum and bugle corps, you
may want to learn to play a bugle. Many boys do, in particular,
because they Jcnow some of the Army bugle calls and would
like to be able to play them. Other boys want to learn in con-
nection with their Boy Scout activities, and grown-up people
sometimes take to the bugle just because they like its sonorous,
throaty tones and like to experiment with it.
While the bugle is chiefly known as the instrument on which
bugle calls are played, there are a number of stirring marches
that can be played with the five principal notes that the bugle
produces. Books containing bugle music can be obtained, of
course, at any good music store.
The Bugle's Notes
The five notes or tones used in bugle calls and in most of the
music written for the bugle are middle C, E, G, C, E and G.
These are shown in Fig. 103, together with high B flat and high
C, which are marked with an X. These notes can be played, but
are hardly ever used.
Learn the first six notes and you will know all you really
need to.
MIDDLE C
C E
FIGURE 103
Bb
How to Blow the Bugle
The bugle is held by the right hand as shown in Fig. 104.
It should be held straight out in front of you or in a horizontal
position. Don't slant it up or down.
When you are going to sound a note put the mouthpiece
against your lips, at the center of your mouth. Start by putting
one-half of the mouthpiece against your upper lip and one-half
against your lower lip. This is the best position for many play-
ers, but it may or may not suit you. If it doesn't seem right,
move the mouthpiece either up or down a little until you find
the position that feels best to you.
You don't have to do this the first day. As you get used to
FIGURE 104
playing, you will find the best position without any trouble.
Put your lips lightly together and draw back the corners of
your mouth. This will tighten your lips and put them in position
to vibrate against the mouthpiece. Hold your cheeks in. You
should never puff out your cheeks while blowing.
With the mouthpiece held against your lips, take a deep
breath of air, drawing the air in through the* corners of your
mouth.
149
Now, to sound off!
Put your tongue at the roof of your mouth, in front, and
pronounce the word "tu.' ? At the same time let your tongue
drop down to let the air be expelled into the mouthpiece. Never
let any air escape through the comers of the mouth. Don't blow
too hard. Try it quite gently and only blow harder if you find
it necessary. Too many buglers blow too hard. It is not neces-
sary and it is hard on your lips.
This tongue and breath action is called the "attack." You
should follow it with an even flow of air ( on sustained notes )
to produce a clear even tone.
That is how the bugle is blown, described to the best of our
ability. It is easy for some people; harder for others. With prac-
tice and the strengthening of the lips it becomes perfectly
simple for anybody.
Playing the Notes
Start with the note G on the second line of the staff. This
is the easiest one for most beginners to play. If you have a
piano handy, sound G on it and then try to reproduce its tone.
If you don't have a piano, you will have to learn by experiment
and experience.
The pitch (highness or lowness) of the notes is governed
largely by the degree to which you contract or relax your lips.
To produce the higher notes, you contract your lips more. This
is done by drawing back the corners of the lips as though you
were going to smile. When you do this, you reduce the thick-
ness of the lips at the mouthpiece.
Do not use great blasts of breath to produce the high notes.
They can easily be produced with normal breath if you con-
tract your lips the right way and breathe in deeply so you can
control the tone from your diaphragm, rather than your mouth
or throat.
Practice on G until you have made a little progress toward
150
hitting it and holding it while you count 1-2-3-4. Then go to C
in the third space in the staff. Contract your lips a little to play
C. Then contract your lips a little more and try the E, and
finally the high G.
When you have learned to play these four notes, you should
have little difficulty with the low E and middle C. For these
notes as well as the others, however, you need lip strength and
breath control from the diaphragm, and it takes a little practice
to develop these two qualities.
The Slur
In some bugle music you will find a curved line connecting
two or more notes of different pitch. This is called a slur, and
it is illustrated in Fig. 105, which is the music of Reveille, the
best known of all the bugle calls.
When you come to a slur, you tongue or "attack" only the
first note. You blow the second note by changing the contrac-
tion of your lips, without making a second "attack." Practicing
slurs is a first-rate way to strengthen your lips and gain tone
control.
Reveille
QUICK
FIGURE 105
151
Triple Tonguing
Triple tonguing is used when you play triplets. These are
groups of three notes joined together by a heavy line with the
number 3 over it in printed music. They are played in the
time it would ordinarily take to play two of the same kind of
notes (usually quarter notes). You can see several triplets in
the Mess Call (Soupie, Soupie, Soupie, And Not A Single
Bean) in Fig. 106.
QUICK,
FIGURE 106
In playing a triplet with triple tonguing, you make three
rapid attacks by pronouncing the syllables "tu, tu, ku." What
you do is to pronounce the "tu, tu" as already described start-
ing with the tongue at the roof of the mouth and dropping it
down. When you come to the "ku" (which you usually do very
rapidly), you keep your tongue down. You will find you have
7 1
to do this in any event, since your tongue automatically goes
against your lower teeth when you pronounce "k".
Practice triple tonguing slowly at first and speed up after you
begin to get the hang of it.
Bugle Calls and Music
You can get inexpensive books at almost any music store
that contain the music of all the principal bugle calls and also
quick-stepping marches to play on the bugle. If you have no
other source of music such as a school or Boy Scout Bugle
Corps, be sure to get one or more books. The variety of bugle
music they contain may surprise you.
152
Chapter 22
THE OCARINA or SWEET POTATO
WE ARE including the ocarina in this book both for the sake
of completeness and because we had one when we were young
and never learned how to play it as we had DO way of finding
out how to make the notes. It is also included because a friend
of ours recently had to learn how to play one in a week's time
in order to take part in a radio show, and she was finally
obliged to figure it out by herself the best she could.
In the hands of a good player, the ocarina is really a won-
derful little instrument. It has a clear flute-like tone and when
you get good at it you can do quite a few specialties such as
carrying the melody in a dance orchestra, playing duets and
trios with friends, and a favorite with one of our friends who
knows the birds you can imitate the cuckoo, the mockingbird
and every imaginable other kind of bird.
You produqe a tone on the ocarina by blowing gently into
the mouthpiece, increasing the force of your breath as you go
to the higher notes. The only thing to watch is to blow with
the right degree of force or gentleness for the note you want to
make. This comes with a little practice. If you don't blow just
so, you will get a different note from the one you want, even
though your fingering is correct.
Some players just blow steadily, others "tongue" each note
153
by silently pronouncing the letter "1" into the mouthpiece.
Tonguing helps to make each note sharp and distinct, espe-
cially when you are playing rapidly.
How to Make the Notes
The notes produced by the ocarina are made by covering
and uncovering its holes with your fingers and thumbs. Fig. 107
shows the top and bottom of an ocarina, and shows the holes
on which you put your fingers and thumbs.
When playing, you hold the ocarina with both hands, with
the left palm toward you and the right palm turned toward the
instrument. The pointed end of the ocarina should be on your
right. In this position, your fingers and thumbs will fit easily
over the holes in the positions shown in Fig. 107.
Fig. 108 shows how to make all the natural notes the ones
that are not sharps or flats. The numbers indicate the holes
A black dot means that the hole is closed, and a white dot
means an open holemade by raising a finger or thumb.
LEFT
HAND
TOP VIEW
1ST FINGER
2ND FIN6ER,
3R.D FINGER,
4-m FlKI&Ef?,
BOTTOM VIEW
VENT
fclCHT THUMB
LEFT THUMB
154
fcl&HT
HAND
4m RN&ER
RN&ER,
2ND FING-ER,
I ST FINGER/
FIGURE 107
c
D
E
F
&
A
B
c
D
-o-
"TH
F
-e-
-o-
O -
_u_
7
O
O
'.5
O
o
o
o
o
o
o
o
9
*
o
o
o
o
*
o
o
o
o
\2
*
O
o
o
o
o
o
o
'
o
o
o
o
o
o
o
o
o
Ocarina fingering
FIGURE 108.
It may be easier for some people to learn the notes from the
following list, which tells which holes to uncover when making
each note:
C All holes covered.
D Uncover hole 1
E Uncover 1 and 2
F-Uncover 1, 2, and 3
G-Uncover 1, 2, 3, and 4
A-Uncover 1, 2, 3, 4, and 5
B-Uncover 1, 2, 3, 4, 5, and 6
C-Uncover 1, 2, 3, 4, 5, 6, and 7
D~Uiicover 1, 2, 3, 4, 5, 6, 7, and 8
E-Uncover 1, 2, 3, 4, 5, 6, 7, 8, and 9
F all holes uncovered.
WoaEb J#oR&b fefroaAb
CfrofcDb
A 1
T^i
^y
ra
^=22Tj
%+\>o'
rcq
""trts^
*-
1
T7Z1
]Q_
i
o
o 1 o
* 1
Sfc fc
o
Ah
o
1
ff ln
5
*
*
t
9
o
O 8 O
o | o
9
A it
10 3
*
o
o
o
o
o
o
o
o
o
o
o
o
' *
O | O
O 10
* 2
* i
*
o
o
o
*
o
o
o
*
o
o
o
O 1 O
o o
Ocarina fingering
FIGURE 109.
Now for the sharps and flats. Some people we have known
didn't know that you could make these notes, which correspond
to the black keys on a piano, on the ocarina. Fig. 109 shows the
fingering.
Notice that there is an alternate fingering for each of these
notes, except low C# or D flat. You can make this tone fairly
well, if you need it, by blowing C with a little more force.
Some people like one fingering, and some the other, and some
ocarinas give a truer tone with one than with the other,
Don't make the mistake of thinking that there is a different
fingering for D# than for E flat, and so on for each of the
other columns. The two notes shown in each column are iden-
tical in tone. On the piano, for example, the same black key
plays each note-D# and E flat, F# and G flat, and so on.
For the sake of absolute clarity, the fingerings shown in Fig.
109 are written out below.
156
D# or E flatUncover 1 and 3, or
Uncover 2
F# or G flat-Uncover 1, 2 and 4, or
Uncover 1, 3 and 4
G# or A flat Uncover 1, 2, 3 and 5, or
Uncover 1, 3, 4 and 5
A# or B flat-Uncover 1, 2, 3, 4 and 6, or
Uncover 1, 3, 4, 5 and 6
C# or D flat-Uncover 1, 2, 3, 4, 5, 6, 7 and 8, or
-Uncover 1, 2, 3, 4, 5, 7 and 8
D# or E flat-Uncover 1, 2, 3, 4, 5, 6, 7, 8 and 10, or
-Uncover 1, 2, 3, 5, 6, 7, 8 and 9
Playing the Ocarina
There are no special tricks to playing the ocarina. Just learn
how to make the notes, and then start in playing whatever
tunes you like that are written the instrument's range.
Try "America" in the key of G (1 sharp), making the first
note G. Do "My Old Kentucky Home" in the same key, making
the first three notes, "The Sun Shines", B, dropping to G for
the word "Bright". Any book of songs will give you dozens of
other well-known tunes you should be able to play without
difficulty.
157
Cymbals
and Traps
THE PERCUSSION INSTRUMENTS
Chapter 23
DRUMS AND TRAPS
THE DRUM that most people want to learn to play is the snare
drum, and this section is concerned almost entirely with it.
Many snare drummers who play with orchestras also have to
play various other noise-making contraptions called traps, so a
word or two is said about them also.
The Bass Drum
Ability to keep exact time is one of the greatest assets of the
good bass drummer. His instrument is so loud and important in
a band or orchestra that he must be letter-perfect in keeping
the beat. He is helped in this, of course, by the band or orches-
tra leader, whose function is to keep everybody right on the
dot. A good drummer should learn his music so well that he
can keep his eyes constantly on the director.
Producing a good tone of the proper volume (loudness or
softness) is also highly important. The tone is governed to
some extent by the type of beater used. When playing in
parades a felt beater is generally used, but for concerts the
beater is made of soft lamb's wool.
You do not bang the bass drum squarely in the middle,
bringing the beater against it at a right angle, as is commonly
supposed. Instead, you strike the drum with a glancing up and
down stroke, hitting it about half-way between the center and
the upper hoop. This secret of bass drum playing, which has
much to do with good tone, is not widely known outside of the
druin-playing fraternity. (Fig. 110.)
Loudness and softness are controlled chiefly by the force
with which you strike. A good drummer always is keenly aware
of the volume of the other instruments and keeps his own vol-
ume in harmony with theirs.
160
FIGURE 110
One other trick in connection with playing the bass drum is
learning how to "dampen" or stop its tone. It often happens
that you come to a place in the music or to the end of a piece-
when all the instruments stop playing. Then you must dampen
the bass drum's tone by putting your free hand against its
side. This stops the vibrations and quickly quiets it down.
The Snare Drum
Playing the snare drum well is quite an art, but it is learned
quite easily if you proceed step by step, practicing the differ-
ent strokes in order from the flam up to the roll and the para-
diddle. Almost everybody is familiar with many of the basic
drum strokes or rhythms, from having heard them played by
brass bands and dance bands. You will learn the names of these
strokes in this section, as well as how to play them.
How to Hold the Drum Sticks
Fig. Ill shows how the drum sticks are held.
Left Hand. Hold your hand palm up and grasp the stick
about an inch from its thick end, holding it between the ball
of the thumb and the first and second fingers. Put the third
161
finger beneath the stick, so the stick is held loosely between
the second and third fingers.
Right Hand. Hold your hand palm down and hold the stick
lightly at its thicker end, between the thumb and the first and
second fingers.
When playing, both sticks should point diagonally inward
toward your body. This is an important point.
The Basic Drum Strokes
In addition to the single stroke, which is made by striking
the drum alternately with the left and right-hand sticks, there
are twelve basic drum strokes. These are shown in Fig. 112. Be-
low, we give you directions about how to play them.
The Flam. The flam is the familiar ra-TAT, ra-TAT, ra-TAT
that every one has heard played on the drum. It is written in
music as a grace note (the small note) followed by a quarter
note or a note of longer duration. The grace note is played
quickly and not too loud with one hand, and the following note
is played more loudly by the other hand.
Start the flam with the left hand. This is indicated by the
small L over the first grace note. Then play the following note
FIGURE 111
162
-the TAT with your right hand. Then reverse the sticking.
Play the grace note of the second lam with your right hand
and the TAT with your left hand. Reverse the sticking after
each flam.
Always hold the stick that is to make the grace note low,
close to the drum head. Hold the other stick high, so it can hit
harder.
o L
L R .
1. FLAM / J fj
^ ^ R R L L
2. FLAM ANP STROKE GIAM ANDT^P) ^ X /
LLR.R ^ ~
a DRAG- J3 J H j
4 FLAM AND FEINT
5. FIVE STROKE ROLL j j J J J jfff J
, IL RRLU I J.LRRJLL I
<o. SEVEN STROKE ROLL JJJJJJ J JJJJJJ J
O D
r^o" i^,
T, FOUR STROKE RUFF j^J J ^" J
L L R R
JT33
a THE ROLL
L BLR R t R L
a FLAM ACCENT / J J J J J J J
L R t L R t. RR
10- SlWGLE PARADIPDLE
.
11. FLAM PAR ADI DOLE J JJJ j JJJJJJ
LL f^ L ^ R R
12. DRA& PARADIDDLE -f3 JJJJ ja
Drum strokes
FIGURE 112. 163
The Flam and Stroke. This is simply a flam with another note
added-two TATs instead of one. It goes ra-TAT-TAT, ra-
TAT-TAT, ra-TAT-TAT.
Start it with the left hand, striking the grace note. Then
strike the two TAT's with your right hand. Then reverse the
sticking. Strike the grace note with your right hand and the
TATs with your left hand. Then the left hand does the grace
note again, and so on. Reverse the sticking each time.
The Drag. The drag sounds like ra-ta-TAT, ra-ta-TAT. It
consists of two grace notes, both struck by one hand, and a
longer and louder note struck with the other hand The stick-
ing is reversed each time you play it.
The Flam and Feint. This consists of a grace note followed
by a dotted quarter note and an eighth note. The dot after the
quarter note makes it equal in duration to three eighth notes.
It increases its duration by one-half. Put another way, a dot is
equal to one-half the value of the note after which it is placed.
(See Chap. 2).
This is hard to illustrate by rats and tats, but the Flam and
Feint sounds like ra-TA-AT-TAT, ra-TA-AT-TAT. There is a
slight pause after the first TAT. Then the AT comes in quickly,
and the TAT follows it at once. Reverse the sticking each time.
Five Stroke Roll. This sounds like rat-a-tat-a-TAT, rat-a-tat-
a-TAT. Notice the sticking carefully. It goes left, left, right,
right, left. Then right, right, left, left, right. Then start with
the left hand again, and alternate each time.
Seven Stroke Roll. This consists of seven rapid, evenly-played
strokes. Practice it slowly at first, counting 1-2-3-4-5-6 TAT.
Increase the speed as you get used to the sticking. It sounds
like rat-a-tat-a-tat-a-TAT.
The seven stroke roll is always started with the left hand and
ended by the right hand.
Four Stroke Ruff. This also always begins with the left hand
and ends with the right hand. You have heard it played many
times. It goes rat-a-ta-TAT, rat-a-ta-TAT.
164
The Roll. Now we come to the most important and the
hardest of all the snare drum effects. It takes everybody con-
siderable time to perfect a really good roll a succession of
rapid even strokes so close together that it sounds almost like
the purr or roar of a motor.
The roll always starts with the left hand, and is made with
alternate double strokes of each hand.
One secret of making the roll is this let the second tap of
each hand be a bounce, instead of raising the hand and making
a second stroke. This makes for both smoothness and speed.
Another secret is always to raise your idle hand high so that
when you bring it down the stick will bounce almost of its
own accord to make the second tap.
Do not try to play a fast roll all at once. Start slowly and in-
crease the speed gradually. Most drum instructors have their
pupils start their daily practice by practicing the roll for five or
ten minutes, and this is a good idea for everyone to follow.
Flam Accent. This is a stroke that alternates from hand to
hand left, right, left, right; then right, left, right, left, and so
on, starting with a different hand each time. It sounds like a
rapid ra-TAT-TAT-TAT, ra-TAT-TAT-TAT.
Single Paradiddle. There are three paradiddles, the basis of
each being four rapid, even notes. Notice the sticking care-
fully, as it is a little tricky until you get onto it. The single
paradiddle sounds like rat-tat-tat-tat, rat-tat-tat-tat
Flam Paradiddle. Like the flam itself, the flam paradiddle is
preceded by a grace note. It sounds like a rapid ra-tat-tat-tat-
tat.
Drag Paradiddle. This paradiddle is preceded by two grace
notes and sounds like ra-ra-tat-tat-tat-tat.
When you have mastered all these strokes you will be a
snare drum player. They are good fun for most people to prac-
tice. The main thing is to get sharpness, smoothness and speed.
165
The Kettledrum
The kettledrum, also called the tympani, is the only kind of
drum that has a definite musical pitch. It consists of a rounded
bowl of copper, brass or silver, over which a piece of vellum or
vellour is stretched tightly by means of tuning handles that
work in a metal ring surrounding the drum head. The vellum
head may be slackened or tightened to produce any one of the
notes within the instrument's range.
The normal range of the kettledrum is one octave, from F
below the staff in the bass clef to F on the fourth line of the
bass staff. In some instances, however, as in Wagner's "Parsi-
fal," low E is used, and in a few unusual cases higher notes are
used. It is possible, as a matter of fact, to force a 25-inch kettle-
drum up as high as A, and a 28-inch one can be tuned down
as low as E flat.
Each kettledrum gives but one note at a time, so two or
three, each tuned to a different note, are used in an orchestra
or band. When there are two drums, they are generally tuned
to the tonic and the dominant or the tonic and the sub-
dominant of the key, in which the music being played is
written.
FIGURE 113
166
The Cymbals
Many bass drums have a cymbal attached to their tops.
The bass drummer holds the other cymbal in his left hand and
goes to town with it while he pounds the drum with his right
hand. Some band leaders, however, prefer to have the drum-
mer concentrate on his drum and have another person play
the cymbals.
When playing cymbals they should not be struck directly
together. This deadens the vibrations. Play a tone almost as
though there were a grace note in front of it, like a snare drum
flam, and strike the cymbal that is to vibrate and make the tone
( usually the one in the left hand ) a glancing upward blow with
the other cymbal. To keep the tone of the vibrating cymbal
resounding, shake it gently. To stop the vibrations quickly,
touch the cymbals against your coat.
When used as a trap, a cymbal is struck a glancing blow
near the rim with a drum stick. A hard or soft headed stick is
used, depending on the volume or effect you want to get.
Tom-Tom, Tambourine and Triangle
The tom-tom is played with either one or two drum sticks
and is struck, as a rule, with rhythmic single strokes in time
with the music.
The tambourine is played in three different ways in modern
dance orchestras:
1. It is held with one hand, while the first two fingers of the
other hand tap lightly along the rim.
2. It is held with one hand and the moistened thumb of
the other hand is rubbed along the head (skin surface) about
one inch from the outside hoop.
3. It is held in one hand and shaken rapidly. This sets the
jingles going and makes the roll.
The castanets of today. are fitted with a wooden handle,
which -makes them much easier to play than the old-style Span-
ish castanets. The modern kind is played in two ways. They
can be held with one hand and struck against the other hand
167
or the calf of the leg, or they can be held in the right hand and
shaken back and forth to make the roll When played the
second way, the right wrist should be held rigid.
The triangle is struck with a metal beater about the size of a
pencil and gives a clean, bell-like tone. Sometimes a single note
is struck; sometimes a sustained roll. You play the roll by
holding the beater loosely at one of the lower corners and
then shaking It quickly to and fro against the two sides.
Traps
168
Chapter 24
GLOCKENSPIEL or LYRE
THE BRILLIANT, vibrant singing bell-tone of the glockenspiel
has become a prominent feature of countless bands in recent
years, accenting their melodies and adding a totally new tone
quality to the traditional brass and wood wind instruments.
It does not require very much knowledge of music to play
the glockenspiel. What you do need is accurate coordination of
hand and eye, so you will be sure to hit the right notes, for
the tone of the instrument carries far and wide.
The glockenspiel has twenty-five tone bars. These are shown
in Fig. 114, together with the corresponding written notes.
The row of sharped notes on Its left side make it possible
to play music written in all the principal keys. When you play
in a sharp key such as G (1 sharp), D (2 sharps) and so on,
you play the left-hand notes as sharps. For flat keys you play
them as flats. A# is played for Bb, D# for Eb, G# for Ab,
and so on.
Playing the Glockenspiel
The most usual form of glockenspiel is mounted on a single
holster. This fits over the shoulders "and around the body and
must be supported near its base stem with the left hand. The
right hand does the playing, striking the notes with a small
mallet, which may have a wooden or glass head.
Some glockenspiels are made with a double harness. This
leaves both hands free, and they play with two mallets.
You should hold the mallet stick near its end and, when
playing, have the palm of your hand facing the glockenspiel.
Strike from the forearm, rather than the wrist, as this makes a
better tone, and try always to hit the centers of the tone bars.
Draw the mallet head back quickly the instant you make a
note. If you leave the mallet head on the tone bar, it will
deaden the tone. As you do this, shift your glance to the next
tone bar to be struck and put the mallet in position near it,
ready to make the next note.
The important thing is quick, confident action light but
brisk striking of the bars to get a clear, vibrant tone.
You can control the loudness or softness of the tone to some
extent by loosening or tightening the screws that hold the tone
bars. If you loosen the screws the bars can vibrate more freely
and will produce a louder tone. For soft playing, you can
tighten the screws a little to reduce the vibrations. You should
make sure that all the bars are adjusted to the same tone vol-
ume before you start to play in public.
Music written for the piano, violin or voice can be played
on the glockenspiel and once you learn the notes you can begin
to pick out tunes and melodies of all kinds.
170
Chapter 25
THE XYLOPHONE AND MARIMBA
XYLOPHONES are made in a number of sizes, ranging from small
ones with twelve or fifteen tone bars up to big orchestra-size
instruments with a range of three to four octaves. Marimbas are
almost all of large size, and have a deeper, mellower tone than
the xylophone. They are wonderful solo instruments and also
blend beautifully with other orchestra instruments to give a
richer tone to the ensemble.
Both instruments are usually played by striking the tone bars
with two mallets, one held in each hand. It is very important
to hold the mallets correctly in order to have all the freedom
and flexibility needed when playing. Hold each mallet between
the tip of the thumb and the first joint of the first finger. All
the control is exerted by the thumb and first finger only. The
other fingers are closed over the handle of the mallet, with the
tips almost touching the palm. They should not be tightly
closed, but just enough to give the support needed to keep the
mallet in position.
FIGURE 115
When playing, the hands are held level, with the fingers
turned well under. Hold the hands low, quite close to the tone
bars, and use the wrist when you strike a note. Don't grip the
mallets too tight. A secret of good playing is to keep your grip
gentle and to have the muscles of your hands and arms relaxed.
Stand about half a foot from the keyboard and start your
practice by playing up and down the scale, using both hands,
Xylophone
Keyboard
FIGURE 116
172
the left hand for the low notes and the right hand for the high
notes. Use your hands and wrists when striking the notes. The
arms should hardly move at all. Watch carefully to see that you
do not lift the mallets too high above the keyboard. This is
unnecessary and will slow you up when you begin to get good
and play fast pieces.
After playing the scales and possibly some simple melodies,
start in to practice the roll. This consists of a series of alternat-
ing single strokes on one tone bar, using both mallets. First
strike the bar with the right-hand mallet, then with the left,
and then continue right, left, right, left, and so on. You use
the roll whenever a single note is to be maintained or kept
sounding for a moment or two or longer. This is usually when
you play half notes or whole notes.
The roll is a very important part of xylophone or marimba
playing, and should be practiced for ten or fifteen minutes
every day. The great thing is to work to get a smooth, even
roll, and the best way to do this is to practice slowly at first.
Increase your speed as you are able to, but if the roll becomes
uneven or ragged, stop at once and start over again. Never use
173
your arms when executing a roll Use your wrists, hands and
fingers, and be sure to keep your muscles free of tension.
When executing the roll on tone bars to the left of your
body, put the right-hand mallet in front of the left-hand one.
On bars to the right of your body, you put the left-hand mallet
in front of the right-hand one.
If you can read simple music, you can start to play popular
and other music on the xylophone or marimba after a few days
of practicing. The notes are right there in front of you and all
you have to do is to strike them to bring forth their deep,
resonant tones. The most important things to watch are the
positions of your hands keep them low, and the tenseness of
your muscles. Most beginners get too tensed up, and you must
constantly correct this if you find that you are doing it. The
other important thing to practice is the roll. This simply must
be practiced every day on a number of different tone bars until
you have mastered it. You will then have your instrument
under control and can make it produce its very best.
174
Chapter 26
THE PIANO ACCORDION
THE PIANO ACCORDION, as everybody knows, now ranks as one
of the most popular of all our present-day instruments. It is a
marvelous solo instrument, for it plays both the melody and
the accompaniment and has such a breadth of harmony that it
is almost an entire orchestra in itself. It blends beautifully with
other instruments that it accompanies, and is a favorite for ac-
companying singing.
The accordion is supported by straps that go over your
shoulders, and the left strap should be shorter than the right
so the instrument will rest against your left shoulder. The black
keys on the keyboard should be directly beneath your chin.
As you play, you pull and push the bellows out and in with
your left hand, taking care to have a smooth, easy motion. The
idea is to pull the bellows open from the top, so they are in
the position shown in Fig. 117. Don't try to pull the bellow's out
as far as they will go. That is neither good nor necessary. The
rule is to use as little of the bellows as possible.
Piano accordions are made with from 12 to 120 or more
basses, the usual in-between sizes having 24, 48, 60, 80 and 96
basses. These numbers refer to the number of buttons on the
bass section of the accordion, which is played by the left hand.
It is usually recommended that a person start with an instrument
having at least 24 bass buttons. The descriptions in this section,
however, are for a 12 bass accordion. Using the smaller num-
ber of buttons makes it easier for beginners to understand, and
the principles outlined here can easily be applied to a 24 bass
or larger instrument.
176
The
The right hand plays a keyboard arranged exactly like a
piano keyboard, and we will start by telling how this is used
to play the melody.
Fig. 117 shows a 12 bass accordion, which has fifteen white
keys on the piano keyboard, together with the usual black
keys on which you play the sharps and flats. It is drawn as
though you were looking directly toward the person playing it.
When you are playing, the keyboard is on your right side and
your right thumb and fingers rest on it naturally and easily.
Accordion music that you may get to practice with will be
numbered to show the fingering, and the quickest way to get
used to the fingering is to play melodies that have the finger
numbers printed above the notes. There is no set rule, except
that you should use fingers next to each other, as a rule, to
play notes that are next to each other. Most people soon de-
velop the fingering that is natural and easiest for them without
any great difficulty just as a result of playing.
Your first exercise, which will teach you some of the princi-
ples of fingering, should be to play the scale of C. Play the top
note on the keyboard, C, with your thumb; the next note, D,
with your first finger, and E with your second finger. Then
shift your thumb to F, and use the first, second and third fin-
gers on G, A and B. Then you shift your thumb again, this time
to the middle C, and continue as before. You always play C
and F with your thumb when playing up or down the scale
of C.
Coining down the scale, put your little finger on the C at
the bottom of the keyboard. Play B with your third finger, A
with your second finger, G with your first finger, and F with
your thumb. Then shift the second finger to E, play D with
your first finger, and land on middle C with your thumb. Play
B with your third finger, and keep going on down the same
way, using your thumb when you come to F.
After practicing the scale a few times, put your thumb on
177
I&HT HAND LEFT
FIGURE 117
the top C, draw the bellows out while you count four, and
then push them in while you count four, repeating this a num-
ber of times. This is to give you practice in handling the
bellows and maintaining an even tone.
Next play C and D, counting eight and playing a note on
each count, while you pull the bellows out. Do the same thing
while pushing the bellows in.
These exercises will get you started with your right hand. A
few days of practice and you will get the idea. As soon as you
feel you are ready to, start to play simple melodies.
The Left Hand
The basses or bass buttons are played with the four fingers
of the left hand, the thumb not being used.
The wonderful part about the accordion bass is that you
can play a full three-note chord just by pressing down one
button. Here is the way it works.
Use Fig. 118 as a guide. It shows the buttons on a 12-bass
accordion, as you look at the instrument from in front. The
left-hand row is called the fundamental row and when you
press one of its buttons you get a single deep note. But when
you press a button in the major chord row, you get a three-tone
chord.
178
The button called the C fundamental is the one with a
double ring around it. On an accordion, it usually has a dented
or raised surface so you can find it easily with your finger.
Press it down with your left second finger to get low C. Release
it and press down the C in the major chord row with your first
finger and you will get the major chord of C.
When playing the bass accompaniment to simple songs
written in the key of C, you usually play C followed by the C
major chord, then G followed by the G major chord, which
you make by pressing the G button in the major chord row.
You may also use fundamental F and the F major chord, and
fundamental D and the D major chord.
The opening measures of "My Bonnie" (Fig. 119) show how
these bass chords are used to fit in and harmonize with the
melody. The first low note in the bass clef in each measure is
the fundamental note; the next two are the corresponding
chords
These measures can also give you an idea of how to use the
bellows. You draw the bellows out, for example, while playing
"My bonnie lies over the ocean," which is a musical phrase.
Then you push the bellows in while you play "My bonnie lies
2ND FIN&ER
BELLOWS
SIDE
FIGURE 118
1st
MAJOR, CHORD ROW
"FUNDAMENTAL KOW
179
My Bonnie
te
SH5
?
bon-m6 lies
o-ver
bon-we lies
o-ver Ibe
sea,,
M
i
1
FIGURE 119
over the sea/' The working of the bellows should fit in with
the phrasing and the rhythm of the music.
No fingering is shown for the basses> since this is a matter
of personal choice and each person usually works out the
method that suits him best. Some people like to play the
fundamental notes most of the time with the second finger,
and the chords with their first finger. Others like to use the
third finger on the fundamentals and the second finger on the
chords.
One of the most important things about the left hand's play-
ing is to use a very short, quick touch. You should press down
a button, sound the note, and lift your finger at once or even
quicker. That is the only way you will get the clean-cut bass
effect that is needed for good playing.
Both Hands Together
Just like learning how to use both hands together on the
piano, which is a matter of practice and repetition, the accor-
dion player has to go slowly at the beginning and play simply
written tunes until he gets the knack of two-hand playing. A
good book of simple accordion exercises is also a great help at
the beginning stage and we would include a dozen or more of
thtan here if we could.
A standard exercise to use at the start is to play C with the
180
right hand, and play fundamental C and three C major chords
with the left hand, repeating this until it is easy to do. Then
shift to D with the right hand and G and the G major chord
with your left.
A little experimenting will take you farther faster than any-
thing more that we could write here. But, this is one case
where we feel you should do your experimenting with the help
of tunes or exercises arranged specially for the accordion, so
your bass notes and chords will be written out for you in the
music.
Larger Accordions
We have friends who say that it is easier to play on the
larger accordions, even the big 120 bass one, than on a small
12-bass instrument. This is probably true for people who are
already familiar with the piano and with music generally. We
wanted to put this comment in here, because a lot of people
think that a large accordion is more complicated and difficult
to play than it really is.
On a 120-bass accordion there are six rows of bass buttons,
each containing twenty buttons.
The first row is the counter bass. Each of its notes is three
tones higher than the note next to it in the second row, which
is the fundamental bass found on the 12-bass accordion. The
counter basses are added largely as a matter of convenience.
They enable the player to play his various low bass notes with-
out making long jumps up and down the fundamental bass row.
The third row is the major chord row, which has been ex-
plained in connection with the 12-bass accordion.
The fourth row is the minor chord row. It makes the minor
chords of the key in which you are playing.
The fifth row buttons make the dominant seventh chords of
the key in which you are playing; and the sixth row buttons
make the diminished seventh chords.
The amazing thing about this big keyboard is that it can
181
easily be played with two or four fingers. This is largely be-
cause the buttons of the six rows are arranged next to each
other in diagonal lines according to keys, and you can get a
tremendous variation in effect just by using the buttons of one,
two or three rows.
If you start by playing fundamental C in the second row, the
button right next to it gives you the C major chord, the next
button the C minor chord, the next button the C dominant
seventh chord, and the next and last button the C diminished
seventh chord. And you can jump from button to button like
lightning once you get used to their arrangement.
182
THIS MAY NOT BE MUSIC
BUT IT'S FUN! ^\/
27
THE
ALMOST EVERYONE at one time or another has played the comb
kazoo, but every now and then we run into people who have
never heard of it. Accordingly, we are including it in the book.
A comb kazoo is an ordinary comb around which a piece of
tissue paper is wrapped. Hold the paper over the teeth of the
comb and put the comb against your lips. Then, keeping your
lips open a little, sing or hum a tune into the comb. The hum-
ming or singing tone is changed by the tissue paper to sound
something like a brass band that is, if you have a good, lively
imagination.
184
Chapter 28
THE BAZOOMER or
HUMBUZZER
THIS HOME-MADE instrument is called either a bazoomer or a
humbuzzer. Both names give pretty good descriptions of the
musical tones it produces.
It consists of a cardboard cylinder, which may be a card-
board mailing tube or a tube of the kind that comes inside a
roll of paper towels. It should be about 10 inches long and
have about a 3-inch diameter, although the dimensions are not
very important.
Punch four or five small holes through the tube about 1J/2
inches from one end, or else arrange these holes in a line, as on
a fife. Then cover the end with a square of waxed paper, held
in place by string or a rubber band.
Now hum a tune into the open end and see what happens.
The instrument will increase the sound volume to quite an
amazing degree and give it a resonant, booming quality. By
covering the holes with your fingers, you can produce different
notes.
185
Chapter 29
A PIN
You CAN REALLY play tunes on a Pin Piano, for it contains a
full octave of notes and with this number you can play a good
many tunes like "Home Sweet Home," "Auld Lang Syne/' and
so on.
The base of the piano is a piece of soft wood, about 14 inches
long and 3 inches wide. Draw a pencil line along the length-
wise center line of the wood and make eight dots on the line,
each dot 1J/2 inches from the next one.
Now take a hammer and drive a pin into each dot. Use the
longest pins you can get and arrange them so that each suc-
ceeding one is deeper in the wood than the one before. This
gives each pin a different tone and each pin can become a note
in the scale by driving it the proper distance into the wood.
The deeper in you drive a pin, the higher the pitch of its tone.
You play the Pin Piano with a nail, which is tapped against
the pins.
186
Chapter 30
A BAND
A RUBBER BAND harp is fun to make and fun to play on. If you
have the right size rubber band, you can play a number of
simple tunes such as "J uanita >" "J in g^ e Bells/* "Aloha Oe,"
"America," and so on.
The harp is made of two sticks of wood about 12 to 15 inches
long, joined together at top and bottom by cross-pieces fastened
by small nails. When this framework is complete, you string the
harp by stretching a number of rubber bands over the two side
pieces. Each rubber band should be stretched more tightly
than the one above it, so it will give a higher tone.
By experimenting with different size bands, you can get a
true octave or two octaves, even including some sharps and
flats.
You can also make a first-class rubber band harp by stretch-
ing rubber bands around a shoe box, as shown in the drawing.
Arrange the bands so they will play a scale and then try play-
ing them by rubbing an old tooth brush across them or plucking
them with your fingers.
187
Chapter 31
BOX
You CAN MAKE a mighty good home-made drum out of a shoe
box or a round hat box. Try one of these out and you will be
pleased with the results.
Take a strong cardboard box ( such as a shoe or hat box ) and
punch two holes in its cover, one at each side. Turn the box
upside down and make two holes through its bottom, directly
under the holes you punched in the cover.
Thread a piece of strong string through the holes as shown
in the drawing. Draw the box and the cover together and tie
large knots in the string at X and X, to hold the cover tightly
against the box. Then tie the ends of the string together to form
a loop to go around your neck.
For drumsticks you can use sticks of wood, tablespoons or
wooden clothespins.
COVER,
&OX 80TTOM
188
Chapter 32
THE TWO DEVICES illustrated here, which are part of many trap
drummers' equipment, can be easily made and can be used to
keep time with the music of your home-made band or of the
radio. One device is a set of sand blocks, which you rub to-
gether to make that shuffling effect you have heard so many
times in dance band music. The other is a tambourine with
bells, which you can shake and strike against your knee and
with vour fist.
j
The sand blocks are easy. They are two wooden blocks, each
6 inches long, 4 inches wide, and 2 inches deep, with sand-
paper glued to one side. Just rub the sandpaper sides together
and you will get the popular shuffling effect.
The tambourine is made from the top of a round cardboard
box of the kind that some breakfast foods come in. To it are
fastened five or six small bells like those that come on baby
rattles and other toys.
Cut slits in the side of the box top. Then put the bell hooks
through the slits and fasten them in place with safety pins.
BOX COVER
PUT SAFETY PINS THROUGH
BELL HOOKS
TAMBOURINE
190
Chapter 33
HOME-MADE CYMBALS
CYMBALS FOR a home-made band or to keep time with the
music on the radio can be made from kitchen sauce pot covers
or from the tops of coffee or other tins.
Pot covers are already made as cymbals. They don't have
to have anything done to them. Just get two medium-sized
covers, hold them by the handles, and bang them together.
That's all there is to that.
The other kind of cymbals are made from two covers or tops
of coffee cans. Cut two wooden handles from an old broom or
from 1-inch wooden dowel. Then punch a small nail-hole in the
exact center of each cover. Drive nails through the holes into
the handles and the cymbals are all set and ready to go.
An important point is not to nail the covers tight up against
the handles. Leave a small space between, and you will get a
better and louder noise.
TIN CAN TOP CYMBALS
191
Chapter 34
TIN CAN TOM-TOMS
TOM-TOMS of different sizes and tones are easily made by
stretching inner tube drumheads over the open ends of tin
cans. Use small vegetable cans and the larger ones in which
fruits, fruit juices and jams are put up.
Remove the ends with one of the twisting kind of can open-
ers. They turn down the sharp edge and make a smooth rim
that will not cut your fingers or the rubber. The drumheads
are held in place with pieces of string wound around the can
as shown in the drawing. The tom-toms can be played either
with drumsticks or your fingers.
192
Chapter 35
(Bfaracas)
You GAN HAVE a wonderful time with a home-made bean rat-
tle, which makes a noise just like the maracas that you hear
with so much of the Cuban and Mexican popular music.
The rattle consists of a cardboard tube such as a mailing
tube or a tube such as paper towels are rolled on. Cut two
circles of heavy paper, each about 2 inches larger in diameter
than the tube. Put one of these over one end of the tube and
fasten it in place with both glue and string.
Now put a handful of beans, rice and pebbles into the tube
and cover the second end. Then shake the tube and it will make
the rattling noise characteristic of the maraca.
GLUE INS1PE HERE
If you want to, you can cover the tube with decorative wrap-
ping paper to give it a gay appearance.
You can make another rattle that will give with different
noises by putting some beans and pebbles in a tin coffee con-
tainer. These containers have tight-fitting lids, but it is a good
idea to fasten the lids down with adhesive tape.
Another way to make maracas is to put dried beans or small
pebbles into bottles. Use ketchup bottles or the long-necked
kind that salad dressings come in.
194
Chapter 36
MUSICAL WASHBOARDS
DID YOU EVER play a washboard? If you haven't, you've got
some real fun ahead of you, particularly if you can use your
washboard with other instruments as part of an orchestra. Lots
of orchestras that play over the radio and for dancing have
washboard players nowadays.
You can use any washboard of any size from the miniature
boards to the regular-sized ones. Different boards make differ-
ent tones according to size and the material of which they are
made. There are glass boards as well as metal ones.
To play the board you need five thimbles one for the thumb
and each finger of the right hand. Put the thimbles on and then
run them up and down over the ridges on the board. You can
make any rhythm you want to and can get some major musical
(?) effects.
Chapter 37
'
THIS is A wonderful combination of instruments with which to
beat out the rhythm of a piece that an orchestra or some of
your friends are playing.
Get a tin jar lid such as the ones that come on mayonnaise
jars and many other kinds of food containers. Then put a
thimble on the first and second fingers of your right hand and
tap the jar lid in the way shown in the drawings.
An interesting thing about this rhythm device is that you
can change its tone by using your left-hand fingers. The fewer
fingers touching the jar lid, the more resonant are its tones.
With practice you can make simple tunes by quickly raising
and lowering your fingers to make different notes.
LEFT HAND
JAR LID
THIMBLES
Rl&HT
HAND
ALL LEFT-HAND
FINGERS UP
ALL LEFT- HAND
FIN&ERS DOWN
196
Chapter 38
A
THIS UNIQUE little banjo really sounds a good deal like the real
instrument. Youll be surprised at the results you can get.
The body of the banjo is a cardboard box that should meas-
ure about five inches long, four inches wide, and two inches
deep. If you cannot get a box this size, get one near to it.
Cut a sound hole and a slot in the cover of the box, using
the point of a knife. Then cut a bridge shaped as shown in the
drawing from a piece of heavy cardboard. The bottom part of
the bridge should fit tightly in the slot cut in the box cover.
Put the cover on the box and secure it with strips of Scotch
Tape or gummed paper.
Now get four rubber bands, each a different size, and stretch
them around the box, passing them over the bridge. This com-
pletes the banjo, which you play by picking the strings with a
finger or a toothpick.
Each rubber band makes a different note, as they are of dif-
ferent sizes and the smaller ones are stretched more tightly
than the larger ones.
197
Chapter 39
INDIAN MUSICAL
INSTRUMENTS
IF YOU WANT to try something a little different from the usual
musical instruments, make some of the Indian instruments pic-
tured here.
An Indian water drum, which makes a distinctive noise, is
made from an empty coffee tin with a drumhead cut from a
discarded" inner tube. Put a little water in the tin and bind the
circular rubber drumhead tightly across its top, securing it
with a strong cord. Be sure to make the drumhead as taut as
possible. This kind of drum is beaten with a small wooden
drumstick, just a little longer than a pencil.
An earthenware drum is made from a large empty flowerpot
with a wet sheet of heavy paper stretched tightly across its
top. As the paper dries, it shrinks and makes an excellent drum-
head.
INNER, TUBE
/ WET HEAVY
-* PAPER,
COFFEE
TIN
FLOWER
POT
WATER DRUM
EARTHENWARE DRUM
Morache Stick
An Indian morache stick is a notched stick about 15 inches
long. This is placed upon an inverted bowl or metal dish pan,
which acts as a resonator. Another stick is then moved rhyth-
mically up and down over the notches, keeping time with the
music.
Indians use bull roarers to imitate thunder during their
ceremonies and dances. You can make a bull roarer by whit-
tling a piece of wood about 10 inches long to the shape shown
in the drawing and fastening a piece of string about five feet
long through the hole. Then whirl the stick around your head
and it will produce a weird roaring sound. You can also use a
ruler with a hole bored in one end for a bull roarer. This makes
a good sound and saves a lot of whittling.
CROSS SECTION
Bull Roarer
199
Jangle rattles are also used by the Indians in their dances.
They consist of a wooden handle to which triangular metal
pieces are attached. Cut about twelve pieces of tin from tin
cans into the triangular shape shown in the drawing. Whittle
out a handle and bore six holes through it to accommodate six
pieces of heavy coi'd. Knot the cords on each side of the holes
to keep them from slipping through. Then tie large knots in
the ends of the cords and bend the tin pieces around them.
The jangle rattles make a silvery tinkling sound when they are
shaken in time with the music.
Jangle
Rattle
200
Chapter 40
THERE ARE TWO kinds of musical glasses the kind you rub and
the kind you hit. Both are good fun to experiment with and
some people become really expert at getting tunes out of them.
If you want to rub a musical glass, first fill it about one-
quarter full of water. Then dip your first two fingers in the
water and rub them slowly around the rim of the glass. In a
moment or two the glass will start to hum and give off a clear
singing tone. You can vary the pitch of the tone by the amount
of water you put in the glass. The more water the deeper the
tone.
Get three or four people rubbing glasses containing different
amounts of water and you will have some very weird and won-
derful harmonies.
You can get more of a tune out of the glasses that you hit.
Put six or more glasses of different sizes on a table. Then put
varying amounts of water in them so each one will produce a
different note. With a little experimenting and glasses of suffi-
ciently different size, you can make a complete scale. Then by
tapping the glasses with a pencil or a fork, you can play
"America," "Aloha Oe," "The Farmer in the Dell," and a num-
ber of other different tunes.
You can also use bottles for this kind of music. Get bottles
of different sizes and fill them with different amounts of water
until you can play a scale on them. Some bottles that are good
for this purpose are milk bottles, ketchup bottles, vinegar bot-
tles and different sizes of medicine bottles.
Chapter 41
THE MUSICAL SAW
ANY BOY or girl can learn to play the musical saw. It is a fasci-
nating instrument, and one on which some of the greatest
movie stars and other well-known people enjoy playing.
You can use an ordinary saw or purchase a special musical
saw at a music store. There is not much difference between
them insofar as tone production is concerned. You will also
need a small wooden mallet (such as they use with a xylo-
phone) or a well-rosined violin bow. The saw is played either
by striking it with the mallet or drawing the bow across it.
Put the handle of the saw between your knees and grip it
firmly. The back edge of the saw should be away from you, the
teeth toward you.
Hold the upper end of the saw with your right or left hand,
whichever is easier for you. Most people, we think, use the
BOW
202
left hand. With this hand bend the saw so its blade has a
shape like a long, thin letter S, as indicated in the drawing.
Then strike the saw with a mallet or draw the violin bow
across the back edge of the saw. A note something like a
Hawaiian guitar note will result.
The next step is to make the saw produce different tones.
This is done by bending the saw a little more or a little less,
always keeping it in the shape of an S.
The musical saw is used as a rule to play simple, slow tunes.
Try "Aloha Oe" and soirie of the other Hawaiian ones as
starters.
SAW FORMS AN S
HOLD END OF SAW
THIS WAY
HANDLE IS HELD
BETWEEN KNEES
203
Chapter 42
THE ROSIN CAN
WE WOULD hardly call this a musical instrument, but musical
friends have stoutly maintained that it is one and have said that
this book would be incomplete without it. And so, here it is
the last and probably the most unmusical instrument in the
book.
What its correct name is, we don't know. We have heard it
called a Rosin Can, a Bull Roarer and a Squawker, so you can
make your own choice.
To make it, take a tin coffee can and make a small hole in
the bottom. Through this hole you thread a piece of strong
string well-rubbed with rosin. You can get the rosin at a music
store, for violinists use it on their bows. Tie a knot in each end
of the string and everything is all set.
To operate the gadget, hold the can with your left hand,
""clipping the string between your left fingers. Then take the
other end of the string in your right hand, pull it taut and
pull it through the hole, letting the string slip through your
left fingers. If everything works well, you should get a loud
burring or roaring sound.
204
INDEX
Accent, flam
Accordion, piano
176, 177, 178, 179,
Adjuster, E string
"Aloha Oe" 62,
Alto horn
Alto recorder
"Alt Wien"
"America" 84, 102,
"Annie Laurie"
"Auld Lang Syne"
Austrian Trapp family
Banjo
Banjo, rubber band
Bar
Baritone, horn
Baritone, saxophone
Bar line
Barre
Barring
Bass
Bass bar
Bass buttons, accordion
Bass clef
Bass drum
Bass recorder
Bass, recording
Bass string
Bass, tuba
Bass, upright
Bassoon
Bazoomer
Bean rattles
Beat
Beater
Beethoven
Bell, cornet
Bell, euphonium
Bell lyre
Bellows, accordion
"Blue Bells of Scotland"
Body
Boehm
Bottles, musical
Bow knob
Bow saw
Bow screw
Bow, violin
Bowing
Box drums
Brahms
Brass wind instruments
Bridge, mandolin
Bridge, violin
Bugle
Bull fiddle
Bull roarer
Button, accordion
Button, trumpet
C, key of
C, middle
Castanets
Cello
Chalk
Chamber music
165
180, 181, 182
77
187, 201, 203
103, 104, 105
132
74
157, 187, 201
15
186
132
66, 67, 68, 69
197
20
103, 104, 105
90
20
41
64
16,33
76
176
16
160, 161
132
103, 104, 105
88
103, 104
104
114, 115
185
193
22,23
160
15, 114
97
104, 105
169
176, 179, 180
84
45
120
201
97
202
75
75
75, 76, 77
188
74
103
44
75, 76, 79
148
88
199
176
99
23
68
167
88
77
88
Chin rest, violin 75
Chopin 14
Chords, dominant seventh 54, 55
Chords, guitar 48, 50, 54, 73
Chords, Hawaiian guitar 64, 65
Chords, mandolin 48, 49
Chords, piano 32
Chords, subdominant 54, 55
Chords, tenor banjo 72, 73
Chords, tonic 54, 55
Chords, ukulele 39,40
Chromatic harmonica 144
Clarinet
106, 107, 108, 109, 110, 111, 112, 113
Clef 16, 17
Comb kazoo 184
Concert harmonica 142, 143
Cornet 97, 98, 99, 100, 101, 102, 103
Cow-boy 50
Crystal (clarinet) 106
Cymbals 158, 167
Cymbals, homemade 191
D, key of 24
Dampen 161
Denner, Johann Christoph 106
Dominant seventh chord 54, 55
Dotted note 22, 28
Double bass 88
Double bell euphonium 104, 105
Double strings 43
Drag 163
Drag paradiddle 163
"Drink to Me Only with Thine Eyes" 50
Drum, bass 166
Drum, box 188
Drum, earthenware 198
Drum, snare 160, 161
Drum sticks 161
Drum strokes 162
Drum, water 198
Drummer's traps 191
Dvorak 15, 31
E, key of 24
E, string adjuster 75
Earthenware drum 198
Ear, training 10
Ebony 76, 106
Eighth note 20
Embouchure 116, 117, 145
End button, violin 75
English horn 114,115
Euphonium 103, 104
F hole 75, 76
F, key of 23
Face 44
"Farmer in the Dell" 201
Feint 164
Fiddle, bull 88
Fife 145
"Fifth Symphony" 15
Fingerboard diagrams 36
Fingerboard, double bass 88
Fingerboard, guitar 51
Fingerboard, Hawaiian guitar 60
Fingerboard, mandolin 44, 45, 46
Fingerboard, tenor banjo 69
Fingerboard, violin 79
Fingering, bassoon 1 14
Fingering, clarinet 110, 111, 112, 113
Fingering, cornet 100
Fingering, flute 118, 119, 120, 121, 122
Fingering, piano 31
Fingering, piccolo 124
Fingering, recorder 133, 134, 135
Fingering, saxophone 91, 94, 95, 96
Fingering, trumpet 100, 101
Fingering, violin 74, 75, 78, 82, 83, 84, 85
Finger pick 58
Five stroke roll 164
Flam 162
Flam, accent 163, 165
Flam paraddidle 165
Flam and feint 164
Flam and stroke 163
Flats 23
Flats, Hawaiian guitar 62
Flautist 116
"Flow Gently Sweet Afton" 84
Flute, 13, 15, 116, 117, 118, 119, 120, 121,
122, 123, 124
Folk music 50
Four stroke ruff 164
French horn 103, 104
Fret, guitar 51, 52, 53, 54
Fret, guitar, Hawaiian 58, 61, 64
Fret, mandolin 44, 45, 46
Fret, tenor banjo 69, 71
Fret, ukulele 37, 41
Frog 75, 76, 79
G, key of 24
Gasoline 131
"Girl I Left Behind Me" 145
Glasses, musical 201
Glide, Hawaiian guitar 62
Glockenspiel 169
"Good Night Ladies" 28, 62
Grace Note 162, 163, 164, 169
Grenadilla wood 106
Group singing 36
Guard plate 44
Guitar 13, 50, 51, 52, 53, 54, 55, 74
Guitar chords 48, 50, 54, 73
Guitar, Hawaiian 58
Hair 75, 76, 79
Half note 20, 28, 69, 73
Half step 82, 83, 85
Half-tone 23, 44, 45, 69
Harmonica 136
Harmonica, chromatic 136, 137, 138, 144
Harmonica, concert 136, 137, 138, 142
Hawaiian guitar 58, 59, 60, 61
Head, guitar 51
Head, mandolin 44
Head, ukulele 41
Heifetz 86
Hill-billy 50
Holes, clarinet 107
Holes, F 75
Holes, thumb 110
Holster 170
"Home on the Range" 102
"Home Sweet Home" 186
Horn, alto 103
Horn, baritone 103
Horn, French 103
Horn, tenor 103
Horsehair 76
Humbuzzer 185
Indian instruments 198
"In the Evening by the Moonlight" 43
Jangle rattle
Jar 2d and thimble
"Jingle Bells"
"John Peel"
"Juanita"
Keeping time
Kerosene
Kettledrum
Keyboard, marimba
Keyboard, piano
Keyboard, piano accordion
Keyboard, xylophone
Keys
Keys, clarinet
Keys, Hawaiian guitar
Keys, mandolin
Keys, piano
Keys, register
Keys, saxophone
Kreisler
"La Paloma"
Largo
"Last Rose of Summer"
Lessons
Licorice stick
Lines
"Long, Long Ago"
"Lullaby-
Mallet
Mandolin
Maracas
Marches
"March King"
Marimba
Measure
Mellophone
Mendelssohn
"Mess Call"
Morache stick
Mouthpiece, cornet
Mouthpiece, flute
Mouthpiece, saxophone
Mouthpiece, trumpet
Mozart
"My Bonnie"
"My Old Kentucky Home"
Natural
Neck, Hawaiian guitar
Neck, mandolin
Neck, tenor banjo
Neck, violin
"New World Symphony"
Notes
Notes, banjo, tenor
Notes, base
Notes, black
Notes, bugle
Notes, clarinet
Notes, cornet
Notes, dotted
Notes, duration
Notes, eighth
Notes, fife
Notes, flute
Notes, guitar
Notes, guitar, Hawaiian
200
196
130, 187
139
50, 187
21
131
166
172
26,27
176
172
23, 24, 40, 41, 42
107, 108
64
44
26,28
110
94,96
74
15
31
15
11
107
17,27
102
74
170, 171, 173, 174, 202
13, 43, 44, 45, 46, 47
193
21
104
171
20, 22, 23, 25
103, 104
74
152
199
97
116
91
100
115
179, 180
54, 157
43,52
60
44,45
68
75,77
15, 30, 31
11, 12, 13
67,70
18
27
150
108
102
22
20,22
21,22
146
120
51,53
61,63
Notes, half
Notes, harmonica
Notes, mandolin
Notes, ocarina
Notes, quarter
Notes, recorder
Notes, saxophone
Notes, sixteenth
Notes, tenor banjo
Notes, trombone
Notes, ukulele
Notes, violin
Notes, whole
Nut, mandolin
Nut, steel
Nut, violin
Oboe
Ocarina 153, 154,
Octave, banjo, tenor
Octavei clarinet
Octave, guitar
Octave, guitar, Hawaiian
Octave, piccolo
Octave, saxophone
Octave, tenor banjo
Octave, ukulele
"Oh My Darling Clementine 1
"Oh Suzanna"
Oil
"Old Black Joe"
"Old Folks at Home"
"On Wings of Song"
Open string 61, 64, 68, 69,
Open tone
Pads
Paradiddle
Paradiddle, drag
Paradiddle, flam
Paradiddle, single
"Parsifal"
Percussion instruments
Pernambuco wood
Phonograph
Piano 9, 12, 26, 27, 28, 29,
Piano, accordion
176, 177, 178, 179,
Piano keyboard
Piano, pin
Piccolo 116,117,118,
20
137
43
156
21
135
91
20
67,70
126
36
82
20
44
58
75,82
114, 115
155, 156, 157
68,73
110
51
59
116
91, 92, 94, 95
68,73
38
32, 33
28,54
131
55, 57, 62, 73
28,41
74
71, 79, 82, 83
100
94
163
163
163
163
166
159
76
10
30, 31, 32, 33
180, 181, 182
26
186
119, 120, 121,
122, 123, 124
Pick, banjo
Pick, guitar
Pick, guitar, Hawaiian
Pick, mandolin
Pick, tenor banjo
Pick, tortoise shell
Pin piano
Piston
Pitch
Pitch, cello
Pitch, cornet
Pitch, mandolin
Pitch pipe
Pitch, ukulele
Pitch, violin
Pizz
Pizzicato
Plastic, clarinet mouthpiece
Plectrum, banjo
Plectrum, guitar
51,
50
58
46
68
68
186
98
23
88
98
43
59, 77, 78
36
77
81
81
106
68
50
Plectrum, mandolin 46
Plectrum, tenor banjo 68
Pluck 77, 81, 88
Position march 44
Practice 9, 12, 13
Prelude 14
Purfling 75
Quarter note 21, 23
Quarter note, dotted 23
Quartet 88
Radio 10, 15
Range 19, 52, 67, 71
Range, saxophone 90
Rattles, bean 193
Recorder 9, 13, 15, 132
Recording, bass 103, 104, 105
Reed 91,114
Reed, clarinet 106, 108
Reed, double 114
Reed, harmonica 136
Register key 1 10
Register, middle 113
Repairs 76
Resonators 66
Rests 24, 25
"Reveille" 151
Rhythm 25
"Ride of the Valkyries" 1 16
Roll, drum 163, 164, 165
Roll, marimba 173, 174
Roll, xylophone 173, 174
Rosin 76
Rosin can 204
Rubber band banjo 197
Rubber band harp 187
Rubber, hard 106
Ruff 164
"Santa Lucia" 139
Saw, musical 202,203
Sax, Adolphe 90
Saxophone
9, 13, 15, 90, 91, 92, 93, 94, 95, 96, 116
Scales 11, 61, 94
Schubert 15
Screw 170
Screw bow 75, 76
Scroll 75, 77, 78
Seven stroke roll 164
"Seventh Symphony" 15
Slide
Slide trombone
Slide, tuning
Slide valve
Sliding the steel
Slur
Sharps
Sharps, guitar, Hawaiian
Silver
Silver winding
Silver wire
Sixteenth note
Snare drum
Soap
Solo
Soprano recorder
Soprano saxophone
Sound hole, mandolin
Sound post
Sousa, John Philip
Sousaphone
Spaces
98
103, 128, 129, 130, 131
97
97
62
81, 151
23, 24, 27, 44, 52
62
116
75
75
20
161
131
43, 98, 176
132
90
44
76
104
103, 104
17, 18, 19, 20
"Spanish Cavalier"
Staff
Steel bar
Steel guitar
Steel nut
Steel wire
Stephen Foster
Stick
Stick, drum
Stick, monache
Strap, accordion
Strap, saxophone
String, aluminum covered
String, B
String, banjo, tenor
String, bass
String, double
String, guitar
String, guitar, Hawaiian
String, gut
String instruments
String, mandolin
String, open
String, silver covered
String, violin 75, 76, 77, 78 ;
Stroke
Strumming
Subdominant
Subdominant chord
"Summer, Last Rose of"
Sweet potato 153, 154,
Symphonies
Tailpiece, mandolin
Tailpiece, violin
Tambourine
Tempo
Tenor banjo
Tenor horn
Tenor (viola)
Tenor, melody
Tenor, recorder
Tension
Thimble and Jar Lid Music
Thumb button
Thumb hole, recorder
Thumb pick
Thumb rest, saxophone
Time 12, 16, 20,
Time signature
Tin can tom-tom
Tip
Tom-tom
Tom-tom, tin can
Tone
Tone bar, glockenspiel
Tone bar, xylophone
Tone, cornet
Tone production
Tone, violin
Tonic
Tonic chord
Tonguing, bugle
Tonguing, cornet
Tonguing, flute
Tonguing, harmonica
Tonguing, ocarina
Tonguing, recorder
Tonguing, triple, bugle
Tonguing, trombone
Tonguing, trumpet
Top, mandolin
50
17,18
58, 60, 61
58
58
75
41
75, 76, 78, 79
161, 162
199
176
90,91
75
37
66, 67, 70
88
43
50, 52, 58, 60
58,60
75
35, 36, 43
44,46
37,51
75
, 79, 80, 81, 82
164
42
166
54,55
15
, 155, 156, 157
14, 15
44
75
190
16
66, 67, 68, 69
103, 104, 105
88,90
90
132
76, 77, 88
196
91
133
58,60
91,92
21, 22, 23, 28
21
192
75
167
192
37, 77, 88, 91
170
171
99
99, 100
76
166
54,55
150, 152
98, 100
117
138
153
133
152
125, 126
98, 100
44
Top, violin
Training
Training, ear
Trapp, Austrian
Traps
Treble
Treble clef
Treble staff
Tremolo, banjo, tenor
Tremolo, guitar
Tremolo, guitar, Hawaiian
Tremolo, harmonica
Tremolo, mandolin
Tremolo, tenor banjo
Triangle
Trio
Triple tonguing, bugle
Trombone, slide
Trumpet 97, 98, 99, 100, 101, 102, 103
75
10
10
132
158, 160, 189
16
16, 17, 18, 27, 28, 51
114
69,73
64
64
142
46
69,73
167
88, 116
152
103, 125
Tuba, bass
Tubes
Tuning, banjo, tenor
Tuning, guitar
Tuning, guitar, Hawaiian
Tuning keys, mandolin
Tuning pegs, violin
Tuning Slide
Tuning, tenor banjo
Tuning, viola
Tuning, violin
Tuning, ukulele
Tympani
Ukulele
"Unfinished Symphony"
Upright bass
"Valkyries, Ride of"
Valve
Valve cap, lower
Valve cap, upper
Valve slide
Values
Vent, ocarina
Vibrato, guitar, Hawaiian
Vibrato, harmonica
Viola
Violin
Violoncello
Wagner
Waltz
Washboards
Water drum
Water key, cornet
Water key, trombone
Whole note
Whole step
Winding, silver
Wind instruments
Wind instruments, brass
Wind instruments, wood
Wire, silver
Wire, steel
Wire strings
Wire wrapped strings
Wood wind instruments
Wound strings
Xylophone
"Yankee Doodle"
103, 104
102
66,67
59
51,59
43,44
75,77
97
66,67
88
77
36
166
36, 37, 42
15
104
116
97, 98, 99
97
97
97
20
156
64
141
88, 114
74, 75, 76, 77, 78, 79, 80,
81, 82, 83, 84, 85, 86, 87
166
23
195
198
98
130
20, 28, 69, 73
82, 83, 84, 85
75
13, 17, 89, 90
103
114
75
75
58
58
114, 146
58
9, 171
21, 28, 46, 48, 84
c
CD
1 1 5 267
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