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Full text of "Otto Langey's new and revised edition of celebrated tutors : violin"


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HAROLD B. LEE LIB 3Y 

BRIGHAM YOUNG UNIVERSITY 

PROVO, UTAH 



Digitized by the Internet Archive 
in 2012 with funding from 
Brigham Young University 



http://archive.org/details/ottolangeysnewreOOIang 



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New and Revised Edition 



OF 



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CLARINET 





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Carl Fis 



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BOSTON. 



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COOPER SOUARE 

NEW YORK. 



Inc. 

CHICAGO. 



44+* 



4*M 



Index 



Page 



Rudiments of Music 

Duration of notes 5 

Comparative table of the relative value . 

of notes 6 



Bars 



Rests 



Dots 



Triplets, Double Triplets and Group. 



Time. 



Method for the Clarinet 

The first exercises 

Descriptive table for the Boehm Clarinet 
Scale for Clarinet with 15 keys . . . . 

Scales 

Slur 

The Pause 

Sharps 

Tables of Signatures of Sharp Keys . . 

Flats 

Table of Signatures of Flat Keys. . . 

The Natural 



6 

7 

7 

7 

8 

9 

10a 
10b 
11 
12 
16 
18 
18 
21 
21 
23 



48 
5Q 



Page 
no 

Minor Scales 

Table of minor Keys with their relation . 

to major ^ 

Different shades of tone 27 

Double Flats 

Double Sharps 

Exercises with Triplets 52 

Abbreviation and Rests 

The Appoggiatura 

The Gruppetto or Turn 

The passing Shake and the Shake . 

The Chromatic Scale 

Exercises of Mechanism 

Exercises on articulations 

Exercises for acquiring a long breath . . 

and a full tone 63 

Major and Minor scales in all keys ... 64 
The Harmonic minor Scale 68 

Arpeggios. The Group 71 

72 
Various exercises 

Various sizes of Clarinets " 



55 
56 
57 



. 59 

61.62 



Appendix 



Page 
.100 



Harlequinade Polka J.M.Morelli 

Ave Maria A.Fessy 

Temptation (Verdi) H. Kiosk 

How can I leave thee. Fantaisie . R.Ritter, Op. 11 

Polonaise from "Mignon'.' . . . . Ambroise Thomas 

Long, Long ago. Fantaisie . . . R. Hitter, Op. 12 107 

Concertino F. Manns, Op.29 «0 

. ,C.M.v.Weber,0p.33 117 



101 
102 
103 
105 



Variations 



Fantasia R. Gruenwald, Op. 224. 

List of principal words used in modern music 



121 
125 



1974-L 



Copyright 1890 by Carl Fischer,New York 
Copyright renewed 1918 by CarlFischer,New York 



■nooBHaai 




NO 25 



NOTE: The black points (.) dcnolc the closed holes 

and Ihe white points (OJ the holes open. 

The numbers indicate the keys to be opened or closed 

The letters A.B.C, indicate the extra fingerings 

for keys 1 2 3 

Each little finger is used on four different keys as 

is also the first finger of the right band which ha» 

in addition its hole to open and close 



descriptive Bible for the boehm clarinet 

n n h varioWexamples illustrating its maw advantages 



by C.ROSE. 

Pro/eaaor at Paris Cu.tiervatorj/ 



Albert System 
15 keys 
4rings 




N9 25 



The black ♦ closed holes 

The leros O the open holes 

The numbers on the keys indicate (he holes, 

that must be opened or dosed 

The letter S indicate the side E* and BHCcy 

The letter A the duplicate FBand C«action 



SCALE FOR THE CLARINET WITH 15 KEYS. 

GIVING VARIOUS EXAMPLES ON THE Use °F THE F( AND Ctf ACTION, ALSO SIDE El AND Bt KEY, 
WITH SEVERAL OTHEI; EXAMPLES AND FACILITIES OF FINGERING 

T by C. ROSE. 

Professor <•/ the Clarinet, at Paris Conservatory 



£**mples, 12 

EXAMPLES W 1 






NOTE The 16 keyed Clarinet, wi, 

, ... ..it.. .nnes onbothupper and lower joints, 

is the most desirable common sysl' 1 "* " 

.Clarinet to be obtained 
By meansoflherings on the upper 



*? 



X the|^ is made by stopping the 
di- by stopping the thumbhole ando- 



pening the key NP 13 or thumb key 

use of the »'.1> key in making those r h"* ]mproveraenldoes away with IM 
ny passages in sharp keys much less a \thus making the execution of ma- 
invented in addition to those already mcniull. Various other keyshave been 

- I. ~ jl„ t«ed,but they areof doubtful value and are not 

«: tte b 5 5 SB = .». a- recommended. 



Pipe keyorlJih key 



... .ley 

Side tA and n. *■ ■ 
tnd Key 







— iwuivu umvt 
PROVO, UTAH 



RUDIMENTS OP MUSIC. 



Before the student can commence to play on any Instrument^ is necessary that he should be acquain- 
ted with the rudiments of musical notation. 

The signs, which indicate pitch and duration of a musical sound, are called Notes figured 

thus; o J J «T J) JJ etc. 

They are named after seven letters of the alphabet: C.D.E.F. G. A.B. and are written on.between, 

above or below five parallel lines, - called the Stave. The names of which are determined by 

Clefs, placed on different lines, - 



For this instrument only the treble or G clef f^> is used which is placed on the second line 



The names of the notes on the five Lines 



of the four Spaces between the lines (f* , 2 A J J r Ezp 



are <fo t u a J J f f f 

i i S 1 J f 3EE 



of the two above and below the lines 



in 



F A C E 



*TT 



G 



These eleven notes being too limited and in order to signify higher and deeper sounds Ledger lines 
have to be added above and below the stave. 



Notes of the ledger lines above the stave , 



Notes of the ledger lines below the stave 



rff f f 



ABCDEFGABC 



' $A A 



4 -J j i J i 

f f ! A B C 



FULL TABLE OF THE ABOVE NOTES, 



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♦ # « * £ '= 



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£ 



* * 



C D E 



f ga bC defgab 



cdefgabc 



E F G A B 

DURATION OF NOTES. 

Notes may be of longer or shorter duration, which is shown by the peculiar form of each note. 

FORMS OF DIFFERENT NOTES. 



t 



F 



zssz 



¥ 



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Whole note, Ha if note, Quarter note, Eighth note, Sixteenth note. Thirty -second note, 



The latter three kinds may also be written 
in combination thus-. 

1974-114 © 



j H 



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r r " "* e r = 



Eighth notes, Sixteenth notes, Thirty - second notes, 







Comparative Table of the relative Value of notes. 



One Whole note is equal 



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to 



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2 Half notes. 



zai 



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or 4 quai ter notes, 



or 8 eighth notes, 



or Hi sixteenth notes. 



or :\2 

Thirty second notes, 



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BARS. 

Notes are arithmetically divided into bars, marked by one or two lines drawn across the stave . 

— is placed after each bar, and each bar contains the same number or value of notes 



One line 



and each bar must last precisely the same length of time. At the end of a composition or section of 
a composition, two lines are placed forming a double bar. If either two or four dots are found by ±j|i= 
the side of the double bar, the whole part from the preceding double bar, or if there is no earlier double 
bar, then from the beginning of the piece , is to be played again. This is called a Repeat. 



RESTS. 



Instead of a note a Rest of an equal value may be used 



I 



t 



Rest for a Whole note, Half note, Quarter note, Eighth note, Sixteenth note, Thirty- second note, 



1974-114 (21 



DOTS. 



A Dot placed after any note or rest increases its value one half. Thus : 

to 



ft* r* =h is e( i ual to I. r r 



or 



m to ^m 



or 



Two dots placed after a note increase its value one half and a quarter of | \ j " lil«' | f' r M | 



to g£^ 
like 



etc. 



TRIPLETS, DOUBLE TRIPLETS AND GROUPS. 

Triplets are marked by a 3 being put over a group of three notes, double Triplets are marked 
by a 6 being put over a group of six notes. 



Three quarter notes marked thus E E E | must be played in the same time as two quarter notesHr? 

3rr | etc. 

rrrrrrr 1 



or six eighth notes 
There are also groups of five, 



like four eighth notes 
T 



seven 



and nine notes. 




TIME. 

In order to know how many quarter notes eighth notes or Sixteenth notes a bar contains, special fig- 
ures are placed at the beginning of a movement. 



$ 



Common time. 



r r r f 



Contains four quarter notes,or 
the same value in longer or 
shorter notes or rests, and 
four 1.2. 3.4. have to he 
counted in a har. 



Three four time. 



3E 



PP^P 



Contains three quarter notes, 
or the same value in longer or 
shorter notes or rests, and 
three 1.2.3. have to be count- 
ed in a bar. 



* 



Two four time. 



S 



<fe 



£ 



Contains two quarter 
notes and twot.2.have 

to be counted. 



TABLE OF TIMES. 

Single common times. Compound common times. Single triple times. Compound triple times. 



i 



m 



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i 



i* , or 4 



I g or g or i 



p 



p 



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When a line is arawn through the C thus <j5 which is called alia breve, two are counted in a bar. 
1974-114 © 



8 

METHOD FOR THE CLARINET. 

THE COMPASS OF THE CLARINET. 

The compass of the Clarinet is nearly four octaves, extending from the low E j£ j || up to C 



77 



in 



altissimo. fk ' || The very high notes are, however, screeching and disagreeable to the ear, so that it 



is advisable not to pass beyond the high G j f y ' | the reasonable limit of the instrument. 

The Clarinet is divided into 3 registers: the 1*J or deepest register, called chalumeau, extends 

from the low E 1} (L i || to B !>, ft> ^ | the 25* register, Medium, from B 1| (ft b f || to C 1] fa ' || and 



the 31 l register, in alt, commences at C # (k ' \ \ and ascends to the high. C t|. & ' || 



MANNER OF HOLDING THE CLARINET. 

The left hand occupies the upper part of the instrument. The lit, sM and srA fingers are placed upon 
the two rings and the hole in the front, while the thumb is used for closing the hole at the back, and open- 
ing the 12!* key. The little finger is extended to touch easily the keys N? 1 2 and 6. The right hand occu- 
pies the lower part of the instrument. The l^i, 2'iii and 3'^ fingers stop the holes placed under the three 
rings, the little finger must be always extended so as to touch easily the keys N?* 3 and 4. 

POSITION OF THE MOUTHPIECE IN THE MOUTH 
AND THE MANNER OF PRODUCING ATONE. 

Insert nearly half the mouthpiece into the mouth, the reed being underneath. The lower lip should be 
a little drawn in so as to cover the teeth: and the upper lip slightly pressed downwards to prevent the 
teeth biting the mouthpiece and damaging the quality of tone. The mouthpiece being thus held by a light 
pressure of both lips the air cannot escape by the sides of the mouth, the reed can then act freely and 
perform its vibrations with all desirable facility. The tone on the Clarinet is produced by the tongue 
which sends the air into the instrument and at the same time causes the reed to vibrate. To produce 
the tone the player must take in a sufficient quantity of air and force it into the instrument by a short 
stroke of the tongue and by pronouncing the letters T or D according to the quality required. 

THE EMBOUCHURE. 

To attain a good embouchure i.e. the thorough control over mouth, tongue and mouthpiece; the player 
must possess the two principal aids for gaining the finest embouchure, these are: delicacy of tone and 
lightness of tongue. 

ON TONE. 

It is of the greatest importance to have a good mouthpiece and a good reed. Without these the stu- 
dent will try in vain to produce a sweet tone. The reed is made of Frejus cane which must be ripe 
but not overripe. 

J974-I14 



THE FIRST EXERCISE 



4 



1. Pronounce a T. 



2. 



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1974-114 



10 



Observe the value of the notes and count. 



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1974-114 



11 



SCALES. 

The ladder- like succession of eight sounds, starting from any note and ascending or descending 
by tones and semitones in regular order, is called a Scale, and each note of a scale is called a 

Degree. 

Between these eight degrees there are seven intervals or distances, five of which are tones, and 

two semitones. 

There are two principal kinds of Scales, termed Major and Minor, whose ascension or descension 
is diatonical i.e. in tones and semitones, and a third kind, whose ascension or descension is chromatic 
i.e. only in semitones. 

For the present, only the Major scale will be treated upon. In the Major scale the semitones are 
situated between the third and fourth and the seventh and eighth degrees of the scale. 

EXAMPLE. 



i 



tone 



tone semitone tone 



tone 



tone semitone 



3 



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£ 



rJ degreev A*k\ 



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Each diatonic scale derives its name from the name of the note on the first degree— or the roof. 

There are twelve major and twelve minor scales; but not to burden the student with their combina- 
tion at present, only the scale of C major will be given. 

The distance from one note to another is called an ///terra/. Two notes placed on the same degree 
do not produce any interval, they are said to be in Unison. 

The intervals are named: The Second, the Third, the Fourth, the Fifth, the Sixth, the Seventh, the 
Octave, etc. 



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Second Third, Fourth, Fifth, Sixth, Seventh, Octave 



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1974-114 



12 . SLUR. 

A slur s> — v drawn over two or more notes binds the same, for which only one stroke of the tongue 
is applied. 

lo. A slur over two notes. 



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SCALES UPON INTERVALS. 

Take breath, whereever this sign ' occurs and avoid any noise whatever while doing so. 
In Thirds. . , . 



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1974- 114 



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^ 



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I 



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i 



i 



i 



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1 



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1974-114 



16 



THE PAUSE. 



The sign f> placed over a note, means that the note can he sustained to an indefinite length, at 
the performer's pleasure, the counting heing interrupted. 

24. 



# 



r\ -> 



fts -> 



IE 



i 



i 



r\ 



-&- 



£ 



« 



When a dot is placed over a note, it must b"e played very short, which is done by pronouncing a 
short T, this articulation is called staccato. 

25. 



• 



cxj r 1 1 ■ 



m 



One two 
AD. Two notes slured and two staccato. 



I 




m 



a 



r\ 







>27. 



Slur three notes. 



S 




OJT g 



J # 



*-#■ 



Observe the rests. The notes must not be sustained longer than their actual value, the rests must 
be quietly counted. 

28. Duet. 

Pupil. 



Master. 



rt-r* ^ 


(9 


>» 


(9 




V 


P 1 


I _ P i 


\— 


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r J 






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* 
























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c 





































BP 


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V 


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V 




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f 



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p 



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1974-114 



18 



SHARPS. 



A Scale may be formed on any note; but in order to produce semitones between the third and 
fourth, and the seventh and eighth degrees in any other but the scale of C major, it is necessary 
to employ certain characters, which raise, depress or restore the pitch of any note of the scale. 
One of these characters is called the Sharp jf, which when prefixed to a note, raises it half a tone. 
The number of sharps employed in a scale, depends upon which note the scale is founded. 

The sharps succeed each other in the following order: 

12 3 4 5 6 7 



5 



r=? 



s 



3 



m 



* 



^^ 



F sharp; C sharp; G sharp; D sharp; A sharp; E sharp; B sharp 

Thus it will be seen that if one sharp is employed it must be prefixed to F, consequently all F's 
in that piece must be raised half atone. When two sharps are employed all F's and C's must be 
raised, and three sharps all F's, C's and G's. etc. 

The sharps marked at the commencement are called the Signature, while any which are marked 
in the course of the composition, are called accidentals. 



TABLE OF SIGNATURES OF SHARP KEYS. 

Number of Sharps. ... 1 2 3 4 5 6 7 

' *—* *» « ¥ ii M =dk 



Names of the Keys. 



£ 



ito Mi* 



i 



G 



D 



E 



B 



H 



m 



c# 



# 



i 



semitone 



semitone 



fern 



-Gh 



_Q_ 



r ) 1 I ft 



¥ 



3 * <^ 



i 



t 



-& 



-&■ 



P & 



r* 




i=g 



m 



m 



££# 




m 



m i r 



m 



m 



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i 



£ 



1974-114 



19 






w 



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^ff 






33. 



SYNCOPATED NOTES. 



fes 



i 



# 



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«- 



22 



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fcd 



? 



=^^ 



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IT 



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34. 

is 



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2 



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ffp 



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-Q- 



1974-J14 



20 



i 



36. Andante 





* 



One, two, three, four, fite, six 



m 



++- 



One, two, three 4. 5. 6. 




m 



* * j j j j- yi 




444-* 



£ 



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H 



y^-y 




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m 



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5 



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37. ^_ 



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? f p ivT r I tt ^ JJ" 



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f P p»^ P — r? 



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£ 



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-- •&■ 



1974-114 



FLATS (b). 



21 



A Flat I? prefixed to a note depresses the same half a tone. The Flats succeed each other in 
the following order: 



3 



6 



5 



re 



r 



i 



* 



s 



B flat; E flat-, A flat; D flat; G flat; C flat; F flat. 
The same rule concerning signature as with sharp keys to be observed here. 

TABLE OF SIGNATURE OF FLAT KEYS. 



Number of Flats. . . 



Names of the Keys. 



## 



3 



4 



6 



* 



P^fe 



b''i> \\)\\ Bte Egg 



b!> Ek 



Ab 



Db 



Gb 



C\> 



Scale of F major. 



-&- 



^ 



i 



(9- 



ff 



ft * 



% 



p f 



^ 



-G- 



i J 'Ji 



^ 



i 



38. 



* s 



JEEE 









I*=* 






*=« 



£ 



*=* 




cLir i jj ?"? qi - T ' J 7^ c2 iJ* i 



irV-f 



^idts^D ^m 





+=M 



+-* 



*-+ 



^Uij ' ^JJiB 






1 



a 39. Duet. 

p b i r * 

m j J j 



^ 



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s 



^tei 



j ' <i ?- 



£ 



f 






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fefe 



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1^ 






1974-114 



22 



40. 



£ 



¥ 



^ 



■ « a m 



% 



-&- 



£ 



:£ 



H 



i 



-© #- 



£ 



m ^ 



i 




P 



PP 



£p£ 



^ 



er 



JEM 



^ 



5 



$ 



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f 



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41. 



I > r-> 



f 



!> C 7 



=£ 



! > C J ; £S 





P^ 



PS 



I 



^ 



F=# 



^^ 



^m 




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fe 






g rJ -fi* 



d ri 



fP 



fe 



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o^rf 




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— ♦ 



^-¥fj^r a [f f 



s 



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f 



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5 




1974-114 



23 



THE NATURAL \ 



In order to restore a note, which has been raised by a sharp % or depressed by a flat ?,a Na- 
tural tj is employed, which restores it to its natural pitch. 



Thus 



or 



$ 



$ 



B flat to 



F raised by a sharp, is restored by the natural -&-fa i- to its original sound 

IP 



B natural. 



MINOR SCALES. 

Every major scale has its relative minor, the root of which is to be found on the sixth degree 
of the major scale. Both scales bear the same signature. There are two kinds of minor scales, the 
Harmonic and the melodic form, of which the latter now will be explained. 

The ascending of the melodic minor scale differs from the descending, the former having its sixth 
and seventh degree raised by accidentals not essential to the key.— In the ascending, semitones 
are situated between the second and third, and the seventh and eighth degrees, and in the descend- 
ing between the sixth and fifth and the third and second degrees. 



SCALE OF A MINOR 

WITHOUT SIGNATURE RELATIVE TO C MAJOR. 



tone Isemitone I tone 



$ 



2 



mm 



tone tone tone Isemitone I 



| 111 degree) /gn^ /lizk\ /4tl 



£ 





Table of Minor keys with their relation to Major. 

A minor. E minor. B minor. F # minor. C jf minor. G # minor. D # minor. A # minor. 



* 



* 



1 



fe£ 



m 



** 



* 



&t 



ib 



m 



m 



C major. 



G major. 

I 



D major. 

I 



A major. 



E major. 



B major. 



fei 



m 



m 



F # major. 

& 



m 



C % major. 



H 



s 




D minor. G minor. C minor. 



F minor. 



B\> 



minor. 



E!> 



minor. 



Ah 



minor. 



m 



m 



k* 



*fr, 



mi 



m 



i 



1 



I? 



E 



■^ 



P major. 



B\> 



major. 



E \? major. 



A \> major. 



k 



D (? major. 

m — 



G \? major. 



C \> major. 



m 



*e 



fcz 



Eft 



P= 



9) 

1974 



24 



Scale of A minor. 



fe 1 I 



M 



Z2: 



P^Eg 



£ 



#* 



g r? 



i 



P=£p 



I 



^ff 



g ri 



42 



ggP 




^ E » . 



= m - — :\ ^ — g m - N 



F* 



I 



i 



^ § i ii 



#-■-• 



*** 



#^-# 



#-■-# 




Notes marked thus 
the letter D. 



^P 



"*^j. 



must be played with a soft stroke of the tongue by pronouncing - 



43. 



Jr^jEff 



' *■ • ^\ 



i 



3 






m 



=f 



p^g fe 



si 



s 



s 



EE 



rt 



:s 



¥ 



I 



^^ 



^^ 



gz ■ m 



^^ 



S j 5 



I 




jg^g 



^ v : ^~ 



■3 m 



0-*- 



I 



% 




4-*- 



_^__ __^_ 



=3 



1 ^"^ ^t- 



WH 



w 



mt 



^ 



Si 



*EEE5 



$ 



s 



ffi 



I 



^m 



^^ 



** 



IKf 



s 



^m 



^m 



f 



t==^ 



i 



4 



3=^ 



* 



H= 



#• » 



^ 



m.iipi 



PS 



s 




P* 



S 



*^=-» 



f 



f 



0—0 



1974-114 



25 



#3- 



wz: 



3: 



^ 



^^ 



^^: 



s 



15 



™ W- # 



ff 



3p 



igs 



J? 




-^- 



3 



>* 



£ 




■ ■ m m zz 



7^7 



^m 



W^ 




7 J 7 



TTV 



ft) 



# 



Scale of D minor. 



■J b» I ft 



^ g 



If if , § 



«- 



S 



^ 



rJ VP 



-n 



% 



& b* k 



fVFf 



19- 



jSC 



i 



I 



If 



<9- 



Z2I 



6^ 



-fi^ 



XT 



Exercise with dotted notes. 



3 



ll 




* 



.J J- Ji j.j j-J i J-'tjtj 1 j ? 



. • »• ' J. * f • 



• ^ i • 



# 



F=? 



S 




£e£ 




i 



=3^e: 



atz: 



3^ 




1% 



S 




^1 



i ' Wz g? 



p* 



J JaihJi 



1974-114 



26 



46. Allegro. 




cU T i cfrrT 



^sfe 



»-p-|» 



feg 




=fe 



|CTJ 



• ii ^ 



5P^ 



i=g 



i 



i-ffJg? 




^ 



fe^g# 



* 



* 



^B 



m 



az 



P- 







' I r r-TCT- 



^^ 



Ei=gE 



.• tf„r 



3 



^F*^ 



m 



J H g 



& 



HSi 



T = i 



h UifTnQj^ 



ffF=^ 



s 



=fe#i 



r , rfr 



i 



'fe 



J 7 f Ex" 



jg^ 



gg a 



^ 




: l 



mm 



iffii 



^ 



r .££r i rrrg 



±s£ 



i 



:** 



£ 



m 



f^ 



• »>-^ 



i r g^ 



i 



■ ^ tti— n 



m 



4 



* 




m 



* 



gg 



* 




gg 



^s 



I 



feE33 



P 



^$ 



i i jh^j. 



J.. J.. J . J • 



» • i 



^ 



* 



1974-114 



27 



^m 



joga 



4 



^ 



4 



jg gjg j 



3 F£= g F 



EJ 5 



I 



-*■? 



• '^_it« 



*• 



DIFFERENT SHADES OF TONE. 

JP means: piano, soft. 

pp „ pianissimo, very soft. 

f „ forte, loud. 

ff „ fortissimo, very loud. 

mf .« mezzo forte, moderately loud. 

cresc. or " means: crescendo, increasing the sound. 

dim. decresc. or 3iizzr==- means: diminuendo, decrescendo, diminishing the sound. 
sfrfor ^^ means: sforzando, rinforzando, sharply accentuated. 
fp means: forte - piano, loud and immediately soft again. 



i 



* 



Scale of D major. 



m 



xx 



-©- 



XX 



-&- 



-e- 



xr 



^ 



33: 



XT 



-©- 



i 



«* a fi: 






X3 



^: a 



X3_ 



i 



fc 



-o^ 



r\ 



XX 



-©^ 



xr 



-©- 



xr 



-©- 



xx 



-o- 



xr 



47. 




ggf^ 




## 



♦* 




« 



rtcff | LLtr^|tta'^ | C^r^ 



^ 



#H" 



* 



l ^r i % i r^ r^ i crcr^ J i r icfJ.U] i ^p 7j i ; JJJ j jj j i 



# ^Jjj ii 




1974-114 



28 



# 



48. 



Exercise with Sixteenth notes. 



i 



-Q- 




fe 




£ 




i 




S 



V-* 




'< /fl riTP i i f&fJP-, i tttfr jg 



^ 



50. Allegretto. 

4 



m 



m ^ 



s 



^ iL »#- i 



# 



w 



m 



i 



m 



i 



* 



— u ■ ■ ■ 



\ 



gjg 



^m 






rr. 



I 



/ 



I 



W=S 



M 



_^_ 



fe=te 




$ 



•±M2 



i 



2> 



4 



iP5 



J 



5 



* 



* 



Z2 



fe^gfi 



H . a 



I 



I 



legal 




;z: 



I 



m 








-<5*- 



^W 



zz: 



1974-114 



29 



51. Allegretto. 



i 



&==+ 



i 







m 



a 



^ 



5 




^^ 



ft 



p 



S 



^ ^¥ 



S 



s 



^5 



jfljfl ' jJ^ 



^ 



^Hrrrprri^r ^r^ 



P 






S 



rf$^ 



m 



p 



I'fr jfljfl'jTJj 



FP^ 



=p 



^ 



-i9 



feg 



ff ^^i 



pi 



• — * 



# — 1» 



#--=-# 



mm 



m 



« 



i 



jjj>^ 



in 



s 



^^ 



fe5 






4 



m e i bee 



i 



5 



/»~ — ^r- 



3 



m 



-0L»L 



m 



m 



m 



I*' ffl j?J i JJJ Jfj I jJl> j?J i jJ3jJ3 1 1 



w 



s 



i 



r\ 



1 



''pn 



#-*- 



i 



5 



!EE 




^^ 



3g? 



J. J"? 



5s 



r\ 



3C 






i 



Scale of B minor. 



m 



ri » a 



$ 



? 



-6>- 



221 



-t©- 



fc=fe 



* 



ft r^ 



-6»- 



221 



-f&- 



a gi 



a g 



1974-114 



30 



52. Moderate 
I 



g e e pfT r P 



Ss 



$ 



ste 



> i -* 



^91 



f 



P 



pffi 



P 



I 



i 



*/==- *» 



5 



^P§ 



f^i 



«1 



O? 



^iJr^^tfi 1 



tf 



m 



m 



^yp 



g^g * 




5 



gfc^ 



^"s" 



s 



s 



*^ 



^^ 



3s 



i 



i 



cresc. - 



f 



p 



j jm^ ' J iPP~ 



; v«i^ 



* 



I 



ZSZ 



5 



ik 



5 



te 



•^ffi 



£=3: 



s 



^ 



f ^ 7al y j 1? 



m 



fc 



* 






* 



s 



■ T^* 



s 



p^ 



^ 



s 



rJ f 



s 



I 



fe 



« « «J7* 



S 



Dh 8 -^ 



^ f '»rr 



3e=5 



P 



• 



V 



B= 



p 



/ 



r^ 



^^ 



-6h 



atg: 



= ? 



/ 



fa* 



F* 



Si 



7vn 



: # = F 



£ 



■= a p 



i^ 



^S 



^^3 



Cj P 77U 



1*" 



mm 



H 



^ 



/ 



P*3| 



^3 



*■» 



WJ^ 



H 



£ 



§ 



5 



+*,+ 



f 



P 



i 



^ 




f# 



& 



^^ 



Jt? cresc. - 



PP 



■/ f lff? 



m — 0- 



t 



f 



f 



g 



S 




/ 



P^ 



1974-114 




& 



&*&*$ 



m 



F^^f 



i 



rr 



^ 



31 

~i 



?^r -"r- 



2 



i 



cresc . - 



* 



- /• 



I 



m 



i 



ff 






P 



f 



«^~3f 



9 — #— * 



W^ 



f 



SCALE OF B MAJOR. 



ri e 



§ 



^s 



Z2I 



^a 



f 



3 




g 



Cm f f I .. ^ ' mf f-f 1 I ^T»^ f f t~ l " \ f f p"^ • iT"P P m 1 — v 



3: 



t 



^^ig^^Ji'^^l i r^JJji^^I 1 




54* Exercise with Triplets. 



*jn;g i j 



.? 



.y 




pi 




gfe 



fcir i ^ i ^. i fjjjj p 



«? £_ 



J • J J. J J. J- 



€1 



# 



t 



.? 



^ 



.? 



mm 



.? 



^W 



i 



I 




=f=# 



^g 



m 



./ 



.? 



rjiLuth i f^ 



1974- 114 



32 



56. Allegretto. 



^m 



pr Sj-tf; 



m 



? 




Fi I - * 



P-53E 



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9-7 




DOUBLE FLAT W>. 

When a double Flatly is perfixed to a note, the same must be depressed a whole tone . Thus. jf y 7 f 



B double flat will sound like Ej£ A natural 

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CD. Exercise with Thirty second notes, 




1974-114 



50 



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1974- 114 



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1974-114 



Exercises with triplets. 



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ABBREVIATIONS. 

Abbreviations are employed in written music to avoid repetitions of a single note or passage. Thus in- 

1 a half note marked with a thick line^z 



stead of writing four eighth notes ] 



will indicate the same. 



or 



tp 




for S3 



or 



15 



for 



S3 



*TH 



or 



for 



S 



etc 



^^P i H rrrrrrrn °i 



O r instead of repeating a bar 
alike a sign marked thus: 
is used. 



fr § gg Clr,r ^ 



i 



84. Allegretto . 



1 



• • • • 




m I ff; p I tf^ 



f-f*- 



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M fr i n fff i irr i ii jj i"ni Mi 



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tu ' ixj 



RESTS. 



When a composition requires a long silence for an instrument, it is indicated by numbered rests. 

12 6 10 



i 



H " or 



-or- 



etc. 



This means, that so many bars of the movement should be counted in silence. 
1974-114 



Graces, Embellishments or Ornaments of Melody. 



55 



THE APPOGGIATURA. 

The appoggiatura is a grace note placed above or below a principal note .When it is placed above the prin- 
cipal note , it is always at the interval of either a tone or a semitone . When it is placed below the prin- 
cipal note, it should always be at the interval of a semitone. When the appoggiatura is written thus: 



# 



h 



£ 



the value of it is one half of the following note. When crossed by a small line thus 



m \ T \ its value is but one fourth of the note that follows it . 



Example. 



As written. 



As played 



fljj pj J r i 'r rn'rT*^ h r i 'r ) \ 'r '-r 



**2 



I 



r?r ' ii cr g J JnJj i r t r i r~r - 1 ■ Cr ^^ 



There is also a double appoggiatura which is composed of two grace notes placed: the first, one degree 
below the principal note, and the second, one degree above. 



Example. 



As written. 



As played. 




• Vw—9 



" [jf r 3p 



85. Allegretto. 






h 



;V 



i 



m 



* 



m 




~t 




* 



^r-. t 



fc:* 



e=M 



$ 



V 'l J J J ' i 



s 



# 



1 



32: 




if 



^ 



sums 



i 



n: 




i 



£ 



1974- 114T- -L- 



J. » ' * 



i 



g^^i 



i 



56 



THE GRUPPETTO OR TURN. 



is composed of three grace notes placed between or after a principal note . The turn is marked thus-. 
c«. A small sharp placed under some of the signs °j? indicates that the lowest of the three grace notes is 
sharpened. Should the sharp be placed above the sign <sb , the upper grace note must be sharpened; or 
in case of a sharp above and below the sign so the upper and lower grace notes must be sharpened. 
The same rule applies to flats , only that the grace notes must be depressed half a tone in that case. 



Example. 



As written. 



As played. 



r " crrir-ffMr" fr'r [frtr^ PP 



~eg~ 



i 



(* m m*a mP rj 



if£ 




^ffrpffp \f} p fTf ? m[' l l ^ pf F *FfJi f j l l ^ f >r r « 



r »rMcr ^ffgP 1 




P 



With sharps and flats. 

OS 



3*m 



i 



IKI 



^ 



-•9- 



£ 



% 



4 ' t 



t 



=F 



l -j fTFffl; r " j^jjj?^ i^JCT^f j iffteO-i iffljlp JOT^, 1 



86. Andante grazioso, 




p— ft 



s^lT: 




r 'ii/iD 



cresc. 



fm 



^30 




# 



■ — ■; 



IZJ 





1974-114 



THE PASSING SHAKE. 

The passing Shake, often written thus *v must be played quick and round in the following manner: 

Example. 



57 



As written. 
As played. 




jr'rrrrr 



THE SHAKE. 

The shake or trilh marked thus ir consists in the alternate repetition of the note marked, with the 
note in the next degree above it. 

Example. 




87. Allegretto 




1974-114 



58 



# 



* 



fa 

42.* 



V f,r i f p 



I 



4 



3 



* 



J I ' ■ J I 



^S 



^ U 




P 



^ # ^ # 



# • =-» 



^ 



#-=-# — #- 



# # # 



# 



4 



tfr. 



~ * * 



wwm 



eg 



*v 



*v *v 



<#♦ 



» m s =: 



^^ 



cresc. 



* 



S 



^^^« ij« j* 



F^l 



v — v 



THE CHROMATIC SCALE. 








^ 







DAILY EXERCISES ON MECHANISM. 



59 



f*JtiJiJ ' JJiJiJ.-' i ' '»' iHJI3 ' i]W ' ^ 7 * g 



o 3 - 



i'v ' /n^gy 



E 




• ^~ # 



-±4r* 



w 



5. 



i't^i 



31--1 I I - I ff rn 



iiFf 



| I W T 



• ^t 



^ 



• ^L 



fl 8. 





*• ■*■ 



9. 



|^^=-1^ 



m^i 



p 



<L J * ~ • . : 



II. 



y— =at 



• # 



#^«r» 



* J_ 4 'S' -d 



mm 



mm 



[jj. 



E 



t» 



♦^=^# 



roi upjtth 



13. 



V! 



E 



w 



— w- " » » !- * »' -g -m 




15. 



E 



^wp 




^j_.^. t 



i 



<f* 



SI 



^ar^at 



i^ii 



*0 *0 



16. 



5 



J jffi rpr J]^ ! 



1 J 0* 



17. 




Baa 



m w m --m 



* l w m *J m ^_ 



* m ~m 



m l m 



+.0 



18 



7 



■Oh 

19. 



*•" ■*■ 



W 



1 



E 



7*: 



*23p 



f 



# 



E 



rrflJTmrlfl 



21. 



ra 



i 



§ 



• • d 



z£—d ^* d— -^. 




2. 



jjJfl^ i J3M ; i 



23. 



rfl^ a i a flte ^ 



^ 



— gw-wj-M- -m\ m\ -m 



1974-114 



60 

24. ^_ ^ Z5. ^— — ~^-^ 



a 26. — ^ 27. < r--—~r ~^ 



28. 



Egg* 



* # 



^S 



l^fP.r^ 



^ai 



r^ - 



E 



#i#> 



^ 



30. 




' jt3J.^ Jjt3 J*U 1 



« ■# J- w* V w 



31. 



^^ 







34. 



35. 



E 



^H 



iWj^i " ^ " d^^i?$ 



H* 



* 5 




1974-114 



EXERCISES ON DIFFERENT ARTICULATIONS. 



61 



88.Alle£ro. 




SP 




£ 



?w 



*=at 



¥ 



* ' «i jj 



t=M 




wmm 



J _ ; 




i^ J ^ J IJ ^3|p 



J * 



J # 



p , "T r-^. - — — rm T" 

F± 1 1 " M _ \ m A "~ A _ " it - A - A 1 ■" 


$ jj J 4 j J j j IJ -J JJ ^J ' c_Lr r r r r r |J h jj 'j j Iiij j j^*j j i 




i 




^PV 



.ijJQtfrnV^ i jjjJ^irr-r^f^ 



#1 



Various articulations to the above exercise. 



4. 



m d m 



J J *^» » ■ J ii J; 
7. 



*=# 



MZ5=* 



5. 



6. 



8. 



9. 



m 



mmzat 



ftM 



i=f 



14. 



j 

10. 



12. 



11. 



13. 



MZiiaL 



* J * 



frhiz* 



16. 



17. 



j w •• j ^ y — 7 — w — w " _ ^-i 

18. 19. 



E53 



f 

15. 




tat 



ta! 



^ w m 



— "^ 



u m J^ ^ r' m m 9 "^ 



*-* 



1974-114 



62 



Exercise on different articulations in Triplets. 



89. 



# 



^ 




3 3 



rtHdi 



3 3 



e=d 




m ' » ' & m 




i ig, i^i 1 1' rrrrrr 



S 



m 



m 






• •»• • 



Ife 



Fg^S 



£ 



^ 




S 



^f^ 



> rzn ■ 



*+$*&£&, 



fc 



^ 



^ff^fffF 31 * 



iijjaJqj^l 



«• y^u^ =^ 




Hn 



# 



fe 



f^TJ^TlfT ^ »f I ff fr.r Trrr- ^ FT 



J J J J ^ ^^ 



e 



~«h^: 



# 



^p 



— ..J. ' • 



a gl h P r«r rjfj 



jfl l JltJJlJ^g g 



£ 



C^C£j | Cl!Jr^rnCTi>J3T] l JJ] 



* 



I jJjrnrrj^iMjiTirTj^i^j.iP^ir | 



Various articulations to the above exercise, 

1. . 2, 



3. 



m 



ee 



iss 



8. 



5. 



6. 



7. 



tx 



mm 



0-M-0 



0-W-0 



SP 



g # j # 



SP 



eg 



9. 



10. 



11. 



is 



mm 



^m 



0-M-0 



mm 




12. 



13. 



14. 



15. 




#3 




fe 



ffig 



#-W# 



#-al» 



HP 



#-n» 



ei 



Si 



1974-114 



Exercises for acquiring a long breath and a full tone, 

90. Adagio. 



r> 



r\ 



r\ 



r> 



r\ 



63 



r\ 



E 



PP 



Si 



-f^pp 



o 

PP 



^f^PP 



TT 



-&- 



r\ 



r\ 



r\ 



XE 



C\ 



XE 



TV 



33: 



XE 



XT 



XT 



r\ 



7&- 



m 



rs 



TT XT 



r\ 



r\ 



r\ 



xe 



XE 



xe 



XE_ 



-©- 



-^~ 



XE 



XE 



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xv 



X*- 



x*- 



p 



-o^ 



x*- 






rs ^ ^^ ^ — -^ 

«y -*y £L "a. *L S £ 



£1 



U 



m 



^ £L Q_ 



/^ 



o 






i 



r?\ 



£L 



r> 



# 



& 






XE 



rs 



-©- 



r\ 



r\ 



r> 



XE 



XE 



r\ 



x»- 



XV 



x»- 



X*- 



A 



r^ 



r\ 



r> 



r\ 



r\ 



m 



XE 



XE 



XE 



XE 



XV 



XV 



xv 



Os 



# 



fcl 



rs 



^ 



rs 



r\ 



r\ 



i 



XT 



XE 



91. Adagio. 



* 



^ 



r\ 



,TT 



^ 



j€* 



-^ XT 



/~S 



^N 



J^ 



XT 



XV 



x>- 



ffi^ 



xv 



xv 



XE 



XE 



XE 



XT 



# 



fcfe 









O «£~£ 



^ 



/TS 



XE 






w 



# 



^ 



^N 



^ 



_CL 



^ 



r± 



r\ 



r\ 



XE 



XE 



3f 



XE 



XE 



xv 



xv 



XV 



XV XV 



x* — ^0> 



XV XV 



1974-114 



64 



Major and Minor Scales in all Keys. 




1974-114 



66 



EXERCISE on the perfect Chord in all Major and Mmor Keys 

rTp g 8 ^ tjTH^ 




1974-lft 



67 




1974-114 



68 



EXERCISE on the diminished seventh 

94. 



i'iijj^'ii! 



^f b- v 





Ps? d^L 



)j^S ^h^ ^.^^h i 




^^ 




^wrw 



THE HARMONIC MINOR SCALE. 

The Harmonic Minor Scale differs from the Melodic, as only its 7^ degree is raised by an accidental, 
which remains, whether ascending' or descending. 



SCALE OF A MINOR 



fl95. 



:jj^ j h a 



if- ^n 



- -4E ■ 



E 



5^=*=* 




|i- j 1 JJT'J g 



§e 



^g 



i 



¥=* 



^S 



j r"j7n[xlr i j"jTJ"3 pi i g U 



*=£ 



a 



^ 



»-4f 



# 



i 



^ 



4 



Igp^g 



£=* 




« 




»Jj- i L^r j ^JjiCxirtf J3 ^ 



* 



g^ 






i 



m 



m 



^x. 



• 9 J. 



ii3EjB 



« * J. 



# ^ I 



1974-114 



±j? 



SCALE OP D MINOR. 



p g j pyz S 



rf»,f^fr 



69 



i 



t=d 



| 8 v. ]yJtfS?Y0fltf \ 0ii$ i m gm 



continue in the same manner 
e * c *as the Scale of A- minor. 



SCALE OP G MINOR. 



^E 



4 J3XNH' 




fe 



s r , r rffffT| f tliUj 



# 



I 



^dxr'^^J^jB 



s 



m 



f 



SCALE OP C MINOR 

"4eW | Hj'j 



4 « i« " 



^ 



S 



r rfif if'tfr 



PS 



S 



♦V 



- II 1 s i 




SCALE OF F MINOR. 



,|^i. j^jU^g^ 



te £ te#*^ 



fVr"frJ7T3 l J ^ 




5£s 



t> g E 




SCALE OF Bb MINOR 



EB E 



P 



p 



y 9 

^ 




^ 




$ 



Se 



HH 



#-* 



SCALE OF El? MINOR. 



fep^gp I k| | >'i>^- J jj ^ |g|j 



## 



**te star. 



ife 



i 



SCALE OP G# MINOR, 



g 



g 



££ 



s 



eas 



jBctir^y^jjjniJJg cf i 



pi r uttt r u ,j]j ] B p 



ft 



IIPP 



eterf 



SCALE OP Cjj MINOR 



Xj 1 ) ™ 




P 



k 



l f frf^r I r m J37 J 1 j - « gi I JT AgP? 1 ^ 



1974-114 



70 



f 



U 



& 



SCALE OF *! MINOR. £» » fe 

pf-f-f" — - , '— '—r^f-f-p 




^g 



* 




rfyflfl i 



** 



§ 



J <HjJteU 



fe 




* tc -Q E 



SCALE OF B MINOR. 



jfflM l fD 



SCALE OF E MINOR. 



.jNf*DTaj i ^nji i j i | '< jjjjiijri J' mj^i 



.«te etea 




£ fl 



s a . s n , ? • 



fe r: n i : jj 



9^ <#• <#• <#• 



33=3 



-Q-^ 



a J ' 



^ 



<#• 



-■#*- 



-#- 



Iffc 



-Hfr- 



-#- 



^- 



n i o j ! 



g ^ jv i £ ' ^ir= ^ T ^ 



97. OCTAVES. 






^ ^ XT J 



r; i w 



y ^ ?* 3 

^i ^ 



E 



rj l a 



rj I rj 



& — '—& 



& — *—&■ 



*J 



4 



£e 



TS: ftg 



V.; 



7 



V3 



w=& 



rs> . r? 







f 33 ? 3 



ft* 't H 



ij 



« — &■ 



<s> — &■ 



%■ 



^. 1,^ p Jul \,<s. 



%m 



r t §> 



w 



ij i i J nJ 



*&- -(©•• — — i©- ■»■ 



zz 



222: 



zz 



M^ p^ 



^ 



V- 



/^52> \>S£ 



* 



r& 



fe 



feiEfe 



zc 



I go 

57 



£ 



^ 



V^T 



v© 7 ! 



1974-114 



98. EXERCISES with Arppeggios. 



71 



.? 



f r .' i rfl m rTJ iH i rfl rT- rfl r^ 1 



W==j=^ 



i pp uj-_ : 



^ 



rfl r> ffl 



^^ 



^ 



^ 



m 




100. EXERCISE with Groups. 

■m \ i sffm n^j jffi/Jj 



E 



IB 




Z! 



J 




142- 




^ 



i 







i 



zt 



f? 



j • ^ 



101. EXERCISE for quick strokes of the tongue. 




1974-114 



72 



102 .Allegro ma non troppo. 



VARIOUS EXERCISES. 



F. BLATT. 





1 J • r^ ^ 



:&= 



m 





i 



rwWl 






^y«* * i 



"7* 




f i> if W ■ J ii ^iJj i * ^ 





^ 



/ 



F ■ P 





~J>» 



• * m 



^^g 







1? 

1974-114 



103. Moderate 



sr 



I 



m 



% 



73 

F.BERR. 

T 



^MjJMjS^jjjijjrjjj i jjJ?cija^ 



/ 




i 



Hj^us^ili^T^ m 



Ef3§ 




m 



~ ~r r 



ffih 






& 



S 



f^Z* 



•FT 



^ 



';? ; ;;■ ■ 



S 





mm ^ ^ 



■ , » 



m m 



-t # 



!P^ 



P 




T T 



cjj iii-as 






? 



•- 1 - 



•W-f t * 



jJclf^ca 






" T T 

IE 




<#* 



1 i 



^ 




_-« S= « ■ 



::» 







*#53 tf**#3 






1974-114 



74 

1Q4 Andantino 



H.BAERMANN. 




* 



W^m i^rrr. 







^L7 



* 



a 






«^ 








1974-114 



75 




LLTEa ' ^iLr^ i fcUULry 




rP i cifftar 





ff>£ ££JJiM£££&ugEi u 



fr k^T ^-. 



t£f LcT iifl[Uf s SI i pg b g 




1974-114 



76 



105. Allegro moderato 



F. BLATT. 



fJ% H 



S 




m^ 



& 



i 



•• ^ » 



BE 



rVrT 



E^ee 




*Zp 



P »• m 



9. M. 




fe 



i 



7 ~p~ i tf"i*~ ?^ 




# 



</»/. 



fe 




^ 






ce rn r^gi 



/// 




i 



£ 



* 



#=c 



s 





7? 



r 




v hmv 



r\ 



*—* 



&: 



p-f* 



& 



#-#- 




^=3 



cresc. 



f 




1974-U4 



77 




# 



k 



^ rrri rr 



» i ^i * r m ■ i c^ w r p * i /> ^r t = 




§e 



±y? 



1> 




2> 




bJfrJ JjjJ> Ijt ^ 




# * « • 



I 



ft* 



# 



/• 



/jL ,, =■= J IZE E J * J J ^3E= J =j= J I = J * J^^ 1 i i - ~^ * — =ff* 



# — ."^ — * 



¥ 




f 



i 



J -S 



4 *J^* 



v — * — ^~o 



197-4-114 



78 




*+ 




1 







JlJ i jJ Effi 




^ 





i 



Jir ' »MCT5f |iip 




p»g 




1—-"^ rrpsr. . 



.».M\rrdrr ] r ] *&£ 




T/W^TOM 




feU 



^ 



^ 



107. Allegro maestoso . 



79 



i 



m 



F.BLATT. 



f-rs-f f =* 



ii 



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^f 



fcid 



2 



h5> 



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<9 ■ g 



I 



C P -. P • 



& 



zz 



#-=- 



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[^LT i 



£ 






1 



^ 







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w/* 



PS 



* 



^te^"£lteft # 




£ 




1 



^B 



^ 



I 



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^ 



s 



i 



^^ 



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f 



cresc. 



# 



•** »V ..■»-. . 



m 



i 



» ^^.^ • 



zz: 



Fifrnrfrri 



y 



^- 



decresc. 



^ 




»-. i 



§J 



£=^* 



» s a»j 




i> 



# 



r* *•« 



s 




Si 




Sg l 



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^ 



m^f 



a 



9 \S- 



cresc. 



m 




m 



w=£ 



U 



4 




s — # 



19- «. 



£ 



■ • • ^ • 



*a 



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i> 



p 



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i££ 



1 



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1974-114 



80 



108. Moderate) 




f 




fr 



£l 



^ 



£ 



4r 




1 4r 



F. BERR. 





i 



m 



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>T 



— ~^a: — ~~i~* 

4- itJJT 4 



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fe=s 



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ggtlg 



gn 77[j9 



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^s 



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7 



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^i 



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♦ — T* ^ 



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tf 



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k k 



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k* 



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§ J J Jjp 



7 



I 




I 



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^a 



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7 



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1974-114 



I 



109. Allegretto ben mareato. 



81 
F.BLATT. 



& 













#5 



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^ 



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^ ^L * / j.*-^ * 




s 



i 



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as 



^W^^^f 



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# " J 1 



$ 



■ V • 



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*£ 





*a 



* -> * 



^jr^rT 



ft 



^ I snffl^ 



^w^yjyjffj i jgjja^ j ^ 



iw 




*£ 



5 




~ i^iT J ^ 





=^~C7 





at 



^^ 



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& 



3 



fl 



ffflffl 



^ 



B a r 



% 




# ^n* 



— I • m J M^_: M — — ^-p A 



f 



ly * 




#i 



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JBflLrflfl 






1974-114 



82 



EXERCISE WITH DOUBLE TRIPLETS. 

HO. Allegro moderate 



F.BLATT. 



# 





4J ■*. . 

capnccioso . 



6 



J.J.J. X A3 



^ 





4r\ 

















£ 


£S 














m 


^5 


^ 


^ 


^ 






S 


s 


|9 


Wl 


^ 


^ 


5 




W( 


^ 


$5 


\J> 


K « 


• 


J 




y 


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V* 


J. 


fi 


Fi 




9 


— 




i 





-J 


■ — ' 




b 




















Witt 





#»v p 



ii ' J j.- : 



5 




55 




^# 



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1974-114 



83 




V 



• mm >«i .«_ ■ ... ^^^r^^r^ ^^ 



Vjr deer esc. 




f 



111. Tempo di Polacca ma moderate 



H.BAERMANN. 



gPgf 



p dolce. 




mmm^m 



f p 








1974-114 



84 



£m 



v-^> 










m 



*&i!fm 



E fff¥Tr i rT'rfr ii r' i ^ 






a 



■ • ■ 



1974-114 




85 



y=^ 



i 




■=■ 



% *j ' i$D 



m 



§p 




^ 



m 



*st 



*-* 



' — r n» 



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116. Allegro molto. 



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1974-114 



96 



CONCERTINO. 

Allegro ma non troppo . 
SOLO. 



C.M.v WEBER, 



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98 



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— P ^- L — r • P 1 — # P ^-i— r>P - 




1974-114 



VARIOUS SIZES OF CLARINETS. 



99 



The peculiar construction of the Clarinet does not permit of rapid passages in the extreme keys of 
sharps or flats being played with ease and smoothness, therefore Clarinets of various sizes are 
made to facilitate those difficulties. 

The length of a Clarinet determines the key in which it stands, or,- in other words, the longer the 
instrument is, the lower the given note will sound. 

The Clarinets generally used are those in li\>,A\ and C for string orchestra,//?and7iPfor military 
bands. In German compositions Clarinets in /'and D are also used. 

An example is given here, how the notes played on the various Clarinets do in reality sound on a violin 
or piano. 



CLARINET. 
in Bl». 



Sound on the 
VIOLIN or PIANO 



# 



In k\. 



VIOLIN or PIANO. 



In D. 



VIOLIN or PIANO. 



VIOLIN 



n E\>. ( 

or PIANO.' 



In F. 



VIOLIN or PIANO. 



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^ 



The actual sound on the C Clarinet is the same as on the violin or piano. 
1974- 114 



100 



APPENDIX. 



HARLEQUINADE POLKA. 



£k 



Moderate 



J. M. Morelli. 



^ 




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POLKA. 







1974-114 



Copyright 1884 by Carl Fischer, New York 



AVE MARIA. 



101 



A.Fessy. 



Lento cantabile con express. 

*4 




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1974-114 



102 



Temptation. 



(VERDI) 



Andantino. 



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1974-114 



FANTAISIE. 

HOW CAN I LEAVE THEE. 



103 



Allegro, 



Cadenza 
staccato 



Reinhold Ritter,Op.ll. 

m 




THEMA 

Andante. 



i*» 



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VAR. Pin Allegro. 

• 3 • • 3 • 




j? staccato 



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m^f 




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104 



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m 




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P=F 




ffiWS 



1974-114 



POLONAISE from'IIGNON:' 



105 



Mod 1 . tempo di Polacca. 



Ambroise Thomas. 




/ "" 



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106 



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1974-114 



LOHG LOHG AGO. 



107 



,?Lang, lang ist's her. 
Fantaisie. 



Moderato. 

Violin. 



Reinhold Ritter,0p.l2. 




pacceler. f 



THEMA. 

Andante. 



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108 




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109 



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sis 



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1974-114 



110 



CONCERTINO. 



F. Maims, Op. 29. 

r7r. ^ 




vtf dim. 



m 



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ROMANZE. 

Moderate J= 36. 



•J dolce. 



fe« 



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jE* 



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1974-114 



112 



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a tempo. 



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xs: 



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RONDO. 

Allegro. J= 108 





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1974-114 



113 




f f l ttcr iSTJ I ttgg#i 




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1974-114 



114 





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115 




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List of the Principal Words used in Modern Music 

With their Abbreviations and Explanations 



A to, in or at; a tempo, in time 

Accelerando (accel.). Gradually increasing the speed 

Accent Emphasis on certain parts of the measure 

Adagio Slowly leisurely 

Ad libitum (ad lib.) . At ^pleasure: not in strict time 

A due (a 2) To Be played by both instruments 

Agitato Restless, with agitation 

Al or Alia In the style of 

Alia Marcia .... In the style of a March 

Allegretto Diminutive of allegro; moderately fast, lively; 

faster than andante; slower than allegro 

Allegro Lively; brisk, rapid. 

Allegro assai .... Very rapidly 

Amoroso Affectionately 

Andante In moderately slow time 

Andantino Diminutive of andante; strictly slower than an- 
dante, but often used in the reverse sense 

Anitna, con { . . . . With animation 

Animato ) 

A piacere At pleasure; equivalent to ad libitum 

Appassionato. . . .Impassioned 

Arpeggio A broken chord 

Assai Very; Allegro assai, very rapidly 

A tempo In the original tempo, 

Attacca Attack or begin what Tollows without pausing 

Barcarolle A Venetian boatman's song 

Bis Twice, repeat the passage 

Bravura Brilliant; bold; spirited 

Brillante Showy, sparkling, brilliant 

6rio,con With much spirit 
adenz An elaborate, florid passage introduced 

as an embellishment 

Cantabile In a singing style 

Canzonetta A short song or air 

Capriccio a ... .At pleasure, ad libitum 

Cavatina An air, shorter and simpler than the aria, 

and in one division, without Da Capo 

Chord The harmony of three or more tones of 

different pitch produced simultaneously 

Coda A supplement at the end of a composition 

Col or con With* * 

Crescendo (cresc.) . . Swelling; increasing In loudness 

Da or dal From 

Da Capo (D. C.) . .From the beginning 

Dal Segno (D.S.). .From the sign 

Decrescendo(decresc.)DecTea,sing in strength 

Diminuendo (dim.). Gradually softer 

Divisi Divided, each part to be played by a sep- 
arate instrument 

Dolce (dol.) . . . .Softly; sweetly 

Dolcissimo Very sweetly and softly 

Dominant. ...... The fifth tone in the major or minor scale 

Duet or Duo .... A composition for two performers 

Elegante Elegant, graceful 

Bnergico With energy, vigorously 

Enharmonic . . . .Alike in pitch T but different in notation 

Espressivo With expression 

Ftnale The concluding movement 

Fine The end 

ForteCf) Loud 

Forte - piano (fp) . .Accent strongly, diminishing instantly to 

piano 
Fortissimo (ff). . .Very loud 
Forzando(fz>) . .Indicates that a note or *hord is to be 

strongly accented 

Forza Force of tone 

Fuocoycon With fire; with spirit 

Uiocoso Joyously; playfulrv 

Giusto Exact; in strict time 

Grandioso Grand; pompous; majestic 

Grave Very slow and solemn 

Grazioso Gracefully 

Harmony In general, a combination of tones, or 

chords, producing music 

Key note The first degree of the scale, the tonic 

Largamente . . . .Very broad in style 

Larghetto Slow, but not so slow as Largo; nearly 

like Andantino 

Largo Broad and slow; the slowest tempo-mark 

Legato Smoothly, the reverse of staccato 

Ledger-line A small added line above or below the 

staff 

Lento Slow, between Andante and Largo 

L tattsso tempo. . . In the same time, (or tempo) 

Loco In place. Play as written, no longer, an 

octave higher or lower 

Ma But 

Ma nan troppo. . . Lively,. but not too much so 

Maestoso Majestically; dignified 

Maggiore Major Key 

Marcato Marked 

Meno Less 

Meno mosso . . . .Less quickly 
Mezzo Half; moderately 



Mezzo-piano (mp) . Moderately soft 

Minore Minor Key 

Moderato Moderately. Allegro moderato, mod- 
erately fast 

Molta Much; very 

Morendo Dying away 

Mosso Equivalent to rapid. Piu mosso, quicker. 

Moto Motion. Con moto, with animation 

Non Not 

Notation The art of representing musical sounds 

by means of written characters 

Obbligato An indispensable part 

Opus {Op.) A work. 

Ossia Or; or else. Generally indicating an 

easier method 

O.ttava (8 va ) • • • .To be played an octave higher 

Pause (/T\) . . . .The sign indicating a pause or rest 

Perdendosi ^7 lia JS away gradually 

Piacere, a At pleasure 

Pianissimo (pp) . .Very softly 

Piano (p) Softly 

Ptu More 

Piu Allegro . . . .More quickly 

Piu tosto Quicker 

Poco or un poco. .A, little 

Poco a poco. . . .Gradually, by degrees; little by little 

Poco piu mosso . . A little faster 

Poco meno A little slower 

Poco piu A little faster 

Poi Then; afterwards 

Pomposo Pompous; grand 

Prestissimo ... .As quick IV as possible 

Presto . . . . . . • . Very quick; faster than Allegro 

Primo <I™o). . . .The first 

Quartet A piece of music for four performers. 

Quasi As if; in the style of 

Quintet A piece of music for five per- 
formers 

Kallentando (rail .) Gradually slower 

Replica Repetition. Senza replica, without 

repeats 

Rinforzando . . . .With special emphasis 

Ritardando (rit.) Gradually slower and slower 

Risoluto Resolutely; bold; energetic 

Ritenuto In slower time 

Scherzando. .... Playfully; sportively 

Secondo (Z^P) . . .The second singer, instrumentalist or 

part 

Segue Follow on in similar style 

Semplice Simply; unaffectedly 

Senza Without. Senz a sordino without mute 

Sforzando (ef). . .Forcibly; with sudden emphasis 
Simile or Simili . .In like manner 

Smarzando (smorz) Diminishing in sound. Equivalent to 

Morendo 

Solo For one performer only. Soli; for all 

Sordino A mute. Con sordino, with the mute 

Sostenuto Sustained; prolonged. 

Sotto Below; under. Sotto voce, in a subdued 

tone 

Spirito Sp.it. con Spirito with spirit 

Staccato Detached; separate 

Stentando ... . Dragging or retarding the tempo 
Stretto or stretta .An increase of speed. Piu stretto faster 
Sub dominant . . . .The fourth tone in the diatonic scale 
Syncopation .... Change of accent from a strong beat 

to a weak one. 

Tacet "Is silent" Signified that ah instrument 

or vocal part, so marked, is omitted 
during the movement or number in question. 

Tempo Movement; rate of speed. 

Tempo primo ■. . .Return to the original tempo. 
Tenutojten.) . . . .Held for the full value. 
Thema or Theme . .The subject or melody. 

Tonic . .' The key-note of any scale. 

Tranquillo Quietly. 

Tremolando, Tremolo A tremulous fluctation of tone. 

Trio A piece of music for three performers. 

Triplet A group of three notes to be performed 

in the time of two of equal value in the 
regular rhythm. 

Troppo Too; too much Allegro, ma non troppo, 

not too quickly. 

futti All; all the instruments. 

Lm A, one, an. 

Una corda On one string. 

Variatione The transformation of a melody by means 

of harmonic, rhythmic a'nd melodic changes 
anq embellishments. 

Veloce Quick, rapid, swift. 

Vibrato A wavering tone-effect, which should be 

T _ sparingly used. 

Vtvace With vivacity; bright; spirited. 

rr,?.- a :.• • r > • • -Lively; spirited. 
VolU Subtto V.S. . Turn over quickly. 



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