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HAROLD B. LEE LIB 3Y
BRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
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in 2012 with funding from
Brigham Young University
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11
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CLARINET
"7=^
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3i
Carl Fis
n
CI
BOSTON.
■it
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,
*
£
m
♦ *
M
♦ # « * £ '=
4^^^ J j
£
* *
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
¥
*
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
3^
r r " "* e r =
Eighth notes, Sixteenth notes, Thirty - second notes,
Comparative Table of the relative Value of notes.
One Whole note is equal
rm
to
y
2 Half notes.
zai
\
\
x
or 4 quai ter notes,
or 8 eighth notes,
or Hi sixteenth notes.
or :\2
Thirty second notes,
P
3=
/ \
^^
m m m m
i \
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
m
i
i* , or 4
I g or g or i
p
p
p
I
£
p
p
f
E
m
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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£1
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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
§
£
rJ degreev A*k\
/ 3 rd\
4th\
<5th\
/ G th\
',th\
'nth\
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.
#
Degrees.
1 2
f
Second Third, Fourth, Fifth, Sixth, Seventh, Octave
i
Scale of C major.
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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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1974-114
13
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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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In Fifths.
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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.
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When a dot is placed over a note, it must b"e played very short, which is done by pronouncing a
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Observe the rests. The notes must not be sustained longer than their actual value, the rests must
be quietly counted.
28. Duet.
Pupil.
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*
m
=^
^
— _ J i
IS
^
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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
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t
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1974-114
19
w
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33.
SYNCOPATED NOTES.
fes
i
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22
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s
p
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to
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1974-J14
20
i
36. Andante
*
One, two, three, four, fite, six
m
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One, two, three 4. 5. 6.
m
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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
^
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i J 'Ji
^
i
38.
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JEEE
I*=*
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£
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irV-f
^idts^D ^m
+=M
+-*
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1
a 39. Duet.
p b i r *
m j J j
^
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s
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f
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1974-114
22
40.
£
¥
^
■ « a m
%
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£
:£
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i
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m ^
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PP
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41.
I > r->
f
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=£
! > C J ; £S
P^
PS
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fe
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s
> Ff
£
^^
£
MM*
f
s
s
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
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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
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1974-114
25
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ft)
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Scale of D minor.
■J b» I ft
^ g
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%
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19-
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Exercise with dotted notes.
3
ll
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1974-114
26
46. Allegro.
cU T i cfrrT
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1974-114
27
^m
joga
4
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jg gjg j
3 F£= g F
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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
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1974-114
28
#
48.
Exercise with Sixteenth notes.
i
-Q-
fe
£
i
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^
50. Allegretto.
4
m
m ^
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w
m
i
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i
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1974-114
29
51. Allegretto.
i
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a
^
5
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s
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m
p
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ff ^^i
pi
• — *
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mm
m
«
i
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in
s
^^
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4
m e i bee
i
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3
m
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m
m
m
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w
s
i
r\
1
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i
Scale of B minor.
m
ri » a
$
?
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221
-t©-
fc=fe
*
ft r^
-6»-
221
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a gi
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1974-114
30
52. Moderate
I
g e e pfT r P
Ss
$
ste
> i -*
^91
f
P
pffi
P
I
i
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5
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tf
m
m
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5
gfc^
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cresc. -
f
p
j jm^ ' J iPP~
; v«i^
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5
ik
5
te
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£=3:
s
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f ^ 7al y j 1?
m
fc
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p^
^
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rJ f
s
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fe
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Dh 8 -^
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3e=5
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p
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r^
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atg:
= ?
/
fa*
F*
Si
7vn
: # = F
£
■= a p
i^
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1*"
mm
H
^
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£
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5
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f
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i
^
f#
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PP
■/ f lff?
m — 0-
t
f
f
g
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1974-114
&
&*&*$
m
F^^f
i
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31
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2
i
cresc . -
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m
i
ff
P
f
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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.
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pi
gfe
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«? £_
J • J J. J J. J-
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mm
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1974- 114
32
56. Allegretto.
^m
pr Sj-tf;
m
?
Fi I - *
P-53E
^
Mk^LM
7>
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P
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r pr tTatf
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2
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g
1
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^
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jp do/ce.
m
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i
fe=3
Sp
5
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p^
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P
^
ffif^?
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* v
rt tempo
1974- 11*
33
I'C ^J •>!)
es
£
^£P
EZI
F
^
^
S
9 — m
57. Andante.
fa I if p i
i
IT
^
ft *£
K
£
#-= — #
^E
^^
£
^
^ fP}oi:
| J P " i jjfl iff jpp IrJJrJJ B
*^ *> ^ *y «y *y *y
ppp
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I
£
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fry
^ r u p ft ip ft ■ r
§
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gg
m
' m
m
t.
g
J I I I ' ^
P?
I
~: ^
f
£
^
1
£
#
fe
i
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# — i
I
£
^
i
» a *
I r "r g
— m
k
2
m
m
^ i ' j. ^i *^
#
k
p^
SCALE OF G MINOR.
^
kp=i
_0-
^E
P ^F
rJ O
& Tsr
i
I * g ^p A
1
22
«■ 7
1974-114
34
58.Allegretto.
f
' t- Jy 1)
r J tfUJf m
< Q " f ' , =~ ~
£
^^
g^f^
■ 5 1
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1? ft # it
s
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4 1 $m
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m
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f
p
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1
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£=£
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p
£
m
S-0T
f
2
f
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# — — W
1974-114
1974-114
36
60. Andante.
+.*.
I
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0- 1
h
^S
0-0
*
'
W- 'U
p espressivo.
cresc.
£
^gj
f
W
fe
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^
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£*
C lP
^ — #
• #•
#=F*
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m
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6
f
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r r r u » f
b
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m
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t,
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0- 1
mm
-0-
m
iX t
■€h'
P rwm P • , 0m m^
fe
p^n^^^
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m&
wm
:s Ff= ! F
£
^
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f=0
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Scale of Eb major.
* a- e £
F£=P
b
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£
£
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1974- 114
:(7
. 61. ^^ ^_ ^ ^
#^
;^rre££
, « • » f ^-- , Tf P m i I P •
SB
£
gg
fe
fc«
Rr
r^ i ui;^
f®
B
Effi
^
^ ^l l -^J
g|
6*2. Tempo diViilse.
?
I
k
• » .X
3S
^
I
/
£
PK
=^3t
j y y
*^mj
^ ? ^ * •[,
1974-114
38
#
63. Andantino
i
m
m
£=2-3
^
p dolce.
m
wm
+ — f
m^
pfe
,i
t
#— *
g ■ ■ > p
* . a
> ^p rfa
P
m > p *
^
pp
i
y
p=e
P^
e
I
i£
^
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=
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£
£
P o j
y:
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i
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fe
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a
gf^g
s^p
p?
p~w
P
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^
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w ■
i ?■ ■ # m f I a, a » p i ■ # i p i -
p
I
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^=^
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TM a
1974- 114
39
§
m
i
^
s
PI
fc:2=£
*
jp dolce
k
J. d •
w^
^m
s
4
k
0-0
w—m
.
■h
a !» •
m
mm
i
g
£*
F
^3
SCALE OFC MINOR.
\r\ -
F^F
P^
£ ^ t
-«?-
64. Alia breve.
n. <r j^J s
S
• r f #
ta
» rp
S^
- TrO
££
i
£3E|E
Z2I
1
fc£
gfffi 1
IS
t>
tr=*M
g
^
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m
m
g
rJ o
IZZI
22
1974-114
40
i
S
^
p
p
E3*
#
§£
22
*^
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1974-114
41
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42
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1974-114
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1974- li4
44
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1974-114
48
SCALE OF I)\? MAJOR .
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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
75. Andantino.
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1974-114
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CD. Exercise with Thirty second notes,
1974-114
50
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SCALE OF B MAJOR.
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ri — (»
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77.
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** * double sharp* raises any note a whole tone,
1974- 114
79.
51
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SCALE OF Eb MINOR.
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1974-114
Exercises with triplets.
^^m
f trf M
i
4
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1974- 114
83. Allegro.
53
w£
i
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PP
3ee£
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gte
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1974- i 14
54
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IB
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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*-
ilia
M fr i n fff i irr i ii jj i"ni Mi
inH
g#
a
3^
BE
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
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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
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^
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£
%
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
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#-=-# — #-
# # #
#
4
tfr.
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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
• ^~ #
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w
5.
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31--1 I I - I ff rn
iiFf
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• ^t
^
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fl 8.
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9.
|^^=-1^
m^i
p
<L J * ~ • . :
II.
y— =at
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mm
mm
[jj.
E
t»
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roi upjtth
13.
V!
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15.
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SI
^ar^at
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16.
5
J jffi rpr J]^ !
1 J 0*
17.
Baa
m w m --m
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* m ~m
m l m
+.0
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7
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19.
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1
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7*:
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#
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rrflJTmrlfl
21.
ra
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§
• • 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^ -
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^
30.
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« ■# 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
-C^
xv
X*-
x*-
p
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x*-
rs ^ ^^ ^ — -^
«y -*y £L "a. *L S £
£1
U
m
^ £L Q_
/^
o
i
r?\
£L
r>
#
&
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rs
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r\
r\
r>
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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
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#
fcfe
O «£~£
^
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XE
w
#
^
^N
^
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^
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
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j r"j7n[xlr i j"jTJ"3 pi i g U
*=£
a
^
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#
i
^
4
Igp^g
£=*
«
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*
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« "
P
#— (• — tf — ^v
*
rsn\
w$
eJP 5 J»
Cadenza.
Allegro moderato.
m
toil
♦^
artttf i ^ i jtf
Cadenza.
*?5
tftf:::: ife
)E if
• • • • »
B£S
• ,^~ •
«
^
.? <? .? «?
Allegro.
P=F
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1974-114
POLONAISE from'IIGNON:'
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AH9conspirito. (JjJZS^
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.
3 1197 00351 0192
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