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Full text of "Universal method for the saxophone ... Based upon the celebrated works of A. Mayeur, H. Klosé and others, and containing the complete fingerings for the latest improved saxophones"

\. 






1 



f 



World's Edition 



Universal method 



for tKe 



vSaxophone 



Paul de Uillc. 



UNIVERSITY OF TORONTO | 



l&. 4. 'l>4, 

EDWARD JOHNSON 
MUSIC LIBRARY 



The largest and Jttost Complete Method eoer written for the Saxophone. 
Based upon the celebrated works of 



A. nAYEUR, H. KLOSE, and others. 



And containing the complete fingerings for 



The Latest Improved Saxophones 



Price Paper 
$3.50 



Price Cloth 
$4.75 



T 
502 
V 



'5 



APR 24 1964 



K94759 




Preface. 





HE Author takes great pleasure in stating 
to the Student, that everything which 
patient research, practical experience and 
knowledge (of my favorite instrument) 
could suggest, has been brought to bear 
to make this the greatest and most com- 
prehensive Method for the 

Saxophone 

ever attempted. 

The plan of study is thorough and 
progressive, and if strictly adhered to, 
cannot fail to produce a first-class per 
former. 

Yours truly, 

Paul de Ville 



ZLbe ^Universal fllktbob for Sa*opbone, 

InDei 

PAGE 

Rudiments of Music 16 

A list of the words used in Modern Music 

How to make your own Reeds 14 

The Saxophone 9 

Instruction for the Saxophone 9 

How to hold the Saxophone g 

Position of the Performer 9 

Position of the Mouthpiece in the Mouth 10 

The Reed ..!!!. .i! .......'.'.! 10 

Manner of controlling the tone etc 10 

Breathing 10 

Method of Study '.'... . ' ' ' ' ' ' ' ' ' ' ' [ '"." ' ' [ [ i 

General Remarks H 

Chart of Saxophone with 1 1 and 12 keys 

Chart of Saxophone with 15 keys 

Improvements added to the Saxophone 26 

Preparatory Exercises 27 

Exercises in Slurring 31 

Progressive Exercises on time, etc 39 

Exercises on Rests 41 

Twenty Progressive Exercises 45 

Eighteen Exercises in Articulation 52 

Preparatory Exercises on the High Notes 55 

Chromatic Scale of the Saxophone 57 

Major and Minor Scales in all Keys 58 

Major and Minor Chords in the Keys most used 62 

Sixty Exercises of Mechanism 63 

Fifty Exercises from low Bb to F above the staff 67 

Twentyone Exercises on detached Notes in different Keys 92 

Twenty-Seven Exercises for gaining execution in the different Keys 98 

Three Exercises on Staccato 108 

Grace-notes and Embelishments 110 

The Shake 115 

Table of Shakes 115 

The Mordent or Passing Shake 118 

Exercises on Shakes 118 

Fifteen Cadenzas 121 

Introduction of Adagio Beethoven Senate "Pathetic" 123 

Ten Duets for Two Saxophones by E. Mayeur 125 

Six Duets for Two Saxophones by H. Klose 144 

Exercises on Eighth notes and Sixteenth notes 144 

Exercises on dotted Eighth and Sixteenth notes 158 

Exercises with Sixteenth-note Rests 160 

Exercise on Dotted Sixteenth-note and Thirty-Second-note 161 

Exercise with Thirty-Second-note Rests - 161 

Exercises on Triplets 162 

Forty Exercises on Slured and Detached notes 165 

Seventeen Exercises on Syncopation 179 

Twenty Operatic Melodies 184 

Exercises for the new fingering of the improved Bb, B and Cff keys 197 

Progressive Major and Minor Scales and Exercises 201 

Interval Exercises on the Major and Minor Scales 208 

Studies on the Major and Minor Chords 212 

Exercise on the Chord of the Dominant Seventh 214 

Exercise on different Diminished Sevenths . f 214 

Exercise on the succession of four Diminished Sevenths 214 

Ten Studies on Apeggios in different Major Keys 215 

Chromatic Exercises 216 

Eight Fantasias 218 

Eleven Progressive Studies 226 

Theme with nine easy Variations 236 

Theme with Variations 240 

Twenty Studies by A. Mayeur 243 

Fifteen Studies 263 

Four Solos 280 

Air with Variations 288 

Four Concert Duets 290 

Solos, Airs Varies -s 303 



The Universal Method for the Saxophone 



By PAUL DE. VILLE. 




HE Saxophone was invented about 
the year 1844, by Adolph Antoine 
Joseph Sax. He was the son of 
Charles Joseph Sax, the celebrated 
mr.sieal instrument maker of Paris, 
France. 

Since the instrument was first 
invented, it has been greatly im- 
proved, and now thanks to the skill 
of Messrs. Evette and Schaeffer, 
Paris, France, it has developed into 
the Saxophone as we know it to-day. 
The body of the Saxophone, a parabolical cone, is 
made of brass and provided with a set of keys, 

The mouthpiece is similar to that of the clarinet, 
and is fitted with a single reed. 

The fingering of the Saxophone is similar to that 
of the Oboe, a clarinetist can readily master same after 
a little study. 

The tone of the Saxophone is soft and penetrating 
in the upper register, and in the lower register it is 
full, rich and profoundly impressive. 

One great merit of the Saxophone is its nobility in 
sustaining singing tones. Its tone is richer and has far 
more volume than the clarinet, and it has an extraor- 
dinary range of swell from soft (pp.) to loud (ff). 

The full harmony of a quartet of Saxophones pro- 
duces a grand effect. 

In brief, the tone of the Saxophone is peculiar to 
itself, presenting vague analogies with the tones of the 
'cello, clarinet and oboe. 

The Saxophone is now an indispensable instrument 
in bands, and also fills an important place in large or- 
chestras. 

Saxophones are being made in many different sizes, 
and are classed in two series: 

Series A. 

Sopranino Saxophone in F 
Soprano Saxophone in C 
Alto Saxophone in F 
Tenor Saxophone in C 
Baritone Saxophone in F 
Bass Saxophone in C 

Series B. 

Sopranino Saxophone in Eb 
Soprano Saxophone in Bb 
Alto Saxophone in Eb 
Tenor Saxophone in Bb 
Baritone Saxophone in Eb 
Bass Saxophone in Bb 
Contra-bass Saxophone in Eb 

The first series (A) is for orchestral use, and the 

second series (B) for the military band. Saxophones, 

when they are used in military bands, are generally 

employed in choirs of four, each of a different pitch, as 

follows : 

Soprano in Bb, Alto in Eb, Tenor in Bb, and Bari- 
tone in Eb. 



A Bass in Bb and Contra-bass in Eb are sometimes 
used, and (though very rarely) a Sopranino in Eb. 

It is now quite common to see in Saxophone quar- 
tets two Alto Saxophones in Eb used, one taking the 
part of the Soprano in Bb. 

The Saxophone used most as a solo instrument is 
the Alto in Eb. 

INSTRUCTIONS FOR THE SAXOPHONE. 

The compass of the Alto and Tenor Saxophones is 
two octaves and a major fifth. 

1.0. = 



^f^ 1 






Bk Bt F 



The compass of the Soprano, Baritone, Bass and 
Contra-bass Saxophone is two octaves and a fourth. 



^ BV Bt Ek 



On the old model Saxophone the lowest note was: 



The music for all Saxophones is written in the treble 
clef. 

HOW TO HOLD THE SAXOPHONE. 

The Soprano Saxophone is held in the same man- 
ner as a clarinet. The Alto, Tenor, Baritone, Bass and 
Contra-Bass are held, with the lower part or bell of the 
instrument resting against the right leg of the per- 
former, but not too much on the right side, for in this 
position the left arm is stretched and the right arm is 
bent, thus interfering with proper execution, and also 
tiring the arms. 

The right thumb should be put below the support, 
to hold the instrument in position, but not to hold it 
up ; the strap will do that. Especially avoid resting the 
instrument on the thumb, for this tires and paralyzes 
the fingers. 

The thumb of the left hand, supported on the round 
mould, will at the same time be in position to use the 
two octave keys, and in order to be able to use these 
two keys, the thumb should always rest in the same 
position, this is very important for equality of fingering. 

POSITION OP THE PERFORMER. 

In sitting or standing, the body must be ERE^T, 
head up f.nd steady. 

The chest must be well expanded, which facilitates 
the action of the lungs and allows the performer to 
bring out sounds both long and well sustained. 

The arms should fall naturally along the bcty- 

The hands must be held without contrad'on or 
rigidity upon the instrument; the fingers ir-ust be 



arched and fall rather than strike upon the plates and 
keys. 

The fingers must NOT rest on the plates or keys, as 
this interferes with smooth execution. With fingers 
flat, instead of being arched, one cannot properly take 
the G sharp, C sharp, B natural and low B flat keys, 
the left little finger is necessarily raised, whereas with 
the fingers arched on the plates, the little finger takes 
a good position, and easily commands the above notes. 

Touch the keys with the tips of the fingers. 

APPEARANCE OP THE PERFORMER. 

When performing before an audience bear a calm 
appearance, emit the sounds without showing ex- 
ternally the difficulties that have to be overcome ; it 
will greatly impress those around you with the ap- 
parent facility of your execution. 

On the other hand, it would offer the company some 
temptation to laugh if you were to move your head, 
balance the body, raise the shoulders as a mark of ex- 
pression, or fill up your cheeks with wind. 

POSITION OF THE MOUTHPIECE IN THE MOUTH. 

Insert about one-third of 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 downward, to pre- 
vent 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 Saxophone is produced by the tongue, 
which sends the air into the instrument and at the 
same time causes the reed to vibrate. To produce a 
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 
or the syllables "Too" or "Doo", according to the 
quality of tone required. Strike the reed about half 
an inch from its top (or thinnest part), with the tip 
of the tongue. 

THE REED. 

Great care should be taken in choosing a reed, as 
the quality of the tone depends upon the reed. 

When the reed is "hard" and the mouthpiece open, 
the quality of tone is very bad. 

In the low notes the tone is loud and hoarse; in 
the middle notes it is husky, and in the high notes it 
is thin and the notes are false. 

When the reed is "soft" and the mouthpiece closed, 
the notes have the tone of a reed pipe and becomes low, 
and if one wants to raise them the reed hugs against 
the lay of the mouthpiece and there is no sound. 

On the other hand, when the mouthpiece is a little 
open and the reed of medium strength, you can regu- 
late the tone, diminish or increase it at will, and all 
the m tes are smooth and in tune, and the tone is full, 
even and mellow in any of the registers, low, medium 
or high. 

An apt student will soon be able to choose a proper 
medium, and also, perhaps, learn to "touch up" his 
reed by judicious manipulation, to get it to speak 
easily, w.lth a full yet sweet tone. 



Reeds are made of Frejus cane, which must be 
ripe, but not overripe. For a Baritone and Bass Saxo- 
phone a softer reed will be better; while for the So- 
prano and Alto a more substantial one will be prefer- 
able, with a medium for the Tenor. 

The reed of the Saxophone being large and flexible, 
too much pressure closes it, therefore a slight pressure 
only is necessary to produce high notes, contrary to 
the effect on a Clarinet. 

MANNER OF CONTROLLING THE TONE, ETC. 

The control of the tone consists, first, in sustaining 
with strength; second, in emitting it softly and 
husbanding it; third, in increasing and diminishing 
the tone without altering its pitch. 

During the emission of the air the tone must be 
equal, the same at the end as at the beginning. When 
the lungs are filled the tone is naturally stronger at 
the beginning, afterwards weak. This must be guarded 
against by reserving sufficient breath for the end. 

It is of the greatest importance to have a good 
mouthpiece and a good reed, without these the student 
will try in vain to produce a sweet tone. 

BREATHING. 

Taking breath at the right time is an important 
matter. Every melody consists of sections which may 
be compared to the separate clauses of a sentence, and 
as these are indicated by punctuation so the sections 
of melody ought to be marked by the taking of breath 
at the correct moment. This should be done very 
rapidly, without noise, and without opening more of 
the lips at the sides of the mouthpiece of the instru- 
ment than is requisite for the inhalation of the breath. 
The face of the performer should give no sign of the 
action, and the more imperceptibly it is done the better. 
Every breath taken should be a deep one, completely 
filling the lungs, so as to enable the performer to play 
long sections without a break. 

In the exercises in this method the place where 
breath is to be taken is marked by this sign ( ') over the 
stave. 

The management of the breath is, like the flexibility 
of the fingers, a matter of practice difficult at first, 
but acquired by perservering study. 

HOW TO PRACTICE. 

Practice as near as possible one regular time each 
day. For it is better to do so, if only for a short time 
regularly, than to practice for a long time one day and 
neglect it for two or three. 

The Scales. Whatever time the student can devote 
to practice, at least one quarter of that time should be 
devoted to the practice of the major, minor and chro- 
matic scales. 

Study intelligently, that is to say, DO NOT play the 
exercises too quickly, always follow tbe rhythm, give 
each note its full value, keep the pitch of each note 
well up, attacking it freely and sustaining it to the 
end. The pupil should practice daily long sustained 
tones, taking successively every note of the chromatic 
scale. This study will impart a beautiful tone, form the 
embouchure, and give roundness in playing. 

As the pupil progresses with the following studies 
he will find additional instructions at various point? 
which he must carefully observe. 






GENERAL REMARKS. 

The Strap bears the weight of the instrument, not 
the thumbs. 

The fingers must be arched, and the keys touched 
by the tips of the fingers. 

The mouthpiece must be carefully cleaned after 
playing. 

The pads should be kept in good order, and the 
springs of the keys oiled occasionally. 

The instrument should always be wiped after using 
to prevent verdigris forming, and a piece of linen or 
cotton cloth passed through the crook to which the 
mouthpiece is attached. 

The performer must be very careful and not allow 
the pads to remain damp after using the instrument. 
For when the pads are wet and are allowed to dry of 
their own accord, they become hard and do not cover 
the holes, which makes the instrument very difficult 
to play, also lowers the pitch and puts the instrument 
out of tune. 



TAKE CARE TO AVOID THE FOLLOWING 
FAULTS. 

1. Wasting of the breath. 

2. Spluttering with the tongue. 

3. Direct breathing with the chest. 

4. Uncertainty of tonguing, i. e., unsteadiness of 
tone. 

5. Nodding with the head, which disturbs tonguing. 

6. Loud, audible breathing when one or more sounds 
are being blown. 

7. Swaying motions of the body, especially of the 
arms, which interferes with the fingering. 

8. Beating time with the foot; in short, whatever 
interferes with exact and easy execution agreeable 
presence, good position of the body, etc., must be care- 
fully avoided. 







List of the Principal Words used in Modern Music 

With their Abbreviations and Explanations 



' j V ' i'J,*9 , 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 
Anima, con t . . . . 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 follows without pausing 

Barcarolle A Venetian boat rhan's song 

Bis ......... .Twice, repeat the passage 

Bravura Brilliant; bold; spirited 

Brillante Showy, sparkling, brilliant 

Brio, con . . . . . .With much spirit 

Cadenza . . ; . . 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 a.nd 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 supplemental the end of a composition 

Col or con With 

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

Da or dal From 

Da Capo (J). C.) . .From the beginning 
Dal Segno (D. S.). .From the sign 
Decrescendo(decresc.) Decreasing 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 

E And 

Elegante Elegant, graceful 

Knergico With energy, vigorously 

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

Kspressivo With expression 

Finale The concluding movement 

fine The end 

Forte(f) Loud 

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

piano 

Fortissimo (ff). . .Very loud 
Forxando(fz>~) . .Indicates that a note or chord is to be 

strongly accented 

Fona Force or tone 

Fuoeo,con With fire; with spirit 

\Jriocoso Joyously; playfully 

Giusto Exact; in strict t'ime 

Grandioso Grand; pompous; majestic 

Grave Very slow and solemn 

Grazioso Gracefully 

Harmony In general, a combination of tones, or 

chords, producing music 

Keynote 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 ..... 1 . .Slow, between Andante and Largo 
L'istesso tempo. . .In the same time, (or tempo) 
Loco In place. Play as written, no longer, an 

octave higher or lower 

Ma But 

Ma non troppo. . . Lively,. but not .too much so 
Maestoso ..... .Majestically; dignified 

Maggiore . . . . \ .Major Key 

Marcato \ .Marked 

Meno Less 

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



Ul \J 'I U 

.Quicker 
.A little 
.Gradually, by degrees; little by little 



Mezzo-piano (mp) . M9derately soft 

Minore Minor Key 

Moderate Moderately. Allegro moderate, mod- 
erately fast 

Molto Much; very 

Morendo Dying away 

Mosso. Equivalent to rapid. Piu mosso, quicker. 

Moto , . .Motion. Con moto, with animation 

Now . .Not 

Notation .The art of representing musical sounds 

by means of written characters 

Gbbligata An indispensable part 

Opua (Op.) A work. 

Ossia . . ... .' . . .Or; or else. Generally indicating an 

easier method 

Ottava (gv a ) . To be played an. octave higher 

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

Perdendosi Dying away gradually 

Piacere, a At pleasure 

Pianissimo (pv) . .Very softly 

Piano (p) . . . .Softly 

Piu More 

Piu Allegro . . . .More quickly 

Piu tosto 

Poco or un poco. 

Poco a poco. . . 

Poco piu mosso . .A little faster 

Poco tneno A little slower 

Poco piu A little faster 

Pot Then; afterwards 

Pomposo Pompous; grand 

Prestissimo . . . . As quickly as possible 

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

Primo (ino). . . . The first 

Quartet . . . . . .A pjece of music for four performers. 

Quasi As if; in the style of 

Quintet A piece of music for five per- 
formers 

Kallentando(ralL) Gradually slower 

Replica. . Repetition. Senza replica, without 

repeats 

Rinforzando . . . With special emphasis 

Ritardando (rit.) .Gradually slower and slower 

Risoluto Resolutely; bold; energetic 

Kitenuto In slower time 

Scherzando Playfully; sportively 

Secondo (2P) . . .The second singer, instrumentalist or 
part 

Segue Fpllow on in similar style 

Semplice Simply;- unaffectedly 

Senza Without. Senza sordino without mute 

Sfurzando CsfJ. . .Forcibly; with sudden emphasis 

Simile orSimili. .In like manner 

Smorzando (smorz) Diminishing in sound. Equivalent to 

Jfortndo 
Solo .For one perfo mer only. Soli; for all 

Sordino A mute. Con t rdino, with the mute 

Sostenuto Sustained; prolonged. 

Sotto Below; under. Sotto voce, in a subdued 

tone 

Spirito Spirit, con Spirito with spirit 

Staccato Detached; separate 

Stentando Dragging or retarding the tempo 

Stretto or stretta. .An increase of speed. Piu stretto faster 
Subdominant . . . .The fourth tone in the diatonic scale 
Syncopation . . . .Change of accent from a strong beat 
to a weak one. 

Tacet ."Is silent" Signified that an 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, 
Tenuto(ten.) . . . .Held for the full value. 
Thema or Theme . .The subject or melody. 

Tonic The key-note of any scale. 

Tranquillo Quietly. 

Trtmolando, 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 trovvo, 

not too quickly. 

Tutti All; all the instruments. 

\Jn A, one, an. 

Una corda On one string. 

Variatione The transformation of a melody by means 

of harmonic, rhythmic and melodic changes 
and embellishments. 

Veloce Quick, rapid, swiff . 

Vibrato .A wavering tone-effect, which should be 

sparingly used. 

Vivace With vivacity; bright; spirited. 

Vivo .Lively; spirited. 

Volti Subito V.S. . Turn over quickly. 



HOW TO MAKE YOUR OWN REEDS 

While reeds of the best quality may now be obtained in music supply houses, 
some performers prefer to make their own reeds, and at least some knowledge of the 
process of reed -making or correcting faults is invaluable. (The figures interspersed 
refer to diagrams on following page.) 

First cut off a piece of cane the thickness of a half dollar coin (l) and of the 
size of the lay (3) (The part of the mouthpiece where the reed is laid and held by 
the ligature or reed-holder ). Then rub the inside part of the cane on abroad fine cut 
file until the surface is perfectly flat, after which it may be placed on the lay (3) and 
the screws of reed-holder tightened to ascertain if the opening (5) is correct. Holding 
the mouthpiece sideways against the light the opening (5) should extend downward about 
one inch. Remove the reed from mouthpiece and with a sharp knife trim down gradu- 
ally from centre (6) to top (7) being careful not to take too much off at first as later 
adjustment must be allowed for. The edges should be rounded from where the cutting 
begins (8) and show an elongated angle from the middle. The cane should be thicker in 
the middle (9) than at the edges (10). The thin end of reed can be shaped with a sharp 
pair of scissors or a reed-cutter. If , on trial, the reed proves too hard> file off the 
thickness at top of reed, sloping toward edges (11). If the top is already thin enough, 
file off between the centre (6) and the top (7), but with great care, for should too much be 
taken off, the tone will be spoiled. Then with a very smooth file file straight across the 
top of reed to a depth of g of an inch downward; this will leave thin part even and al - 
most transparent. Again place the reed on lay (3) and give a side glance at the opening 
(5); should it be too close, loosen the top screw of reed-holder and tighten the bottom screw. 
Reverse the process if the opening is too large. The flat surface of the reed () may 
become warped and uneven, in which case rub carefully on the large file or on the fin- 
est sandpaper laid on a perfectly smooth or flat surface, preferably, plate glass. 

When left on the mouth -piece for a few days, all the small faults in a reed may van- 
ish; but the real fault may be in the mouth-piece, if located there take the mouth-piece 
to the maker or a repair shop for refacing. 

If the reed still remains too hard, adjust it on lay so as to show a trifle below top 
of the mouth-piece, (13) if too soft adjust it to show above the top (14), this experiment 
will at once show the defect. In the first case reduce the reed at end of the curve 
(15), in the second case, cut off the top (16) 

Future warping of the reed may be corrected by using large file or sandpaper, but 
carefully avoid making reed too thin at the heel (17). 



T-126 



.(14) 





(11) 



(17) 
,.Heel 



(10)- 




(11) 



''X15) 



(1) 

Thickness 



Ligature 
or Reed Holder; 




(4) 



(6) 
Piece of cane cut for one reed 





\ 


uutsi a e 


j 


= 




(2) Inside (or 


the Surface) 



,.(17) 



T P Screw 



Bottom Screw 



Mouthpiece Complete 
With cane cut ready to be shaped 




immmiiiiuntiiiiiiiimi 



T-iae 



RUDIMENTS OF MUSIC 



Before the student can commence to play any instrument it is necessary that he should 
be acquainted 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 J 1 H Jj etc. 

They are named after seven letters of the alphabet; C. D. E. F. G. A. B. and are writ- 
ten on, between, above or below five parallel lines, r=z= 



which are determined by Clefs, placed on different lines. 

For this instrument, only the treble or G clef 
cond line. J 

The names of the notes on the five lines are 



- called the Stave, the names of 
is used, which is placed on the se - 



: /f a^~^ ~~l~~ f I 



of the four spaces 
between the lines: 



f. \ 


3'. 




f fH i 2 









VMJ 1 








ft) 


F A 


C E 



E G B D F 

of the two above and below the lines : 



D 



G 



These eleven notes are insufficient to indicate the full compass of Sounds in use. 
Ledger lines have therefore to be added, above and below the stave in order to signi- 



fy higher and deeper sounds. 



Notes of the ledger lines above the stave 



(cb ' 



Notes of the ledger lines below the stave (m I i 



G 



FULL TABLE OF ABOVE NOTES 



$ Mil. 







J 


r^ 


^- 


m ' 


i 


in* f f f n P 1 


m- 





*AfiCDEFGA BCDEFGABCDEFGABC 

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 



Whole note; Half note; Quarter note; Eighth note; Sixteenth note; Thirtysecond note. 



The latter three kinds may alsoc 
be written in combination thus: 



Eighth notes; Sixteenth notes; Thirtyseccnd notes. 



COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES 



A Whole note 

equals 
2 Half notes 

or 
4 Quarter note's 

or 
8 Eighth notes 

or 
16 Sixteenth notes- 

or 
32 Thirty second notes 



P 




P 





p_ 


(r p 





* 


^ 




F 


P P 









BARS 

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

One line r 



is placed after each bar and each bar contains the same number or 



value of notes, and each bar must last precisely the same length of time. The end of a 
part of a composition is marked with two lines or a double bar, and if either two or four 



dots are found by the side of the double bar thus:=3EEr the whole part from the pre- 
ceding 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 



"72, = * c ~ = = 


t n 






: * 


Z 











Whole rest; Half rest; Quarter rest; Eighth rest; Sixteenth rest; Thirtysecond rest. 

DOTS 

A Dot placed after any note or rest increases its value one half, thus: 

to 



is equal to [ f 



to 



Two dots placed after a note or rest increase its value one half and a quarter or ff^ 

21443-& 



like 



etc. 



TRIPLETS, SEXTUPLETS, AND ODD GROUPS 



Triplets are marked by a 3 being put over a group of three notes. Sextuplets 

are marked by a 6 being placed over a group of six notes. Three quarter notes marked 



thus 



p * | must be played in the same time as two quarter notes [ P P 



not so 




marked; or six eighth notes ff in the time of four eighth notes ff 



not 



so marked. There are also groups of five 
notes I F F F P P~FP P P II etc. 



seven 




and nine 



TIME SIGNATURES 



In, order to know how many quarter notes, eighth notes or sixteenth notes a bar contains, 
special figures are placed at the beginning of a movement. 



Common Time 


Three -four Time 

ft ii w m -m 


Two -four Time 
^^= =9 


4 


"1 1 1 1 
Contains four quarter notes or the 
same value in longer or shorter 
notes or rests, and four (1,2, 3,4,) 
must be counted in a bar. 


W 


* \ \ I 

Contains three quarter notes or 
the same value in longer or short- 
er notes or rests, and three (1,2, 3,) 
must be counted in a bar. 


f^ 


*l 1 U 
Contains two quarter 

notes etc., and two 
(1,8,) must be count- 
ed. 



TADLE OF TIME SIGNATURES 



Simjde Common Times Compound Common Times Simple Triple Times Cmnpouiid Triple Times 







3^=^ 



m 










E$= 



When a line is drawn through the C thus: 
ed in a bar. 



, which is called alia breve, two* is count- 



21443- 



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 as- 
cension or descension is diatonical: i.e. in tones and semitones, and a third kind, 
whose ascension and descension is chromatic: i.e. only in semitones. 

For the present, only the Major scale will be discussed. In the Major scale the 
semitones are situated between the third and fourth and the seventh and eighth de- 
grees of the scale. 

EXAMPLE 



tone 



tone 



semitone 



tone 



tone 



tone I semitone 



f= 



degree\ /2qd\ /3rd \ ~~J ^ \ / 5th\ /6th\ 



8th \ 



Each diatonic scale derives its name from the name of the note on the first degree - 
or the root. 

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

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

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

EXAMPLE 



Degrees: c 
\ o a 4 
* - * f- 

~i r EE f 


6 

r f ==| 






i 





Intervals.- Second, Third, Fourth, Fifth, Sixth, Seventh, Octave. 



SHARPS 

A scale may be formed on any note, but in order to produce semitones between 
the third and fourth and seventh and eighth degrees in any order but the scale of C 
major, it is required to employ certain characters, which raise degrees, or restore the 
pitch of any note in the scale. 

^One of these characters is called a sharp ($), which, when prefixed to a note 
raises it a half 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: 



5 



6 



sharp, C sharp, sharp, D sharp, A sharp, sharp, 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 a tone. When two sharps are 
employed all F's and Cs must be raised, and when three sharps are employed all 
F's, C's and G's must be raised and so on. 



TABLE OF SIGNATURES OF SHARP KEYS 



Number of Sharps: 



Names of the Keys: 



3 



D 



E 



B 



6 



FLATS 



A flat(b) prefixed to a note lowers it half a tone. The flats succeed each 
other in the following order: 



6 



5gE 




r 


p : 


J }> 









T ~~ 




& T 




)m 






^ -j 


a 





B flat, E flat, Aflat, J) flat, G flat, C flat, F flat. 



The same rule concerning signatures as with sharps is to be observed here. 



TABLE OF SIGNATURES OF FLAT KEYS 



Number of Flats: 



2 345 6 

Jvt 

7 IX 



Names of the Keys: p 

21443 -< C 



Bt 



THE 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. 

THE MELODIC MINOR SCALE 

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

SCALE OF A MINOR 

Without Signature; Jlelative to C major. 
I tone I semitone I tone I tone I tone tone 'semitone I 

=4 



l*t degree 



|3 r .d 



5th | 




TABLE OF MINOR KEYS WITH THEIR RELATION TO MAJOR 

A minor E minor B minor F$ minor C$ minor Gf minor D$ minor A| minor 

m 



* 












m 



G major 



Gmajor 



D major 



A major 

^= 



E major 



B major 



F| major 



C|t major 



Dminor G minor C minor F minor E\> minor El> minor Ab minor 



t\Jf\ 1 


j. 


> 1 


i t 


L>, --| 


4-4U | 


H>i 


SE 


rvy 


rM> -f 


Ib 1 


m 






V 




1 '' 1 









: 


- "^ 


F major 
7t IT 


E 
-t 


.b major 


E 


\> major 


At major 

t> > 


Db major 


Gb major 

, 1 P a 


C\> major 


un ' " 


f 




-* 




K 


. '"ZI 


? 


_>. 


-i 



THE HARMONIC MINOR SCALE 

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



SCALE OF A MINOR 



yth 1 8 tjx | 7th | 6 t.h | 5th [ 4th 




21443-,' 



THE NATURAL l| 

In order to restore a note whieh has been raised by a sharp(#)or lowered by a flat(!4 
a Natural % is employed which restores it to its original pitch. 



-Thus 3fcilE| F raised by a sharp is restored by the natural ES L J | to its original sound 

1 ff O ' 



or (ftl>| J B flat to ( Ijf I B natural. 
3' I J I 



THE DOUBLE SHARPx 

By prefixing a double sharp x to a note the same must be raised a whole tone. 

will sound like G natural (fls J \ 



Thus F double sharp 



THE DOUBLE FLAT \>\> 



A double flat H prefixed to a note depresses the note a whole tone. Thus (ffl^f BW> 

-f 

(double flat) will sound like A natural 5S 



THE PAUSE / 

A Pause /c\ placed over a note, means that the note can be sustained to an indefinite 
length at the performer's pleasure; the counting being interrupted. 






THE CHROMATIC SCALE 

Consists of a succession of semitones, which, in ascending are designated by sharps, 
and in descending by flats. 



Thus: 



etc 

'ii 'i' rr l! r r'rrrTr |j 




J|J 



etc. 



rr r 



21443- 



ABBREVIATIONS 

Abbreviations are employed in written music to avoid repetitions of a single note or pas- 



sage. 

Thus instead of writ- 
\g four eighth notes: 



a half note marked 
with a thick line: 



wil1 indicate the same ' 




and 



for 



1 or I J" I for 



Or instead of repeating a bar alike 
a sign marked thus '/ is used: 



etc. 



7. etc 



TRANSPOSITION OF THE KEYS 

When C is taken as 1, the scale or key is said to be in its natural position; but either of 
the other letters may be taken as 1, in which case the scale is said to be transposed. As 1 
is the basis of the scale, the foundation on which it rests, so the letter which is taken for 
this sound is called the Key-note. Thus, if the scale be in its natural position, it is said to 
be in the key of C; if G be taken as 1, the scale is in the key of G; if D be taken as 1 , 
the scale is in the key of D; and so on with the rest of the seven letters ; which ever letter 
is taken as 1, that letter becomes the key-note of the scale. 

In transposing the scale, the order of the intervals or tones and semitones, must be pre- 
served. Thus, the interval must always be a tone from 1 to 2, a tone from 3 to 3, a semitone 
from 3 to 4, a tone from 4 to 5, a tone from 5 to 6, a tone from 6 to 7 and a semitone from 
7 to 8, The interval from one letter to another letter is also the same and cannot be changed 
thus it is always a tone from C to D, and from D to E, a semitone from E to F, a tone from 
F to G, from G to A, from A to B, and a semitone from B- to C. In the transposition of the 
scale therefore it becomes necessary to introduce sharps and flats, or to substitute sharped 
or flatted letters for the natural letters, so as to preserve the proper order of the intervals. 



First transposition by sharps from C to G, a fifth higher, or a fourth lower. 



* 














" II 


4& 

t7 -e- 
1 

C 




2 

D 


1 o 

3~~ 

E 

^- 


o 

\ 

F 

^ 


e 

5 

G 


d 

6 
A 


7 
B 

4to 


M 

8 
C 


c 


>F ff 




o 


1 1 


e 





3*s 


n 


G 


2 
A 


3 

B 


4 

C 


5 

D 


6 

E 


7 
F# 


a 

8 
G 



The same method is followed in the transpositions by sharps, viz: the fifth above or the 
fourth below is taken as 1 of a new key in every succeeding transposition and an additional 
sharp will be required in every succeeding transposition. 

To transpose the scale by flats, we take the fourth (instead of the fifth) of every new 
scale. F is the fourth of C; hence it is 1 of the new scale (key of F.) The order of intervals 
must be the same in the f{at key as in the sharp; hence the B must be made flat. 



21443- 



It is clear that there must be a tonal difference between the third from C to E and the third from 
E to Ek It has been stated that the tonal difference between two notes on adjacent degrees of the 
staff is not always the same, likewise intervals of a third, fourth, etc., vary as to tonal content. 
The third from C to E is called a Major (Large) Third (2 full Tones), that from C. to Et is called a 
Minor (Small) Third (l tone and a Semi-Tone). This classification of intervals belongs properly to the 
study of Harmony and does not necessarily concern the student now. It will be sufficient to make 
the transposition by intervals as directed, and remember the scale of the new key we are playing in. 



DIFFERENT SHADES OF TONE 

means: piano, soft 

means: pianissimo, very soft 

means: forte, loud 

means: fortissimo, very loud 

means: mezzoforte, moderately loud 

cresc. or - --- ' means crescendo, increasing the sound 
dim. decresc. or - means diminuendo, decrescendo, diminishing the sound 

sf> rf or > means sforzando, rinforzando, sharply accentuated 
fp means: forte -piano, loud and immediately soft again 



p/p 

f 

ff 



GRACES, EMBELLISHMENTS OR ORNAMENTS OF MELODY 

THE APPOGGIATURA 

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




written so 



When crossed by a small line,thus: 



the value of it is one half of the following note. 

ite 



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



Written thus-. 



Played thus: 




EXAMPLES 

h k , 



_ 

^ 



I II L I iJl > tr I L 

Pa' r II ^JP' J 1^^ fJP JfJ h 

i r "i i T ^ ^ 



There is also a double appoggiatura which is com- 
posed of two grace notes placed: the first, one degree be- 
low the principal note, and the second, one degree above. 



Written thus: 
EXAMPLE. 

Played thus-. 




21443- 



THE GRUPPETTO OR TURN 

Is composed of three grace notes placed between or after a principal note. The turn is marke'd 
thus: 05. A small sharp placed under some of the signs thusrf indicates that the lowest of the 
three grace notes is sharpened. Should the sharp be placed above the sign thus do, the upper 
grace note must be sharpened; or in case of a sharp above and below the sign c&>, the upper 
and lower grace note must be sharpened. The same rule applies to flats, only that the grace 
notes must be lowered half a tone in that case. 



EXAMPLES 



As. written 



As played 



With sharps and flats 





THE PASSING SHAKE 

The passing shake, often written thus AV, must be played quick and round in the following man- 
ner: 



As written 
As played 



THE SHAKE 

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



As written 



As played 



Chain of Shakes 





21443- 






Improvements added to the 

Evette and Schaeffer System of Saxophones. 




First New Patent Key of High B^ and F. 

The notes Ell and F above the staff are obtained upon all Saxophones 
by using simultaneously three or four keys; the hand to catch these keys 
must quit its natural position; and to return again is very difficult. 

With Evette and Schaeffef's new patent key S they suppress that dif- 
ficulty as shown in the following examples. 

The key S shuts automatically the plate (or plateau) of the first finger. 

It is very easy to see the many advantages of this new fingering. 




Note: See Exercises for this new fingering on pages 90 cfe91. 



e 




Second New Patent El> Key. 

The passing from Bl), C\\ and C| to El> is very difficult on all Saxophones, 
and requires great practice and study; various mechanisms have been tried 
in remedying this inconvenience; Evette and Schaeffer claim they have 
thoroughly succeeded by obtaining the emission of the Eb through the hole 
of the El]. 

The Eb is obtained by lowering the plate 5 b _ is with the second finger 
right hand, third finger being raised. The little finger, which usually 
takes the Etkey, thus remains free and the passing from Bt|, Cl| and C| 
to El> becomes quite easy. 

Note: Se4 Exercises for this new fingering on page 75. 

Last Improvement on the 

Evette and Schaeffer System of Saxophones. 

Three New Patent Keys for the Low Bl>, Bl] and C|. 

Owing to the successive improvements made by them to the Saxophone, 
the fingering -of that instrument has become very easy. 

But it remained yet a question to be solved, viz: how to be able to obtain 
the low notes with both hands. However, nothing was more easy, but that 
ought to be met with. 

Such question to-day was solved out, since, without any new mechanism, 
the three notes, low B\>, B^ and Cjt made by the little finger of the left hand, 
are also made with the second (or middle) finger of the right hand, by 
_ v means of three double spatulus. 

It is easy to account for the fact that; since these three notes are made indifferently with both hands, 
thence all the most difficult passages become very easy to be made out. 

Note: See Exercises for this new fingeringon pages 197, 198, 199 & 200. 

Copy right, MCMVU,eyCarrFischerrNew York. 



-e- 



o 




10638-144 






Preparatory Exercises 

Q/^ 

For the Production of Tone and Forming the Embouchure. 

Note: It is taken for granted, that, the Student has already made himself acquainted with the Rudiments 
of Music. 

Observation: Each note, in the following exercises, should be touched softly with the tongue by pro- 
nouncing the letter Tj the breath must be emitted evenly, so as to produce a long and equal note.. 

Each exercise between repeat -bars should be repeated till the execution is perfect; and be finished 
with the note surmounted by the pause: (/r\). 

Exercises. 

Pronounce the letter T for each note. Breath should be taken at the sign: (?). 

T__ ^L ^ A T > 

3. 



T T 5 



1. 



HI 2. 



-e- 



-o- 



m 



^^ A 

Names of the notes: G 



4. 





? 




? 


1 - 


5/ 


T 


? 




? 


r\ 
I 




1 ^ 1 


TJ 


o * 


1 o 


3s 




^ 


* 


e 1 


* 





E 



6. 



-o- 



7. 



* Keep the Octave-key N9 VII open for this D and 
the E, F and G. 






8. 







^ 



gg 



~O" 



"TT- 



s 



T ' 



O 



o 



10. 





ft T ) 5 J ? 5 Oi 














i i* ' 


e, 










f 






e, 










11 


e, , 







-It 


^ A 



















a . 


s 



11. 





e 


_j 










e, 


A V 




* 













x 








- 












* 









Q 




j^J 




















O 




\v 




























13 


F 



~rr 



~r~ 



^ 



12. 



o I : 



** 



Keep Key N9 XII open for this A and the following high notes, and close Key VII. 



13. 



14. 



TT 



* 



**A 



T 5 



-&- 



-O- 



-e- 131 



B 



1063S-144 



Use no more pressure for this *C than for the C in the third space of the staff. 

9" 5 



o 



^ 



vr 



15. 



e 



T 



-O- 



JCC 



*c 



Diatonic Scale of C major. 

This sign \X shows where the half tones occur. 



16. 



XL 



















e. 




*-F 










j_ 














Cl 
















H 


















S 
















f 


Q 


** 




"s. 



















-&- 



~CT~ 



-O- 



Exercises on Intervals. 

Thirds. 

Give a lighter pressure on the reed to produce the lower notes. 
T > ? ? ? 



17. 



-o- 



Pass from one note to another without pressure of the lower lip. 
) ? ? ' 



t. 



f^L ^) 


o 


n 


" II o 


p fl "H 


" II " 








: 1 


^ Key VII 
open. 

IQ raj 


-H 


II 


5 






H If 

Fourths. 

j > 
o| "U 


, O n 


Key XII 
open. 

J 
&- 


Key VII 
open. 

-C 
II * 1 


Key XII 
open. 

II 1 


1 


1O. V 






_yj 


II o 1 


v> II o 






if 




H 


II 1 


1 


H 





Fifths. 







5 A 



O 



19. 







* 



e 







O 



Sixths. 



20. 



* o 



o 



IE 



Sevenths. 



21. 



-e- 



-O- 



-O- 



-O- 



10638-144 



Octaves. 



o 



t> 







T 





5 




-e- 


> 

n c~% 


-tL 


J 


n 


^- 


n 


fib o 




o 


- 




II 













Ninths. 



/r 


o 






U 


H 







ffi =j 




-A- 


1 1 




o o 




o . II 



7 1 


p I 


f* 


) 




-e- 


1 




a. 


? 


-e- 




4> 


s 

tJ 


5 r. 




T 


O 




o 







** II 




o 





Very softly. 



Shading. 

Softly. Half loud. 



Loud. 



Very loud. 



24.35 



-o- 



-o- 



-o- 



p 



f 



25. 



-fir 


2 


7 


^-i 


? 






r? 


? 


^ (9 


F^= 


J 








? 


gp o 


:. ^j 






^ gj 


L 








c< 




^=^ 


1 


E 


^ 


_cJ 


s 





>n p 


t^" 




r j 




v r 






rj 




| 






r* ^\ 





-fm 






fj 
















l 




r 





pp 



Crescendo: (gradual increase of tone.) 
T 9 > 



26. 



-o^ 



-o- 



n * 



P 























-tm 





















/ 







* 



T5~~ ~T 



'-f 



1063S-144 



30 



Diminuendo: (gradual diminuition of sound.) 
T 



27. 



r* 



o 



-*r 

-P 



o 



/: 



/, 



p 



3E 



~T- 



/= * f-- 



-p 



-p 



f 



Crescendo - Diminuendo: (increase and decrease of tone.) 



28. 



p 



d ^>~ o o 




















/f 


















DB 


















W 1 



















p 























jn_ 




















PH 
















f\ 
















* 


* 






*J " T^ - *- 





* 5 5 9 


^ i. ' 


^ .. ? 




r 




^ 


^, 


~ 


"^ 






j 5 


^ 2 








tf^ 




j^J 


c, 5 










n 


5*> 


J f 


^^ 
















V 


s 


























Exercise to Acquire Evenness in Passing from B to C. 

T 9 9 ? ? 



29. 



TT" 



Exercises on Time. 

The Student will now observe the value of the notes. 
Common or Four-four time. 

T ' , T - 



30. 



HE 



^ 



e 



Count mentally: 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3,4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 

9 ) ) 









1234. 



T T. T 



1,2,3,4. 1,2,3,4 
J 



i 



rnrrri j rrrirrr 



e=^z 



3E 



Count: 1,2, 3, 4. 1,2,3,4. 
10638-144 



1,2,3,4. 



1, 2,3,4. 



31 



Two-four time. 



32. 



33. 





n rr T m , ' i ' i ' 




r 






































n 






/ 


f* 




m J 
















1 


1 






P 


1 














fj 


-ft 


\ Pi 







g 























r F 


Q 












1 




Sj 


J 4- 








t, 







f 








e 




















1 


13 







: /, ,2. /, ,2. /, -2. 
r> 



WP 







- /, 2. 1, 2. 

Three -four time. Observe the notes with dots placed after them. 



34. 



rt r T, T, , o ? 


J' M 










m ' 








^ 






A *2 




J 


A A A 




~j 










r p 


J 




r^ 


Tffl % ]T) 





rJ 


r -r r 








1 








. r 







Count: 1, 2, 3. 1, 2, 3. 1, 2, 3. 
T T T ? 



1, 2, 3. 







: /, 2, 3. 



2, 3. 



*' 2 > 



> 2 > 



Six-eight time. 

Count: 1, ^ 2. 1, 2. 

T ' 



2 




Count also: 1, 2,3, 4,5, 6. 1,2,3, 4,5, 6. 



1,2,3,4,5,6. 



Exercises in Slurring. 

These exercises should be played at first slowly, and when the fingering has been acquired smoothly, 
they should be repeated many times, gradually increasing in speed. 

Tongue only the first note of the Slur, and continue the tone till the second. 



3 

-jr 




T T 177?'-' 




r 
















7/ 


, I* 
















ff 


t \\ j f^ 














tf"* tf^ *-* 




J ' ' 43 


a 




^ 










o o ** 41 ^^ 


*) -^ 

Count: 1,2,3,4. 

9 ^-T-- ? I 


' 

1,2,3, 

2 


*. 


^ 

n 


_ 


" 

^ 
~r 




s ^. 

^ ? 
o 


-e- 

^ 

. 


- 

^ 

-^ ? 


p 1> r 1 O i i p- l i i 


-^ 




}_o o 


o 















Tongue first note of the slur. 
T y T 



: /, ^ ^,/. 1,2,3,4. 



\ 


? 




7 








7 








s 












-^ 








1 


^ '_ 




- 




-rr-| 


-W 

eJ 


^ J g 
^ 






~-^ 


-+ 


1 eJ 





-' 


u 








n 

~-^ 









o 

_--^~ 









i) 
















\ 


1063S-144 



(9 n i O 



ffr'iff 



33C 



Count: 1,2, 3, 4. 
5 




-o- 



40. 



-f-^ 






~~ -^ 


I 




^^- 




? 

n ^ 


^^* 

<Q 



P 




^ 
9 


5 

^ 




: 
r^ 


9 




. 
rj 


y 

-~_ 

& 




^ 


ry 




9 


^. 
f3 


6K tt o 


tt 




i 


Z F-> 




zc 

















































i 





>,' 




r? 




' 






' 






1 f p I 


~fn 


^H 


*"! 


~T^ 


r* 


"n 




e - 


^ 


^ i 




-?^ 


'^ i*D 


r^ fi 


W) 


i 








^ 




' 
























=4= 





? x--- -T-^ 

. 












^ 



Observe the Rests. 
T 



Seconds. 






c< " 



i ' g 



: 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 



J.J.TJ- 






rnrrrnr-ir 






10638-144 



33 




f . iflvrrnT- 



'Count: 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 



m 



i 



iPPP 






--4f >M r " r ' i r 



Count: i, 2, 3, 4. 1, 2, 3, 4. 

9 5 









o f j I I c 



JJJ 



rnrrmr 






.. .-.Il^t 



Thirds. 
? 



J IIJJUMJJ 



/, ^ 5, ^. /, 2, 3, 4. 
? 



J I J J. J J I J J J J I JJ I JJ j J i JJ 








1063S-247 



34 












- /, 








i 






47. 



Count: 1, 2, 3, 4. 



^r 





"i, 

=*q 


x 


>^. 

, 


VI 


1 


-j 




-- 


p, ? ^ - 

A jB 1 


- 


_ m \ 


-^- 


FT^l 




_ 


s. 


f- 




^Ff^ 


~~- 


Ffr 


ffl 


44- 










=th 




t 




=t 




-rf- 




4t 




- 


^^ 


Tl 


PP 




=M* 


^ 


J f 




^S 

^-^ 


at 
' 








Fourths. 



T ? 










48. 






Count: 1, 2, 3, 4. 




I 









49. 



" ^J-i J u ' ] 'J^iL! 













10638-347 



35 



50. 



f rr r i f r i f rlvTFnT'rmfTrr 



Count: i, 2, 3, 4. 







JLTOJU 



Fifths. 



& 



m 



j 










9 T 



i 



52. 











^ 


^ 


' 










-^^^ 


9 ^ 


- 




u 




~m ' 


- 


,-, 




^"**, 


9 

p 


^ 


-~ 


^ 


^ 

1 P 


^ 


J 

i 


X 


-- ~ 


=fc 


i=J 





=^=J 








d! 


=N= 






1 ^ 






9 r 
































1 





10638-247 



36 



Sixths. 



53.^ 






: 1, 2, 3, 4. 



T 


K- 








--J 1 






- _|__ 








-^ 




















| 


















-r- 
















-W5 & 
S 


i 


^ 


- 


~ 
.. 


\T 


~* 
~~ 




1 


r 


- 


JF 




^U 





I 









r; 




- 

*** 


i 




"^N, 


--^ 


cj 

. 





-m 






J- 





=m 


J 




^-^ 


r 




9 
















































































Tar 



fj 


-~ 


? 





i rT 


4 




p 


r? 


-, 


5 


^^> 

r7~~ 


/o 




^-^ 







? 


^ 








r?~ 


~- 
&~ 


-, 




? 
77 




^ 


. 











P^ 




9 


P 1 


=H 


=1= 


~^ 


* 


aE 


i j 











Q 






SJ 


- 




3 


r 


J 























- 




-* 




_ 


b| 













^i^ s ^ -^^^ 5 _, ^^ ^ ^___, 








j 




xj 


A 




V 










a 






9 












i 














F 


J F 





































p 






-ffl 










r r 


3tq 










a 










;-T-[ 








1 


.-P 1 













Jp i l> J. 31 UJJ 









Count: 1, 2, 3, 4. 











rr^irrrrirr 



Count: 1, 2, 3, 4. 



A m ~^ n ^_ * -- i ^! ^ i * , ^v. 


Jf 1 




W 








p 






A 






i 




i 






'V 


A. 








m m 


m m 










' 


m 




I F 




' v m 








-Cm i 








r 


\- r : r 










r r 


r 




r 




r r 


m J 










10638-247 



Sevenths. 



37 



? T^ 



^ ' T 



56. fttt r 




Count: 1, 2, 3, 4. 

T T 






rr j i jj rr 




























Count: 1, 2, 3, 4. 












Count: 1, 2, 3, 4. 



r i r J 










frrrirrrr 






10638-247 



38 



59. 



Octaves. 



T ? T 



. 



m 



J 



Count: 1, 2, 3, 4. 







i ' :x ^T 1 T ^. 



60. 



j 






Count: 1, 2, o, 4. 









rrfi. rrir- 





i 










i 



61. 









Count: 1, 2, 3, 4. 




rrnrrrr 



J 



j j j 



r 



10638-247 



39 



Progressive Exercises on Time. 



Observe the Rests. 

Common or Four-four time. 
T T 



s /> 


7i 























r 






2 








*^ 


a J ' 1 


n \2. 


1(m 


j 




n 


r 




6 












r 















a ' 






r 


r id * 1 




VJJ 












































i 




w 

Count: i f 
T 


1 

* ft * 

-^ 


^^ 
4 * 


* 


i 




-~ 


i 


J 




^- *^^ 


Jjr 




^ 


















r j 




^ 










\' J ' ' m 5 1 


^^\ 









I 




i wm 










__ 







i 




V f I 


f ^^k 


* f 















f 










-- 






Q 




1 


\^J J 


g 
























C*^ j 








1 i 


y /^ 


, 


-71- 




7 


F 

^~" 


., 

m 








^- 1 


' 


. 

i 


-~- 

- - 




3 = 




x^" 


i 


^ 


^ 

m 


r i 











.^ 


- , r \ . --=-H 


63.- 


2* 


* J ! 
/, * * 


E 
^ 


1 1 '^~ , | 1 


*^ 

^r 


9^-9 
1 


' 


- P f d -<g "1 


. -- 

rf 





rr~ ^T^T- =n 





( -" 






jj^ 

p 


/" 4 


^J 

4 


r 

Tt 1 


r 


r 


^ P p 


J 




^ 

f 




i 


i 

v 


r_ 




s 


v 


p H 


04. (m *' 
S 

j) i 9 - * 


gj _ 
1, 2, 3, 

r r m 


N 

4. 






5 


fj 




P 




2, 







8, 

wr~ 


4. 


^ 


^ 


ft 

1 


T 


^. 
i f 


1, 2, 3, 4. 


%r= 








































= =t= z 



T T T 



Syncopation. 



65.3 



i 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 







Three-four time. 

T - 



66. 




Count: 1, 2, 3. 1, 2, 3. 







m 



1063S-247 



40 




Count: 1, 2, 3. 1,2,3. 




Three-eight time. 




Count: 1, 2, 3. 1, 2, 3. 

Six-four time. 
T 



1, 2, 3. 



1, 2, 3. 




Count: 1, 2, 3, 4, 5, 6. 1, 2, 3, 4, 5, 6. 1, 2, 3, 4, ff, 6. 




123 

Nine- four time. 

Count: 1 2, 3, 4, 5, 6, 7, 8, 9. 1, 2, 3, 4, 5, 6, 7,8,9. 



456 




1, 2, 3. 



Nine-eight time. 

Count: 1, 2, 3, 4, 5, 6, 7, 8, 9. 




1,2,3, 4, S, 6, 7, 8, 9. 



Observe the Articulation. 
Twelve-eight time. 

Count: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12. 
T T T^_ T T T T T 



41 



72.3 




Six-eight time. 
Count: 1, 2, S, 4, 5, 6. 1, 2, 3, 4, 5, 6. 



Count: 1, 2. 1, 



P 



2. 






pi 



P i r p r p I r/ 



Exercises on Dotted Notes. 







74. 



i K 



4 4. 



ft 




i, 2, 3, 4. 









Count: 1, 2, 3, 4. 



-/ 


-*- 


p_ 


^ 


p 


A 


P j- 






- .||. 









p-i- 


^ 


^- 







o = 


^ 




















l*-^ 




Q 


4I^J 


___ , H 


- i 




















I' 




10638-847 



Count: 1, 2, 3. 1, 2, 3. 1, 2, 3. 1, 2, 3. 1, 2, 3. 




i, 2, 3. 



79. 



^uuni: 

TK-P- 


i, 

p 


*> 

9 


<>} 




*> u, 

r> 





p 




*, 




<.. 

P 


0, *, U, V. 

*p *r~ 




P 


p 


rrr | 







* 





^ I 


$3 






































z 



Count: 1, 2. 

1, 2, 3, 4, 5, 6. 



2. 



12345 6. 




Exercises on Rests. 



The Rest on the first beat. 




so. 



P 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 



The Rest on the second beat. 

i 



81. 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 



Ff 



10638-247 



The Rest on the third beat. 



43 



82.^^ 



Count: f, 2, 3, 4. 1, 2, 3, 4. 



r r * r i r r * 



C i r r * ri r r * 



The Rest on the fourth beat. 



83.^^ 



Count: 1, 2, 3, 4. 1, 2, 3, 4. 



JTJ 





/ 




P f 




A 


/ 


F J f 


r F f 






F f 




f r F / 


On 


! 


f 


IJ 


I r 




F 


^. 


r 


1 r r 






1 r 


J 


* 


"K 






1 


I r 








1 r 








1 T 


' 


c 
8 




=^ 


The 


Rest on different beats. 


1 

>^- 


1 










1 


1 ' 


. 
P- 


T 


rffM 

C'o- 


mt: 1, 2, 


^= 

3, 4. 


^ 
f 


4= 






^E 

? -# 




- 

-~ 


^ 

"M 


p 


=^= 
P=p 




-^-~ 


-J 

-f 


- 
"P 






-j 


>- 




1=J 




^ 




^ 

fr 


' > F . 


*-f--*- 


m 





-)- 








~^ 


-k 

c 


* < 





M^ 


i=y 


-f- 


P 




-{ 


-J 




? 


4 






^ 




1 > 


- 


J- 


-^ 


=t 






i 


i 


J 






^' *l '1 J ' 



Eighth Rest on the first and third beats. 
T T T T 




85. 






ft V J ,^ 



^qs 










10638-247 



44 



86.3 




2. 



T 







f 



: 1, 2. 1, 2. 





Count: 1, 2. 1, 2. 





Count: 1, 2, 3. 



r p 



=& 



.- /, ^, 5, 4 tf. /, ^ 3, 4, 5, 6 




Count: 1, 



1, 2, 3, 4, 5, 6. 



Twenty Progressive Exercises. 

For Saxophone. 

The Student should play all the following- exercises slowly at first, until he is certain of the finger- 
ing. Repeating- each over and over again, he should quicken the tempo, so as to acquire facility of ra- 
pid execution, and never proceed to a new exercise until the one in hand has been mastered. 



N91. 



PAUL de VILLE. 



91. 















N9 2. 








4 




TT 

10(?3S-247 



Copjrright,MCMXI,by Carl Fischer, N.Y. 



44 -* 



N9 3. 



93. WE 





f=m 




=* 




N94. 




N? 6. 





96.3 








r-J 


J-^H 




s 


=- 


-^.^ j 




^r^* 










= 














J 




*B 










_ 




1 





r ^*^ 








r 








a 


= 


! 


= 




^ 
























l-j-j 




1 ^ 1 



10638-347 



47 



N9 7. 



97. 









P 









( ( n 



m v -y 






P 



3 



N2 8. 



S 



fe^ 




98. ^K 



1=3 



rf 3 



w * 



-9-9-9 




3=3 





rt i 


-- 







1 







i 


^^ 



9 




^-- 


. ^ 







A 1 ! 




j 


, 


1*~ 


J 




^f- 


^p-| 









" 





if 


, 

m 


> 


"V^ 




_ 






Lf- 


-^ r 


= 


^ r - 




-^ 


^~ 






^= 









































m 



10638-247 



48 



N99. 



Moderate. 

T 



99. 3 




N9 10. 

Allegretto 



100. 




9- u - 



49 



N9 11. 



Allegretto. 



N9 12. 

Allegretto. 



N9 14. 

Allegretto. 




10638-247 



50 



MS IB. 

Allegretto. 



105 




ffrfrrrmrrfr 



51 



NQ18. 

Allegretto. 

T 




N9 19. 

Allegro. 

T 




1063S-247 



Eighteen Exercises in articulation. 



111. 




NQ 2. 



112. 








or r r 







N93. 





F"^ r r i -=*qg 




113. 










N9 4. 







114. 




N9B. 




53 



N9 7. 










N9 9. 






119. 







NQ 10. 






120. 



rdt 



^ ^-^ 




N9 11. 





121. 



m P 




NO 12. T 









1063S-247 



54 



N9 13. T 



r nfTfTT 




N? 14. 




124. ^kO=S 




N9 15 



125. 




N9 



^ 


9 JJT1 




















^ 


-~- 












^ 





^ 


s. 














! 








^ 


^- ^ ^ 


_^ 






























LJ 
































trTrrr' 




NQ 
mnPJ 


17. r 


>> 










p 










>> 


" 


^v 

















^ 






















. -W 


K ' -=?=^ 


^ 












> 


















































N9 18. 




10638-247 



Preparatory Exercises on the High Notes. 




Thirds. 



f 





55 



129. 



B 



-D- 



i 




Fourths. 




-J 




"V. 

[f 1 


f f . 


-f 1 


- 


-f 1 





if _ 1 


if f 1 


r _ i 


It 

^ 


^ ' 




^^~ 


















Fifths. 




f- r 



I 



i 



i 




^i 



Sixths. 

1 







132. 



^H 


: 


u. 




9- 




A 








A 








i 








rt 


^v 


^ 




^ 


V 


r> 



10fi38-247 



56 



Sevenths. 



O 



133. 



fl p 


j. s 


*^ \~ T~ I" 


J/ 


















J 




'J 








1 




/T 



















1 
















a i 




fm 


l 






























r 



Octaves. 



134. 



i 



^^ 



^ 



-e- 



-e- 



















137.^^ 



ft 






lOf,38-247 



Chromatic Scale of the Saxophone. 



57 



Ordinary System. 



PAUL de VI LIE. 



Ascending by sharps. 




Descending by flats 



System with C Shake Key and B Flat with the Two Fore -fingers. 



139 



Evette and Schaeffer System. 




o 
o 



o 
o 



Exercise in Sharps and Flats 



Ascending by sharps. 



141. 




Descending hy flats. 

10f.3.S-847 



Copyright, MCMVII, by Carl Fischer, New York. 



Major and Minor Scales in all Keys. 

A thorough knowledge of the scales in all keys is most important; the ability to perform them all 
with equal facility is an absolute requisite to a really good performer. 

Every scale should therefore be studied in the following manner: Commence by playing it slowly at 
first; repeat it many times and at each repetition increase the time slightly. In the keys with several 
sharps, or flats, more especially in those the signatures of which consist of four or more accidentals, 
the fingering of some intervals is difficult, on account of the mechanism of the instrument. These awk- 
ward intervals should be repeated over and over again until an easy mastery over them is secured. 
No pupil should rest satisfied as long as he finds any interval of a scale a stumblingblock to its easy 
and perfectly smooth execution. 

Rapid tonguing (staccato) is very difficult, and can only be acquired by patiently exercising the 
tongue, making it a point to increase its flexibility by daily practice. 



C major. 

(All naturals.) 



This sign \/ shows where the half-tones occur. 



by Paul de Ville. 



142. 




A minor. 

(Relative of C major.) 



143. 




F major. 

(One flat.) 



144. 




D minor. 

(Relative of F major.) 



145. 




B[> major. 

(Two flats.) 



146. 




G minor. 

(Relative of Bk major.) 



147. ^S 



10638-847 



Copyright, MCMXI,by Carl Fischer,N.Y. 



El> major. 

(Three flats.) 



59 



148. 




C minor. 

(Relative of Eb major.) 



149. 




Ab major. 

(Four flats.) 








ISO.* 



tez 



P 







F minor. 

(Relative of A\> major.) 



151 




Dt> major. 

(Five flats.) 



152. 




Bb minor. 

(Relative of D\> major.) 



153. 




G\> major. 

(Six flats.) 



,T 
y^ i 



is4.m 



El> minor. 

(Relative of G\> major.) 



155 




10638-247 



60 



C\> major. 

(Seven flats, every note flat.) 



156, 




Ab minor. 

(Relative of C\> major.) 



157.7FmjI 



*M"P.r lit 






G major. 

(One sharp.) 



158. 



tfti ^^ 


^^ ^^- J 


o ^P * 


'^^ ^ 


~^^ t 


.X ft 


-^ 




^~ 


f-t 


r -i 


t 


r 1 


TV f 


-^ 




r > ,0 






~^~~ 




^" n | 






^^ 


rj 


e 






IV 2 


x > 






vL 




^* J^J 








fm lj n 


c 




Pr 








i ^^ ' 


X^ 










V \ 


r* 


n 





E minor. 

(Relative of G major.) 



159 




D major. 

(Two sharps.) 



160. 




B minor. 

(Relative of D major.) 



161. 




A:inajor. 

(Three sharps.) 



162. 




F# minor. 

(Relative of Amajor.) 



4 



s 



163. 



:z2i 



10638-247 



E major. 

(Four sharps.) 



61 



164. 



165. 



mnor. 

(Relative of E major.) 




166. 



168. 



169. 



170. 



B major. 

(Five sharps.) 




mnor. 

(Relative of B major.) 



maor. 

(Six sharps.) 




mnor. 

(Relative of F# major.) 




C# major. 

(Seven sharps, all notes sharp.) 




A# minor. 

(Relative of C# major.) 




10638-247 



62 



Major and Minor Chords in the Keys most used. 



C major. 



A m i n o r. 









F major. 



D minor. 




B\> major. 



G minor. 




At major. 



F minor. 





G major. 



E minor. 





D major. 



B minor. 




10638-247 



Sixty Exercises of Mechanism. 



63 



The exercises of mechanism have for their object the formation of the fingering by habituating each 
finger to act separately or simultaneously. 

By these exercises may be acquired that equality of fingering and that purity of tone which are the 
finest qualities of an Instrumentalist. 

In the following exercises the student must accentuate the sound upon the first note of each di- 
vision of the bar. 

Each bar or each sketch should be played eight or ten times and as a finish play the note after 
the dotted double bar. 

All the notes should be slurred, ascending passages played crescendo, descending passages di- 
minuendo. (See exercises on Shading, pages 29 and 30). 



breath after the first note in the bar. ' 



2. 











10638-847 




24. 



25. 




10638-247 



44. Ke ep the Cff -key open 



Keep the Df-key open 



43 . Keep the Gjf-key open 




47 Keep the Atf-key open. 



Keep the D#- key open. 




10638-247 







52. 




10638-247 



Fifty Exercises from low Bb to F above the staff. 

Saxophone ByA.MAYEUR. 

Revised by Paul de Ville. 



"1VO \ 

* 



67 




N9 3. 



m 







j. jj jj 






N?4. 







j 








JU jj J j 




N95. 



J J 




10639-103 



Copyright, MCMXI, by Carl Fischer, New York 



68 



N96. 









N97. 






3* 



N98. 



r jj 'kJ w " 'jj^j ! u J^ J y y^jjjl 






f^ 



N99. 







Keep C|-key open. 



*l 





11^ 


i ! . i 







1 ! - 


(J 

-1 1 


l IT 


" 1 
1 



*^ 



N91O. 



__ _ __ __ __ __ 

j|J <J Uj eJ UJ " UJ J J J LJ J J J 



J J J J 



K^" 'H^L gri i? ) - *f 



fl^\ 1 










i - 1 

















II i - 


"K u J m 


- 


j ^ 


1 ~ 




LL 1 1 




_^ 


i 1 i 


z: 


j i i 


_* 




1 Lt 1 


$j fl*-^* * w 9 9 Ifov W pw * w ^ ^ m ~ m ~ 9 9 - ucy 



69 



N911. 






Keep Et-key open. 



JJjlJ J J J JJ 



J JjJJJJ J J J* J J 





N916. 








10639-103~ 



70 



N917. 



/fit 



















































































g> r bo 


c 




- 


a 




-e 
























i-fl 








































n 







N918. 





* Take F(t or Gl> with the key XIII; improved fingering. (Evette and Schaeffer System.) 


(V 


k-C? 


u 




L 


D 




L. 







1JB 










_ i, 

































1_^ 


















_ 


*J 





w~ 




1 1 












































\ 








































1- 





vl/ 

%/ 


- 
,? 


.c- 




,? 




X 


,? 






x. 


.? 




V 


A 


&" 




. 




\ 


J 






t. 
^ 


1 





"--*, 


1 ~ 






























1 (4 







plate N9 5. 



rm i 













3^ i 


p 


n 


3- 1 


3... 






1 




rrr 


T" 


n 


SJ2 


4 




r i^-* j^r rt i~t r-m r-r i^r .FT ^-r - - BX 







m 




tla 







(', 






1 * 


t 


n 




J ^?_ '6 1 ' 6 ' ff Tl X^_^,* ^ ^*__^J^ 


tt^ ._. 



Gt-key XIII, 




N919. 

Fjt plate N95. 




10639-103 



N?SO. 

Fjf plate N9 5, keep the key G# N9 V open. (Evette and Schaeffer System.) 



71 






rSL I, 






















_ i 







































J rt 




vyfta 


, 

\_ 


~- 
















II f. 


1 


qS 




" 
































P 





Keep the C#-key closed. 



Keep the C$-key closed. 




Fj|-key XIII. 



Ffl-key XIII. 



^ 



te^^i 



N9S1. 



i 



6 



6 





s 





_ ' 




- . 








I 


,(.> 


" l ; { 



































H 

-- 


f 


1| 



^ 



en 



Keep the Al>-key open. (Evette and Schaeffer System.) 



3 








^^ 


._*r. 



_d , 



J 



-fa |ija- 
^ 


r^- 
* 


~ m \ m ~ 


^^ 

- -0- -0- -0 


at 

^ 


|g 




10639-103 



N923. 

Keep the Oft -key open. F| with plate N9 5 



























^r\ 




1* 














"Hh 


-=-i 
















= 


















-n 











^ 




^"v. 


^ 




- 


. 




1 




Jffi 




















^-^ 






























^1 







8 .* Fingering. S n . d Fingering. 3 r - d Fingering. 4Q Fingering. 



o 
Vl~o 

1=1 O 

o 



o 
o 



o 
o, 
o 



Fingering of A# or 
N9S4. 

Take E\> I 5 . 1 fingering with key VI or the 4*. fingering (l?t finger left hand stretched on the plate l b l s , 
the plates N? 1 and l b l s closed.) Evette and Schaeffer System. 



o 
o 
o 



J 











Bk with 1st fingering or with 4 th fingering. 






Bt 1 s !* fingering. 




N9 25. 

Bt S n . d fingering, keep the plate F N9 4 closed. 




10639-103^ 



N9S6. 

Aft or Bb 3 r _ d fingering, keep the plate Ffl or G!> N9 5 closed. 



73 




Tar 

















~-g 






























































J- 






SE 






















^ 




=* 














^= 








































- 







: ? 



~ 



A | 3 r . d fingering and keep Gfl open. 



I 



W-o-d 



^^ 



N9S7. 

B!> or A 



fingering. 










*-^ --H9 ~ 



*-- 








B\> 4^ fingering. 












f 



P 



Keep the Ab-key open. 



Bt 4 th fingering. 



TiH 

















= 





















i- 


















i 




. 






u - 


Sa 







^~^ 































* 


^=J 




^ 




*s 


e 






^=8 




*s 


61 




^=J 



=t 







































T 






IT 


& 








t 










^ 


^ _ i 


^3 


. p< 


* 

^ 


























^ 


- 





^ 






L^ 


^ 


-^J 


* 






* 


-^* 


^2 









10639-103 



74 



: J * J-Fah-fr^Vr-' J J +~~^ 
f ^ ' ^ ' ^V ^^^^^ 











Bt> 4^ lingering, keep the Al?-key open 




N9S8. 



d fingering. 
























I 










1 
























































SE 


4 

-- 








~ ; ; 
































.- 








^^7 






























c 





N939. 



r r i r 



Take C with the key VI B. 




10639-103 



75 



Keep the At-key open. 




1st fingering. 





Bb 1st fingering. 








A| 2 n . d fingering. 




6 ^ ^^ 6 



-6- 







gbis 

-e 



N930. 

New Eb, (Evette and Schaeffer System.) To give E!> take the plate 5 b l s . 





f 



10639-103~ 



76 




Keep A\> open . 



i 



3 




Keep the D\> key open. 



Keep the A!> key open 



4^ fingering and keep the D!> open. 




N931. 



!P) 



z: zz 



rrmrrr 



fingering. 



7m m p^l I i^|> U^ - 




Alt S^d fingering. 



'* 



' 



FrF 





10639-103 



T7 



Att 3 r _d fingering and keep the Gffopen. 




A* 3 r .d fingering and keep the Ftf plate closed. 




N9 22. 



X ft 


rj 


9 




3 


o 




p ~ 


n~ 




















3 K 




















cM" 












- 




^- 


















1 























Take the D with key IX and keep the C plate closed. 




[)- 


o- II." 


X"* 




(9 




^ 




s* 


-^" 


/? 




^V; 




X" 




e 




~^v 




X" 




ff 








-^ 

E5 


V 

T 3 ~" "" 




]' " F 


















































P 





N9 33. 






t^=E 



m 



Take the D with the key VIII and the plates open 




10639-103 



78 




N934. 





Keep E\> and Bb S n - d or 4th fingering. 



>0\ 



222: 




r r r i r wfff 



-d fingering. 






6 




4th fingering. 





Keep At> and Eb always open. 




10639-103 



At 3 r - d fingering and keep Enclosed 




N935. 




Keep the D$ key open. 




N9 36. 









































rj ., ...11 i 


































n 1 


ftM* 






































~ If^ 
































- 






10639-103 



80 




Keep Bl> 2nd fingering. 




N9 37. 

G\> key XII 




A# 



fingering and keep the F$close 
T 




10639-103 



81 



N9 38. 




N9 39. 




Keep the El> key open. 




Keep Al> open. 




10639-103 



N940. 



ffrT i^rfTr 




Keep G$ open. 



rrrrr 



Keep Gjt open. 








f p if r ir 





















i 








6 -j+- 6 -1+- 6 








91 
10639-103 



83 



N941. 

Bb I 8 * or 4th fingering. 









A| 2 nd fingering. 



"rrrfrrrfifrfrfrr 




Bl> 2 n . d fingering. 




p h 


x^ 

K. 


* 


6 

^ 


\ 






m. 




6 


i 






. 



















rt 


--- 


*~s. 


X 


k 


x* 

. 





(9 




OL 




6 









. 







i 






m. 




6 











^^ 








V 


























































































=1 



Bb 3 n - d fingering and keep F closed. 




10639-103 



84 



Bk 3 r - d fingering, keep Gt and Eb open. 




N9 43. 

B\> 4th fingering. (Evette and Schaeffer 











4th fingering B\>. 



Bl> 4th fingering, keep AP o 




10639-103 



N9 44. 



85 



.rf.rf.r-.ffff.ffrf.f-.rf 





C key VI B. 




N945. 






10639-103 



86 



Keep G# open. 




For the Sixteenth-notes keep the C plate closed and take the Pi] with the key IX. 






m 




Erff.frfr.f 






^rfr.frfr.f 




Fff.fTff.f 



fw.pfff.fmfpw.f 





Keep B!> 2 n -d fingering. 



Vft \> 



f^i ^-i Vft >\ 




Keep B\> 2 n - d fingering. 

r.-T ~^ Ul 



o 5 ' Q 

'ifii 



always 2 n -d fingering 




10639-103 



88 



N9 48. 




tee 






tt 





Ef,fFFf,fFPf,E 











itfrfrttfff 





,f . ,rf rf ,f f r f.r 




ffffrFrf.p irr'f'ffFffirr'fTFffrrr 




10639-103 



89 



N949. 













ffff 




.' 
10639-103 



90 



Exercises for the new key of E^ and F above the staff. 

Evette and Schaeffer System. 

N950. 








10639-103 



91 



rffifffr 




10639-103 



Twenty- one Exercises on Detached Notes, 

in different Keys. 



K< 
=* 


jot 
r-f* 1 


c. 



v * p 


=T?= 


m 










i_ ^ P i r ^ 


rFjfr* i 


3 

.> 


3 " 




I'l 


















" r^ ' 




















j<L (* 


T 










p ' 


n 












- 






- 


w \ 






^ 


^ 



















7 




G 















































r o 














f 






Key of F. 





10638-247 



93 



Key of Et. 






5. 




Key of Ak 



6. 



J 





T 







l 



Key of C 



7. 





Key of F. 

I. 





8. 




fcd 




10638-247 



94 



Key of Bk 




fr ( 







Key of Ak 






11. 









10638-247 



95 



Key of G. 




10638-247 



96 



Key of D. 




16. 









p 



Key of A. 

Keep G sharp key open 



(Evett'e and Schaeffer System.) 



17. 



-/ 


H- 


fe 




















r 








m 


9 


9 






- ^ 














3 

; 




t . ; 




















=f= 






=F= 









a 







J 


J 


a 


J 









Key of E. 

Keep G sharp key open 



(Evette and Schaeffer System.) 




m 





10fi.38-247 



97 



Key of B. 



19. 





=* 



I. 









Key of 




10638-247 



98 



Twenty-seven Exercises for gaining execution 

in the different Keys. 



C major. 



J.A.KAPPEY. 
Edited by PAUL de VILLE. 




10638-347 



Copyright, MCMXI,by Carl Fischer, New York . 



99 




A minor. 




G minor. 




10038-247 



100 



D major. 





8.3 



f-m-* 




B minor. 



9. 




Fjf minor. 



n-fi 


^ 


1 


8 i 


























--w^^^ 


' 




^^^-- 








-^ 


f 


^ 


-^ 


P^J 


' =55 

t, 


r^ 




-^ 


* 





=^= 




















-^ 




^ 


-^ 





















10638-247 



101 



Ek major. 

r 1 1* 




C minor. 



ffrrrrrr 





1- ^S 5 



i 




1063S-247 



102 



C# minor. 



-A* 

1 C ~7T~ 


i* 




. ' 











i 

















- - 


^ 




1 






- 

































* 


15. -Cm- 
r 




J.--B 





~m 


* 




-* 


_l 


























































^ 






Ab major. 




10638-247 



103 



major. 



Allegretto. 




G# minor. 



19. 



m 




j)J J J 



1 



K )) 







iE 




F# major. 




20.3 




10638-247 



104 




Dl> major. 





10638-247 



105 



Bb minor. 
X \\>i \>. & 



23. 





Gl> major. 



Andantino. 




Jr J'i 1?. 



Mr r 




El? minor. 



^ 



J f IIP " 



^^ 



J 






t; 

10638-247 



106 



Allegretto. 






rffffffn 




10638-247 



107 





108 



Three Exercises on Staccato. 

Practise at first slowly, then quicken the time till they can be played Allegro. 



Allegretto 






Allegretto. 




10638-247 



109 



Allegretto. 







P y :f 



-r 3 



. 3 




-> 


I" 


>- 














^~- 








.5- 
























* 














* 




4< 

"13 


- 






































































3 



I 




^> nf f r rf r r-T^MTH" 




lOf.38-247 



110 



Grace-notes and Embellishments. 



These are of considerable variety, and consist of simple grace-notes, (appoggiatura), double 
grace-notes, (double appoggiaturas); the turn, (Gruppetto) indicated by the sign ess or 3 and con- 
sisting of three or four notes" of a fixed order, and gruppettos of more than four notes. With 
referance to the longer ornamental phrases, or Gruppettos, it is necessary to state that the 
the manner of writing them has gradually undergone great alteration. Formerly the simple 
Melody was written in full notes, and all the embellishments in half-sized ones, (called by the 
general name of: grace notes); but in our time the composers prefer to write embellishments 
in full notes, thus making them an integral part of the Melody. 

A further ornament is the short, or passing Shake, (Mordente,) indicated: ^w, and the full 

Shake, or Trill, indicated thus: tr, an abbreviation of the Italian word "TrilloV 

Lastly there is the Cadenza, an elaborate ornamental phrase, mostly performed as a grand 
final climax to bravura pieces. In ancient music the Cadenza was left to the inventive gen- 



ius of the singer or instrumental performer, and merely indicated thus: ^ f v ; but at pre- 
sent composers prefer to write the Cadenzas in full. Cadenza. 

As a rule ornaments should not be added by a performer except where they are indicat- 
ed by the Composer. Some ordinary performers are under the delusion that it "shows off" 
a player if he can "beautify" a piece with grace-notes and shakes, and trembling breath, and 
other means. This is offensive to good musical taste, and amounts to mere vulgarity. _ "But 
when embellishments are introduced at the right place, and performed by an "artist',' their 
style of execution furnishes a criterion for the estimate of the artist's schooling and deli- 
cacy of feeling. 



Examples. 

Grace-note, or Appoggiatura. 

The most frequent "Appoggiatura',' (literally "jammed note}') is written thus 
lique stroke through stem and hook. 



, with an ob- 



This is invariably played very quickly. 



Allegretto. 



Example: 





10638-247 



Ill 



But there are cases, more especially in ancient music, where the grace-note has no stroke 
through the stem. These are to be played as if they were written in full notes, the time value 
of which is to be taken from the note to which it is slurred. Per example, if the grace-notes 
in the preceding exercise had no strokes through the stems *? 



Written: 



Played: 



Written: 



Played: 








*)lt would be played thus: 



J) F A 




Appoggiaturas of various durations. 
Andante. 



gE 







-&- 







, 



=Z2 



i 



m 



m 





Written: 



Played: 



r\ t* 




V 


v 






"** ' 


1 1 














*~* 




' Jt S 


fm \J 






























































^ 


eJ 
rt 




P* - 


*^C "*^ 


f^ftf^r 


* 










32 - 












r J 


D 


r 








'J 


m 


m 


V 


/i / 






" 'V 












K ly 






r 












j ' f 


rfh J 








1 










' r 


i 




LJ 












>- 



Moderate. 



Exercise. 



* 




^f-' % ' ^ 




10638-247 



112 

The "Double Appoggiatura" or Double Grace-note. 

Is always performed rapidly, and its value is deducted from the preceding 4 note, 'so that the 
following- note falls exactly upon the. time-beat. 

Exercises. 

Written. _ 




m 




Allegretto 

Written. 







Allegretto. 

Played. 

- ^ 




Moderate. 

Written. x ^ ^ 



4 




Moderate 

Played. 




10638-847 



113 



Exercise. 



Andantino. 






fc 












The "Turn',' (Gruppetto). 
May be of three, four, or even five notes, upwards or down, written in full or by the signs oc 

(upwards) or 2 (down). Any accidental over or under the sign, ^ e jt fo, indicates that the high- 
est or lowest note of the turn should be either $ ortj, as indicated. Its time-value is always 
taken from the preceding note. 

Written. 




Written 




10638 -24 1 ? 



114 



Andantino. 









When the Turn is between similar notes, it always consists of three notes. 



^h 


1 

* f 

v 


~-s. 

- -P- 

1 


PH 


.- c-^= 


^s N 

J ' . r - l=i 








L 


(en ^ 






_ _5 


i r ' p i 


^=fef 




r i 


-i 4 i * 



When it is placed between ascending notes, it consists of four notes. (Upward turn.) 

fc 




When it stands betw^een descending notes, it con- 








drrfr 



sists of four notes, the first of which is the lowest, and the third the highest. (Downward turn.) 






-p^~ > - P =qj 



It must, however, be remarked that there is no absolute rule, and it depends upon the artistic con- 
ception of the performer, whether he prefers the upward or downward execution of an indicated turn. 
The preceding exercise is to be performed in the following 1 manner: 

. Andantino. 




Gruppettos of more than four notes are not so frequent, but examples by Rossini and other 
composers will be found in operatic melodies, and also some Cadenzas. 



to 6 a 8 -447 



The Shake. 

(Trill.) 



115 



This is indicated by the sign tr, an abbreviation of the Italian word: Trillo, (trill,) and consists of a 
rapid alternation of the note over which the sign tr is placed, with the next note above. 

The shake may consist of a full tone, or a semitone, according to the key of the piece, and the posi- 
tion of the note in the scale of the key. Shakes present little trouble if they are executed with the first 
or second finger; but much greater difficulty is experienced if they are to be done by the third, andmore 
so with the fourth or little finger. This is due to the anatomical construction of the hand; the ability to 
execute a good shake with the latter two fingers can only be acquired by presevering exercise, and great 
trouble has to be taken to equalise the rapid'ty of all fingers; a few shakes have even to be performed by 
the thumb. Every shake must be practised at first slowly, and the rapidity of the finger should, in the dai- 
ly exercises be increased gradually, until the required speed is attained. The close or end of a shake 
should consist of a turn. 



Table of Shakes. 

tr 



PAUL de VILLE. 




tr 





Keep the D $ opened. 



Keep the E \> opened and move 
together the plates Nos. 5 and 6 . 




99 



tr 




tr 



Keep the F t| and move the key XIII 




10639-103 



Copyright, MCMVII, . by Carl Fischer, New York. 



116 




Keep the G jj opened and move 
the plate of F $ 





Two ways to shake A \> with B \> . 

l s -t keep the A \ opened and the left hand plates closed 

and move the key VI. 

2^take the new B \> (Evette and Schaeffer System) keep the 
A \> opened and move together the plates NO 2 and 3 of 
the left hand. 





Keep the plate of B and move 
the plate of F fa 



Keep the plate of C closed, the key VI 
being opened and move the plate N? 1 
left hand. 




The C with the key VI b . is 




10639-103 



I 



117 



... tr 
;'lJ> * 



tr 



Keep the plate of C closed and move the key IX. 




tr 



-o- 




All the plates opened and move the key N9 VIII. 



together the keys VIII and IX. 



Keep the key of D and move the key of Kb . 




You can play a succession or chain of shakes up or down without ending, keeping the end for the last 
shake of the succession or chain. 

tr^^ ~~/T" tr & 



Example. 




You can play a succession or chain of shakes up, in adding an end at each shake. 

tr & ^tr>_ tr ^tr a tr 



10639-103 



Example. 

mY -~s 



118 



The Mordent, or Passing Shake. 



A brief shake, indicated thus -w, consists of a few rapid alternations of the note with the one next a- 
bove it, having- neither beginning nor end. They occur mostly in rapid movements. 



Allegro 

/w 



Written. 
1. 

Played. 



Allegro. 



\\ 



Written. 

2. 

Played. 



Examples, 






Presto. 

'W 



Written. 

3. 

In very rapid 
time it would 



be played Thus" 




Exercises on Shakes. 

tr tr tr tr tr tr tr tr 



)f T^ ^~\ r^ a r^ O, RT r^ fr 






., , tr r tr fr tr tr ^ . fr 



10639-^03 



119 



3. 



J II. Rf \> 



tr 







Moderate. 



- 



4. 




fr-Ftrr^ 



5 &S 







Allegretto. 




5. 







10639-103 



180 



6. 




tr 






fr 







.ir.tr 

tr m tr M tr 



r r 









n.r 



tr tr 



tr tr tr 



i 






7. 





I 




10639-103 



Fifteen Cadenzas. 



121 




10639-103 



122 



Fantaisie on Norma. 



Recit. 



7. 




lively 






8. 




11. 



10639-103 



123 



Trill F sharp with G sharp. 

^^ 

/CN 



ii-t 




Introduction of the Adagio of the pathetic sonata of Beethoven. 




10689-103 



124 



o ->jr~ 


Andante. 

L a KTr "! 


^ v 

^. i F n 


* r "l 


^ 

^T * 


> 


^ t/ r" 


2 3S 


a *'- 












i 


















Andante et lentement. 




10639-103 



135 



Ten Duets 

For Two E\> or Two Bb Saxophones. 



A.MAYEUR. 
Revised, by Paul de Ville. 



1. 





) ^T3 * 





10639-103 



Copyright, MCMVII, by Carl Fischer, New York. 



126 



Allegro moderate. 

*i 




10639-108 



127 









10639-103 



128 



Andante 







10639-103 



Allegro moderate. 



m 



n v p v p v^ 



120 



^=^ 



^ 



5. 



% 1 / 








z3 





P 



1: 



m 






10639-103 



130 



PS 



^ 





1 

















X ^ 




i 




g^i 




5 



J J J J 



2 




^^ 







a 





H3 3 



10639-103 



131 




tr 




^fef 






$ 



m 



P 






10639-103 



132 



Andante moderate. 







10639-103 



133 







rt j>. 



^ 



r j> 



im 





^ 



p 




10639-103 



80l-filit)01 



134 







i 







p 



i 









10639-103 



Andante. 



135 








^p 



7. 






m 








00 







i 




sa 





10639-103 



136 







V 7 |J' 7 J' 7 




10639-103 



137 













r 








10639-103 



138 



Allegretto. 




.1 







>p# 


i^~f 


f- 




f^ 


.^ 


*v 


- 










~~ 


-x 














f- 




i 


x^" 

fc . 






^"^ 




ft~N 










j r 


H- 




n 




































r * L 




- 


-p- 




f 


p- 




f 




r 




J ftt 


^- 


- ^ 




^ 








**, 




























- 


_ 

^ 





--^ 


\ 

* , 




s 




/* 

*-\ 


-~. 


Lj^_ 
























^~, 


^. 


i 








^- 




J r r 




















-^ 


3 





10639-103 



139 




P 

10639-103 



140 



Allegro. 



9. 






10639-103 



141 




10639-103 



143 



Allegretto. 



(KiiT-Trc 





10639-103 



143 




10639-103 



144 



Six Duets 

for Two Eb or Two Bb Saxophones. 



NQ 1. 



Moderate. 



H. KLOSE. 
Revised by Paid de Ville. 



a 



,5> 



PI 



M^ 



W 



P 



rt /TJ" "X 


r? - 
* 


N 


**** 
^- ~* 


N 








^ 


"^ 








.X- s 






>, 








<^ -^ ^r~~^v 


j/ [ r 


J 


^ 









^ 










1\ 




A 


A 








\ 








4 


J +f 




1 ^ 














2 





'J ^ V 




: 


y 





1 
Z 




P i* ( 





























==zz 
-1 i - 




= 


I 








-= 


iU J r * 


=4= 




4= 




















=st^= 






- 


^ 







i j j ^ 1 



'wsM 










fi 




' J 



^ 



^=^^ 



? 



^ ^ 



Jr I 


a 









^ 






_ 







_. 





pj 


_ 




' 


-^ 




_^ 






p 1 


m 




1- 


P-, 


m- 




& 


i 




^ 


^ 




_a_ p -- 


-?m- 
/K 

























~ 


- 






. 
T ~ 


= 










1 




=: 


"- 











~ _ 



r=- 








-= 






if 1 







Ht 









J 




=1= 




P 






- 




! 


31 






4=4= 


j 
/ 






*^- 






- 


j 




d 


=i 




=^=i-f ^ 



10638-847 



Copyright, MCMXI, by Carl Fischer, New York. 



145 

















10638-247 



146 



NO 2. 

Allegro non troppo 







10638-247 



147 





s=^ 










10638-247 



148 



NQ 3. 

Andantino 





149 




NQ 4. 

Moderate. 




10638-247 



150 






10638-247 



151 



beJ 



. 




P 



i 



w 














* 1 











10638-347, 



153 












legeremente 






10638-247 



153 







. . J J . 




10638-247 



154 



NQ5. 

Andante. 




1.0638-247 



155 





fa\> \>*m* m{ . ~ 


^ 

^_ *- *' 


3^- 


^=F^ 


-^ 


^ , r f7> 


5f, 


6 


i 


i 


F^ 

i 








= 






fY\ 
1 


^ 

1 


- 

rp 

i 


999^ 
^^1~ 


II 


JF \ """" 




K 


[\ 


S^ 


^^ 


^~ 


-. 1 


K 






A. 


J 




I) 


^ 


A* 













E 


Oh ^ r 





V ' 


' 


r 


r 





' 


J J J 




y 



NO 6. 

Moderate. 




A 



^ 



s 



m& 




g 



v^. 




10638-247 



156 




10638-247 



157 




10638-247 



158 



Exercises on Eighth Notes and Sixteenth Notes. 



Moderate. 




Moderate. 




10639-103 



159 



Andante . 





Moderate 







10639-103 



160 



Moderate . 




Exercises on Dotted Eighth Notes and Sixteenth Notes. 




10639-103 



161 



Exercise with Sixteenth -note Rests. 




Exercise on Dotted Sixteenth -notes and Thirty -second-notes. 




10639-103 



162 



Exercise with Thirty- second-note Rests. 







Exercises on Triplets, 









-3- 



3 



10639-103 



163 






m pTFrrT 






P 



10639-103 



164 





1063a-i03 



165 

Forty Exercises on the Slurred and Detached Notes. 

for Saxophone A.MAYEUR. 

Two slurred and two detached. Edited by Paul de Ville. 























^JIMJtfJMJ, 















10639-103 



Copyright, MCMVII, by 



YorJc. 



166 




Two detached and two slurred. 




10639-108 



167 



Three slurred and one detached 













































l 






10639-108 



168 




Slurred in groups of two. (Play evenly the two notes.) 













10639-i08 



169 




Slurred in groups of four. 




10639-103 



170 



One detached and three slurred. 
(The first note should be well marked, and separated.) 




One detached, two slurred and one detached. 



10. 



tt 










Reversed slur. 
(Accent the first note of the slur.) 




10639-103 





Slurred in groups of two. 







10fi38-247 



172 



Three slurred and one detached. 



15 







One detached and three slurred. 
(The first note should be well marked and separated.) 




10638-247 






173 



\ 



Slurred in groups of four 




Three slurred and one detached 




Two slurred and two detached 



^TI * i v 




10638-24*7 



174 




Three slurred and three detached. 



22 



*. .-'i ^~- e . . ^-^ff . e 










Slurred in groups of two. 




One detached and three slurred 




10638-247 



175 



Two detached and two slurred. 






Four slurred and tw 




^ -^ 

One detached, th_ree slurred^and two detached. 
^ff^~ 6' fi o^ 



Slurred in groups of six 




10638-247 



176 



Slurred three and detached three. 



Slurred two and detached two. 




Slurred three and detached five. 



1063 S- 247 



Detached one and Slurred three. 



177 



Slurred two and detached six 



Slurred two and detached two 




10638-247 



178 



Slurred in groups of twelve 



Slurred two and detached two. 



Slurred in groups^of four. 




106 38-^47 



Seventeen Exercises on Syncopation. 



179 










E^ 



p 



p^p 



i 






i 






2 


i.p 

M 5 


=^= 


P 






* 


2 A 


=l=| p 1 F^=^ 

p ~5 P "~F~" p 


^^ 




s 


> 






% 1 


t 


5 


1 


- 






M= 


11 f r i 


= - =-=.= ^ L ^: 


H^= 


J 1 





















r 






p 






J 



S.^B 



flu ft " 


j n 


IP i J-- 




" f- 




^ 


*f 


;HZ 


" 1 r 


) 


J ' 


n r 


fm " n 


* J ' 


' 


) F ^ 


r 




) 


J i 


i 




^ i 


* 


j ' 


V> J J 





u 









m 


z 








*) r 

fi r 


r ' 

> > L > 


f ft ^?' .?> 


r - 


f f 




. > rv 


^fe^ 


^^ 


^ 


| 


^^^: 


m 


mm 


s 


^ 


f^ 


ft 


i 


^s 



10638-847 



180 






r 



6.aa 



is: 








fElpffffi 



rrrrpiprrrp 



i 



JJ ^ I ? fl 



ppr pipr PPF pipr pp 






r J'j JJT 






J 



, r 

P r p P ' 



f 

p P 



r 

' 







p 



^- 



pp 










IOC 38-247 



181 





10638-247 



182 



it; 



B 



5 



* 



p * 



i* 



ppr 



r~' 



* 






s 



p j pPr p 






- 







plpTPj- * II 



Syncopation between two Eights. 
The note preceding the syncopation must be separated, and the quarter well marked. 



















pr 






Three Syncopated Notes preceding a Half-note. 



<y 



"r ' I 



T 



i 






pip 



ioeas-247 



Syncopated Slurs. 
The accent must not be made by the throat, but by the action of the finger falling- like a hammer on the hole. 

The first eight measures which are slurred should be played with one breath until the rest. But should 
the movement be two slow, breath can be taken after the quarter-note preceding the syncopation. 




r 






n 



Moderate. 



15 







Allegretto. 



16 







10638-247 



184 Twenty Operatic Melodies 

for the study of phrasing and artistic delivery. 

Compiled by PAUL de VILLE. 

It is difficult to give verbal instructions how to perform in an artistic style. The great point 
consists in delivering a melody as if it were rendered by a great Singer. The student should uti- 
lize every opportunity to hear good vocal artists and model his delivery of "Cantabile" pieces 
after their example. Of course there are many artistjc details for an instrumentalist which lie 
outside the vocal art, and ought to be imitated from the performances of the best instrumental 

performers. 

Especial care should be taken with the articulation; the tongue must touch the reed in staccato 
passages at the very tip, crisp and clear. If the articulation is produced by the tongue covering 
too much of the reed, the tone will be forced and vulgar. The dynamic shadings should be clear- 
ly brought out, without resorting to extremes; vibrating the breath ought to be strictly avoided, 
and the ''roulades" (long vocal passages) must be fingered with the greatest precision, so that no 
break occurs. 



Norma. 



N91 



Andante con moto. 


n^ 




BELLINI. 
~" ~-- ' 


(&*' J 


1 


fe 


' J J - 






















1 1 y \ 


-^-\ 




"F 

Andantino. 



Cavatina"!! Pirata!' 

? 



BELLINI. 




io:;s-247 



Copyright, MDilXI, by Carl Fischer, New York. 



La Traviata. 



Adagio. 



185 

VERDI. 



N9 3. 



dolce 







dolce 




i^- 






P- 



Allegro moderate. 



Martha. 



FLOTOW. 



N94. 




^^ 



LJ 











i 









P 



m 







10K3S-247 



186 



IlTrovatore 



Andante. 



VERDI. 



cresc. _ . j? 

Ah! Che La Morte. 




La Sonnambula. 



Allegro moderate. 



BELLINI. 







->F 


** 


- 


w 




9 




9' "\ 


j-^ 


9- 


fc 


P 


-i_ 


piq 




Pf ^ 






























~9T~ 














=f= 


_J 














-M- 






^ 




^3 














;^-H 








10633-247 



Martha. 



Larghetto. 



187 
FLOTOW. 



^5 



N98 



P 



i 




P 



r p i r P i c_r r 




Allegro. 



Luisa Miller. 



VERDI. 



, ^. f- 




Moderate 



Norma. 



BELLINI. 




188 



Largo. 



Giulio Cesare. 



N911. 3 



HANDEL. 



dolce 






Efe 




J1J. 



r 




Fine. 



^ 












Moderate. 



Lucia di Lammermoor. 




r r r n ir 



D.S.al Fine. 
DONIZETTI. 



P-- 



r r r 




Mir r r 




m 



w= 




string. 



rail. 



10638-347 



N913. 



E Ebreo. 



Tempo di Polacca. 



ad lib. 

Der Forster. 



BALLADE. 
Larghetto 







RECITATIV. 
Andante. 



Tadenza ad lib. 

Belisario. 



ROSSINI. 




a tempo 



10038-247 



Cadenza 



190 




Cadenza ad lib 



10638-247 



Allero. (J--- 



gr 



60) 



La Gazza Ladra. 



191 



ROSSINI. 



^ 



EJ^rfrr 





'iLfr^rLfn^ 




10638-247 



192 



La Sonnambula. 



Moderate. 



BELLINI. 



i 



N9 17. 



dolce 






10638-247 



Ernani. 



Allegro con brio. 



193 



VERDI. 



^fe 



N918.^^^^ 



mf 





rit. con grazia 




10638-347 



194 



The Huguenots. 



Andanto. 



pcantabile congrazia 




r 



MEYERBEER 

i " * 

J23 



a 




>> ^ >'^> 



m 








/r\ /r\ 




nrp" 



>^~. > /^'^ A. 




Cadenza ad lib. 



10638-247 



Air from Masaniello 



Andante. 



N920.5 








Allegrtto. 



r < p~ 



rr 




*=i 




Cadenza ad lib. 



IOf.38-247 



196 




f Cadenza ad lib. 



Allegro. 



lento. 




1063S-347 



Exercises for the new fingering i* 

of the improved Bl>, Bt^ and Ctt Keys. 







A#(new fingering) produced with the use of lever C, usually employed 
f\ for the fingering of Bb. 



Bb, (new fingering) produced with the use of lever D. usually employed 
for the fingering of A#. 



f 



(new fingering.) produced with the use of lever E, usually employed for the fingering of Bl} 










Bb, (new fingering.) lever D. 






Dl> (new fingering.) lever E. 




Bb (new fingering.) lever C. 




Ctf and A|t (new fingering.) levers E and C. 




Bb, (new fingering.) lever D. 




Bi] and C| (new fingering.) levers Dand E. 




Ait (new fingering.) lever C. 



^^ r* 

^T il 1 


1 .. 1 1 1 


1 


l.i 1 1 1 1 1 1 


I . 1 1 till 1 


1 


^^^ 








H 


l 


u4WJ. *~ ,._iM^i. -i rzwi ._iM 


IJ..L. 




B 


-ij-i, 



2873-114 



'Carl Fischer New York. 



198 



Alt and C# (new fingering.) levers C and E. 




(new fingering.) lever D. 




DK(new fingering.) lever E. 




(new fingering.) lever E. 




Cl (new fingering.) lever E. attention must be directed towards the open Git (JSvette and Schaeffer 

^System.) 











-i 



6 







^ ^^ 6 ^ x -^ o - o 



6 




273 114 



199 




Dl> (new fingering.) lever E.the E\> with the 4^ finger and attention to the open Ab (Evette and 
Schaeffer System.) 




* C# (new fingering.) lever E. 











m 



\ \ \* 



Bh (new fingering.) lever D. 



3^ ^s^s 
*r n^^^r^; 




and C| (new fingering.) levers D and E. 



yj'JM'J'J'J' 



Bl) (new fingering.) lever D. 










DUnew fingering.) lever E. 




Bb(new fingering.) lever C. 



I 





1>J'' J J/ J U 



B\> medium marked with the 4 th finger, attention to the open Al> (Svette and Schaeffer System) 
The low Bl (new fingering.) 



El 



s 



.> t^* [> 



ti 



2373-114 



200 



A# and Ctl (new fingering) levers C and E. 



C#, Bl|, At, (new fingering.) levers E,DandC. 
Attention to the open Gtf. 




C$ (new fingering) lever E 




Alt and Ct! (new fingering) levers C and B. 




Progressive Major and Minor Scales, and Exercises. 

For Saxophone. 
C major Scale. 



N91. 



201 



PAUL de VILLE 




10639-103 



Copyright, MCMXI, b;i Carl Fischer, New York. 



202 



B!> major Scale. 



N97. 



N98 




10639-103 



203 



major Scale. 



N913. fiK b I/ 6 




D ' major Scale. 

e 




NO 16.^ 




804 



G > major Scale. 



NO 19. 



Exercise. 



NO 21 




G\> major Scale. 



N9 22= 



Exercise. 



NQ24: 




10639-103 



205 



G major Scale. 

4 




E minor Scale. 



,feE 



3 




riFmr 




1 




Exercise. 



N9S7. 




D major Scale. 



NQ28. 




B minor Scale. 



N9S9. 




10639-103 



206 



A major Scale. 



N931. 



N9 32 




B major Scale. 



NQ 37: 



N9 38.: 



10639-103 



207 



N9 39. 




10639-103 



208 



Interval Exercises on the Major and Minor Scales. 



C major. 



N91. 




D minor 



N9 4. 




10639-103 



209 



El? major 



N9 7. 




10639-103 



210 



G\> major. 



NO 13. 




G major. 



NO 15. 




NO 16. 




10639-103 



211 



A major. 



N9 19. 




F# minor. 



N<? 20. 




E major. 



NO Si. 




C| minor. 



N9 2. 




B major. 



NO S3. 





G# minor, 




212 



Studies on the Major and Minor Chords. 



C major. 



N91. 




10639-103 



213 



G\> major 



N97. 




B major 




10639-103 



S14 



Exercise on the Chords of the Dominant Seventh. 

r'h! 



Exercise on different Diminished Sevenths. 




Exercise on the Succession of four Diminished Sevenths. 




10638-247 



215 



Ten Studies on appeggios in different Major Keys. 



N91. 




10639-103 



216 



Chromatic Exercises. 



Study these exercises slowly. 




10639-103 



217 








10639-103 



218 



EIGHT FANTASIAS. 

FANTASIA ON DON GIOVANNI. 



H. Lazarus. 
Revised by Paul De Vttle. 

MOZART. 



Andante 





8435-99 



Copyright,MCMXI, by Carl Fischer, New York 



SCOTCH AIRS. 



219 



Introduction. 
Moderate. 



p 



ritard. 



r 








a tempo. 




220 



GERMAN AIR. 







Andante con espressione. 



MJ J 





r u 







0*0 



<f 



P 



J J M J J J 



P? 




m//. 




A119 marcia. 




f 






J J y J) 



i 



r r i r r 




i 



P 



8465-99 



SWISS AIR. 



221 



Allegro. 



ritnrd. 



1 1 time. : 2 n _ d time. 




8465-99 



322 



GERMAN AIR. 



Andante. 




8465-99 



BOLERO. 



Tempo di Bolero. 



eleganza u poco risolnfo. 




8465-99 



Allegro. 



BOLERO. 
Allegretto. 






7. 




8465-99 



f 



227 



Allegretto 




Allegretto 




Allegretto 




10638-247 



238 



Allegretto. 









rail. 





10638 - 347 



229 





1003S-247 



330 



Allegro 




* 




10638 -Z47 



Allegretto. 



231 



n iP mf if mat 

^g 'rttr -rj 





r inr ir 



10638-247 



232 



Allegretto. 




10638-247 



233 




Allegretto moderate. 

^ y P 1 



Extract from a Clarinet Solo 
by G. MULLER. 




R: 



H.5PB 



dolce. 









10638-247 



234 







10638-247 



235 




rail. 



10638-247 



236 



Theme with Nine Easy Variations. 



THEME. 
Moderate. 



r r r r i 






m m 



VAR. I. 

Moderate 




VAR. II. 

Moderate, 




zff 









m 



* l Tf l r>ifrt 




rail. 



a tempo 



-f- 











v_ 




- 






m 


1 l 

> 






















-.-H 





' ^ i 


F^ 








1 


















































^ 


v 


_._ 







-4 1 



10638-347 



VAR. Ill, 
Moderate. 



237 




The following variations to be practised slowly at first, and increasing- the time as the fin- 
gering gets easier. 

VAR. IV. 




10638-247 



238 



VAR.V. 





VAR.VI 




10638-247 



239 



VAR. VII. 
Alia marcia 




VAR. VIII. 

Alia Valse 




VAR. IX. 

Alia Polacca. 




10638-247 



240 



Theme with Variations. 



THEME. 
Andante . 



MOHR. 









dolce 






VAR.I. 

Moderate 








1063*- 247 



241 



YAR. II. 

Piu vivo. . 









VAR. III. 
Adagio. 







1C638-347 



243 



VAR. IV. 




rail 



FINALE. 

Poco Allegro. 




Twenty Studies, 

For Saxophone. 



Andante. 



843 



A. MAYEUR. 
Revised by Paul de Ville. 




10639-1O3 



-Copyright, MCMXI,by Carl Fischer, New York. 

* 

r 



244 



Andante 




10639-108 



Andante 



245 









10639-103 



246 



Moderate 




10639-108 



247 



Allegro moderate. 








10639-108 



248 



Larghetto 




10639-103 



249 



Adagio. 















^-0 








P 



g 

tJ 







10639-108 



250 



Moderate. 




10639-108 



251 



Andante. 








6' 





10639-108 



352 



Moderate 




10639-108 



253 




10639-103 



Allegro moderate 




10639-108 



Allegro moderate. 



255 




10639-108 



256 



Moderate . Count four beats to a bar. 




10639-108 



257 



Moderate. 




10639-108 



258 



Allegro moderate 

J 







10639-108 



259 



Andante moderate. 




Allegro moderate. 





261 



Allegro moderate. 











10639-103 



262 



Allegro moderate 
tr tr tr 









FIFTEEN STUDIES IN THE MEDIUM REGISTER. 

E.lited by Paul de Villa. Henry Laz 

Vivo. 




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846o -i* 



Copyright, MCMXI, by Carl Fischer, New York. 



264 Moderate. 



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8465-99 



2(5 



Moderato. 




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3 -3 -3 









1 



3 







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t~. -t^ JT ? 3 3_ m ,y m 3 m 3 




8465-99 





D. S. ul Pint 



846r>-99 



Allegro moderate. 

X* 

4 



267 



rrrrfr/r 






8465-99 



268 






3=f 




























8465-99 



269 



Allegro. 
















370 




8465-99 



Allegro non troppo. 



271 




I 



3 











465-99 





8465-99 



273 



9. 





jVu - .fl.ifl. 





^^ 









274 



Adagio 

















8465-99 



Exercises on difficult fingerings. 



275 



Allegro. 






TrrrrrrnTrf 



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1 






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frfrfrrr 




IOfiSS-247 



376 



Vivace. 





8465-99 



277 



13 



3 3 3 .? 




8465-99 



278 



14. 



Allegro. 




8165-99 



Vivo. 



279 




8465-99 



280 



Four Solos. 



Cavatine de Zelmire. 



INTRODUCTION. 
Moderate. 







Arranged by 
PAUL de VILLE. 



1. 





rail. 



a tempo 







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M 



i 



10638-247 



Copyright, MCMVII, by Carl Fischer, New York. 



-o- 

f 



281 



Elle est Partie. 



INTRODUCTION 
Moderate. 



rit. 



A. DELATOUR. 
a tempo espressione 





i! 







f 



f 



10638-247 



282 



Morceau Caracteristique, 



Moderate. 



H. KLOSE. 









P 



dolce 








1063S-247 



383 




10638-847 



284 




dolce 



10638-247 



285 










\ -=~ 



dolce 




10C3S-247 



286 



II Crociato. 



Andante quasi Allegretto. 



MEYERBEER. 






PP 

10638-247 



Andante quasi Allegretto. 



287 







10638 -247 



288 



AIR WITH VARIATIONS. 

FROM DONIZETTI'S ELISIRS D" 1 AMORS. 



Andantino. 




8465-99 



289 




290 



Four Concert Duets 

for two Eb or two Bb Saxophones. 



Moderate non troppo. 



N9 1 



m * 



H. KLOSE. 
Edited by Paul de Ville. 




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10638-247 



Copyright, MCMXI, by Carl Fischer, New York. 



291 







10638-247 



292 




/-^ m 



3 ^~^ ^ 

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P 




jH ^ii 





fefci 










10B38-247 



293 




10638-247 



294 




1 



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-(2- 










10638-847 



295 













10638-247 



296 



Adagio. 



N92 





10638-247 



297 









I063S-247 



298 







10638-247 






299 



Andantino. 









300 



Allegro giusto 










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301 





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10638-247 



302 



Andantino sostenuto. 



N9 4. 




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: Piano parts for nil of the following Solos, and Band parts for the last three Solos, can be obtained from 
the Publisher of this method. 
10638-247 



Alto Saxophone. 



'Adagio" 

Concerto Militaire. 



303 



C. KUHN. 
arr.by E.A.Lefebre. 



Adagio. SOLO. 




5819-4 



Copyright 1898 by Carl Fischer, New York. 



304 



"Serenade." 



El> Alto Saxophone Solo. 



FRANZ SCHUBERT. 
Trans. by E.A.Lefebre. 



2 * f-' ^ 3 -ft-' 

7 ir f\ *\0P*\ 




s 

8350-5 



Ppoco a pow dim 

Copyright 1904 by Carl Fischer, New York. 



Give me thy Heart'. 

Solo for El> Alto Saxophone. 

El> Alto Saxophone. 



And*. 6 con moto. 

espress. 



305 



TRANSCRIPTION 
arr. by E.A.Lefebre. 




e.g. 

9687-4 



Copyright MCMVby Carl fischer,New York. 



306 



"Ballet Music " 



~ , from Ch. Gounod's 

Bb Alto Saxophone Solo . "F aus t? 



Allegretto mouvemeiit de Valse 



arr. by E. A.LEFEBRE. 



rr ifr ir> ntp,frt4fei 




C.R. 

8351-3 



Copyright l f> 04 by Carl Fixcher -New York. 



Berceuse. 

Eb AltO Saxophone Solo. (Cradle Song.) 



307 



Andante tranquiUo. 



C.Ji. 

8349_5 



P 



GODARD. 
arr. by JS.A. Lefebre. 






Un poco Agitato. 



animate. 




Poco tranquillo. 




Copyright 1904 by Carl Fischer New York. 



308 



Alto Saxophone Solo, 







poco 



PPrall. 



8349_5 



Hungarian Dance. 

El? Alto Saxophone Solo. 



309 



J.BEAHMS. 
arr. by H. A.Lefebre. 



Allegro molto. 



* J I - u ; m 












Allegro. 




leggier o . 




C.R. 
83B2-6 



P 



Copyright 190% by Carl Fischer, New York. 



310 



El> Alto Saxophone Solo. 



If f if p 



f 







f 



"CAPRICE -GAVOTTE." 

(Solo for Alto Saxophone.} 

Alto Saxophone Solo. 



Tempo di Gavotte 



811 



E.GILLET. 

Transcribed by E.A. Lefebre. 



pp a tempo.' pppnt 

risoluto. ( 




Copyright 1900 by Carl Fischer New fork 



312 



Alto Saxophone Solo, 



Bass rail . poco Tit. 

tempo. ^ k. lento 




"Happy be Thy Dreams!' 



313 



Air varie 

for Piccolo, El, Clarinet, El, or 1, Saxophone 
El> Clarinet. Baritone (Trombone)or E\> Bass. 

(El> Alto Saxophone.) 

And*. 6 con moto. 

TUTTI. 



arr.byPaul de Ville. 



I 



p 
SOLO. 



. cresc. m f 



P 






' * f-0 



P 
















TUTTI. 




ff Plr pf if J-ir plr r p~1 

cresc. 




poco rit. 



a tempo. 



f K F 

r p r p 



f'T ' 

' 



g 

f 



* 

p 



cresc. 







C.R. 
9772-16 



Copyright MCMV by Carl Fischer, New York. 



814 



Solo El> Clarinet (EI, Alto Saxophone.) 








TVTTI. 
9773-16 



315 



BLUE BELLS OF SCOTLAHD. 



El> Alto Saxophone. 

Solo Et Clarinet 

Moderate. 

Tutti. 



Air varie. 

THEME. 



Paul deVille. 






rfrifrff 



nfii 



a tempo. 



IE 



Tutti. 



I 



tfl 



VAR.I. 

A119 Mod*. 




VAR.II. 
A119 Mod*. 



^L r J^_ - m ^ j. pf- (f-^ _ 




FINALE. 
And*. 6 Mod 1 . 












H044-9 



Copyright 1891 by Carl Fischer f New York. 



316 



Elsa's Dream 

from R.WAGNER'S 



ALTO SAXOPONE. Qm o 

Eb ALTO or HORN .j c "Lohengrin." 

Solo for Cello, B\> or E\> Saxophone, B\> Cornet, Trombone or Baritone. 



Andante moderate. 

Tutti 



Arr. by THEO. M.TOBANI. 



1 



f f 



P 



W 



p 



). 






piu 



dim. 



P 



SOLO. 
in lento 




4 






i 



PP 



jzz: 





cresc. 



accel. 



/ 



c 



piu 



tp 



Tutti 




m 



dim. 



pp 



piu p 



pp 



O.R. 

12038-33 



Copyright, MCMVIII, by Carl Fischer, New York. 



ALTO SAXOPHONE SOLO. 



317 



SOLO. 



r 



> E 



un poco piu mosso 



E 



Ul L^ 














F 







P Tit. 




a tempo 





g 



r r r F r 



J. jiljt i^F 



-e- 



^ 



Tutti 






TV. ^ f 



T* 



a poco piu 




12038-33 



Jennie - Polka. 



a is 

Solo Ek Clarinet. 

and Solo E!> Alto Solo for Piccolo, Eb Clarinet, Alto Saxophone, 
Saxophone. ^ Cornet, Baritone or Trombone. 



Maestoso. 



Webb-DeVille. 




rail. 












TUTTI. 






Tempo di Folka. 




y visit MCMVIT l>i/ Cvrl F !*?!> N?n< York. 



Solo El> Clarinet and Solo E(? Alto Saxophone. 



319 




11592.1'* B 



3J!0 My Heart at Thy Sweet Yoice 

("Mon coeui" sbuvre a ta vote. ) 

Cantabile from Samson and Dalila. 
Et SaXOphone C - Saint - Saens. 

Solo for Cornet, Clarinet, Trombone or Baritone 

B\> or E\> Saxophone. ^ 

Andantino 

Tutti. 



Ti-ansription 
Theo. M. Tobani. 



solo 




CK 
12262-10 



dim. 'Jf jay 

Copyright MCMVIII by Carl Fischer, New York. 



BIDING SECT. JUN22 1964 



MT 

502 

V5 



Ville, Paul de 

Universal method for the 
saxophone 



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