Galper Clarinet Method

t 11.99

G

A / A

T I

/ I

T ^ T T T ? J J / X V

CLARINET METHOD Book 1

by

A v r a h m Galper with accompaniment chords by

Rob Carli

ISBN: 0 - 88909 - 171 - 4

PUBLISHES

351

M u s i c

CO. LT*.

5.995 by WATERLOO MUSIC COMPANY LIMITED. Wafcrloo. Oncano. Canada Internafonai and Umtcd State, copyngh. secured. AJ1 Righu Reserved.

HOW TO PRACTICE Here are some basic rules for practicing properly. Ask you teacher for help in setting up a practice routine that's good for you. 1.

Set up a daily practice routine and stick to it.

2.

Know what you want to accomplish in each practice session. It is better to practice WELL than a lot of time carelessly.

3.

Do not ignore difficult passages - practice them SLOWLY until you get them right

4.

Warm up on the low register Tone Development Exercises. A well developed sound in the low register is the key to a beautiful clarinet tone.

5.

Play with a full sound - make sure the air stream is steady through constant abdominal support

6.

Listen to good clarinet players in concert and recordings to acquire a conception of a good clarinet tone.

7.

Use good quality reeds and change them often.

8.

Keep fingers curved and near to their respective keys and tone holes - practice in front of a mirror to correct finger position problems.

9.

Learn the fingering combinations in this book - the command of many fingerings is important

10.

Always LISTEN TO YOURSELF to make sure that what you are playing is in time and in tune.

Fingerings are presented with a chart and picture of their own in most cases. Pupils should learn these carefully. Knowledge of different fingerings will become invaluable. Here are explanations of some of the signs used in the book:

a) b) c) d)

I 1 TOGETHER, play the notes below (or above) this sign, TOGETHER. Use the fingering shown Although there are other notes between the first B and C, play the first B and C TOGETHER without removing the fingers for the notes in between. I LEAVE ON. This sign means to leave the C key depressed while playing the note B. I This sign is a combination of two LEAVE ONY 1

YOUR NEW MOTTO: PRACTISING PERFECTLY MAKES PERFECT!

LESSON 1 To start the sound: (1) touch the reed lightly with the front part of the tongue. (2) blow into the mouthpiece and pull back the tongue AT THE SAME TIME. Remember: without blowing, there will be no sound! Start the G with the air and tongue movement AT THE SAME TIME. Do not stop the sound with the tongue. J - four beats to the bar.

'

- take a breath.

III

> (Q

SBL

TP" 1 2

3

4

1

2

3

4

1

•

2

3

4

1

2

3

-e-

4

1

2

3

4

•

o No fingers o_ on the noles. o o o

o Close the left _o_ hand thumb. o o o

• Close the left 5 Close the left • Close the left o hand thumb and • hand thumb and • hand thumb and ~ first two o~ index finger. -~ first three o o fingers. o fingers. o o o A half note Jd equals 2 beats; a whole note o equals 2 half notes. Start the slur N • with the air and tongue movement AT THE SAME TIME. repeat sign Keep blowing to support the sound.

CD (a)

-4 Jf

7

r— f / T T "

.a h——

12

(b)

7

3 4

1

J1

1L

7 L_e

J

o

2 34

34

2E

1

1

3t

22

*

1234

Your First Notes

o=J+J+J+J Bb

1

1234

d

12

rl di L

1

1234 7 3T

(c)

7

1

Eb

Bb 1

J J J ^ i J J ^

Bb

^ Bb

9

Bb

Eb

' J J i ^ i 9

Bb

J

Bb/D

J

J

Eb

|

F

Gm

u F

Cm F

' J J ^ 1 J $

Bb/D

Eb

J

Gm

^

F

Bb

J J I J1 m

w m *

II a

Your First Tune Try clapping the rhythm while counting out loud. Ask for your teacher's help. Bb Dm Gm Cm F . Cm F '

^

Gm

a — 4 —jpi

—(S

D

J J J J IJ

j j ~

Gm

y

Cm

F

?

Cm

F/A

^

Eb Bb/D

F

Bb

LESSON 2 As you descend, make sure the holes you cover are completely closed, or else the instrument will not "play", or it might squeak. >

»

(B)

.CpL_ •

' (G)

(A)

— — —

, —

. —

All the finger holes closed.

J Add the first two fingers of the • right hand.

• Add the middle JL finger of the o right hand. o

All left hand

• finger holes g closed. o

o

J . - the dot after the half note indicates that its time value is lengthened by half; therefore J. = J J J [~4~]

|

- three beats to a bar.

J j ' J J j U .

' J J

J

N

j

j

J

fs]

i j

1

j

j

4 J J

U

Folk Song

Support the sound. F

F

Gm

?

F/A

Gm

Am

Dm

C

F

C7

-^7

Study On The New Notes Play with clean finger movement. Bb Gm

Cm

Bb/I)

I t>

4 ! 3 3 ' £ f r J I J

Bb

(

I

_ Bb/D

Cm

Gm

F

1

-f J I j j j I J - - f J J J i j j j I j

Bb

p

i

^

p

LESSON 3 m —

1

Review of Notes You Know

Do you remember the names of the notes? Write the name below each note. Listen for steadiness in your sound as you play.

Vi

'i

' J ' j

'j

i

' i ^ F i

A slur from one note to another of the SAME PITCH means that they are "tied". The player does not repeat the "tied" note again* but adds its value to the first note. \ - two beats to a bar.

J

1

J

Jj U

U

JjljJUjljIjll

j

.

n A quarter note equals two eighth notes. 7

i A 2 A !A2A

1A2A 1A2 A

10

t

c F

c

r* c

The Bee

c

F

C

» 1

F

C

F |

C

•

|

I

F |

||

Christmas Carol n

Observe the separate and slurred notes. Gm

D -^—r ^ Bb

Cm

Eb

D

Gm

Bb

Gm

^-

Dm

J

Gm

4

Bb

u

j

j

JU-

Dm

i Gm

mm

Study on A Open the A key with the first joint of the LEFT hand. A and G should be played louder than the other notes. Play many times.

12

HE

P

Study on Familiar Notes 13)

Keep the air well supported so that the notes are well connected. 7

al

_4

Au Clair de la Lune 14

Play notes G and A louder than the other notes. Articulate ("tongue") the notes not connected by a slur. Breathe only where marked. Eb/Bb Bb Eb Bb Eb Eb/Bb Bb Eb Bb Eb Eb Eb IK

Bb

Bb7

F

T T

HE

Eb/Bb Bb

, Eb m

a

Eb

Bb7

Eb 3E

m

Polly 15

Play this tune slowly and sustained. Think of a good tone and try to produce it. Bb Gm Bb

p

Eb F

Bb

Eb

Bb

* * m Bb

F

Gm

Bb/D

Bb

Cm

F7

^ 1

Melody 16

Bb

Bb/D

Cm/Eb

Bb

.

Dm

Gm

Eb

—

Bb

Bb/D .

Eb

Bb

Eb

F

Bb

LESSON 5 There are rests, during which you do not play, but count time. 17

four beats (whole bat)

one beit (quarter bar)

two beats i half bar)

<• 1 ^ 1 " . '1.1 ^niii - ., Z « la

1234

18

1234

1 2 3 4

1

2

3

j ^ . j ^ ^ - j - p E p ^ - j — Z — j J j « - ^ | «i j ^ j j 1 2 34 19

n - "i ^

4

j j J •^^--J-j^.-J-.^——

12 34

1 2 34

Try not to breathe at each rest Take a breath where the breath sign is: ' Clap die rhythm before playing.

J JJ

f c

iJ J J * ' J J J * 1 Jjj> » I J J J '

I M J '

i j J l B j

iiPP Long, Long Ago

m

"D.S. al fine" (Dal Segno al fine) means "return to the sign & and play until you get to the word 'fine', (pronounced 'fee-nay') which means 'the end*." F7 Bb $ B b F7 BI,

F7

i Bb

fine

* 1,1 J j j M j Bb

F7

Bb

Bb

j F

F7

D.S. $ al fine Bb

3*

Bb/F

F

Bb

Low Register Bb Warm-Up

LESSON 6 A flat (») lowers the .

note a halftone.

.

|22|

A flat (b) or sharp (jl) applies to the same notes in the bar. Play this exercise 5-10 time* 7

Sostenuto (sustained)

Support the sound. 23

Eb/G

Fm •

r

f

1"

1

11

• *m

Eb

Bb7

Bb

Eb

Bb

Eb

9

Fm

Eb

Bb

| — >

v«U JJ

i u j Ab Ab

Fm

24

Eb

Fm

Ab

Bb Eb B

Bb

Eb

Fm

Bb

Eb

Hickory Dickory Dock

Observe the rests. Eb Bb7

Eb

Bb7

Eb

Eb

3 ~ *

Cm

1

Gm

~B 1

2

Ab

,

r

Bb ,

Bb7

Eb

Eb

^ **

*

2

Study in Waltz Time 13

Support the sound in this study. Learn it in a slow three. Then, when it goes well, try it in one, as if in a waltz rhythm. Eb Bb7 Bb7 9

-wt.

•

G7

Eb •

Cm

llP

-m 9

w

Fm/Ab

Cm

•m—w

I

I

I s *

Eb/G

Eb/Bb I

•

G7

MJ

il

I

Eb

Bb7 l " l

r J ^ aj'

Eb

Bb

\\

ij

LESSON 7

Low Register Warm-Up |26|

[Tfl

Play this low F study with a well supported sound.

St. Paul's Steeple

Play with a sustained sound. -

1

1

•4

1 ~

l i t

7

, J ii

1 1

t

to

Ariafromthe Opera "La Traviata' Verdi

I

28

Bb7

Bb7

Eb

y

Bb

Eb

^ Bb

Eb

I

Eb/G

Ab

Fmin

Bb7/Eb Eb

J ' J J J U

Bb7

Eb

j ' j ^ J ' i J

Bb7

Eb

' ^ R J i f f P

Nursery Tune 29

Bb

Eb

Eb/G

Eb

Fm

.

Bb

?

Bb7

Eb/G

Eb

Eb

Bb

Eb

L7

Low Register Warm-Up

LESSON 8

Play slowly. Siiipport the. sound in the large i nterv als.

30

(Bb)

7

Jp a

i—

h

**i J -

ir rjjj

7

1

J -

7

rn

__, J

^:

You have to open two keys for the Bb. (keys 10 and 12)

•J

— __J_J

4

»

'

I

J

J

J

^

i

l

1

Bb /D

Eb

— i>JTJ j - j 9

LJ

#LJL_

II

1

More TIED NOTES. See lesson 3 for the explanation. 33

Eb

Cm

4^4Bb Fm

Bb

1

Bb/D

Ab Fm »<©

j

r

-

Eb

mJ

Bb I

*•

-

h i

Cm

=s = s = :

a -— a

3-

Ab

Low Register Warm-Up on Low E

LESSON 9

Before each practice remember to warm up with these low register exercises. You will get a better tone by warming up in the low register.

(E)

7

TJT

*

4J

T

3

1i

I

1 i

-n Golden Slumbers Watch the counting in the last four measures. Bl» Ek . Bb

•9 Cm

r G7

Cm

Bb

Bb

Eb

Jfc j l j

F

J l j J

J_2^3

1 2

Bb

Ij 3

1 2

p

p

3

Landler (Austrian Country Dance) 33

Eb

Bb

Eb

Eb

Bb7

F7

Bb

I Eb

Bb/D

Bb

9

Eb

Bb

Bb7

Eb

Review on Low E 37 (

l

f*4444 4

1

L E S S O N 10 Play this warm-up slowly and repeat many times.

38

(F#)

7 - J — .j

*

7 ——

—

TZ. * J. -m-

I

Tm-

F# Warm-Up

""I

j j J J~J J J n

m

vy

n

$az^zlzi: ^

-cr

# »

i o

7 i

^1

=

1

j

j

,,

p

1

j Most of the notes are articulated (not" legato" or connected) F Bb F Bb F C

S3

*

Bb

|41 j

—

J M ^ J

*

F

C

F

F

I J J J J l j j ?

F

Bb

v—v

i

F

i

9

I

F/A

F

M l

C

F/A

Ij j ^

1

Bb

Bb

'J

I

C

J J J J j j ' j

Tell your teacher what you think is different about this tune which you will recognize from before I N

m

• 'i

*—zx

j

j

i

'i

m

j

J

English Country Song 42

. Bb

P

i

Bb

C

.

*

Gm

C

F

F/A

* F/A

Gm/Bb

C

F

4

j

J

'j

j

i

mf

^

^

T

•

7»»

Gm/Bb

*—zr—zr w"

^

C

LESSON 11 Eb

(»)

f j |

!!",!, J!!"" _

* *

7o o o o

^

'

*

M 'll

w

WW "

0

-J*— »•

J , .

• T T •F m

• J" •

s ^

H

1

"T=*f W ^

1

#

^

Eb Warm-Up HI]

Play many times!

m

Here We Go Gathering Nuts In May

S3

Ab

Bbm

Db

m

Db

R

9 *

4 6

J J '

M\

#

Ab *

—

Ab

Eb

»

Ab

J |J

Db

Ab7

Db

H0±

Al » Eb

Al> Eb

3

Eb

R

Bbm

Db

.

Ab

Fm

Bb

Eb ,

Eb

Bb7

Eb

Bb7

r

J

n

J»# 1

R *

R

Eb

Eb7

m m

-d

Ab Ab Eb

Ab Eb

Ab

Ab

Ab

Early One Morning 4 7

J

Play the sluirs as iridicated. This piece is in Bb major, play Bb andEb. Ab/C Ab Db Ab \b/C

JJJ

—Ez! « a

I I I

J

Db

Eb

- I I I "

J I

•

J

L E S S O N 12

Remember the Warm-Ups, lessons 6-11 The Dotted Quarter J.=J J> +

Oo you remember what a dot after a note indicates? Look it up in lesson 2. In this lesson you have quarter notes lengthened by half. Ask your teacher to help you clap this rhythm.

Count: 1 A 2 A 3 A 4 A

Home, Sweet Home Ab Db

Eb

Ab

Ab

Ab

Db

Ab

Eb

Ab

f*1

A M * ,

Eb

Ab

5

Ab

i—j^—^ZZ^- J "-^

35t

Ab

Eb

Ab 3t

The Merry Peasant [50]

R. Schumann Eb

Follow the articulation marks carefully. The key of Bb major has two flats: Bb and Eb. Bb7 E>b Eb Ab Ab

—H

111' » -4 r

—J 4

Eb

Eb7

Eb7

Eb

Jr+-

Eb

1

Ab/C

Ab/C

Eb

K— — mY *

—

r

r

^ — -

/

I S

Db

Ab

-4

Ab

Ab

Eb

r

Eb

Ab-

Deck the Halls HI ¥

Ab

*

L

|

:

J

- ^ J

Eb Eb

9

1

j

J J j

l

Ab Ab

j g u -

Db Db Eb Eb Ab, Ab,

j>li j j

:

Eb Eb

" i

Ab

J J J I J . R

Ab

Bb

Eb Bb Eb ,

Ab

, Db

Ab/C

H p R

Ab/Eb Eb Ab

NJJJJ^J>Ij

j j II

[52]

Listen for smooch connections in the large leaps.

7

|53]

f

Repeat this warm-up on Ab many times. t*

ri

JfJ j j

l II

I Ij I 1

*" J J J W J * J J ' l y j J J J y

] j

I I ji

H

l-ij 1. J ' " j n

1 J t J J Jg" J J J

Lullaby Bb7

Study on Ab Practice this study slowly and repeat many times.

9

I

i w j w^J J

Bb7

:

LESSON 14

There are many warm-ups in previous lessons (6-U and 13). Play them before the new maicnal

Warm-Up on C# 56]

Practise this warm-up many times.

J'ai du bon tabac LUI ft ^

Alia Breve: two beats to a bar (the half note gets one beat). G D7 D7 G Em Am l

f

D7

'

l

l

l

*jJ|ij JJfi'JJ |ii jJfij JJ|J

a 0'

Bm

G

a

^

i 111

Em ,

Am , 11 i

G il

G/B | , ,

Am/C i

, i

D7 11 i

G , Bm

Em

Am

G

^

D

I

I

Em

(i

I I

\]-=\]

Oranges and Lemons °

i i

P

f

G# is the same fingering as Ab. G C

^ 1J

—

^ J a —
v - - =f#=j J J1—J1—L

7

O

G

t

D7

(i

Thanksgiving Song D

G

Em

Bm

a y ^JV J- ~j J ^ • ^

—]

< ^ - j $ ^ E E ^ »•

^ — |

:

*

1)

} 1

1 ,

, | . ;l

|

I

LESSON 15

Warm-Up on Low F# 1st and 2nd endings: When you reach the repeat sign under the 1st ending, RETURN to the beginning and play again. This time, skip the 1st ending and play the 2nd ending.

60

(Ft)

P i

Coventry Carol

62

Db

Fm

Bbm6

C

Fm

Bbm

Fm

Bbm

Fmaj

C7

IP' R

R

Bbm

i

tJ'j

— —

63

c

c

1

*

*

Fm

1

R

K

G7

i # 3 *

^

F l

J ' j

H

U

C

G

y ^j

G

1

J

J

j.

7

C

1 LJ I j ll

J?'

Warm-Up With Low G#

L E S S O N 16

Triplets: Instead of playing two notes to a quarter beat, you now play three. (G»)

m

M

*

—

4=-

-

I

1

— 1

#—

r

Swedish Song

PL

English Song c

D

G

D

G

G

A7 D

i Am

I

J

Z

D J

1

G

Am/C

G/B

5 D

G

C

Ij^jjJJ. " j ^ T O i

4

C t_

D

G

I I P

Ole King Cole 6 7

Gm

Eb

Gm

D7

Eb

D

Bb *

_L|__^-

i -

i1

0

' J g ^

1^

_... J

J 1

F

*

LESSON 17 The low register you have been playing until now is sometimes called the chalumeaux ("shall-u-mo"). The chalumeaux was an instrument that existed until 1690 when it was improved and turned into the clarinet by Denner. You should develop a good low register by practising the various warm-ups during these lessons. This will enable you to play the upper or clarion register with more ease. /T\ - fermata (pause) Play the low register note strongly and ease into the clarion register by opening the speaker key (#12) slowly and gently. Yon may have to increase or decrease the blowing to suit the transition. You also need a good reed for this. Listen for a well focused sound. Hold fermatas as long as possible. Now name: (F)

^

(GL

/*

(F)

^

(E)

_

m~*-

E." m

1

(D)

69

c. P~1

mr

r*—

—1_

2SC

Your First Tune in the Clarion Register

m—i m—# — ——t—

L E S S O N 18

More Clarion Notes

The low register notes should be played slightly louder than the higher ones. (D)

72 3 B

i

— ~f*

*

,

s:

^

»

>

— t — - — —4

P

/

—^-fg—^.rf^-^i JF *f—mt

0

0

jp

•

-«•=

_

•

P

—

r

r

f

r

1

' r

—

p

0

r

_

.

•

r

T

1

r

*

i — i — i

! i

0

0

r

'

#'

j |

—

r

r

r

1—>\

>

m

•

"

r -

^sS!SS

1

1

4-

Connecting

Slowly 74]

—

.

—»

^

tB)

Gm

_* • p ,» . ±=# F

Eb

_~

Cm

Gm

Bb a•

-

•

"•

F

Gm F -M—0—_—— * "

TITS

:

—F~f-

j^k.

Bb

7

pi

0j-

Study With Right Hand Clarion Notes 75]

Bb

Eb

Eb

Bb

Gm

Cm

gfc.

F

Cm

w. E__^Bb

Eb

Bb

Bb

Eb

Gm

0=W

Eb

* f Bb

r

r

i

Q

Gm

r r r

Cm

rr

f

jc

Bb

r

r

> ii

The Tree Bb

76 —y—-y—' MMp> >i| mi M*MM. JL«w H M H H LM}

-- - U "

j

m' '

F

Bb/D

Eb

0^m*mwg-40m

1

U

'M M M M M M M III

Bb/F F

Bb

fine 1

y^^^p——^^WMWMMH^MM W M M . »' '•• -"-^^MMMM—H ^ M M M M H M M M H ^ ^'"^ '" ^KBM > M M . '•"» " ^ B * " K ^ ^ B H . KM HIWH P M — M I IKMMJMHMM M W M ^ w ^ p H H P MMM. —i.n.n* IMMpajwHiM ——.i HL M M M M K n w n J ^ M n n «2lMH0Ka HI IM —M IM M M MHHH M M M W ^ a W M M H M M M •M J M K H M W M M B M M M MMJKJ! — I M ^ H a HMM MMMMJHEIH M M I » — M M M M MM M M M N M O T M M N MMXMBLM IMMMMW M M M M M I MM M M M M M M MMMMMJKMM MMM^LM I fiff B, 1

•

M

U

\ U

1

tmm mm•ii—..

' [

1

1

]jj

1

'

|

1

J

'

1

m

~

'' [ I

I

'

[

I

LESSON 19

Preparing to Go Over the "Break"

Where the chaJumeau register ends (at the Bb) and connects with the clarion register is called the "break

I I

fM W

ftj

*

J

*

J

d

•

If

«

0

j

I*

t! m

±

j

ll

'V-

When crossing the break downwards (B to A) make sure not to lift the LEFT hand index finger off the tone hole BEFORE opening the 'A' key. Keep the RIGHT hand fingers down plus the little fmgers of both hands pressing on their respective keys. Play the note 'A* louder.

f

l

r i

•

If

If

If

I*

If

l*=tf

a

Farewell, Winter p

79

C7

Dm

^

^ F

Dm m

ffi

* f—f—^—

T

J

r

ft

j

f

f

L

R

If J

' J f

Gm m

if

1

Dm

m

J

r

Am

If

f

•

i

m—3T"

if

L

Gm

C

-m

r

T

i

C7

f

L

First and second endings were explained in Lesson 15, if you need a review. 80

Oranges and Lemons 81

C7

F

n 1.0 . 0 $4-l--f—

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i

ll ll

1 J l Jl |

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f=Lk c C c • 4 * - , f=f=f= a 0 \— 0 m

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7

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F

F

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^

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lj» Ajn

r

J

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1

Dm J

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L E S S O N 20

Warm-Up with Low E Left Hand Little Finger rs

How E)

L

j

J J J J J 4 J 4 L _L

L

^

U j i j i j J j U i ' J J J ^ f —

L

.

—

Girls and Boys Come Out to Play i.

Play A and Glouder

r' L

g4

-r--

-fl

a

R

«_—1

«

k=4±

j

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— —

1"TBI—^

a

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L

|

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1

R

Wheneverpo!ssible, lca\'e the little finger keys depressed whien crossin]I the >rcak. 7

^ _K

—ar—IT M ~ ^

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85

^

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p

Jr ^

x —n

w

r

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r

f

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Jf i $ 0

v

=

i

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r

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r

Dm G

r

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1

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C

1

r

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F/Eb r-*^" • • - - ^ — ~ m m

#

vj*

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r

1

r r r r

C

ij

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a Bb

E b/D

i 1

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f

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a) ' a

C

t = H = F

C

j i_h, r-J i e r r

4-

j

~e

F

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J—*—p—

F

F P m

r r ^

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^

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P

*

F/C

F

v

m

P

F/C ^ A l l . m\ P a

^ r

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aJ C

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C |dim M

f Fi m m

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LESSON 21

Over the Break Studies

HI

4 4 4 4 4 I 4

These notes are sometimes called "throat" notes. Generally, they should be played slightly louder than the other notes.

Tf5— n fc9.

Leave the little finger keys depressed when you can.

87

* L L r

J

J

J

|

S

c x r

I

Swedish Song F/A

88

C7

F

F

BbC7

C7

3k

CCf'IfLf JljjjJJJ

m

The low notes you see are the equivalent of the clarion register notes. This shows you the kind of jumps you have to make when you cross the break. Practise first with the low notes, then with the upper notes.

i

Little Piece 90j

R. Schumann

Bb

f

A

Eb Gm

Bb

C

m m m i f-

F

Bb

v.

Bb/D F

_

Cm Gm

Bb

F7

19-

m—m-m—

I Bb

I

F

Bb Gm

Bb

F

Bb

I °_ Cm Gm

5

Bb

F

Bb

1

Over the Hills

L E S S O N 22
v c r*r r i M r iirtfi

V 12

I

# • > ml *

•

p

f

mi

,

11

f

—^_iL_5?—

1

T •

"

i •i

M

L J

1

,gt

1

= B1

I .

Over the "Break" Review I

^P

3

[J 1 I

1 R

• 111 1

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o o

^ L

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F/A

Mozart Theme C

OE

F/A

C

F/A

R

L

F

F/C

L

R.L

Bb

Bb ^

F

F

C

E

R

F/C

F/A

C

II 1

L R

F

1 1 I I

j» Qpj» "J | p- pp |*" | J . *t=^~

R

F

cm

c

F/A

3=3 L

if

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- 6 beats in a bar. 93

R

C

_C/E

F/AC F

F/C

C

F

F/C

Tarantella Learn to play this dance slowly. When you know it really well (and your teacher says it's OK), play it a little faster. Always, though, practise it slowly.

F

|

(l II

1 1 1

LESSON 23 H| [95]

Low E - F# Transition Warm-Up

Keep the little fingers VERY close to the keys. This will smooth out the technique.

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if.

t 3:

m m

^—i^if

5

w

I*

N ft

1

9 7

IP * a

7

Sing a Song of Sixpence Em

C

D

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j J—J—J—J J1 1——

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1—f=—•

1

1

L

1

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Over the Hills

Alia breve: in two

7 : C

D

C

D

ft

R

L

R

Scottish Song

If

G

q

4

'j

O

U4

j j ' J

J 3 i

zQ'J

R • I

*

^

Em

Bm

ff

Am

C

J

i ^ *

D

3

L

G

'

q R

C

L

C

D

G

\

L E S S O N 24 In a quarter note there are four sixteenths. J-J7J3 Sixteenths do not denote fast playing. Practise these exercises slowly and then slightly faster (with your teacher's OK). 99

1A

2A

3

&

12

A

4

3

cur 1001

Practise slowly

T f f

m

zzz

B B B B B F P B M T T I

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rnnT

rIIIB—

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4

p— jJ

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rill—in

9

p^^^

0

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I

Remember the previous lesson - practise slowly and keep the little ringers close to the keys. 1011

Play MANY times.

A

&

•

l

•

•

•

•

•

f7J3f|» r|J' JJjJJ L

llj

i j ' j J j i ^ l J ' W S J J J ' J I j

Warm-Up

11

Warm-Up With Right Hand Low E

LESSON 25

I

.(low

103

E)

7

/XL f

*

7

1

L

R L

'

' 1 j B J j ^ j l ^ j j j j

I I

—

U^W=

Blue Bells of Scotland 104

i l o w F#)

D

-fa

G

r -JJ

.

I

D

G

D/A

D

A

,

D/F|

Bm

tap fljj i

A

E

D

A

G

D

G

D/A

A

D

Merry Widow Waltz Lihar

1

C

D

G

Em C

D

B

^ Am

D

G

E m C D G

zr-m

106

When low E preceeds or follows low Cf, play the E with the RIGHT hand litde finger. Learn the use of either litde finger to play tow E.

7

L

I

J _. jU

w ^ R

R

w

w w

-w

L

L

R

L

P -5

R

R

1?

i':

- J

1

Over the Break through Bb

L E S S O N 26

ii

b

1

When crossing from throat Bb to the upper register, leave the 'speaker key (#12) open. Make sure you keep the LEFT hand thumb hole closed.

107

+

3E

m

m? my P

ii

Rondo

b

7

J J J J L Eb

Bb

Gm

Eb, _

1J-,

Cm '

T

r

Bb

_ E b

L_,

L J

Ab

:m

s

J

nr r r

' J J '1 4~B

i[

1

k

Drink To Me Only With Thine Eyes Andante

( 7 - eighth rest)

Eb

109

m

Ab

m m »

Eb

£h.

i . Eb

[fa

3e

r

P

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Eb

"^Eb

_ai.

*

Ab

m

Eb

Bb

Ab

Eb

h

Eb/Bb Bb

m

k D.C. aifine

Moderato (in 6) Eb

110

The Lorelei Ab

Eb

Bb

Eb

Bb

Eb

Bb7 S—m

# j 1 2A 3 Bb

Eb

4 5 6 Eb

Eb

Bb

#

M

Eb '

.

Ab

0 m

0—0

7 p |_=z~_ |_ I —

Bl>

Bb/F

F

S Bb ^jj

1

1

."'Ti'*' '' '^ ' •

F ••

wn.i.™.j^M«gSflr^

Eb/G

Bb I

i

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Eb

Ab

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1 —

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fe

fc

More Clarion Register Notes

LESSON 27

Practise the higher notes the same way as in lesson 17 and 18. Warm up on the low register exercises you have encountered so far.

(Bi, /*

*

(A)

I /

l » j N /

p

f

> l

9

8

1

o o o

/

Hi! p

You need a good reed for higher notes.

rr1.

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L R

Nowell 1131

Moderato Bb

Blue Bells of Scotland Bb

114

Eb

Bb

Gm

Bb

F

mm

t

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11• 111L^l—

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m\\ i

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X^T l

Bb

Eb

Bb

f

r r i r

Bb/F F I |II LNIM

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[ faaz: 1 | q^fc-p-[, 1 H—1 | - j — | New World Symphony Theme 1. (2nd X only) ir Bb C7

(A)

•• " ^ ^ ^ .. " ^ ^ ^

C F/ABb

Bb

C7

C

Bb

Bb

Dvorak C

F

« '

C F/ABb

C/E

Dmin

F/C

i t

Bb

"fn^T

U

3T

Bb

p

r t f

[-z* m z-p: I

115

Bb/F

Bb

C7

C

O

LESSON 29 121

^

Practise this warm-up many times.

,

1221 T T B — j

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J

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f $ f

TP1

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Marche Slav 723]

Cm

Cm

Cm

Cm

G7

Tschaikovsky G7

Cm

Musette D A

D

D G

J.S. Bach D

A/C#

LVA

(D#)

f* (G#) D

D

D/Ff D ^ ^

^

G D ^ ^ ^ ^ ^

G D pMMMMMy

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D

Bless This House 125

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C r

r

G

C

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G

C

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L E S S O N 30

Study on Eb "f26|

Play Eb with the little finger of the RIGHT hand.

Sonate Rbmin

Fmin

127

At

p

Gdim

Fmin

Dbmaj7

Geminiani C

err igffr if pNijar P Eb

Ab

Db

Db Eb

Eb

C/E

Ab 7

Bbm7 C7

fSP"

1

Fmin

C with the Left Little Finger 1281

p p

:

Bbm

jft f i r

Ebm

*5

ff L

L Ebm

L

F

Bbm

Bbm

L Ebm

F

Ebm

L F

Bb

Bbm

1

is*-

The Steeple Ab

129

Db

Ab

Eb

Ab

Db

Ab

Eb

Ab

Cr

* irr[fir J M j p Eb

Ab ML

iir

Db7

Eb *

Ab

Db

Ab

Eb7

Ab

1 r* i » 1 L

j j g E i l i

LESSON 31 Practise the low register warm-up many times.

Greensleeves HO

Ia6

Bbm

Ab

Bbm

Gb

I

Bbm

Gb

F

Gb

, It

•

Bbm

Andante Play slowly and expressively. Ab Cm

132

Eb

• T Cm ^

T

Bb f

F9+

Ip

Eb Jvp

Ferling, arr. Galper

Ab F m

Bbm

Eb

* i r per [f N ^ c j r j "

f z|E

^

Db 1

L

L

Ab/Eb

Eb7Ab

uTj-i[x£fJCpr t*"

My Sweetheart At first, play in 3 - one eighth note to a beat Then play it one beat to a bar.

L E S S O N 32 M \*'Ll

Ii3 X

S o

each hand. The note produced by this ipper register. Ask your teacher to showfl rked" or "one and one". While intended! the "X" fingering is slighUy sharp in the

properly.

?or practise wim low register

* - Gb is the same fingering as low Ff.

** - A t is the same Fingering as low Gf.

o o_ Upper Bb played with the "X** fingering. This is a very good and useful note. Learn it well. o o Eb Bb

•

Play the low note mezzo-forte (medium loud). Although the upper notes should be played a litde softer, try to get a nice "ring" to them.

Db/F. •0-

^

Ebm

—

hd

Db

l

j

i

m

+

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1J uJ

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Ii . r T T l . f r i

R—NLfc

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1 . f

Ak7

^/^6k

r —j—w~f—I—-frp-T

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r

A

Eb7

/^6i.

1

—jrd "

X Db —

00

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J^mi———

LESSON 33 llifl • •

Play all Ekj with the LEFT.

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r l• f T T

JJ

JU

Bo'*

'-jrtMP' i

I.

r»

r

4

r

Eb with the LEFT is very useful. Work on it.

Marche Slav

B9|

Tschaikovsky

4&

J—J •1

1 r -111

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W-—J-—i J^J J J

'J.

—^—

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The Huron Carol 140

Ebm — 4 • j

ffi* I

i1

Fm

1

—j—z

Bbm 1 . *"jr.

^ _ _ L

Bbm 1

.11 -4—

7

Jy i J

J J

jr-i

, j 1 J-W—--

r-

1

# 4 J i i

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' J J J

r -B'

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^

^

W

1

L

Study on E b —..{.

b w

r R

1^

R

'I,,!

w

#

W

R

**J.* » 1 _ R

I

w

r R

1

I

I

R

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R

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vl.^

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LESSON 34

144

Exercise on Eb »b b

b b

^

^ ' J l l J I I i J I I1 J I sI » 1

S

„

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>

bb

b R

s

b

b

b I*

R

Gl./(F»)

Chromatic Study 50 o

Use the Gb (Ff) key (key 5) with the third ringer of the Right Hand 145] Dbm

m

A 0

m •

Dbm M0

0

i \m^mW0

Ab

Ab

b

LESSON 35 -•=r: is the symbol for CRESCENLX) which means: start softly and increase the sound gradually, is the symbol for DIMINUENDO which means: start loudly and decrease the sound gradually.

146 j f Wk

—-

—

ml

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1

^o- -

22

147

w

-0

a

^

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Play the CRESCENDO or DIMINUENDO at the middle of the bar. Slowly Bb Cm F

Bb

jj? J ^ J ^ g F7

Bb

Bb

Jjljjjjljjjjlpl

22

148

F7

Bb

Start the CRESCENDO or DIMINUENDO at the middle of the bar. Andante (slowly) Bb F F Bb F Bb

Bb

F7

Bb

Dm Gm Bb/F F

9

Bb

7

j j i j ^ ' i y i j j j j l j . Ml Study With Triplets 149

Bb

F

F

Bb

^C^

F

^

31

Cm 7

Bb/F

p

f 1 cTftiriifLD y QJ U J rni I T rn^j ^ Bb

Gm 41

C

m

1—T I

F

Bb

» -^"ai

Gm

Cm

p

L E S S O N 36 Staccato means "detached" or "separate". The procedure is as follows: 1) Lightly touch the reed with the tongue. 2) Blow arid move the tongue away from the reed at the same time - the sound will start. 3) Lightly touch the reed and the sound should stop. Touching the reed should be done with the lightest touch and with the front part of the tongue. Play staccato with a lot of air. Generally speaking, the value of staccato notes is halved as shown below. j

150

J

J

J

S

Pkyedlike

Jlf

Twinkle Twinkle, Little Star ED

Eb

BP

F

Bb

F

Bb

Bb

Eb

Bb

F

Bb

F

Bb

Bb

7

1

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Mixed Slurs and Staccato 1521

Gm

Bb

Eb

F

Bb

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Bb