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KLOSE
METHODE COMPLETE
les
,
pour to us

SAXOPHONES
NOUVELLE PROFESSEUR EDITION REVUE ET AU CONSERVATOIRE TEXTES FRANC;AIS AUGMENTEE PAR E. GAY DE MUSIQUE DE LYON ET ANGLAIS

COMPLETE METHOD FOR. ALL SAXOPHONES
NEW EDITION AT REVISED THE AND ENLARGED BY E. GAY PROFESSOR CONSERVATORY OF MUSIC OF LYON

METHODE

COMPLETE

Editions Musicales Alphonse Leduc
I75, rue Saint-Honore, 75040 Paris cede x OI

11

ETUDES PREPARA'rOIRES
POUR LA QUALrrrf~ DU SON ET DE L'EMBOlJCIlURE

PREPARATION
TO OBTAIN AND MOUTHPIECE

STUDIES
TONE QUALITY

l.es pr em ier-es

etudes

sernnt sans

riirigees

",rs

IfOson dro it; prorluit,

The
once

first obtained,

studies th"

w ill b« dir ec ted towards
tone must be sustained note end of the value.

the straight without

sound

Ie son do it ,~tre soutenu
qu'a liaison me la fin de la valeur

undulation,

dans toute sa vigueur, jusnotes reunies par une

ondulation

i

de la note.

Plusieurs

its

full

vigor,

up to the bound same

(coule ) Hxigent
quels que

un son ininterrompu, scient Ies interva.Ies et de faire

d'une
sentir

meme force, me,
entre tiles. des ted la succession

1'Iany notes

by a liaison strength,

(legato) same

necessitate intensity,

an ininterru the inte

int e nsite,

existant

tone, of the

whatever

Ev it er- sur-tout

rie saccader

vals between Avoid chiefly

them

may be. and make the succession of notes noticeabl. for followin th

notes.
Pour avnir- line bo nne

to jerk

emIssion

il est inruspensabl«
ct s'habitue

que

I'eleve sue-

In orrl"r pupil

to obtain a good «ruission,
the mecar ism and

it is indispensable be used to the

«n co mpr-e nne hien
cessives suivunt es :

Ie mecanisme

aux operations

to understand

operations. l'elnbouchllPe

1'.'

Place

.. av("c suin

1~ Place _
I'lexihle
obs . est la m~me que sans appuyer,

the

mouthpiece

with

care

2~ PlaceI' 130langue de l'anche presque entre
truant ainsi I buverture pour chasser de la bouche

SUI' l'extl'clnitc
Ie bec et I'anche de Ia langue etrangerl. (I'air ne peut

2~_ Place the tongue on the f'lexible eud of'tl reed alJnost between mouthpiece and reed, without pushing
obstructing in so the opening a foreign (the position of the tongue mouth). is the sarr. as for throwing body out of the

(la position un corps

3~ SoufTle .. sans verture etant obstruee}.

retirer

la langue

passer.I'ou, air

3? Blo~ without
cannot flow, the

withdrawing
beeing shun.

the tougue (th

opening

4': Re e u Ie r- .·upidemellt,
prcalable, lc soutenir.
(Iu)

Ja JaJlg'lIe

sans Ie son

appuyt'r est

au

4~ Withdraw all pushing sustain the
(tu

the tougue quickly without
air penetrate quickly, the

first

o:

I'air

s'engouffre,

I'anche

vibre,

produit,

I, the

tone is produced

tone.

5~

JUlieI'

la gUl'ge
~ _

Hb r-e, jalnais Lento

s e r-r-ee .
Reprendre les 4 operations Take the 4 operations over.

5~ Play

the chest

relieved

never tightened.

Reprendre chaque fois les 4 operations e noncees. Take each time over the "" previous operations.

f~

ii

_

1E t
_

~

II

oar
IW

! II

Reprendre les 4 operations.1I Take the 4 operations over-,

,~

IJ l <

~ ~2i1Jt

simile

-

II

o

!

, £2J) t
I 02J2£J) i
II
u

I

u

IJ $
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SON COMBINE AU MOUVEMENT D'UN DOIGT COMBINED SOUND WITH MOVEMENT OF A FINGER

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Inde x droi t Right forefi oger ~

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I J t - III
COMBINED

O~.

11' - II ,21#" IJ t: II
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t:\

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SOUND WITH

MOVEMENT

OF TWO FINGERS

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MOVEMENT OF THREE FINGERS

SON COMBINE AU MOUVEMENT

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•. . .. ....... .. 1ntroduction Elementary principles of music Tablature of the Saxophone About the mecanism About the saxophone Position of the body. . .•..... Quatre duos faciles et concer tan ts .. .. des mains et des doigts . . . .. . • • ... ..... ... . . .. .. . ..... . . ..•..... . . .. .. . . ... ... . ..... .. . . ...... Du chromatisme . L'appogiature .. ... . .. ...... ... Quarante petites etudes d'articulations ... Quartes. . .... . .... . . .. ... .. .. ..•... . ..... Des accords .. Etudes prcparato ires pour la qua I ite du son e t de l'embouchure Des intervalles.e PARTIE Pr'ef ace . . .... bands and fingers Mouthpiece and reed Position of the mouthpiece in the mouth Lips and tuning Breathing and musical phrasing Raised and diminished tones Strong beats Preparation studies to obtain tone and mouthpiece quality Intervals Homogeneity of tone Progressive solfeggio Major scale Minor scale Table of scales Finger exercises Forty exercises Syncopation Appoggiatura Grupetto Shaker Major and minor scales Chromatism Scale of third Chords Exercises on perfect chords Chords of seventh Exercises on the dominant seventh Exercises on the diminished seventh Six easy pieces Forty short studies on articulation Six pleasing pieces in graduated form Characteristic piece giving practice on the style Principes Tablature elementaires de lamusique du Saxophone Des ehlments du mecanisme . Du Saxophone . De la respiration et de la phrase musicale ...•... •.•. . ••...... . ..... ... .. . ... Position du corps.. .... . ....... .ie... ... QUinze etudes de genre 3 2n_d PART 4 5 9 11 12 15 18 30 46 55 Advice About suppleness Study about scalf All tones scales Exercises about chords Arpeggios Fourths. ........ .. De septie me de dominante.. . ... . . ... . . .... ..•. .. .•. .. . .•... Marceau caracte r ist ique pour etudier Ie style.. .. .. .... .. . Des accords de septiernes ... • .. . . .. .. . . . .... Six mo rceaux gradues et elegants ........ . " ...TABLE DES MATIERES 1r:..... Etu des sur les accords. De l'homogeneite du son . . . ..... .... quintes. ... . ..... ... Gammes majeures et mineures.. . .... Dill_huit etudes de rnecan ism. ... .... Du trille . ... •. Exercices de rnecanismev ... . Six etudes melodiques... ... .. ..... .. .•.. .. .. . ....•. ..... . .. • • . .. . .. .. . .. •. .•. TABLE OF CONTENTS 1~t PART .. .. .. ...... ..... . . .... .. De la gamme en tierces..... . ...•... .. ... .. .. • .. .. . . .. .. . .. . .. .. .. ..... .. .... . . . ..... .. .. .. . Du bec et de l'anche ... .... .. .. . .... ... .. . ..... ... .. . . . .. . • • .... ....••.. ... .. .. .. Tableau des gammes . . .. . . . .. .. Des sons anf les et dirninues . .. Exercices sur les accords parfaits.•.. . .. ...... . ...•. Des Ievres et de I'accord . . .. . Six melodious studies Eighteen finger Four easy duets in concert Fifteen descriptives studies octaves .... . . .. ... .. ..... .....•.... .. .. . De la souplesse .. ... ....... . . ....... . ... . .. . Du grupetto .. Six morceaux faciles.•... ... . .. .. ... . . fifths.•.. ..... ...... . .. sevenths. .•....... . .. Solfege progressi!. . . .. .. . .. ... Des temps forts. . . .. .. . .. .. . .. ... ... .. sep tiem es. . . .. . ... . . ... .. .. ........ ........ .. . . . Exercices de se pt ie me diminu.••. . " ". . . ... . De la gamme majeure ..... ... Position du bee dans la bouche ... ... ... . .... .... .. De la gamme mineure ... ... . . ... . sixths. .. .•. . .... .... . . ... Des arpeg es .. .. . . " •. • • . . . octaves. . ........ .. . sixtes. ..••••. ... .. ..... ... . . . . .. . Etudes sur les gammes Gammes par tons ..... . 10 10 10 11 15 16 20 23 24 2D 29 32 34 34 35 36 37 38 40 43 45 47 48 48 49 53 84 68 2'! PARTIE Conseils ... .. ... . . .. ..•. ... ... . ... . Quarante exercices. La syncope.. ..... .... . .......... .... ... .. . ... .. .••.. ....... ...

---*it..g4tJ_.lJIII4!itJfii ttbM~t ~ ~ ~ Sol b Sans l.11-& I~~ 10 ._______.II~ II:J~$:I t Take over with F ~ I * t:'\ 0 II t ~(~ ~ (FIr' * r 1711IldDA j B)! I:~i ill Reprendre avec Fa * Reprendre avec Fa 4ci=-JJ1lJLJ1[JJE1l3LJi Iittl) ~ II:j lbJ j I J) Reprendre avec Fa Take ouer ltlith F. Forifinger and middl« finger (right) ~ JQJ J Ioj gJi IjW~Jj Will ttl 8J til_tOPj I_g i IltlJ j j I]} III .~ i!Rt 10 14 t .i ~ J j tBJ i II fi1 iJ J Gb without leaving the eb in raisinq the finger.II~o I ~ oJJ i . Take over with F ~ # l¥Jli II@~J Cle 6 .Key 6 II:@~t Reprendre avec Fa ~ :1 t :11dlj j J 14) t IIQ 1] J j ut4 t l14EJa ~j It4 t IlfJIE Take over with' F q J (FE t II ~ .I o~Jt ~ ~ Le Il to .lcher Ie Mi b en levant index et medium II 3~ B ~i[)j fj J1J ' II#rTI#r j f#?1 * IIeQ? IF tlj FEn. jWj~ Lento IUiif-fir r ffFIIIJ.

Tuite UlJl'r with 11 ~ Reprendre avec' Fa I ~ @jzhJ Ig}U@#j~J!ft~tll41J11_S]JtIIQj@~~ill:jj IjJ 1.@iW!II~~iIJE~J Reprendre les exercices CV®@ ainsi. t~ Lento §JtIJ!L!~tIIJ~:Jil L' CD rr¥ F Ir r r rr I ~ * II etc. . ~ Take the exercises @ @ over so: .)1:1 ~ ~.

(Travaille r taus les doigtes). order compensare de la culonne for the smallness DES INTERVALLES Etude importante pour LE SON. LE MECANISME. #* I• I. en I"rg(~ur penser la petitesse Maintenl!z I'anche d'air ). • I #- II I. II I'~t~s JUSTES _ PEflFECl' FOURTH ~ ~ # J • I • I./"ngerinS"s Practise atl the . NOTES the Maintnin reed (make (in the lower to lip en avanqant Ie maxillaire) advance the jaw. travailler tous les intervalles ci -rlessolls en les developpant comrne l'exernple suivant : INTERVALS for THE TONE. the beats beeing dt. (tendez Soufflez la levre inferiRure tres vite(pour cornDo not tight arid HIGH bit" the reed.fi'ngerings. practise all the intervals here after in developing them as ill the following exercise: Se reporter sou vent a la Tablature. MINEURES _ MINOR I Cnnsult qj'I'1II the index. LE RYTHME Important study La Musique n'e tant cornposee que d'intervatles. vided in 2 or 3 equal parts. les temps se d ivisan t en 2 ou 3 parties egales.if . MECANISM AND RYTHM The music being formed solely of intervals.DE L'AIGU Ne rnnr-de z pas.blow very fast of the air column. · II .

J.~ @ ~_) 41~ .I~'I Ir~ . IJ~ · Ij~' INTERVALS .II -I II ·I iF? ~ Iruci .1'1IilifIf I~rrm · Ir~ . r F r F'1 . In J J J]jd IrrrRr . the same volume on the a rnaintenir Ie meme timbre. fP j J 'JJJJlj Lento ~/ INTERVALLES DE SECONDES INTERVALS IN SECONDS .tendue. FFf7Tp . a~r Iff - IrrFOO · In -rr - $ ~ f .lEt · 1J J ~lJJ .I. respirer apr es une valeur (''!IIPS On p eut toujours frappe. r V.It F IUtrif f t IrtF/l r Itiiilf ~ Ir~r ..IJ~) ~ . breathe after a lung value or a beaten stroke.'6731 $?FFffl .Iff IF urn' .DEL'HOl\10GENEITE SON DU Chcrchcr sur- HOMOGENEITY OF TONE Try to maintain whole stretch.(fiffffif .JtJtTittYlI J $ Wtilffi · IJ~1fl!J INTERVALLES DE TIERCES - "lU' - I tJ '~J J§jj IN THIRDS . One can always the same timbre.I .IJ J 'JjJjIJ .It-------------. le merne longue volume au un tout" I''. 11 JJJ 1J J c - .

~.J1?'rfF It-?7qft11I r rGI. INTERVALS ~ . rPr f (Fr . . .'f§r-tftr I~r Fi Ii FE? r l Ir r fd tmrlJ rffr'm IJ Rr'rdQJ . FFr I. IV I iOrihIr'gSfijlffI ~I II .JE-~_tJ) 1D U IN FIFTHS . I -"~'~f!: ft II . ~.IHrFlrHrltGtll'fttl . U U IITF IUrr Ir vJ rtf 1[' FJHn IIT . .. ~.1= I & ~'~'~'~~'~ rr Ir L I tr to r I[' f II t Fr Ir . . . J J Ij !9iQiLW e? Ij tv tdd I. DE .~ I INTERVALLES DE QUINTES 't!~IJ 't~_Jf_£u'tYIf' J JJ'f~ I~ ~I ~'~'~ • . QUARTES . .iHrlHrElrCtl *'~'~. r Ir r F . fJ r . INTERVALLES fr'ft£lrfjp't1flB1JE'rtr1Flr ~.j fut& r I:' IT!r U f If E~ f'tUautP'tg_l_J_ ~Jj'~l$Jl . [ . INTERVALS & 1 Ie . rr E IF r fFl !.(1 l~ . e .l]~ I f' P~ " QJ I ~' tv W I ! 'i j W 4~ .F F Fir r r r F?~' 411~ J ~ ~ !Ig!'J2[~ I J J J i4J tj~~~l~11 @ -~.\ .l JJ) iff I. f F Iff I r f f . IN FOURTHS ~ ~ I§I f '~'~ I v r7Tr F r r I IT . .J err r17F I r .~ i r! Ir r r r I r r F r Ir r F Fir fPc Ir r r7Jr . . j 'I.

1ft rr I.II ___ fEr ~ luTf7ir'rmu ill *1]2 J Ij j J fur I. . @ Ij 1 .ill IJHIJJJ INTERVALLES DE SIXTES TNTERVALS IN SIXTHS Ij~nlJ'jHIJJJ Ie F IJJnu'fffifrD iff j BJ'rq If F J rpi'iPF If F J IErffrJ'ffB F lucfliFSffiE fV Ifgm i1'r rr 1ftr IHer It'F1fift7 ."f IH HI ..l n IN SEVENTHS I ill rr IJlll &. INTERVALLES DE SEPTIEMES INTERVALS I.J I) JE9't212~!f.. r tF f IFFf IU U IErr r If f t If f rr IU~I 'rff aFar If J OJ)flIE r r r IJ J rm'f=R Ie r rFI iJ J F ill '011 r r J j IJ WI)' J J J Ij J ] J IWj J IJ' WJ-!I .J"JO%ur IJ UlrUn:hnlrU EFlrpn{d7A r:lc71Hr'rFFirF Hf IJ rFlrfFtr'rmrCfg .lifter IfF F If rr If HI .fiC If iAr'rul If .tE IJ J gt .'Jf3lIJ I. LJ I] Hg. . .

.rrUIUr If rrlHf Irmlfrr If rrlrU'ffFI "fFi' If rrlnrJienlJJJ IL JJlrFiZl'rFrIJfBI IF HIJJ(Jt'plJIJWj If' .{9 . .:a:ffPBF Fr FI.rJJlpr8r'rfrIJJ.t!EL!J]" II INTERVALS IN OCTAVES &1.--. . r r IFmt/pm r r r I.I ltr'rTr IJ J J J Ir J J IJ j J ur'P:l IJ J Pjlp " II . F r IF fDn'rqlr r F r IJ f? F ~._ . r r IJ WDra'iMr r Fr Ij LFJ '0 J la'tD If r r r I. iGJJ]r'tf!=IJJJ INTERVALLES D'OCTAVES JD] IFlJI(~Dr. JEJJIIJ J r F I.j ~ :fr U fJr'F15Fi rr r Ir r t Ir _'fa IHr 'if " i~ m II @EFFFIFrrrl · ~ rrlCErllLELFlrrrrl£ ·~ '~ :e relFFErl ~ fE'ttt IF Fr r If r r IFr ritr'Ui IFr J J IF 2 J IF 2ft I fr FEr IJ J JJ IF H In EDr'm IJ n J IF H IUT?.

:11: r I V . .7fl r §<i J] J i r r I f' . and at the time teaching the easiest notes on the Instrument.I JOJ} I J?[t r IF r eprv Flr >- I jj. II: J F 3 rI I ill .j >-____ >- >- J I 8.J<Cr IVf7t 1ft F IV :11 .IJ~V 5 '(j J. - r r I [' I J~ f U.1l waBlaJii@IEmEFF1I&UliiB{'PBtm I .-. w r r I r F r Ir J J I J I J r r I .I JJTr >- fir r If7ISJ >-:::J:::J - . 1 ® J V I r .I J r IV . PH.IJUWiF " 1lJJ231f7@IJ@BtJ "II 'II' {~jfflf.I J J F f I V V - '(j (j JF r Ir - IJ rrI r r IV V - - @ II: J J Ii ® II: J~ r If.I J r I V ... 1U@33Id'fJDlfEfHTr " 'I @J (j >- l F ITt r I IJ >- >-_.I j V I.J r IV r I r. II: Jl 6 .-..J<j J J r r I r .SOLFEGE PROGRESSIF PROGRESSIVE SOLFEGGIO same LEgONS pour habituer progressivement a la lecture ~e la musique et enseigner en meme temps les notes les plus Iaclles de l'mstrument. .:II J 2 .I J r I F r I r J I J . ..I JZff1]i ._ >- >- >- >- >..I. I LESSONS to accustom one gradually to read music.J r F I r r I V I J J f r Ir f F r Ir r J J IJ I J J r r I J J r fir r r r I V IJ V :11 :11 :11 :11 I J: 77r I (="> fit IJ:7F J IJ :11 - 1. Elf' ._ >_ >-.:11 :11 l r7i V I I J l f I f r rTf r {l@! ) :II ! @ II: J ! (1? f' I I J l r I r r I J I rTf i r I r [' rlf v :11 1 '11 rJRf . " IrjfTH' .

21 10 6 II:J L t I. .IJ r r fir HJ".gg.~. r II r F I I j j sri s r r ) I j J J r I: J I r II r _r Afl'~ ~ b: '(j tJ j F p¥ j r r11? ~ r r ¢Tv r F f 4J~j r P 15 r r F . B 11 6 lti]CIDlr · ItrOUt1lf' · IS[' IOOVlmad 14 • i · 'II 'I lEfflOOlr · IgEirfflW • 100(' ItWr IE$F/r If' • :11 12 @B . Ft J.J~I 1 J r rij F r F £j)J j ['HR r r pIc J J j $j F f p~ rr r g Ir F ~ FII o· i I 13 ~:::1 ~ I 6 'W'IDI1CB'ffil.jJw V.11r . ~ r r . . ill' m I' tIP I! ill ' Ell I' BIg I IdJ)' ID I I -------~ g ~~~ 45 'W'EEJll~rr~ 'l. IJ.(j ~ j I r II r r I I j J I r P r F s I.Fi FI... 6"' wifU' . :lIR6. ~ I F II r J r Ir r Wqit~ lll: j j .. F I B~ • .W :1"m'EBI'@ 14 :11 • I U .C£i'j(j1'E81') II .f. IJ r t J I~ r· :11 F 6 1lID(jfr • IJJictFi@@f3lep$JRQ · :11 . looFr[fITdIDiFl_I@@l' .t1!I'ill.

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I:@mg~ I:€@@!J. altl1 I:tlif. di:.~" Reprendre les exercices precedents avec les armures suivantes: I:~.E.~u:e~e:.'e1t:flf ~ 'i:on------nl 6 fo is chaque DE LA GAMME MAJEURE mesure I Each measure 6 times 23 MAJOR SCALE J II:1'3ij J I: 1] II j I: @!J I: e.r I: illI.:riOiif" 1:@ftCii" I 1:@tCfij? I '@}PPj.:_I: :IC II:~ 1:@~~II:E£ifil:'=-1 . Qg]} PtillA 1:4Q1!!) I::@.ll~) II: Ut!) I:~) l 4 times II -----.?_:~!_~) 1:~j 1 II:.------.:lcrt_ll" ------.---- I oa I . tr u :11r II: E! or :11 r II: C! Cf :11 IT II: Wr II: c1tFtr II: Ef8?tr . ".:mt. e t 4 fois chaque mesur e I EacA measure jJJiJJJ:11 :-.tons..ifiiiilii Hw€rW ---'8Ef6li.------- I:~ l:f~ IJi-~ . II Take the preceeding exercises over with the following keys: EXEMPLE: EXAMPLE: i#' j~J I:.'r ..!!J II:j~.!.ErV 11:t61iiiii'· I II 'bam-ll" .:§!J I: 43illJ I I: CfIFlf I: EfEFj} I: E:fEH1 I: cRTir I: ~~ ---.] i n :~~: ..'E I:EfrTIE 1:fiCi\j111 --------..Sa. .tiiEC&--r l:r!OOiI" I: rrfirr. .

~ ~ 10 iJ II: fin Sill:@ II: SiS I: 0IID9 II: 2l3.1:~#crrrarJlcrcrECU ® ® :11. I':"\~ ~./~~ 113J ttLf I ere a JO garnmes :11 0 CPS en ¢. avec precaution pour I'e m. an nn Inn an :1" these scales in I ~ ~!.~ ." superieure . Practise all these e.f II: °6~ tf Travailler les exercices aigus bouchure e t en rnaintenant l'anche sans r. Blow very fast._ Practise the high pitch exercises and maintaining Lenro.tD II: JJ~<OI: $~~ :11 1':"\ 1':"\ 1':"\ 1':"\ 1':"\ CI" 6 1':"\ r.:~ II: f f U g~a tres vite. Take ¢. Travailler '. mordr e. souffle- I a f #f U III: #ef I':"\~ ti I :111:~ # -EJ :11 :Ji{..'\ ~Er ~U III: Or f qUill: "E eMil: I':"\~ ~~ I':"\~ r.. wich precaution concerning without biting it.'\ r. e II:~##~n D U r r 1Us lJ J 3 :11 @ I'~ @ Reprendre et Ii t'8'~t!halite.xercises at the h1gAer scare.. . . the mouthpiece the reed ---- i II . ~ t1 tr I':"\~ II: tF II: Lento.'\~ tous ees exerc rces a I 8". • . &~ _____-/ ~°u t.

Travailler 2~ 1~' En I":petant En I.t chaque ruesure lcs 2 mesures separement enchainees . II il II I:~~ @?Eh1ItC·0' &WEd @ . II:@ jr I FFloC j EJll *. 114)gpJ IJ@jJHJ ~ ® ® ® ®. .' 1 a !J a 1'8~"sup~rieure et le n~ 12 a 1'8':" basse. .#JJJJJ:1 J 1:J§tpmJJ1JJ :11 11:@JJI#lilJQJJ§J J CD ®. ® ~ J. two measures octave les n°.IBjTEI~lfJB· Reprendre tous ces exereices: ® ® II:tTffwCHr'cdFTc I Tilke all these t:"'I @ 11:'OOEliTCbr~ffifr I exercises over: @ 2?'§J~JII Reprendre ces gammes en ¢. I r ~r. § ~ETff r I~Wj r . numbers 1 to 9 at higher and N? 12 at lower ~i 4@JJI.P1Pr.~¥8pJ IJ#JdJJ@IJ· 11:.Travailler .jgeegJl~. bound togetht~r. I .:tar. Take all these scales in ¢ over.JJJJ~.II:EffU~ IJ~ JRJ In . .ep. 10 P ract rse : 2° Practise I n repeating In repeating ' each the measure separately.J. octave.

TABLEAU DES GAMMES CD ® Gamme Gamme @ Gamme majeure mineure mineure harmonique melodique TABLE ® ® CD OF SCALES Major scale Harmonic minor scale Melodic scale .

6 crse o .27 CI'.

II .

Smoothness of fingering and purity of tone must be the first qualities of a good instrumentalist. Take breath after the first note of a beat. or several fingers together. and. II 11:@[f6lf' 18 II $ rCfIfi F r F I Cf f! tiUln' II .29 EXERCICES DE MECANISME FINGER EXERCISES Par ces exerciees executes avec consctence. Le son sera toujours ferme et bie n so ut enu et pour finir on executera la note placee entre les batons de reprise. By playing these exercises conscientiously the pupil will learn to use each finger separately. to finish Up. all the notes being well tied together. The sound will always be steady and sustained. on devra jouer huit ou dix fois de suite chaque numer o.Peleve s'habituera it faire ag ir chaque doigt separ ernent ou plusieurs doigts s imu lt a nement. each number should be played e ight or ten times in succession. to utes le s notes se feront liees . to achieve this object. and. Pr endr e respiration anr es la premiere note d'une mesure. L'egu iit e du doig Ie et la puret e du son doivent et r e la premiere qual ite d'un bon instrumentiste. pour atteindre ce but. the note placed between the repeat bars must be played.

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31 .

(Hi~) FORTY NEW FINGERING EXERCIS ES FOR D~. (E~) .QUARANTE POUR DES NOUVEAUX DOIG'rES EXERCICES L'EMPLOI DE SH.RE#.(Sol~). ON THE USE OF THE o«. LA ~. (Off). A~.

QUARANTE Observer un~ EXERCICES GRAVE FORTY ON THE EXERCISES LOWER REGISTER POUR LE REGISTRE ce s deux conditions essentielles: pour faire librernent vers Observe these two essential conditions: Maintenir I'a. plus on descend . the reed as to do freely a ~ the ail' c()ltllnn while going towar-ds thr- Retenir 130colonue les notes graves.intaiu lower notes.nch e cornrne d'air Maiutaiu Ma.

Lrl . e:rpressif sostenuto IF~r APPOGGIATURA from the Italiall language "APPOGIARE"= to insist upon L'APPOGIATURE de 1'ltaliHll "APPOGIARE'~Appuyer L'Appoggiature ~trangere vec douceur du marceau est une (au plusieurs avec force notes) d 'agrement adu caractere The Appogia. ." et 2~ mesures c i-dcssous) sa valeur sur la Long before a b i n n.ture ging to the chord. Make the preceeding note shorter.e pas dans let. eIle prend du rnodel e ci-dessous elle prend du modele (Adagio.Jll~L. Short indicated . ) sur la note qui Ia suit.ee sur Ie t.) binaire.. (1r. Executioll: Always attack without indicating which it ends. Longue devant une valeur valeur de c ette note (3": mesure la valeur de cette note Breve in d iquee la 1/2 de la ) les 2/3 de LOJlgue devant une valeur ternaire.UrC Syncopation is the displaceIllellt of"the articulation with prolollgation f'r-o rn : a) A wea H beat to a strong beat (Ist and 2nd) beat of the following exercises). etc. force Its length Allegro notes not belonwith upon the cha- it l'accor d . Executed OIl the beat. it takes its value on the pal note. Ecourter legerernent la note qui la precede. softness racter of the piece insisting on the following as one (or many) grace with note. bJ d'uns par t ie faible sur une partie forte (3~ mesure). Ell« peut etre simple au double.rrie- ft.. J I £f J l*tV· r 1 I Ii I i • etc. appuyee elle doit se resouore it must be resolved depends etc . the beat on t ion La Syncope e!St Ie depIaceInellt de l'articuIaavec prolong'elnent: a) d'un temps faible sur un temps fort (1'. E x e c ut i o rr : Elle sans doit toujours etre attaquee franchernent fair-e sentir Ie temps sur le que l elle se termine.. ECRITURE WRITING J Moderato OF APPOGGIATURES DES APPOGIHlJRES i (~ .errrp s .r-y value it takes the 1/2 value of that note 3 rd measure of the following example). Before a ternary value of this note (Ist and 2nd measures of the following exa rnple )." elle ne oo rrrp t. It can be simple or doub!e . 0) A weak part 3rd beat of the following exercise). Sa dur e e depend (Adagio au Allegro. c xe out. it does Hot count in the beat. eIle prend note pr incipale ." et 2~ rnesur-es). princi- sure.

.r ~~. 7~ ~. PI:J(:e apr es une note pointee. affectent sa 3~ note (5~ mesur e) ~ Placed after a ternary value. 1E. of the fol- notes il est de 4 notes (1r~ mesure du modele il est de 3 notes binaire ternair et prend sa valeur sur rel_ sur takes value last Place apr es une valeur (3" rnesure c i-de ssous ] Place apr es une valeur (1"~ mesur e ci. & 11 Les alterations placees .:l e t prend sa valeur sur c i-de ssous ). measure) or indicated and takes following its its value example).". Placed between 2 notes it is of 4 notes on the preceeding one (1st measure of the Placed on a note. Placed after a note with a point. notes sui-ant au prl:cerlant In note pr inci.' mesi Moderato + ~H: @""--·jgrJiiF t r IE '~~ 5~~'~ ~ . il s'execut« e il s'execute le dernier 1/4 1/3 Placed after measure a binary hereafter). it is played in such a manner that its last note has the same value as the following one (5 th and 14 th measures) The alteration placed <:n ~are asure) and the sign is '\. and preceerling the prrn.)~ e t 14~ rnesuresl. it is wr itt en in small notes (1st by the sign <:n U'jtb and !Jtb measures).on a ce que sa de rnier e note ait la melle valeur que celle qui la suit (. it is played on the last 1/3 (15t measure hereafter).-~6§j~·0~~~1F IT c. j'j la 2~ et la 3": (9:. no tr-s (1'":' mesur«) ou pur Ie signe C\. ~. GRUPETTO Small groups of 3 or 4 nnus follu\\ ing or cipal note.DU GRUPETTO Put it grflup" de :J OU 4 pales . II s'ccrit en petites (5': et 9": mesures ).dessous ). lowing one. relatives to the 3rd note 5thrneto the 2 nd and 3 rd note of the me ee FI . it is played on the 1/4 (3 rd sur Ie dernier Ne jainais "b ousculer " les gruppetti.. = . Never "rush off" the grupetti. it is of 3 notes value. Plaee entre deuxcell" qui Ie precede Plal:e sur une note Ie qui la suit.e1a tive asure hereafter. iI s'execute de fa'.

Key 8 ~simile Olle elln keep the G # ~ ..."I j ajj. These two last cases are indicated by a small note. Brillant dans les mouvements rap ides.. il doit etre onctueux les mouvements lents. Preparation It starts by the superior (auxiliary) note. Le souffle droit.LULLD indique par ~r ou- indicated . ' II commence par la note principale La preparatioll" " "" (auxiliaire) superieure " " "" "inferieure Ces deux derniers cas sont indiques par une petite notc. :::::::::-::::::impulsion of the (Les doigts sans raideur Marquer la 1': note de chaque temps par une legere impulsion. it must be onctuous in slow move- EXERCICES D'ASSOUPLISSEMENT ni mollesse) EXERCISES FOR SUPPLENESS ( The fi ngers without stiffness or weakness) Mark the first note of each beat by a slight finger.-ro r. ~Ji H " 1/ Clo 13 sans lacher Ie 00 Key 13 without leaving the C a) b) uiitt: ordinary Key 9 fingering . It starts by the inferior (auxiliary) note.lIpresente 3 parties.2 illd~x _ 2 forefinger ~ II:. Breathing straight. HH" 111m" a) b) HH doigte ordinaire CI" 9 III:JJJJII 0 " 111:#6 H "1/ III:.t1 A ~ ..JJJJJJJ He # # J=120 ~ :::-:::-:::j ~ J III:j~w aDII ~~ Cle 6_Key 6 I n" III:JJJJ~]aJJJJJJ~]~J wJ III:J Jaw H ~ ~~ et avec Fa H II :11 Ie ~eprendre avec Fa# # On peut garder Ie Sol # unmcut [eabing the D Take over with F # ~--------crss.uu .:.. Dans les Andante au Adagio on doit ceder la terminaison.t. dans The eud must be executed with the same speed as the beats In the Andante or Adagio one must slow at the end.tt e m enf s doivent etr e executes avec une grande The heats must be made with great eve ness.l. in fast movements. f Alternative and quick beating of two degrees (1 whole or one half tone) the other auxiliary. Ba. by ~r or - Hattements alternatifs et rapides de 2 degres conjoints (it 1 ton au 1/2 ton): un principal. It includes 3 parts: it starts by the principal note. Brilliant ments. f Les egalite. 1<. La terlniuaisoJl doit passer dans Ie rneme mouvement que les battements. Al1e. ~ e )J p~ sans quitter :::>. I'autre auxiliail'e.

8JS oil J 19IJ $3 ~cldf!Ir cli 'tE'elF ItItre! 'i wWctc L!1 oS m i . $O~ lee 1i1I"C babE'flU I ~ 'r tT tr T at Ibj[bMt ber be!r I4isJ eJJ.. _2c' legato #fIT 'tr CfJaE & ~ftJijJJnJpIJ .J 4 1.J)J n&e.1M S.tO:D I.JS 4MJI.:tre appr-ise MAJOR AND MINOR'SCALES whole parfaiternent par coeur. U to~tin Ipr utrct[tHf[corlIJDJJJ'JM© Ipj cy rick Ir ciUEEr: Itr~rtr Etter ISMOJ. ~U~CI'rEiti bctebFeflbetrul" Eft i . This study must be learned mecanisrn of the said t._ 2. by hear Itlli¥.. .. Ie mecanisme sur It is indispensable to master range of the instrument.GAMMESMAJEURES ET MINEURES route II est indispensable d'en po sseder !'r:tendue de l'iustrumcnt .tJ IJ'~~ 1" staccato. scales on the til iJ§l1n Ir_QJ_Clrr ItriPes 1': dd"c:he.. :l £g iE I J 13 n&J j3 I r a eldf If~c'tr r.J lOI..' lie. : .tc a .J J 12] ~ fer e: ¥ &r 'tb" I.n~·nl~r Itrbclr"£flbCC"rr"E:CbEMIJiJI.a. . ~ br a'r't if tf[fb.J g I r dr ddt I VItT:Htt 0' 11mJIM JjJ I.. !re I0: t~fj ~fffj]flJ2. Cet te etude doit .m"JijJ !I'E etc 'i'C"er ttl c"c"c'err d.

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octave.Jq~§1 .fii31 Et G~ EFir SE . elF S~c@ ~:II rIcr '@Et I :111:~@_J]_g@ :11:€S4l. iID:111..!l!..Wr'cc! cr r to" :I.e superieure .!r:f)" l'eWeIM!JMM:II ~~ . cf& :111. b.t~~1! I..~. (1) .IJJ. simiis rot IC't r'r'b!ry 51 ~1:11 ~ .~ [~IE:'Lmta](IIIJ¥r T (W.ctu crJbJJd :1 legato ~#¥~!tr!lr CiT rr 1"6:[r"r ecrtMtr :11: Au JiJ &irV'U i. 1 1":\ J4 I (1) I Reprendr-e les exercic es CD II @ a l's'!.JJ. ~# C!ejr ~ %1 E wee r rim L~jtt:llaE j C! L rl.IF eiF Iarlrt~6llt'tr rtF :11 i~ @ ~.'r! I Q"i..J]~JJ~iJffiln~lnj.#~ IIt~~~. ®~ e! ~ m 'bIJ].q =II: 39 4 i~r ~~~F! CD ~ :111: cfl.111:ef~'" ~ E:.III: 'U>U ill cr rI'r ij.m ®~ ~ J ~ Diu ilfj~&'rhi" Iqr tl~Ili#Uhll:#iM5 Jnii.:ttrr rtrkr" . bE rt:#[ [ 9 gLf§:esti :11 b.. I (1) Take over exer-cises 1 to 6 at higher..JJ.b. cfiDr:lll.I. . .Ji§tJ1JE#rLrt I CHt cTtr4IJqJ:r. ~I J#4Mh#JEPl¥I~'4JqJl§5:III:{.

) ffl] 1JiilJJJl :111: ~I i]§§C@ w. 1Cttff ElY 1!JBJjj ~1~¥l9Di6U exercice se terminera sur la note marquee The practice .EjJjllij :111: •• S --------II#n#' II~"II& -----II&I'I. of each exercise .!r~se~a::: at~~sr1e~nto:tl" keys entirely over. ~I era Errr~ :III:~'~ '~'rj Il#.~~& :11 Reprendre entier ement les exer. Ri?@ :11 lEe Et Ctff I D J fflJj :11 Diit r:.EXERCICE "II I 1? en lisant de Gauche T ruvai er : I 2~ en Iisant de Dro it e P~finir _ TrJjinish a llroite: a Gauche: B I" t:'\" ~ }jJa/fijWJJJ:III: i j5n!5l. . ctr.m5j 11#1 11&1.. V1.Et 1~ i'. c~:~e ~. f .&~ II~hl. ------11#'# Pract ice : (2~ t:'\ s 1~ EXERCISE B In reading from left to right ----~ In reading from right to left -<E------ :111: hj.~~.~.@ liPJ DB 1IJjJ Jj lll:¥feiiin U a r ~uiFtFtEtr :.~ 1mcrY 1E r Et j rg 1fflJJig :111:## iMEfOm Cit 001 [J a J)j:11 -:_A' :ijJi.t ~~ t will end on th" note indicated hI a p"tlse Le travail de chaque d'un point d'orgue. 1i1lJm:J 1J:aijp 1 tar Ct. 'i! II' II~ 11&1'11 II#n#'# _I fflJ @J2 I !Jij]jij '111:# EiFifi I Ecf.

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. 45 a~ . II ~.~ fitEecddrrlfltfiJ=%fi&EQf:lle . IQEQfGJuJ1JJII!:m ... geu ~ wE&[(f II . £~f'-~~ Etf1 go:. arID iJJ II "U II II -£ @~ I. -?is ¥4ij J J 32 :lle iJj 6ff ~ iJj II ELi! ~ ~ LiJ • e ... II u J ~ 'VI [j:!¥g1J?iffd ..1\ atf dff art ~I ErtrtEg tcuEti} :lleII'cJ1 tu ElF II. aussi en enchainant taus les tons les 2 mesures EXERSISES ON PERFECT' CHORDS Practise also in conne ct ing all the keys the 2 bars at ~ only.. W4t Uil! I ~. 'V" J1l? jY bt£f tc£t I f£G-lEtt EtiF #l1j :11(' JE ~ cC! ~ II ~ II ~ ~ . .EXERCICES SUR LES ACCORDS PARFAITS Travailler seulement. j1J?W6tffarfWtrrf:QrEfip9J]:lle ¢ j13 ..

j11?F2tf£dlErx.# i# # 1]9 tIl lC! f1} II JJjm afEi} ~ 1\ II.. . 1PiP?dcrHIErrtfC&Er:&EQ!:llewCfIEfte& II . nP&ridcrfhEftr~CC&Et&lll~ m¢ttrce 11U£!ftr 31«: .gWi d dffrt I Gt& ~"?'JolfJ3 jill qa fJi Lt! 0Iij II ~ / . t¥ tv 4.ules : I Take oyer all these exnr:ist<s so articulated: .pijJ1? JEf I fat E@ QJg tnJ Ie flO cLder qg i ~~#~.~#.. ~~ m II II" <> II ..hH )~ Inl~ en levant in/lex d meduun. am ~~ J of u II ~~##I .d J sans 1<4I_.. ainsi ar-ur. II II" n @~ pj?bEf!WfttlflltufQrQ6DJ3tp @~D J1'l area Ptp?&DdllrGEttfPlJacrgll!¢¢W eo II (J) II i Rep r endr-e ces e xer-ci ces..• ieitbout leaving E ~ rais illg the forefinger and middle finger.~.~W) 2tthtfhdkr:Cu I Eft?i7a JlJJ 4JJJ :lle.Ert!Et&#3JgI! af~ ~ ~ ~ teE] E£lYCP"FGLttIf£tf:&J~1JjJ . II " I '~IV~I.11 " @~#~ BEtfEtfldrfffl%EQrEEif91jlll! .

mJ~p. I I Play over Practise lion placed at higher also these the octave exercises note. I: l2filt Ieffie t~ teIliu II:ahlif IeCiiiu ill .£9 :\11: #~O) :III:&~ r.~ (tim bm I:Wiit I tct mil:*@ 11&491] :11 IF II:JPw lEt!ffl :11 .t411.gqg 'IIW$J jl~lmma1~jJlQ®a:IJll?.OP 97J:II~toP mJ~ilpJ2J3J:ldl?? J:?lll!P?&9:ljJFR3J :11 J f I: ebcm:llf.\ be first ~ practised in triplets. them by the alter-a- in modifying 4~_ltt. i i i #f1!:. ~I:p-:rn :II~~:I ~ II:Pm:llv tr r ~~ #~~ iPmllll:g. II:fkp or! I 4j.piE=td:Q8% :9 f II:@ m.p# #~ simiii Jflg :lljJJGi3JJ :II?!JJ] :11 :IBpJi'J lij :11 i :11:jJ&J3&JJl j1Jil$"n · j1CSffl):II?JJJ]:II:aPlOS] f II:plP.11:~IEb~m IbEi:G- io n places au-riessus above ttfdf i"fJigg II~ It§t& :11 . &dew :I~&CEQ :111: em :II!ttUEQF:III:I$~ :11 &J1 f 1~'_Ei"II:":ltaf£ef:II:ta=Cftt :It-¢ff£& :11'E!rEfEcrt :11 Reprendre Travailler I'alterat PlJ :lltj1i12fflJ:IIiji19PJJ ~ r a 18Y• superieure ces jusqu'au mot Fin modifiant par..\ _ :111: b~ t:"\ :111:~p I.\ DE SEPTIEMES etre d'abord travailles en triolets.Pta :IIetc. All the CHORDS following chords OF SEVENTH must t:"\ 47 suivants doivent r.DES ACCORDS Tous les accords r.J.p1lm:. jl:p18-?lo :11:J11? :11:1iP?mst!_MRJ:os:ljJ~ -PlHI -rn f II::. egalement exerei ces en les de la note. until the word end.

DE SEPTJEME DIMINUE E & ~l1_&l!Oli6f:fiItfii1@._jja11ii · II @G __ jJ¥.@"i.~_tijt"lcit@&@.gh13t_@lJijHiRVat11J t .'rtf@@G. 1~aYUjnEiJ @ZJ ® IfiI@@ £t1W . . lb0en~_!fltijUfjj5~_@11 ffjjT&l-le_[C&@I~ej_Q@i0ft.~. +_@9@"q"nB!fjj'~flbW&®'_Stiti1! .#gySpgjll~ Rlh71l"l!Jh@jf i£b &fiiliCgufQr CWijHD0it'_ii*rr@@J ' 4i!i@.btrlia&Q¥I~_.hQ00fngtp_ ~!l DE SEPTIEME DE DOMINANTE ON THE DOMINANT SEVENTH . II @ ill ON THE EX RCISES DIMINISHED SEVENTH ..Ff13 fJJJ fijI I'@ e @ trdJ 11J!1S1JJ f .~®l(~SmtiU.tijHC&QO"djnw-jt.jU_wt.~jIJji@"ijferi}0j . 1f@._!fBlgJ_I _ i _@_II_jlfjjtll~@@QI_~dJ ~@@II EXERCICES ..t~"fj. ~~ .

IfI!-'lLLE(fJIS ArrTElJRS MENUET 'I''? di Minuet. ®~~ r rlr rlrrr4IF' Irrrir ~ TpJ J JlrJ r 1r = Fir r If' l'f r'l .__. HEir ---l iJlr¥ ==-==."j' II CELEBRE 2 notes repetees. IrF ' IV EIFrrir court JlrW I.to DU BOURGEOIS GENTILHOMME LULlY 1 & 2lIf r IT I F r I F r r I r J I r & j • I .]. the second must be stronger than the first.\ IT ® b r r ~r I V r IIT r I V r Ir r Pt If' fIr F r I[===.) J 'I F ====I r IF -1' r I . J.I j I LARGO 2 repeated. I J IJJrlv rl P f. notes.) WI =====- t &~ F r 1 F r 1 r F r 1 r J 1 r ~ 1 ~.m 1 p ~ OJ' J2: n 1 ~ I r .49 S[X MORCEAUX TIllES FACILES SIX EASY PIECES PROM THE BEST Al1TJlORS De'S .~ Ir j I H A END E l 'I J -=::::: ff sostenuto II .I F l } I J J . Ia 2~doit etre plus forte que la 1"" L 2 ~ij & Ix'rmt. ~ F F r I F~ E I.pp I. pp pp ' tr__. . ~~~ & -=:::::: ==-===- 'uG]1U LfJsJ ~-= =-J~. n I J '~' ~ I J.

LES NOCES DE FIGARO ts i« ot: CHERUHf.\) REVERIE . .

5f DON GIOVANNI MOlART .

r I#FJ. poco.. separate without breathing separu sans r-esp ir e r GLUCK 1 ~ -=::::: :::::=- '1~5F.Fir r 1 ft.~ tC fr Fa ~ I r-=r r ====-. ntf' F Irt £ If? Efd {--er =~ pp IF IT I ~I 5 ~ ~~VT r r ~ Hal l . PP .F rTn IF" 'r IIT R lfIj.• ====- I . I IT IT IgEl r2Pr r ~tJtj I-== r rf17U . rTf r ~@ r===. V·T t~ [t r I rT1'V·T·r I bE ttl tf r I tr U bEr>..!tll mpF Ir tile Gavotte de Gavotte. I r pr Hin]..A pp t emp o. r I Ir J ~ V --------.A H MID if E (GAVOTTE) MOllvement Tempo 6 . .~.

. FORTY SHORT STUDIES ON ARTICULA'rrON Insist upon the note which carries a slu r.Q-uARANTE PETITES ETUDES D'ARTICULATIONS Appuyer la note qui porte un coule".

ICftfCfffrcrqrrrrprrrp 7 ~ $1 err ret p leggzero ttl rn t t r t t ttl r r C r CC IT 1n a ID 'I Err fee c r 1 == OJ simile ::=- @FFFO-EEEElrrcrrcUI(cqr . . I . ~ ~~. -----~r~UFt 1EE EiP e:nPC£t Err Ch 1tf'r rffrr pErl Iqca F r r =======f ~ ~ &c cL1tEErd1FrrltryEYrcrttfl~EE!ErUqjtUltf!ctf( ====. ::::::=-: .5 * WrFOOER! -__________ p IC~Tw"f .---------.CWlmUiIMJiliiJI@ ======~ ~~/. r-----?:- one the beat sur Ie temps . Wi Wi 1r F reID s @* ~ p ~tir kMI_IMlgi:H~RI /-----'" mf ~ UJi Wi 1 II 'IWiiin 'I~ ==-=-. IrErfrrrFlcfrrblj . 9 ~ pp ImP m~ p ===- '13 ~ pp ~ .'1Pr$ ===--'I J J J J ~ I ~ ~ OJ J! 'I j~ ~~ . ~ IT l U :::0- :::0- ::::-. .a.

.... .. E! #- 2? 2? pp pp~ 2 temps.. f . . #.. . i:.... ... rr 2 herds. e: 1 r [7 F F i I jfE [ I :::=:::=- I.. • #.~u art 1~ Lento 1 1 1if et decompose. I • • ..55 :l .('_~. F rtf t LI r? I f fi I rtf F Pi E i:.. _ 1'.' simile t fr L C·: • e... ~. 1 1 .rf:...' Lento mf and decomposed..... # . I. ...

.E . 1'" ..\ I I ) II II . ..~ ~ r! ........ Ig ktE . . . .56 iSi (f r f :11i/Cd ..r . r'" . I r I l[t#y Lf'" . I .. I "#- f...r IF E en I Cd lJ r*· ....

.~.57 slightly slowed .~\ '\'--_' f_.~.gu\tI'-Eti@01$IDgJ1E .~ JD .. iiI).1 .. .dii@ ~eN It/1" lli/iall/ 14bI:B I@Dln .I' 20 pW:rug'rFrFlfOjfjlt!'Cf.' '1 r.]JI@j@DdJIWM. IfifRilsCwttg ~UtJ I ~.DTIh.J] liP rl i rni nishi ng jc"f lID @r. 13=3 Eclg be CJ I['rib! ce lfItiU (f Wi hi]) U U I!ffdP IjilQ . m'7 I I II PPP lA' @ c?Fr f 16b£t~. ~> .I'aaiEt Iglctclt!l'@i. .' .~~.f~@I'SiI~b_lam:rlclfl P p &~' "@iErtq l'rij~li& @ g' -----~ '. ~ .• '-Mrf . ~~~ .tt:-' .

~~ @e I ~ Qr $I Q' I g.' I' i ~~~ 10' i. r.tJff..n8IJ! II . Ji &i IWWi:fjfIUiiW&fIUJkibil.g ki U I t1kf jif a-&~ ~ I " it 1:£ f#d r~ ~ ~ .@I:rn@Dltr~.~iJ.f-fj fifUff ~tr~· ~6 at=.blrJUIEij"Ua I i~1n"a&ln~WrJIJ~.!-~ @w r-.HJ' IJ§ ijHr @'I g~G ~ ~& ~.tJ-f. en attaquant la 1r!'note par 24... I To be played like the first note by a dry tongue stroke.58 II Executor comme la 1~emesure un coup de langue sec.! E Jj" bl p::=>- m £j y IJ l5 @ @ Ilh~. ~ .~ Bf.

S9 .

.

61 .

~~~ ~ ~f~.====.ff4trffrJEjffl[ r simile ! II f' erfFUffrrflif(ffrrfftr1flrarr{ffhfflfr1[rff[ml ====.====$ ~ran an a:EfIEdlcarwrrr tffli1 taJItif_JII1 lij $Ii (j~oomtMdAJA4g@WhWWnmlilljJBJllbJEi.IEJ ~ .~ ~~T ~ ~~~. &I~~wrrrrF}F] l(rEFfrErfnCrrrrrrf.~.

63 ~! 1~.: ~ -==::::::: ::=::> --- lEY fiji" I gp II ~ p3~IPID2qRIf!~Jm... --=c::::::::: ::::=.~ W'6\[Hu IW!. ~ ~t.I11itJr) ==- .

SIX MORCEAUX GRADUES ET ELEGANTS MELODIE SIX PLEASING PIECES IN GRADUATED FORM SlTISSE .

65 MELODIE ALLEMANDE ~.318G .L.

MAD

RID

(BOLERO)

6'7

BOLERO

ESPAGNOL

MORCEAU CARACTERISTIQUE
POUR ETUDIER L8 STYLE

CHARACTERI

STI C

PI E C E

GiVING PEdeTlCI!: ON THE STYLE

H. \toderato.

KLOSE

69 .

.

'1 IL CROCIATO MEYERBEER .

.

: {(: « YR YC . pour tous SAXOPHONES NOUVELLE PROFESSEUR EDITION REVUE ET AU CONSERVATO/RE TEXTES FRANr.H. GA Y PROFESSOR CONSERVATORY OF MUSIC OF LYON Mitbod« compIetr Premiere Partie Deuxtemt Partie Ref. GAY DE MUS/QUE DE LYON ET .4NGLA/S COMPLETE METHOD FOR ALL SAXOPHONES NEW EDITION AT REVISED THE AND ENLARGED BY E. 75040 Paris cedex 01 . KLOSE METHODE COMPLETE les . rue Saint-Honore.YC Editions Musicales Alphonse Leduc 175.A/S AUGMENTEE PAR E.

METHODE COMPLETE LES PAR . les respirations et les nuances necessa.it ne ce ssaire de mettre it la disposition des Maitres un ouvrage repo n dant aux besoins actuels. La Methode de H. EUGENE GAY. an important development has been given to the Slid!! 0/ Afecanism wich includes numerous dispositions of tonalities and chords as well as the use of various bars so frequently utilized by contemporary composers. ploi de mesures var iees si fr eque mme nt ut ilisees par le s compositeurs contemporains. The work of the Master H. A l'oeuvre magistrale de H.GAY davo ir appor te Ull so in ecla ire it lit met iculeuse revision des textes originaux integralement maintenus. EUGENE GAY I'e minent Profes se ur au Conservatoire de Lyon. Puis un develeppement important a ete donne it l'Etude d« ilfdcan/sme qui comprend maintenant de nombreuses dispositions de to na lites et d'acco rds ainsi que l em.E. M.ire s et de ne pas avoir tite avare des ju d icieux conseils dictes par son experience. for having selected it as a basis to realize the work required by modern technics. KLOSE's magisterial work. COMPLETE FOR ALL BY METHOD . At last.GAY for his having brought an intelligent care to the meticulous revisal of the original texts integrally maintained. KLOSE'S Method being universally admitred as the best for the formation of saxophonists. pie. GAY has brought important complements of wich we shall state the main ones: First the Study fit tone has been widely amplified and particularly graduated. GAY a apports d'impor tants complements dont nous ne citerons que les pr incipaux: Ir'ab ord I' Etude du son a fite largement a. in order not to extend ourselves too much.mp Ii . H. d'hui concertantes grace aux modifications apportees au deuxieme pupitre. Then. fi e e et t re s part iculierement graduee. Les Edit eurs INTRODUCTION The music fur saxophone and the use of this ins . KLOSE Edi t ion reviewed and considerably BY EUGENE enlarged PAR EUGENE GAY GAY PREFACE L'ecr itur e et I'emploi du saxophone ayant conai. M. de l'avoir prise comme base pour realiser l'ouvrage requis par la technique moderne. E. the r esp iratious and the necessary nuances and for his having been prodigal of judicious advice suggested by his experience. we shall be grateful to M. il et a. KLOSE etant universellement reconnue lit meilleure pour la formation des saxophonistes. a p por te a la terhniqlle u'a pas fite fait au detriment de Ia mus ical ite ni des textes re creatifs qui tous ont ete conserves et annote s avec so in . it was indispensable to put to the service of Masters a work meeting with the actual needs. The considerable but necessary development brought to the technics has been made neither to the prejudice of musicality nor to the recreative texts wich all have been maintained and carefully annotated. mais neceas a ire. Enfin. Ainsi par exem. Tile Publishers . we shall simply add that we are grateful to M. prominent Teacher at the Conser vatory of Lyon. KLOSE conserve do nc toutes Ies qua l ite s musicales qui en firent Ia reno mme e . nous ajouterons simplement que ron sera reconnaissant a M. To H. the articulations. pour ne pas nous etendre. Le dcvcloppcmont considerable. For instance the famous Sudies oj'St!lle form to day real duets thanks to the modifications brought to the second desk. KLOSE Ed i t i on revue et cons ide r ablerneut aug rne ntee H. davoir precise partout cu cela s'imposait les articulations. de r able ment evo lu e depuis quelques ann ee s . for his having specified. L'oeuvre du Maitre H. wherever it was indispensable. KLOSE the refore keeps all its musical qualities which made its fame. I'on saura gre it M. les celebres Etudes de Style deviennent aujour. POUR TaUS SAXOPHONES SAXOPHONES H. trument having evolved considerably since a few years.KLOSE.

. tonguing verses and given of Boileau (Art poe rique ). les traits runs and the most arduous a I'eleve It is not sufficient. PARTIE de cet pour jouer aride. et les passages Il ne suffit qu'elJe phrase entendre. des to the melodic ances which agreeable to hear. er d'un merne volume dans I'aigu (jue dans le grave. on paper. e Ie charme il faut encore as it is reproduced in brief. scrupuleusement ces vers le travail a part les articulations. hornogime 2~ Les mollesse. de phrase. ouvrage du Sa: SECOND PART We have explained mecanism avoid this dies. agir de travail 1~ Start each study seSSIOn by slow exercises: The tone must always volume must be sustained. to des Etudes. " co nse ils pour instrumental: re mee/e z uor re Quvrage . different drawback. fr-appev ou une valeur longue. " "Ving-t fOlS Sur Ie metier "Polish it unceasingly "Pc/isse z 1" Sans cess e et Ie repolissez . inconvenient. nous avons ec rit pour cette /JUGS..exce llent your work" 5~ Carefully 6~ Remember Appliquer de Boileau po et ique l judicieux advice for the practice "Twenty of the instrument: on the b~nclz replace and again and agal·n . III seance lies. or a note nuances of long value. one must gil'e besivalue of the notes and nuthe charm which makes it est representee me lodique a Ia qui the exact are indicated. (Art of a phrase. and combinations) and to enable the pupil passages. stufor this second of an instrument etc . cornhinaisons fasse vaincre pour ob- we have written the practice in order phrase. nuances et con- 4~ Resp rr er au un rnernbre 5? Observer s e i ls ind iques . uniform stiffness and or lents: sons files. rendu ) de telle farton que le tr ava il. to make the music principles for playing the s axuphone .. In order to master read de la lire telle donner the The continuous in the first part of the present is often kinds work the dans la Premiere Partie et les principes continue indispensables est souvent des and the necessary study duets. galite du son. avec suuple sse. or advice s . to give a good performance. (d i ffEiren ts difficiles interesting genres. etc.. raideur observer of the same 2~ Fingers weakness in high as well as in low register. act With suppleness. qui la rend agreable a CONSEILS 1~ Commencer chaque ADVICE par des e xer c i c e s toujours sans soutenu.:I DEUXIEME Nous avons explique Ie mecanisme xopllOne. intervals. du mecanisme. pas pour bien la valeur c'esr-a-dir ex ecut er la musique exacte des notes sur Ie papier. it is the after 3~ Tr avai lle r lentement. /Jeuxieme exercises. les plus ardus. (different L'etude vier 11 eet Partie d'un instrument des Exercices. differentes inter essan t.. doigts intervalles doivent Le son sera played legato. either observe the times only way to maintain the eleness of tone and mecanism. et les nuances y sont indiquees. without slurs. soi t seule faeon de pouvolr l'e- 3'~ Practise slowly. in order to part.. G~ apr es un temps 4~ Breathe: the beat. dry.

3.". 1.DE LA SOUPLESSH L'crnbouchure ~ demeure fixe pendant tout I'exercice.rjJ J. precaution. The ~ en haut un e blanche par en bas gauche temps. 7. mcsures 6. J J J I -?]1: J 1J J J j J 1J J J J Take over the exercise without I I at higher oc subdividing. 1'8.. a 1'8": sup e . 4. 8.ew#tuf Ef!if~llif I~a tr:a'tfiT EGjB rJ ® .J J ~J J J decomposer.Jffi@lMFJM?J3j'it&? gp ez ) (subdividing) CD ® m ® qJtr~E~rcftf tfE.5. . Practise ta ve Lento separately and with the care the care measures 1.9.:fEf rCrh iFE c£i IqNrR.5. 7. 8. droite AHOU'l' mouthpiece SUPPLENESS steady during up the whole exercis e . at lower octa precaution.2.:CrHraUI CV ® IIWrEtBEdr~EtttlEI __-------------_ ®.e infe- Practise ve Lento separately and with measures 6.fi. 9.® ® simile sostenuto P PP PJ? pp l. r-emains a a rr 5 6 rr 7 a ha If note per beat down on the Jeft on the right Il iii 1 2 3 i 4 ii 5 6 ii 7 8 Lento t decompos @I @_ltg1fEi&$"ifif Jip. .8~---__ ~ ~fJ. Jes mesures 3.4.2.J Reprendre I'exerci c e sans Travailler rieure Lento s epar ernent et avec TravailJer rieure Lento s epar ement et avec les J \.

J@ ~J JJ I. Staccato _ Articulated _ Legato.)" : ~qJiQ M JiQ ~&~~ DO# mineur . i@ [Mid: @Cb:§" SJ ~§~. DO MAJEUR _ C 3fAJOR DO mineur . I SIb mineur _ Bb m~or ..G MAJOR ~Ul r#.mm e"r c. C minor ~i' . Lr~·t"Cott Cult I (!et' (j LAb MAJEUR_A~ M1fOR LA MAJEUR_A 80L mineur _ G minor (Cbrk :b~WiI. J@ iJ~4j I RE mineur c ~ ~fmD J~. MAJOR 80L# mineur _ G# minor C"jl>:.r ·q~JC'o :lg:"r..pC"51·Wc.m~[i?j' ~b.hJ@ WI.a IpmJa. J I _ F minor SOL MAJEUR .D lffAJOR LC~E!Jj. Itt'·Crbr{.~~ Z' minor ~_ a:#tQ ~r L qQ.2 Ji' :!f.H"4J~JM w..ETUDES SUR LES GAMMES MAJEURES ET MINEURES DE MEMES TONIQUES STUDY ABOUT MAJOR AND MINOR SCALE TONICS SAME Detache _ Articule _ Lie.::an 2~ J~: "j J3..r FA MAJEUR_F MAJOR U ~ L\IE1~Ljqr7 [ m J#J Iq. MI MAJEUR-E RE MAJEUR_.a?i.gr L'#(t 45. C~ minor j RE~ MAJEUR _.' "00'& rJ .!.nqJb L M II=iJawJ. J ~JI f#1P FA mineur MAJOR MI mineur c Z' minor (6 at ~Cr'#t:r L~L t1 j #J~J j I ~i .llj~CtohLer: J5. A mil~r ~ar(' :#r~~~=r fj.D~ MAJOR ~ diJj..llegHgUl !~ g:*i$ : n ~rz elj! t§~'1 I c: 16 LA mine ur .!n I [Iqt e • ·1!r ~bror Ci7j1 r ~ ~ai"irr: CtIrbU~C~ r SI ~ MAJEUR_Bb lJfA~OR pc c."utr n"~~ I ~.

J=Mq ·IUQ'I$ ~#g '#j~MJJ.JEUR .J#~.'t I MI~ mineur -E~ minor @ '~&fJ RE ~ MAJEUR = J DO # mineur C# zz: J#j: j~J J~J h~. 1 DO MAJEUR C lifAJOR ..#.JijJ: 42 ~. g.#JinaJ:~·!. J#J FA#MAJEUR SOL MAJEUR . ~darto 15: j#Jr.G MAJOR SOL mineur _ G minor t: Iq bt~5f : J#J J@~ ~~~~ ~I>~~~ -F# ® IC#r.@.JJ 2#J rl:#r'rtL~:&n I ® !C Iij" ~/ g :J. .~i~ ' ft LA~ MAJEUR _ A ~ MAJOR tfl'j r T or c §rr ~ru~r~\j "j'~ [r#rfl[ rl¢ -F# MAJOR SOL # mineur _ G # minor I#E 1 "41tt it :. C5.. .J ~H .rW 'J#J J1J Cl~rr#c rl'rj"wa FA mineur _ F minor (rtf. E FE!rr'l"~~•.F MAJOR FA# mineur 11UQ!#p S:f minor '#Jffj J~ J#J JIJ#. ~ ! 1 f* JtI .J JJ rrl'r'..: §@fI'E§=~lr: [#e ~f:ilrJ.Jlj¥al IJ ~ MAJOR ..: 5..•••. .r!EMr ® keElCrg FA MA. •• g.J~h.11.f#EOjj#'i.. ekE' I!P@ f5 J#J : J#J 2~ hJ ~#~ ='m ~ ·CIf dtJl iO : ] qJ J#J Mn MAJEUR .:! · ~.E~ MAJOR MI MAJEUR -E MAJOR MI m ineur Z' minor t:§J 5 ~G !'jt l'EpttdkS.a7 ~g. c J1J "JhN·~ a'I'II ® !r lit fO.J b#. ..]§..

rtir:ule _ Lie. .! MI min. :!r:rWi stt]An I j"flqJJ)J crabln: eta~ d.r:g . l. Staccato _ Articulated _ Ll·gato. And in linking together the whole. MAJ.. I rr ~.liljfj era ~rtf· b! W 15~ I Qd'!i"fi eE rrga · erg i!~ @ qP#1W Mlb MAJ.ftHP'J mi." mesur e de chaque Ilgne.1'._D min. D Rf~ min. Z': mesure de chaque Iigne. = RE «s. la Pr-actise also the 2nrl measure of each line in linking all minor sea les ._ E~ min. d]J@#. as the written exercise. scales . Vu J'Z/j IdJ1M&. Travailler auss i en enchainant toutes les gammes mineures. Et aussi en enchain ant le tout cornme l'etude ecr ite . _ E AlA. Ml MAJ. E min.JI.j 2~ cur: § j~~.r Eb lrfAJ MI~ miu. Detache _ .

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--------.:> ~ ~ '-.• .J -< .: . ---==== .->- .~ • >I sur le temp~_o" .-.._// 4----- __ ~ 1r ------- .:-: . t*" N~1.---./ -r=>.. I'. .. Rule: Short Tallies belong to long values which When 2 notes are repeated. Lorsque 2 notes sont repetees 182~ doit etre plus forte que la 1". ________ -===-= ====- ».__:_.. I ~ . -= -rJ '. I 't*" -r=>: .:- '----->- i 4 "'- i- ..i> --- -_/ .. =«. II --P -I "~ . " 'I -.• I " 1'1 >- >- " .: I '~ .! . " .LUUIUU~ ~ 1 LJUlt. ~ -c. .. Jr.- Mooerato. ~ . follow them....:--~ I •• >-I = >- " II .~lA .~ WITH ACCOMPANIJlIENT OF A SECOND SAXOPHONE Regles: Les valeurs courtes appartienl\ent aux valeurs longues qui Ies suivent ._. f-~'_ ~ fro . -- . >I " ~ .tVEe ACCOMPAONEJlENT IJ'UN DEUXIEME SAXOPHONE Mt..'_--"'" >the beat I :!'r_ >- --... the second must be stronger than the first. 15'" ~..~ >- I = .. -{!j.e...~ 4 -. ~.J r --==== ====_______-.....

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