) A Tune a Day A First Book for Flute Instruction By C. Paut Herrurtu ond Hucu M. Sruart ‘Copyright 1869, 1981 by The Boston Music Co BOSTON MUSIC COMPANY BOSTON, MASS.*UPIL’S DAILY PRACTICE RECORD Pupil fills ia mun: ber of minutes of daily practice. Parent sms init To im space designated ae certicaton of pupil's record for the Teacher fils im gade for quality of each week's work as shown by the lesson ‘Teacher signs initials. = Excelent: G = Good: M = Medivm, Distinctly Above Passing: US Lowe Lack of Etorts F = Falling. CT EST GRADE, Sih TEST GRADE Ine rT] Gen TEST GRADE ‘TEST GRADE Teh TEST GRADE re IL TEST GRADE FINAL GRADE ‘Shoot GradeOREWORD TO TEACHERS objective has intentionally round, but rather to con- 4 thorough musi back a good flute playing. These NY compiling this co been not tecover ti fentrate on tbe ‘scquic sround on a sib found two requisites are imsep | to the simpler rudiments of aly ‘understood as the need A brief setion ds ‘music which should be ‘The learning off the pions and fingerings as intro- duced should beinsisted! = 0 abit of careful listening (oll-sdngs have been selected crest as pieces, and because, some technical poiat to be Cultivate isthe peril The familie hymns = veeause ‘of the melodie in a addition, eh ome off sastered. ‘The value of lemrnins: > “think count” from the very pinning cajact be wrer-se:imuted. Only in this way ean pupil sense rigthim. Rhrthm, one of the most essential “ements of music, amd ussally conspicuous by its absence sm amateur ensmble plaving, is emphasized throughout. “Many teachers dio the thinking for their pupils, instead fof helping them to think for themselves. Inssting upon ne mastery of each point =ill aot dull their interest. ‘What greater gratification can there be for « pupil, hhether he be a chilid or adult, than for hit to recognize 's increasing adievement. Lessons racked “Supplementary Material” may be ‘ven as a reward for well-prepared work, Class teaching should be « combination of individue instruction and ensemble playing. At every lesson ther should be individual playing so that all the necessary curzee tions can be made. Never allow a pupil's tnistakes tb ge unnoticed, since only in constant eotrection will be develop the habit of careful thinking and playing, ‘A decided advantage of group-teaching is that it pro- ‘vides experience in ensemble playing and gives every pupil the opportunity of listening to the others, of observing their mistakes, and of hearing the corrections Classes should be rograded whenever necessary 50 as not to retard the progress of the brighter students, nor to discourage the slower ones. This procedure also acts as an incentive for greater effort on the part of the pupil. “Lessons marked “Fingering”, “Sesles and Arpegeios”, and “Important Assignment” should be used whenever recessary, according to the individual student's require: meats. The tests, following each five lesions, are given as a definite check on the pupil's progress of knowledge and accomplishment. ‘These tests are most important and ‘should not be omitted The eventual success af cach pupil depends on the regular and careful home practice, according to directions. If possible, it would be wel for the tescher to keep in touch with the parents ‘This course provides one lesson a week fr a school year. © PAUL HERFURTH HUGH M. STUART RUDIMENTS OF MUSIC Music is epresented on paper by a combination of characters and signs; it is necessary to leara all ofthese in order wo play the Hute intelligently. (Characte called notes are written upon and between five lines, called the staf. The chancter ee placed athe begining of the sais cae the treble or Gee ‘The stafis divided by bars into measures as follows Bar. Bar co. 18 (ii)These measures, ia turn, are equal in time value, aeordiag to the fractional numbers (Time sigoature) pleced at the beginning hf each pio ‘The time signatureadicates the umber of ots of equa value ineach meatus. The aper igre iver he nutes ct vests counts naomi and the lover gu adater what Hadtanotelnscobeasucas fo © ape te tne yest weno a ete ea] Alt note andro quarters in cach eases camals 2 quieter note: quale 4 eight note; et, There are different Kinds of notes, each variety representing a certain time value as follows: ale eo 12s es 423 4 t @ 8 4 dadesuae ‘Whole Nuteequals: Two Half Notes, Four Quarter Notes, or Eight Eighth Notes. ‘The count for the above would be: four to the whole note: two to each half note: one to each quarter note, and one to each group of two eighth notes. ‘The notes are named after the frst seven letters ofthe alphabet, space in which they are placed. Diesdses fie, according to the line on, of The G clef: which encircles the second line, establishes the note G on this line, from which the other named as follows: os Sea Ga BC DEFS GF ED lines and spaces a1 Im addition notes arewritten upon and between short lines above and below the staff. These lines are called ledger lines. ae ery Good Buy Does Finely. F-A-C-E A rest indicates a pause or silence for the value of the note after which itis named, such as WHOLE REST ALF RESTS QUARTER RESTS EIGHTH RESTS ‘The end of the piece is indicated by a light and heavy line: ‘When a section or part of « piece is to be repeated it will be shown by a double bar with two dots: SS] 1 0, 18a tiv)FC REWORD TO STUDENTS staly o Nestudent sh n instrument withuut Uicaid uf x competeut instructor for that partigular instrument Due to the varationsaf mouths teeth, and lip formations of diferent individuals, I believe the al important ques. tions as to position of mosthpicce, breathing, tongueing, and lip control should be decided by your teacher for vour particular ease ‘TECHNICS ‘The most important technics for wind instrument players are a follows: (1) Developing and stragthening the lip muscles, (Process) Playing of long sustained tones (2) Developing clarity and precision in attacks, (Process) Proper we of the tongue. (8) Developing a fine quality of tone. (Process) A combisation of No, 1 and careful listening (4) Developing fluency a fingering (Process) Playing ef scales and arpeggios in various keys (Developing a master of the entire range of the instrument. (Process) A combisation of all of the above. Left Hand Thumb Position CORRECT POSITION (POSTURE) When playimg the fute alway: stand or sit erect with head up, Arms, bands, and fingers should be pletely relaxed and field in a atural pxsition. Any stiffass ofthe body will be reflected in the quality of your pl jg. 1. When practicing, itisbetter to play ina standing postin as this wll help you to bresthe preosre, HOLDING AND: FINGERING THE FLUTE. ‘The ute is Falanced and suppo-ted by the fst joint ofthe RIGHT thumb, which should press against the under de ofthe Gute directly beneath the serond Bnger of the RIGHT hand. ‘The palin shouldbe turned sway trom the plover ad the litle Snger should pres key IAC. The first fnger of the LEFT hand, while curved to press hey Tl, should be Dressed firmly at its first phalznx against the body of the Hute. The palm should be toward the player. After these _~agers are in place, the remasing fingers should fall into place easly if eurved slighty. CARE OF THE INSTRUMENT Be sure to ask your teacher about caring for your instrument. A well cared-for instrument will play more easly PHRASING ‘The breathing marks (7,in addition to indicating the proper places to breathe, also serve as aa introduction to the fecling of proper phrasing of melodies. This is important at itis that which gives tleaning to tnuse HOW TO PRACTICE ‘The most important part of your practicing is in being able to think out the problems at hand: Sngering, tongue- ing, phrasing. ete. WHAT YOU CAN'T THINK YOU CAN'T PLAY. Be sure to do. good plece of work on levee + oefore attempting lesson 2, and so on with each succeeding lesson. Play slowly at first and think carefully the chy thon ote values), phrasing, tone, Sogering, and attack (tongueing). YOU are your own best teacher. Lene to intelligently criticise your ows playing. Ubelieve you know when you have done a good job and when you haven't. Don't be satis. awed with a lesson half done. yor are only fooling yourself. A good student is one who practices rogulary every day, > You? 1M. Go. 11882 (1DIAGRAM OF FINGERING EMBOUCHURE HOLE Ch DS D be BE in 9 Il ale izle 2 lz tele | | i WAND I ND FOURTH OR LITTLE Fl cER xe_lrolaclac _|eclac_aclso'sclaclno|ne | [nc | | | | | |[L.MEANS LEFT HAND | | fe aoe ee Porro otd Note: Uf fate has-open Gt key, LX must be held down at all times unless Gtor Ab se to be played Bx co. ss992 -2 byhands, with the open end to the right. Close the lips and extend the Face the inner edge of the hole against your lower lip so that the nam of ust above the white, Be sure the hole is at the ceater of the lip. Pak Upper teeth. Take a good breath, withdraw the tongue slightly. ead dice ‘The opening between the lips should be quite saall in andar (See pieture below ) Take the head piece of the dute in your comers of the mouth slightly as when smiling the hole can Be felt of the red part of the lip, the tip of the tongue at the upper edge of the the airina steady strvaim against the outer edge ofthe hele. todirect the stream of air against the rim ofthe hole without waste of Experiment ith the postion of the head piece against the lis; turn the hole slightly in or out, covering tle more lets of the hole. Listen to yourself. A better tone will be your guide, seston ou cam produce s tone and sustain it for the duration of your breath, try the following exercises forthe -ad piece, Lesson One, F co. 112A TUNE A DAY LESSON 1 OBJECTIVES: 1, To produce a tone on the head piece. 2. Correct position of the lips against the embouchure hole 3) Correct uce of the tongue, 4. Breathing, and the production of toae. 5. To learn the value of whole,half, and quarter aotes and rests. 6. To learn a moter time) signature and what it does [Four counts toa measure |A quarter note gets one count. Exercises for Head Piece Practice these exercises many times and devote 4 considerable amouat of your practice time playing. te z tones in front of « mirror where you can see the position of your tips. gate cco sores FSSA on wae comm ess =I g METER (time) SIGNATURE. ZMEANS { PCounts 234,62 34, ee H tig ig J 4 tT f t tT T T a 234, 1234, te, WHOLE (4 couat) NOTES eS and WHOLE ‘4count! RESTS etto— — 4 : * SCout 1 2 94,12 84, ee Whole Notes and Half Notes p bod ! agt | pte i oitsii > value saan se f quanren( sus Nores GaP PEY a guanreRtcon nests gy Count 2 3 4, 1 I 1284, et Half Notes and Quarter Notes ot toad Jd dtd be eCounti 234, 1294, ee ya fall rowad tone on the headpiece, and you understand how to count the above CAT shaw ann howe th yecrmnte the fate and saw will be ready 10 proceed 40 ‘Wren you can pi LESSON 1A. Copyright, MOULIL, by The Boston Music Taal. Co. usa ieeraet nn REELESSON 1a JECTIVES: 1, Correct poste 2. Further developm: of mosth position, 8. To introduce third-lins B. LEFT HAND Fisst finger 02 key 1; ‘Thumb on key TI; First finger against flute RIGHT HAND Thumb beneath flute under second finger Little flager on key RC. FINGERING GUID! ms | LEFT $200ssteane ner os Introducing 3rd-line B 8 E(elateane key pressed down, Ti (Lt) (Key RO z 3 ree This nove is— @ ee = 7 OE = = Think:Count12 34 ahaa ® ‘Think:Count 423 4 ‘These are_notes? © ® oe Site etises bieeetleres pest aoe ‘Think-Count1 23 4 1294 4234 BMLCo. 11832LESSON 13 ECTIVES: 1. Correct position and correct holding of flute 2. To iatrodues mecond-npace A Think:Count 1 2 34 ‘These are—_notes and receive 128 1208 Band A March (Duet) on (PS ‘Think|Count 2 34 s2a48 teacher $3 SSS BAL, naseLESSON 1B (continued) BUSCTIVES: 1, To introduce second-line G. 2. Practical application of previous knowl Think:Comntizs 4:2 34 notes and recieve ‘Think: Count « Duet) @® © 2 : Pupil Teachei Oa “Mihen two motes on «he same degree line or space! of the staff are connected by a curved line — they He'to be plared asone ate, adding the value of the two notes together. This is called « TIE. “Hold fermata): ashort curved tine drawn over a dot, lengthens the value of the note BAE.Co. neseLESSON 2 5 OBS IVES: 1. To develop a futter tone. 2. Practice in the use of whole, half,and quarter notes and rests, 3! Application oF pre-knowledge Hold ea: ote as loag as possible. og= =e == opas! ‘Think:Count a2 2 4 og Think:Comnt:. 4 of: ‘Think:Count: © 3 4 Flying Fancies In a Canoe © = ‘Think:Counts 2 a4 ‘The Bells (Duet) Pupil Think Count 1 2 34) Teacher At Plerrot’s Door (Duet) French Folk Soag Pupil ‘Think: Teacher Long Tones Home work: “vite a line of notes thus far studied, using half and quarter aotes and rests. Mark the letter name (G-A-B) above ‘each note. BM.Co. us2e LESSON 3 ( SJECTIVES: 1, To teara the name and fingering for third-space C, 2. _Continsation of previous objectives Introducing 3rd-space C No thumb (L1) (Key RC) c This new aote is__? ® Think: Count: 2 2 4 ot ee Think: Countt 2 3 4 oe ae E 2 = f = = Think: Count 1 2 5 4 © Sea ae ‘Think: Count1 2 3 4 Melody (Duet) Time signature is__? Thi pote Pupil = Ss Think:Count 1 2 34 Teacher Mixed Melody (Duet) Pupil ‘Think:|Count 4 334 Teacher Hold each note as long as possibie. (oi A A O o BM.CS. unasLESSON 34 z OBJECTIVE: Application of pre-knowledge. Happy Days (Duet) @ Pupil Teacher Kassaksavell (Duet) Folk-Song (Duet) Melody Hold each notte as long as possibie. an © Homework: Write a line of notes thus far studied, marking the name of each, BM.co, ags27 LESSON 4 OBJECTIVES: 1. To teara the name and fingering for first-space F 2. To develop a clearer tone by playing tong tone: 3. Emphasis om ehythe, Introducing tst- space F Ti L12-8) (Rl) Key RC ¥ ® f= @ these are. sot e Think:Counts 2 3 4 ‘Think:Count 12 34 Hold each aote as long as posible. a ® Different Note Values ® Toe tettes same of of dibs sote ie? Onis note is_? This note ie_? © rnis note is? Popes French ® ‘Time signature is__? Pupil “Teacher ‘Home work: Wrive a line of notes thus far learned, using half and quarter notes and marking the letter names above the notes. BM.Co. uaseLESSON 5 9 OBJECTIVES: 1 To learn the name and fingering for third-line B-flat 2, To tearn the; meaning of the flat 3, To notice key signatures and learn whet they mean, Intruducing: ar¢-iioe B-flat TI) (RI: Key RO : ow cB A ELATh LOWERS THE NOTE TO WHICH IT APPLIES BY ONE HALF TONE. A NATURAL TAKES AWAY THE EFFECT OF ASHARP* OR FLAT AND RESTORES THE NOTE “TO UR ORIGINAL PITCH. (*see Lesson Niae) This note is? ® Z = : Se q SE SS @ = = a f =| ‘Thimk:Coumt i 2 3 4 1234 @ o€& rs x = =i peste =i ; aS Think-Coumt': 2 34 —7 SSS © The Key of F Major Ths flat placed on the Ord line of the staff just after the clef sign, affects every B throughout the Blece, except when temporarily cancelled by a natural if) siga. NOTICE KEY SIGNATURES aie FINGER ACCORDINGLY. AN ACCHDENTAL IS A SHARP OR FLAT WHICH DOES NOT BELONG TO THE KEY SIGNATURE AND APPLIES ONLY TO THE MEASURE IN WHICH IT 1S PLACED, ® F Major — One flat Duet Pupil SS ThinksCount 12 3 «| Pupil Oats and Beans (Duet) This note Pupil ‘Think: Count 123 4 ‘Teacker| Bak ca. sansa!LESSON 5a ECTIVES: 1, To introduce the slur, 2. To practice using the notes previously learned. 3. Further use of the key of F This sign — plaged over or below two or more notes, indicates that they are to be played ia one math, and that © se first note in each group should be tongued, To" ToNcve marion Tiink:Coumt: © 4 @£ we a + Think: Count « 2 3 < Lightly Row ® [Ficeatar carey Papil — Think:Count 1 2 34 German Fotk-Song. ‘Teacher o Jingle Bells J. Pierpont Bice. ses4“ TEST QUESTIONS THROUGH LESSON 5a Questions Erom itis and following test-shects willbe given as a cheok on yur home study cf the preceding testom KEMEMISEN: the more you know and understand about the signs and symbols used in musie-writing easier it will be for you to learn to play well Yoor 1 The is calted__ 3 2. This sso0e1 ZF ie cate __ 5 3. The staff is @vided by bartines into 5 4. Fractions atthe beginning of music are called signatures. 5 = —— | 4 6. These Ze) are—__notes and have counts each, 4 7 These BEIT an notes and have count each 4 8. Lines aed epacos are named after the first letters ofthe alphabet, 5 9. Tris eT to rest . 10. These are reste 4 LL. Thes are reste 4 12, Tats sigs EE means ecurts oonct mene a 18, ame he ote tf sated 3 —=SS= 50. Divide the feng ito matte: ° 17, Tesetion of trams! : im. Sgt rounee a: S555 SS” TEACHER: Write line af notes thus far studied, using whole, halfjund quarter notes as a sight reading test, B.M.Co, assa2eZ LESSON 6 1. To teaen the ame and fingering for fourth-line D. 2. Practice in changing registers through C,Dland A. Upidee (One fiat: Bs) Duet) ® fe une Upidee (No sharps or flats) (Duet) Think:Comt1 2 3 4 © pi “Sileg! Prausee oa page 13 may be introduced here if desired BC, taeLESSON 6a 1 OBIEBCTIVES: 1. To attain more facility in changing registers 2. Application of pre-knowledae. Silent Practice Ina sitting: oa rest the flote comfortably with mouthpiece on the Teft shoulder, the opposite ex on your lap, 2 ractice the register change from © to D or B to D many since had sees easily andes: ly eapidly. Z Pee sitently fg Teme 5. satare ts__? Jingle Bells J. Pierpon @ = : =o Pat Think'Count 1 2 34 : a Twinkle, Twinkle, Little Star Harvest Time on @& = Soe ee SSS Think:Coumt 1 23 4 1234 Folk-Song @ Pupil Think:Count 123 4 ‘Teacher: Oats and Beans (Duet) Pupil Think: Gount 123 4 ‘Teacher BAM.co, uss1" LESSON 7 OBJECTIVES: 1, To learn the name and fingering for first-line ©. 2, To learn the aame and fingering for f 8. Practical application of these nat Introducing 4th-space E Introdecing tst-Lne E ef 1 (Li-2-3) (R1-2) Key Ro Ti (L1-2-3) (R3-2) Key RC This note is? ® ThinkkCounts 2 3 4 oss eee ‘Think:Counts 23 4 Key of __> 0 2 eS ea shinECount +23 + “hinkCount 123 4 9 oe = SS SSS Count 42 3 4 Folk-Song (Duet) Pupil ‘Think:Counmt 12 3 4 "eacher | fee sigig Waite Nine of notes thus far studied "GorWGES Vice alt ane nwestioe Sees aesLESSON 8 OBJECTIVES: 1. To tearn the name and fingering for fifth-line F. 2. Further practicn using notes previously teernen 3, Further use of the key of F. Iatroducing 5th-tine F a= T1 (L123) (Rt) Key RO See picture om page F eB ® e ‘Think-Count1 2 34 ®@ apes € Saat Think:Count1 234 Hold each note as tong as possibie, QO A A An Scale of F Major Up and Down 0 $a ee ee Stowly Song of the Volga Boatmen Pui Gcay ® Think-Count': 2 94 Evening Song Slowly Robert Sehumans, @ ‘Think:Count 1234 BMC. 932® LESSON 9 BJ VES! 1, To learn the name and fingering for first-space F-sharp. To learn the name and fingering for fifth-line Pshary To teara the meaning of thw slated Practical aoolication of these notes Introducing tst-sgac AJ "E hotroducing sth-tise 7 ES Ti (1-2-3) (RS) Bev 3 ach TH(LI-2-3) (R3) Key RO Fe oF A SHARP) RAISES TE NOTE TO WHICH IT APPLIES BY ONE HALE STEP. This aot 2 oe s Au Clair de la Lune This marie(s Indicates the breathing places Thin&Counts 23 + Merrily We Roll Along omemttnprieneiee 2s = feeries rhincouts 29 4 Folk-Song German fhink!Counts 22 4 Melody fo) Thim-Count 224 ne of the notes thus far studied,LESSON 10 t OBJECTIVES: 4. To tearn the name and fingering for G, 2, To introduce the key of G, one sharp 3. Application of pre-knowledge. Introducing G, Ist space above the staff SoaCH abore the staff See picture page 4. Ti IL1-2-8: Key RC oS ® ® Play slowly, sustaining each note with equal volume ee ® e The Key of G Major ‘The sharp placed on the top tne ofthe staf, ot after the lef siga,affece every Ftheoughont ihe piece, exeepe when temporarily cancelled by s aebonl teige NOTICE KEY SIGNATURES, AND FINGER ACCORDINGLY. Scale of G Major ® Beneath Thy Guiding Hand : J. Hatton ® ‘Think:Count1 22 4 Theme from the Second Symphony Key of? : = . FJ.Haydn @ ‘Think:Count1 23 4 MMC HseTEST QUESTIONS THROUGH LESSON 10 ae — 2. This) is a__ z 3. How does ab) affect a note? 4 4. This @ isa 4 oo 5. How docs a) affect a note? a 6, Name the following lines and spaces of the staff: 8 dit wane 2nd space 3rd space —— det tine Sed time 2nd line 4th space st space Below staft 7. The key of fh) fs ri 8. Write (aotate) the key signature of (1) 4 8. This sign ~ connecting two antes of the same pitch is called? ‘ 10. What is a slur? 6 2 Witt) he 0 major set, Gy 12. The key of (iH) is___ 4 13. Notate the key signature of (18). 14, This note eS os 6 45. This note i 4 16. Tais note SS ts - 4 47, Music written for two flutes is called 6 oo 18. Iaspectfon of instrument. 10 19. Sight reading. 10. TEACHER: Write line of notes thus far studied, using slurs, BM.co. aseLESSON 11 49 mBIECTIV To learn the name and fingering for A, first line above the staff To Teaen the value of the eighth note To learn the use of rhythms involving 8th notes in and 2 time. 4. To learn the meaning of 2S, “Det Segno). Introducing Ay = 7 15 jove the staff See picture page 3 T Key RC oa no Eighth Notes ‘An eigith nome ‘s) is equal to one half the value of a quarter ote ‘Two cightn sores (JT) equat Fee) a naif note, and eight wigtths (ooo is equal (0 the value of an eighth sote one quarter not=, four eighth notes: Ae eighth zest = LTF2) a whole note, Grins wEANS {CTuarter note ete one count comparison or { TIME wiTH { TIME @ Opnasere of 4 time equals two measures of % time. o 1 ausee Tees @ © This = : Teale ae -équals ® This AE a eet Tees 4 a 2 saae @ _. © Bethe te2@4 2 Long, Long Ago 2 Thignote is__? ze © Teei2 «2 1828 Bey of__? Time signature is’ @ ThinkCants 263 26 Fine D.SAS) to Fint Gaily The Troubadour Bey of : Bayly Thi Gamt 1 20 182 eee | ee Dodo Aten @ Think: Qmnts «zs 142 Zoid each note as loag as possible. a R A A A A ©: *D.5.-Dal Segmoe BMCo. 6 10 back to this sign © and play to Fine (End)- LESSON 12 OBJECTIVES: 1. To learn the names and fingerings for B’and C above the staff, 2. Further practice using eighth notes. 4. Further practice using 3 time, Introdacing B, Tg Introducing C, eae 2nd space above the staff 3 2nd lize above the statt 5 Tt (Lt) Key RC nef (NO THUMB) (Lt) Key RO “= nel Scale of C Major ov a : Slurred Octaves = Andante from the Surprise Symphony oe @ Reuben and Rachel les Allegretto (briskly) @ Moderato (moderately) sunk ® ‘Wearing of the Green Allegro (with spirit) ' Irish Air ® Old MacDonald Duet) Allegretto : Pupil Sount re ae Pupil Home work: Learn to play the © Major scale from memory. BM.Co, 11622SUPPL MENTARY MATERIAL THROUGH LESSON 12 ‘There's Music in the Air Allegretto ©. Root ount:m 1234 seeesa Are You Sleeping? Round) Key oif sharp is @ French Air ®@ @ Little Brown Jug Allegretio @ Passing By Due ® Andante (slowly) eo Pupil ‘Think: Gount 1 22 Edward Purcell ‘Teacher| Evening Song ‘Mloderato (Duet) Robert Schumann ® Sees - S Pupil ‘Think|Coumt 4/1 234 e|12634 ‘Teaeher = *Many pieces begin with an imcomplete measure, usually starting with the last beat or fraction thereof. ‘This is called am w-beat. The ending always completes the measure of the up-beat, BM.Co. 1692LESSON 13 VES: 1, To learn a new time signature — 3 time - with emphasis on hythm drills (A-B-C, ete.) 2. To leara the value and use of dotted quarter and dotted halt aste The Dotted Half Note and the Dotted Quarter Note A dot is equal to one half the value of the note it follows, A dotted half note equals 2 beats, a dotted quarter note equals 1! beats Written Played Written Played Rhythm Drills DRILL: Count aloud each variation while clapping hands once for each note, Repeat several times ‘mil you feel the rhythm before playing-Veriation F is the most difficult and should be thoroughly understood. @ Eount 123 ® Gount 2 3 Gount 12 3 © — 24 SS a Count 1 2 38 —s gs i= re ee ee Gount1%2 2 Gount: 2a3 2 4s © ounti’ 2 3 Combination of Rhythms in 34 time BakCo. s1ga2LESSON 14 OBJECTIVE: Apptication of @ and Gifferent teers 23 8 chythms in tamitiae melodies of French Folk-Song Allegretto —— ® ‘Think: Counts 2 3 America, Time signature is__? Carey @ Think:Counti 2 2 2 «3 Key with_sharp is: L.van Beethoven @ Think: Counts 2 5 College Son; Moderato tere: Traditional @ ‘Think:Counti2 & 12 « dy 7 Home work: Write eight measures of aotes thas far studied, ‘Mark beats and name notes. BAM.Co, nase using different chythms in 2 time,“ LESSON 15 OBJECTIVES: 1. To learn the name and fingering for B-ftat shove the staf 2. Application of pre-knowiedge by playing familiar melodies, Introducing Boy i 2nd space above the staff Tg ree TL ILD (RD Key RC te 3 BE ne rede TretLt) Key RC x rag: Go Down Mosse . Negeo Spiritual 2 iffe! 4, cp) tteore.? = 2 Be pple spies ry = xhink: Count «© 1254 tees Melody in F ‘Adapted = A. Rubinstein ‘The time signature is ‘4d Think: Counts 3 Yankee Doodle Traditional a : 7 aink: Counts 2 « Folk-Song vr-meaT . + a) —ink:Counts & 4 2 3 Crusader’s Hymn German 2 auink: Count 123 4 == Dont forget to pla ang tones regularly. pp 7 AO Om OD 9) err ia ‘Thin fingering for BS od primarily whem Bb is approached from G. se ca, sme4 20. |. This @) isa ~The key of (tf) is = Write (notate) the key signature of (8). e=3 What is the meaning of B.S. Dal Segno)? TEST QUESTIONS THROUGH LESSON 15 These notes Each of the above notes receives ccunt in $ or Fume This eS feat, The above note has. counts. This isa nati The above note has counts. +. Divide the following into measures: QQ JTRS OL i Nasa 1. Mark the count under the following: PIF Mi i di on ). This sign > means ‘What is meant by the up-beat How does af affect a nate? ‘The name of this note Bets ig 7. What is the meaning of @ time? - What is an accidental? . What is the meaning of Andante?______ttegretto? Sight reading. ee TEACHER: Write linn of notes using different rhythen patterns in time BM.Co. usa Prists 25. Your26 LESSON 16 To learn the name and fingering for low D. Knowledge of first and second endings Practice in playing ia the low register ECTIVES: Introducing D, 1st space below the staff TA (L123) (R12- 7S —= @ Au Clair de la Lune Key of. 5 Lupy ‘Sharps are, and ® First and Second Ending ‘The term tst and 2nd ending appties to one or more measures in brackets at a double bar: Ty Tins, when the strain is repeated, the first ending is omitted and the second ending played instead. Home on the Range Cowsoy Song (Fistesding Time signature is?) a ©F Thi 2 38 /Count> 1 2 8 [Z.Segond ending 1 ea Holy, Holy, Holy Time signature is__? John B. Dykes @ Think:Counta 2 3 4 Wass 1208 sho. senseLESSON 17 ar GBJECTIVES: 1. To learn the name and fingering for thirdsepsceC-sharp, 2. To tearn the name and fingering for C-harp a 8 To tearn the meaning of the key of D Malor. fe = Introducing CR, = Introducing Srd-space C#, te No flagers 954 Jine above the staff. = Key RO (ao other fingers) Dp MRE ey Re a Key of D Major (same as owerce ‘Two sharps: F% and C8 te a Hymn ra Moderato PS. Haydn Think:Count 4 1234 Key of @ Holy, Holy, Holy John B. Dykes @ i Ebola oar Carl M. von Weber Andante ® £ Pupil = Thinks Key and dote valued Pupil28 LESSON 18 OBJECTIVES: 1 To review the keys =d fingerings presented in previous lessons, 2, To review the vario=s thythms presented in previous lessons. 3b. Fuster practice of 2g tones and slurred octaves Aaa as A AAA AR ARAADER Aan @ e [Pray very sioty) Slurred Octaves for daily practice a te @ Andante trom the Surprise Symphony FJ. Hayda ® oe (Old Welsh Air : Con moto (with motion) @ Think:Countiz 3 4 ant Git Along, L:ttle Dogies Moderato 7 Cowboy Song oz ‘Think:Cout s 12 & 3 America, Time signature is__? oO ‘Think:Count ees 2M.Co. 21832LESSON 19 29 OBJECTIVES: 1. To learn the name and fingering for fourth-space B-flat, To tearn the name and fingering for first-line Eatine Yo learn the meaning of the key of B-flat Major To play familiar melodies ia the key of B flat Major. 2 a Introducing tst-line Eb 71 (1-2-3) (R1-2-3) Key RC ob Ree Key of Bb Major ‘Two flats: Band Eb Gs z = fA te aq Time signatere is ge = @gea + Thini:Count 2 2 3 oh Key of tats are_«_, The Merry Widow Waltz “Tempo di Valse in waltz times, : LehérSUPPLEMENTARY MATERIAL-LESSONS 13 TO 19 Massa’s in the Cold, Cold Ground 8. Foster The Blue Bells of Scotland Moderato (Duet) Old Scoteh Air ® bef oe, 2 > . Pupil ala 3 aliesae Pupil| Auld Lang Syne (Dvet) Moderato : ® Scotch Air a|reaa BM.Co. 11832at ST QUESTIONS THROUGH LESSON 19 1. The letter 2 is oe ® aaa 2. The letter ns this note gS — 5 The letter na this note = Go 5 0 Fre Wath el al ey, : =e = fidiol) Rion Desens ee a TEACHER: Write Hine of notes using both registers. BM.Co. 822ae LESSON 20 OBJECTIVES: 1, To learn a new rhythm. 2. To undvestand t/a berve ent time % time Comparison of € with } time 2 i dita brevet) oF cot time(0) is played the same os F time, Each note has nalf the value as in § time, a half note being the unit of a beat. sees eeee & This = Equals} Count ee Rhythm Drills Dsl: Count aloud each pattern while clapping bands once for each note. REMEMBER Unless you feel the rhythm you cannot play it. Play the C seale, using these patteras until the rhythms are memorized. ® @ ete, te ese eas ects eh ceca a oto. ete. Tease S008 wae k hem a There’s Music in the Air* Compare the measures of this soag with ,,O,O above oes 9 TeinkComte i ebe 7 PF PP ia. Fr *Cumpare with the same song in! time, Supplementary Exercises, page 2138 LESSON 22 OBJECTIVE: Further practice using ext time. Marines’ Hymn Official Song. of the Tempo di Marcia U.S, Marine Corpe © 7 mop? Caisson Song Maj. E.L.Gruber ‘Tempo di Marcia : — La Cinquantaine Gabriel-Marie 2, a> 1s Sf — — Home work: Write line of aotes in cut time, marking beats and asining notes, == gradually loader; == gradually softer: BM.Co. 11832LESSON 23 36 To teara another new rhythm. OBJECTIVES: Kaowledge and use of the rhythi of § time Counting 6 to a measure and 2 to a measure, Application of new rhythm ia familiar melodies. Stow 128456 Think:Count {Slow 128456 ‘The above RHYTHM, when played in a fast tempo, is actually played as Tollowe: Allegro” Row, Row, Row your Boat Key of Time signature is. Hols feng, ® Count’ Slow 23.456 Fast i 2 Oats and Beans Folks otk Song © Pile [Siow 423 456 a The Mulberry Bush @ Think: (stow Count {Pax a> 2°° Folk-Song Pop Goes the Weasel Folk- Song. o ® Faink! stow Count {Fast & a ‘Bay slowly at first iatiog six beats to each measure, and increase the speed as you are fat caeagh to count woo 10 each menruce ’ a Bao. ese368 LESSON 24 OBSECTIVES! 1. Continuation of alx-eght tine (low E Geantng six beats tobe wensare, B Semlinstios of pee-terelodea a oclinc tone, 8. Piping a Geet sie-eigh ime Barcarolle papas 4. oftenbach ‘dapted Onaseooazirevarc/ Bly = 71S SS Se - eee SS mot Oo Pizs 456 —_= a : = = #2 SS SS aS == a Allegretto Folk- Song mfizg a5 6 Fine Drink to Me Only With Thine Eyes ® Andante (Duet) upill ‘Comt 1 2 3 4 5 6 mp (medium soft) DE. Wa Capo)= go vack to the beginning. and play to Fine Mico. 1922LESSON 25 eS OBJECTIVES: 1. Continuation of six-eight time (fast) 2. Gounting two beats toa moasnee 'march time 8. Application of previous knowledge in familiar tunes, Funiculi-Puniewla, (Duet) Dial pee Allegro Puplié? ® fiz Pxpil Progress March ‘Tempo di Marcia cpa, Ff of ie Conte second me) PF B.Co, sss238 LESSON 26 OBJECTIVES: 1, To learn the ame and fingering for A-flat 2, To leara the name and fingering for G-sharp, 8. Kaeweledge of esharinonie tare ENHARMONIC " )NES are notes that sound the same though given different names because they are written on dif’ rent degrees of the staff. ‘Ab and Gf are ENHARMONIC TONES Introducing Ab, 2nd space in the = TH(Li23 Key Li Introducing Ab, Ast line above the staff Ti (112-3 Key LX) Key Rote Introduoing G2, 2nd Tine in the’ ste Th (Lia Key Introducing G4, Ist space above the staff Scale of Eb Major Moderato Crusader’s Hymn Rey of German Moderato costars Sym German Koya =; flats are? y & me > Now the Day is Over J.Baraby. o Andante o ce = o P SS SF Sw Andante on a eo P — — >? ——__ Aco, saeLESSON 27 39 OBJECTIVES: 1. To learn the use of sixteenth nc 2. To leara to count sixteenth n Sixteenth Notes A sixteenth note (e) is equal to one half the vatue of an eighth note (e) Two sinteenth notes equal one eighth note (Jaa) and four sixteenth notes equ 739. one quarter note e ber of sixteenth notes to other notes studied thus far Compas table showing from A Midsummer Night's Dream rept eee ee Listen to the Mocking Bird == Home work: Write a tine of notes, Memorize “Folk-Song” BAL.co. 1182 Aifferent groupings of sixteenth notes. son 24, mumber 2)40 LESSON 28 OBJECTIVES: 1, To introduce high D. 2. To learn the D Major soale (two octaves) Tntroducieg D, 3rd space above the staff Tt (L2-3) Key RC at 22 ay Le ose == ESE Scale of D Major je 2 22 02, 22 Play slowly set first and gradually oo ts aie ® = == ease speed to that of eighth notes, Home, Sweet Home sitnég Andante m— | Duet _— Bishop Oh, Come all ye Faithful Moderato res J. ReadingLESSON 29 A 1, To leare dotted cighth and sixteenth notes, legato, 2. To learn the correct division of each heat J. Application of new rhythm, Dotted Eighth and Sixteenth Notes Legato (Connected) This is one of the more difficult rhythms to learn. The dotted cighth acte is equal to three sixteenth notes. Always feel a division of four on each beat when playing this rhythm, three on thé dotted eighth, land one om tne sixteenth gs eee BE SURE TO FLAY THE DOTTED EIGHTH NOTE LONG ENOUGH AND THE SIXTEENTH NOTE SHORT ENOUGH. OBJECTIVE! Very slow (Largo) @ Think.t2 & 34& 12 4 34 & 12 & B44 56478 & @} , Count BeMe BETRE Bee wares ae 5 2RS Sea tes fea fas Se aaea Largo from the “New World” Symphony Largo (Duet) Dvorak SL ee 2 CB 2 + Count 12 £5456 «78 oresc. =f | tim. ———__| p (Gre pers HT count im. (diminuemdo) = gradually softer. BMLGe. stea2 LESSON 30 OBJECTIVES: 1. To learn dotted eighth and sixteenth nutes, stacey 2. Application of this difficult rhythm in familiar melodivs, using f and time Dotted Eighth and Sixteenth Notes Staceato (Detached) Dotted vighth and sixteenth notes played sfaccato (detached) are separated by a short pause. Notice how these notes are written and Row they are actually played. Written Played Joy to the World Allegretto (Duet) 6. F. Handel ® a see Pupil| = Coumtt2s alize Pupil| .—. Battle Hymn of the Republic Time signatere is__? Counts 182280 5¢a4ta “Adot(.) above or belowa aote indicates that the note is to be played short, This is called staccato. 3M.Co, useLESSON 31 43 BIECTIVE: Gost spplinion of dtd eight and sitenth nets tn and § time! Maryland, My Maryland (Duet) Moderato German Foik-Song GD gg Kevis Time signatre ix? Pupil Think:Count’$ [iga2 3 Pupil ° af Silent Night, Holy Night Andante Ona) F Gruber Time signature is__? - ® Pupil Think:Count” 24 3 456 Pupil BAM.Co, s1922aa LESSON 32 OBJECTIVES: 1. Townderstand and play chromaties. 2, Ta learn more abost enharmonic tones. 3, To learn new Chromatics ‘The word “chromatic” means moving by half steps. A chromatic scale is one that ascends or descends by hhalf steps. Enharmonic tones sound the same even though they are notated on different degrees of the staff. BE SURE TO LEARN THE PROPER NAMES AND FINGERINGS FOR BOTH ASCENDING AND DESCENDING CHROMATIC SCALES. @® a NOTES SOUND THE SAME tee 22 22 be NOTES SOUND THE SANE meee OE nation tows __—7 01! see ee Chromatic Scale of C in Two Octaves (Play slowly at first, and gradually inorease speed. @ © be Chromatic Etude Fr. Wohifahrt ia . aS ees diate EM.Co. 932LESSON 33 45 Triplets ow groupout utes played iu the time of two notes uf the sume vaiue, They are indicated bya figure “E> and a slur placed over or under a group of three notes, A triplet of eighth notes S27 es mL? { Ueequl to two eighth note Vor one quarter note a) A measure ot 2 containing two triplets $17] JT is the same as a measure of fin march time gT) TTD, Allegro ® This Equals This 2 ant A @ = ® Qo OSS Moderato "DP fingend take £148 SUPPLEMENTARY MATERIAL THROUGH LESSON 33 Santa Lueia Andantino * Neapotitan Bost Song Country Gardens Allegretto Folk-Song ®@ mf = ee Dixie D.Emmet Allegretto ©: “Andantino Not suite as slow ae dnaante, vIn three-eight time the eighth note is the unit of « beat (d). BALCo. 51802az TEST QUESTIONS THROUGH LESSON 33 1, Notate (write) the upper octave of the C major seale. on Se femelle el oy ohare 7 6. This sign © means____. 5 8. What is meant by six-eight (§) time? —___ 5 9. This note in slow time has ____ counts. 5 - 10. The above mote in fast § time has counts. 5 11, This note Sioa in stow § time has couats, In fast toe i ha 5 ee esis LIA LI NII Asi 14 This sign ¥ meane__. so 15. Im § march time (fast) the count is. heats to each measure. 5 re ee ‘ 17. Sight reading. 10 TEACHER: Write line of notes in slow six-eight time in the key of © BAM.co. atss28 Scales and Arpeggios (Chords) ‘The material on this page may be assigned whenever the teacher feels the need for scale and chord stu- dies. Play the Following seales and chords as indicateds also play as follows: ALWAYS NOTICE THE KEY SIGNATURE; IT 1S A GUIDE FOR PROPER FINGERING: © Major—spper octave a G Major—one sharp:F# Bie Soares oe D Major—two sharps: F# £ C#-lower octave o 7 D Major—apper octave — A Major—three sharps: F#,C# € G# i saet See o F Majo: one ats Bb Major—two flats: Bb @ Eb get fe. Eb Major—three flats:Bh, Eb & ab Chromatic Scale BMC. usaOnward, Christian Soldiers50 Vesper Hymn (Trio) Andante Fork Melody Pupil Pupil Pupil Deck the Hall Brightly (trio) Welsh air Pupil f _ Pupil nf Pupil0 Little Town of Bethlehem (rio) L.Redaer Moderato Pupil 5 T al Pupil mp Pupil Silent Night (trio) Frant Gruber oie = BM.Co. noseHark! The Herald Angels Sing (rio) Felix Mendelssohn. Bartholdy Con moto (With motion) . = Pupil mf Pupil of Pupil BAC, ese