INTERESTING, GRADED TECHNIQUE VISUALIZED RUDIMENTS. Coun, ult at A (Be + i : ee A Primer Vy +0 Ais\y5 DAVID GORNSTon Ot rice eons Re, # DWARD SCHUBERTH @ CO., INC.. NEW LORRAIN. Y-PREFACE AND ESSENTIALS ‘Teachers will find chat the material in this book is not only interesting, but so arranged as to provide che greatest possible flexi ty in dealing with those individual differences that are so inevitable in students. All finger ings, rudiments and musical conceptions are presented in the text of the book itself through visualization. A Satemen regarding the various fundamentals will be found on the inside of the covers. I will be observed that this elementary method takes into consideration some of the items which have been ‘omitted heretofore in other books, i. — The early introduction of chordal playing and the addition of complered melodies so that the student has a sensation of fulfillment and progress. ‘Music is the term applied to those sound waves which reach our ears and register rhythm, melody, harmony and form: ‘Music is recorded in writing through the use of symbols. A staff consists of five lines and four spaces. The ble or G cet designated by te symat & ‘The lines are named - EG BD F and can be remembered by the simple phrase "Every Good Boy Does Fis ‘The notes in the spaces spell out the word - F A C F. ‘Vertical lines drawn actost the staff are called bar fines and the spaces between these fines are called measures, ‘A dime signature appears at the beginning of each piece of music — the numerator or top figure indicates the number ‘of beats of counts there are to be in each measure, and the denominator or lower figure indicates what kind of a note is to receive one beat or count. Notes and sests of the same denomination receive the same count or beat when following the same signature, so: A whole note equals a whole rest in value — a half note equals « half est ia Value — a quarter note equals a quarter rest in value — an eighth nove equals an eighth rest in value, ctc, etc. Ledger lines appear below and above the staff for those notes which go higher or lower. A fiat ( ) ) lowers a note one-half step. [A sharp ( # ) tates «note one-half sep. A natural sign ( ) cancels a previous lat oF sharp. A double sharp (2 ) raises 4 not one whole tone. {A double fat ( 72 ) lowers 2 note one whole tone When sharps or flats appear at the beginning of 2 piece (or section) they are called the signature, and help to determine the key in which the piece is written, These sharps or flats affect the notes designated A key consists of a family of related tones. ‘The firse note of a key is called che key-note and gives the ey its name. A Fermata of hold (7 ) adds exta time value to note. Je also indicates the end of 2 composition, and usually accom. panics the word “Fine”. [A dot after a note adds half of the original value of DG. (Pa Capo) means — play from the beginning again DS, (Del Segno) means — go buck and play from she sign ( %) and end at "Fine". (DS. al Fine) First and second endings are indicated as follows 2] and mean — repeat the section, using the firsr ending and then the second ending. The measures oF sections betwen repeat bers are oo be played second time cpeae ‘A Coda sign (-€ ) means “jump «@ the Coda" which is the concluding section of the pice. ‘The sign means repeat the preceding bar. ‘A scale consists of family of related tones which move step-wise (diatonically) in a definite pattern, A major scale consists of a series of tones having a whole step between all of the notes except the third and fourth and seventh and eighth In the major scale there is a half step between the thied and fourth notes and the seventh and cighth notes. A major scale consists of #0 tetrachords, which have the same construction — namely, three whole steps and one half step. A chord is a group of notes built in thirds using each note of a scale as the r00t Chromatic means proceeding by half steps from one note to the next, Chromatic scales may go up or down as do other scales “The distance between two notes is called an “interval” — that is, a prime, a second, a third, a fourth, a ffth, cte [An arpeggio consists of chord tones played one after the other [A tie combines the value of the notes tied, and the note & sustained for the total value of the aotes iavelved. A slur connects two different nots on one breath, the first note being the only one which is attacked Dynamics refer to the louds and softs in music and are designated by various signs, symbols and wordsEE ESSSSSES'S§=C“““““ ee PREFACE AND ESSENTIALS Teachers will find that the material in this book is not only interesting, but so arranged as co provide greatest possible flexibility in dealing with those individual differences that are so inevitable in studer ings, rudiments and musical conceptions are presented in the text of the book itself through visualization A sateme regarding the various fundamentals will be found on the inside of the covers. Ic will be observed that this elementary method takes into consideration some of the items which have beex ‘omitted heretofore in other books, i. — The early introduction of chordal playing and the addition of comp melodies so that the student has a sensation of fulfillment and progress. Music is the term applied to those sound waves which reach our ears and register rhythm, melody, harmony and form: Music is recorded in writing through the use of symbols. A stall c sts of five Hines and four spaces. ‘The tobe ot G cli designated by the syabot & ‘The lines are named - E G BD F and can be remembered by the simple phease "Every Good Boy Does Fi ‘The notes in the spaces spell out the word - F A CE. Vertical Hines drawn across the staf are called bar lines and the spaces between these lines are called measures. A time signature appears at the beginning of each piece ‘of music — the numerator or top figure indicates the number of beats or counts there are to be in each measure, and the denominator or lower figare indicates what kind of a note is to receive one beat oF count. Notes and rests of the same denomination receive the same ‘count or beat when following the same signature, so: A whole nnote equals a whole rest ia value — a half note equals « half rest ia value — a quarter note cquals a quarter rest in value — an eighth note equals an eighth rest in value, ctc, etc. Ledger lines appear below and above the staff for those ‘notes which go higher or lower, A flat (-h ) lowers 2 note one-half step. A sharp ( # ) raises a note one-half step. A natural siga (% ) cancels a previ us fla oF shaxp. A double sharp (2 ) raises a note one whole tone. ‘A double Bat ( 79 ) lowers a note one whole tone When sharps or fats appear at the beginning of piece (or section) they are called the signature, and help to determine the key in which the piece is written, These sharps of flats affect the notes designated. A key consists of a family of related tones ‘The first note of a key is called the key-note and gives the key its name. A Fermata or hold (7) ) adds extra time value to a note. et also indicates the end of a composition, and usually accom- Panies the word “Fine”. ‘A dot after a note adds half of the original value © D.C. (Da Capo) means — play from the beginning DS. (Del Segno) means — go back and play from sign ($5) and end at “Fine”. (DS. al Fine). First and second endings are indiested as follows iz. and mean — repeat the section, esin frst ending and then che second ending. The measures ox sections berween repeat bars are co Se repent played a second time A Coda sign (4) meas “jump co the Coda” is the concluding section of the pice. ‘The sign 7% means repeat the preceding bar. A scale consists of a family of related tones which move step-wise (diatonically) in a definite pattern, A major scale consists of a series of tones having a whole step between all of the notes except the third and fourth and seventh and eighth In the major scale there is 2 half step between the third and Fourth notes and the seventh and cighth notes. A major seale consists of two tetrachords, which have the same construction — namely, three whole steps and one half sep. A chord is a group of notes built in thirds using exch note of a scale as the 100%. Chromatic means proceeding by half steps frum one note to the next. Chromatic scales may go up or down as do other scales. ‘The distance between two notes is called an “interval” — that is, a prime, a second, a third, a fourth, « fifth, cte ‘An acpeggio consists of chord tones played one after the oer A tie combines the value of the notes tied, and the note is sustained for the total value of the notes involved. A slur connects two different notes on one breath, che first note being the only one which is attacked Dynamics refer to the louds and softs in music and are designated by various signs, symbols and words, tii a i cisSTUDY PLAN AND CONTENTS ‘The study of the FLUTE is undertaken best with the aid and advice of a teacher. Proper instruction fzom che very beginning prevents the formation of bad habits, and saves the student considerable time and expense. ‘The following instructions apply in a general way; (1) The instrument is held at right angles to the line of the body. (2) Place the air hole directly below a small opening which is maintained at the center of the lips. The head joint generally speaking is parallel with che lips. There ase slight differences in position for various lip and body formations. A teacher helps the student make the proper adjustments. (3) In playing, breathe in through the ‘mouth. (4) In producing an attack, pronounce the syllable “a”. The tongue serves as a “valve” for the release of the breath. (5) Do not force or strain, and do not play when the lips are tired. (6) Generally, not more than half of the air hole should be covered by the lips. ‘The tips of the fingers are placed on the keys in the manner indicated by the fingering chart which will be found on the next page. Page 2 —Reference finger chart. Page 3 —Staff, lines, treble clef, bars, et. ‘notes — Time signature — Teacher's choi starting aotes — Exercises 1 10 9. — Names of of Page 4 —Addicional starting notes F, E, Ru;— Half notes and tests ~~ The breath —~ The Ferien Page 5 —Quarer notes and rests — SATURDAY PARADE — KICK-OFF — LITTLE STAR — LIGHTLY ROW. Page 6 —Fit and Gp enharmonic in both register LONDON ge © TuDGE e Majer sale and chord stmcrore — G Major sale and chord — 34 cme — MARY HAD ALITTLE LAMB. Page 7 —THREE BLIND MICE — Thirds — WALTZ ME AROUND — High A, B, €-— Octave study Page 8 —Low Tone Studies — ABIDE WITH ME — Octaves. Page 9 —Bresth control — chord progression studies — C ‘Major sale apd chord (ne oxtanes) — laterals — 2/4 time — LONG LONG AGO. Page 10—Bp and Age — LIGHTLY ROW (transposed) — YANKEE DOODLE — BIG RED — WALKING THE DOG — WHISTLIN' SONG — First chroma Page 11—Eighth noces and rests — POLLY WOLLY DOODLE “The repent Page 12—F major scale and chord — Intervals in F — Speed stadies — THERE'S MUSIC IN THE AIR — RED RIVER VALLEY — Chromatics. Page 13—Thicds and fourths — Chord progrstioas — CAIS SON SONG. Page 14 —Debustys REVERIE — HOLIDAY — SOME FOLKS DO Finger stien Page 15—Fourths and fftte — NARCISSUS — GET ALONG CANDY TRAIN. Page 16—Cip and Dy — D Major scale and chord — Intervals CPD TIGHTLY ROW (eansposed) — Finger and tone studies, Page 17—The dored quarter — IN THE GLOAMING — AMERICA (in F and in G) — MARINE'S HYMN, Page 18—D Major scale and chord (upper octave) — Tone ‘sadies — Chord progressions in D — COLLEGE SONG — HIT THAT LINE — Progressions io F = Enharmonic sedies. Page 19—CLEMENTINE — THE YOUNG PRINCE AND YOUNG PRINCESS — VACATION SONG — SING, SING, SING — Two octave scales and chords Page 20—Ep and Dit — SOME FOLKS DO (transposed) — '° 9B) Major tale and chord — THERES MUSIC IN Th AIR (eansposed) — Inervas ia By — DECK THE HALIS. 2G and A\ studies — CATS MEOW — Pas 2 GUD MIBSICAN CLAPPING SONG — Sracito — AMERICA THE BEAUTIFUL Page 22—Low Ct or Dp — Eb scale, chord and intervals — ANGEL CAKE BOOGIE — AT PIERROT'S DOOR None, finger and interval seudies Page 23—Sixteench notes and rests — Sousa's THE THUN. ‘DEREX — SKIP TO MY LOU — GONE FISHIN’ MOVE IT — TURKISH MARCH — Esharmonic sudies, Page 24—Fanfare from WILLIAM TELL — AND THE BAND PLAYED ON — SANTA LUCIA — Chro- matic seale (ewo octaves) Page 25—The dotted eighth — GOODNIGHT LADIES — BATTLE HYMN OF THE REPUBLIC — ROCK (OF AGES — MOUNTAIN PEAKS. Page 26—Alla breve — PAT YOUR FEET (in 4/4 and 2/2) ‘AMERICAN PATROL —SKY RIDE. Page 27—THE THUNDERER — SKYLINE BOOGIE — CAR 'NIVAL OF VENICE — Speed studies. Page 28—6/8 time — FOR HE'S A JOLLY GOOD FELLOW. ‘YACHT RACE — Fourths — THE MULBERRY BUSH. Page 29—Additional 6/8 sady — SILENT NIGHT — HOME ON THE RANGE — WHEN JOHNNY COMES MARCHING HOME — MARCHE MILITAIRE. Page 30—High notes introduced — Special sudies — F Major ees cad coord (pps: clare) == PETER AND. Tue Wolr — INKY "DINKY PARLEZ VOUS Page 31—Chopia's POLONAISE — Rhythm chord seadies — ctaves — Staccatos and accents — Sousa's THE HIGH SCHOOL CADETS Page 32—The eighth and dotted quarter — LONESOME ROAD WAYFARING STRANGER — UPSTAIRS BOOGIE — COCKLES AND MUSSELS.5 -V'8'A1 a po ANON IS 188 8 yO BHF npg (aX WON T¥S14hdog ad =O pasaA0d $1 al0y Say @MLL JO AOUG) Kay he WOH 7) quay, =d, “SupxoFuyy ta [euorppe 10J By ae aag “AujxaFuyJ qe [eUCTPpE AY OL etd aag e9ze-00 FS" “SCOHLAN GAONVAGY PUP TLVIGHNUALNT SNOISNUOD TAS ONIUAONTA 'VIUL PUY GLVNUALTV od aa 80 a4 vas oat ine aq Lo 4a Le Lox L aL foxfo sexo a = So - og ee Be: 5) a jaw] v [wi [ 5 [wow] a 4a 1049 «ula ole names | pours | qemes gears [poms | ‘eocfeee |cos|oee eooo0 =e¢—ot = tox ie. coe |eoe, i qa" 10 2x a 00 [ovo ae: soefoeo = os = y a 1 4 1049 3) faysyiansy — Cmapoea4 ape 4a -s71oy ssow 904 43y og as Cie 7 SISNET AION é) amor sigan amor avs sazowed NY) Jonjewnn Ee = z ee FuRH Mom SOR oe Me amen =a) e cas inior WeStaff 5 Lines 4 Spaces Treble clef jar lines, Measure 6 ve \ = —_— = =] = i QD beager Names of Lines and Spaces oo22] ines Da2s GeASB Ce Deer Every Good Boy DoesFine F A C E 2 ZFOUR BEATS or COUNTS to » MEASURE WHOLE NOTR(4QUARTERS) WHOLE REST(4 QUARTERS) “RoNE REAT or COUNT for FACH QUARTER Count 12.34 1234 , LETS PLAY (For fingering -tone-piteh- control) po G A B c ‘09000 | EbKey EbKey T RbKey Teacher's Choice (A start may pe made on any one of the following ISexercises. (SEE NEXT PAGE ALSO) B 2a 1 Count 4294 1298 = & 4c 3 ayes © weans$ > 5 ‘SKIP TO 8X 10 IF DESIRED 8 E.8.4 0.5262New Notes (Play low notes if possible) May be developed later 45 Now try Ex. and Bx.9 iy HALF NOTE HALP REST EQUALS, a ¥ Toke » Breath 3 PERMATA (erst 23 2 2.8.4 Co. 5262QUARTER QUARTER NOTE REST EQUALS intents aetna tania tts eae ep. ee reece 2h 3 £ aaa z SATURDAY PARADE KICK-OFF = Connecting the Registers EAT PA PT a 29 + 3 Be a 30 LITTLE STAR > 2 as 2 2 2 LIGHTLY ROW 2 2 32 B.8.a Co. 52628 New Notes for Fingering-Pitch-Control ENHARMONIC (Same fingeriag,same sound) SHARP-Ralses a note FLAT-Lowers s note oe : ONE EALF- TONE, { ONE BALP-TONE, At @ FH Gh é E SS oe ev SIGNATURE (Key of @ ya ri B G 33 "rake Breath 2 34 LONDON BRIDGE 2 2 2 35 LOWER TETRACHORD UPPER TETRACHORD WALF waote [WHOLE STEP SIGNATURE, [~ « sisson / | Ty @ @ Nore poore tg tines ‘MAJOR CHORD G Major Scale and Chord — cuorn , (grease garner) STEP 36 ROOT rd 6th OCTAVE, 8 BEATS or COUNTS ABEATorCOUNT-gacuquanTen © cout 2 23 125 1268 12 3 MARY HAD A LITTLE LAMB : TIED (As 1 Note) ists en sere B.S. Co. 5262THREE BLIND MICE WALTZ ME AROUND ne Notes for Pitch-Fingering-Control ees HEN THIS ae cae mms rarms & PLAYTEIS ey geology 200] 0095, seo]oog, : A B = 2 2 2 Al = i Wp ES raees c = 42 Octave Study 44 B.S. Co, 52622 Low Tone Studies Review for low D (See Page 4) 46 45 = — = New Note (Low C) C key SLUR (Do not tongue thoP") 8 “Attack first note only AT 4d 50 Abide With Me OcTAVES: FIVE UP- FIVE DOWN B.S.4.Co. 5262Play es one Noto EQUALS 4QUARTER Play ay one note BQUALS) 1 Comt 12 34 128 4 1234 JINGLE BELLS ? BA C Major Scale and Chord (2 ctaves) 2 Intervals in C Major octave and ard ath sth oth 56 ONE TO FIVE (in C) 2 BEATS or COUNTS to a MEASURE XA COUNT to EACH QUARTER Intervals in G Major BAAR LONG LONG AGO SLUR. 59 Mongze first Note only ONE -FOUR - FIVE (in C) 60 B.S.4 Co. 526210 New Notes for Fingering-Pitch- Control ENHARMONIC ocTavE ow be to = ez [sas ? LIGHTLY ROW (transposed ) (See Page 6) > ’ SIGNATURE-P MAJOR a) are YANKEE DOODLE First Chromatics (moving by Yo steps) 63 == b, 64 No. 6% ap ootave Rigner BIG RED Bt co) = 2 e NATURAL SIGN- CANCELSD (or) WALKING THE DOG = SS ae peas BESS e| - % eS SS SSS B S.4 Co-5262New Notes for Fingering-Pitch- Control ENHARMONIO Bb gooleoe of 64 te ® 65 67 BS.8 60-5262 HIGHER Ad SIGNATURE-F NAJOR b No. 6% an octave hiener BIG RED By ‘OCTAVE ba to Bb LIGHTLY ROW (transposed ) (See Page 5) 2 2 YANKEE DOODLE First Chromatics (sovine by Yo steps) ag () ee abe NATURAL SIGN- CANCELND (ur WALKING THE DOG WHISTLIN’ SONG Also au octave higher o* OPTIONAL FINGERING (85 T Thud (LH peloses Bb Key in back Da.EIGHTH NOTES Verte Uotelot it Coumt 1 and 2 and 3 and 4 and ara 2 mas? Three Eighth Note Studies Count 1 and 2 and 3 - (REPEAT- FINISH AT FINE) 22. a Fine D.C.al Fine POLLY WOLLY DOODLE — reat PICK-UPS t nm 4 and TUNE IN WALTZ 72 B S.4 60-8262FIGHTH NOTES otebets tate tat vt Count 1 and 2 and 8 and 4 and tara 2 5 Three Eighth Note Studies Count 1 and 2 and 3 2 (REPEAT-FINISH AT FINE) 22. i Fine D.C.al Fine POLLY WOLLY DOODLE —— reat PICK-UPS + nm 4 and TUNE IN WALTZ 72 2 S.4 Co-5262a F Major Scale and Chord cuorp ? 73 Intervals in F Speed Studies c B 75 ae m7 eeeeeee 0 em _—— E 4 THERES MUSIC IN THE AIR PICKUP 2 RED RIVER VALLEY Cow-Boy Song Be § Chromatic Studies a 1" Dy b 78 3 PLAYIN 2 REGISTERS OPTIONAL (F#-Get FINGERING E.8.4 Co. 9262 seeloe,Thirds inG 13 Slurred Fourths —e =~ Thirds in F =o 81 ONE TO FIVE (in F) AND FOUR TO FIVE A CHORDING WE WILL GO — CAISSON SONG March tempo liga lcae I WATCH UP! (Ee Oa ST 86 E.8.& Co. 5262REVERIE (ew Aegister Tone Study) Slowly with feeling ea ’ 87 2 aaa we WHISTLIN’ TUNE Allegro (Lively) 2 D.o. ? 88 mf HOLIDAY Con spirito (with energy) 89 a eterna oe eee ge 1 INatito oitawt SOME FOLKS DO FOSTER et D.C.al Fine E.s.4 Co 5262Fourths and Fifths in F = bs i te te ie . 2 Du. Allegro GET ALONG D.C.al Fine NARCISSUS Graceful waltz irre 96 ie nf dn ae. RES Seay eS rae hee Poco a Poca sae Vivace a 97 ae E.S.& Go. 5262ao) New Notes for Fingering-Pitch-Control ENHARMONIC y CE ee es cheap pier ca Eb Key Se a Nyt Spb eg Db 2 A 98 cHoRD JCSIONATURE-D MAJOR (y) 99 Intervals in D 100 LIGHTLY ROW ‘Transposed) Allegro (tive!) 104 B.S.4 Co. 52627 goats on BLOuTH Phi taht ute t bist Soount 1 and 2 and Sand4and taad2 and 3 and 4 and vi 106 Gout t 2 Sand 4 and IN THE GLOAMING Andantino Gaster than Andante) HARRISON 107 op AMERICA(in F) as aa With vigor 108 4 Ge AMERICA (in G) 109 of : 2 a MARINE'S HYMN orFictaL sox U.SIMARINE CORPS Moderato a> OF 3.5.8 Co. 5262ee 18 D Major Scale and Chord! upper octave) £ 2 ett £. 14a GRANDFATHER'S CLOCK work ’ ee ee oe 112 ere SUMMER SONG (Tone study) ‘Adagio(eiomiy) DG 2 : 113, ‘a BLUE VELVET ( tone stuty) 2? DG. Andante 114 af ONE TO FIVE (in D) AND FOUR TO FIVE COLLEGE SONG Larghetto (rather slowly) A17 aaa HIT THAT LINE aa 2 Animato (spirited) us wt ONE TO FIVE (in F) 119 Enharmonic Bhudieg 120 Same fingering: Same fingering Same sound Same soane F.S.a Co.5262CLEMENTINE 19 Gaily ott o 22. of THE YOUNG PRINCE AND YOUNG PRINCESS Waltz tempo RIMSKY-KORSAKOFF > 122 dolee Gweetly) ae = VACATION SONG Allegro Do. Se ce er SING- SING-SING Con spirito (with energy) DG 124 = = = = = f ee ee Two Octave Scale and Chord Studies > 2 Accenes woe Accent Study 127 See: —= E. 8.8 Co. 5262 SS = FFay New Notes for Fingering-Pitch-Control RNHABMONIC Eb Dt Eb Da Eb ED eecless aie nelacereee 4) A B ay) 128 SOME FOLKS DO (transposed) SIGNATURE - Bb MAJOR Fo! L ) STER 129 B> Major Scale and Chord cHorD —— Kernote (yy 5 130 THERE'S MUSIC IN THE AIR (transpose) Cantabile (Song like) rea 134 me — RUSH HOUR Con brio (Vigorousty) Intervals in Bb 133 s DECK THE HALLS Merrily pI 134 : 8.400 5262New Notes for Fingering-Pitch-Control 2 ENSARMONIC ; Also as Speed Studies eB es E REPEAT EACH 4 TIMES ( Si coal CAT’S MEOW Exe sase r— By cba «y) yf SS SS Se CLOUDS Brightly Dia. = 136 ‘Tempo di valse i REPEAT Da, 137 MEXICAN CLAPPING SONG = re 138 of STACCATO © prayed 3 ep 139 AMERICA, THE BEAUTIFUL Maestoso (fajestically) 2 141 = rad lite slower E.S.& Co. 5262 a f gaa ENHARMONIC 142 143 Also legato 144 Modte Boogie tempo ANGEL CAKE BOOGIE ee — E> Major Scale and Chord ® ’ corp, 146 AT PIERROTS DOOR Moderato 147 S85 ef Be = i 149 BS.& Co.82621ea4225432344 294 150 Jtit 154 Tiaritrunieh THE THUNDERER Si 152 a — SKIP TO MY LOU Square dance (ive), 2 153 Brighily GONE FISHIN’ ee 154 e MOVE IT Moderate == 5: pee 155 — ot fea TURKISH MARCH BEETHOVEN March tempo 156 5 = = = Enharmonic Studies A \ B f= 157 B.S. & Go.525223; Fingerin’ in Bb Moderato 158 of FANFARE from WILLIAM TELL Allegro 159 foe Se D.C.al Fine Fine f AND THE BAND PLAYED ON ’ Valse lento cas —, 160 nf ——_ Dolce (Sweetly) 2’ te? SANTA LUCIA oe SSS Chromatic Scale ( Two O:taves ) rit Glower) 2 162 B.S.a Co. 5262Skip-py Skip-pY GOOD NIGHT LADIES Allegretto Majesticall: ” saTTLE HYMN OF THE REPUBLIC P 165 a ROCK OF AGE: Maestoso (with dignity) 166 rall (a little slower) MOUNTAIN PEAKS = Vivo (briskly) 167 If ist time f GETTIN’ LOW-DOWN Da 2 168 Pad tine 5.8.8 00, 8262 eaas Alla Breve (Cut Time) % or € it nt fae 2 aed (ule ay vihtilt PAT YOUR FEET (Play in 4% and in %) Moderato 169 AMERICAN PATROL (in 3%) March tempo — MEACHAM 170 ee AMERICAN PATROL (in %) March tempo ——~ SKY RIDE Allegro 2 by Do. 172 nf Gmoothty) H.S.6 Co. 5262THE THUNDERER Pe March tempo sovsa SKYLINE BOOGIE Boogie woogie tempo CARNIVAL OF VENICE Allegro = 175 E = = ONE-FOUR- FIVE in Bb pe SERENADE Da Andante ao 477 2 SSS Speed Studies ( Tongued and Slurred ) B c D Pail & PLAY EACH TWICE and CONTINCE TO END E.S.4Co 526228 8 BEATS or COUNTS EQUALS ©) ee, 190 D.a. STOP AND GO b. (h): 191 PETER AND THE WOLF PROKOFIEFP wht 192 Conta 2 \ { HINKY DINKY PARLEZ VOUS March time Vivo, tree 194 E-8.4 Co, 5262POLONAISE 31 Grazioso (gracefully as a ee 4 £4e¢ 42 65 2 fe tte = ~~ 2 195 oP. £ee = be Rhythm Chord Studies wt dine Dye: : : ; : b. 197 2nd time Pp Quickly and lighty 198 THE HIGH SCHOOL DEL pee study) March tempo et: 199 fi B.S.a Co.526232 EQUALS EQUALS EQUALS Coust ¢ and 2 and 9 and Gand LONESOME ROAD As a spiritual bs 200 SS of Se ee WAYFARING STRANGER Slowly with expression —. 201 P Moderato UPSTAIRS BOOGIE mee 202 pease aie) ee ee a = > COCKLES AND MUSSELS 203 3.8.4 Co.5262ACCELERANDO (Accel.): quicken the time, ACCENT ( > ) emphasize, stress. ADAGIO: slowly. AD LIBITUM (ad lib): at liber. ‘A BREVE ( @ _): two beats to the measure — one beat to exch half note. ALLEGRETTO: moderately, lively, gaily. ALLEGRO: quickly, lively. ANDANTE: slowly. ANDANTINO: a little faster than Andante. ANIMATO: animated, spirited ARPEGGIO: the notes of a chord played separatelys ‘A TEMPO or TEMPO 1: return to the frst speed. CANTABILE: in a singing style- CHROMATIC: proceeding by half steps. CON ANIMA: brightly CON BRIO: vigorously, forcefully, CON ESPRESSIONE: with expression CON MOTO: with spirited motion. CON SPIRITO: with energy, CRESCENDO (crese.): gradually increasing the volume of tone. ae D.C. AL FINE: abbreviation for Da Capo al Fine, meaaing to go back to the beginning and repeat to the word Fine (end) y E é is ): gradually lessening the tone =— DIVISI (div.): divided parts. DOLCE: sweet, soft + DOMINANT: the fifth degree of the scales DOUBLE SHARP( ® ): raise the note a whole step ESPRESSIVO: with expression - FORTE (f): loud FORTISSIMO (8): very loud. GRACE NOTES: litle notes added to give a graceful effect. GRACIOSO: gracefully LARGHETTO: sathet slowly, LARGO: slowly, broadly, LEGATO: flowing « LENTO: slowly - ‘MAESTOSO: with dignity, majestically, pRESEEEEEEEEELESEEELEDEEEEERERERDDEDD \ which you may find in solo, band and orchestra music. THE DAVID GORNSTON DICTIONARY ‘of Musical Terms used in the Gornston VERY FIRST METHODS and THE FIRST METHODS, plus terms METRONOME (MM): an instrument for indicating tempi (speeds) MEZZO FORTE (mf): half loud. [MEZZO PIANO (mp): half sofee MISTERIOSO: mystesiowsy« MODERATO: moderstely MOLTO: very much. MORENDO: dying away — fainter and fainter. OPUS (op.): 4 work or composition + PIANO (p): sofdy- PIANISSIMO (pp): very sofuy, PIU FORTE: more loud « PIU LENTO: more slowly. POCO A POCO: little by little POCO RITENUTO PRESTO: very fase. RALLENTANDO (tall): gradually slower RITARDANDO (rie): RUBALO: alternately hurrying and retarding for expression in the music. SEMPRE: always SFORZANDO (sf2): sudden accenting, SOLO: single» SOSTENUTO: sustained « SOTTO VOCE: with subdued voice. STACCATO (@ ): detaghed, cut shore. SYNCOPATION: accents on off beats and sustained ehrough, regular accents « TEMPO DI MARCIA: march tempo, TEMPO DI VALSE: waltz times TENUTS TRILL (tr ~~): 2 rapid alternating of the principal note with the note a second above it- TURN ( o_): four ornamental notes that wind around ‘principal note TUTTE: all together « ‘VIVACE: gaily, lively. ‘VIVO: briskly, quickly. Hiedle slower 0 hold a given note for its full value.VACLVALLALLS TALL VAAL ee NO wW h x A D Y - bit BRST TROMBONE (OR BARITONE) METHOD Soy (May be used with TRUMPET METHOD) e GREAT BOwKS — at low prices, your students will welcome ‘e Carefully graded lly correct Grommar schools {s00 other side) in 3 convenient books for SAXOPHONE © TRUMPET © CLARINET Tone ond phrasing Antculation studi for SAXOPHONE 50c for CLARINET 50¢ for TRUMPET 50c for SAXOPHONE are oi CLARII eR TRUMPET 75c for SAXOPHONE $1.00 for CLARINET $1.00 EDWARD SCHUBERTH & CO. INC, for TRUMPET $1.00 NEW YORK 19, N. Y.eg onstigns)) RutelPabricia