•

•
•A.UNEA
Il FOR FLUTE.
Il BY C. PAUL HERFURTH
ANDHUGHM. STUART.
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Il BooKONE.
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l FOREWORD TO TEACHERS

I N compiling this course the objective has intentionally

been not to cover too much ground, but rather to con-
centrate on the acquisition of a thorough musical background
on a solid foundation in good flute playing. These two
requisites .are inseparable.
instruction and ensemble playing. At every Iesson tÌ16·e
should be individuai playing so that ali the necessa' ., correc-
tions can be made. Never allow a pupil's mistakes to go
unnoticed, since oniy by immediate correction will he develop
the habit of carefui thinking and piaying.

l A brief section is devoted to the simpler rudiments of

music which should be thoroughly understood as the need
A decided advantagè of group-teaching is that it provides
experience in ensemble playing and gives every pupil the
arises. - r\ opportuniey of listening to the others, of observing their

l The leaning of the position~ and fingerings ~

duced should be insisted upon.
mistakes, and of profiting from the corrections.
Ciasses shouid be regraded whenever necessary so as
not to retard the progress of the more gifted students, or
Cultivate in the pupil the habit of carefullistening.

l The familiar hymns and folk-songs have been selected

because of the mélodic interest as pieces, and because, in
discourage the Iess musically endowed. This procedure aiso
acts as an, incentive for greater effort on the part of the
pupils.
addition, each one offers some technical point to be mastered.
Lessons marked " Fingering ", " Scales and Arpeggies, "

l The value of learning to " think count " from the very
beginning cannot be over-estimated. Only in this way can
a pupil sense rhythm. Rhythm, one of the most essential
and " Important Assignment" should be used whenever
necessary, according to the individuai student's require-
ments.
elements of music, and usually conspicuous by its absence

l in amateur ensemble playing, is emphasized throughout.

Many teachers do the thinking for their pupils, instead
of helping them to think for themselves. Insisting upon the
The tests, following earh five Iessons, are given as a
definite check on the pupil's progress of knowiedge and
accomplishment. These tests are most important and shouid
not be omitted.

l inastery of each point will not dùll their interest.

What greater gratification can there be for a pupil,

Eventual success in mastering the instrument depends
on regular and carefui application to its technical demahds
whether he be a child or adult, than self-accomplishment in Daily practice shouid not extend beyond the limits of the

l a set task.

Lessons marked " Supplementary Materia! " may be

given as a reward for well-prepared work.
player's physical endurance-the aim should be the graduai
development of lip and breath contro! alongside assured
finger-work.
C. PAUL HERFURTH

li
:!.!
Cla.ss teaching should be a combination of individuai HUGH M. STUART

RUDIMENTS OF MUSIC
Music is represented on paper by a combination of characters and signs, ali of which it is necessary to learn in order
t o play the flute intelligently. '

Symbols called notes are written upon and between five lines which is the staff, or stave.

The sign ~~~~~~~d~~ placed at the beginning of the staff is called the treble or G clef.

' The staff is divlded by barlines into bars as follows:

Barline Barline Barline

IJ Bar Bar Bar l Bar

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 These bars, in turn, are equal in time value, according to the fractional immbers, (Time signature) placed at the
beginning of the music.

The time signature indicates the number of notes of equal value in each bar. The upper figure gives the number of
i.c,_..,ts or counts in a bar, and the lower figure indicates what kind of a note has one beat, such as ~ or C equals

--p J Jffl •=
2
4" equals 2 crotchets;
orotci>et•

84
~ th• "'"'""""'
equals 4 quavers, etc.
nrlnDn and two - m """' w ,

There are different kinds of notes, each variety representing a certain time value as follows:

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.4$) -- lJ J J J
2 3 4 i 2 3 4 8 4 1&2&8&4&
Semibreve equals: Two Minims, Four Crotchets, or Eight Quavers.

The count for the above would be, four to the semibreves; two to each minim; one to each crotchet and one to each
group of two quavers.
The notes are named after the first seven letters of the alphabet, i.e., (a, h, c, d, e, f, g,) according to the line on, or space
in which they are placed.

Th• l'<•hl• G cl,f ~whi<h •ncirele> U.. ~on<lli,.,, ..tab&h" th• note G on th~ lin•. !rom whkh th• oth"
lines and spaces are named as follows:

:&o C) o (l o Il o o

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G A B c D E F G G F E D c
In addition notes are written upon and betweo;n short lines above and below the stafl'. These lines are calied leger
lines. o -e- n. -&- .n.

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G A B c D

l 412
92 / li l
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Every Go od Does Finely F-A-C-E
A rest indicates a pa.1se or silence for the value of the note after which i t is named, such as
~

- li g
Semibreve Rest Minim Rests Crotchet Rests Quaver Rests

Th< <nd ol tho pi"" ia Wdioat<d by a llght =d hoavy lin" 4

When a section or part of a piece is to be repeated it will be shown by a double bar with two dots:
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FOREWORD TO STUDENTS
l No student shoulci attempt the study of an instrument without the aid of a competent instructor for that particular

l instrument. o
Due to the variations of mouth, teeth, and lip formations of different individuals, I believe the ali important ques-
tions as to position of mouthpiece, breathing, tongueing, and lip control sbould be decided by your teacher for
your P.articular case.

l TEC~
l
The most important technical points for wind instrument players are as follows ~

(l) Developing and strengthening the lip muscles.

(Process) , Playing of long sustained notes.

l (~) Developing clarity and precision in attack.

(Process) Proper use of the tongue.

(8) Developing a fine quality of tone.

l (4)
(Process) A combination of No. l and carefullistening.

Developing fluenc1 in fingering.

l (5)
(Process) Playing of scales and arpeggios in various keys.

Developing a mastery of the entire range of the instrument.

(Process) A combination of ali of the above.

l CORRECT POSITION (POSTURE)

Left Hand Thumb Position

l
When playing the flute always stand or sit erect with bead up. Arms, bands, and fingers sbould be com-
pletely relaxed and held in a natura! position. Any stiffness of tbe body will be reflected ip the quality of your playing.
Fig. l. When practising, it is better to play in a standing position as this will help you to breathe properly.

l~
HOLDING AND FINGERlNG THE FLUTE
The flute is balanced and supported by the first joint of tbe RIGHT thumb, which should press against the under
side of the fluteodirectly beneath the second finger of tbe RIGHT band. The palm should be turned away from the player
and the little finger should press k~y RC. Tbe first finger of the LEFT hand, while curved to press key :à.I, should be
( pressed firmly at its first phalanx against tbe body of tbe flute. The palm should be toward the player. After these
fingers are in piace, the remaiuing fingers should fall into piace easily if curved slightly.

CARE OF THE INSTRUMENT

( Be sure to ask your teacber about caring for your instrument. A well cared-for instrument will play more easily.

PHRASING

l Tbe breathing marks ('), in addition to indicating the proper places to breathe, also serve as an introduction to the
feeling of proper phrasing of melodies. This is important as it is tbat whicb gives meaning to music.

HOW TO PRACTISE

l , The most important part of ym1r practising is in being able to think out the problems at hand: fingering, tongue-
ing, phrasing, etc. WHAT YOU CAN'T THINK YOU CAN'T PLAY. Be sure to do a good piece of work on lesson
1 before attempting lesson ~. and so on with each succeeding lesson. Play slowly a t first and think carefully the rhythm
(note values), phrasing, tone, fingering, and attack (tongueing). YOU are your own best teacher. Learn to intelligently

l criticise your own playing. I bclieve you know when you bave done a good job and wbcn you haven't. Don't be satis-
fied with a lesson half done, you are only fooling yourself. A good student is one who practises regularly every day.
DOYOUP

( [v]

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DIAGRAM OF FINGERING

-EMBOUCHURE HOLE

1'\ C C- mD ~ Eb E F n mG G- Ab A A- Bb B C C- l D~ D D
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'f. e- ~"' "' ii''V' l''
·~

~ 1~.. bo lo l~n~ -& 1~bn n

e- ~b~ -
l).

e.

lXI lXI
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' LEFT HAND THUMB $ $

-~~ilTi
E-< E-<
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Ti Ti Ti Ti Ti Ti Ti Ti Ti.THi n z z Ti Ti
....········ FIRS~. FIINGER
............. i i 1 i i i t t 1 . t 1 ii
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t i

o
oooo•uS••
~
<
E-o
2 2 2 2 2 2
SECOttNGER
2
THI~: F~NGER
2 2 2 l 2 2

.•....••;r...• 3 3 3 3 3 3 3 3 3 l 3
-~-
:::5 LEFT H~D FO~TH i<f_~ LI1jilf F(NGER

l l l l ~ !
RIGHI HAN! FÌRST FINGER l
...........::::
······ i i i i i i i i i
i
·····- ..~ SECONI ÌINGER i
...... < 2 2 2 2 2 l 2

~·::::::::... ~~~NGER i
....c 3 3 3 3 3
......
:x:
. RIGHT HAND FOukT~ OR LITTLE ~INGER
RD !
······
.::·:.:·:-:-::~-:: RE RD RC RC RC RC RC RC RC RCIRC RC RC RC RC

L.MEANS LEFT HAND

R. MEANS RIGHT HAND
l l l l l
Note: If flute has open G- key, LX must be held down at all times unless G# or Ab
are to be played. ·

[vi]
( Take the head piece of the flute in your hands, with the open end. to. the right. Close the lips and extend the
comers of the mouth slightly as when smiling. Piace the inner edge of the hole against your lower lip so that the rim of
. the hole can be felt on the red part of the lip, just above the white. Be sure the hole is~~ centre of the lip. Piace

,.
l the ti p of the tongue at the upper edge of the upper teeth. Take a good breath, withdra the ongue slightly, and direct
the air in a steady stream against the outer edge of the hole. · The opening between the li~~h? Id be quite small in order
to direct the stream of air against the rim of the hole without waste of air. (See picture below .) ·

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l Experiment with the position of the head piece against the lips; tum the hole slightly in or out, covering a little more
or less of the hole. Listen to yourself. A better tone will be your guide.

1: When you can produce a tone and sustain it fo! the duration of your breath, try the following exercises for the
head piece, Lesson One.

~~

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l A TUNE ADAY
LESSON 1
l OBJECTIVES: 1. To produce atone on the head piece.
2. Correct position of the lips against the embouchure hole.
3. Correct use of the tongue.

l 4. Breathing, and the produd:ion of tone.

5:
To learn the value of semibreves,minims,crotchets and rests.
6. To learn a metre (time) signature and what it does.

T l ME SIGNATURE. ~ MEANS {Four counts to a bar.

l A crotchet gets one count.

Exercises for Head Piece

Practise these exercises many times and devote a considerable amount of your practice time playing
l long notes in front of a mirror where you can see the position of your lips.

MINIMS(2 Count Notes) ~ ;j r Il arul MINIM(2Count)RESTS ~ - - Il

l
~1 ~
(PlaY,) (Resti } .
CD-
Counti
- 1~i - 1Jetc. - 1J - 1J - 1J - 1J - 1J - ~
l 2 3 4, 2 3 41

®~t r r lr - lr r lr - 1J J 1J - 1J ~ 1J - Il
l Count i i 2 3 4, 2 3 4, · etc.

SEli!IBREVES<4oount notes> ~ and SEMI BREVE (4 Count)RESTS~

l
@~Co{unt~2 :L
•
3 4 1 i 2 8 4 1 etc.
le - - -
Semibreves and Minims
@~t J J l J J l
Countt. 2 3 4, i 2 8 41. i
-
2 3 41 etc.
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CROTCHETS(1Countoot.,) ~ JJ rrl andC!WfCHET(1Count)RESTS ~ ~t l Ì l!
®~t JJJ~IJJJ~IJJJ~Irrr~lrrrrlnr~lr~rrlrrrH
Counti i 2 3 4, 2 3 4, etc.

Minims and Crotchets

@~t J J IJJhiJJJJ,JJJ~jJ J jJJhjJ~JJih- i
Count i 2 3 4, i 2 3 4, etc.

l When you can play a full round tone on the headpiece, and you understand how to count the above ex-
ercises, your teacher will show you how to assemble the flute and you will be ready to proceed to
LESSON 1A.
Copyright, MOMLIII, lJu !/'lie .Boston Music Co.
International Copyrt'glit Secureà
PlUNTED IN ENGLAND
 LESSON 1A
OBJECTIVES: 1. Corre et p o sture and correct holding of flute.
2. Further development of mouth position.
3. To introduce third-line B.

L"EFT HAND RIGHT HAND

First finger on key 1; Thumb beneath flute
Thumb on key Tl; under second finger;
First finger against flute Little finger on key RC.
at first phalanx.

FINGERING GUIDE
T1 e i3 o~~(e) Means key pressed down.
~ o LEFT
Introducing 3rd-line B .2.
HAND
Tl (L l) (Key RC) o
B RC 0
o RIGHT~ g (o) Means key open.
HANDao

J. This note is_? ~~ Play slowly REPEAT

CD~ t
Think:Oount i
r- lr- lr - lr
2 3 4
:;~l:r r l r - l r r lr - =Il

J @
- -
These are and receive counts?

@ iP t r r r r r r 1r r =Il:
Think:Oount i .2 3 4
l l o 1 - 1o
o o
- =l

;_ These are ? @
@ i' t rrr•l rrr* l rrr• l rrr•:Il: rrrrl rrr*l rrrrl rrr•
Think: Count i 2 s 4 i .2 3 4 1. .2 3 4 ·
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•.=;-:"•l ~,.

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l O:SJECTIVES: 1.
LESSON 1B
Correct position and correct holding of flute.
2. To introduce second-space A.

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l Introducing 2nd- space A ~
T1 (Ll-2/ (Key RC)

l A

l Play slowly @ This note is _ ?

CD ' f J - .lj - lj - 41=j j lj - lJ J lJ - =Il
l Think:Count i 2 3 4 t 2 3 4

( These are and receive _ counts?@

@ ~t ;j ;j pl j lJ J l j j :11: .. l - l .. - l ., l - l .. l - =Il
( Think: Count i 2 3 4 :1234 :1234

Band A March
l @
(Duet) C.P. H.

·~=~~Jj>Pupil

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Think: Counti 2 3 4 i 2 s 4
 l

4
LESSON 1B (continued)
OBJECTIVES: 1. To introduce second-line G.
l 2. Practical application of knowledge so far acqu:t'ed.

Tte
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Introducing 2nd-line G
T1 (Ll-2-3) (Key RC)
G RC 0

J This note is_? · (J) Play slowly

® ' f J - IJ - IJ - IJ Oij =Il=~ J lJ - l J J lJ - =Il
Think: Count 1 2 3 4
@ These notes are ?

® ~ ·f J J lj j l J J l J J :0: o o o o :Il
Think:Countt 2 3 4 i 2 3 4 U34

·.J. These are_ :and receive - - counts? @ · .

® wf rrr*lr rr•l rrr;lrrr *=Il= rrr rlrr r *lrrrrlrr r • =l
Thlnk:Counti 2 3 4 t 2 3 4

@~i r r J J 1J J J ; · 1 J J r r 1w w J t =l
Think:Count i 3
l'ferrily
(Duet)
@
Pupll
Think: Count i 2 3 4
/

__ @ ~f .."' lo"' In"' lu"' lo"' lo"'

Hold eacb note as long as possibie.

0
l
t:'\
0
lo
t:'\
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*When two notes on the same line or space of tbe staff are connected by a curved line.--...tbey
are to be played as o ne note, adding. tbe value of the two notes togetber. Tbis is calle d a TIE. ·
**Pause (fermata)a short curved line drawn over a dot, lengtbens tbe value of tbe note.
 't{
LESSON 2 5
OBJECTIVES: 1. To devèlop a fuller tone.
2. Practice in the use of semibreves, minims, crotchets and restso

l
3o Application of acquited knowledgeo

Hold eanh note as long as possible.

l o o o The Swing H. M. S.
J j ) · j j
l ® ~ t r r
Txme sxgnature 1s _ ? .

Think:Counti 2
w· w 1 ~
3 4
~ ~ * 1~ ~
J.

_r
.

~ 1w w w t =l
· .. . .Ten Pins s.
l @~t o ,~JJtiJ~ rJ IJJ r*' o 1J~Jt1JJ rJ IJjjtll
H. M.

Think: Counti2 3 4
l . Flying Fancies - H. M. s.

@~t r~ rJ IJ w 1JJJJ 'r • 'rJrJ IJ J 1JJ rJ IWJJtl

l Think!Count i 2 3 4
In a Canoe
·
H. M. s.

@ ~t w r 1J ~ w t 1J w J lr - 1 J r 1~ J w t 1J r J 1JjJ t
l Think:Count i -2 34
The Bells
(Duet)
11

H.M.S.
@
l Pupil
Thinlt:Count i 2 s 4

l
At Pierrot's Door
l (J)
Pupil
(Duet) French Folk Song

l Think:

l Long Notes
®~109 c<~ h
'!Jjj ...
l
.. , 'IIIOlf - '1C[II
.e

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Home work: Write a line of notes thus far studied, using minims, crotchets and rests.
Mark the letter name (G-A-B) above each note.
Il

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--------------~-------

8 {ESSON 3 )(
OBJECTIVES: 1. To learn the name and fingering for third-space C.
2. Furthur practice with semibreves,minims,crotchéts and rests

NoThumb

Introducing 3rd-spac~ q--~

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No thumb (Li) (Key RC) o
o
c ru:;o

~ n~w note @
®" r . 1r - r - 1r - =Il= r r 1-r r 1r r 1r r =Il
This is_?

cv 1
Think: Count t 2 3 4 - l'A\
~ ~'rhese are ?

@ i 1 rrr; rrrt rrrt rFr*=Il= rrrr rrr* rrrr rrr*=Il

Think: Count t 2 3 4
1 1 1 1 1 1

@ ~ c r r r r ~ J J - J J 1r r r J r-r '
1 1 1 1 1 1 11
Think: Count _t 2 3 4 -
(])-
@ ~ t rr rw J J wt J J r r rrrt=Il= r J r rJ r r wJ J lMJ •=Il
l 1 1 1 l
Think:Countt 2 a 4 Melody
(Duet)
Time signature is - ·? This note
~
® 1 is ·? _l _j

Pupil
J 4!
Th1nk:Count t 2 3 4
l l .1 l l l l' l l l -
l ~ ~ ' i
Teacher
4! l l l ...._. l l l l
Mixed Melody
(Due t)
® ~ l

Pupil
C~untt.
l
Think: 2 a 4

Teacher
t
- -
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l LESSON 3A
OBJECTIVE: Application of acquired knowledge .
'

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Happy Days
· (Duet)
1: CD
Pupil
~ l l _l_
B. P. S.

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~
@. 1 l l
)\
l Teacher
j lolo
i
,.. 8 4
f•

l l l l
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l Kassaksavell
(Duet) H.M.S,
@ ~ l _l_ _l_

l Pupil
~
i 2 3 4 l
l l l l l -
~ ~
---- -
l Teacher
~ l l l l l l l

Folk-Song
l @ ~
(Duet)
l

Pupil
l ~~
i ~~
i
r•
2 3
1
4
l l

• r.
l

r,...
l

.........
l

r. l
l l

• r.
l l

Teacher
l e
Melody
l

(Duet)

l @
Pupil
~

l l l l
' i 2 3 4
l

l Teacher
e
~

- l l TI 'l

l Hold each note as long as possible,

i
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t:\
@,tu lo lo lo lo
t:\ r."' t:\ t:\
o
l ...
t:\
Il· l
t:\ t:\
lo lo
t:\ r."'
, ..
r."'
o l
r."'
n

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Home work: Write aline of notes thus far studied, marking the name of each,

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 8
LESSON 4~
OBJECTIVES: 1. To learn the name and fingering for first-space F.
2. To develop a clearer tone by playing long notes.
3. Emphasis on rhythm.

.. -
Rle
Introducing 1st-space F :
T1 (Lt-2-3) (R1) Key RC F Rcg
@This note is a_?

CD ~ l J • IJ • l;] • IJ • =Il= J J l J J l J J U J =Il

Think:Counti 2 3 4. ·
.J. · @ These are _ _ ?

s ® i l J J J ì 1J J J ì l J J J ì l J J J ì =Il= JJ J Jl J J Jì l JJJJlJJJt =Il

Think: Oount i 2 3 4- ·

®'e F r iJ Ol IJ • Id J id r lr- - IF J Id
Think:Oount i 2 s 4-
;J l" Il
Hold each note as long as pcisilible.
~ t:\
, t:\...
®l.,
t:\
l t:\
o l t:\
0 l t:\
0 '' l • l n o
o ... Il
Different Note Values
® The letter name of @ . . @This note is _?
~ thi• note i• ? Tbio note " - ? j j ~ ~
CJJ " " lJ J lJJJJlJ_J *Il o lJ J lJJJJ I[J ìl .. Id ; lJJJ ·l Jj ì Il
® ® This note
~ This note "-? is- ?

o l.r: r lr r r r l r- r ì Il ., 1F r l F F F F l ~· ì Il
Folk-Song
Time signature is_? (Duet) French
il\

~ -
... ••
i 2 3 4-
~ l

Teacher
• •v• + ..... ! .... ..., l ! ,..

;.
'
~-
~. .!. ~•• Write a line of
names above the notes.
not~ thuo far louned, usinB minims and crotchets and marking the letter
Il

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 LESSON 5 ~.
OBJECTIVES: 1. To learn the name and fingPring for third-line B-flat.
2. To learn the meaning of the flat (~).
3. To notice key signatures and learn what tht"V m<'aq.

Il
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Tle
~
0
Introducing 3rd -line B - flat
Tl (Ll) (Rl;• Key RC . 0
~
@; Bb RCg
A FLATCbJ LOWERS THE NOTE TO WHICH IT APPLIES BY A SEMITONE. A NATURALC~)
TAKES AWAY THE EFFECT OF A SHARP* OR FLAT AND RESTORES THE NOTE TO ITS
ORIGINAL PITCH. (*see Lesson Nine)
·1 This note is_._? @
m~ t ~r - l~r - l~r - l~r • =ll=~r
i
r lbr r
2·~3 -~, ·
l~r r lbr
Th.in.K:Count i 2 3 4
' @
® ~ " ~r rr*l~r rr*l~r rr*lhr rrt=ll=~r rrr'~r rrì l~r rrrl~r rr*=l
Think:Count i 2 3 4 .

@ ~ t, r tq)r l~r J '~r -r lr - lJ ~r Jqr J lJ r lr -a

The Key of F Major
The flat (b) plaeed on the 3rd line of the staff just after the clef sign, affects every B throughout the
pieee, except when temporarily cancelled by a natura!(~) sign. NOTICE KEY SIGNATURES, AND
FINGER ACCORDINGLY.
AN ACCIDENTAL IS A SHARP OR FLAT WHICH DOES NOT BELONG TO THE KEY SIGNATURE :l
•i
AND APPLIES ONLY TO THE BAR IN WHICH IT IS PLACED.
F :Major-One·flat Duet
® fL
;
~

Pupil ~ ·-" .,-

L@ l l l l l
·Think
T :~ount J 2 3 4

Pupil
l
" Oats and Beans
(Duet) This note-
(J) ~ THINK .!. ' is--?
Pu;l?:n "
'·"
T ·~ount
Think: i 2 3 4
l l l l l l

Teacher
l l l l l
"
 f. O
LESSON 5A
OBJECTIVES: 1. To introduce the slur.
2. To practise using the notes previously learned.
3. Further use of the key of F.
This s i g n - when placed over or below two or more notes, indicate& that they are to be played in one
breath, and that only the first note in each group should be tongued.

-J. TONGUE TONGUE THINK

CD j~ l }J;J l tJ l Jj# IJJJ l Jq l r=il l J31 l JJ) =Il .. Il

Thinli:Count t. 2 3 4 ·

® &hl
Tb.ink:Count t.
"'tfv 11JJiMJ lJ?flf l{djJ liJ.ll) L. l
2 3 4

® ~b l JdJJ ilfìFIJfJTrllflf!JfJTrllfFlfiJ?JTriLJi Il
Think: Count t.. 2 3 4
Lightly Row.
lFollow slurs carefulllf l German Folk-Song
@ ~ ~ ....-.-.. l l
Pupil
l l l
!f. l l l l
Thlnk:Count t. 2 3 4
l 1\

Teacher
f. - "-.:!" ·.......:::..-- - ~
•

Jingle Bells
J. Pierpont

® &~eJJJ 1JJJ 1J rJJ IJ5hl';7rrirJJJ IJWJJ l

Thlnk:Count t. 2 a 4 .

~~ w r JJJ JJ J
1 1
.
1 J r uJ PU J r r rr rJ JJ r r r w LJ *11
!.284
1 1 1
l
1
-
 u
TEST QUESTIONS ON LESSONS 1- 5A
Questions from this and following test-sheets will be given as a check on your home study of the preceding lessons.
REMEMBER: The more you know and understand ahout the signs and symbols used in music-writing, the
easier it will be far you to learn to play well.
Your
Points sco re
1. This l
is called 5

l is called
2. This symbol

·""
· 3.
f
The staff is divided by bar-liries into _ _ _ _ __
5

5
4. Fractions at the beginning of music are called - - - - - signatures. 5

5.

6.

7.
This '

These

These
'l41
f e Il is a _ _ _ _ _ and has - - - counts.
J J l are _ _ _ _ _ _and have _ _ _ counts each.
J J J J H are _ _ _ _ _ _ andhave _ _ _ count each.
4

8. Lines and spaces are named after the first _ _ _ letters of the alphabet. 5

9. This 4 13 l is a rest. 4

10. These '

11. These

12. This sign

'e 15

~
Il a r e - - - rests.
* l ì ì Il are
means
rests.

counts to each bar.

4

13. Name the notes thus far s t u d i e d : - - - - - - - - - - - - - - - - - - - 6

14. Write the notes thus far studied. ~~~~~g~~~~~~~~~~~~~~ 6

15. Write the letter names above the following notes. 6

16. Divide the following into bars.

A 1 r r 1 J J _lbr J
Q 6

4tJ JJJJJ J JJUJJ J JJJ J Il

17. Inspe~tion of instrument. 10
18•. Sight reading. 12
100

TEACHER: Write line ot notes thus far studied, using·semibreves, minims and crotchets as a sight reading test.
 LESSON 6
OBJECTIVES: 1. To learn the name and fingering for fourth-line D.
2. Practice in changing registers through C,B,an:i A.

Introducing 4th-line D ~ Tii

T1 (L 2-3) (R 1-2 -3) f
D :

~ t r - rr -
Play slowly @
CD r - r - r r r r e r rt e
1 1 =Il= 1 1 =Il
Think: onnt i 2 3 4
@
® ~ t rrn irrn irFE * 1rrn =Il= rrr r 1rrP :rrw rrrH
Th1nk: onnt i 2 3 4

lKeep f. ingers r.to.~e to keus l (@

~J
@=t r - 1r · 'r - 1r
Think: ount i 2 3 4

IPractise silentty first l

- =Il= r r l r - l r r lr - =Il

® ~~ r r +F • 1r r 'r - 'r r 1r r 'r J IJ ·

Think:Oonnti 2 3 4
Il

(Ì) ~~ r r 'r J 1J r 1r - 1r r lr J IJ r J -
Think:Oonnt i 2 3 4
1 11

l Upidee (One flat: m)

muet)
@
'1,
l
Pup " THINK

r_~
. ·Connt i
ThJ:nK:
l '\
2 3 4
~ l l

l
l l

THINK
--- _L

Pup
.. l l \

Upidee (No sharps or flats)

muet)
®
Pup
1
r..'.connt i ~ ~
l l l l 'l l l, l l l
Thlnk: 4
i'
Tr. _l _L
i
Pup .., l T
*SilA!lt Practice on page 13 may be introduced here if desired.
l
~~~
Il
l OBJECTIVES: 1.
2.
LESSON 6A
To attain more facility in changing registers.
Application of acquired knowledge.
f3

l! Silent Practice
In a sitting position rest the flute comfortably with mouthpiece on the left shoulder, the opposite end
on your lap, and practise the register change from C to D or B to D many times until you can do it
easily and reasonably rapidly. ·

l h Fractise silently

4fi " l =Il= r r lr r=Il= FrFr lFr Fr=U=

e e le =Il= r r lr r=H= rrrrlrrrr=l
l ~n- """"""'" ;,_·? Jingle Bells .. J. Pierpont

li <D ·~
rrr rrr rrwJ ' r:sr • rr r r'r rrr rJ J r J r
Think:Count t 2 3 4
l l l l l 1

l ~ rrr tnr lrrJJ lr=trlnrrlrrrrlrrrJ l@ n

Twinkle, Twinkle, Little Star

l ®'~tua rr1rrr lrrJJ

ThinK:Count t 2 3 4
IJJ;J lrrrriJJJ
l 4b r r r r 1J J J 1uu r r 1r r r 1r r J J 1J J ~ 1
Harvest Time c. P. H.

® ' be
Thin1i: Count t
JJJ-71 r J lr r rr l;J_js i lJJJ·1 lr- J lr r P l LJt l
2 3 4 :1. .2 4

:4±zn~~rrlr- d IJHJ IJ F IJJJ=plr- J lrrrd ILH l

l ;t.{ey with-.. flat is _?
Folk-Song
(D uet)
@
l Pupil
Lt l
Think:·Count t 2 3 4
1 n
l

l
l l l
--
- c

_l l
.. >
~

l Teaeher
t.i ! l l 4- .. v
Oats and Beans

l @
Pupil
~
(Duet)

l t l l l l .1 r T' l
Think : ~ount
l Teaeher
l »
t 2 3 4

t .... l l l l l

l i.
l'
l
l
 LESSON 7
OBJECTIVES: 1. To learn the name and fingering for first-line E.
2. T o learn the name and fingering for fourth-space E.
3. Practical application of these notes.

T-I•
Introducing lst-line E : Introducing 4th-space E
T1 (Ll-2-3) (R1..:2) Key RC 'f Tl (Ll-2-3) (Rt-2) Key RC
E ~o .
J , @ This
u-
note is _ ?

-u-
This note is ?

w~tw
ThinK:Countt 2 3 4
1w - =II=F r r r r r 1r r
1 1 =Il

@
@ ~t
ThinJi!Countt
www• 1
2 3 4 ·
rrr •1www• 1r rr•=Il: wwww1r rr•1rrrr 1wwwt =Il
~~-? @~~-?

® 4 l ;t4J J~ lJ-r ti l~W1J ltH:U=I t1 f-Fi*ìf1 (t ltt~~rt lJ - •l

b
Thin.K!Count t 2 3 4
Melody THINX . Hymn

(]) ~ fiJ
Tb.in.K:Count t 2 3 4
uu1tJ J 1J JIJrs J 1r r r 1r r9 14±w 1J_) • 1
Abide with Me w. H. Monk

rtil?r rr
-------- · THINK

®i Eil. 4JJ
~Countt:a 3 4
J
1 r 1 1 .. 1 J 1 r r 1ECJ3fir 1
tb P-r*l<l ~JJJ lr=rfi
' "' - --- ~ ' ,..,..,.-' ,-< /.

Folk-Song
1 .. i:J dfltlJ1iJ.:J '
1 .. 1
(Duet)
® 1\
Pupil
L~
T :Count t
Think
l'l~
2 3 4
l l l l

·c ;
Teacher
t l l l ~l l l l l
-- l

'~
1LthnfJ work: Write a line of notes thus far studied.
l
Use minims and crotchets and divide into bars.
"
l
l~~~·~
l
l LESSON 8
OBJECTIVES: 1. To learn the name and fingering for fifth-line F.
2. Further practice using notes previously learned.

l 3. Further use of the key of F.

Introducing 5th-line F ~ Tll See picture on page 8.

Tl (Ll-2-3) (Rl) Key RC
~Rc8
l ®
l' m ' 1 r • IF • 1r • 1r • =IH r 1r r 1r r 1r r •Il l
l

'1 rrr
Think:Count 1 2 3 4

@
l ®
Thlnk:Count 1 2 3 4
t IJJ Jt 1rr r; IJJJ•=H:rr r mumn JJI rrrt =Il
l· @ ,~
Hold each note as long as possible.
; ~
n l
~
l
~
l
~
11
l
~
0
~ ~
l " l .• 0
~
l(&)o l
~
0 l
~
O
~
l n Il
0

l Scale of F Major

l @ ~ ff J :J i1?r 1r- r 1r r 1r r- 1r r- 1r d 1:J w 1

. Think:Count 1 2 3 4

l Up and Down
Trauts

cv'~tUEEirrr iqJJ IJJW lrrJ"lirJJ l

l Think:Count 1 2 s 4

l ' ~ r r J.sp 1r r e 1r r c r 1r r r 1r r J J 1J J J 1

®'t @ìnV
- . SI ow 1y Song of the Volga Boatmen F lk
o - 8 ong

l rlrTr i<LJilr r 1r r 1@ IJshll

Think:Count 1 2 s 4

l Sl 1
Evening Song
Robe:rt Schuma.Illl

l ® ' ., 1{ e 1r-
Think:Count 1 2 3 4
rr 1r rr 1r- J pJ Yì
r rr r 1r ;j 1J :J \/

'r- r- 1r- r r 1r r r 1r J 1J r lr n lr r w=rm

 16
LESSON 9
OBJECTIVES: 1. To learn the name and fingering for first-spaceF-sharp.
2. To learn the name and fingering for fifth-line F-sharp.
3. To learn the meaning of the sharp(~).
4. Practical application of these notes

Introducing lst-space F# ~ Tti Introducing 5th-line F# ~ Ti!

T1 (Ll-2-3) (R3) Key RC
-
~
F~
RC~ Tt (Lt-2-3) (R3) Key RC ~
11
Rei
A SHARP (j!i RAISES THE NOTE TO WHICH IT APPL'IES BY ONE SEMITONE.

This note is - 1 @ .
® ~t t - l#J - l#r - I#J - -=Il :#t r I#J J 1#r r I#J J =Il
. @ @

iJ
@ ' t J J I,J J 1.. u r 1*r r- 1.. ,g:J r 1•rc r 1J tJ 1.. ~
An Clair de la Lune
l
l i

.i
!

Il
Home work: Write aline of the notes .thus far studied.
l
l
~ -~-~-

1
l OBJECTIVES: 1.
LESSON 10
To leain the name and~ fingering for G, first snace above the staff.
t7

2. To introduce the key of G, one sharp.

l 3. Application of acquired knowledge.

Introducing G, ,~~ T1~

l 1st space above the staff
T1 (Ll-2-3) Koy RC G
1f
Rct:l
See picture page 4.

~ l
l
l Play slowly, sust-aining each note with equal volume.

l
@i Il JO tr
1 I,J1F ltft ~~eJ1f' 1;JSt [1 1 1 rr 11
l
l

The Key of G Major

l The sharp <#ì placed on the top line of the staff, just after the clef sign, affects eYery F throughout the
piece, except when temporarily cancelled by a nattiral (q) sign. ~
NOTICE KEY SIGNATURES, AND FINGER ACCORDINGLY.

l Scale of G Major

l ® ~ 1 ., w J r r r 1)r :r r r r r r r J w
1 r 1 1( 1 1 1 1 =•

l @ 4~ 1 iff-% 1&d 1fiif 1ri.®=n:if"f} 1O(i 1i~lr 1ff~ =U

l .
Beneath Thy Guiding Band J. Hatton
~

® ~ t w rr r r r c r r r r * r r r r r
i-1~ p:---.- -=-'
1 1 1 1 1 lr r 1;;;::? *'~1
-j-:::!

l Think:Countt
~
2 3 A
r;; ' THINK - - .
~

~1 r ,('J w-:r r r rl r? Jd t r fr r r r r J
1 1 1 1 1 1 1 J=-J * 11
l ~ Key of_?
Theme from the Second Symphony
, , • Haydn
l, (j) ~~~ r cJ IJ rrlrrrrlr r 1r r 1r ritr rrlr M'l
Think: Count t 2 3 4 ·

~l 4~ r r J J ·n u u 1 1 1r- rr '1 t r 1r r rJf J LH

1 1

~
1.8

TEST QUESTIONS ON LESSONS 6-10

Your
Points sco re
1. This :Il: means - - - - - 4

2. This (b) is a - - - - - 4

3. How dot(S a (h) affect a note?_ _ _ _ _ _ _ _ _ __ 4

4. This (lj) is a - - - - - 4

5. How 1oes a (l:j)- affect a note?--~-------- 4

6. Name the following lines and spaces of the staff: 8

1st space _ _ __ 2nd space - - -
3rd space _ __ 1st line
3rd line 2nd line
4th space _ __ 1st space below staff _ __

7. The key of(1b) is - - - - 4

8. Write the key signature of Ib ~ 4

,,
9. This sign .....-.... connecting twò notes of the same pitch is called ? _ _ _ __ 4

10. What is a slur? 6

11. Write the G major scale? Il 8

12. The key of (ljj) is 4

'
13. Write the key signature of (t#) 4

14. This note

~ ·~ e Il is 4

15. This note ~e~e Il is 4

16. This note ~ ~~.#" Il is 4

17. Music written for two flutès is called 6

18. Inspection of instrument. 10

~=o
19. Sight reading. 1!L
100
--

TEACHER: Write line of notes thus far studied, using slurs.

 LESSON 11 19
OBJECTIV'ES: 1. To lP.arn 1he name and fingering for A, first line above the staff.
2. To learn the value of the quaver.
3. To learn the use of rhythms involving quavers in and time. t f
4. To learn the meaning of JJ.S. (.])al Segno).

Introducing A,
1st line above the staff
=;~~~.g..~~~Il Tl!
:? See picture page 3.
0
T1 (L 1-2) Key RC ;; A Rc8

Quavers
· A quaver ())) is e qual to half the value of a crotchet. Two quavers (n) e qual o ne crotchet, four .QJJ a
minim, and eight J:JlJJm a semi breve. A quaver-rest ('l) is equal to the value of a quaver.
2 • STwo counts to a bar.
4 TIME MEANS l A crotchet gets one count.
COMPARI SON OF TIME WITH t i TIME
(!) O ne bar of ~ time equals two bars of time. f
1' t J1 n J n:II:J n nJ =II:JJJJ J J =II:J n J J =II:J. J JJJJ:II
l'
This
2&l3 4& 1 2&l3&4 1&2&l3 4 1 2&l3 4 1 2 3&4&
Equals ® l ® ! © !. @ l ®
Thls J :J J3jJ J3:JI:J J3j!3J =lbJJJJ.!J J :JI:J J3jJ J =II:J J JOJOJJ:II
1 2& 1 2« 1 2& 1&2 1&2& 1 2 1 2& 1 2 1 2 1&2&
Long, Long Ago
r Key of - - ?
Time signature is_?
Th"18 t .
no e 1s - * ?
·
B l
ay Y

f
® ~ ~~ r a r a r f! r t r cr r t r Et r t r a r a
1 1 1 11 1

Th:i.nli:Count 1 2 &a 4 & . . ]) 8 (*) t p,· *

l ~ Cffr i 1r ll'F EEIRt'iil r !l'r UIF EEr; 1r LJ'!r UIÙftr ti

Gaily The Troubadour
-J:. Bayly

l
Key o f _ ? , , ,

®i'~ i r OlfiJ IJ Dir ì lr (JIDJ 1J i11J

Thi.nk: Count 1 2 & 1 & 2

l ~ lffìr IEJ J' lr U !F H i 3 r IU F' IF u lJ t Il

l .J_ Time signatur~ is ? '
Yankee Doodle
'
Traditional

® i' 1 r r r r 1d r 1r Lr r lr r lr Lr r lr r r; lJ JJ J l r r l
l J-
~
f",
r.-
Think: Count1 & 2 & 1 & 2
Hold each note as long as possible.
*- 1':\ 1':\ t:\ {':'\ t:\ t:\ t:\ t:\ t:\

~
t:\ t:\
@ Il
l e
l li
l e l ,, e •• e Il e Il
,l~
*JJ.S.-(]}at Segno)= go back to this sign ~ and play to .li'ine (End).
 20
LESSON 12
OBJECTIVES: 1. To learn the names and fingerings for B and C above the staff.
2. Further practice using qu_avers
3. Further practice using : time.

-e- NOTHUMB
Introducing B, Tle
Introducing C, ~ ~
2nd space above the staff
T1 (L1) Key RC
Il ~
RCO
2nd line above the staff
(NO THUMB) (L1) Key RC c Re
5
8

Scale~ of C Major

CD 4-J r r 1 r- r !t r 1r f 1f r r 1 t 1r .~·· 1r r- 1
Slurred Octaves

® 41 rr 1tt1~~* 1 ;(e 1 ,rt 1(t 1V 1JZf 1ft 16f 1

Andante
, from the Surprise Symphony Ha dn

~
@ "rrrr!EFr lrrrrlrrw lrrrr!FFr lrrEEEJirrr 1
' ' '

i 2 3 &4 &
y

. Reuben and Raehel

,t Allegretto (briskly) ,

T ®4trrrrlcHE~IcrrrlciF lffrelrrrrlcrEr!Dr 1
· Minka

're t n n 1JJJJ1JJJ JI1J JJ 1Jn J1JJJJ1~J JJJ1J 1

Moderato (moderately) THINK THINK

® 1 J

Allegro (with. spirit)

®4JErrrlrfEriELrrlr r lrrH,rrr;lt:rrrlr-
.
Wearing of the Green
, ,
1
ns
. h Ai
or

1 ·
Old MaeDonald
.(Duet)
(J) ~
Allegretto
Pupil
' ' '
Ùount i .t 2-&
l
Pupll
' ' '
'-
IIome u·ork: Learn to play the C Major scale from memory.

i'
i
 2f.

Supplementary Material
There's Musie in the Air

A~~::!~ . . G. Root

m 1 ~ 1rrrr1c
f.
ount:-l t a s 4
r 1crrrrr1r4J 1rrrr1r r lrrrrrrwzrtl
t & 2 & 3 4

4JrrJ IJ rF IFrrJ lrrJ 1J rrJ IJ rrttiFrrJ 1rr• · Are You Sleeping?

®
. Key f
o(D.
·
sharp t s - ? l
4•17j J rJ lJJrJ 1rr r lr r r 1rErrr J lW:r, rJ1JJJ 1JJJ 1 ([)
®. (Round'
. ~@. @ French Air
.

Little Brown Jug

Allegretto .

4 &r ltfF1EErt1Ut IEJ!r letr IEEUJUr l

®91
Skip To My Lou
(Duet) . Folk Song
@ Alie g ro ;;, n
Pupil

Pupil
'Think

..
jCount t 2 34

l l l l l
-
~ n _D_ .-.

• l l

fl -.
.. .... - .... ....
Evening Song
- -
Moderato (Duet)
,......_
Robert Schumann
@ 'l UP-BEAT ,......_
Pupil '
l l
Think:l~ount 4
Il
f 2 3 4 & t 2&3 4

Teaeher " 'l

.: ~
"--" . ""'"" ----
*Many pieces begin with an incomplete bar, usually starting with the last beat or fraction the.-eof.
This is called an up- beat. The· ending always completes the bar of the up-beat.
 LESSON 13
OBJECTIVES: 1. Tò learn a new time signature -f
time - with emphasis on
rhythm drills (A-B-C, etc.)
2. To learn the value and use of dotted crotchets·and dotted minims.

The Dotted Minim and the Dotted Crotchet

A dot is equal to one half the value of thè note it follows. A dotted minim equals 3. beats, a dotted
crotchet equals t!
beats.
_~ Writte.n Played Written Played
=l J. · l J J Il J. ' "=""'
ì l FJhi Il
~

l l Rhythm Drills
! DRILL: C'ount aloud each variation while clapping hands once for each note. Repeat severa! times
l unfil you feel the rhythm before playing:Variation F is the most difficult and .should be thoroughly understood;
f
j (D ~- 2:J. id. · lr· IF" IF' ir· lr· id. . IJ. IJ·I

r-aunt
@
123
'
l J J J id J Jlr r r IF Fr IL r r lr FFlr Fl' iJ J J IJ J J IJ.I
nntt23
® -
. _

~-~ J J 1J J lr r lr r 1r r 1r r lr r IJ J IJ w lU-I
Oount 12 3
~© . -
,_ij 1J J n1J J J31r r ulr r rrlr r rrlr r rrlr r rriJ J J31J J :DI W. 1 _
Count t 2 3&
-J_ @ -
i' 1DJ- J 1.sJ Jlrrr r lrrr r 1rrr r _lrrr r lur r 1.eJ J !DJ w IJ-11
Oountt&2 3

~~i{IJJ 1J JJJ lr crr lr riF 1r o:r lr rtF lr rrr 1J JJJ IJ ~J IJ. 1

Oount t 2&3 ,

~~ fffiil iJ. ~ lr· ~ lr· PF IC' ~r lr· PF lr ~ iJ. ~ IJ. i ili

Oount 12 &3
@ -
~~~
Count
* J J 1a J J lt r r lì r r '* r r '* r r lt r r '*- J J l* J J IJ-11
t 2 3
Combination of Rhythms in 3;4 time
® t' t J J J. J\J l 1 r r r a r r * r-r· r u r r r J
1 1 1 1 1 J. 11
 LESSON 14 .23
OBJECTIVE: Application cf : and 1 r'hythms in familiar melodies cf
different keys.

Freneh Folk-Song
Allegretto

<D '*TffEìrn 1r rr 1r •1r r r 1rl'l' 1JJ J 1w t 1JJ r1

Think: Count t 2 3

1* JJ riJJ rlr •IJ rr1J rriJ rrlr *lrFFIEFriJ_JJ 1J.l

God Save The Queen ·· c ar·ey
~ Time signature is_? , · r l 11 ,

-· ® i 1 r r r r·. ~ r r r r r- pr r r r r ~ r r r
Think: Count t 2 3
1
. t2 & 3
1 1 1 1 1 1

.J. J,, ' , ~ '~

, r- P t 1r r r 1r· P r 1r. r Er ~ 1r- P r 14 E r r r l·11
jsl ' '''

Melody ·
·th . harp ·
.:;.
K
ey Wl _;_s
?
lS_. ,
.
,..---..,. e: .
L. van Beethoven
_
@ i ~- 1 (t
Think: Count t
tt r r t r r r v r e r r
2
r ,e r
3
1 1 1 1 1 ·1

~' ~ ~~
* r •r 1r E1n c 1r r1r r E1r =1 r t 1Et r 1~· 1
r-:
'
· College Song o o

Moderato . · . Trad1honal

@ ' 1
Think:Countt2
r· ·P r- P r J
&
1
12 &
1 1 J. J 1 r· p r r fl7r ~ r: P r- P
,,
1
·
1 ·1 1 1

_, r J 1J J ìr P1r r 1( J f • 1c- P1r r 1r· p1r r 1J. "' 1

' J •r 1@ l 1r· p1r P1r J 1J J 1r ~ 1r r 1rnF l 1

'l Bome work: Write eight bars of notes thns far studied, using different rhythms in
Mark beats and name notes.
1 time.
·~
 LESSON 15
OBJECTIVES: 1. To learn the name and fingering for B-flat above the staff.
2. Application of acquired knowledge by playing familiar melodies.

Introducing m, ~.n. .
~
2nd _space abo-ve the staff
T1 (L1) (R1) Key RC
or . B!J
T1

Re
t~ or
TM!!

Re
-§0
*
T1-2 (L1) Key RC

TM~ Go Down Moses

@
lrriFf!Frl .. l
Negro Spiritual
cJ
j

@ ~~trri.Jrrr'lrr•rr,cr'rltrrrlttr'irr•rncn
2 3 4
Think: Connt 4 i 2 3 4 t
Melody in F
(Adapted) THINK · A; Rubinstein
-J. The time signature is - ? ~ ~
i' ~ l r -t]" lr •(]" l r cr l
' --_

® l U l t E l r é] 1
· Think: Count i 2 & , ·

~ " r; r 1r -a ! PO 1r a 1E 1t •a r c 1~r 1 $ 1
Yankee Doodle Traditional

J)on't forget to play long notes regularly. - t:\

-J. 0 ~ t:\
o t:\
.& ~~ ~
@i f t:\
0
l
t:\
0
t:\
lba l
t:\
0
t:\ t:\
l o l#u l qu l
t:\ t:\

0
l l· l l l Il
*This fingering for B~ is used primarily when B~ is approached from G.
 TEST QUESTIONS ON LESSONS 11-15
Yaur
·Paints scare
1. These ~J JJJJ Ilare _ _ __ 5

2. Each of the above notes receives - - - count ·in 1 or i t ime. 5

3. This ~~ J. Il isa _ _ _ _ _ _ _ _ _ _ __ 5

4. The above note has _ _ _ _ counts. 5

5. This 41 J. j' ~ psa _ _ _ _ _ _ _ _ _ __ 5

6. The above note has _ _ _ _ counts. 5

7. Divide the following into bars 5

t J n J Im J J 111 j; nj J. .J'J nt n J J n1
8. Mark the count under the following: 10

i J n1nJ lltJ. j\J IJ .r:JJ lltJ. )nJ IIJTIJ n11

9. This sign f':'l·means _ _ _ _ _ __ 2

10. What is meant by the up-beat'i' - - - - - - - - 5

11. This (IV is a _ _ __ 2 ·······-

12. How does a q affect a note? _ _ _ _ _ _ _ __ 3

13. The name of this note ~4i~-~e~~~~~ is, _ _ __ 3

14. The key of ulb is - - - . 5

15. Write the key signature of (l#)~'~~~~~ 5

16. What is the meaniJig of .D. S. (Dal S e g n o ) ? - - - - - - - 5

17. What is the meani~of i time? _ _ _ _ _ _ __ 5

18. What is an accidental? - - - ' - - - - - - - 5

19. What is the meaning of Andante?_ _ _ _ _ _ Allegretto? _ _ _ _ __ 5

20. Sight reading. 10

100

TEACHER: Write li ne of notes using di,fferent rhythm patterns in l time.

26
LESSON 16
OBJECTIVES: 1. To learn the name and fingering for low D.
2. Knowledge of first-and second-time bars.
3. Practice in playing in the low register.

Introducing D,
1st space below the staff
1''1
Tl (Ll-2-3) (R1-2-3) ••
D •
®
(j) ~rpg I:J j IJ J l e =Il=[ r IJ J l[ tJ I(*J J l o =Il
Folk-Song

®f# l J H J f]:FJ'i J JJ J l J J l~ F lJ JF'1 JH J I;J J l

Au Clair 9e la Lune
Key of_.Sharps a r e - , and _ . · , . Lully (?l

® ~~~~ JJ JJ lJ :l lJJ JJ l J J IJ JJ J Ll J lJ J JJ I;J. *Il

First- and Second-Time Bars
The term 1st and 2nd time bars a.{'Pl!es to or; e or .more bars' in bracke~s at a double b~r: ~ ~.Thus,
when the strain is repeated, the first t1me bar 1s oro1tted and the second time bar played 1nstead. ·Il
Home on the Range Cowboy Song

Holy: Holy: Holy ·

Time signature i s _ ? , ' '. ' John B. Dykes

T
~~~~ JJJJ lr,r 1r rrlr-
:Count1 2 s 4
J lnrriFFEriJ rolr-·
u & s 4 1 2 s4
*1
~ ~ JJ J J 1r r ' 1r pr r 1r J ·1' r r r 1r J _l' r w J., ~~ J. i 1r
l l

-l
l

~-~~~~-~-~~,----~-~~--- -~- ~~~~~~~""""""'--~~~-==---~_.......~~-~~~----~~-----~-

1
l OBJECTIVES: 1.
2.
LESSON 17
To learn the name and fingering for third-space C-sharp.
To learn the name and fingering for C-sharp above the staff.
3. To lea:rn the meaning of the kt!V of D Mafor.
l
l
l
~

~
l Introducing Srd-space C#.
Key RC (no other fingers)
C#
Introducing C#,
No fingers 2nd line above the staff.
Key RC Key RC
~
(same as lower C#}
Key of D Major
l Two sharps: F# and C# #
FMt F lFr lr j
- Q-

l t
CD - jrifJ J l j J lJ lJ j lJ J :Il: #n l ~ l #n =Il
~

Hymn
Moderato ~ , _ _ , Haydn

*1 1 J 1r r 1r- r 1'r r r r 1r:JF J 1r r r r w· r 1r r r r 1r 11

'
@ -
Think: Count 4 us 4

l:=

Holy, Holy, Holy John B. Dykes

@- ;# 1 JJ Moderato
wéw
(') - ,
1J J 1r r r1A J 1J. iJ J 1rr- r J 1wJ r· J11 J 11
~ THINK .

t~# uuw a 1J J '1 r· ~ r r 1J J '1 r J J r

1 J 1J w· w. ;si J t 11
Duet
@ ,lt . Andante
~~----
' .. ' .. .,._
Cari
.,., ' . .,..,.
......
M. von Weber

Pupll --

.: Th1nk key and 1ote value~.

l

il\ .1.1
Pupll
- '
' '
@. l
:.s LESSON 18
OBJECTIVES: 1. To review the keys and fingerings presented in previous lessons.
2. To review the various .rhythms presented in previous lessons.
3. Further practice of long notes and slurred octaves.

Andante
_ from the Surprise Symphony Haydn

®~-~ :J:J rrlrrr lrrJJ IJJgi:JJ rrrrrr IJJ4JJ.JIJJJ n

Deek the Hall · .
·con moto (with motion) Old Welsh A1r

® ~ ., ~- P
Think:Oountj2
r r 1r r r r '1c~ rrr- P1r r r '=l r Pr r 1r- P~~ r '1
& 3 4

Git Along, Little Dogies

Moderato ., _ Cowboy

l ~ 1 u 1:J. id r ~ r r· ~ r J J J
Song

@
Think:Count 3 !2 & 3
1 1 1 1 J. id r· ~ r r· Dr
1 1 1

i l !. '
~ ~ J J =Il J
l l 2. '
c r.: r r r u r u r r r r r r a r
l
11 1 1 1
'
1 1 1
•
P r 1

~ ~ r- 'u 1LPJ 1r rr 1r· Pr 1J J 'J 1LJ\J In r 1rr r 1J 11

_ God Save The Queen ·c arey
i_ j Time signature i s _ ? (') . (') '

®i 1 1 r ·r r l@r · p r r-r·r r Pr
Think:Count !2 & a
1 1 1 r rr r *
1 1

~ ~ ~ 1t ~· ~
~~ E E E F r r r r r r r cr r; r E p:r r r 1 r· 1
(') . .' :--"\ . . .
1 P 1 1 P 1 1 P
 LESSON 19 29
.OBJECTIVES: 1. To learn the name and fingering for fourth-space E-flat.
2. To learn the natne and fingering for first-line E-flat.
3. To learn the meaning of the key of B-flat Major.
4. To play familiar mel.odies in the kev of B flat Major.

Introducing 4th-spaèe E~ · T10

l Introducing lst-line Eb . ~ Tte
l ·
Tl (L2-3) (Rl-2-3) Key RC . l Tl (Ll-2-3) (Rl-2-3) Key RC "f.
Eb RC. @ - Eb RC.

m~w~ 1F r- 1 .. :U=f r 1J (~l 1 J r 1 .. =l

K;ey of Bb Major
Two flats: m and E~

® ~ ~· l F F l F 1wr- l F F lt t l ft t l L l" lF- F l F r ~

.
T Ime . t .
signa ure l S -1
Hymn

@ ~~~ 1 r r r lrTr l(fF lr t 1r r r IFB IÉÙ lr i 1

Think:Count i 2 a

~~~ r r r l@fl0 IF i 1r r EJQ lffF lr i l

How Can I Leave Thee

30
SUPPLEMENTARY MATERIAL-LESSONS 13 TO 19
Massa's in the Cold, Cold Ground
(Duet)

..
S. Foster
Andante
CD
Pupil
'\. ...-;-'11t".----. _.. . ft ..--.....
t
.
---.: . ' .. :
12
·~ ,....._
.
r
'-
,
~
--.
f2 &3&4&
~ l -~

' - ....-t- ' -=-

..---
Pupil :
..._,
e '-l!.- l
---- -......;

~ ~ fl. .. , '~ - . ' ;.;:--'11t"."' -~

--~ .-~

e
11_ . _.
,...-- ..........
'
,.
A;;-_ '
.
,...--

-.....,.,
--' -- . :.t]
l
t. l l l ~
.·,
The Blue Bells of Scotland
Moderato (Due t)
_..,._ ,, , (L . i.
Old Scotch AÙ
@
Pupil
l'i l (L--~
. . .. #
.+
l

,
t. l

~- L
4 f2 3
-:il'
4 t2 3 4&
~
, :--..

Pupil
t. l '-' v• l ..._- c.~•

~ l . ......-::.. (L .. ..,.. . .--..... .,---;-... ' ;;;:-,. p. .......... -~ .

.e l l'

1\ l ,L---.. l ',L\ ""'

t. l l l l l '-..: u•

Auld Lang Syne

Moderato
(Duet)
, fl. ... ScotchAir
@
Pupil
1\ »
: . . .. p..· . . .l

t. r ,
»
4 f2 & 3
_l
4

. . '• . . .
Pupil
e
. 1 r r l l r l l

'\ ~ fl. ...

. 'fl. ... . . (L• . ft _.. ' . ::::""-
. .
,. .
r 1
t.
'\ » .. . .
('). . ,.
. . .
• l r l r l l
 3:Ì

TEST QUESTIONS ON LESSONS 16-19

Your
Points sco re
1. The letter name of this note ~~~·~~~-~~ is _ _ _ . 5

2. The.Ietter name o f this note ::iJ:~~b-~-~~jl

=\j ÌS--- 5

3. The letter name of this note ~ 1". Il ÌS--- 5

4. Write the letter names of the D major s c a l e - - - - - - - - - - - - - 5

5. Write the notes of the D major scale. Il 10

6. Play the D major scale from memory. 10

7. Write the letter names above the following notes. 10

o e. n
ii
l
8. Write notes below those in the above line that are an octave lower. 10

9. What js meant by Moderato? _ _ _ _ _ _ _ Con moto?_ _ _ _ _ __ 5

10; Write the letter names above. the following notes. 10

~
~Ili
Il
li
l e a l ba ,, l 1::1
o
e
Il
11. Divide the following into bars. 5

12. Inspection of instrument. 10

13. Sight reading. 10

100
=

TEACHER: Write line of notes using both registers,

 LESSON 20
OBJECTIVES: 1. To learn a new rhythm.
2. To understand Alla b·reve (cut timel (~ time).

Comp.l.rison of C with i time

Alla breve(~) or eut time (~) is played the same as i time. Each note has half the value as in t time,
a minim being the unit of a beat.

<D fl ..,. -& Q .

-
T:Ws
Equals '~~~:~~ 2 i 2 i 2
,., .g. (,J. l!:
This
t

@ l'l ,., ,., .g. .g. p. p. -

This
-, Think:i

--
2 i 2 i 2
Equals I'!Count
l • .. .,.. 1'- t:
This
• J

----........,. .,...,.. ,. .,..

l i

@ l'l -
This
e Think:i
---- l••••
& 2 & i & 2 & i & 2 &
Erquals I'IC01lllt Il'-,. .,.. .,.. ~
This
~

Rhythm Drills
Drill: Count aloud each pattern while clapping hands once for each note.
REMEMBER-Unless you feel the rhythm you cannot play it.
Play the C scale, using these patterns ·unti! the rhythms are memorized •
® .®
® '~ r ct r t
i&a2
lr a r i
i&a2
l·tc. 'erurrlr u r. r liete. & a 2 &
®
4mr rr r r
i a &a 2
$ lj
i
u rr
a & a 2
ì letc.
i&
~
a
r r l r. p r r Il
2 & i& a 2 &
etc.

There's Music in the Air*

Compare the bars of this song with <!), @,®;® above. G. Root

@ 4e J 1rr EE r 1mrcr 1r- J 1rr rr iF r 1mrEE lr· i 1

1r

'4 J rrJ 1w r r ,1r rr w t rr w ,1J r rJ w r r cr1 r r r w 1r·

Think!Count& ! & 2 &

1 11
*Compare with the same song in t time, Supplementary Exercises, page 21.
 LESSON 21 33
OBJECTIVES: 1. Continuation of Alla breve (cut time).
2. To learn ·some new musical terms.
3. Application of acquired knowledge.

College Song*
Allegro (fast) . J. Brah~s

® ~-~ J l n lr r l n IJ J l o l[ L I ..Jir ì r lr E l Y- 11221

~ ~~

'f'LiFFEICLI''Trr-lrrlfr(
cresc.
IFR!FFtiFEI"ffiU
f

Theme from "Rosamunde"

®,.~
' mp
.
Allegro
lf?F])Ir L l[ F 1.. 1rrrf1r IL [ l
, ~~
F. Schubert
,

i ---------~ ~ ~
~ .. 1-r r r F l
o (') -------=--....
l(~)r r E r l r r r r l
l.
no- l n Il
NEW MUSICAL TERMS

p -piano - softly. rit.- ritenuto - gradually slower.

1lf/- mezzo fQrfe = medium loud. a tempo ="the originai speed.
f - .forte = loudly 1':\- fermata= hold longer.
cresc.- cre.vcendo = gradually louder. ;/. = repeat the 'Oreceding bar.

"'This theme (melodyl was used by Brahms in his "Academic Festival Overture."
# 34 LESSON 22
OBJECTIVE: Further practice using cut time.

Marines' Hymn
Official Song of the
Tempo di Marcia U. s. Marine Corps
i~ ~~~ ' 'i
oo i' !t~~11ifJ m ll=r r 1r r 1r r 1r r r 1r r 1r J 1

; l ':·
2

'
&

l
~ ~ IJ Jr=IIQ IJ
112. ' l
rr11r r 1r r 1r r1r
'
rr1r .r 1r c 1 p

l
J

Caisson Song
Maj. E.L.Gruber

l
.Home work: Write aline of notes in cut time, marking beats and naming notes.
* gradually louder; :::::==- gradually softer.
 i
l l

LESSON 23 36

OBJECTIVES: 1. To Iearn another new rhythm.

6
2. Knowledge and use of the rhythm of 8 time.
3. Counting 6 to a bar and 2 to a bar.
4. Application of new rhythm in familiar melodies ..

IL" Ire l r· Il
Slow :1.23456
Think: Count {Fast :l-2-
~ l _._ --- --- ~~ fl-'
e ......._.
{Slow :l 2 3 4 o 6
Think: Count Fast i - - 2-- .,._.
l
o o
o
•• l•'
®
o o

l
' 4 o 6
Think: Count
'l l
{Slow i 2 3
Fast :1.-- 2-·-
.. .. ~
... .,...
e l r
{Slow i 2 3 4 5 6 The above RHYTHM, when played in a fast tempo,
Think: Count Fast i - - 2-.- is actually played aj follows: __.
~ ~. __.. _"t!-_ f'-.
l
---
@ ...........
Allegro* Row, Row, Row your Boat .
. . . Folk-Song l
. Key of_.Time s1gnature IS - · .
il
@ ~j RJ. J. 1J Jsr·l r Jlr pl r1 ,lrrrcrri!IfJJJ 1r Pr )l J:J,,I l

Thlnk: {Slow :1.23 456

Count Fast :1.- 2- Oats and Beans
Folk-Song

®,~e r PF Dir pr1E Pl PIF H"IF Pt 21F PfPIF PF PIF Prl

Thhlk:: {Slow :1.2 3 46 6 ·
Count Fast 1.- 2 - The Mulberry Bush
. Folk-Song

<V '
Think:
8
aJJJ{~Ir ~JliJil)j mJtJ.IJJJJ ~IL ~J liJ J\QJ IJ. J •l
{Slow :l 2 3 46 6
Con.nt Fast 1 - 2 - Pop Goes the Weasel Folk-Song
~ ' ~'
@{il. J)lr pr plrfrr llr pr pfF"r J)lr pr plrfrr·l ,,r PIF' r·l
' (') '

Thlnk: {Slow 6 :1.2 lJ 45 6 -

Count Fast & i - 2 -

~ r pJ pltftw.'lr pJ Plr· u.'1u J1J liJ pr·l'"r ~lE" r 11

*Play slowly at first, counting su: beata to each bar, and increase the speed as you are ab le, unti! fast.
enough to count two beats to each bar.
36 LESSON 24
OBJECTIVES: 1. Continuation of six-eight time (slowl.
2. Counting six beats to the bar.
3. Application of acquired knowledge in familiar·tunes.
4. Playing a duet in six-eight time.

Barcarolle J. Offenbach
Moderato (adap t ed)

Drink to Me Only With Thine Eyes

Andante (Duet) English Ai.::
@
Pupil
1\ l,---.,,, ,.--..... -~ IL\
- l :l.

l
.
l
.. l
41
Count t 2 3 4 5 6
11I:P (medium soft)
1

Pupll
_l
. :
@
- ~ l l

@
~ l 12.

l
.
l
' l
"fl#
-- .,... .::--...

dim.
~ ~

~ L
. ' IIL .....--.....

t: l l

~ L ,.--.....
- -- IL
.
l , l l

rit. p
~ l
. .
l l l

*.IJ.O. (])a Capo)= go back to the beginning and play to .Fine.

- l'
- -- l
 LESSON 25 37
OBJECTIVES: 1. Continuation of six- eight t ime (fast).
· 2. Counting two beat~;~ to a . bar in march ti me.
3. Application of acquired knowledge in familiar tunes.

The Lion Hunt

PupH
~ ~
Allegro
• • •.-!f- ~*~. ... .
(Duet)
~
~, .... ~ .... Saverio
....-:--.
t.
11ff f 11ff- f Fine
CD ~ ~ _,---. ' .
Pupil
t. r r r , l r l

~ ~ .,. .,_ .ff. .,_ • ~*.......-.... ~f'-~.(1-. fl. .,. ~

• •
t.

~ ~ . •••
f
!~\ ~
p
• l• ••
D.f. al Ft"ne
.. l r l r ..._..

Trio l Note c/z.ange of key l

'qnr· 1r 1rl~p CR r 1 n r 1r-sr ,J.1 r 1 r· 1r ~f!r r 1

P-f (Piano first time; )
I.Loudly second time

' r 1r 1r-Jr , r P1r· c- 1r· r 1r Pr[r- r- 1r r ,r r· 1r Ptfl

* 1 ' J. l r· l E'
'*' See page 33
-
lF ~ r· lF r' l F' l (' l r4r , J.
.
1•.
f
1r..
=Il rctr ' i· Il 1
38. LESSON 26
OBJECTIVES: 1. To learn the name and fingering for A-flat.
2. To learn the name and fingering for G-sharp.
3. Knowledge of enharmonic notes.
ENHARMONIC NOTES are notes that sound the same though given different names because they
are written on different degrees of the staff.
Al> and Gl are ENHARMONIC NOTES
Introducing A~, l'l Introducing A~,
2nd space in the staff 1st line above the staff
T1 (Lt-2-3 Key LX) Key RC ·~ Al> T1LX T1 (Ll-2-3 Key LX) Key RC t: A~ Ttk
Introducing G#, 11"1~~Re§ lntroducing G#, " .11.,. RCg
2nd line in the staff Hl 1st space above ihe staff
T1 (Lt-2-3 Key LX) Key RC t: G# T1 (Lt-2-3 Key LX) Key RC •J G#

<D~~ttJ ~ ~r~tt 1r r 1s ~~~~~~J=~ ~=r Fl=r=~ 1s 1

Scale of Eb Major

~~ih:ifj;J iJN lr F- IF F- IF F lr r iJ <l Id <J Il

Crusader's Hymn
German
l-·

'

LESSON 27 39
OBJECTIVES: 1. To learn the use of semiquavers.
2. To learn to count semiquavers.

Semiquavers
A semiquaver(.,~) is equal to one half the value of a quaver ()'!).
Two semiquavers equal one quave:r(n =Ìl)and four semiquavers equal one crotchet(Jjt.J= J)
Comparative table showing number of semiquavers to other notes studied thus far:

Il

'"'~ n .n

il l jl .....

- - -- ..
-tCountt & 2a&a 1 &a2 &a

'"'~ -
t: 1 & 2 a& a
..... iiiiiiiiliil
i&a2&a

~ ~ n .n

i a&a2 & l.........,

..
11..1
@ i' Countia& 2a&
l

~~~

@.
-
ia&2a& c::;a.,o-
- i a&a2 &
-T-
liiiiiiiii

A11·egro from A Midsummer_ Night's Dream Mendelssohn

®-p fttrr1Efr IEElrl(irultfìO:ICfr IE!Uic:fr 1

Thlnk:Counti a&a2 & ·

m~~
Listen to the Moeking Bird L

® i~fiil f C CCE l GJ
111 111 111 ,. fil - ~
(e ' •C•C•C[• l C t r ' r r ~ :: E:= =E =
,l..
E :E rr :E l~
±:: E
(t')r

Tbink:Count 4 a & a

-~Wi r- 'rrmu r 'rrmu ~ 'tr 1rJEfftt:r 1 r· 1

Kingdom Comin'

0 ~bi ~una lifitlcJ[jiJ. plfJJ3 1ciifitlt:CEfil r 1

Think:Count & · i & 2 &

:~! l
Home work: Write a line of notes, using different groupings of semiqua:vers.
Memorize "Folk-Song" (lesson 24, number 2)
40 LESSON 28
OBJECTIVES: 1. T o introduce high D.
2. To learn the D Major scale (two octaves).
3. Practical application of the new note .
.n.
Introducing D, 3rd space ~ TI 1
above the staff cf
TI (L2-3) Key RC . D Re 8
® . .
<D ' 1 L r 1 r E1f r 1t r ,1 D
11 J t 1r t 1r r 1r f ,1 1 D

Scale of D Major

®'lltnr r- 1r L 1r r 1
1#f E 1f f 1r r 1r r 1r 0

't;
Scale of D Major (two octaves)
. ~~. .

@ Il @ lJffl l@ ,rrff ,ffrrl rm lfij".J l@1

Play slowly at first and. gradually increase speed to that of quavers.

@ 4~ 1;; w1a nr r 1frlf' r iJ J IJ :a lr r IL r ,rr Wr lr <l:ll g

Home, Sweet Home
..,. ,.--._. ... ..,. ,.--._. ... L.
Bishop
Andante ____..m_uet) ,..---.....
@ ~ ~ ~

' --=---~ ~ ..-:---.~

Pupil

Pnpil
4!.
~~
~
-. ,...--, _..--_ =----
. ' .
----
,...--, ,.---_ .
.
,..---.....

4!. ....... ........

~ ~
. '• t,·~~~ -9 ,.--._. ~- . '• ~·t,-~ ..,. r:;ì.. -.......... ---..,

4!.
~ ~
f ...
--:-- _.--..
;

.
,-...... THINK
-=::::::
.' ~"'llt • ..--....
mp

.'
~- ...,_ r-:;
-9
.
' Oh, Come ali ye Faithfnl
Moderato ----., , . J. Reading

cv'* 1 r: il r r: 1t r ,rrrr ,r r t 1L rt 1rcrr lf' n~r· 't 1

mf

,. ;rqr recrlr"Pi;lrrrnr rtlrrrrrrrvrrj(rflrn, n

 LESSON 29
ÒBJECTIVES: 1. To learn do~ted quavers and semiquavers, legato.
2. To learn the correct division of each beat.
3. Application ~f new rhythm.

Dotted Quavers and Semiquavers

Legato (Connected)
This is one of the more difficult rhythms to learn. The dotted quaver is equa! to tbree semiquavers.
Always feel a division of four on each beat when playing this rhythm, three on the dotted quaver,
i
and one on thè semiquaver.
~Writt~
\1 '' #U Il
Played
~~ W #.Il
BE SURE TO PLAY THE DOTTED QUAVER LONG ENOUGH AND THE SEMIQUAVER SHORT
ENOUGH.
~.Il Very slow (Largo) @
. . . . . . . . . . .. . . . . . .
t!J Thlnk:12 ~) k r \'

-
& 34 & 34 & 1.2& 34& 56 &78 &
Q) !
~ ~ount -"" ~l i i
. . . . . . . .
j,.....
. .. . -""'!
. . . .
" 1.2 &34&
!& a 2& a 3& a 4&a
.......
_
56 &78& ---
Largo
:
~
1.2 & 34& 56 &78 &
!&a 2&a 3& a 4&a
- :

from the "New World" Symphony

@
Pupil
f\~
Largo
....
--:-- -;--..
.
,--, .,;;;'-
(Duet)
., r:--. . ~ _,--..
.
.--... ',à·~~~~~-
A.Dvorak

4!J .P
'i .Il
Count
--.
1.2 &34&6 &78
. oOII!!I
. . .
' ,--, . .
' .::::---.... ...-...... -
Pupil
" .P
"""" - ~ -
'
, .P '

~~
--=-·· .
_,..-..
--- ' .
--..

-...
.
' ...--...
l
.
i'- ~-
COUNT
~im.
- f
creac. .P .P.P
'l.~
.
,....--.
. ' .. ' .
. .
• (see page u} COUNT
*ehm. (diminuendo) : gradually softer.
 42 LESSON 30
OBJECTIVES: 1. To learn dotted quavers and semiquavers, staf'cato.
2. Application of this difficult rhythm in familiar melodies,
.f l using and time.

Dotted Quavers and Semiquavers

Staccato (Detached)
Dotted quavers and semiquavers played staccato (detached) are separated by a short pause. Notice how
these notes are written and how they are actuaiiy played.
Written* Played

'e~·~~·~#· ~4· ~ 11, 1~ 4'~~ r~~ t~~ ffl

.. ;._ ... ;.f/1..;.~.~··~·
~
i . ~!S~· . .
.-l •2 • 1 2
~·-~·-,.•• ,. ••. i'
.
- ~t=; r- ,.•• ,.•• ~·;.~·- . •
CD ifVbforJr!EJ\8 bHkC:n9' Gtl -c~ GtGH&è :IIE!E!J. 'Il
Think: Count i 2 a 4 ·

® ~4iliitrii':tltft:tcistw· *lsr~,srsttttttr-· *"

Joy to the World
Allegretto (Duet) G. F. Handel

@ ~ _l 1'- ~ .. . ...... ~... ~~ ..a.. !'-~;. . . .fl-

Pupll
~~ Counf{2
l

l
& a
•
f2&
. . . . . . .
Pupil

~ l
~

fl-.t..it.
mf
-· . . . . . . . ..
-·
. . fiL.. .
-- .
e
~ l. l
.
p
...
cresc.
. .
-- - . !!IO!
r
f . ,.._
t
-- ....., ........ liiiii

Battle Hymn of the Republic

- r
-·
Steffe

~ . . .. ~
t4 F!F;Ir=-
*A do t (.) above or below a note indicates that the note is t o be played short. This is cali ed staccato.

)
 l
"
l
1l'

LESSON 31 43
OBJECTIVE: Continued application of dotted quavers and semiquavers in
l g
and time.

Dfaryland,Dfy Dfaryland
(Duet)
Moderato German Foll!::-Song
Keyis_?Time signature is_?

rit.

Silent Night, Holy Night

(Duet)
Andante F. Gruber
~
« LESSON 32
OBJECTIVES: 1. To understand and play chromatics.
2. To learn more about enharmonic notes.
3. To l~arn new fingerings.
Chromatics
The word "chromatic" means moving by semitones. A chromatic scale is one that ascends or descends by
semitones. Enharmonic notes sound the same even though they are written on different degrees of the staff.
BE SURE TO LEARN TRE PRO PER NAMES AND FINGERINGS FOR BOTH ASCENDING . AND
DESCENDING CHROMATIC SCALES.

<D~1d ~~ r ltJ lrjr lr _ ENHARMONIC NOTES

NOTES SOUND THE SAME
t:;!9
. ____..,
j Il

@er
~ ~~
#p.--f!ì- IL
•l.k:± "2:~e:~n~
..E ~
ENHARMONIC NOTES
_ ~ NOTES SOUND THE SAME _
r Il

@ ~~,r ·
\!:!t® r ,~:J r tr r g~ t
_
1
ENHARMONIC NOTES
NOTES SOUND THE SAME
1
_
11

ENHARMONIC NOTES
NOTES SOUND THE SA~

Chromatic Scale of C in Two Octaves

lPlay slowly at first, and gradually increase speed.l
@~~ii~~~~~~~
 ì'

LESSON 33 45
Triplets
Triplets are groups of three notes played in tl:.e time of two notes of the same value. They are indicated
'7'
by a figure T and a slur placed over or under a group of three notes. A triplet of quavers mis equal to
two quavers n or one crotchet J
T T ·
A bar of ~ contaìning two triplets ~ mm is the same as a bar of gin march time. amm
Allegro
This
<D ,~

. . . . . . .
Eqnals l~
~'!unt i-7'
r
2
,..........
"3' -7' '3'
This
-, ........, 3 l
// l

Triplet Etnde
Moderato Klosé

® l'l~
_-a;. ~!... .~o...;...
2- , -a: ~!.. .al.~ ...!. _,
~

-
Pupil
t.
,~ "ff
- ---,... *
----a- ...... , -- -,... *
---;r ---;;-..
'
Pupil
. l· ~ "-1..,1 """''!oooo l ~
""""'-! """'-l l

1'\JI, '9' _-a'_ ~!· ~~- ' -r _a_ .... Il .. '-·· '
\~ ~
,.,;.,__

-...::;_.
~

.....,
-
"'.:!-
' ~

......., l ~
....,;;:: f_ ---;r ~

.......,
." """"""" J•

*D# fingered like E~

48
Supplementary Materia!

Santa Lucia

CD fl
Andantino*
.
/--. """' . -
Neapolitan Boat Song

.
- ----
Pupil
-liiiif l lliiiiil l
e!

Pupil
fl
** .P
.
Jlllll!!
-. - ..
e. l
.____...
-- r

fl
...... - ... ... ------~ ... ...
..--
lt.
. .. 1121':'1
:
.. ··.;,J .. ..

l t. liiiiii -...;;; iii"'

e
fl
"fl
:
- - '-"-"""
-~

.......
1111!!
.
......... r
l

:
~
1':\
. -·

* A·adantino- Not qui te as slow as Andante. { \

**In three-eight time a quaver is the unit of a beat (~) V
 lf
'1:
L

47

TEST QUESTIONS ON LESSONS 20-33

Your
Points se ore
1. Write the upper octave ofthe Cmajorscale. 10

2. What is the meaning of(.f)? _ _ _ _ _ (p)? _ _ _ __ (mf)? _ _ __ 5

3. What are enharmonic notes? 5

4. Write the enharmonic equivalents ofthe following notes? 5

,,
jl
Il,.. Il
5. What is meant by chromatic? _ _ _ _ _ __ 5
l
.l'
6. This sign ~ means _ _ _ _ _ __ 5 !'

7. A minim in(~} till).e receives _ _ _ _count. 5

8. What is meant by six-eight (J) time? - - - - - - - 5

9. This note 'B r· Il in slowl time has _ _ _ _ _ counts. 5

10. The above note in fast J time has - - - - - - counts. 5

11. This note ' BF" y ~ Il in slow J time has _ _ co-...r.nts. In fast time i t has _ _ . 5

12. Mark the count under the. following. Slow tempo. 5

13. Divide the following in t o bars? (Note time signature.) 5

14. This sign "/. means _ _ _ _ _ __ 5

15. In J march time (fast) the count is _ _ _ beats to each bar. 5

16. Inspection òf instrument. 10

17. Sight reading. .!Q_

100

TEACHER: Write line of notes in slow six-eight time in the key of C.

l
l·'
! l

• 48 Scales and Arpeggios (Chords)

The materia! on this page may be assigned whenever the teacher feels the need for scale and chord stu-
dies. Play the following scales and chords as indicated; also play as follows;

4J J J. J. Il J. J. 4J Il i ;J'fj
'--" . . . . IJM
. . .. ì Il
ALWAYS NOTICE THE KEY SIGNATURE; IT lS A GUIDE FOR PROPER FINGERING:
C Major-upper octave ·

J~l f[fr 1(tir lW 1@ =n=fiit 1ffù 1$f ILffi t

:tW lwJ7r lrmlJJJ ;=ll=j33? lfJìJ l]@ l@3) =Il
C Major-1ower octave

' Il
~ J

G Major-òne sharp:F# ·

1
'• ' $nAFB' 1rifà irfhufiFj(f?~ IJ#Ìif?RJ =l
D Majot-two sharps: F# & 0#-lower octave

'5I "@ lJf[t lfff~ l@J=II=J'ffi lf31J ljffll fFl] =l

D Major-upper octave

'#t @ltifflfillj(fF):a:(riflffirl(rfflfiù:~
Il

'Y A Major-three sharps:

Il
F Major-one flat: Bb
F~, C# & G#

J'Fff 1tfcì'l?fè lfFBJ =n:tfit1fr$ 1Jiitlfffi =l

~

' &" JJ"Jr 1@ 1@ 1@ =1=3 J r rI@J IYFft iFrfiJ =•

Bb Major-two flats: Bb & Eb

'~·~~ rFRir1frlrièrlffit=ll=riftJffQwfft{5ì=ll
Eb Major-three flats:Bb, Eb & Ab

.t fì> W Il 1rill 1tf?r 1®=Il=@ 1frJ) 1JJFw®D=11

Chromatic Scale

-P Jf!J a~J oJJ 1,JJ t'l l' 1r'r r•r 1rr•rr 1'HIIr r1f" • J

' f r•r r 1! r •r r 1r kE r ~r 1r r ~r J 1•J w~JJ u~w hJ 1J. ' 1

 49

Onward, Christian. Soldiers

(Trio)

Sir Arthur Sullivan

Moderato
~ • •.., • C..-t::~ . -t:~ p. -fl#--f/#- .jj._ no
Pupil
@.

mf -
~ • _C~t:J.
Pupil
. ~-
.
l l l l l
' mf
~ l _l

Pupil .
l l
.
f. l

f.
~ • .
~
- - ~ - -f!r" •• - .-. ---. ·~ "' .

~
cresc.
.. . .....-.._ ~
..........
.
l l l l
' C'TY3SC.
l

~ ' l l

l l l
.
f. l l

~ ~
. --~.,_~Cl .
f. l l l l l

f rit.
~ ,....
. Cl . .
t l l l l l
•.

f rit. ::·:
~
. . ...
t l l

f:
!
• IO
Vesper Hym.n
(Trio)
Folk Melody

Pupil
~
Andante
-- .. .. .. .. ~Il- ~ .. .
l
' t\ '11fl f
Pupil ..
t: l f f l' l
f
l

~ , ll
..
~ '-
..
Pupil
' - l l

~ f:. Il- f:. - . . -

r

.
-~ l f

~
. . l

l r l r 1 l l
l
'
l

. .,.
-, ~ ,
-
Deek the Hall
(Trio) Welsh Air

.Pupil
~ .1.1 .......
Brightly
- .
. . - ....
t 'ITfl, . l

~.~..~ . l l
.. . .
Pupll
.. 'ITfl
1 7 l

t\ ~
. . . . _l

.
Pupll
-, ~

ru~ -~-- ,..~~ ~ .,... .,. .

··k- .. .
l!

~.~.~
·~- /'1ià . l
.
-t l r
-
'l .1.1 l l(~ -l
. .
• l T
 5:1.
O Little Town of Bethlehem
(Trio)

Pupil
~
M o derat o
..,.. ------ ~ ... ~- • /":.a -(io" ......... ~~ ~- ...
L.Redner

....
-t.

Il
"P il
Pupil . ~
••
t l l l
l' l

"P
Il l

Pupil
t 'Il l l l
. l l

-e:
fl ........ ... -(io" • ••li... .. .f:. .,_ ~ ~ ... ... .
~
. - .
t. l l l l

~
.
l l
. l

.
r
' l l l

Silent Night

. ....
(Trio)
Franz Gruber

Pupil
t
fh
Andante
---. l
. -.
l
...;---... ... . _--;---...
.
,---....

l
p -==== ::::==-
~.Ilo
. . . . -. .
Pupil
t ........... ~
.
r -, . l r T .r ~

p -==== ::::==-

..
~.Ilo
Pupil
... . .
-
•• • • •
' -------
r'l~ ..--;---....
-. . .. ~· ... .. . _,_. ,.;--......
. .
' -===
l

-===
--.. ._.,
p -
@
~ ~
-- . .
====-
............
.
l l
mf
. .
rit.

T l
.
l
-===::::· ::::=- -==== ~, rit. p
Il .Ilo
.
'
.
-__./ -.-. -. .. .. . --~ • .-.- • ~
 Air from "Lobgesang"
(Trio)

Felix Mendelssobn- Bartholdy

Con moto (With motion)
~ . .,.. ---~ ~ ~ ~- ~ -~-- -tr . .,.. •'i-
Pupil
4!
mf

Pupil
~
. ~
• . - 'l
:i
4!! r l

mf
~ l
Pupil . l
l

4!! l l l l l l

l'l
~ - -· ~~~ ~------~ ~~:t't ~------~ ~~~ ~
.4!!.
f
l'l . ~ - _....-...._ J,;

4!! l l

f
~. l l

4!! l l l -4-4-4 l -41 -41 -41 l l l l

l)
~
11 ~._..p. ... ,..~· .-s- ~·M~ _.!!::. ~.P. .~~·
-
rit.
~ . . --Jl- .
4!!. r l

rit.

. . .
4!! l l r 1
,, l J

Printed in England by Commerciai Co1our Press, 11/94 (19142)