THE YAMAHA ADVANTAGE. | For Band or Individual Instruction CARL FISCHER»-THE YAMAHA ADVANTAGE w. by sandy Feldstein and Larry Clark Musicianship from Day One Welcome to the Yamaha Advantage™ We are happy that you chose to join the band. Learning to play a musical instrument will be something you will cherish for the rest of your life — most important of all, it will be fun. The Yamaha ‘Advantage contains music of all cultures and all styles from rock to classical, to provide you with a wide variety of enjoyable music to play. Everything you need to know to play your instrument is included and reinforced so you will quickly become a proficient musician. If you have a computer, you can visit www.yamahaadvantage.com, a Web site designed to help you learn more and have more fun. The recorded accompaniments available separately or downloadable from the Web site are recorded by a great band, They will provide hours of enjoyable play-along experiences and let you hear professional musicians playing the music contained in your book. Whether your goal is to be in a rock band, a symphony orchestra or just to learn to play an instrument, we know the Yamaha Advantage will help you get there, Have a great time making music. JyGlad Range Clase About Your Book The Yamaha Advantage” is designed to look like a computer screen — like an Internet Web site. The “buttons” at the top of each page show the concepts you will learn throughout the method. Everything new at the top of the page is presented with a colorful drop-down menu. Each exercise that reinforces those concepts is highlighted with a corresponding color. For example, if a new note is introduced, it is shown in a red drop-down menu. The number of the exercise that first uses that note is also highlighted in red. The first pages of your book introduce the best notes to get you started on your instrument. Take your time and get off to a good start. Throughout the Yamaha Advantage you will see a picture of a hand pointing to extra exercises which appear at the back of the book. Use these exercises for additional practice. CARL FISCHERe Design and lstraton apy: © 2001 by Pyatne Prisons, YAMAHA susan lakely real Co Sec. commie one ot YBM106 eae ISBN 0-8258-4308.7Caring for Your Bass Clarinet ais Assemble, tune, clean and lubricate your instrument for the ey SB frst time under the quidance of your teacher. Ligature Applying Cork Grease Register Key Cork grease applied to the corks just tea prior to assembly promotes an easy, proper fit of clarinet joints. A thorough, even coat on all cork joints provides protection and extends cork life tis a good idea to wipe off old cork grease before adding new. oy Assembly Attach the neck tothe upper section and the bell tothe lower section For Bass Clarinets with ‘Two Large Sections Connect upper joint and lower joint witha gentle, twisting motion. Pay careful attention tothe bridge keys — careless assembly easly damages them, + To move them into alignment, hold upper joint keys lightly, making sure the bridge key is up. Align upper joint bridge key on top of lower joint bridge key. Lower Section yy Placing the Reed orjoint on the Mouthpiece + Gently hold the reed in your mouth for afew minutes to wet the reed before putting iton the mouthpiece + Place the ligature on the mouth- piece with the tightening screws tothe right. ‘ Place the reed on the mouthpiece and secure it with the ligature. ; “| The standard postion is where you can just see the tip of the mouthpiece above the reed. To keep your instrument in top playing condition, have it professionally cleaned eos by a qualified repair technician annually, (onsome modes)oy Getting Started + Sit up straight on the edge of @ chair with your feet flat on the floor. + Adjust the floor peg (or neck strap) to proper height. Right thumb under thumb rest. + Keep thumbs straight, fingers curved ‘and close to the tone holes. ‘Making Your First Sound Using only the mouthpiece; + Fold your lower lip slightly over your bottom teeth Place the reed on your lower lip. The mouthpiece should be in your mouth about 1/2 inch, Rest your top teeth on the mouthpiece. Close your mouth around the mouthpiece as if saying “too.” + Take a full breath, Exhale through the mouthpiece and play a long steady tone. oy Tuning + Pitch is affected by temperature, so warm up the instrument before playing by blowing air through it. To tune, pull out the neck. The length you pull out depends on individual preference and method of playing. Care of the Interior of the Clarinet Removing the Reed Remove the reed from the mouthpiece by loosening the ligature and sliding it off. Dry the reed with a clean cloth and place tin a reed holder. Removing Moisture from the Mouthpiece Remove all moisture and dit from the inside ofthe ‘mouthpiece by drawing a cleaning swab through it. Take care not to scratch the mouthpiece, and always, pass the swab through from the tenon cork side. ay Care of Exterior of the Clarinet For daily care, wipe the entire length of the body with a polishing cloth, being careful not to apply pressure to the keys. Wipe down the keys, taking ‘are not to scratch them or damage the pads. Cleaning the Body and Pads + Tenons tend to Draw the cleaning swab through the body inserting at the bottom and out through the top to remove all moisture. collect moisture, especially at the joints. Wooden clarinets will begin to split in this area, so be careful to remove all moisture with gauze, Storing the Instrument ‘The case should always be used for storing the instrument after playing and for transporting, Be sure to remave the reed and store it propery. Do not put anything in the case that could place pressure on the instrument.jie Signature 4 four beats (counts) in each measure rile or cet 5 5 sat = * “tedgertine Double Bar Measure BarLines Your First Note Play Rest Play Rest Half the Time Play Rest Play Now in Quarters Play Rest = AllTogether Now play numbers 1, 2 and 3 together without stopping. Your Second Note Play Rest Play Rest The Second Quarter =a) Canam ——— SSS = ‘Show That You Know Now play numbers 5, 6 and 7 together without stopping.Your Third Note ~ Play The Third Half Play ‘A10) aD The Third Quarter Rest Play Alt Play the Right Length Now play numbers 9, 10 and 11 together without stopping. Time to Move Keep It Long “Rest__ Play Play the Rest : est_ Pt Play Rest_Phay Rest —Play_Rest_ Poy Rest iG i —— a Now You Have It All Together ig Now play numbers 13, 14 and 15 together without stopping. mesREY THERE Faacne e = sh oe oe sf aer ay or @ Let the Band Begin Play ~ "77 Rest — Fay Rest Its All Air __ Play Rest Play : Rest @ The Second Note Play. Resi eeeeelay Rest More in Four Play __Rest Play Rest @ The Third Note Play Rest Play Rest mS * ——> It's Easy Now btay fest Play Triple Play PlayNotes Duet - A composition Time Signature Notes to with to parts 4 four beats (counts) ng ensure VY Whole -A Beats ates eet bet ut sun breath mae 9 —, oo \ d J cenit f ered Same Notes New Look More New Notation Listen While You Play Woodninds Alb Brass a Percsion at ’ Now You’re Movin’ THeory ‘Add the bar ines, name the notes, then play Duet Now (Duet) ‘SANDY FELDSTEIN & LARRY CLARK 9.1940) 6.1963)o New Note o New Note Workout Hot Cross Buns . I English Folksong PLay ey Ear - Lightly Row German Folk Song Rock Time (Duet) ‘SANDY FELDSTEIN & LARRY CLARK 1. - > : &.1940) (6.1963)Repetto ce] * + Jingle Bells — Good King Wenceslas > Merrily We Roll Along Introduction = two beats in each measure = quarter note gets one beat English Carol A Traditional JAMES PIERPONT (1822-93) = : SSS SS SS SS 4 | Love Somebody Wiittoduction’ > , ‘Song: 2 RHYTHM English Folk Song. ‘Add the bar lines, writen the counts, clap, sing and play. tag get 4d yy Ode to Joy from Symphony No, 9 (Duet) LUDWIG van BEETHOVEN (770-1827) aS a 7 = “sy Ww yamahaadvantage comTie Them Up Old MacDonald Traditional = Jolly Old St. Nicholas (Duet) Traltional Carol ° BP page 40d Rhy!Multiple ———— Measure Tempo fest Count 42302236 The Victors Chorale and March Traditional arranged by Sandy Feldstein & Lary Clark + 1? Traditional Fast ‘arranged by Sandy Feldstein & Larry ClarkREYTHM e Key Signature Py [ oc [elon t= $= eccgew mn eae ieee Tempe: Mantel B @ New Note == Adalf Step at a Time F = = # == = = aa ee Seg ees ee ies 7 7 Scale Study P Shoo Fly ‘american Folk Song , - en) as f Pf P St Pf ? Russian Folk Song Moderately (Duet) LUDWIG van BEETHOVEN 1. 7 7 (4770-1827)VTE Solo~ oe player pays | Form: Round | Sols ~ one secon los | oe | ra ~ everyone los Chorale Round Warm-up [] (Three-part Round) =, eas wee = tf f Klosé Technique Study HYACINTHE-1EOWORE KLOSE . (1808-80) Se Fast SolotSolh Moderately Cassions Song 9 Tati EDMUND L. GRUBER (1879-1941) Moderately English Folk Song. @ Of. Remember to play with dynamic changes, vemos 1 Moderately = = Ha’kyo Jung The School Bellis Ringing (Ouet) Korean FolkSone oF =| —4 d Two in a Row P Baa Baa Black Sheep Moderately yin 5 suit Aetna Song f P Ta 9, SoloSoti > Tati a ? RHYTHM Write inthe counts, clap, sing and play. no 4S ay UTI TA ony, 214 Skip to My Lou Fast (uct) American Folk Song as oot Sas f ZEP page sO - AdveNew Note Exercise oe eS, Key of Scale Study * * < Use altemate Ft fingering. Frére Jacques (Round) &] French Folk Song > as =e —— = Moderately [a]three beats in each measure — quarter nate gets one beat Slow Chorale Warm-up —y P Scale Study By =f z P Pr veaesorreveace (5 Moderately Stow . Barcarolle —<———>F 3819-80) wa #3 Soe = 3) Oe Jays a Sse) Fd This Old Man eee > > 5 American FolkSong Draw in the missing bar lines, circle the notes changed by the key signature, and play the song. @ GES SS SS i] = a Blue Danube Waltz Fast (Duet) eeeRET Notes == a Long Tone Warm-up Slow - = = : = J Phitase Scale Study ore === Fis Symphony No. 1 (Theme) JOHANNES BRAHMS = (1833-97), pals sl ———_ eae Goormm — o Complete this piece using only the notes, rhythms and dynamics you know, then play it Academic Festival Overture Fast (Duet) JOHANNES BRAHMS (1833-97)Single a) Eighth Note andRest. Chorale Warm-up 155 “ Fermata A Hold the note longer HERSERTL. CLARKE (1g67-1945) el RHYTHM Write inthe counts, clap, sing and play Lovely Evening (Round) bp LD JOHANN SEBASTIAN BACH ( 1685-1750) ae aA é Traditional a dpi tld oy French Folk Song = PS SoPERFORMANCE Carnival of Venice Theme and Variation Fast, 2, ‘ [3] . f tar Fae: = Ieee j OS S 2 * < Use atenate F fingering ‘SANDY FELDSTEIN & LARRY CLARK Fast 194 (0.1940) (1963)fies - Bs B rat (>) Ge rere onenay a, oe : 4 Bb New Note Warm-up >e Key of F Scale Study f 12 Bar Blues Moderately : 3 ee aS P P be FRANZ LEHAR Fast (1870-1948) 7 ( 7 ADVANTAGE ) BASS CLARINET (ROLL TO Bb) =) GH ft Lo Yisa Goy Moderately Slow (Round) Israel FoleSonge FF Unison (unis.) Listening Skills Warm-up Solo!Soli Tutti SoloSoli Tui ——SolSott Tun SololSoti Tutt tv ‘nis di, ints. oS o e ba 2 bo Tongue Twister ede seed diode ood Camptown Races STEPHEN Foster (826-60). Spring Theme from The Four Seasons ANTONIO VIVALDI (4678-1741) y ee a ES * a Use Aternate Bs fingering. Ecossaise LUDWIG van BEETHOVEN (Duet) (2770-1827) — TER . 1Fast ———— =ne i n Quarter Scaling Up Warm-up New Note Exercise New Rhythm 3 3 = Tempo: [Allegro — fast L Andante~ moderately slow : peeve oo e 3 eeu Lullaby Inkpataya Allegro = = 5 = DD AS fo Chorale St. Anthony Andante i D6 fee + ADVANTAGE aéig Now ty playing this song starting on low. 1, Andante 4 Twinkle Twinkle PLAY BY EAR + Trumpet Voluntary =F ~ SE JOHANNES BRAHMS, (1833-97), Native American Folk Song FRANZ JOSEPH HAYON, (1732-1808) WOLFGANG AMADEUS MOZART (1756-91) JEREMIAH CLARKE __ (ts74-1707)Noves | hora Progression C Scale and Chord Progression Tempo: Moderato ~ moderately Surprise Symphony Moderato (Theme) 4 : _ FRANZJOSEPH HAYDN (1732-1808) Morning from Peer Gynt Suite No. 1 EDVARD GRIEG (1843-1907) Can-Can from Orpheus in the Underworld (QZ Aovantace ) musiciansiir Wt inthe phrasing, dynamics, tempo and play the song. JACQUES OFFENBACH (1819-80),THEORY > REYTRE ——— dccrescendo Pachelbel Canon Chorale JOHANN PACHELBEL, (4653-1706) ‘Swan Lake PETER ILYICH TCHAIKOVSKY dan (Theme) r (4840-93) William Tell Overture { GIOACHINO ROSSINI _Mheme) (0792-1868) VV _Asvantage ) Composirion/IMPROWSATION ‘sing the pitches indicated, improvise rhythmically to create a new composition every time. Some sample rhythms are given, You may write in the rhythms you lke best Oe fm HL Rockin’ Riffs 1. Allegro (Ensemble) SANDY FELDSTEIN & LARRY CLARK 1963),Eighth note, dotted quarter D.C. al Fine (Da Capo al Fine) ~ Go back to the beginning and play until Fine (the end). New Rhythm =F Z G Scale and Chord Progression iy Andante “a9 Suo-Gan Fine Welsh Folk Song, DC. al Fine 7 ¥ Volga Boatman = age 7 Ri acvanraanll wm SSS Aa 1 Keep fingers close to keys. w t Allegro iz TNS Where Is John? (Round) BASS CLARINET (FINGER TECHNIQUE) == ===‘THeary / ReYruM DS. al Fine (Dal Segno al Fine) = Go back to the sign ‘and play until Fine. Flexibility Warm-up a DS. al Fine French-Canadian Folk Song re] a == [Alrican Folk Song. a: ag tf We Wish You a Merry Christmas 1, Moderato (uet) cBPERFORMANCE Shaker Seti ngs Father James's Song - JAMES WHITTAKER (1751-87) Simpl cits-lOSEPH BRACKET (1797-4080) Strange by Sandy Felsen 8 Lary Cre (6) Andante “father James's Song” a 4 Se ese < o Sets [15] antegro “Simp ins* 5 oS Sousapalooza sox pu sousa assiero33) ‘Wie Seton Cader ranged by Send elder a tony ChkRervreint @ Above from Below a === ye Arban Scale Study JEAN-BAPTISTE ARBAN (1825-89) wD English Folk on eee pine BASS CLARINET (LIPPER REGISTER) a a Andantino 1, Andante_——__ — (Duet) = __ argz-3820) FRANZ SCHUBERTREVTEN Tempo: Largo ~ very stow Working Up e Expanding the Range a 6} = 128) = f si . Anvil Chorus GIUSEPPE VERDI Moderato from Il Trovatore ___ (4813-1901) mm $e Se 2 f © opoa Hey, Ho! Nobody’s Home (Rout [A] Andante Taz) od 3 ? Divisi Rock SANDY ELDSEW 8 LARRY CLARK Allegro div, unis div, nis, div, mais, 1940 g,(- 1968) THEORY waite inthe key signature, circle the notes changed by the key signature, then ply. [Keyotf (kevste) 130) = Largo from the New World Symphony ANTONIN DVORAK (ieut~1900) barge = (Duet) G8 aS 431) fRW TEM (meszo piano) mf'(mez2o forte) Legato ~ play Ritardando (rit) PC rediim son "Cede oud BEM econ tat ta i THOMAS TALIS Tallis Canon Chorale ons Andante 2 5 eEeri= Scale Study Ode to Joy {OW van BEETHOVEN from Symphony No. 9 reset aS es | BO: Dreydl, Dreydl Chanukah Song nf = mp if Moderato _ 7 me ea _ Chinese Folk Song res) = | SSS = ws oe [ Composition/inerovisarion reine aesandtsahen init inn Limi win i Happy Little Donkey I fA. (Round) c Boe oteSliding on Up Andante eS iste <2 eS a np" * 4 Cielito Lindo ft as Keep right hala down throughout Night Song ROBERT SCHUMANN 1, Andante (1810-56) 7 : mp) tesao | | mp legato SeChorale CARL MARIA von WEBER Largo ee (1786-1826) ° 4. see . = P egw ‘Andante Allon the Right 4 g : 4) G € Z ue Keep right hand down throughout. JAMES PIERPONT ANew Jingle (0822-93) Allegro Ce =f Kum Ba Yah ri] Keep right hand down throughout ® Gees = legato Allegro German Folk Song Musiciansnip - Streets of Laredo Allegro Moderato, Andante Largo 9 Sa : a2 rit ri. 7 mp rit See the Conquering Hero from Judas Maccabaeus GEORGE FRIDERIC HANDEL Moderato = (Duet) Geas-a759)(GEORG KOPPRASCH (a. t80 Andante American Spiritual mp legato JOHANN SEBASTIAN BACH Moderato (1685-1750) (eee. ESF | Stee # Allegro Cajun Folk Song, a) f COMPOSITION/IMPROVISATION USing any nates from the C Major scale and rhythms you know, improvise or compose your own melody. 156) Dona Nobis Pacem Andante (Round) ‘Traditional Canen == mp legato| Wagner Technique Study ye en = =S: =: £ = oe sees eo =o — = T = ~— ~~ | f ; Austrian Hymn FRANZ JOSEPH HAYDN Andante (1732-1808) of Minuet WOLFGANG AMADEUS MOZART (756-81) Allegro DC.al Fine West indian Fok Song, Moderato A 162) = "ow try playing this song stating on C. La £5 Make New Friends (Round) f American Camping Song (p) tS Allegro @ tfAmazing Grace Largo American Folk Song Traditional Allegro % ne Auld Lang Syne Andante Scottish Folk Sone a ETS] oF loon =f mf mn =e 167) ae * = Use altetnate fingering ‘WOLFGANG AMADEUS MOZART (756-51)SOLO PERFORMANCE symphony No. 1 JOHANNES BRAHMS Andante Creme) ssa Bass Clarinet in Bb —<—> Piano af essto |Symphony No. 1 (Theme)PERFORMANCE i Genesis SANDY ELOSTEN 8 LARRY CLARK Andante, nen eae a Play 3 times third time only.© w RHY Alter page 7 my petty a itedeje ddd dey ddd pen deaf ddd tdadied dla —_g_ | qld fp jt tit pe ddd tg | ile Jyddep dd ddd gly lag 3) Bw w wm 7) After page 13 Pelle dda ddd Ly pl ely eg pe Oy Oy TL , pO Oi oe Dy Oy Oy y plddidp id gd ud ed ; : gl ee ected PrP PPP add IDL, 4 vated dodeeis + 4Rid) Ri3) 8) After page 17 Moderately ete pd Te ry 4 ee eee pee. ld BANE Dy TL H ae ape edd Dds Oddy da DD 4 dey f Fast pte by fb fifi) by ab a Ay 7 After page 22 Allegro ee pee OT hb NTT yd Ty Andante aot {a Dae dal fdas |. Pd jld.bydy | | After page 24 Moderato : ES $7F dd dd dd a oe Hild, Dy TT 4 Allegro So i ap ED ADT Sy ee see che, oe ede DTT dee Ae aiAfter p. 10 after p.12 ee After p.15 * Use alternate fingering. After p.18 ‘tart each pattern very slowly, play 8-10 times gradually increasing speed. Hose 2. 1 After p.20 = GHAlter p.21 1 e # 2. * ce H. KLOsE = Use alternate fingerings bl aa After p.25 1 H KLOse Alter p.31 Right hand down throughout Start each pattern very slowly, play 8-10 times gradually increasing speed, a $e Right hand down throughout. Right hand down throughout. Alter p.33 1 A13;Musicianship Review On lines 3-3, ad the bar lines and play. fiondane ‘ = mn Bb mpla0 = ——=—mf —p Allegro es ai) t mp ———— f Dynamics Review Number the dynamicindcatons rom softest to loudest (14). Pooine) anf inex fore Sone) ‘mp (mez pan) Tempo Review Number the tompo indications from slowest to fastest (1-4) Allegro Largo ___ Moderato Andante Repeat Review Cn tine 7, wie this piece 35 would be played, then play. Rhythm Review TB} Aes thebeats Subtract the beats tl td 4dMUSICAL TERMS A2barblues form using a specific chord progression found in popular music astand 2nd endings Play the ast ending first time through, then ‘on the repeat, skip to the 2nd ending, Accent 1 Play the note stronger, with more emphasis Allegro Fast tempo Andante Moderately slow tempo. Bartine Divides the staff into measures, Bass clef F= Also called F clef, The fourth line of the staffs the note F, Breath mark> A suggested place to take a breath. Canon Another name for around. Carol Song of praise usually related to Christmas. Chorale A hymn tune usually lyrical Chord ‘Three or more notes played at the ssame time, Chord Progression _The movement of one chord to another. Common time@ Same as 4 time signature. Composition Apiece of music. Crescendo —< Gradually increase volume, D.(0aCap0) Dane al Fine Go back to the beginning and play untit Fine, D.S. (Dal Segno) DS. alfine al Fine Go back to the 8 sign and play until Fine. Decrescendo = Gradually decrease volume. Divist av Divided section with some players playing the top notes while others play the bottom. Dot Increases the value of the original note by one half, Double Bar The end of a section of music. Duet ‘A.composition with parts for two players. Dynamic Markings ‘Symbols that indicate loudness or softness, of the music. Fermata * Hold the note longer than its usual value, Fine The end. Flat b Lowers a note one half step. Folk Song, ‘Music taught orally from generation to generation, Form The structure of a composition, Forte f Loud. Introduction A preparation section to a composition. Key signature Shows the notes that are flat or sharp within a piece. Largo Very slow, Ledger ines Used to extend the staff. Legato Play the notes smoothly with a soft tongue. Measure ‘The distance between two bar fines. ‘Mezzo Forte mf Medium tous. ‘Mezzo Piano mp Medium soft. Moderato ‘Multiple ‘measure rest Natural Note J Phrase, Phrasing Piano p Pick-up note(s) Play by Ear Repeat Sign Repeat within apiece FE Rest Rhythm Ritardando ri Round Seale Sharp # ‘Slur — Soli Solo Staccato J staff Tempo markings Tenuto J Theme ‘Variations Theory Tie — Time signature Traditional Treble clef $= Tutti Unison unis Warm-up Moderate tempo. Indicates more than one measure of rest. Cancels a flat or sharp, stays in effect for the entire measure, A symbol that shows musical pitch & rhythm, Acomplete musical statement. Soft. Note(s) preceding the first full measure, the missing beats may appear in the last measure, Play melodies without looking at written notation, Play the music again from the beginning. Repeat only the music between the signs. A symbol that shows musical silence, Organization of beats Gradually slow down, Playing the same music starting at different times, The arrangement of notes within a tonal setting. Raises a note one half step, stays in effect for the entire measure. Acurved line placed above or below a _group of notes to indicate that they are played smooth and connected. Tongue only the first note of a slur, Asolo for more than one instrument, One person playing. Play the note lightly and separated. 5 lines and 4 spaces used for writing music. ‘Terms which indicate the speed of the music. Play full value. ‘A musical form where the rhythm or notes of a theme are changed to create variety. The study of the components of musical com- position, Joins two notes of the same pitch, played as ifthey were one, Indicates how many beats are in each measure anid what kind of note receives fone beat, See Folk Song. Also called G clef. The second line of the staffs the note G, Everyone plays. All players in the section play the same note. Exercise to limber the muscles.FINGERINGS Open O Pressed @ Alternate Fingerings ‘5 8 The following products are recommended for complete care of your instrument: Key oil. Bore oil - Cork grease - Cleaning swab - Linen swab - Tone hale cleaner ‘Woodwind mouthpiece brush « Pad cleaning paper - Polishing cloth - Cleaning gauzeHG DP OB At BP GA20D FO a ¢ WHVANWA@ ara 2992110 pueg “2UQ 100g “aSejueApy eyeweA ay, Sulja|dwod Ajjnyssazons Aq diysue!sisn Jo prepuejs y8iy e SulAatyre 10j pazjuSora1 sl JUDWAaAIUY jo 9729141195 aug Aeg woy diysueiisny | “SADVLNVAQCY | ee SHLCircle of fourths/ fifths G-Major Scale (Concert F Major) Arpeggi Major Scale (Concert Bb Major) Arpegeto F-Major Scale (Concert E> Major) Atpeggio e Thirds a Bb-Major Scale (Concert A Major) Arpeesio z