RUBANK EDUCATIONAL LIBRARY No. 40 RU BANK Bee eee 8 OER B99 SSS I WELHOD = — N. W. HOVEY “are “eh A FUNDAMENTAL COURSE FOR INDIVIDUAL OR LIKE-INSTRUMENT CLASS INSTRUCTION RUSS ct HEP st emrapeictig crprcin eS ee Se|e RUBANK EDUCATIONAL LIBRARY No. 40 OBOE N. W. HOVEY ROLDAN sey: WP ecarartasig 177 Wet mnt P29 et 22 RUBANK WEVWOD POND or La DRAG Eee mae Cre TTL aSALIENT FEATURES WRITTEN by schooled instrume me Scere) Sener) in opplied music techniques aon ed eater) wea format designed to min Geert Cee? BT Career eee Pomorie PLC eae Beet eae CON ac eC OCU Peer teresting and direct manner CN ted Dee Ou my Sra urea oe ere arr SOC eae ey rem ee a) ere eae CONTINUOUS development 10 Tne teen ac Cn Cte Ore ae et) BINDINGS ore in the distincti Pienaar et Praeger meet the rigors of student use | ae LE A a From the RUBANK EDUCATIONAL LIBRARY RUBANK ELEMENTARY METHODS A Series of Graded Fundamental Courses for Individo! or Like-Instrument Class Instruction FLUTE (Piccolo), . . . . Petersen Eb or BBb BASS (Tubs) Hovey CLARINET ow eee Hovey | DRUMS 2 Yoder OBOE SPP E's 2. Hovey BRLLYRA wi sis Wht ARUBA or Peterson BASSOON 35 38 hss, °, Skoraicka TYMPANT oe ee eye ‘Whistler, SAXOPHONE i Heaey, GUITAR (Spani "s, » DePressles CORNET or TRUMPET... Robinson VIOLIN. fot Je Potter FRENCH HORN: ie Alto-Mellophone) MOA ee, Ward » Skomicka CLO. 2) 8a .Werd TROMBONE or BARTONE . . Long STRING BASS. | |.) | «Ward j A Series of Graded follow Up Courses for | Individual or Like-Instrument Class instruction FLUTE (Piccolo). .Skomnicka-Petersen TROMBONE or BARITONE CLARINET... .Skomicka-Miller ae 94 a Shonnlek te Rol OR0E |) | Stomicuakonbner B72 886 BASS abs) eee BASSOON + -Voxman DRUMS |... i, Buggert SAXOPHONE 01. + Stomnicke MARIMBAXYLOPHONESIBES Joli CORNET oF TRUMPET. . Skornicka VIOLIN Joe Th Potter FRENCH HORN (Eb Alto-Mellophone) VIOLA es Ward SkomickerErdman © CLO. 6 Lvs ye LE Ward RUBANK ADVANCED METHODS ‘A Series of Outlined Courses of Studies Designed 10 Follow ‘Any of the Various Elementary or intermediate Method Series FLUTE, Vol, 1)! -Voxman-Gower CORNET of TRUMPET, Vol. I FLUTE, Yolo 4. Yoxman i Conn yetniog CLARINET, Vol! Vonston-Gower FRENCH HORN, Vol.|. Gower-Voxman CLARINET, Vol Il’, .Voxmon-Gower | FRENCH HORN, Vol. I. Gower-Voxman ‘OBOE, Vol. . Voxmon-Gower TROMBONE or BARITONE, Vol | Gower-Voxman ee Nene zs tare Vow HOMBONE o BARITONE, Vol t BASSOON, Vole, Voxman-Gower Sore, Gage Voumeah BASSOON, Youll 54+ = 2; Venmon 2 pb or 88 hss be Volt SAXOPHONE, Vol - Vorman-Gower Cowes ‘SAXOPHONE, Vol. I Yoxman | Eb or BB» BASS (Tubal, Vol. I ‘CORNET oF TRUMPET, Vol. | Gower-Voxman 2| Gower-Voxman. DRUMS Po lee Snes a a aa as a ee ee at Pa | Ns a ree a ai a ars a aa ae es aay2 LESSON 1 Whole Notes and Whole Rests Whole Whole Note Rest Names of notes: (B) (a) (o) © ‘The Problems: Hold for four counts Fingering: lstfinger 2 3 see four counts, leofthend LH. LH. ex.7 1 2 3 4 5 6 7 Conservat 3 \Mititary aytiem {2 $f aysters 10 cee PRACTICE SOFTLY — REST LIPS FREQUENTLY Copyright NONXXXIV by Rubaak, Ine, Chieag, Ul Ranankc Elem. Meth. 269 Toternational Copyright Secured Copyright Renewed3 Half Notes and Half Rests LESSON 2 Half notes 1 Gount <2 &4 Half rest 2 Count 2 ay (F sharp) 8 § 4 5 (F natural) Duet4 LESSON 3 Extending the Range Atco play no.8 in half notes Also play no. 9 in half notes ne Eire Mer 392-3098 LESSON 4 Quarter Notes 1 see footnote 10 9 The sign % indicates that the preceding measure is to be repeated. ‘panic Flom Men 2-209LESSON 5 e Quarter Notes and Rests Note: Check the pitch of the high “A? by playing octaves and listening carefully. A slight change in lip tension may be aee- essary. Pete Bie Meth 392-3057 Key of F (one flat —B) Bo) LESSON 6 2-4 time; two counts in a measure instead of four. 7 Duet — Lightly RowLESSON 7 5 The Tie; Dotted Half Notes = 1% The sign yis called a snatural™ It cancels the effect of the Bb in the key signature for one measure only. Occasional sharps, flats, or naturals not appearing in the key signature are called accidentals, ban Bie Meth. 292-3689 Three Quarter Time ring? Why? LESSON 8 ‘What fin Duet-German Waltz uank Elem Mt, 92-90910 Kighth Notes Riythmic patterns to be practiced, Repeat each several times. > e LESSON 9 7 fads 4 129 Sand 2 2 dant 4 Land Pant 3 4 % fand ? f and ‘1 2and Sand fund Duet—Blve Bells of Scotland |a LESSON 10 Highth Notes Duet—Long Long Ago Fine. 5% D.S.is an abbreviation for Dal Segno which means “from the sign.” Go back to the sign (8) and play to #ine (end). Slow~ sustained —as even as possible in volume and pitch. 4LESSON 11 a8 Highth Notes Cae (——— | F major scale (memorize) Reece Bie Mem, 292-08* LESSON 12 Review Lesson for development of technique (cee footnote) ‘This page may be given as a single lesson or it may be assigned in parts, according to the ability of the pupil. No new problem is taken up at this point.4 Key of G (ene sharp -F) (ER) LESSON 13 Duke Street G major scale ‘emamorize) Before proceeding wit leson 14, be certain that you can recognize and define the key signatures that you have had thos far loamely, CF and ) and that you have memor‘aee three major scales. ‘Renan Bie. Meth. 202-30916 LESSON 14 Dotted Quarter Notes Rhythmic patterns to be practiced. Repeat each several times. 1 20nd & Leads € Lgads 4 Duet—In the Gloaming ALR MARREONLESSON 15 6 Dotted Quarter Notes Noto time signature.LESSON 16 Slurs [Reba Bem. Meh, 292-903LESSON 17 38 Key of Bb (two flate—B and #) (Bb) i 4% ” Trio to “Ambassador” March ae Bb major scale ‘nesorize) Play four major scales from memory before proceeding: Note: Atthough low Bb isnot within the ra with lesson 18. ‘ments andi seldom used, itis given here in ease the instruo- tor desires to introduce iat this point19 Eighth Rests Rhythmic patterns to be practiced, Repeat each several times. @ > ¢ ; J 1 and 2 and (and) 1 (and) 2 and LESSON 18 (and 2 and To and (2) and ‘7 (and) 2 (ant) 4 and @and 1 Glands £ 1 2 Wand & and 1 2and 3 (andDand20 Fighth Rests LESSON 19 (acgent)2 Alla Breve (cut time) LESSON 2022 Alla Breve *s2¢ footnote = = LESSON 21 Alla Breve March # STACCATO ~ A dot placed over or under a note (j#p or 444) indictes shore nazue. ‘Thus a staceato quarter should be played similar to an eighth note followed by an eighth rest “played#8 LESSON 22 Alla Breve Rhythmic patterns to be practiced. Repeat each several times a o © tant 2 and 1 ant 2 and toa 2 and 1 and 2 and Land 2 and fo and 2 and J and 2 and Trio to “Airport” March RISENBERGER (DA ringerea tike Eb oH Uret ending Vand ending Rotor Elem. Meth, 262-288LESSON 23, 2h Key of D (two sharps-Fand ©) ey (oP) Ie America, the Beautiful SAMUEL A. WARD25 LESSON 24 Six-Hight Rhythms Practice each of the following 6-8 lessons beating siz to a moasure, emphasizing or slightly accenting: counts 1 and 4 (224458). Then review each lesson beating fwo to a measure, so that the first beat falls on countone and the second Seaton crak or. (2.48 € 4 0) re ‘ebenk Bien, Meth. 282-308LESSON 25 26 Six-Kight Rhythms Duet—Drink to Me only with Thine Eyes English Air German Folk Songa7 Six-Kight Rhythms & LESSON 26 Duet-Silent Night GRUBER ide Believe Me, If All Those Endearing Young Charms MooRE a ‘apart em, Mat, 982-208LESSON 27 28 Review Lesson for Development of Technique a Bien Mec 262-38329 Key of Eb (three flats —B, E, and A) LESSON 28 First Chromatic Exercise There is a Green Hill STEBBINS e Bb major seate (memorize) ae Play six major scales from memory before proceeding High Bb may be included in the range a this print with lesson 29, i the instruetor so desires30 jixteenth Notes (see footnote) LESSON 29 Accompaniment Rhythms oo um Santer isa rhythmic exercise, Play bth lines and compare. Natce that any eighth note maybe replaced ty two sixteenth, Invent some thm mit31 LESSON 30 Sixteenth Notes aban Elem. Meth, 902-998LESSON 31 32 Sixteenth Notes in 3 (abbreviation) ae Review no, 4 using these articulations: a 2 Rica Ee. Met. 82-369,33 LESSON 32 Key of A (three sharps—F, C, and G) ot Sweet and Low rere ‘A major scale ‘enemorize) Play seven major scales from memory before proceeding with lesson 33, Rubank Elem. Meth, 392-303LESSON 33 34 Dotted Highths followed by Sixteenths i aD Duet—Tramp, Tramp, Tramp .e a Za 2ifip fa e ROOT35 Dotted Highths followed by Sixteenths LESSON 34 Trio — My Maryland d 1st pan 2nd pa ed patLESSON 35 36 Additional Rhythms in Alla Breve ebank Eiem. Meh, 362-36837 LESSON 36 Review Lesson for development of Technique Ribank Elem. Meth, 362-308LESSON 37 38 Key of Ab (our flats — BE A and D) Db Dh fingered lke C2) Db(fingered like Cl) Dblingcp ike CH SCHUMANN — Play eight major scales from memory before ‘Ab major scale proceeding with lesson 38. ‘imetnorize) ‘Rebank Biem. Met. 262-20839 LESSON 38 Syncopation * 200 footnote FOSTER Annie Laurie Scotch Melody ——— — lt Be certain the accent is onthecorrect note. (incorrect) Acommon error is committed by playing syncopated figures as follows: back Elem. Mth. 382-393, fu bak tuLESSON 39 40 Syncopation aac Bie. Math, 392 ~at LESSON 40 Key of D> (five fats-B,E, A,D,and 6) (eh, fingered like F ————+(Gh) * Gnsull fingering chart for auxiliary fi = Hunter's Chorus “es WEBER Dh major seals (shemorize) Play nine major scales from memory before proceeding with lesson 41 Rubank Elem. Meth, 293LESSON 41 az Chromatic Ad (fingered like Bh)* 43 LESSON 42 Chromatic {tubank Elem. Meth, 382-0LESSON 43 44 Triplets In previous leatons you have divided the quarter notes into two equal parts (d=49) and into four equal parts (J 477) Ik may also be divided into three equal parts: (J JZ. Scenes that are Brightest Moderato WALA Be certain you play each of the notes in the triplet figure with equal value. A common error is committed by playing the figure in this way: 43. Do not rush the first two notes. eben Elem. Meh. 902-96845, LESSON 44 A Study on Construction of Major and Minor Scales 1 2 8 4 5 6 2 8 Example “Cmajor” aa -whole_, whole _;—half_, whole 1 whole | whole half Lr a lee a To be SPELLED correctly a scale must be on successive lines and spaces. Nole HALF STEPS between 3rd and 4th degrees and 7th and 8th degrees. ‘Work out the following scales, then fill in correct key signature. ae OS d ev ee al ne es ae major major: Example. “A minor" (melodic) 7 (ae Se et pe et Note that the key signature is that of the RELATIVE MAJOR SCALE which starts on the third degree of the minor. In the above example (A minor) the key signature is the same as C major (called the RELATIVE MAJOR) which starts ‘on the third degree of the A minor scale. ae = a L171 1 ep46 Major Seales for referenceay Common Minor Scales Ad (Cingered like Bb) 4 (ingered like F4) Bi(tingered tke Ch ch Chromatic b48 Chord Studies = erty = ss = = = are >| == Tone =i) onion Paar eae ba