01 - SCHNIBBLES For Two - 101 Easy Practice Duets For Band - FLUTE

SCHNIBBLES
for Two
by Brad Carman
101 Easy
Practice
Duets FLUTE
Two-Part Etudes for the Development of

Skill, Awareness, and Confidence.
Designed for Full-Band Settings, Small

Group Instruction, Private Lessons, and
Home Learning.
SCHNIBBLES for Two
101 Easy Practice Duets
for Flute
Brad Carman
Dedicated to one of my earliest music teachers, Gerald Mattern,
who's love for life and music was profound and infectious. He
taught us that there is joy and beauty everywhere, and at an
early age introduced me to the simple pleasure of reading duets
with a good friend. Share the light on the other side, Big Jammer!
2
SCHNIBBLES for Two

The word schnibble is a term that means "a little piece of something" - something
little that can be tinkered or fiddled with or eventually built upon. I feel that the
best way to describe this book is as a collection of schnibbles.
This collection of duets sets out to expose young players to a broad range of
musical situations and challenges but without pushing beyond what most first- and
second-year players can manage, (with some practice and a little guidance). These
duets are very short and focused, with limited range and rhythms that do not extend
beyond eighth-note subdivision. Care has been taken to approach contrary motion
and independent rhythms in a way that builds skill, awareness, and confidence.
There ARE challenges, but most will be easily overcome.
Designed for maximum accessibility, the collection introduces many intermediate

concepts, (such as 3/8 and 5/4 time, syncopation and "jazzy" rhythms, whole-tone
harmony, etc.), but in a way a beginner can digest them. Throughout, students are
encouraged to begin thinking beyond the ink by experimenting with
articulations, dynamics, and tempo to create their own musical interpretations.
My hope is that students (and their teachers) will find this collection to be a
practical tool that can be used to reinforce basic skills and musical concepts, but
also an entertaining way for students to build confidence and expand their
musical horizons. Feel free to play through the collection in order or skip around as
desired to coordinate with a band method, learning sequence, or simply to explore.
All books are compatible with one another for use in a full-band setting or so
friends can pair up regardless of their instrument.
Enjoy!
-Brad Carman
Brad Carman earned his degree in Music Education

from the University of Wisconsin-Madison and has
taught instrumental music at the college, high school,
and middle levels, and maintains an active private
studio. He has performed in wind ensembles, jazz
ensembles, rock bands, music theater "pit" orchestras,
and numerous chamber ensembles, and works
frequently as a clinician, guest conductor, and as an
education consultant, specializing in musical creativity
in all genres and at all levels through composition,
improvisation, and inspired musical interpretation.
3
SCHNIBBLES for Two
A few suggestions for all players (and teachers):
BEGINNERS (2nd semester of Band Class or equivalent): Start at the beginning of the collection
and play everything with a very big sound, and a very steady, sturdy (slow) tempo. As you progress
through the book, try to figure things out on your own, (look up fingerings or positions, clap and count
rhythms, etc.), but don't hesitate to ask for help or for a demonstration from a teacher or more
experienced musician when things seem confusing. Be sure to try both parts.
EARLY INTERMEDIATE PLAYERS (Most 2nd and 3rd year players): Play everything more
than once. FIRST, sight-read. Pick a modest tempo and stick to it. Do not stop for mistakes when
sight reading. SECOND, identify and fix as many mistakes as you can and add stylistic elements to
the music when there are none, (dynamics, articulations, etc.), and try things faster or slower.
LATER INTERMDIATE/EARLY ADVANCED PLAYERS: The sky is the limit! Read things in
cut-time, transpose, embellish with trills and other ornaments, play things up or down an octave, or
flex your creative muscles and extend any one of these duets by composing additional measures in
the same style. Review often, but always feel free to try different things each time.
To ALL PLAYERS: PLAY BOTH PARTS! Being part of an ensemble means being able to play a
melody confidently when you have it, but also being able to play a supportive role by playing in tune
and in time, by playing with good blend and balance, by matching articulations and dynamics, and
by bringing out your part when the music calls for it. The "bottom parts" are, in many ways, the
more challenging of the two parts; a challenge that should not be avoided.
HAVE FUN! It is possible to be serious and have a good time. Never be afraid to have a laugh.
Beginners: Play with a BIG SOUND and a STEADY, STURDY TEMPO!

Suggested tempo* q = 72 (+/-) Brad Carman
° 4 ˙ œ bœ ˙ ˙
&4 ˙ œ bœ ˙ ™ Œ b˙ ˙ ˙ ˙ b˙ ˙ ˙™ Œ
mf
1 4 b˙ œ œ ˙ ˙ b˙ œ œ ˙ ™ Œ ˙ b˙
& ˙ b˙ ˙ b˙ ˙™ Œ
¢ 4
mf
° ˙ œ œ b˙ ˙ ˙ œ œ b˙ ™ Œ ˙ b˙ ˙ ˙ ˙ bœ œ b˙ ™ Œ
&
¢ & ˙ œ bœ
˙ ˙ ˙ œ bœ ˙™ Œ ˙ ˙ b˙ ˙ b˙ œ œ b˙ ™ Œ
*All tempo markings are merely a suggested starting point. Feel free to go faster or slower to meet your needs and
fit your preferences, or simply to try things a different way. Any tempo is ok as long as you can stay together.
Copyright © 2017 Brad Carman. All Rights Reserved.

4 SCHNIBBLES for Two - Flute - Brad Carman
Musical Uniformity = Sameness of Style

As you play, listen to the sounds you are making together. Are the two parts balanced? In other words,
are you both playing at about the same volume? Are all of the notes the same length, and played with the
same kind of articulation? Sometimes it's difficult to tell, so ask a teacher or a more experienced player
to listen to you, or even record yourselves and listen back to see how well you match each other.
° 4 ˙ bœ œ ˙ ™ Œ œ œ bœ œ ˙ ™ Œ b˙ œ œ ˙ b˙ ˙ œ bœ ˙ ™ Œ
&4
2 4 ˙ œ œ b˙ ™ Œ œ œ œ œ b˙ ™ Œ ˙ bœ œ ˙ ˙ b˙ œ œ b˙ ™ Œ
&
¢ 4
Three-Quarter Time (3/4)

Duets 3 and 4 are in Three-Four time. Be sure to count off in 3. For beginners, try it this way:
"One, Two, Three, One, Two ----" (Breathe where "Three" would be.)
° 3˙ œ ˙™ ˙ œ b˙ ™ ˙ œ ˙ œ ˙ œ ˙™
&4
3 3
¢ & 4 b˙ œ ˙™ b˙ œ ˙™ b˙ œ ˙ œ b˙ œ b˙ ™
° 3˙ œ ˙ œ ˙ bœ ˙ ™ ˙ bœ ˙ bœ œ œ bœ ˙ ™
&4
4
3 œ b˙ ™ œ b˙ œ bœ œ œ b˙ ™
¢ & 4 b˙ œ b˙ œ b˙ b˙
Intermediate players (and their teachers): Remember to PLAY BOTH PARTS (or at least switch parts
for each new duet). Also, challenge yourselves by adding articulations, dynamics, and other stylistic
elements to make the music more interesting to play and to listen to. Doing this is called musical
interpretation, and is an important factor to becoming a more skilled and imaginative musician.
If you have a difficult time thinking of what to do, start with opposites: slurs/tongue, loud/soft.
SCHNIBBLES for Two - Flute - Brad Carman 5
3/4 time is sometimes called Waltz-Time. A Waltz is a kind of a dance, and probably something you're
already familiar with. Search "waltz" on the internet and see what you get. Sometimes watching dancers
can make certain rhythms and grooves make more sense; and more fun to play!
° 3˙ œ bœ œ œ ˙ ™ ˙™ ˙ œ bœ œ œ ˙ ™ ˙™
&4
5
&
3 ˙ œ œ œ œ b˙ ™ ˙™ ˙ œ œ œ œ b˙ ™ ˙™
¢ 4
° ˙ œ bœ œ œ œ œ œ ˙™ bœ œ œ bœ œ œ ˙ ™ ˙™
&
& ˙ œ œ œ œ bœ œ œ ˙™ œ bœ œ œ bœ œ b˙ ™ ˙™
¢
Syncopation q h q
The rhythm in measures 1, 3, 5, and 7 of Duet 5 (q h q) is an example of Syncopation.
See if you can put a little extra weight on beat 2 in each of those measures. The musical
term for adding weight or emphasis is accent and is marked with this symbol: >
° 4 œ >˙ œ b˙ ˙ œ >˙ œ b˙ ˙ bœ >˙ œ ˙ b˙ œ >˙ bœ w

&4
6 1
> >
4 ˙ b˙ bœ ˙ œ ˙ b˙ œ >˙ œ ˙ ˙ bœ >˙ œ bw
¢ & 4 bœ ˙ œ
The Beat Goes On

Be sure each half-note lasts two full beats then stops. In measures 1-2 and 4-6, the sound stops and the
silence begins right on beat 3. It might be worth having each partner play their part while the other counts
and claps. Remember: Even when the sound stops, the steady beat keeps going during the rests!
° 4 ˙ Ó b˙ Ó œ Œ bœ Œ ˙ Ó ˙ Ó b˙ Ó œ Œ bœ Œ Œ œ œ Œ
&4
7 1-2 (3-4)
&
4 b˙ Ó ˙ Ó bœ Œ œ Œ ˙ Ó b˙ Ó ˙ Ó bœ Œ œ Œ Œ bœ œ Œ
¢ 4
3/4 & 3/8 ; Counting Twins

Be sure to count carefully through measures 7 and 8. Make the note in measure 7 end
exactly on beat 1 of measure 8. Also, don't rush through the counting in measure 8. Keep
a steady tempo and be patient. Silence is an important part of music. Don't skip over it!
° 3˙ œ ˙™ ˙ bœ ˙ ™ œ œ bœ œ œ œ ˙™ ∑
&4
8 3 b˙ 1-2-3
& œ b˙ ™ ˙ œ b˙ ™ œ bœ œ bœ œ œ ˙™ ∑
¢ 4
° ˙
& œ b˙ ™ ˙ bœ ˙ ™ œ bœ œ bœ œ œ b˙ ™ ∑
˙™ œ ˙™ œ œ bœ œ bœ œ b˙ ™
¢ & ˙ bœ b˙ ∑
Duet 9 is written in 3/8 time, which is just a different way of writing 3/4. Although music
written in 3/8 and 3/4 looks very different, it can be counted exactly the same way. The
little notes in the boxes show what the rhythm would look like if it had been written in 3/4.
° 3 œ œ œ œ™
&8 œ œ œ œ™ œ œ œ œ™ œ œ œ œ™
1 2 3 1-2-3
9 q q q h.
3 œ œ bœ ™ bœ œ œ œ ™ bœ œ œ œ ™
¢ & 8 bœ œ œ œ œ™
° œ œ œ bœ ™ œ œ bœ ™ œ œ œ œ œ bœ œ œ bœ ™
& J J
1 2 3 1-2-3 1-2 3 1-2-3
q q q h. h q h.
œ œ j
¢ & b œ œ œ™ bœ J œ™ bœ œ œ œ œ bœ œ œ bœ ™
Counting 8th Note Pairs: iq

Whether you are in 2/4, 3/4, 4/4 or anything/4, 8th notes will feel the same way; two notes per beat,
usually counted, "One-and-Two-and-Three-and. . ." Notice that when 8th-note counting is written
out, the word and becomes a plus sign (+). All numbers will line up with beats and all ands will fall
right in between. Numbers are often called down-beats while ands are often called up-beats.
If you tap your foot when you play, make sure it is tapping only the beat and not the rhythm (the
8ths). The steady beat of a metronome is what your foot should line up with regardless of what
your tongue or fingers are doing as you play.
q = 72 to as fast as you can

° 2œ œ œ œ œ œ œ œ b˙ œ œ œ œ bœ œ bœ ˙
&4
10 2 bœ 1 2 + 1 2
&
¢ 4 œ œ bœ œ bœ œ œ ˙ œ œ œ œ œ bœ œ b˙
° 3 œ œ œ œ œ œ œ œ œ œ œ b˙ Œ œ œ œ œ œ œ bœ œ œ œbœ ˙ ™
&4
11 3 1 2+ 3 1 2 3
& b œ œ œ œ b œ œ œ bœ œ œ œ ˙ Œ œ œ œ œ œ œ œ bœ œ œ œ b˙ ™
¢ 4
° 4œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ bœ œ ˙
&4
12 4 bœ 1 2 + 3 + 4 1 2 3-4
&
¢ 4 œ œ œ œ œ bœ œ ˙ bœ œ œ œ œ œ œ œ ˙
° œ œ œ œ œ œ œ œ b˙ œ œ œ bœ œ œ w
&
¢& œ œ œ œ œ œ œ œ ˙ bœ œ œ œ œ œ bw
First Duet with Independent Rhythms

Duet 13 is an example of music with independent rhythms. This means that the rhythm of one
part is different than the other. Each player is responsible for keeping track of their own
counting. Beginners: Play each part separately several times before trying to play it as a duet.
Also, try counting and clapping. Check in with a teacher when you think you have it right.
° 4 œ bœ ˙ ˙ ˙ œ œ b˙ ˙™
&4 Œ
13 4 ˙ œ œ b˙ œ œ b˙ ™
¢ & 4 b˙ b˙ Œ
Fanfare with Solos!

Duet 14 is a simple fanfare. Play big, bright, and bold, with a steady, sturdy beat; as if
playing for a royal celebration. Notice that measure 1 and measure 5 are solos; one for each
player. Do not be shy about these measures - play with strength and confidence!
(solo)
° 4 > > > >œ > >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >˙ ™
& 4 bœ œ œ œ Œ
14 f
4 > > > > > >œ >œ >œ >œ >œ >œ >˙™
¢& 4 ∑ bœ œ œ œ œ Œ
f
° >œ >œ >œ >œ >œ >œ >œ >œ >œ b>œ >œ >˙ ™
& ∑ Œ
(solo)
> > > >œ > > > > >œ > >œ >œ >œ > ™
¢& œ œ œ
b œ bœ œ œ œ œ œ œ
> > >
b˙ Œ
Intermediate players should try altering this fanfare by replacing each 8th note pair
with 8th note triplets or 16th notes to practice different subdivisions.
15A, B and C: Comparing Harmonic Intervals

Play through each duet a few times in a few different ways; loud and soft,
slurred and articulated, slow and fast. Really listen to both parts together.
Duet 15A: The two parts are spaced out in 3rds. 3rds are easy to spot: both notes will be
on adjacent spaces or adjacent lines. How does it sound? Duets 1-14 were composed
using mostly 3rds, which most people consider to be a very familiar, pleasant sound.
° 4 ˙™ Œ ˙™ Œ ˙ ˙ œ œ œ Œ
&4
15A 4 ™ ˙™ ˙ œ
¢ & 4 b˙ Œ Œ b˙ bœ œ Œ
Duet 15B: The two parts are spaced out only by a step or 2nd. How does it sound?
The musical term for this sound is, Dissonant.
° 4 b˙ ™ Œ b˙ ™ Œ b˙ b˙ bœ bœ œ Œ
&4
15B
4 Œ ˙™ Œ ˙ œ Œ
¢& 4 ˙™ ˙ œ œ
Duet 15C: The two parts are spaced out in Perfect Intervals. (There is a reason they are called
"perfect", but for now that's not important.) How does it sound? The musical term for this
sound is, Consonant. How is 15C different from the other two duets? Play the other two again.
What scene or mood do you imagine for each one?
° 4 ˙™ Œ ˙™ Œ ˙ ˙ œ œ œ Œ
&4
15C 4 Œ ˙™ Œ ˙ œ Œ
¢& 4 ˙™ ˙ œ œ
Playing Around With Sound
The next several Duets explore even more new sounds. Compare them to Duets 1-14.
Notice that at times one part of Duet 16 will play a moving line while the other part holds still.
As with Duet 13, keep a steady beat and count confidently! Play moving parts stronger.
° 3 ˙ bœ ˙ bœ ˙ œ ˙™ b˙ œ b˙ œ ˙™ ˙™
&4
16 3 b˙ ™1-2-3 1-2-3 etc.
& ˙™ b˙ ™ ˙™ ˙ œ ˙ bœ ˙™ ˙™
¢ 4
° ˙ bœ ˙
& b˙ ™ ˙™ b˙ ™ ˙™ œ b˙ ™ b˙ ™
˙ bœ ˙ bœ ˙ œ ˙™ ˙ œ ˙ bœ ˙™ ˙™
¢&
Duet 17 is written using Perfect intervals, just like Duet 15C.
° 4 >˙ >˙ >œ >œ >œ >˙ >˙ >œ >œ >˙ >˙ >œ >œ >˙ >œ >œ >˙ >˙ ™
&4 Œ Ó Œ
17 4˙ mf
>˙ >œ >œ >œ >˙ >˙ >˙ >œ >œ >˙ >œ >œ >˙
& Œ œœÓ ˙ ˙™ Œ
¢ 4> >> > >
1st and 2nd Endings & The First Sounds of Minor
Duet 18 has a repeat with a 1st and 2nd ending. Play measures 1-8 as usual, then go back to the
beginning and play to the end, but this time skipping over measures 7 and 8. (Follow the
dotted line to help your eyes find the first note of the 2nd ending).
Whenever you see a new or unfamiliar note, look it up!
18 1. 2.
° °™4 b˙ b˙ ˙ ™ ˙ b˙ b˙ ™ b˙ b˙ b˙ b˙ w ˙™ ü
& ™4 Œ Œ Œ ™™ w b˙ ™ Œ
& ™™4 b ˙ ˙ b˙ ™ Œ b˙ ˙ b˙ ™ Œ b˙ ˙ b˙ ˙ nw ˙™ Œ ™™ nw b˙ ™ Œ
¢ ¢4 †
Duets 18 and 19 are both composed in Minor keys. How would you describe the difference
in sound between Duets 18 and 19, and others that were in Major keys, like Duets 1-14?
° 4 bœ œ œ œ bœ b˙ œ bœ b˙ œ bœ œ b˙
&4
19 4 bœ
¢& 4 bœ œ œ œ bœ ˙ œ b˙ œ bœ œ ˙
° bœ œ œ œ bœ b˙ œ bœ œ bœ œ bw
&
bœ œ œ œ bœ ˙ bœ bœ bœ œ œ bw
¢&
Duet 20 is another fanfare, but this time it is composed in 3/8. Remember that music in 3/8 can be
counted the same way you would count 3/4. (Counting is shown between staves) Play big! Whenever a
range is given for tempo ( e = 80-120) it means you can choose your own tempo. Also remember that in
this book you are always encouraged to experiment with tempo. Any markings are only suggestions!
Boldly e = 80 - 120 (+/-)

° 3 b>œ >œ >œ b>œ ™ >œ >œ >œ >œ ™ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ ™
&8
20 1 2 3 1-2-3
etc.
q q q h.
3œ > > > > b>œ >œ >œ b>œ >œ >œ b>œ >œ >œ b>œ ™
&
¢ 8> œ œ œ™ bœ œ œ bœ ™
> > >
° b>œ >œ >œ >œ ™ >œ >œ >œ >œ ™ b>œ >œ >œ >œ >œ >œ b>œ >œ >œ b>œ ™
&
>™ b>œ >œ >œ b>œ ™ > > >

¢& >œ >œ >œ bœ œ œ œ bœ œ œ œ œ œ œ ™
> > > > > > >
Articulation Challenge
Duet 21 has an articulation pattern of slur-two-tongue-one. Take the time with your duet partner
to play each line separately, (one player plays, the other listens). The listener can help the
player know if the articulation is just right and if the tempo is steady. When both players can
get it right on their own put the two parts together and see how it sounds. Together, you can
decide if you want beat 3 to be full-value or detached, or you can ask a teacher for advice.
Once you can play it as suggested, try all-slur, all-tongue, or any combination of slur/tongue.
q = 90 (+/-)
° 3 œ nœ œ œ œ nœ œ nœ œ ˙™
&4 œ nœ œ œ œ nœ ˙ ™ ˙™
21 3 œ œ œ nœ œ œ œ œ bœ ˙™
&
¢ 4 bœ œ œ nœ œ œ œ bœ œ ˙™
Make sure that as you are working out the notes and rhythms of a piece that you are
also paying attention to the articulations. Never wait to work on the style of a piece!
When you can play it as marked, reverse the articulation in measures 1, 3, 5, and 6.
Stately q = 120 (+/-)

° 4 bœ œ œ. bœ. œ. >˙ œ. œ œ bœ. œ. >˙™ Œ œ bœ œ. œ. bœ œ œ. œ. œ. >˙ bœ. w
>
&4
22 4 . œ. œ. >˙ œ. bœ œ œ. bœ. ˙™ Œ œ œ œ bœ. œ œ bœ. œ. œ. >˙ œ. bw
>
¢& 4 b œ œ œ .
>
Wiggle-Worm Work-Out
If Duet 23 seems to be going by too fast, give each e 1 beat, and each q 2 beats.
Pencil-in your own combinations of slurs and articulation.
° 2 bœ œ œ œ œbœ œ œ œ œ œ œ œbœ œ bœ œ œ œ bœ œ œ œbœ œ œ œ œbœ
&4
23 2Œ Œ
&
¢ 4 bœ œ œ œ œbœ œ œ œ œbœ œ œ œ œ œbœ œ bœ œ œ œ bœ œ œ
Contrary Motion
Duets 24 and 25 are composed using contrary motion, where one part goes up while the other
goes down. This can be confusing to the ear in the beginning and can cause a lot of mistakes if
players second-guess themselves. When in doubt, if things seem "off" try playing each part
separately or playing just 2-4 measures at a time to work it out. Or, ask a teacher for help.
Count carefully and play with a big sound!

° 3 œ nœ œ ˙™ ˙ œ n˙ ™ ˙ œ nœ œ œ ˙ ™ ˙™
&4
24 3 œ œ bœ ˙™ œ ˙
&
¢ 4
b˙ œ ˙™ b˙ bœ ˙™ ˙™
Decide with your partner whether to play in a sustained (long) or detatched

(short) style for Duet 25. Remember to slur anywhere that you are directed to.
NOTE: Usually E-naturals are not marked (§), although courtesy accidentals were provided for Duets
21 and 24 because C instruments (flutes, oboes, and all bass clef instruments) are so accustomed to
Ebs. Starting with Duet 25, E-naturals will not be marked in, so you will have to remember to play E§.
° 3œ œ œ œ œ œ œ œ œ œ œ ˙™ œ ˙
&4
25 3 œ œ œ œ bœ œ œ œ ˙™ bœ œ œ
¢& 4 œ œ œ œ
° œ
&
˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ
œ œ bœ ˙ bœ ˙™ œ œ œ œ œ œ œ œ
¢&
° œ œ œ ˙™ œ œ œ œ œ œ ˙™ ˙™
&
œ œ ˙™ œ œ bœ œ bœ œ œ ˙™
¢ & bœ œ bœ ˙
Now Me, Now You: Back-and-Forth

The dotted lines are there to help you visualize how each part lines up with the beats.
° 4b˙ ™ œ ˙™ œ ˙™ b œ b˙ bœ œ
&4
26 4Œ
& œ b˙ Œ œ n˙ Œ bœ b˙ Œ œ b˙
¢ 4
° ˙™ bœ ˙™ bœ b˙™ œ b˙™
& Œ
¢ & Œ b œ b˙ Œ bœ b˙ Œ œ bœ bœ ˙™ Œ
Play sustained (long) or detached (short).
Music With a Road Map

Composers sometimes avoid re-writing repeated music by directing you back to an earlier point in the piece. For
Duet 27 play to the end then go back to the beginning. (D.C. = Da Capo = From the top) Then play until m. 8.
° 4 b>œ >˙ >œ >

w b>œ >œ >œ >œ >
w b>œ >œ >œ >œ >œ
&4
mf
27 4 b
>
w b
> bw
œ
>
¢& 4 >œ ˙ bœ œ œ œ œ œ œ œ bœ
> > > > > > > > > >
° w > b>˙ >
>œ >œ >œ >œ w ˙
&
b˙ œ bœ ˙ b˙ ˙
mp
> b > fine
w ˙
¢& b w ˙ œ œ bœ œ b˙ b˙ b˙ ˙ b˙
> >>>>
° œ œ b˙
& ˙ b˙ œ bœ œ œ ˙ b˙ ˙ ˙
D.C. al fine
¢ & b˙ ˙ b˙ ˙ bœ œ œ bœ ˙ ˙ b˙ b˙
Add Some Personality

Choose a musical interpretation for Duets 28 and 29. After some experimenting,
pencil in a tempo marking, articulations, dynamics, and give it a fitting title.
q = ____
° 3 ˙ b œ œ œ bœ œ bœ œ b˙ ™ œœœ
Œ œbœ œ Œ bœ œ œ œ bœ ˙
&4
28 3 b˙ œ bœ œ œ
&
¢ 4 bœ œ bœ ˙ ™ bœ œ œ Œ œ œ œ Œ œbœ œ nœ b˙ ™
° ˙ b œ œ œ bœ œ bœ œ b˙ ™ œœœ
Œ œbœ œ Œ œbœ œ œ b˙ ™
&
b˙ œ bœ œ œ bœ bœ œ œ Œ œ œ œ Œ bœ œ œ bœ bœ
¢& œ bœ ˙ ™ ˙
q = ____
° 4 bœ bœ œ œ œ bœ b ˙ bœ bœ œ œ œ bœ ˙
&4
29 4 bœ œ œ œ bœ ˙ bœ bœ œ œ œ œ b˙
¢ & 4 bœ
° bœ bœ bœ œ b œ bœ ˙ bœ bœ œ bœ bw
&
bœ bœ œ œ œ bœ œ bœ bœ bœ ˙ bw
¢ &
Duet 30 has a mysterious quality to it and begins with a dissonant sound which may
surprise you the first time you play it. There are also repeat signs around the first two
measures, so play measures 1-2 two times before going on to measures 3-6.
Mysteriously q = 80 (+/-)
° °™4 ˙ œ œ ˙ œ bœ ü ˙ œ œ ˙ #œ œ w w
& ™4 ™™
30 4 ˙ œ œ b˙ ™™ b˙
™
™
¢& ¢ 4
˙
†
œ œ b˙ ˙ bœ œ bœ œ w
Technique Tester in Major and Minor

Practice Duet 31A and 31B in a bouncy, articulated style as well as a lyrical, slurred style.
Also, there are two notes in the top part at the end of each duet. Try them both. Can you
describe the difference between the two sounds? Is there one that you prefer? Why?
One of these is written in a Major key, one is written in a Minor key. Can you tell which one just by
looking? If not, maybe you can tell by how each one sounds. Ask a teacher when you think you know.
° 4 œbœ ˙
&4 œ bœ œ ˙ œ œ œb˙ œ œbœ ˙ ™ œbœ ˙ œ
31A 4
¢ & 4 b œ œ˙ œ œ œb˙ œ œbœ ˙ œ bœ œ ˙ ™ bœ œ ˙ œ
° bœ œ ˙ œ œœ˙ œ b ˙˙ ™™ Œ ° 3 bœbœ œ œ bœ œ bœ œ
& &4
œ œb˙
31B 3 bœ œbœ œ œbœ bœ œ
¢ & œ œbœ ˙ œ b˙ ™ Œ &
¢ 4
° œ bœ bœ œ bœ bœ ˙ bœ bœ œ œ bœ œ bœ œ œ nœ n œ œ b ˙˙ ™™
&
& œ b œ œ œ bœ œ b˙ bœ œ bœ œ œ bœ bœ œ œ bœ œ œ b˙ ™
¢
Trading Off: An "Off-Beat" Primer

Count and play confidently. Try to match sound, volume, and articulation as the notes of
the melody get passed back and forth. When learned, see how fast you can play it!
° 4˙ Ó ˙ Ó b˙ Ó b˙ ™ Œ Ó ˙ Ó ˙ Ó b˙ ∑
&4
32 4Ó ˙
& Ó ˙ Ó b˙ ∑ ˙ Ó ˙ Ó b˙ Ó b˙ ™ Œ
¢ 4
° bœ Œ œ Œ œ Œ œ Œ œ Œ œ Œ b˙ ™ Œ Ó b˙ ˙ b˙ ˙ b˙ ˙™ Œ
&
Œ b œ Œ œ Œ œŒ œ Œ œŒ œ ∑ ˙ Ó ˙ ˙ b˙ ˙ b˙ ™ Œ
¢ &
Name That Tune!
Beethoven (1770-1827)
° 4 œ œ b œ b œ b œ b œ œ œ bœ œ œ œ œ™ œ ˙
&4 J
33 4 b˙ ˙ ˙ ˙ ˙ œ bœ bœ bœ ˙
¢& 4
° œ œ bœ bœ bœ bœ œ œ bœ œ œ œ œ™ bœ ˙
& J
b˙ b˙ ˙ bœ nœ bœ œ œ bœ œ bœ b˙˙
¢&
Try both ending notes.
Little March
Duet 34 should be played in a march style which generally means playing with a strong,
separated feel and around q = 120. However, some marches are more or less percussive,
faster or slower, so do what works best for your ability and your musical preferences.
March Style q = 120 (+/-); Beginners: q = 80 (+/-)
° 4 œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ ˙ œ bœ
&4 œ
34 4œ œ œ œ œœ œ œ œ
&
¢ 4 œ œ œ bœ œ œ œ œ œ ˙
° œ œ œ ˙ bœ œ œ ˙ ˙ ˙ >œ >œ >œ

& Œ
œ œ œ ˙ œ œ œ ˙ œ œ œ œ >œ
¢& œ œ Œ
> >
Pattern Practice
Music with repeated patterns can sometimes feel easy and sometimes awkward. It all depends on
what the pattern is. Remember, with practice, patience, and persistence any pattern can feel easy!
e = 72 - 180
° 3 œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ™
&8
35 3 œ œ œ œ œ œ œ œ œ œ™ #œ œ œ #œ œ œ #œ œ œ #œ ™
¢& 8
° œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ™
&
œ œ œ œ œ œ œ œ œ œ™ #œ œ œ #œ œ œ #œ œ œ œ ™
¢&
First Duets in 5/4 Time

Duet 36 is written in 5/4 which has five quarter-notes in each measure. It may take a
little while to get used to the feel. Just be sure not to hesitate between measures.
q = 100
° 5 œ œ œ bœ œ œ œ œ bœ œ œ œ œ bœ œ ˙™ ˙
&4
36 1 2 3 4 5 1-2-3-4-5
&
5 œ bœ œ œ bœ œ bœ œ œ bœ œ bœ œ œ bœ ˙™ ˙
¢ 4
° bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ ˙™ ˙
&
& œ œ œ bœ œ œ œ œ bœ œ œ œ œ bœ œ b˙ ™ ˙
¢
Both parts of Duet 37 change pitch on beats 1 and 4 of each measure. If either player is
miscounting their long note (h or h.) it should be easy to tell right away. Go slow and steady.
Once you get the feel for it played bold with accents ( > ), try it lyrically or light and detatched.
Bold q = 120
° 5 >œ >œ >œ b >˙ >œ >œ >œ b >˙ >œ >œ >œ b >˙ >œ >œ >œ b >˙
&4
37 5 b>1˙ ™ 2 3 >œ4 - 5>œ b>˙ ™ >œ >œ b>˙ ™ >œ >œ > ™ >œ >œ
˙
¢& 4
1- 2- 3 4 5
° >œ >œ >œ b >˙ >œ >œ >œ b >˙ >œ >œ >œ b >˙ >œ >œ >œ >˙
&
>˙ ™ >œ >œ >˙ ™ >œ >œ >˙ ™ >œ >œ b>œ >œ >œ >˙
¢&
Melody and Accompaniment

The accompaniment, (bottom part), is a lot of fun, but challenging. The
player reading the melody, (top part), should be careful not to rush!
Try both of the melody parts, (high and low).
q = Whatever Works Best For The Bottom Part!

° 4˙ ˙ ˙ ˙ ˙ ˙ w
&4 ˙ ˙ ˙ ˙ ˙ ˙ w
38 4 œ œ œ œ œ œ œ
œ œ œ œ œ œ œ ˙
¢& 4
° ˙ ˙ w ˙ ˙ w
& ˙ ˙ w ˙ ˙ w
œ œ œ œ œ œ ˙ œ œ œ œ œ œ
¢& ˙
° ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ
¢& œ ˙
° ˙ ˙ ˙ ˙ ˙ ˙ ˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ Ó
œ œ œ œ œ œ œ bœ ˙ Ó
¢& ˙ ˙
DooDooDooDit. . .Dah!
Look at the rhythm of Duet 39 while saying, "DooDooDooDit. . . Dah!" Then play.
Groovy, With Attitude q = 108 (+/-)

° 4 -œ -œ -œ œ. Œ b>œ -œ -œ -œ œ. Œ >œ b-œ -œ -œ œ. Œ >œ œ -œ -œ -œ œ. Ó
&4
DooDooDooDit. . . Dah!
39
mf
4 -œ -œ -œ œ. Œ > -œ -œ -œ œ. >œ - - - .
¢ & 4 b œ Œ œœœœŒ œ b-œ -œ -œ œ. Ó
>
° -œ -œ -œ œ. Œ b>œ nœ -œ -œ -œ œ. Œ >œ >

b-œ -œ -œ œ. Œ œ œ -œ -œ -œ œ. Ó
&
b -œ -œ -œ œ. Œ >œ #œ -œ -œ -œ œ. Œ >œ -œ -œ -œ œ. Œ œ b-œ -œ -œ œ. Ó

¢& >
Digits and DooDits

Duet 40 uses the same rhythm and articulation, but with more movement of the
fingers (digits). Listen to be sure each note comes out sounding clean and solid.
. .
° °™4 -œ -œ -œ œ. Œ >œ -œb -œ -œ œ Œ >œ -œb -œ -œ œ Œ >œ -œ -œb-œ œ. Ó ™™ ü
& ™4
40
mf
™4 - -œ - œ. b>œ -œ -œ -œ œ. b>œ -œ -œ -œ œ. b>œ -œ -œ -œ . ™™
¢& ¢™4 b œ œ Œ Œ Œ bœ Ó †
Intense Match Up
The moving line in Duet 41 trades back-and-forth between the two parts. Do
your best to make your articulations, dynamics, and note lengths match.
There is no real end to this duet, so repeat as many times as you want and end wherever you like.
Intesely! q = 80 - 160 (+/-)
° °™3 >œ >œ >œb>œ >œ >œb>œ >œ b>œ >œ >œ >œ >œ >œ >œb >œ >œ >œ >œ >œ >œ >œ >œ >œ
& ™4
41 ff
3 > > > > > > > > > > > > > > > > > > >œb>œ >œ >œb>œ >œ
™ œ œœœ œ œœœ œ œœœ œ œœœ œ œ
¢& ¢™4
ff
° >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œb>œ >œ >œ >œ >œ b>œ >œ >œ >œ >œ >œ >œ >œ ™ ü
& ™
> >
b>œ >œ >œ >œ >œ >œ >œb œ >œ >œ >œ >œ >œ >œb>œ >œ >œ >œ >œ >œ >œ >œ >œb œ ™
¢& ™†
Consonance, Dissonance, and Dynamics

Play Duet 42 a few times loud and big. Listen to the different sounds your parts create together.
Then play it again quietly, but still with a solid tone. How do the sounds change? Try playing each
line of music with a steady crescendo or diminuendo, (getting gradually louder or softer).
Slow and Steady q = 72
° °™4 b˙ nœ œ œ b˙ nœ œ œ œ œ œ #œ œ ˙ bU
˙
& ™4
42 ff-pp
™™4 b˙ œ œ œ b˙ œ œ œ bœ œ œ œ œ b˙ U
˙
&
¢ ¢4
ff-pp
° b˙ œ œ œ b˙ œ œ œ bœ œ œ œ œ b˙ U
˙
&
b˙ œ œ œ b˙ œ œ œ œ œ œ bœ œ n˙ bU
˙
¢&
Time Signature Review

Duets 43A and 43B are another review of 3/8 and 3/4. Remember that they
count and play exactly the same way even though they look a little different.
q = 90
° 3 œ œ œ b œ œ œ œ œ œ ˙™ bœ œ œ œ œ œ œ œ œ b˙ ™
&4
43A 3 bœ œ œ œ œ œ œ œ œ b˙ ™ œ œ œ bœ œ œ bœ œ œ ˙ ™
¢& 4
e = 90
° 3 œ œ œ b œ œ œ œ œ œ œ™ bœ œ œ œ œ œ œ œ œ bœ ™
&8
43B 3 bœ œ œ œ œ œ œ œ œ bœ ™ œ œ œ bœ œ œ bœ œ œ œ ™
¢& 8
Take a Guess
Play through 44A (or 44B) and stop on the last written note. See if you can imagine the sound of the
missing notes. Play through the exercise a second time, but play a note of your choice in the last
measure. There is no wrong choice, but there is really only one predictable choice for each part.
q = 100
° 3˙ œ b˙™ ˙ œ ˙™ b˙ œ ˙™ ˙ U
œ
&4
44A 3 b˙ œ ˙™ U
& ˙ œ b˙ ™ ˙ œ b˙ ™ b˙ œ
¢ 4
° 2œ œ b˙ œ œ ˙ bœ œ ˙ œ U
œ
&4
44B 2 bœ œœ ˙ U
& œ œ œ b˙ œ œ bœ b˙ bœ œ bœ
¢ 4
Duets 45A and B are both settings of the familiar folk tune, "London Bridge". They will sound
very much alike despite their differences. The more complicated dotted rhythms (measures 1
and 6) follow the rhythm of the melody the way most people sing it, so if you don't know how to
count it, just play it how you'd sing it and you'll probably be correct! Before playing, make sure
you understand the layout; there is a repeat with 1st and 2nd endings.
English, 17th Century (1600s)
As fast (or slow) as you want.
1.
° °™2 œ ™ œ œ bœ œ bœ œ œ œ bœ œ bœ œ ü™ 2.œ œ œ bœ ™
& ™4 ™ J
45A
&
2 œ ™ bœ œ œ bœ œ œ
™™4 œ bœ œ bœ œ œ ™™ œ œ bœ œ ™
¢ ¢ † J
1.
° °™4 œ ™ œJ œ bœ œ bœ ˙ œ œ b˙ œ bœ ˙ ü™ 2.˙ ˙ œ b˙ ™
& ™4 ™
45B
& ™™4 œ ™ bœJ œ œ bœ œ ˙ œ bœ ˙ bœ œ ˙ ™™ ˙ ˙ bœ ˙ ™
¢ ¢4 †
Duets 46A and B are almost the same, but notice how the accidentals in 46B change the mood of the
music. These are similar to Duets 31A and 31B, which also compared major and minor.
° 3 œ œbœ œ bœ œ œ œ bœ œ œ œ œ œbœ œ bœ œ œ œ œbœ œ œbœ

&4 œ
46A 3 bœ œ œ œ œ œbœ œ œ œ œbœ œ œ œbœ bœ œ œ œ œ œbœ œ œ œ
¢ & 4
° œ œ œ bœ œ œ b˙ ™ ° bœ œ bœ œ bœ œ bœ œ bœ œ œ bœ
& &
œ bœ œ œ bœ œ b˙ ™ 46B œ bœ œ œ bœ œ œ œ bœ bœ
¢ & ¢ & b œ œ
° œ œ bœ bœ œ bœ œ bœ bœ œ bœ œ bœ bœ œ ™
& bœ œ œ œ bœ b˙
& bœ œ œ bœ bœ œ œ œ œ œ bœ œ œ œ bœ bœ œ œ bœ œ b˙ ™
¢
Changing Major to Minor

Play Duet 47 to hear what it sounds like. Duet 47 is written in the same key as 46A. Go back and
compare 46A to 46B. Which notes are different? Change those same notes in 47 to change it
from a major key to a minor key. If you can convert this one from major to minor, could you
convert others? Try it with Duets 1-14, as they are aslo in the same key as 46A.
° 2 œ œ bœ ˙ œ œ bœ ˙ œ œ œ b˙ œ œ œ b˙
&4
47 2œ œ b˙ œ œ b˙ bœ œ ˙ bœ œ ˙
¢& 4
° œ œ œ bœ ˙ œ œ œ bœ ˙ œ œ œ bœ ˙ ˙
&
œ œ b˙ œ œ b˙ bœ œ ˙ b˙ ˙
¢&
Duet 48 is written in the style of an especially popular type of variation used by instrumentalists around the
turn of the 20th century (late 1800s/early 1900s). This is how it works: the notes of a melody (Hot Cross
Buns, in this case), are spaced out while a busier accompaniment figure is tucked in between. In the
case of these masters, both parts of this duet would be played as a solo (by the same person) and played
very fast. The effect is that one player is playing two instruments at once. The dynamics enhance the effect.
Practice slowly and steadily until the two pieces of this musical puzzle begin to fit
together easily, then go faster - but never so fast that it falls apart. For an extra challenge,
one player can attempt to play both parts at the same time - just like the masters!
>œ b >œ b >œ
° °™4 œ Œ Ó bœ Œ Ó ü™ b >œ Œ >œ Œ b >œ Œ >œ Œ
& ™4 bœ Œ Ó ∑ ™ bœ œ bœ œ
mf
48 4 bœ œ œ œ
™
™
¢& ¢ 4 Œ Œ bœ œ œ Œ bœ œ œ bœ œ œ ™™ Œ bœ Œ œ Œ bœ Œ œ
†
b >œ >œ mp b >œ >œ >œ b >œ b >œ >
bw
° bœ Œ œ Œ bœ Œ œ Œ œ Œ Ó bœ Œ Ó
& bœ Œ Ó bw
Œ bœ Œ œ Œ bœ Œ œ Œ bœ œ œ Œ bœ œ œ Œ bœ œ œ w
¢ &
Dit DooDoDit
Just like Duet 39, say, "Dit DooDoDit" along with the rhythm. Then play.
Funky music often avoids beat 1. Count the number of times either part plays on beat one
in Duet 49. Pay close attention to the articulations, and play with attitude!
Funky! q = 100-120
° 4Œ .œ b -œ -œ œ. - -
œ. b œ œ œ. .œ b -œ -œ œ. b -œ œ.
&4 ∑ Œ ∑ Œ Œ Œ
Dit DooDoDit
- -. . -œ -œ œ. . -œ -œ œ. -œ œ.
49
&
4Œ œ. œ œ œ ∑ Œ œ ∑ Œ œ Œ Œ
¢ 4
. b -œ -œ -œ œ.
° Œ œ. -œ -œ œ. œ. b -œ -œ -œ œ œ. b -œ -œ -œ œ.
& ∑ Œ Œ Œ Œ
DoDoDoDit
Dit DoDoDoDit
.œ -œ -œ œ. -
.œ œ -œ œ œ- . -œ -œ -œ œ. . -œ -œ -œ œ.
œ
¢& Œ ∑ Œ Œ Œ Œ
-œ -œ - œ. - - . -œ b -œ - - .
° Œ b œ Œ Œ œ œ . b œ - œ œ œœœ œ. b -œ -œ -œ œ.
& Œ Œ ∑
-œ - - .
œ œ œ œ. -œ -œ -œ œ. -œ -œ - .
œ -
œ œ œ. -œ -œ -œ œ.
¢& Œ Œ Œ Œ Œ ∑
Play Duet #50 with a lot bounce and try to match articulation and note length.
THEN try it in a lyrical style. Finally, mix-and-match bouncy and lyrical sections.
q = 120 (+/-)
° 4 œ. œ. b>˙ œ. bœ. > œ. œ. b>˙ .
œ
>˙
&4 b˙ œ.
50 > œ. œ. b>˙ œ. bœ. > œ. œ.
4 œ. œ >˙
¢ & 4 b˙ b˙ .
° œ. œ. b>˙ œ. bœ. > œ. œ. >˙ >
& b˙ bw
> œ. œ. > œ. bœ. >˙ œ. >
w
¢ & b˙ b˙ œ.
12-Bar Blues
Cool q = 100 (+/-)
° 4˙ œ bœ œ b-œ bœ.
Ó Œ œ œ œ b œ -œ œ.
Ó
&4
DoDit
51 4 b˙ œ œ bœ b-œ œ. Ó Œ bœ œ bœ œ -œ bœ. Ó
&
¢ 4
DoDit
.
° bœ -œ œ. -œ -œ .
b-œ b-œ bœ œ b-œ œ Œ œ -œ b œ
& Ó Ó
bœ -œ bœ. Ó -œ b-œ . -œ œ.
¢& b-œ œ bœ œ -œ œ Œ œ Ó
-
>
° -œ -œ œ. Œ bœ œ -œ b-œ -œ -œ b˙ œ. -œ b œ w
&
Dit DoDaah
b-œ -œ œ. Œ œ œ -œ -œ b-œ œ b˙ œ. b-œ >œ w
¢& -
This marks the halfway point of the collection. Before going on it might be fun to go back to some of
the first duets in the book and see if you can play any of them a little faster, a little cleaner, or with a
wider range of dynamics - or with a different partner!
Also, take some time to re-read what's in the boxes. You may find some of the reminders to be
valuable or easier to understand now that you have more experience.
For stronger players it might be fun to turn the book into a recording project. Turn on the microphone
and play a few of your favorite duets, but play them a few different ways. Listen back to your best
takes and see if there is anything else that could use touching up. Play the different recordings for
friends, family, and teachers. What are their favorite interpretations?
These are all the same things professionals do to evaluate their own playing, exercise their own
creativity and to better understand what their audiences enjoy. It is what every player can do to make
themselves a more expressive, skilled, creative, and confident musician. And it is what every
ensemble does to make their music more alive, interesting, and fun.
Finally, now is as good a time as any to remind you to listen. Listen to everything. Listen to yourself,
your partner, and of course listen to other, more experienced players any time you can. Listen to
professional recordings, but also seek out live music in your community. Nothing is like live music!
28
Interlude: Two Tuning & Tone Duets
Tuning & Tone Duet A can be used as an exercise for air, embouchure, fingers, and ears at any
point in your practice session, although it is recommended as something to do at the start.
Go as slow as you can without running out of air, breathe deeply, and listen to one another.
Once you have the pattern memorized, try playing with eyes closed.
There are no stems on the notes of the moving line. This means you can choose your own rhythm.
In fact, avoid playing a steady rhythm. Let some notes last longer, and make it different every
time. This is a listening exercise as much as it is a playing exercise - maybe more so.
It is sometimes tough to know if you are in tune or not, so play this exercise with a teacher. They
can help you understand what you're hearing, what you're listening for, and how to adjust.
Slow, but with a Big Breath, and a Big Sound!

Brad Carman
° 4w U
w œ bœ U
&4 œ œ bw
A1 4 œ bœ U U
œ œ bw bw w
¢& 4
° w U
w œ bœ U
& œ œ w
A2
œ bœ U U
¢& œ œ w w w
U U
° bw w bœ bœ œ œ bw
&
A3 bœ bœ U
œ œ bw bw U
w
¢&
Tuning and Tone B: Perfect Pairs

Tuning & Tone Duet B groups notes by consonant harmonies. Listen to each new
measure and do your best to make the blend, balance, and intonation as good as you can
get it before moving on. It does not have to be played with a strict tempo.
As mentioned before, tone and intonation are tricky things to figure out without some
guidance, so play these with a teacher or more experienced player and listen, listen,
listen! Over time, tuning and tone will become less mysterious.
Remember: Whenever you see a new or unfamiliar note, look it up!

Big Breath, Big Sound, Not too Slow
° °™4 nw w w w w w w
& ™4 w
mf
B ™™4 nw w w w w
&
¢ ¢4 w w w
° w w w bw bw w
& bw bw
bw bw bw w
w bw w
¢& w
° #w #w w #w nw w nw ™™ ü
& #w
#w #w w nw ™™
¢& #w #w nw w †
First Duets with Key Signatures

Duets 52A, 52B, and 52C are all the same music, but presented in 3 different keys: A and B are in two
different major keys and the third is in a minor key for a change of mood. (Do you hear the difference?)
Each duet has a key signature which sits between the clef and the time signature. If there are any flats
or sharps between the clef and time signature, those accidentals carry through the entire piece even
though they are not written in - you have to remember!
If there is nothing between the clef and time signature, it means everything should be played natural,
(no sharps or flats), unless they are marked in. If you have never played music with a key signature in a
music class or lessons, you should look at these next few duets with a teacher or more experienced
player to make sure you understand how they work.
Play every B as Bb and every E as Eb

° bb 3 ˙ œ ˙ œ œ œ œ ˙™
& 4 œ œ œ œ œ œ œ œ œ ˙™
52A
bb 3 ˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ œ ˙™
¢& 4
° bb ˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ œ ˙™
&
bb˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ œ ˙™
¢ &
Play every B, E, A, and D as Bb, Eb, Ab, and Db

° bb b 3 ˙ œ ˙ œ œ œ œ ˙ ™ œ œ œ œ œ œ œ œ œ ˙™
& b4
52B bbb 3 ˙ œ ˙ œ œ œ œ ˙ ™
¢ & b 4 œ œ œ œ œ œ œ œ œ ˙™
° bb ˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ œ
&b b ˙™
& bbbb ˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ œ ˙™
¢
Notice that in Duet 52C there is a key signature to remember, but also accidentals written into
several measures; measures 5-7 and 14-15 of the bottom part. This is common, especially in minor
keys. Written-in accidentals carry through the measure, but not accross the barline. As soon as
you cross over a bar-line, go back to playing in the key signature.
Play every B as Bb and watch for written-in accidentals!

° 3 ˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ œ ˙™
& b4
52C
b 3 ˙ œ ˙ œ œ œ œ ˙™ #œ œ œ #œ œ œ #œ œ œ ˙ ™
¢& 4
° b˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ œ ˙™
&
˙ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ #œ œ œ #œ ˙ ™
¢& b
q h q vs h h
Syncopation (q h q) is easy enough once you get the feel for it, but it can still be tricky to play
it against straight rhythm (h h). Vertical lines have been set between the staves to help
visualize the beats and the alignment of the two parts. Notice that the two parts only play
together on beat 1. As always, keep a steady, sturdy beat and play your part with confidence.
Key
° b4 œ ˙ œ ˙ œ œ ˙ œ ˙
&b 4 œ Ó
53
bb4 ˙ ˙ ˙ ˙ ˙ ˙ Ó
&
¢ 4 ˙
° bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ Ó
&
bbœ ˙ œ œ ˙ œ ˙ ˙ Ó
¢ & œ œ
Whole-Tone Fingering Challenge!

Duet 54A has a unique sound because it is composed in a unique way. Most of the duets
so far have been composed using major and minor scales. All major and minor scales have
some combination of whole-steps and half-steps between notes, but this duet is composed
using the whole-tone scale, which has no half steps. How would you describe the sound?
Also notice that there are no flats or sharps in the key signature. Music written with Whole-Tone
scales are almost never written with a key signature. All necessary sharps and flats are written in.
° 3 #˙ b œ b ˙ b œ #˙ œ ˙™ œ b˙ #œ ˙ œ #œ b œ b ˙ ™
&4
54A œ #˙ ™
&
3˙ œ ˙ œ b˙ ™ œ ˙ œ b˙ œ œ œ #˙
¢ 4
° b˙™ #˙ ™ ˙™ ˙™ œ b œ œ #œ
b˙ b œ #œ œ ™
˙
&
&
œ œ œ œ œ bœ œ bœ bœ b˙ ™ œ œ œ œ #˙ œ œ œ b˙ ™
¢
Duet 54B is what the previous duet might have sounded like if it had been composed in a
major key. This has the same shape and rhythm for the most part, but a much more familiar,
predictable sound. Some might think it sounds better, but what if you were selecting music
for an animated movie about robot space invaders? Which would you choose to use?
Key
œ ˙ œ ˙ (§)
3 ° b
&
˙ œ ˙™ œ ˙ œ ˙ œ œ œ ˙™
4
54B (b) (§)
b 3 ˙ œ ˙ œ ˙ œ ˙™ œ ˙ œ ˙ œ œ œ ˙™
¢& 4
° ˙™ ˙™ ˙™ ˙™ œ œ œ œ ˙ œ œ œ ˙™
&b
œ œ œ œ œ œ œ œ œ œ œ ˙
¢& b œ œ ˙™ œ œ œ ˙™
Major to Minor. . . and Back!
Do you notice the change in sound (and mood) in measure 5, and then again in the last
measure? Does it make you want to play in a different style than the first four bars? In what
way? Pencil in your own dynamics, articulations, and other style markings for the two parts
after trying it a few different ways. What can you do to enhance the change in sound?
TOP PART PLAYER: What is your last note? Written-in accidentals cancel-out over the barline.
° b5 ˙ œ ˙ ˙ œ ˙ ˙ œ ˙
&b 4 ˙™ ˙
55 5˙
bb 4 œ ˙ ˙ œ ˙ ˙ œ ˙
¢ & ˙™ ˙
° bb b˙ œ ˙ b˙ œ ˙ b˙ œ ˙ ˙™ ˙
&
bb ˙ œ b˙ ˙ bœ ˙ ˙ œ ˙ ˙™ ˙
¢ &
Comparing Time Signatures

Duet 56A and 56B are the same duet adapted to fit two different time signatures. Each
measure begins with a sustained note and ends with two 8th notes. Play these two variations
and then try playing it in 2/4, 5/4 or 6/4. To follow the pattern, notice that the 8th notes occur
on the last beat of the measure, whether that ends up being beat 4, 3, 2, 5, or 6. You will only
have to adjust the length of the sustained note to fit each new time signature.
Remember to always take note of the key signature.
4 ˙™ œ œ ˙ ™ œ œ ˙™ œ œ ˙ ™
°
&
œ œ ˙™ œ œ ˙ ™ œ œ ˙™ œ œ ˙™ Œ
4
56A 4+ 4+
4 ˙™ œ œ ˙ ™ œ œ ˙™ œ œ ˙ ™ œ œ ˙™ œ œ ˙ ™ œ œ ˙™ œ œ ˙™ Œ
¢& 4
° 3 ˙ œœ ˙ œœ ˙ œœ ˙ œœ ˙ œœ ˙ œ œ ˙ œœ ˙ Œ
& 4
3 + 3 +
œœ ˙ œœ ˙ œ œ ˙ œœ ˙ Œ
56B 3 ˙ œ œ ˙ œœ ˙ œœ ˙
¢& 4
Comparing Skips and Steps (3rds and 2nds)

Unless a note is repeated, (or followed by a rest), there are only 3 other options: a step, a
skip, or a leap. Steps move up or down from one letter name to the next, but skips skip
over one letter. Anything that skips more than one letter is considered a leap.
Key Skips (also called 3rds)
q = 120
. . . . . .
° bb 4 œ. œ >˙ œ. œ >˙ œ. œ >˙ œ. œ. >˙ œ. œ >˙ œ. œ >˙ œ. œ. >˙ œ. œ >˙
& b4
1 2 3-4
57A b 4 . œ. >˙ œ. œ. >˙ œ. œ. >˙ œ. œ. >˙ œ. œ. >˙ œ. œ. >˙ œ. œ. >˙ œ. œ. >˙
œ
¢& b b 4
Steps (also called 2nds)
° bb 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
& b4
57B b 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ˙ œ œ ˙ œ œ ˙ œœ ˙ œœ˙
¢& b b 4
Below are the same two duets but re-written in 2/4 with 8ths notes and quarter-notes.
The counting is a little different: (1 + 2 instead of 1 2 3-4), but they produce exactly
the same music if you follow the suggested tempo markings.
q = 60
. . . . . .
° bb 2 œ. œ >œ œ. œ >œ œ. œ >œ œ. œ. >œ œ. œ >œ œ. œ >œ œ. œ. >œ œ. œ >œ
& b4
1 + 2
(57A) b 2 . œ. >œ œ. œ. >œ œ. œ. >œ œ. œ. >œ œ. œ. >œ œ. œ. >œ œ. œ. >œ œ. œ. >œ
œ
¢& b b 4
° bb 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b4
(57B) œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
b 2 œ œ
¢& b b 4
Oom-Pah-Pah and Ooo-La-La

58A-C demonstrates a common accompaniment figure in 3/4 time that is often described
as Oom-Pah-Pah when played detached like 58A, or Ooo-La-La when played more
lyrically like 58B and 58C. The rhythm of the bottom part lands on beats 2 and 3 which
are called weak beats or off-beats in 3/4 time. Beat 1 is the strong beat.
Key
Waltz Tempo q = 90
° b 3 Oom
-œ Oom
-œ -œ -œ -œ -œ -œ -œ
& 4 Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ ŒŒ
58A
& b 3 Œ œ. œ. Œ œ. œ. Œ œ. œ. Œ œ. œ. Œ œ. œ. Œ œ. œ. Œ œ. œ. œ Œ Œ
¢ 4 -
Pah Pah Pah Pah
Key
Ooo Ooo ˙™
° b3 ˙ ™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™
& 4
58B
& b 3 Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ ˙™
¢ 4
La-La La-La
Remember that it is common to have some accidentals written in, even when there is a key signature,
especially in minor. As an experiment, try with and without the written-in accidentals. How does it
change the sound? Which is better? (Answer: neither. Each is just right, only different.)
Key
° bb 3 ˙™ #˙ ™ ˙™ ˙™ ˙™ ˙™ #˙ ™ ˙™
& 4
58C b 3 Œ œ œ Œ œ œ Œ œ #œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ ˙ ™
b
¢& 4
La-La-Ooo
Duet 59 is similar to the 58s, but instead of an accompaniment role, the two parts are sharing
the musical space with two complimentary melodies that imitate one another.
Smoothly q = 90-112 La-La-Ooo

Ooo
° b3 ˙ ™ œ œ ˙™ œ œ ˙™ œ ˙™
& 4 Œ Œ Œ œ ˙™
59A 3Œ ˙ ™
& b 4 œ œ ˙™ Œ œ œ Œ œ œ ˙™ Œ œ œ ˙™
¢
La-La-Ooo
Did you remember the key signature?
Did 59A end the way you expect? Try playing 59A again, but change the last note of the top part
to see if you can find the more predictable option; the note you expected. Once you find it, play
measures 5-8 again both ways. How are they different? Does the change in note change the mood?
Can You Memorize Me?

Playing simple music from memory is a handy skill. Memorizing the top part might be
challenging for some, but notice that the bottom part of this duet just follows the chromatic scale.
Mysterioso. Lyrical, but With a Steady Beat q = 108
° b b °™4 ˙ ˙ ˙ ˙ ˙ ˙ œ œ
& b b ™4 Ó
60 1 2 3 4 1 2 3 4
bbbb ™™4 w nw bw nw
¢& ¢ 4
1.
° bb b ˙ ˙ ˙ ˙ ˙ ˙ n˙ ˙ ü™ 2. w w
& b ™
bbbb w w w w ™™ w w
¢ & †
Try this one switching parts after the first ending.
Try this with any duet that has repeats.
Never-Ending Descending Scales
Learn these by playing them slow and steady, taking quick breaths when you
need them, (although some players may be able to play all the way through in
just one breath). Eventually, try going around twice or three times.
61A As Fast As You Can Go (Under Control) q = 200 (+/-)

° b °™4 œ œ œ œ œ œ œ œœœ œ œ œ œ œ œœ œ œ œ œ œœœ œ ™ü w
œ
& b ™4 œ œ ™
bb ™4 œ œ œ œœœ œ
œ œ œ œ œ œ œœ œ œ œ œ œœ œ ™ w
¢& ¢™4 œ œ œœ œ œ ™†
61B
° b °™4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ ü w
& ™4 œ ™
1
œ œœœ œ
™4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ w
¢& b ¢™4 †
61C
° bb °™4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ ü w
& b ™4 ™
b 4 œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ w
™ œœœ œ œ œœ œ œ œ ™™
¢& b b ¢™4 †
61D
° °™4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ ü w
& ™4 ™
1
4 œ œ
œ œ œœ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œœ w
™ œ œ ™™
¢& ¢™4 †
Trading Off: More Preparation for Off- and Up-Beats

If these are too tricky to play at first, clap each part separately then clap together. Once
the rhythm and feel of each duet comes into focus, pick up your instrument and play.
1. 2.
° b °™4 ˙ ˙ œ œ œ œ ü™ œ œ ˙
& b ™4 Ó Ó Œ Œ Œ Œ ™
62A b ™4 Ó ˙ ˙ œ œ œ œ ™ œ œ ˙
¢ & b ¢™4 Ó Œ Œ Œ Œ ™†
1. 2.œ œ œ
° bb °™2 œ Œ
œ
Œ
œ
J ‰ œJ ‰
œ œ
J ‰ J ‰ ™™ ü
& ™4
62B 1 + 2 + 1 + 2 +
bb ™™2 Œ œ Œ œ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ™™ † œ œ œ
¢ & ¢4
In Duet 62B and 63A the counting is written into the 8th note measures to help visualize the
alternating parts. This may require a demonstration from a teacher or more experienced player.
° b4 œ œ œ œ œ œ œ #œ
J ‰ J ‰ J ‰ J ‰ œ Œ ˙
&b 4 Œ Œ Œ Œ
63A 1 + 2 + 3 + 4 +
bb4 Œ œ Œ œ Œ œ Œ œ ‰ œJ ‰ œJ ‰ œJ ‰ œJ Œ œ ˙
¢& 4
Here's another way the same music could have been written. Try 63B at a quick tempo.
° bb 4 ˙ Ó ˙ ˙ ˙ œ œ œ #œ ˙ w
& 4 Ó Ó Ó Œ Œ Œ Œ Ó
63B b4 Ó ˙
&
¢ 4b Ó ˙ Ó ˙ Ó ˙ Œ œŒ œ Œ œ Œ œ Ó ˙ w
Music that alternates or trades off from player to player is very common. Duets 13, 26, 32, 37, and several
others all contain some sort of alternation. The duets above are testing your ability to alternate quickly.
Counting Change-Up Challenge!
Sometimes music written in 4/4 feels better when counted in 2. (So, instead of 4 quick beats in each
measure, there are only 2 that move half as fast giving fast music a more relaxed feel.) These two beats
would then line up with the 1st and 3rd quarter-notes in each measure. This is usually called Cut-Time,
although the technical term is alla breve.
Look at the metronome markings provided and try it each way. If you do it right, a listener would not be
able to tell the difference. Ask a teacher or more experienced reader to help you sort this out if it seems
confusing, or just double-check to make sure you have it right.
If it is too tricky to do with 64A, you can go back and try this trick with ANY other 4/4 duet from the book.
q = 120 OR h = 60
° bb 4 Œ œ. œ. Œ Œ œ. œ. Œ .
Œ œ
.
œ Œ Œ
. .
œ œ Œ
& 4
64A b 4 . . œ. Œ Œ œ. œ. Œ Œ œ.
œ œ. œ. œ Œ
¢& b 4 œ Œ Œ .
° bb œ. Œ Œ œ. œ. Œ Œ œ. œ. Œ œ. œ. ˙ Ó
&
.
bbŒ .œ œ. Œ Œ .œ œ Œ Œ œ. œ. œ. ˙ Ó
¢ &
You can do the reverse, too. Think about how you've counted 3/8 throughout the book; each 8th
note gets a beat. In 2/4 you can try to feel 4 quick beats instead of 2 slower beats. Try it below.
q = 60 OR e = 120
° bb 2 ‰ œ œJ ‰ ‰ œJ œ ‰
œ
‰ œJ J ‰
œ
‰ J œJ ‰
& b4 J J
64B
bb 2 œ. ‰ ‰ œ. œ. ‰ ‰ œ. œ. ‰ ‰ œ. œ. œ œ ‰
¢& b 4 J J J J J J J
° bb œ. œ. œ. œ. œ. œ œ -œ -œ
& bJ ‰ ‰ J J ‰ ‰ J J ‰
bb ‰ œ œ œ -œ -œ
& b œ J ‰ ‰ œ J ‰ ‰ œ œ
¢ J J J
Another Major/Minor Mash-Up

Watch carfully as the accidentals come and go. Also remember to check the key signature
and pay special attention to the stylistic directions, (articulations, dynamics, rit., etc.).
Steady q = 90
° b 4 >œ >œ >œ >œ >œ >œ >˙ œ b œ œ bœ -˙ -˙

& 4
65 mf mp
4 >˙ > >œ >˙ ˙
b ˙ œ ˙ b˙- ˙-
¢& 4 >
rit. = slow down
° b œ. œ. >œ œ. œ. >œ >œ >œ >˙ œ b œ œ œ bœ œ œ -œ -œ -˙
œ
&
mf mp rit.
>˙ > . >
b ˙ .œ œ. œ œ. ˙ ˙ ˙ bœ œ œ œ n˙
¢&
Tiny March with Intro and Stinger!

Duet 66 is a tiny little march. Play it with a lot of bounce and eventually at a quick tempo. Be
careful not to straighten-out the dotted rhythms in measures 3 and 9, (q. e). The first 4 bars are an
introduction, (notice the dynamics in measures 1 and 5), and the last note is usually called a stinger.
March Style q = 120 or h = 60 (+/-)

. >œ™ œ œ. . . .
° b 4 œ. >˙ œ. œ. >˙ œ J œ œŒ Ó œ. >˙ œ œ. œ. œ. Œ
& 4
f mf
66 4 >˙ œ. œ. >˙ œ. >œ™ œ œ. . . œ. .
œ
b œ. J œ œ. Œ Ó œ. ˙ œ. œŒ
¢& 4 >
° b œ. >˙ œ. œ. œ. œ. œ ™ œ œ œ œ œ #˙ œ. œ. œ. œ. œ. >œ
& Œ J Œ Œ
f
. >˙ œ. œ
¢& b œ œ. œ. œ. Œ œ ™ œJ œ œ œ œ œ nœ. Œ bœ. Œ œ Œ œ Œ
. >
Rhythm Reading & Key Signature Challenge

There are a lot of little challenges in these duets (67A-E). One especially tricky thing to
watch out for is the tie over the barline between the 6th and 7th measure. If this is too
tricky at first, ignore the tie and play the downbeat of measure 7 to help you feel the rhythm.
° b2 œ œ œ ˙ œœœœ œ œ œ œœœœ ˙
b
& 4 œ ˙ œ œ œ
67A b 2 œ œ œ œ œ œ œ œ œœœ œ œœ ˙
œ œ œ œ œ Œ œ œœœ œ
¢& b 4 Œ œ œ
° bb 2 œ œ œ œ ˙ œœœœ ˙ œ œœœœ ˙
& b4 œœœœ œ
67B œ œ œ œ œœ œ ˙
& bbb 2 Œ œ œ œ œ œ œ œ Œ œ œ ˙
¢ 4
67C and D should sound different; they are written in minor keys.
° b2 œ œ œ œ ˙ œœœœ ˙ œ œœœœ ˙
& 4 #œ œ œ œ œ
67C 2 œ œ#œ œ œœ œ ˙
œ #œ œ œ œ #œ œ Œ #œ
¢& 4 Œ
b œ ˙
° bb 2 œœœœ ˙
& 4 œœœœ ˙ #œ œ œ œ œ
œ œœœœ ˙
67D b2 Œ œ #œ œ œ œ #œ œ #œ œ œ#œ œ œ
& b œ #œ œ œ œ #œ œ Œ #œ œ œ#œ œ œ ˙
¢ 4
Bonus Rhythm Challenge: Compare to 67A-D

67E is pretty much the same music as 67A-D, but rewritten in 3/4 with new rhythms. Both players should
peek at the other player's part before playing. Look for places where they line up and where they don't.
Once you get to know this one a little, add stylistic markings.
° bb 3 Ó œ ˙ ˙
& 4 œ œ œ ˙
67E b3 œ ™ ˙™ œ™ œ œ œ
& b œ œ œ J ˙™
¢ 4 J
° bb Ó œ œ ˙ œ œ œ œ ˙™
& œ
bb œ™ œ œ œ ˙ œ œ™ œ œ œ ˙™
¢ & J J
Counting and Articulation Challenge: 68, 69A and 69B

Count each beat carefully and punch each note with a strong, short pulse of air except for
measure 6 where beats 3 and 4 should be played full-value. Try using the syllable, Daht!
for ^ and, Dooo for beats 3 and 4 of measure 6. Play using lower and higher notes. It is
generally a lot easier to play punchy in the upper register of most instruments, but practice both.
° b 4 œ^ Œ œ^ œ^ œ^ œ^ œ^ œ^
& 4œ Œ œ œ Œ Œ œ œ Œ Œ œ Œ œ Ó
68 Daht! Daht! Daht!
4 œ^ Œ œ^ œ^ Œ œ^ œ^ Œ œ^ œ^ Ó
&
¢ 4b œ Œ œ œ Œ œ œ Œ œ Œ œ
œ^ >-œ b >-œ œ^
° b œ^ Œ Œ œ
œ^ n œ^ œ^
& œ œ Œ œ bœ nœ Œ Œ œ Ó Œ œ
Dooo-Dooo Daht!
^
œ œ^ œ^ Œ b>-œ œ nœ^ Œ œ^ œ^
¢& b œ Œ Œ œ œ bœ œ nœ Œ œ Ó Œ œ
>-
Doooooo Doo Do-Dit. . . Do-Do-Dit

In classical music short notes are NOT stopped with the tongue in most cases, but in jazz,
rock, funk, blues, and most Latin styles, the tongue IS often used to stop notes. Try this in
68, 69A, 69B, and any other tune that seems jazzy or funky. ( ^ = Daht! . = dit )
Play 69A and 69B with a lot of attitude!

° b 4 >˙ -œ -œ œ. >˙ -œ -œ œ. -œ -œ œ.
& 4 ∑ Ó
Doooo Doo Do-Dit Do-Do-Dit
69A 4 >˙ -œ b-œ œ. >˙ b-œ -œ œ. Ó b-œ -œ œ.
&
¢ 4b ∑
. -œ œ. -œ œ. -œ -œ -œ -œ -œ œ.
° b Œ œ -œ œ. Œ Œ Œ ∑
&
ff
. -œ bœ.
œ b -
œ .
œ -
œ .
œ -œ -œ b-œ -œ -œ œ.
¢& b Œ Œ Œ Œ ∑
Dit Dooo Do-Dit Do-Do-Do-Do-Dit (Etc.)

° b4 >˙ -œ -œ œ. -œ -œ œ. œ. -œ -œ œ. -œ -œ -œ -œ œ.
& 4 Ó Œ Œ
f Dit DooDo-Dit Do-Do-Do-Do-Dit
69B 4 >˙ -œ b-œ œ. -œ b-œ œ. . b-œ -œ œ.
œ -œ -œ b-œ -œ œ.
b Ó Œ Œ
¢& 4
f
œ. -œ œ. -œ œ. -œ œ. -œ -œ -œ -œ -œ œ.
°
&b Œ Œ Œ Œ ∑
ff
. -œ bœ.
œ b -
œ .
œ -
œ .
œ b -œ -œ -œ -œ -œ œ.
¢& b Œ Œ Œ Œ ∑
More Counterpoint: Independent Rhythms and Contrary Motion

Duet 70 lends itself to a smooth, flowing style, but other creative interpretations are possible.
Even if, in the end, you prefer a lyrical approach, there is much to be gained by experimenting.
Careful counting is very important for Duet 70.

q = 90
° bb 3 ˙ œ œ œ œ ˙ œ œ #˙
& 4
70
bb3 Œ œ œ ˙ œ œ ˙ ˙™
&
¢ 4
° bb œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙
&
bbŒ œ œ œ œ œ ˙ œ œ ˙
¢&
Is 70 in a major key or minor key? Why do you think so?
Could it be both? If so, where do you think it switches?
Another Memory Challenge

The top part of Duet 71 relies pretty heavily on the chromatic scale. Can you memorize it
and play it with your eyes closed? Playing simple music from memory is a handy skill.
1.
° bb °™4 ˙ #˙ n˙ n˙ b˙ n˙ w ü™ 2.˙ œ œ ˙™ Œ
& ™4 ™
mp
71
b ™™4 œ œ œ œ œ œ œ
¢ & b ¢4 œ œ œ œ œ œ œ œ œ ™™ † œ œ œ œ ˙ ™ Œ
mp
Stopping and Starting. . . and Stopping and Starting. . .

At each fermata, (measures 4, 8, 12, and 16), hold each note a little longer than two beats, as if
time is standing still for a moment. Using body language, (usually by nodding as you play), the
player of the top part should conduct the end of the note and the beginning of the next section.
Breathe together. A demonstration from a teacher or more experienced player may be needed
to figure out how to make a duet like this one work without counting off each new section.
Listen for the dissonance/consonance throughout; don't rush through it.
As slow as you can stand it. q = 72 or less.

˙ U
° b2 ˙
& 4
˙ ˙ ˙ ˙ ˙ #U
˙
72 2 œ U U
œ œ #œ œ œ œ Œ œ œ #œ œ œ
¢& 4 Œ
b ˙
˙ ˙ U
˙ ˙ ˙ U
° b˙ œ œ ˙
&
œ œ U
˙ œ œ œ U
œ œ œ œ #œ ˙
¢& b Œ Œ
3/8 Review
° b3 œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ™
J
&8 J J
73 3 œ œ œ œ œ œ œ œ œ œ™
b œ œ œ œ œ œ œ™
¢& 8 J J J
° bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ™
& J J J J
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
¢ & J J J J œ™ œ™
Careful Counting with Whole-Tone Compositions

Count carefully. Although both parts have the rhythm q. e, they do not happen at the same time.
It may be worth counting and clapping both parts separately, then together before playing.
1-2 + 3 4 (1 - 2) 3 - 4 +
° 4 œ™ œ œ #œ #˙ ™ #œ ™ œ ˙™
&4 J Œ Ó J Œ
74 #œ ™
&
4Ó œ™ œ ˙™ Œ œ œ œ
J b˙ ™ Œ
¢ 4 J
(1 - 2) 3 - 4 + 1 - 2 + 3 4
° œ™ œ œ #œ #œ œ #œ ˙ #œ ™ œ ˙™
& J Ó J Œ
œ™ œ œ œ œ ˙ #œ ™ œ œ œ b˙ ™
¢& Ó J J Œ
Duet 75 looks tricky, and it is. However, if you count carefully and play confidently you can do it!
With Other-Worldly Eeriness q = 90 (+/-)
° 5b˙™ #˙ ˙™
b˙ b˙™ #˙ ˙™ ˙
&4
mp
75
5Œ œ. œ. Œ bœ. Œ œ. œ. Œ #œ. . . . .
Œ œ œ Œ œ. Œ œ œ Œ bœ.
&
¢ 4
° ˙™ b . œ.
œ œ. œ. -œ -œ -œ #˙ ™
& Œ˙ Œ Œ Œ œ. œ. Œ Œ #œ. œ. bœ- b-œ Ó
f pp
.œ œ. . b ˙ œ ˙ b -œ #-œ -œ -œ -œ ™
¢& Œ Œ bœ n˙ œ #˙ b˙ Ó
Weird Wiggle-Worm Work-Out

Play Duet 76A and B slow and steady to learn them, then see how fast you can go!
Remember to play every B as B§ in 76A.
° 3 œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ b>œ œ œ œ œ œ œ >œ >œ b>œ #>˙ ™

&4
mf
76A œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ >œ >œ b>œ œ œ œ œ œ œ b>˙ ™
3
¢& 4
° bœ œ œ œ œ œ bœ œ œ
& bœ œ œ bœ #œ œ bœbœ œ œ œ#œ bœ #œ œ
> > > > > > >˙™
76B mf
œ œ
¢& #œbœ œ œ œ œ œ#œ œ œ œ œ bœbœ œ œ#œ b>œ #>œ >œ bœbœ œ œ#œ >˙ ™
Keep it steady, like the ticking of a clock. Look ahead to measures 13 and 14. Try to work out the
rhythm and fingerings in your head before sight-reading it. See if you can get it on the first try!
Humorously q = 100+
° 2 œ. Œ œ. Œ œ. Œ ∑
œ.
Œ œ. Œ œ. Œ
&4 #˙
>
77
2Œ œ. Œ
.
œ Œ #œ. ∑ Œ
.
œ Œ
.
œ Œ #œ. Ó
¢ & 4
° œ. Œ œ. Œ œ. œ. Œ ∑
œ. œ. œ. œ. #œ. œ. >˙
&
œ. œ. Œ œ. . . >˙
#œ. œ. œ œ #œ n
¢& Œ Œ ∑ Œ #œ. .
Large Leaps
Most music is written with steps and skips and the occasional leap. Leaps can be challenging for wind
instruments, but with practice, patience, and persistence they can begin to feel easy and natural.
° b4 œ œ œ œ œ™ œ ˙ œ œ œ œ -œ -œ n-œ -œ
&b 4 J
mf
78A b4 ˙ œ™ -œ -œ #-œ -œ
b ˙ œ ˙ ˙ ˙
¢& 4 J
mf
° bb œ œ™ œ œ œ
˙ œ œ œ™
& œ J œ ˙™ Œ
J
b œ œ ˙ œ j
¢ &b œ œ œ™ J œ œ œ™ œ ˙™ Œ
° bb b œ œ œ œ œ™ œ ˙ œ œ œ œ -˙ -˙
& b J
mf
78B
bbbb ˙ ˙ œ™ œ ˙ ˙ ˙- -˙
¢ & J ˙
mf
° bb b œ œ™ œ œ ˙ œ œ œ™
& b œ J œ œ ˙™ Œ
J
bbb œ œ œ j
¢ & b œ œ™ J œ ˙ œ œ œ™ œ ˙™ Œ
Canon at the h
Duet 79 can be read 2 ways: 1) As is: each player plays from one line of music. 2) Both players
read the top part as a canon at two beats. This means the 1st player begins alone and the 2nd
player begins when the 1st reaches beat 3 (under the *). The 2nd player will end at the first
fermata as the first player reaches their last note. Either way you play it, it will sound the same.
2. 1.
° b 4 œ œ ˙* œœ˙ œœ˙ œœ˙ œœ˙ œœ˙ œ œU
œœ œ œ U
& 4 ˙
79 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œœ ˙ œ œ U
4 œ ˙ œ œ œ˙
¢& 4 Ó
b
5/4 Time Review

Play slow and steady to learn Duet 80, but also try it fast. Be sure to put some emphasis on beats 1 and 4
(marked with accent: > ) for a 3 + 2 feel. For comparison, try accenting beats 1 and 3 for a 2 + 3 feel.
You might notice that Duet 80 sounds a lot like minor, but not exactly. This duet is written in the
Dorian Mode. A mode is a scale or collection of notes just like major and minor, but each with its own
unique sound. Dorian is one of the most common modes; from ancient folk music to modern jazz.
>
° 5 >œ œ œ >œ œ >œ œ œ œ œ >œ œ œ >œ œ >˙ œ >œ œ
&4
80 >
5 >œ œ >˙ >œ œ œ œ >œ œ >œ œ >˙ œ >œ œ
¢& 4 œ œ œ
> > >œ œ œ >œ

° >œ œ œ œ œ >œ œ œ œ œ œ >˙ ™ ˙
&
>œ >˙ >œ > >œ œ œ >
œ œ œ œ ˙ >˙ ™ ˙
¢& œ œ
Duet 81 should be played in a lyrical style (as marked), but feel free to also try it in a detached
or accented style for comparison. Once you've played it a few times, pencil in some dynamics
to make it more interesting. The term simile means, "continue playing in the same style".
° 3 œ œ œ œ œ œ œ œ #œ ˙ ™ œ œ œ œ œ œ ˙ #œ ˙™
& b4
mf
81 3 œ ˙
& b 4 ˙ #œ
˙ œ œ œ œ ˙™ ˙ œ œ œ bœ n˙ ™
¢
mf
° œ œ œ œ ˙ œœœ œ œ ˙ œ œ œœ œ œ œ œ œ œ ˙™
&b
simile mp mf
˙ œ ˙™ œ œ œ˙ œœœœœ œ #œ œ œ œ œ œ ˙™
¢& b œ
mp mf
Pay special attention to the articulations in Duet 82. Once learned slow, play faster.
This one looks harder than it really is, and it's funny slow or fast, so try both!
Humorously q = 72-180
° 4 œ. œ. #>-œ œ. œ. œ. œ. #>-œ œ. œ. œ. œ. >- .
œ. œ
&4 Œ œ
# Ó
mf
82 4 .œ #>-œ œ. . . >- . . . >-
œ. œ. Ó
& 4 œ. œ. œ œ #œ œ œ. œ œ Œ #œ
¢
mf
° œ. œ. b >-œ œ. œ. œ. œ. b >-œ œ. œ. œ. œ. >

b -œ œ. œ.
& Œ Œ Œ
> > >
.œ œ. -œ œ. .œ œ. œ. -œ œ. .œ œ. œ. Œ -œ œ. Œ œ. Œ
¢&
>œ >œ >œ >œ
° œ #œ œ œ >œ œ #œ œ œ >œ œ #œ œ b œ >œ
& Œ Œ Œ
>œ œ #œ œ œ >œ >œ œ #œ œ œ >œ >œ > >
¢& Œ œ #œ œ œ œ Œ Œ œ
Also try an accelerando; gradually getting faster throughout.
Volley
Play Duet 83 and make everything match. Good balance, good tone, good tuning, consistent style.
As with ALL duets in this collection, you are encouraged to experiment and vary the
articulations, dynamics, tempo, or any other element - even the notes and rhythms!
q = 140
> œ. œ. >œ œ ˙ #˙
° # 4 œ. œ. œ œ ˙ #˙ œ. œ. œ œ œ œ ˙
& 4
mp mf
83 œ. œ. >œ œ ˙ #˙ œ. œ. >œ œ ˙
# 4 ˙ #˙ œ œ œ œ #˙
¢ & 4
mp mf
° #˙ œ œ œ œ ˙ ˙ #˙ œ. œ. >œ œ ˙ #˙ ˙™
& Œ
# œ œ #˙ œ #œ ˙ œ. œ. >œ œ ˙ #˙ œ. œ. >œ œ ˙™
¢& Œ
Scale Studies
Play all tongued, all slurred, or with a mix-and-match approach, (as in, slur 2, tonuge 2)
Duets 84A and 84B are the same if you play B at half the tempo of A. (A q = 120 / B q = 60)
q = 120
° bb 4 œ œ œ œ œ œ œ œ ˙ œ œ w œœœœ œœœœ œœœœ w
& 4
84A b4 œ œ œ œ œ œ œ œ ˙ œ œ w
b œœœœ œœœœ œœœœ w
¢& 4
° bœœœœ œœœœ œœœœ w ˙ œœ œœ

œœ ˙ œœ w
&b
b œ œ œ œ œ œ œ œ œœ w ˙ œœ œ
œœœ ˙ œœ w
¢& b œ œ
q = 60 (+/-)
° b4 œ œ œ œ œ œ œ œ œ œ ˙ œœœœœœœœ œœœœ˙
&b 4 œ
84B œ œ œ œœ˙
b 4 œ œ œ œœœœœœœœ œœœœ˙
¢& b 4 œ œ œ
˙
° bb œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
œœœ œ œœ˙
&
bbœœœœœœœœ œœœœ˙ œ œœœœ

œœ œ œœ˙
¢&
Harmonized Melodic Minor Scale Study

Music written in minor keys often has a lot of written-in accidentals. Do your best to keep the key
signature in mind as the accidentals come and go in these next two duets.
We call a minor scale "melodic" minor if the 6th and 7th notes are raised a half-step when going up.
q = 120 6 7
° bb 3
œ ˙ œ œ nœ #œ ˙™ œ nœ bœ ˙ œ ˙ œ ˙™
& 4˙
85A ˙ #7œ ˙ œ ˙ œ ˙™ œ œ œ #7œ œ œ ˙ #7œ ˙ ™
b 3
¢& b 4 ˙ #œ ˙ œ ˙ œ ˙™ œ œ œ #œ œ œ ˙ #œ ˙ ™
6 7
° bb b 3 œ nœ nœ ˙ ™ œ bœ bœ ˙
& b4˙ œ ˙ œ œ ˙ œ ˙™
85B 7
œ ˙ œ ˙™ œ œ œ n7œ œ œ ˙ n7œ ˙ ™
b b 3 ˙ nœ ˙
¢& b b 4 ˙ nœ ˙ œ ˙ œ ˙™ œ œ œ nœ œ œ ˙ nœ ˙™
Steps & Skips in Sequence
Like a lot of music, Duet 86 is composed intirely of steps and skips.
Notice the pattern that repeats over and over, shared by both parts. A repeated
pattern of this type is called a sequence, and is common in all kinds of music.
° bb 4 ˙™ œ ˙ ˙ w œ œ œ œ ˙™ œ
& b4
86 bb 4 w œ œ œ œ œ ˙ w
& b 4 ˙™ ˙
¢
° bb ˙ ˙ w œ œ œ œ œ ˙
˙™ ˙
& b
bbb œ œ œ œ ˙™ œ ˙ ˙ w œ œ œ œ
¢&
° bb w œ œ œ œ œ ˙
& b ˙™ ˙ w
bbb ˙™ œ ˙ ˙ w œ œ œ œ
¢& w
5/4 Articulation Challenge

Try playing Duet 87 as marked, and then try doing the opposite of everything marked.
. .
° 5 œ. œ œ œ œ œ. œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ
& b4
87 b 5 fœ. œ. œ œ .
œ œ. œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ
¢& 4
f
. . œ. œ. œ œ œ.
° b œ. œ œ œ œ œ. œ œ œ œ ˙ ˙™
&
. œ. œ œ œ
œ .
œ. œ œ œ œ œ. œ. œ œ œ. ˙ ˙™
¢& b
Compare this to Duet 80. What are a few similarities and a few differences?
Some Music by Mozart, (1756-1791)

With Movement q = 120 (or faster, but never choppy)
° bb 3 œ œ œ ˙ œ œ œ œ ˙ œ ˙ œ
& b4
88 bb 3 œ œ œ ˙ œ ˙ œ
b œ œ œ ˙ œ
¢& 4
° bb ˙ œ ˙ œ ˙ œ œ œ œ ˙ œ
& b
bb ˙ œ ˙ œ ˙ œ œ œ œ ˙ œ
¢& b
° bb œ œ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙™
& b
bbb œ œ œ ˙ œ ˙ œ ˙ œ œ œ œ
¢ & ˙™
Arpeggio Study
Duet 89 gives each player a chance to play ascending or descending arpeggios. An arpeggio is
just a chord played one note at a time; in this case they are triads in a Major key.
° bb b 4 œ œ œ œ ˙ œ ˙ œ ˙ ˙ ˙ œ œ œ œ ˙ œ ˙ œ ˙™ Œ
& b4˙
89 b b4 ˙ ˙ œœ œ œ˙ œ˙
b œ œ ˙ œ ˙ œ ˙
¢& b 4 ˙ œ œ œ ˙™ Œ
Single Measure Repeat

The symbol in measures 2, 3, and 6 means to repeat the previous measure. Play measure 1
THREE times and measure 5 TWICE. Don't forget there is a repeat with 1st and 2nd endings.
° bb °™3 œ. œ. œ. œ. œ. -œ œ. œ. œ.
& ™4 ‘ ‘
mf
90A b ™™3 œ. œ. œ. œ. œ. -œ œ. œ. œ.
b
¢& ¢ 4 ‘ ‘
mf
1. 2.
° bb -œ œ œ œ œ œœœ œ ˙™ ™™ ü œ œ œ œ œ œ ˙ ™
& ‘
p
bbœ œœœœ œœœ œ ˙™ ™™ œ œ œ œ œ œ ˙ ™

¢ & - ‘ †
p
Below is the same duet again, but this time in a minor key.
Give each one a title based on how each version sounds to you.
90A (Major Key):_______________________________________
90B (Minor Key):_______________________________________
° b °™3 œ. œ. œ. œ. œ. -œ œ. œ. œ.
& ™4 ‘ ‘
p
90B 3 .
œ œ. œ. œ. œ. -œ œ. œ. œ.
b ™
¢& ¢™4 ‘ ‘
p
1.
° b >-œ œ œ œ œ œœœ œ œœ˙ ü™ 2.œ œ œ œ œ œ ˙ ™
& ‘ ™
mf
#>-œ œ œ œ œ #œ œ œ œ œ#œ ˙ ™™ #œ œ œ œ œ œ ˙ ™
¢ &b ‘ †
mf
Syncopation: q h q = eq e
Syncopated 8th notes can be confusing to read. Below is the same duet written both in 4/4
with syncopated quarter and half notes, (q h q), and in 2/4 with syncopated 8ths and quarters,
(e q e). Play 91A several times until you can play it quickly then put your eyes on 91B and
make it sound the same. Check in with a teacher for help or to make sure you have it right.
° 4 œ. >˙ œ. ˙ Ó œ. >˙ œ. ˙ Ó œ˙ œ ˙
Ó œ˙ œ ˙ Ó
&4
91A simile
4 . >˙
œ œ. ˙ Ó œ. >˙ œ. ˙ Ó œ˙ œ ˙ Ó œ˙ œ ˙ Ó
¢& 4
° œ˙ œ ˙ œ˙ œ
˙ œœœœ œœœœ œ˙ œ ˙
& Ó Ó Ó
& œ˙ œ ˙ Ó œ˙ œ ˙ Ó œœœœ œœœœ œ˙ œ ˙ Ó

¢
The counting is written in for 91B, but after you get the feel of syncopation, sometimes it is
easier to feel your way through the rhythm rather than counting it. It all depends on the context
and the player. Do whatever is easiest for you, as long as you get the correct result!
° 2œœ œ œ Œ œ œ œJ œ Œ œœ œ œ
J J Œ œœ œ œ Œ
&4 J J J J J
91B 1 + + 1 2 1 + + 1 2
&
2œœ œ œ Œ œ œ œJ œ Œ œœ œ œ Œ
J J œœ œ œ Œ
¢ 4J J J J J
° œœ œ œ Œ œ œ œJ œ Œ œœœœ œœœœ œœ œ œ
& J J J J J Œ
œœ œ œ Œ œœ œ œ Œ œœœœ œœœœ œœ œ œ Œ
&
¢ J J J J J J
Resting Challenge!
As with any duet, give Duets 92 and 93 personality! Go beyond the notes and rhythms.
Also, pencil in vertical lines between the staves to help you see how the parts line up with
one another if you think it will help. Dashed vertical lines between the staves have been used
frequently throughout the book. (Look back to Duets 53, 54, 58, 59, 62, 72, and 74.)
q = 72 or As Fast As You Can Go

° 4 œ. Œ Ó .
œ œ. . .
œ œ Œ œ. Œ œ. Œ
&4 Œ Œ Œ
mf
92 4 œ. œ. Œ œ.
¢& 4 Ó Œ Ó Ó Œ Œ œ Ó
.
mf
° Ó œ. œ. . . œ. œ. œ. œ. œ. œ. œ. œ.
& Œ Œ œ œ Œ Œ Œ Œ
œ. Œ Ó Ó œ. œ. Œ Ó œ. œ. Œ Œ œ œ œ. Œ
¢ & . .
Hocket-Doodle-Do!
When notes of a melody are broken up between two players it is called a hocket. Although neither part
sounds like the melody on its own, when both are played together you'll probably recognize this tune from
America's Revolutionary War days, (music that over-lapped with Mozart's life; see 88).
° bb 4
q = 72 or As Fast As You Can Go
œ. Œ œ. Œ œ. Œ œ. Œ .
œ œ. œ.
& b4 Œ Œ Œ œ. Œ
93 b 4 .
œ œ. œ. œ. Œ œ. Œ œ. Œ œ. Œ
¢& b b 4 Œ Œ Œ Œ œ.
œ. œ. >œ >œ
° bb Œ œ. œ. Œ Œ Œ Œ œ. Œ œ. Œ Œ
& b
bb œ. Œ œ. œ. œ. œ. Œ œ. >œ >œ Œ
b Œ Œ Œ œ. Œ
¢&
Triad Training
Duet 94 serves two main purposes. One is tone production and tuning, and the other is for
learning the sound of a major triad. Play and sing as indicated. If you're bashful about singing,
you're not alone, but don't let it hold you back! Try humming or whistling at first, but with the
goal to eventually sing loudly without being shy about it. Try going back and singing other duets
from this collection, too. All good instrumentalists sing their music from time to time.
Very slow
PLAY SING PLAY
° 4˙ ˙ w ˙ ˙ U
w ˙ ˙ bw
&4
94 PLAY SING PLAY
4Ó ˙ ˙ ˙ ˙ ˙ ˙ U
˙ ˙ ˙ b˙
&
¢ 4 Ó
SING PLAY SING

° ˙ ˙ U b˙ b˙ U
& bw ˙ bw ˙ bw
SING PLAY SING
˙ U b˙ b˙ U
˙ ˙ ˙
¢& ˙ b˙ Ó b˙ ˙ b˙
Time Signature Twister
Duet number 95 looks harder than it is. Keep it steady and you'll have no problem. Even though
the time signature changes frequently, the beat stays the same; one beat per quarter note.
Sneaky q = 120-160 -œ œ.
. . .œ œ. œ. œ. œ. œ.
° b °™3 œ.
& ™4
œ. œ œ. œ. œ 2 3-œ œ. 2 3 œ. œ. œ.
4 4 4 4
95 b ™3 œ. . .
œ. œ œ. œ. œ 2 -œ #œ. 3 œ. œ. œ. .
œ. œ. œ 2 -œ œ. 3 œ. œ. œ.
¢& ¢™4 4 4 4 4
. œ œ œ. œ. œ. .
° b œ. œ. œ
&
2 -œ œ. 4 #œ œ œ œ ™™ ü œ œ œ œ Œ Ó
4 4
. œ. œ.
œ 2 -œ #œ. 4œ œ #œ œ ™™ œ œ #œ œ œ œ. œ. #œ. œ. Œ Ó
¢& b 4 4 †
Experiment with dynamics.
Comparing Time Signatures: 3/4, 3/8, 6/8, 12/8

Duets 96A, B, C, and D show four ways this music can be written. 3/4 and 3/8 have been
compared numerous times, but this is the first duet written in 6/8 or 12/8. There is virtually NO
difference between 3/8, 6/8, and 12/8 other than the fact that there are more or fewer barlines.
Instead of 1 2 3, 1 2 3, you'll count 1 2 3 4 5 6, (or 1-12) but with a bit of emphasis every 3rd beat.
° b 3 œ œ œ ˙ œ œ œ œ ˙™ œ œ œ œ œ
&b 4 œ ˙ œ ˙™
96A b 3 œ œ œ ˙ œ œ œ œ ˙™ œ œ œ œ
&
¢ 4b œ œ ˙ œ ˙™
° bb3 œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ
& 8 J œ œ œ œ™
J
96B b3 œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ j
&
¢ 8b
J œ œ œ œ™
° b6 œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ
&b 8 œ œ œ œ™
J J
96C 1 2 3 4 5 6 1 2 3 4 56 etc.
b6 œ œ œ œ œ œ œ œ œ™ œ œ œ œ j
&
¢ 8b œ œ œ œ œ™
J
° bb12 œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ
& 8 J œ œ œ™
J
96D 1 2 3 4 5 6 7 8 9 10 11 12 etc.
bb12 œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ j œ™
¢ & 8 œ œ
J
Off-Beat Playing Review

The real challenge of Duet 97 is measure 2 for the top part, the 1st ending for the bottom part,
and the last measure for both parts. Counting is written above and below to help.
° °™4 #>˙ ™
1 + 2 + 3 + 4 + >
œ. œ. œ. œ. #˙ ™ #1.œ. œ. #œ. œ. ™ ü #2.œ. œ. #œ. œ.
& ™4 Œ ‰J‰J‰J‰J Œ ™ ‰J
97 ff mp mp
ff mp
. . 1 + 2 + 3 + 4
. . . .
4 >˙™ . #œ . œ >˙™ . œ. œ. œ.
œ #œ
™ Œ œ œ Œ ‰ J ‰ J ‰ J ‰ J ™™ ‰ J ‰ œJ œ œ
¢& ¢™4 †
1 + 2 + 3 + 4 +
The Whole-Tone scale was used to compose Duet 97, like some of the previous
duets. If you recognized the sound as you played it, it means your ear is learning.
Scale Snakes
The two parts of Duets 98A and B slither around one another as they go up, down
and around. Listen for times when the bottom part ascends above the top part.
° bb 4 œ œ œ œ ˙ ˙ œ œ œ œ ˙ œ œ œ œ œ œœ œ ˙ ˙ w
& 4 ˙
98A
bb4 œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ ˙ ˙ w
¢& 4
° bb b 4 œ œ œ ˙ ˙ œ œ œ œ œ œ œ œœœœ ˙ ˙ w
& 4b œ ˙ ˙ œ
98B
& bbbb 4 œ œ œ œ ˙ ˙ œœœœ ˙ ˙ œœœœ œœœœ ˙ ˙ w
¢ 4
For The Fearless
This one has a lot to it. Practice each section of music separately before trying to play the whole
thing through. Choose your own tempo for each section. Notice the echo effect between the parts.
>˙ U
° 4Ó >œ >œ >œ >œ >˙ >œ >œ >œ >œ >˙ 3
&4 ˙ ˙ 4
> > fine
99 f U
4 >˙ >œ >œ >œ >œ >˙ >œ >œ >œ >œ >˙ >˙ 3
&
¢ 4 ˙ ˙ 4
> >
f
° 3œ œ œ œ b -
œ #œ œ œ œ œ œ n-œ Œ Œ 4
&4 œ bœ Œ Œ 4
mf
œ œ œ -œ œ œ œ -
&
¢ 4
3Œ œ œ bœ b Œ Œ #œ œ œ nœ Œ 4
4
mf
° 4 bœ œ œ œ œ œ œ œ œ œ ˙ œ ˙ ˙
&4
mp mf
4Ó bœ œ œ œ œ œ œ œ œ ˙ œ ˙ œ
&
¢ 4
mp mf
° œ œ bU bœ. œ. œ. bœ. œ. œ.
& œ b˙ œ ˙ Œ Œ
pp mf
˙ ˙ œ œ U
˙ Ó bœ. œ. œ. Œ bœ. œ.
¢&
pp mf
D.C. al fine = play from the beginning until the word, fine. (Measure 5)
° bœ. œ. œ. >˙
.œ œ. œ. bœ œ œ œ >˙ >˙
& ˙
D.C. al fine
œ. . . œ.
œ .œ œ. œ. Œ bœ œ œ œ >˙ >˙
¢& bœ w
Aura Lee, Chromatically

If you add up both parts, Duet 100 uses all 12 notes of the chromatic scale. Each of these extra
notes (accidentals) create a little extra color or tension as they come and go, so don't rush through
them. Good musicians will often play these notes with a little more emphasis; not quite an accent,
but stronger than surrounding notes. Many will also use rubato to be even more expressive. Rubato
is a term that means speeding up and slowing down as you play to enhance the music.
-W.W. Fosdick and George R. Poulton, 1861

Not too fast, with optional rubato q = 92 (or slower)
° bb b 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ nœ œ
& b4
100 bbb 4 ˙ ˙ ˙
& b 4 ˙ n˙ ˙ œ œ nœ œ
¢
° bb b œ œ œ œ œ œ ˙ œ œ œ œ w
& b
& bbbb ˙ ˙ ˙ n˙ ˙ ˙ w
¢
° bb b œ œ ˙ œ œ ˙ œ œ œ œ w
& b
b b ˙ œ œ n˙ ˙ œ œ œ œ nœ œ #œ œ
¢& b b
° bb b œ œ
œ œ œ œ œ nœ œ œ œ™ œ w
J
& b
b b œ œ œ œ nœ œ ˙ bœ œ œ™ œ w
¢& b b J
Introduction to Clave Rhythm
After playing 101A several times correctly, play 101B. The accented notes in 101B line up with 101A
almost exactly. The rhythm of 101B is an example of the clave (CLAH-vay) rhythm which is present in
a lot of Latin, jazz, and pop music so it may seem familiar. If 101B still seems tough, play 101A a few
more times and try again. Check with a teacher for a demonstration or to make sure the feel is correct.
> > > >œ > >

° 4 œ œ œ œ œ œ œ œ >œ >œ >˙ œ œ œ œ œ œ œ >œ >œ >˙
& b4
101A 4 >œ > > > > >œ > >
œ œ œœœœœœœ
¢& b 4 œ œ œ œ > œ œ œ ˙ œ œ ˙
> > >
> > > > > >œ >

° b œ œ œ œ œ œ œ œ >œ œ ˙ œ œ œ œ œ >œ
œ >œ >œ >˙
&
>œ
> > > > >˙ œ œ >œ œ >
b œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ ˙
¢& > > > >
° >œ ™ >œ œ >œ >œ >œ >œ™ >œ œ >œ >œ >œ
&b J Œ Œ J Œ Œ
101B 1(+2) + (3) 4 (1) 2 3 (4)
>œ ™ >œ œ >œ >œ >œ >œ™ >œ œ >œ > >
¢& b J Œ Œ J Œ œ œ Œ
>œ ™ >œ œ >œ >œ >œ >œ ™ >œ œ >

° b œ >œ >œ
& J Œ Œ J Œ Œ
>œ ™ >œ œ >œ >œ >œ >œ ™ >œ œ > >
b Œ Œ œ Œ œ œ Œ
¢& J J
>

01 - SCHNIBBLES For Two - 101 Easy Practice Duets For Band - FLUTE

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01 - SCHNIBBLES For Two - 101 Easy Practice Duets For Band - FLUTE

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SCHNIBBLES

Two-Part Etudes for the Development of

Designed for Full-Band Settings, Small

SCHNIBBLES for Two

Designed for maximum accessibility, the collection introduces many intermediate

Brad Carman earned his degree in Music Education

Beginners: Play with a BIG SOUND and a STEADY, STURDY TEMPO!

Copyright © 2017 Brad Carman. All Rights Reserved.

Musical Uniformity = Sameness of Style

Three-Quarter Time (3/4)

° 4 œ >˙ œ b˙ ˙ œ >˙ œ b˙ ˙ bœ >˙ œ ˙ b˙ œ >˙ bœ w

The Beat Goes On

3/4 & 3/8 ; Counting Twins

Counting 8th Note Pairs: iq

q = 72 to as fast as you can

First Duet with Independent Rhythms

Fanfare with Solos!

15A, B and C: Comparing Harmonic Intervals

Duet 17 is written using Perfect intervals, just like Duet 15C.

Boldly e = 80 - 120 (+/-)

>™ b>œ >œ >œ b>œ ™ > > >

Stately q = 120 (+/-)

Count carefully and play with a big sound!

Decide with your partner whether to play in a sustained (long) or detatched

Now Me, Now You: Back-and-Forth

Music With a Road Map

° 4 b>œ >˙ >œ >

Add Some Personality

Technique Tester in Major and Minor

Trading Off: An "Off-Beat" Primer

Name That Tune!

March Style q = 120 (+/-); Beginners: q = 80 (+/-)

° œ œ œ ˙ bœ œ œ ˙ ˙ ˙ >œ >œ >œ

First Duets in 5/4 Time

Melody and Accompaniment

q = Whatever Works Best For The Bottom Part!

Groovy, With Attitude q = 108 (+/-)

° -œ -œ -œ œ. Œ b>œ nœ -œ -œ -œ œ. Œ >œ >

b -œ -œ -œ œ. Œ >œ #œ -œ -œ -œ œ. Œ >œ -œ -œ -œ œ. Œ œ b-œ -œ -œ œ. Ó

Digits and DooDits

Consonance, Dissonance, and Dynamics

Time Signature Review

° 3 œ œbœ œ bœ œ œ œ bœ œ œ œ œ œbœ œ bœ œ œ œ œbœ œ œbœ

Changing Major to Minor

Slow, but with a Big Breath, and a Big Sound!

Tuning and Tone B: Perfect Pairs

Remember: Whenever you see a new or unfamiliar note, look it up!

First Duets with Key Signatures

Play every B as Bb and every E as Eb

Play every B, E, A, and D as Bb, Eb, Ab, and Db

Play every B as Bb and watch for written-in accidentals!

Whole-Tone Fingering Challenge!

Comparing Time Signatures

Remember to always take note of the key signature.

Comparing Skips and Steps (3rds and 2nds)

Oom-Pah-Pah and Ooo-La-La

Smoothly q = 90-112 La-La-Ooo

Can You Memorize Me?

Mysterioso. Lyrical, but With a Steady Beat q = 108

61A As Fast As You Can Go (Under Control) q = 200 (+/-)

Trading Off: More Preparation for Off- and Up-Beats

Another Major/Minor Mash-Up

° b 4 >œ >œ >œ >œ >œ >œ >˙ œ b œ œ bœ -˙ -˙