‘GLARINET BOOKONE ATUNE A DAY C. PAUL HERFURTH Clarinet A FIAST BOOK FOR INSTRUCTION IN GROUP, PUBLIC SCHOOL CLASSES OR INDIVIDUAL LESSONS. f THE BOSTON MUSIC COMPANYA Tune a Day A First Book ‘ for Clarinet Instruction By C. Pau, Herrurtu Copyright, MCMXLII, by Boston Music Company BOSTON MUSIC COMPANYPUPIL'S DAILY PRACTICE RECORD Pupil fills in number of minutes of daily practice. Parent signs initials in space designated as certification of pupil's record for the week. « Teacher fills in grade for quality of each week's work as shown by the lesson. | Teacher signs initials. | E « Excellent; G = Good; M ~ Medium, Distinctly Above Passing: [= Low, Lack of Effort; F = Falling | FIRST SEMESTER SECOND SEMESTER weet] mom [ron] wos. [rmor| rr | seu | Tattait | SRY wort | Mon] tose] was. [ moe] rer sae | Feltaae Tanta 1 1 T 2 2 | 3 3 ‘ 4 2 i 5 3 ! st TEST GRADE Sth TEST GRADE 7 7 dnd TEST GRADE 5 15 Sed TEST GRADE, Th TEST GRADE 6 iw 0 0 » 2” ‘ach TEST GRADE FINAL GRADE Shoo! rade Cit}FOREWORD TO TEACHERS [5 compiting this course the objective has intentionally heen not ta aver too much ground; hut rather to con- centrate on the acquisition of a thorough musical back- ground and a solid foundation in good clarinet playing, These two requisites are inseparable, nents of A brief section is devoted to the simpler rud musi which should be thoroughly understood as the need ‘The learning of new fingerings as introduced should be insisted upon Cultivate in the pupil the habit of careful listening, ‘The familiar hymns and folk-songs have been selected because of their melodie interest as pices, and because, in addition, in each appears same technical point to be The value of learning to “think count" from the very ginning cannot he overestimated, Only in this way ean sense rhythm. Rhytlun, one of the most essential and usually conspicuous by its absence le playing. ix omphasized throughout a pupi ints af music Mbiny teachers do the thinking for their pupils, instead of helping them to think for themselves, Insisting upon the mastery vf cach point will nut dull their interest What greater jay, whether it be child or adult, than to accomplish, achieve, and gain more power. Lessons marked, “Supplementary Material” may be cn as a reward for well-prepared work Clos touching should be a cimbination of individual in traction and enyemble playing. At every lesson there wih br inatividal playing sa that all the necessary correc Lous can be male. Never allow pupils’ inistakes to go neustivel, shure only in constant eurrection will they level p the habit of careful thinking and playing, A decided advantage of group-teaching is that it pro- vides experience in ensemble playing and gives every pupil the opportunity of listening to the others, of observing their mistakes, and of hearing the corrections, For the best results cach class sluvuld not be made up of more than six for a half-hour lesson, and twelve for an hour lesson. Irrespective of the numbers, the teacher must see to it that there is individual instruetion as well as general Uirections to the class Classes should be rogeaded whenever necessary so as not to retard the progress of the brighter students, nor to Uiscourage the slower ones. It also acts as an incentive for seater effort on the part of the pupils. Lessons marked “Tongu “Scales and Arpeggios”™ and “Important Assigment™ should be used whenever necessary according to the individual students requiee- ments, ‘The tests, following each five lessons, are given at a dlefinite check on the pupil's progress of knowledge and accomplishment. ‘These tests are most important and should nut he omitted. The eventual success of each pupil depends on the regular and careful home practice, according to directions. If possible it would be well for the teacher tu keep in touch with the parents This course provides une lesson a week for a school year. I wish to acknowledge my indebtedness to Mr. Otto Hansel, instructor of clarinet classes in the Rast Orange. N. J., Schools, for his helpful suggestions and criticisms in compiling this book, C. PAUL HERFURTH Director of Instrumental Musie East Orange, Ni J RUDIMENTS OF MUSIC Music is represented on paper by a combination of characters and signs, all of which it is necessary to learn in order play Uo» clarinet intelligently, Characters called notes are written upon and between five lines ‘The character placed at the begi e {f is divided by ars into measures as follows: The Bar which is called the stad. ning of the staf is called the treble or G clef Bar Bar (it)‘These measures, in turn, are equal in time value, according to the fractional numbers, (Time signature) placed at the beginning of each piece. ‘The time signature indicates the number of notes of equal value in each measure. The upper Sgure gives the number of beats or counts in a measure, and the lower figure indicates what kind of # note has one best, such as $ or ( equals 5 four quarter notes or the equivalent S55 half note and two quarters in each measure; o o ¥ equals & quarter notes; B equals 4 eighth notes; ete. ‘There are different kinds of notes, each variety representing a certain time value as follows: 12a 4 Tes t 2 8 4 L&288448 Whole Note equals, Two Half Notes, Four Quarter Notes, or Eight Eighth Notes. ‘The count for the above would be, four to the whole note: two to each half note: one to each quarter note and one to each group of two eighth notes, ‘The notes are named after the first seven letters of the alphabet, ie. (a, b,c, d, e, f,g,) according to the line on oF apace in which they are placed. Theat ea heh scr th cond lines and spaces are named as follows: establishes the note G on this line, from which the other ie at Cnr eD eit een Omen eed. In addition aotes are written upon and between short lines above and below the staf. ‘These lines lines. -o 2 2 © called ledger Carne one Ea Cee DECC Ecole ian raancl Every Good Boy Does Finely F°A-C-E [A rest indicates a pause, of silence for the value of the note after which it is named, such as © wnoLe REST HALF RESTS QUARTER RESTS EIGHTH RESTS ‘The end of the piece is indicated by a light and heavy line When a section or part of a piece is to be repeated it will be shown by a double bar with two dots,PARTS OF THF CLARINET Reed--- Mouthpiece i {Upper joint — Tuning Barrel CARE OF THE INSTRUMENT Your clarinet will not sound its hest, nor will your learning to play it be easy unless everything pertaining to the iustrument is kept it perfect condition, ‘This applies to mouthpiece, reed, keys, pads, springs, ete. Any one of these uot in perfect condition will greatly handieap your effort in playing THE MOUTHPIECE, one of the most important parts ef your instrament should be of good quality and be tested liy your teacher before using, wr the young player. Too HLY MOISTEN THE ‘The reed should be held firmly, but not too tightly by the ligature. Your teacher will show PHE REED should be selected with utmost care, One of medium soft texture is best hard ur ton soft reeds will make it impossible to produce a good tone. BESURE TO THOROU REED BEFORE USIN you how to "set" the reed. ce and wipe moisture from both parts. Replace reed but do not clamp EXTRA REEDS ON HAND. After playing, remove reed from mouthpi too tightly. Put on cap. BE SURE TO HAV THE KEYS on your clarinet are a very delicate picee of mechanism and should not be bent or thrown out uf align- ment. 4 drop of light oil should be applied to screws and springs from time to time. WOODEN CLARINETS should receive special care, Consult with your teacher regarding cleaning and oiling. BE SURE TO GREASE THE CORK JOINTS WHENEVER NECESSARY. ‘Take pride in the way your instrument looks by keeping it bright and clean, FAILURE ON YOUR PART IN NOT FOLLOWING OUR CAREFULLY THE ABOVE INSTRUCTIONS, IN REGARD TO THE CARE OF YOUR INSTRUMENT WILL RESULT IN EXPENSIVE REPAIR COSTS. 1. M. Ca. tomFOREWORD TO STUDENTS No student should attempt the study of an instrument without the aid of a competent instructor for that particular instrument. Due to the variations of mouth, teeth, and lip formations of different individu: Thelieve the all important ques: tions as to position of mouthpiece, breathing, tongueing, and lip control should be decided by your tewher for your particular case TECHNICS The most important technics for wind instrument players are as follows (1) Developing and strengthening the lip muscles. (Process) Playing of long sustained tones. (2) Developing clarity and precision in attacks, (Process) Proper use of the tongue. (3) Developing a fine quality of tone. (Process) A combination of No. 1 and careful listening. (4) Developing Gueney in x ering. (Process) Playing of seales and arpeggios in various keys, (5) Developing a mastery of the entire range of the instrument, Ps (Process) A combination of all of the 1 OKEI Th hove Popular Orchestes CORRECT POSITION (POSTURE) When playing the clarinet always stand or sit erect mith the head up. Arms, hands and fingers should he com: pletely relaxed and held in a natural position. Any stiffness of the body will he reflected in the quality of your playing, Fis. 1. When practicing, it is better to play in a standing position as this will help you to breathe properly HOLDING AND FINGERING THE CLARINET ‘The clarinet is halanced and supported in pesition by the first joint of the RIGHT thumh, which should p upward against the thumb rest, The fingers of the RIGHT hand are usel for the ho of the instrument. ‘The LE] and keys of the LOW hand thumb is used for the thumb hole (T) and the register key (8). ‘The fimerrs of the LEFT hand are used for the holes and keys of the UPPER part of the clarinet. ‘The fingers shoul be curved slightly permit the fleshy part of the first joint to cover *he holes, TUNING YOUR INSTRUMENT Clarinets are pitched in Bh, which means that when you read and finger C. the acts itch xounding is Boy thus the PIANO must play one whole tone lower than the note you are fingering. ‘The tuning barrel may be drawn out to lower the pitch of the instrument. PHRASING The breath marks (’), in addition to indicating the proper places to breathe, also serve as an introduction tw the feeling of proper phrasing of melodies. This is important as it is that which gives meaning to music HOW TO PRACTICE ‘The most important part of your practicing is in being able to think out the problemy at hand, fingering t ing, phrasing, ete. WHAT YOU CAN'T THINK YOU CAN'T PLAY. Be sure to do a good piece of work on lessnn 1 befure attempting lesson 2, and so on with each succeeding lesson, Play slowly at first and think carefully YOU are your own best teaeher, Loar to intelligently (note values) phrasing, tone, fingering and attack (tonguri criticise your own playing. I believe you know when you have done a gowd job and when you haven't. Don’t be satis fied with a lesson half done, you are only fooling yourse {. A goad student is « Do you? BOM. Co 10011 (vilMIDDLE REGISTER FhorG> G GtorAb A seine mS Faboie yorum tars! THUME HOLE t (ee REGISTER dey T > Tone fous PM.Co. 10011A TUNE A DAY LESSON 1 OBJECTIVES: 1. To learn the corsvet habits of (a) Posture fb) Holding the clarinet [F) Position af mouthpiece Q) resthing and production of ton) 2. To correlate the keys and holes of the ch ; : . rayne HOU : NS Introducing: ist line E = e HALE i Think Count: 1234 This note is we Think Count:t 23.4 fi Crs Cue Sores ZEST unt Qeaercte const bad (i tese are notes and reerive count? G = Think Count: 23 4 Half Notes and Quarter Notes Beethoven (From Seventh Symphony) From Se ae Adapted Pupil ® Countess Teacher” oa + oS Pace ss am 2 eye? VFete # Attack each note firmly. (>) #* Advanted students may also play the te Copyright MOMXLIL by Boston Susie Co. ee Coe Revised Edition MCMLNS HE bs acher parts in all lessons?. LESSON 1A OBJECTIVES: 1. Continuation of the objectives of lesson 1 2. To learn the meaning of the TIE (~—) 3, To learn the name and fingering for the notes D and C. 4. To learn the meaning of the breath mark. (7) THUMB HOLE Introducing 1st space below the staff D. CLOSED Played with the left hand thumb and Ast & 2nd finger holes. ink Cou! inkCountit 2 3 4 These Little D and E March ates the breathing places This mark 0! @ ‘Teacher ee , This note is * = =3 ze rm ie) Z ae e ¢ F @ M.Co, 10011Lesson 1A- cont. a Introducing 1st line below the staff C. Played with the thumb and tst, 2nd & 3rd. finger holes THUMB HOLE This note is? CLOSED LEFT HAN @ @ = = = = Think Count: 12 3 4 ‘These are notes? e e Think Count: cd = ¢ val Vs 234 Cc = ze SS. 123 Merrily Teacher 5 ‘This note is. #F z = ¥ + When two notes on the same degree (line or space) of the staff are tied by a slur —~ they are to be played as one note, adding the value of the two notes together. BLM.Co. s0018LESSON 2 OBJECTIVES: 1. Application of pre-knowledge by the playing of melodies. 2. Learning to feel the rhythm of half and quarter notes. 3. Do home work assignment, Melody Time sig. is —— : Pupil eacher ger” SPs pee Seses see eve 5 Skipping Along > > Pupil @ Teacher a3 a wes s Melody Pupil ® Teacher gq. Home work Ge = = — e Hone works ‘Weite Vine of notes thus far studied using half and quarter notes. Mark the letter name (C-D-B) above cach note BM.Co, 10011- LESSON 4 OBJECTIVES: 1. To learn the name and fingering for 2nd line G. 5 2. To learn the proper use of the right hand thumb in supporting the clarinet. 3. Application of pre-knowledge by the playing of 4, familiar melodies. |. Questions and home work in this and following lessons. Introducing 2nd line G Played opra no fingers) Have right hand thumb keep a firm up~ ward pressure. To make it easier to hold the clarinet while playing this note you may use this fingering: 9 w JhinkGount:t 2 34 4 This nate is, SSS *. SS ak Count: 12 34 *. ank Count: 2.3 4 t 2s va va @ e = ainkCount:12 34 Oats and Beans “ This note p Key of : : 2 Bee Pupil © Teacher ere eer Ses Bet Jingle Bells This note Time sig. in : 7 Bs non a) ThinkCount:1 2.44 . +. = Home work: Weite line of notes thus far studied Divide into measures using half and quarter notes M.Co, s00%LESSON 4A 7 OBJECTIVES: 1. To lear the value of whole notes and whole rests. 2, Emphasis on shythm, (note values) 3. The playing of Durts and Trios. (Practice all parts) (4.Count) RESTS WHOLE (4 Count) NOTES’ and WHOL eo agae notes and receive counts? These are ~ ® 7) o Think Count: £234 Different Note Values ® This note is @ this note is os 2 = se es ee s3sF ie *simile =z € © this note is @Ornis note ig This note ig —— > 3 5 = Se = = simile SS Sinile simile Duet (Two Parts) 2 Pupil Practica both parts ey Pupil Trio (Three Parts) 2 , , Pupil Practice cars| part Pupil Pupil = *Simite- To continue as before. BM.Co. 10011LESSON 5 OBJECTIVES: 1, To learn the name and fingering for 2nd space A. 7 2. Application of pre-knowledge by the playing of familiar and unfamiliar melodies Akey Introducing 2nd space A. Played with the side of the left hand first finger. Use a rolling motion, Thumb hole open. THUMB HOLE OPEN A KEY LEP'T HAND, ° ® = = = > Of} suk Counti12 34 These are —notes and reovive counts? SSS simile Tee , Pupil Se es T IS fi . | 2 use Pupil Ze { ee fr. TSS ees Sees eas | L | | oe al Cae eee tea Ves Bez Be Fag Vers sae Twinkle, Twinkle, Little Star This note , : a ee e hink Count:t 2 3 4 Unfamiliar Melody — test er Think fingering and note value ; 7 . M.Co, witLESSON 5A Slurred. Notes (*Iegato) OBJECTIVES: 1. To learn the meaning of legato, (slurred notes) 1 2, Slurriag notes in groups of 2-4 and 8 Bo 3. Application of this knowledge in the playing of familiar melody. “sun This sign (— slur) when placed above or below two or morr notes indicates that they are to be played in one breath, and that only the first notes of each group should be tongued, UE TONGLE oo. ‘Think Count:12 34 7 toxcte———1 > ° = ‘Think Count:t 4 ee is 3B teem roxive ————— oe or a = Lightly Row > 2 2 ee 2 —F *Sm BM.Co, 10018 othly- connectedfo TEST QUESTIONS THROUGH LESSON 5 Questions from this, and following test-sheets, will be given as a check on your home-study’ of preceding lessons. REMEMBER: The more you know and understand about the signs and symbols used in music-writing, the vasier it will be for you to leam how to play well ‘s Points score is called? 5 (i) This (2). This symbot & o (a) The staff is ai is called? _ ded by bar-lines into? (4) Fractions at the beginning of music are called ______ signatures? 5 vor This FES] in a note and has counter 4 0 Tree GE are notes and have — counts each? 4 notes and have count each? 4 twee OFF Lines and spaces are named after the first letters of the phabet? 5 f ‘ orks} Ghd TF ded § i 00 TEACHER: Write line of notes thus far studied, using whole, half and quarter notes as a sight read~ ings test BM.Co, 101!LESSON 6 : a ame and fingering for tst space FR OBJECTIVES: 1. To learn the 2. To Inaen the use of an alternate fingering for this new note. 3. To learn the meaning of the sharp. (#) Introducing ist space F sharp. (F#) : ot THUMB HOLE OPEN Played with the 1st finger hole covered. Sur Re Note that the thumb hole is open. Note Meo the alternate fingering for this, SE note, see Ex.3. or e A SHARP (#) RAISES THE NOTE TO WHICH IT Oo APPLIES BY ONE-HAL! © A NATURAL (4) TAKES AWAY THE AFFECT OF A SHARP OR FLAT AND RESTORES THE NOTE TO ITS ORIGINAL PITCH. ® . CESS = = Think Count:1234 = SS Think Count:12 34 simile @ oe Think Count:1 2 34 + When Ff is written between Fk & G use the following fingering for F#. Use the thumb ho! Tower side keys (R-C & D) played with the first finger of the right hand The Key of G Major (one sharp @) F#) The sharp (#) placed on the top line of the staff, just after the clef sigm, affects every F throughout the piece, except when temporarily canceled by a natural ) sign, NOTICE KEY SIGNATURES AND FINGER ACCORD- INGLY plus the two Old English “This note > os e Think C 2 hink Count: 1 23 4 Lightly Roy mw Think Count: 4 2 3 4 — 2 This note is — 2, mun, 2 Review the above melody in lesson 5A in the key of C. Abide With Me Mons No SHARP ‘Think fingering and note values. ; ’ UUNK 3 © = all notes in Ex. 4,5 and 6. Howe work: Mark the letter name below BM.Co. 1001112 LESSON 7 OBJECTIVES: Application of pre-knowledge through the playing of DUETS. (practice both parts) 2. Notice key signatures and what they mean. 3. To learn the keys of C (no sharps oF flats) and D. (two sharps, F & C sharp) 4. Learning to hear intervals, difference in pitch between two notes. Duets (Practice Both Parts) Upidee (Key of C-No sharps (or flats b) Time sig. is — 2 > 2 anil aD hink fingering and gote values @® Think fingering and ot Pupil eo eeee e ote Upidee (Key of D-Two sharps (F# & Ct) _ > 2 Pupil > This nate Berets | pil . Merrily (Key of tne sharps are) This no ogo ments . . Pupil This nate] gents Pupil Au clair de la lune (Key of ) ? This note > 2 > Pupil P This ute 4 s—7 Pupil ee BM.Co. 10011LESSON 8 13 OBJECTIVES: 1, To learn the namw and fingering for low B natural, (153) 2. Continuation of legato playing. ° 3. To learn the importance of practicing long tones, rotucing tow 04 cao none [EB berr i yed with the thumb and three CLOSED | gers of the left hand plus the finger of the right hand, y ThinkCount:r2 3.4 4 New Nore, ec eee vee Think Count:123 4 e a Think Count: 2 va Practice exercises 3&4, slurring two and four notes. e ca a Folk Song 2 . owe Think Count:12 3 4 Melody 2 2 e Think Count: se oe vee ee ‘This exercise is not easy. Practice it carefully until you can play it smoothly 2 2 ‘Think Count: ——=—— se DON'T FORGET YOUR DAILY PRACTICE ON LONG TONES. ONLY IN THIS WAY CAN YOU GAIN BREATH CONTROL, LIP DEVELOPMENT AND A FINE QUALITY OF TONE, , 2 ® e ~ B.M.Co. 10011ty LESSON 9 OBJECTIVES: 1. To learn the names and fingerings for low A and G. , 2, Continued emphasis on rhythm and fingering. 3. Application of pre-knowledge. rt, Introducing low A. Played with the thumb and five finger holes. = A THUMB HOLE | LEFT HANO Preparation cLoseD f a “Ss 43 Te *An interval 1s the ditference in pitch between two tones. Intervals are counted from the lowest note to ~ the highest. ~ 2M.Co, 10011Lesson 9~ cont. 15 Introducing low G. Played with the thumb and six finger holes. = Preparation THUMB HOLE CLOSED { LEFT HAND ’ Schumann B.M.Co. 2001116 LESSON 10 OBJECTIVES: 1, To learn the formation of the natural scale. (Placement of whole and half steps) . To play the G Major scale and arpeggio. (from memory) Playing melodies in the key of G. (think Ff) 1. To arn the meaning of staccato. (the dot (-) Ex. 5. The Scale A-seale is a succession of tones from a given note to its octave, 8 notes higher. The form on which vs follows 1 major seales are modeled The Natural, or © Major Seale No sharps or flats wry AT Pe mi PION | WT a Pours VT g , a c, three whole tones, one halt tone. The The ascending progression is: to whole tones, one half ¢ aumnbers 3-4, 78) Scale of G Major One Sharp, FE Half tones Bt0 ©, & FF to G. If tones come betwe Beneath Thy Guiding Hand J Hatton 2 2 From the Second Symphony Lhe stuarp is Varn Sipe is pes This note patios 4 me Gs EAs Home work: Learn to play the G Major +, dot (+) above or below a note indicates that the note is to be me rojgular value. For explanation sev page 30. ale from memory played short, about half ~ WM Co. 10011TEST QUESTIONS THROUGH LESSON 10 (2) This sign ff: means? —__ (2) This if) is a? (3) How does a (f) affect a note? (4) This & is a? —___. (5) How does a (Q) affect a note?——_____ (6) Name the following lines and spaces of the staff? tet epace _ Qnd space — Sird space ist ine —_ Srd line _ 2nd line — ist line below staff 1st space below staff The key of (2H) is? (8) Write (notate) the key signature of @H) 3 (0) This sign — connecting two or more notes means? (10) What is a scale? (ut) Write (notate) the G major scate? 7 (12), The key of (1) is? —__ 1) Notate the key signature of (#) This note 4 ts is? (16) This note =e is? ov (17) Music written for two clarinets is called? (18) Inspection of instrument. (19) Sight reading TEACHER: Write line of notes thus far studied using slurs BM.Co, 10011 Points 4 4 10 0 j00 Your48 LESSON 11 OBJECTIVES: 1. To learn the value of the eighth note 2. To learn the use of rhythms involving 8th notes in $ and F time. 3, To learn the meaning of D.S. (Dal Seno.) Eighth Notes , An eighth note (2) is equal to half the value of a quarter note. Two righth notes (dd) equal one quarter note, four ddde a half note, andeight ddddsadd awnote note, An eighth rest (7) is equal to the value of an eighth note Two counts to a measure A quarter note gets one count. Comparison of 4 with 2 time One meanure of ff time equals two measures of ¥ time ] TIME Means Gaily the Troubadour (Note fina signature) « se ThinkCount:1 24 7% — wall a ¥ Key of Time sig. Long, Long Ago Bayly oe Fine °D.S.% to Fine = = + + - Yankee Doodle oe Old English Song » ee wes ma yee Think Count: f 234 ~ *D.8. Dal Srgno to Fine, Go back to the sign (8) and play to Fine. Fine — the end BM.Co. 19011Supplementary Material Through Lesson 11 Theme from Symphony No. 1 brahme Slowly uy Think Count’ 12 94 - 4 America” 124398 Andante Slowly (from Surprise Symphony) Hayda wee Sts? Reuben and Rachel Melody (Duet) Hayda Pupil Teacher T. eaanaeaane Vasa = za 2 * Although } rhythm has not been introduced up to this lesson, this well known melody is given here as a challenge to the pupil. BM.Co. 1001120 LESSON 12 OBJECTIVES: 1. To tearn a new rhythm (J time, wi : the chythm drills). (Ae B-C-vte. 2. To learn the value and use of dotted quarter and dotted half notes The Dotted Half Note and the Dotted Quarter Note A dot ic equal to one half the value of the note it follows. A dotted half note equals heats, a dotted quarter note equals tf beats h emphasis on Written Played Written Played Rhythm Drills Count aloud each variation while clapping the hands once for each note. Repeat several times until you feel the rhythm before playing. Variation (F) is the most difficult and should be thoroughly understood. ®' 2 2 Combination of Rhythms in # time . ® Think Count:t 2 3 a Home work: 3 Home work: Write 8 measures of notes thus far studied, using different groupings of notes in time. BM.Co. 10011DIAGRAM OF FINGERING LOW REGISTER — 1 4 LEFT HAND) FIRST FINGER iv RIGHT HAND FIRS tonsa ales Ast. SECOND FINGER | (el TI LITTLE FINGER | | | habelo! = + 3 EF FlorGG GforAb A Afor Bb B C EN CLOSED AND REGISTER KEY (R) 0 HIGH REGISTER Piano should play one whole tone lower than the notes above to sound in tune with the Bb Clarinet BM.Co, wort - (vii)LESSON 13 OBJECTIVES: 1. Application of ? and % rhythm through familiar melodies in different ke Knowledge of first and second ending. (Ex. 2) Learning to play melodies from memory Knowledge of the up beat. (Ex, 2) Knowledge of musical terms of tempo. (speed) Brightly (Allegretto) French Folk Song Key of ___ sharp is __Time sig, is at ® Think’ Count: 1 2 3 2 * ere sees tink First and Second Ending ‘The term Ist und 2nd ending applies to one of more measures in brackets at a double bar; thus ven the strain is repeated, the first ending is omitted and the second ending played instead The Up-Beat ae? Many pieces begin with an incomplete measure, usually starting with the last beat or fraction thereof. This is called the up-beat, The ending always completes the measure of the up-beat, Rather slowly (Andante) Home on the Range Cowboy Song Key of Time sig, is up BEAT 2 Crest expe 7 = zo = Moderate speed (Moderato) College Song Key of Time sig. 18 — Se > = — Andante Melody Beethoven Key of Time sig. ® “yee int Count? Think Co nts Orv sturs carefully + Ls a eF Home work Leara to play one of the above melodies from memory BM.Co. 1001822 LESSON 14 OBJEGTIVES: 1. To learn the name and fingering for 3rd tine Bb. 2. To learn the meaning of the flat.) 3. To learn the meaning of the accidental, (Ff in Ex.5) 4, To learn the meaning of the key of F Major. THUMB HOLE OPEN REGISTER KEY OPEN AU REY OPEN Leer HAND Introducing 3rd tine Bb. Played with the left hand 1st finger on the A key, and the thumb on the register key (R) Thumb hole must be open. Key of F Major ‘A flat (b) lowers the pitch of a note by one-half tone or step. Key of F Major, one flat (b), Bb. The flat (b) placed on the third line of the staff, just after the clef sign, affects every B throughout the piece. . ————— THINK. rue @ Think Count:1 234 @Q5 Think Count: 1234 This note i) ‘Think Count:1234 B.M.Co. 10011 Lesson {4 continued on next page.Accidentals * An accidental is a sharp or flat which does not appear in the key signature. They apply ONLY to the measure in which they are placed. See Ex.5, the F# in measures 3 and 7, Go Down Moses Andante — This note 27 ve near ig 2 wk Think Count: 4 1 » Moderato Yankee Doodle Key of. The flat is __ Time sig. is Think Count: 1 & 2 & THINK BIGHTH REST Hymn Andante Key of __ The flat is Time sig. is. Haydn @ @ Think Count: 4 1 203 4 This note Home work: Home work: Write line of notes thus far studied, using whole, half and quarter notes. Mark the letter namin below. B.Co. 10011aa LESSON 15 OBJECTIVES: 1. Application of pre-knowledge. (This lesson will ordinarily + come about Christmas time in the school year and conse- quently meet the interests of the pupil.) 2. Knowledge of the hold - Fermata. (>) Hark! The Herald Angels Sing With motion (Con moto) Mendelssohn We Three Kings of Orient Are Onsepne slues canefully Hopkins Time sig. is The First Noél Con moto Key of —_ sharp is _-_ > Revzar 2 3) Think Count: Th Home work: Learn to play one of the above melodies from memory. * > Hold (fermata) a short curved line drawn over a dot, prolongs the time of the note. BM.Co. 01(8) ( uo) an (12) as) 4) 5) (6) a) (8) (9) (20) (21) TEST QUESTIONS THROUGH LESSON 15 notes? tise STE ace Each of the above notes in or 2 time receives count a —____ note? The above note has — This 6 FSSPTT ica eter ‘The above note has —____ counts? counts? Divide the following into measures? 40 TTL A Le Mark the count under the following? PLING I I TT __—e— This means? This sign \ means? __ What is meant by the (up-beat)? This (b) is a? How does a (b) affect a note? The name of tis note GET ip The key of 4b is?___ Write (notate) the key signature of (tb)? What is the meaning of D.S. (Dal Segno)?. What is the meaning of 2 time? arg ‘What is an accidental? What is the meaning of Andante ____ Allegretto? Sight reading. E = = = TEACHER: Write line of notes using different shythm pattems in 2 time BM.Co. 10011 Points 25 YourLESSON 16 OBJECTIVES: 1. To learn the name and fingering for low Bb. , To learn the use of an alternate fingering for BE 2. 3. The playing of familiar and unfamiliar melodies using low Bl 26 TE Introducing low Bb. Played with the thumb and four finger holes, Note substitute ing for BY in Ex.2. es THUMB HOLE a CLOSED LEFT HAND fini Tor Be i Fingrin sd he = iz © When DY precedes or follows Hb usr the following fin~ Trcreguiar Tb fingering plus the tite RIGHT HAND ote ba erring for Teer So toecen the second and third holes of the right hand. Use drd finger for this key Merrily Familiar melodies, Listen carefully) French Folk Song Key of _—_ flats are e wvee 7 Unfamiliar melody (test) Harvest Time OPH. ‘Think Bb and note values 5 Andante (Slowly) mee son Weve Key of : Pupil © (Practice bath Porta Pupil toe = BM.Co, tootLESSON 17 27 1. To learn the name and fingering for low F. 2. To learn the value and importance of firm finger action 5. Playing the F Major scale and arpeggio. (lower octave.) OBJECTIVES: THUMB HOLE CLOSED =| = Fora RIGHT HAND Introducing low F. Played with the thumb, six finger holes and R-4 LEFT HAND Press fingers Scale and Arpeggio of F Major (tower octave) Half Steps A to Bb and E to F. THUNK BS) Key of — Time sig. is 2 > <4 se> , Holy, Holy Moderato Holy, Holy, Holy Dykes > Time sig. is Key of flat is 2 @z @ e = Home work: Mark the names of the notes in Ex.3. Learn to recite (spell) and play the F Major scale from memory. BM.Co, 10011aa LESSON 18 OBJECTIVES: 1, To learn the name and fingering for low IVES: 4 Tontclation of soles in the lower register, name and position om tall with proper fingering, 3, sth farm melodie invbiving the use of Sth notes in J . and g time * i Introducing low E. THUMB HOLE CLUSED Played with the thumb, six # finger holes, L-4 and R-4 e LEFT HANO Hold fingers firmly aA A AA AA O En RIGHT HAND. oss Deck the Hall With motion (Con moto) Key of _ flat is Time sig. is ee gueg ve se v sae au 4 ae ont all gets Andante America® Key of flat is Time sig. is : 2 Fa tia ez oF es ess F ¥ Home work e key of C by ear, Hear the next tone and sense the fingering. Starts on C. sons 2and 3. Write line of notes studivd below middle th notes: oT Hons work Learn to play teacher parts to duets in L C' Divide into measures and mark time signature. Use half, quarter and eigh! y to play America in B.M.Co. toursLESSON 18A ECTIVE: Further practice using low E and F Hymn Andante ra * a ae 7 oS. Moderato Hohmann z Mexi Ch ing Si Allegro ean Clapping Bong Fok: Song Crusaders’ Hymn Moderato we te 77 tee 73 S23 Allegro Skip to My Lou Folk-Song ® oo. * a: Count:1 2+ 34 BoM. co 10011 +7 ve mo 7 aut30 LESSON 19 Corretation of notes in the upper register, (name and position fon staff) with proper fingerings 2. To learn the use of the register key. 3, Learning to use these new tones in the playing of melodies and a Trio- Tones in the Clarion or Upper Register Up to this time you have been playing in the low or chalumeau register, from low E to rd line Db. Starting ‘with this lesson we introduce the clarion or upper register which extends from Ird line BY to high C, two lines above the staff, Unlike the flute, oboe or saxophone, which overblow in the actave (8 notes higher) the clarinet, by opening the register key (R), overblows 12 notes (an octave and a fifth) higher. To apply this principle, play low A (preparatory study (), then add register key (R) with the left thumb, Ithumb hole must be kept closed at the ‘Same time) then by slightly stretching the lower lip, sound E. (Top space) Apply this same rule to the other notes in this exercise, BE SURE TO LEARN THESE NEW FINGERINGS. OBJECTIVES: 1. Preparatory Studies A E a E @c ¢ ® z aE = an a WEG KEY cs Trio @ Clarion Waltz Time sig. ge ® Think Count:t2 3 Time sig. is__ Scotch Air Think Count:1 4 2 Home work: Home work; Write line of notes used in this lesson. Divide into measures and mark as before. BM.Co, soon.LESSON 20 uy OWJECTIVES: 1‘ learn the une of aint tka in the upper seister 2. To compare the ingerings of the upper and lower registers. " Additional Tones in the Clarion upper) Register Apply the same principle a in the preceding lesson. Preparatory Studies fe ( al RED KEY Comparison Between the Upper and Lower Registers Short familiar melodies. u 1ugr the same fingering for lower and upper registers. fp bower Register 7 Merrily ver + Christmas Song vave 7 Upper Register [open meg. key) Time sig. is Duet Henning Pupil Practice bath Parts Pupil Jingle Bells Time sig. is_— ® Think Counts 2 44 2 BM.Co. 100132 LESSON 21 OBJECTIVES: 1. To learn to change registers through Ib and A. ‘To learn the F Major Seale |. The playing of familiar melodies in both registers, Scale of F Major ‘The flat is [Re Tittle finger down mn | simile All Through the Night Welsh Folk: Song, Mat is rine Key of. Reuben and Rachel Fast (Allegro) tine sig — —— a B Con moto Auld Lang Syne Seats UP BEAT R fin down Blue Bells of Scotland ane a 5 seotch Air Key of __ The flat is B.M.Co. 19011‘Think fingering carefully LESSON 22 OBJECTIVES: 1. Further practice slurring from the lower to the upper register. 2. To learn the use of additional notes in the upper register. 3, Practice in using the new notes by playing familiar melodies. Slurring from Lower to Upper Registers (same fingering) D A E BhooF B FA c eo REG REY 4 all Hymn America REGKEY Carey ‘Think fingering carefully Crusader’s Hymn 12th Century BM.Co. 10081bs TEST QUESTIONS THROUGH LESSON 22 Your Points (1) The interval between these notes: is called? 8 (2) Notate (write) the upper octave of the F inujur seule? 6 () Play the F major scale in two octaves. A (4) Write the following melody an octave higher. a (5) Add correct time signature to the following measures? 6 Say & AH ges aS (6) Place a sharp (f) before the notes affected by the key signature in the following line? 3 (7) 9 £= (8) Mark the count under the following? 7 5 oe ee te ya | oe BIULL Lid Fb dd dd she) NTT (0) Write the correct note after the following that you would play with the same 10 ee & ; 3 ve 7s (00) What is the meaning of Allegroe—_____ Andanter_____ 5 (41) Inspection of instrument 0 (12) Sight reading. 10 iv0 TEACHER: Write two lines of notes, one in the upper register, and one in the lower register as a check on fingering. B.M.Co. 10011LESSON 28 OBJECTIVES: 1. To change registers through By. 2, To learnthe © Major scale and arpeggio. 5; To pia ‘aimiliar melodies in the key OF C. Changing Register Through “Bi” [Rep Regt pane] ea] [omer | Fingers down. fingers down ringers down ‘Also L. little finger Scale of C Major © < + How Can I Leave Thee on Key of —— Right 4th finger There's Music in the Air Root ® ThinkCount:4 4 23 4 Massa’s in the Cold, Cold Ground Andante Key of __ Time sig. is. Foster So BM. Co. 1001136 LESSON 24 OBJECTIVES: 1. To learn the G Major Scale and arpeggio. (One sharp, F#) 2, To learn the meaning of dynamics. (Volume of tone) 3. To play familiar melodies in the key of G Major. Scale of G Major (upper octave) NK fingers Arpeggio ible Fingers | << ““"G Major Scale and Arpeggio in Two Octaves joer 37 jF = Moderato 0 Come, All Ye Faithful > —~ eo Key of _ sharp is___ mf (medium loud) S loud) 2 BP (oftly) Samer’ f ~ Andante Home, Sweet Home ; Key of _ sharp is__ Bishop © nf Practice both ports oS = a = emer eee eee 2 gee as oS a anne x Hold little fingers down throughout bracketed passages. BLM.Co. 1001137 LESSON 25 OBJECTIVES: 1. Unc-rstanding and playing chroratics, 2. Knowledge of enharmonic tones. 3. Learning new fingerings. Chromatics ‘The word “chromatic” means moving by half steps. A chromatic scale is one that ascends or descends by haf steps. ENHARMONIC tones are oteg that sound the same though given afferent name because they areon dif- ferent degrees of the staff. Ex. F4-Gb. (L) means left hand, (R) means right hand. BE SURE TO LEARN THE PROPER FINGERING FOR BOTH ASCENDING AND DESCENDING CHROMATIC SCALES. * Ree . ia th n&eol _ th ® ~ —__sswamnonteTowes__—— eee amine Tage own = ee : ENHARMONIG TONES ~~ (OTES SOUND THE SAME. wd ey 7 > ENHARMONIC TONES — NOTES SOUND THE SAME, rary " ENHARMONIC TONES ROTES SOUND THE SAME Chromatic Scale of C in Two Octaves Lx keys 2 L oes a ix © za ey [Both ath fingers Both Te ringers down] Rx ie Key La # wz ee 77 FE 'EXHARMONIC TONES IND THE SAME BAM.Co. 100% xorss ov38 The use of Accidentals and Chromatics in the Playing of Familiar Melodies LEARN TO TAKE PARTICULAR NOTICE OF THE KEY SIGNATURE BEFORE PLAYING The Star Spangled Banner John Stafford Smith oresc. & America, the Beautiful (Duet) Ward Pupil Pupil BM.Co, 19011BM, Co, 10011 Moderato Onward, Chrisiian Soldiers (Trio) Sir Arthur Sullivan 3940 5 Scales and Arpeggios (Chords) ‘The material on this page may be assigned whenever the teacher feels the need for scale and chord studies. Play the following scales and chords as indicated; also play as follows i oo oo ets ALWAYS NOTICE THE KEY SIGNATURE; IT IS A GUIDE FOR PROPER FINGERING. (L) means left hand. (R) means right hand. Place one or both fourth fingers on B and C keys according to the notes to follow. © Major x Ls re Ra o eee Ss i F Major - one flat-Bb Res _— 8 Major - two flats- Db ab 7 Ret cen & ~ e we ss «flats Bb, Bb & A oe Uhre ats Bb, Bb & ab ae eee e G Major - one sharp-F# zee ae 0 Major ~ two sharps-1# &CH i ka e A Major - three sharps F#, C# & GH Le vO aes 3: © Major (upper octave) 1 o2 o F Major (lower octave) one flat-Bb Lees Home work: Place a sharp or flat before the notes affected by the key signatures in the above scales. BLM Co. wort