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1
 En hommage au Maitre Ulysse Delécluse,
Professeur au Conservatoire N ational
Supérieur de Musique de Paris,

son éléve reconnaissan t.

In hommage to Maitre Ulysse Delécluse,

Professor at the Conservatoire National
Supérieur de Musique in París,
his grate/u! pupil.
Les
YVES
DI DI E R ·-v,:,-,'.':> .:

ammes
Du
•• J

larinettiste
GAMMES PREPARATOIRES
A LA MUSIQUE DU XIXe SIECLE

Scales
For
Clarinet
[í
SCALES FOR
l 91h e E N Tu R y M u s I e

Editions /1,nry ~
24, RUE PIGALLE - 75009 PARIS
Tous droits d'exécution, de reproduction et d'arrangements réservés pour tous pays.
© Copyright 1971, by Editions Henry Lemoine
IMPRIMÉ EN FRANCE PRINTED IN FRANCE
 .~ (I y;;di ,, e ~ " 'd ' ca ch,.
4 f!du....,f,. ª r·tJ;~oc.­ Clt~do ~~:_~ ,.-Cu-4 4
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.
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L-llt.- ~ ~OÚL­. 4 ~ ~

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l . /'
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/
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~~~ J:,,.lk4a...L

Le Vésinet, JOth March, 1967.

My Dear Didier,
Your « Vade Mecum » « of studies of the sea/es and principal chords for Clarinet » concer­
ning ali the majar and minar keys is a clear, concise achievement which can only bring benefit to
others.
This is a daily work which 1 have always insisted upan at the Conservatory in Paris and r
j
which young Clarinettists, and even the not­so­young, general/y dislike because of its rather for­
bidding character. But how profitable it can be. It is the basic element without which the technique
of mouthing and technique « pure and simple » could not reach a very high leve!.
f
l thoroughly approve of your initiative and send you my congratulations together with my
assurance of my warmest and kindest regards.
l
Yours sincere/y,

signed : Ulysse Delécluse.

 PRÉFACE
Aprés avoir pris connaissance des différentes possibi-
lités de son instrument, l'éléve ressent le besoin impérieux
d'en aborder la littérature, Tres vite, il s'apercoit que ses
moyens le trahissent, qu'il lui manque l'habitude, les ré-
flexes suffisants
Le but du présent ouvrage est de l'aider a les acq':1érir.
Il n'a aucune prétention d'innovation, rassemblant umque-
ment en un volume les principaux exercices relatifs a l'é-
tude des gammes et accords les plus utilisés.
Les exercices ont éré écrits sans indication de mouve-
ment, d'articulation et de nuance. Il est expressérnent re-
commandé de travailler tres lentement ( J) =72) avec une
sonorité homogene et soutenue. Pour y parvenir, il convient
de jouer librement tres légato, en s'écoutant jouer. Les
changements de registre fréquents s'effectuent sans mo-
difier la place de l'embouchure; seuls les doigts remuent.
Il est certain que les débuts sont pénibles et ponctués de
nombreux accidents ; paradoxalement ils sont la garantie
du progrés. Dans le cas tres possible d'une trop gra?de
difficulté, l'éléve peut momentanérnent éviter les exercices
de septiérne, octave, accord parfait en sixte et octave, par-
ticuliérement bénéfiques par la suite.
Aprés avoir compris et assimilé ce mécanisme basé sur
la décontraction, I'éléve peut remplacer la liaison générale
par des articulations et des rythmes ; par exemple :
--- . ..,---.,
r r: r: r
.
rr rr (tu
Une variante est également intéressante : deux exécu-
tions d'une mérne période,
l'une soutenue et lente,
l'autre piano et vite (mais « propre » ).
L'étude d u chromatisme résume enfin toutes 1 es
combinaisons d'intervalles et d'accords étudiés au long de
ce volume. Elle permet ainsi de s'acheminer sürement vers
la virtuosité atteinte par un travail de longue haleine.
Qu'il soit excusé la monotonie du travail proposé,
mais a tout considérer il est, croyons-nous, le moyen le plus
rapide d'accéder aux plus hauts sommets de la technique
d'embouchure et des doigts.
Yves DIDIER,
Professeur au Conservatoire de Bordeaux.
1
r'
PREFACE
A/ter learning the different possibilities o[ hi~ instru­
ment, the pupil feels the urgent_ neeq '" tackle th~ lzterature.
Very quickly he realizes that his ability betrays him, that the
lac ks practice and sufficient reflexes.
The aim of the present work is to help the pupil to
acquire these. lt does not pretend to be an innovation but
mere/y brings together in one volume the principal exercises
relating to the study of the sea/es and chords most o/ten used.
The exercises have been written without any indication
of movement, articulation~r nuance. lt is express!y recom­
mended to work slowry ( .JI = 72) with a homogeneous and
steady sonority. To achieve this it is necessary to play free/y
very legato, listening to onese!f while playing. The frequent
changes of register are camed out without modifying the
position of the mouth; only the fingers move. lt is certainly
difficult in the beginning and punctuated by many errors;
paradoxically, thry are lhe guarantee o{ progress. In the very
possible event oJ it being too difficult, the pupil can, for a
while, avoid the exercises of the seventh, octave, perfect chord
in the sixth and octave, which are especial/y beneficia! later
on.
A/ter understanding and assimilating this mechanism
based on relaxation, the pupil can replace the general
slurring by articulation and rythms; for example :
Arpeggio of Rossini
­r=>
rr r r r C!J
A variant is a/so interesting : playing the same period
twice,
once steady and slowly,
the second time piano and quickly (but « clean »).
The study of the chromatism summarises final/y ali the
combinations of intervals and chords studied throughout the
volume. It thus enables the pupil to progress confidently
towards acquiring the virtuosity achieved by long and hard
work.
Please excuse the monotony of the work proposed, but
ali things considered it is, in our opinion, the quickest means
of reaching the highest summits of the mouthing and finger­
ing techniques.
Yves DIDIER
Professor at the Conservatory of
Bordeaux.
 2
Etude des Gammes et principaux A:cc·O:~d~i(.
Study of the Scales and Principal Chords­i :,~¡, . '-;.~
f J: t f f € t ~ f .,._
DO MAJEUR · ·.· _;:-: .. ::.i ,C MAJOR
. <":~~~.:>.
e g u:u
Gamme diatonique Diatonic Sea/e ,­

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Secondes Seconds ~ ~ ~ ·

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Quin tes Fifths

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11

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is E ~

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r [ $ ._... 1
~! f? f9 1J3 {t
Se p ti e rn e s · Sevenths ~

1¿; EJ} 1c§ ~ 1ci cJ= 1u Ú ¡i-~ LJ 1 !

' L: l;' 1lQE §.j

NOTA: t.es c a r a c t é r es plus fu,.~ s o n
1(¡ ÍQr ICJ
t dPro1u,P11lPs 011 rietrut a n.t ,
CJ 1{) fJ I~ f) l 1 11

N.B. : The smaller characters are not recommanded far the beginner.
© Copyright 1971 by Ed it ions Henry LEMOINE Taus droits d exécution et de reproduction
24 Rue Pigal le, Par is IX~ 24 353 HL réservés pour tous pays
 3
Octaves Octaves
, l""';3 ~
.............,
~· ~_.
....-1
• ~
•
-,-
....
-,-
•
-,- + • j.......-i I
_...-,
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-,

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~ ....,._

' i J d .i J Ji---;:J I J 1

1
1 11

Accord de 7~e sensible Chord of leading 7th

~ f J ~ Zil fJ J 9 P 1
1
J ;; e
..,.. s:
¡ 1 tE

l j II
suite t les ..2.. µPécédents t efre exécutés dans le de la
8
Pal' Ia o us po nrr on tr-ava il faco n su iva n to :

Later on al! the previous can be executed in the work in the following manner :
4
LA MINEUR (fa sol# la)* A MINOR (í g# a) ~

Secondes Seconds

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Tierces Thirds ~ .a :e
*!J
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- J: 1-
I 1 1

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1 1 I 1

Quartes Fourths ~

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4
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--,

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Se pt ié me s Sevenths ... ~~ ,

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1#tJ] 1 c.f
~

W ÉJ L· ¡(¡ ($ 1(j tJ 1tt~ CJr I f) !J 1 =fJ J:) Id) 1r-J I J J1

* L PS o l t e, rat itm.s
. sont rappe l ees
' r.
pou r en p er mettre une Jam1·z iari
. . sation.
. ut t'] e el-1 Peteue;
' ' #
* The alterations are reca!led to help the pupil to become familiar wun them.
 5

~1 JJ1AffP1a,$Ct1F1 tfú1t@tt;1- -bi11JJJq14 1

' z J 14 ­J J ª J o r: r r E r f f 11 r f f f f ú (c Et q J] lJ ~ g 4
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Accord de sept.iern e de dominante ( qui se = r-c t r-o uver a en la majcur )
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' : , n ¡a.a 1 ¡j w1' fj i] 1 id g;r Cf 1,r rt &l cJ I Ett! t}·fu-
Chord of dominant seventh (which will found again in A major)

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Accord de sept ieme sensible dit diminuée Chord of leading seventh called diminished
~~ 1

IJ

Alternan ce d'accord de 7'~e diminuée Altemation of the chord of diminished 7th

et de 7,~ede dominante 1 # 1 and dominant 7th

#
Arp0ge de Ros~ ~eggio of Rossini

'2 11=~ VITT J?J =llg. s 1 j 11

6
FA MAJEUR (t b érn o l : si) F MAJOR (! flat: b)

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 8
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RE MINEUR (si~ do# ré) D MINOR (b~ e# d)

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 9

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 10
SI~ MAJEUR (2 bémols: si mi) B ~ MAJOR (2 flats: b e)

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5 .
tr te Qr tr l&.f':B .J\J J j I J 1 &

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~

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f I r E /[ rr f f f I. -
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fi d J j J J tJ d J I b f r kf r f 1 f I E f r: Pf ' E fl E f I~ bf r f bE É f ; 1
'r
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_, b b lbÉ] b l[j 6 {3 fil 1-SJ~Q l!J lj 1.f=J&IJ l&J ~ 111

 11

11

11

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I h w 1
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11

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1
11
j 11
12

SOL MINEUR (mi~ fa# sol) G MINOR (e~ f# g)

~ z J}OJJd©, rJaa'df I ctlU~fi,Etffttt, c•c-oy lli®h&Jg' J

1 I

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1
~
1f I 1 1

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r11 r 6 11

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~ J&JJ5J JJ~~ n~~J ~ cE €J: U - . L - -
~~~w~ ~
~-= = ~ tft I f r er ['L Lrlb[ r Lf 1
E

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~i:

~.w J J I J 11

tl7:¡e.i as @JJ , PJ a #P J"j, r br ~e' e r r.f ,bc~r #e f cflff (r#f E f h~t ¡ i

...&.- = -
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1
I
EJ
J ffJ ~w d fl n 1 ~w 1 1?i #~ ~
1 11
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1 #w
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1 0 u

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6
13
 14
MI b MAJEUR (3 bémots: si mi ta) E MAJOR (3 flats: .b e a)

wz ­­~~; L.}"lbE whchrEfttfttrbiHt g~JC

~L r _!.r _ • 11 - J bLfj&JhJ
• J l 1 ~g 1
11

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9

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11

11

11

W-! q-J.-gJS f j wQ I ftJ q/'j ;;.;- r E; lq~~ clr g; E tJr 1 (tqr! f ilO f I
4 H r~j et~>¡ 1f etr 4 E¡ 1ito [jet 1@~1 n JO l 1 1
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9

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L'@tudP des garnmes p e ut se p our-s u ivr e a LA m aj e nr ré s e r va nt µour la fin )es tonalités d é l ica t es , ( pag e 42)
The study of the sea/es can be continued in A Majar keeping the de!icate tonalities Jor the end. (page 42).
18

LA b MAJEUR ( 4: bémols:- si mi la ré) A b MAJOR (4 flats: b e a d)

~2bJJJ&JJJ bJJdJ J 1~M J J J J I w a J~-?31~ ~ 1~r r r1'r r r I rhc re en .

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1

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~ bf!S& J J~ J J J ldÍ Jíl M JO l~é~E
~

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J J - ~t - 5 E U 5 - - e- -

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20

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4 .

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 21

1 .

11
 22
RÉ ~ MAJE UR (5 b érn o ls : si mi la ré sol) D ~ MAJOR (5 flats: b e a d g)

a
~ 25JJ w~w a I MM a 2 11,.fSl~tn I a:tcu 1rc r e e r 1br e cT r E 1 .

~ t:= b ~ •E fE bf<c· b~ite· bfE·~ ..... b ~

1 1 r 1 = zz = t r 1 e 1 rz 1 1 1 re e r 1'r Et ~u r I ttc.Pm I •

, ,,N J ~w J J I J d a ~w n 1&J ~w J 1 a a 1~0 J J J J J l@ bJ g 4 J g 1 &J. 1

~¡ &fJ d ~u J&.J J d lb¡ E ~r: ~r ¡; br e E lbi br l ber be r f ti bt f bt f t fbt I

~ ber be r be r 11
c:r 11'[ r ~r, J [a Jd 1d J ~Jd Jd JJ l&JJ .JbJ J fJ g 1 ~j I
~ ...
b b bÉ b b.. ... .. b.a b
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fr ¡i E f f ~ r r r I
@ Pr:bt r bPr E' 1 E r In~ &ffr f?! ¡&J Jb.JJ ~J&J .J 3 l&J~J&Jb@JbJ J} 1 &J 1

~z d 1,J d &J ~ J d &J 11,t be &r: r t br &e bf ibr bf m Pr bf tr:1 ibt f f bf ~ r:btbr i
i bf br: f r bÍ1'r bEt lbb r Et i,p,r ~r,1 1 J J &J&] i,J&) ~w j IJJ&Jbj &JbJ J J 1 &J II

41 d ~w d w j)J d d lbt r ~r bf r bPt bf l ' r f t bf bttbr 1 f hf f t h:', ~

f ~¡

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23

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 24

SI b MINEUR (sotb Ia ] s ib ) B [J MINOR (gb a~ bb)

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4,idJ .J &3d J~J J IPe c~r rr Pr E1 l~~JJ~{JJ]• l&J 1
b~b 1

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'=iJ§d-1P= -= j fi '=' ¿;~~ 1:9;;t- boJ:~ c;r~ dHcbr

ea -fa 1:~;§i ti so!! 1gt. t H h F;fo- 9
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~ ~f ~F f tr t f i hr tt b[;r E r g bb/'F gr 6 r r9 ffl ~w ~J 8 i &J 1
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 26
SOLb MAJEUR (6 bémols: si mi la ré sol do) G ~ MAJOR (6flats: be a dg e)

. ~ 2~JJJdJ:11 JJJSJJ 1&JJM J w I M a~n w ,b..r;ndJJ 1bez:tr r r 1'r~c r r r r , ,

5 1

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•

4 brir r r r 11'r rr~r r rPt!E.PID 1b.D%m I a~w M J J l&MJJJJ 5JJJ~JJJ 'hJ. 1

1

'j hJ&JQOJ&JJd Id J~Jd j1,J w~J lb¡;be~,~r'·r''r r r lbrbr rhrrhrrlltlthcf Hlhf I

' f htlf f hrfTtCblhtc ctr: o, ¡bp,r:~w .Q Jd 11,J w~M J&J wa i&J~;:rJJJJ~ '~J 1

~ ihJLJJ&JJ~JJ J U~J~J1,J J~u Jd ' 'r~r~eff br E rbf l''rhf rhfblf/f tchtpf fhf!f] 1
h~hr hth h~b .,_ h:r.b b 1'EV s
~ r - - t t r: r; 1 t r Cf Pr - "' ,~¡j 1,J bJ ~J ~a J]
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Id &J J.j - J 1d 1
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'! -s J 11 J J'J j&J

=\J&JhJ~J=JJ-=&í-~= =-~-
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JO 11=-'t:etE;;;=;-=---L-· = PfbHb/für1= 1
! h~ 1, h~ he hf;
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rb bf bfí
~i~JwhJ aJ~wJd 1&Jwd1,J Pd lb; c~,1ip/p/f 1brhf e f kcftd t¡br = /r he 1
h
1~ •

' bb bf tE br hr~c ,tr,,r: br tr E'·r 'nr ,~J J bJS ~J d bJd ,~JJ JhJ~whg &J J 'pJ "

,1h~t'JJO i&JO~j? 1a@~JP 1J-~J lbEJ~iJ 1btlr~cr-f 1,df rJ 11icJhcJ I 1

 27

~~~e~J
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11
 28

Ml l- MINEUR (do~ r é ] mi b ) E h MINOR (e~ dq e~)

'1! ~i.:J &&r:btf lbE tlbtbéf1 ~fq§:Fbi!br l''C qg¡~ia~J a lbJ?JO&Jdbn lb~
q (be,)
1

a J w 1~w a w,.m 1~m 6w 1ijtta 1'r re I e ~r r r r tibcrbr e r 1 E

6
W2~w w w s

'btt f qf f f I br tr Hqt H jf:qf trf r trbr rbr t r I r be r''r E r lije ' r r Eif 1 11 .

, ~e br r ,.tn 1~.BE J 4 J Id J J qJ J J 1JqJ JGJJJ 1d&•JJ bJ 4 J QhJ l~l. 1

,±! dbJ J d J ~~ J bJ 1~r ql br ' E E Ubf I b br¡,rbf tbf r­qf trbfqt ere Che I
btb:cbibrE
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6p~
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'¡ d ~J j ,J ~e ijf ''r ¡ ,~e Pr bPcbP~ br I E bf b~ qfbnbt bt E ~f bf \é bf f bf €be' 1

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 29

! j I
 30

FA# MAJEUR (6 dieses: fa do sol ré la mi) F # MAJOR (6 sharps : fe g d a e)

( Gamme enhar-moniquo de sol b maj o ur ) ( Enhar monic se ale of G ~ maj or)

~~­;m­1#& a•rr 1•c #crc#f'=Af #f5?ts#e ,n,#@@ 1#(.iJmµ#g~J 1

~A 4 H Jd 4 1#J JJJJ O 1#;JJ#JJ w ~J#J J#J J J 1,J#J w#m 1@#ca l'tiiF r r 1
t~ftr r mr~rrr rur Wff :f#ffW° tftffl&¡#ffff ff ¡!(fr#rfr1•r#WF f!l
~' nru 1oo#w 1,JiJJ#n a 1#w#n#n o 1µ#JJJJJ '#JJ#JJJ 1#4. n

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~-1 #¡J#g!#J? )O l#ftJ #J #J j¡J J ~ l •c C #rfr~ E •r r:$ 1 •r #dt E fL e¡ t #r ii I

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 32
RÉ # MINEUR (siq do x ré~) D # MINOR (bq ex d#)
b ( Enharmonic sea/e of E ~ min.)
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(Gamme enharmonique de mi min.)

13 ! ±11Ma.iJqUi.J 1•c#df
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, J#rff9rf 1ff tf#ft1ff t10rtr 1#r#fr•r r r 1#r*rr•c e r ittftu 19 I t.

' fiJJJ#JJ J l#J1JJ~ J J l#JJJJJ Jj lqJJJJJJ ~J#JJ#JJJ ~J#@l~~:> 1

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~ @! 1] #l) 1 tg Ig I fJ {) 1•;] fJ 1*@ (J 1(j Q¡ 1ltr #Es 1f r
~, lr #fy ¡q(t b 1(j (j 1*@ EJ 1•;] q' lfJ 1J '11 #' 1J j 1
=ff ~!p.r1p,,1p1trzf1j¡iaJ!1-ht1flQ-4'-1-CE11~/ZgJld I
@ !J J g g J J w J I r ~ f F f r f f I t r f f lr f.t I fü Et lJ J j I JJ J g w 1
@! J d .J J J J J J fe j r r r f f 11 r L- t r: [g {J J1 J J w ¡
I 1 1 J 11

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@ 1 jffn

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(#.. ~· # (# )#4

'2 ll:{fJftl$ {J#j j J#fll d_ 1 , ll

1 @J'f 0Pr: t et =11 J. 1 , ]
 54 L

GAMMES MINEURES MELODIQUES B MAJOR MINOR MELODIC SCALES

ic :=! • ,il;n ~rrlHt~ ~ q~ -

@i¡ =15 fJ#Jri I e: U g;rblf lt- u 1t bit H.! 1JJA'010 J J IJ 11

~
•
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1 I 1 J 11

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•

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9
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-.._ !!!!!!!!!!!!!!--======== -:::: : __-;e:,.:_ : -------

55
Les gammes majeures et mineures peuvent étr-e travaillées complémentairement sur le modele suivant.

~s

:j 'f LTQ.q¡ 1c.:r U Mtf 1C ti ge g- Ir/ er&r:ti 1f b! [ q;¡ 1

~ ' ~r: tJ g Hf I L Y: U g I b /! &U E I E Et J JJ11 n J1 U U I
-te" n n In .z~ u u I at .a n I t5 J1 .rn1 rn t.J n 1 1 1 11

ETUDE DU CHROMATISME STUDY OF THE CHROMATISM

Secondes majeures Majar Seconds

~ !@#@~J#@#&q&J ~#J¡;JJ&JJqJP UJ&Jd 4J qJ#J,J lqJ#J qJ J#;;f#JqJ J ¡dJ qJq] ~r r~r#F I

r

., qE [#r: •r ~cr''rF lqE#tql r-r#r: 9lf ltbf qrqetf9e#f trt#F#[qttEE tn#f qH #ffH I
Tf qn #f~f tttbf}qtf #fr terqft#Odt4r ¡#G#e r ijE #r ~qrer 1qr e br~c ij( r:#r: F I
1

@ 9

4-MiJ~J M1,J~J J 1,J#W43#JJqM lqJJ~Jd41.t#J ~1ílqJJJiJ#J13üNq)# 1

Tierces mineures Minor Thirds

~ !g J 4bJ#d q:l 4 iJ #JqJ :J J#J# J a lj ~J#J q] J J #J #j J JJ d #j qJ ffi]

1 I

' ,J J .f! arr ~; 1 E 't#r:9F r r•et

1
I C C tbPrqr rbr 1#r9L t f#dEr f tnbf#Fqf f f#t#F I
' Ef #f#f qf qt f#f ttmtr#Pdfqc C#rbVc nr:tnr p r:br1·r f ·9·#·
I Fr
¡bp· • F #·t#= q. r
1 I I 0 1 ij
1
 56
-
'~'J 3
Tierces maje u res Majar Thirds

~iJ#J@J~J&JqJq-J UJqJnldJq)ttJ 1# J&J DqJ,Jd J Jd~Jq]q] 1 3

r

-, ¡.r r1:#r~r cqe'f Pr#f r•r r O ¡9¡#U C°c~Oe9f ¡trfa1;#f~et9f#f trFhtf qeB~f fi 1
le 11 3

9Pdfr
~ #FE qf ~ff t qf~r¡ ¡ f f #t t trtcrlertt:r ¡#f r9L 'F •r e ijc~r I f r •re qPr #[¡ 1
1
~

4--MiJ J J ~Jd qJ J 1,J J qJ ~J #J J qJ &J IJ l#J J qJ &J#lg ~lQ J JW~WJ J I fil 11 _

o ~
1

Quartes justes Perfect Fourths

-' z g J fil ~o #J q-J J J Qµ 4 J J ~w qJ ~a IJ J ü #o J w d ,J '~i1.J a d ~ qJ J o ' ~

' •rªr ePE be ~e f 9 I E [@r•r E C•e#f I C f r:hvdr e f ¡#pfrf p¡~F9é I f f#f #f

9 f
f rifa §
~4

4 qf qn#f qfqef#f É fFrfihrtrtt#r f9rf#rhVr

19 9 9
¡trtf ,r ( r:#E#r
1 mr r/p6 q,
- 1=
1 · ~

Quartes augmentées Augmented Fourths

+zg#J g J~J; jµ '~J ªJ#J &3 wp#J

9 lj#J&J z qJ,J~J J 1~J#J 3 Jd 3qJP 1 ~
-

' 'r E !e •p ~r r qe #p I E #pc f qr #pr j ¡95[ r (be f qr#f t; E~t/[ hr E qr #fu :J

-
#~ ql #
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~#f ~ ~ ~
@ gt Éf t f t t ¡ftt frf Ff 1 1

@ q.Qj nJ J qJ~~ J] ltiJ Jqd d •J J qJd l#J Jq.JJ Jg¡#J J lqJJ#.J J qlhJ Jj I J 11 ;
Qumtes diminuées Diminished Fifths

,1 J&Jfild#J~JJ&J l#JqJ 1~aJ~JqJqJ u~wu~u J1,J#JqJ I pw JbJ#J1,J J~J 1 ;

~ #5 qc e 'Pr ~E le ijr I E hr #r qf E ~he 9[
1 C ~t {& •e qf ~ ~f }b
f 9
r~r, ~f qr 9fl
1 ;
 57

~ 4 rfE#f l ebf h ¡bh € f Í#fbftr if~rbh lür f t IOr [!/Pe f #r (pr U Dr~F !r I
~ ' J.J~Jq) J#J J#J J#J ~JqJ Juj ~wJJ J#J~JJ IJ#JsJqJl#filJ~ lq~ 1
1~JqJ
Quintes justes Perfect Fifths

~ '1 g -J g J #JffJ J J W nd J J d 3 qJ #J !J J J ,J J J J #J 13 J J 5 #j #J J J I
~ 4,,,•r rPs t1r•p ic f#r#f rP.r#f 1cfcf•s#frf 1#r#frf~i:fqf#f I

f
~ ' f f #lf f ff #f ¡qh#f j qh f; If r#f•r qfür 1t L~f ~r fü:#f #r 19(!r*[ r ªer E¡ 1
~ f '(!,rf
1

¡ #J#j qJijj I JJ~J d J J,J#J lqJp#J J qJJ JJ l~Jd 3 JP~PJ I g 11

Sixtes miueures Minor Sixths

~ . 4tg JJ&JJq3 Jd ~jqJJ Jd~JJqJ lj1,JJJ_qJ J~JJqJ 1fJ]J #rql r1J I

f f f f f
4 •rr qf r r T Ür
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6 1
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9
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~ @ r •r ' P ijr J #] ~J q] 1 IJ J #j ~J qJ JJ 11,Ju J J #J #J ~J J IJ #J ~J w J #J &d qJ I i:::1

Sixtes maj eures Major Sixths

@1 Ju1 J ª#J"ª J w rn JJ#J J J p•w iJ JJ#ª J J~J u lq3#ª J w #J•J JJ i

4 ·r ( !r •r ~E fije #f I E für #F E E 'r f 1 r ~ E r ., #f r E tr für.#f tt f qÉ l
1
1
9 I

-~ f rr r qf ~r #€ r' 1 qt r- f F #f •e qf qr tf r T l,r r /r ~r Ir r #fr qf ~r •g I

4 a{p J i,{p g l#J J J d J PJ d I JJ aJjqJ W ud J lq4 J Jjud #J qJN Id I
11 6
 58

J JJ~=#JqJJ a ~J.J J =a~JqJ ª u~,w= JJd~.J '~'J J,,J#N J ~=#r r rh/für:f I

Sept iérnes mineures Minor Sevenths j
, 1 9

' r ~Wt: qf r p/f lqr qf /fül r f I~ #t T r~/t f t[#r qf qr p/für I E /[,,r fir h• 1
4;

f ~Ür für~fü f r '#far qíl¡ p #r:'Iqr I J J~;J JqJ ;J ,~13 J J{J wJ 1#J#Jq{J w#3~wqJ I g I

Septi0rnes rnajeures Major Sevenths j

f 1g#JJ{PJ#J QJJ•JJ.J#J l)JdºqJttiJJ lq]JJ hr füe#f lrfqr#F~r%r:#f1 1

¿ s r~r:fq,1Pr f r#fr: fbr t r#f ,i fürl~r fff ,1~/fiqb F r ,E r qñ"r#úr: qf~r,

19 9

, Crtrqúr:t; 1 fk~-t/r~ u 1•JJqJd#JJ Jd 1QwJq{J#JJ ,u~JijUwJ 'a 1

9 9

Octaves justes Perfect Octaves ~

JJ
' 1 J J#J#.J J J ~JPJ *ª~JM¡Jj ijí[tt3 J J #J•j I b f rf #r#r r: ~ '•r#f r f he für:$ 1

, E Úr#f r Úr: 11 r f rf ~#ti F 1#i T d fi /h ,l'r #t•t[qr f r tftd r#f#rf qr I

, G /t~rfr#fr 1 fü *G}Gr: e- 1'iP J~WO I JJtPJJw#g lq~J#~JijªJ w g I w 1

9 1 :

-~ 1 J J w J#J#J J J 1,J#J qhJJqJa I JJ;J J J•J#J I p r: f rtn'" r r 1#r•e E /(he i, 1

' f e#Úr fi /&r ,f r [ tr f ,l#~ f H f #rl 1'r f./~/t r f ,kiE d#r#füt: qf

#l C r -

@ r 0/f r Be r qr
~Jf qc t, F d',.J J 1Jtt;Wª P~rJ w#g.u 'qJqJ#J#ªqfJ Ju g
1
9
1
I 11 :
 59

j ··~~~~~~~~~~~~~~

* Le lecteur doit s' h.abit.uer p rog ressiuemen: a penser la tona lité r el at.iue a cha que accord.
• The reader must get progressively used to thinking of the tonality relating to each chord.
 60

'1,grbr:lq¡;c df 1~,r Q}-qar#f;i: IQ/ rJ:~,rtf; ¡qc;frgf):b¡ r~r-J r

9

~ 95#rJ~t&t f~f ¡#@#d et fJ ~,c~F~lgt#f :f qf

1
ro ff qet #ff I
f u

11

Accords de 7~e sensible

Chords of Leading Zth

~i JJ&J, 4oac Jt.td = ~4wma :t1~wa 1#¡:tqJíl ¡J J1 1

1#4qgµP

~ p]O ~z qSC ¡J ,ir! #¡¡J qJ f.J B~= 1 ,rtw ~wíl l#~t rJ &r• ~r: J I
1 I

@ •ar~rJ: (Lul/ l#glt9Efü7 g/ LJ 1¡;'C~L:t#¡}r9r:1 li/~tl1grgclfI

1

@ c:r~r/#c#cqr~ -g_rtl 6~,~eJ #cqrqr,tf~fl #r#fqf~ttf f f

1 1 1 I 11

~ f E r r#f Pff 1q@~rw,#te g: te~wne f r t:r te r#r!f qcrqu I

-
J

-
J

H
 ---:-,1

Accords de 7emes diminuées * 61

Chords of Diminished 7ths

r

¿ ~e dJ fti J J 111itJdMJUJ 1 ~JijJJJ {JJiblllJ;1JJJibJOs]J 1

1

¿ 1 i&® JJbWwJ I abrttrtr I rttcbu .r;aag1 IJllº ¡p~ 1 drtfffac I

* L'écriture des accords est volontairementmodifiée pour habituer le lecteur a l'enharmonie.

The writing of the chords in modified voluntarily to get the reader used to the enharmony.
24 353 H.L.
 62
-
Enchainement harmonique=
-
::¡

J d #J J ~ l1gJ f¡ f J J J gp O J fi] J
Acc, parf. min. mi min. Acc. parf. maj. mi maj. 7e dom. la maj. )

' i j gj a e f f¡ 1 Fj j I 1 ;

, e r n, a o p f@J a 1 J bJ e r bg 1a J a , ¡-JO bº J J bJ F
7e sens. fa maj E 5J 7e dim. fa min. ~

w I I 1 ;

'b FE ~F J AJ J g I iJ. j J '6 r ~f J l iifJ- J J J ~J j J I b r ~i r ~ J J J 1

fa min

1
fa maj .

f ;

r !r ag
si b maj. solb maj

& 4 J 1a e r I
b) tr J d J 1 J J a bJ c"r 'df E'T 'nr
1
I
J ~w 1 ;

' fa#min. A ~ #

* 11 est utile de connaítre l'appartenance de chaque accord.

24 353 H.L.
 63

r o .iw a n I JJ J a e e f; 1 fJ J J fJ J a lªc e Et rJ Jp I
# ~ ~
, =e

'
J"J J J s}E ff• 1:2
~ ~
mt-r;"'"* Jp 14pd j cr fl b •
lt?'f;
~ ~ 1
J=;dJI
"'"

' JjdQ e E 1'f

l I E6erJ t;J d ) 1 JJ j Q bg_ f br ; 1 bJij j a JW j ~ 1

' & Et E ñJ ] J IJJ 3 J be E rf 11[ f1bi&J 11 lpp J #J tt;;#E f} 1

¿ t#r ft ttl#J J p l#JP J ~Jttc#E fi 1t [ f !- ff~?J J p I fhJ j &"E f; 1

' ti- #j 1 JiJ #J ~ 1•&#[ ~4 F; ~ #] p I JJJ #j 'j &:'E #f E I €t [ #E !t /J #j p I

¿ ]J ijj · O ~ E f i- 1 f C f ; l J 3 j I J J O 1J e E f J I f Jj E ; ii,J J J I
1 JJ J 'j e f, '.u JJ iJ J ª , o r fJ ..cJ J J i J e e e rJ
- ~ b
hº 11 I w I

' f t f L JU J J I Jd da cl,E hrt I ec l,r J d d d l;J1J #j J ·~'r #[ f I

6f

¿ tPor11J#J p 1¡J.Ji) s#ct1 1-5J,J J d J da I dr b~1 cr 1'E1 1

¿ b;J1.Jªb'- cll 1tftc1b/laiiJ 11µ J a ~#e r r;1t e r rtt1ª J JI

'J J J ~#b E f j ,#ec f tttAJ J J I f] j ) & t fJ I Q ( Fl ~ #] j) 1
24 353 H.L.
 64

¿ #e r f: e r El' J;J a a 5#f e E f f Et E3 J µ AJ a 5 r te f í

1 I 1 1zJ I

6
~

¿ f f tu nw d J 1 ¡J 1iJ ra 5 r tc! 1 f f tci 1:&u J 1b¡J da bcf r I

1zJ
t

& bf 'T brtt s;J J J i r bnl t f br be id J bJ o bt e tJ ilbf be r ' F br br;1 i

¿ #iffJ 3 µ #5#E et 1l~f ftd#J 3 p 1#J;J 3 O #5#f E f 1t E Et wlJ 3 p I

' t [ Ht et r r i e f E e t f s i e e r r t r e f i E t e t e r e; i . ~
24 353 H.L.
 65

PUBLI-OFFSET Mercués 46090 Cahors

24353H.L. Juin 1997 - V
 CATALOGUE CLARINETTE
24677 et 24913 PREMIER VOY AGE ... Clarinette solo Vol.l et Vol.2
24248 ABSIL J. Piéces Faciles (5) - Clarinette (ou Saxophone) et Piano
24226 Quatuor de Clarinettes Op.132 - Partition et Parties
24247 AMELLERA. Andantino - Clarinette et Piano
24424 Violette (La) - Clarinette et Piano
24233 ARMA P. 3 Transparences - Fh1te ( ou Violon ou Hautbois) et Clarinette en La
24235 3 Transparences - 2 Clarinettes
24230A 7 Transparences - 4 Clarinettes - Partition
23644 Divertimento NºVI - Clarinette ( ou Alto) et Piano
24210 Petite Suite - solo
24504 Petite Suite - 4 Clarinettes
24669 BERTHOMIEU M. 4 Piéces : Bagatelle et Trois Escales - Clarinette et Piano
25265 BOUHEY A. & SEFFER Y. Improvisation et Modes
25281 CAMPION E.J. Répétition 75 - Flüte et Clarinette
26535 COITEUXF. 3 Aquarelles - Clarinette et Piano
26022 3 Miniatures - Clarinette et Piano
24511 DAMASEJ.M. Comptine - Clarinette et Piano
24570 Ritoumelles (3) - 4 Clarinettes
24734 Sonate - Clarinette et Harpe
24251 DAUTREMER M. Gavottina - Clarinette et Piano
24339 Page en Contraste - Clarinette et Piano
24338 Premier Souflle - Clarinette et Piano
24450A DIDIER Y. A La Découverte de la Musique des XVIr et XVIIr Siécles Vol. l
24451 A La Découverte de la Musique des XVIIe et XVIIIe Siécles Vol.2
24452 A La Découverte de la Musique des XVIIe et XVIIr Siécles Vol.3
24353 GAlvfMES pour Musique du Xl X" siécle
25022 GAMMES pour Musique du :xxe siécle
24285 METHODE DE CLARINETTE
24399 Solos du Clarinettiste Vol. l
24412 Solos du Clarinettiste Vol.2
24141 DORSSELAER W. Andantino - Clarinette ( ou Saxophone) et Piano
25134 DURIEUXF. La - Clarinette Si b solo
22164 EMMANUELM. Sonate - Clarinette, Flüte et Piano
24359 GABUSM. Sans-Souci - Clarinette et Piano
24756 HOLSTEIN J.P. Clarines et Clarinettes - Clarinette et Piano
24757 Farouche Clarinette - Clarinette et Piano
24706 JARRELLM. Assonance - solo
25338 Assonance 11 - Clarinette Basse
24990 Essaims Cribles - Clarinette Basse et Ensemble Instrumental
24587 JAYC. Andante et Minuetto - Clarinette et Piano
24518 Romance et Sicilienne - Clarinette et Piano
25489 MARCHI J. Harmoniques et Suraigu - Méthode
25108 MARSHALL A. Take Up Jazz (en Francais) - Introduction a l'Improvisation
24192 MEYERA. Arioso - Clarinette et Piano
26400 PIAZZOLLA A. Histoire du Tango - 4 Clarinettes
18246 PARES G. Méthode Elémentaire
25289 POLTZV. a
Elégie G. Meunier - Clarinette et Piano

l
23752 RAWSONH. Enseignement Moderne du Jazz, Hot, Swing et Improvisation
25404 REDGATER. Eos - Clarinette et Piano
24949 RIVAUD J.P. Initiation a
la Clarinette - solo
25007 ROSSIGNOL B. Valse Chagrine - Clarinette et Piano
25218 SINGIER J.M. Bouts Rimés Burinés - solo
24446 T AILLEFERRE G. Arabesque - Clarinette et Piano
24583 TANAKAA. Et l 'Hiver - Clarinette et Piano
23104 TOMASIH. Concert Champétre - Hautbois, Clarinette et Basson
24739 TZENG S.K. Pastorale - solo
25227 VOIRPY A. Méditation sur un Kyrie - Clarinette et Orgue
 YVEs DIDIER Scales
For
Clarinet
SCALES FOR
1 9th C E N T U R Y M U S I C

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