128 68 EXERCISES OF MECHANISM. 29 The exereises of mechanism have for their object the formation of the fingering hy habituating each fin- -ger to act separately or simultaneously, By these exereises may be acquired that equality of fingering and that purity of tone which are the finest qualities of an Instrumentalist. In the following exerciseswe must accentuate the sound upon the first note of each division of the ber. Each bar or each sketch should be played eight or ten times and as a finish play the note after the datted double bar. All the notes should be shirred, ascending passages played ereseendo, descending passages diminvendo,PRACTICAL EXERCISES upon pussiges which ure only executed with digpiculty on the V8 Keyed i Clarinet, but which become simple and ecsy on the Rockin Clarinet (with rings.) These exercises are adapted to familiarise y -iring equality of the fingers. They are principally intended for the exereise of the little fingers The first 88 exercises should be played also in the 12th8( Harmonies) that is to say, by opening the12t) Key, or the 132 on the ordinary Clarinet. Repeat each phrase several times until it is played with equal in order to acquire # good tone. __ = = PVF STST with the new mechanism, wid are iadispensoble for acgu- and eelerity, always shir the notes5 == el $0 == ee ES >= = Pipa as sail pate 2S aSTASTE AND EXPRESSION IN MUSIC, OF THE CADENCE. 16 ates Uhat the measure is suspended. tant allows the singer to diay is taint of wocaliation al the instru ntlict the beillncy’ of hi rate ‘The cadence it @ nepone whieh in ‘The codence diverts the inmginat ood tate ig the only rule tobe evmelted that ane will denate whether Uhe movement Ahold au ov fests whether the cadence ehould be (OF lene cr short duratio Guxenan Keun. ‘host Detween whe KEvith of the cadence and the Phoase which ccmes after ‘When the cadince is not tied to the phraswhich follows,it isin good taste to leave an dnterval rather Jung then OF THE TRAIT OR PROMINENT PASSAGE, abiliey_ of the plays; for this rearon he most strive to perform n of the trait that we recognise and estimate Uh He in bn th very devienble nentness, ‘ve well ed and well egcentedyin onder to catch ea ig the designs in ts comporition. ‘The first bare oF the trait ms ‘The finish ofa trait aways equines an amount of epinit. aul dash to bring it to a happy twranasion, OF ARTICULATION, ‘To artieutate,# to make heard distinctly with uetnces end preetaion all the notes of a fait phew or vther Piece adding thereto the proper amount of ehading end inflexion, ‘There are two torte of articulations the slureod and the detached, But there two anticoations are combined of a dhoustnd styles, ss the most beautiful results, As it would be difficult t and it Wo ky a happy mixture of slurred and detached notes thet we obt ive here all the various form of articulation (for frequently they depend on the capsice and fency of the player) I have arre. ongrtAS exercises on those which are meat ie use, 5 EXERCISES UPON DIFFERENT COMBINATIONS OF ARTICULATION, Bear litte on the fictt note ofthe slur end Tighten the last cn where the bind fiithes: ‘tnoton uered ard 2 detached, 3 wa usred and 2detached. 5g _ aN 22Same execution as the preceding. te Strate é Execute like the 18 bar separating the notes 2 by 2 and attacking the first of each Pair with a shert siroke of the tongue, ; Ee Ss eSBs 6 Sra wwsoe are ae apne = _ => Generar Rein, The first ante of each division of the bar must always be more accented than the others. 4 notes slurred. Tee SR Beansa cs 14 notes slurred and 2detached. Press ni the commenesment and gradusliy diminish w the end of the slur.To be played in 2 ways Shir every = two— Slur the whole bar. ate 2,2 2420,> ae - 2 2S ee See er eas te, aS ce SS ee eal Mark well the first of eneh triplet. a ores SS =: fren gadevesies \ee yt mor it f rye$5, Gre, ~ttesEA] a ey — tts +e tieSlur thé Snotes. etphasising the firstof each Graplet youn — <> Ay AT AE TE (epee eee TE EEE TE a ee Sees = me to Bh ote Geko tee ———— fe ee — = ae Geese eae Sma aLIEE EEE, x 7 == Ses36 a ty , . . TBR 3 eT ee uy ty Az os Ss istOF SLURRED NOTES. 37 To bnid the nutes it ix sufficient to wet well the first aud,by thie same impulse, to produce the others without allowing to be heard the slightest separation, Sometimes the fingering of the instrument presents intervals — Siffieuls to slur. beenuse those intervals require fingerings which, in spite of the player, leave intermis- sions in the sod, That inconvenience is then only got rid of hy the abilisy of the artist, foderato, —— Mod i z > —_ =~ OF POINTED NOTES. When the notes are simply pointed, you exeente them hy a soft stroke of the tongue, taking eare to have 1 full breath always at your disposal; the strokes of the tongue must be given in the sound. When the pointed notes are surmounted with # bind or tie, the stroke of the tongue must be softer, and not quite so short as in the simple point Moderato, poee mallentOF THE STACCATO, The staceato for wind instruments, corresponds most ustially with the short bowing on the violin, when each note is struck firmly and with the end of the bow. It is that effect which we must endeaver to obtain, by attacking the note vigorously, and leaving « alight interval between each stroke of the tengue. Execute all through in the style of the first two bars, | Seer P oittaates ——ARPEGELOS, * Gi Like all wind instruments the Clarinet can ouly play the notes of a chord by disiributing them (Arpeg gin) You must pass rapidly over the different notes of the arpeggin in order to make it entirel single breath. If the fingering is heavy and unequal, if the sound is eut at-each note, it is no longer Arp- -eggio; it is only passing quiokly over several notes. with & Moderato tw S piu demAndintino. 17 PE FF natc® stent 4 DAILY PRACTICE ¥ DIATONIC SCALES MAJOR AND MINOR AND EXERCISES ON PERFECT CHORDS, DOMINANT SEVENTHS, DIMINISHED SEVENTHS on.CHROMATIC EXERCISE. This exercise ought to be played both slurred and detached; the Performer cun afterwards give to it the articulatian he pleases. ° = getedete Hehe be orew- Set tues, =ite Se = FE Feet ~ sale 2 pase ee 2 4 & ~ + EXERCISE OF SCALES IN THIRDS, MAJOR AND MINOR. T recommend this study us being one of the most important.72 ber aT Ie pipe Se yaa eaeKlose mothot74 EXERGISE ON PRE PERFECT CHORD, MAJOR AND MINOR, IN ALL THE KEYS, + BESS Boe Gee 42> F En a at fit tin ty 2 — see 2B15 EXERCISE ON PERFECT CHORDS. ostae EXERCISE ON DOMINANT SEVENTHS.SINE EXERCISE ON DIMINISHED, SEVENTHS, Gk dip F18 et BEDS IS> E> EXERCISES ON SIXT These should be transposed into all Keys.feb este, tet teleste tootOrTAVES. a. Klose methodsRONDO. . Allegro, Mou Vv daleet = Klose’ Methoa.93 Coca Moderato G2)46aftPict tne tg= Legerenente.104 SS eco vite dolce, = 28“Legerement, 3 ott tee eae ; : —= 5 :SS _ Adagto. it Pltoa Allegro con amabile, : #: 12 — Klowes Method,108 Ea Se —S AdaigoPRELUDES IN THE FORM OF PERFECT CADENCES. nr . aN 3a Klose Methodswe 22 EXERCISES ON LOW NOTES. (CHALUMEAU) Well mark the sirst note of each group. 1 ££ OO ea ghea ghey ied aU SETTS TSN ETS GETEET GF TTT Serie’ Ss s¥e= EF PRI ee Feta eae eee et taeng Clarinet accompaniment in La Gazzu Ludra with different transpositions to awit the singer. Clavinet in. BP as writen ty Ros FS ! t va 45 ‘i of ¢ » * i ( : Pattee) Poe OL IS Ping Bos ne SEES EE Ss Wan Mecho sNa This lesson can be pluyed im F major; you merety add a 9 and reud the same notes. Hee RSE BU Oe $3 =e 5 Goer = FOE Pari i pace al 13 i Op Cen Contin leg Cegneaneg eg Menor se Se eel415 pe View. teyato Stent Te’ SS ss et VST ete ¢6 Pa E eae, 20 Se aa Op ta =e + ae FT PP TS AU slurred, gecenting the firet of each group. 24 Se f = I ipa he Lape an 3 tara petee SSF $= ag Slee ee + Sse ss ogee ELE12 ETUDES IN DIFFERENT REGISTERS OF THE INSTRUMENT. Molto legato. | Agitato, a GR IE IES Wa Z peg ent tag ee aeass Leggieramente, a lows MethodMuderato. Andante, 6 ; : EES La Laces Sn Seen Snes tate: cs = =e = oS Saag ag mm Bp, Klose Method,421 Povo Allegro.123, Allegro moderato. #£ Ainge BE. Kaas oP eh 0 geste ere == Eitri a Aight ee * — aes BP ee Fpgliest ae toate Sa EF DS duet. a ae = et OOS om tees ey htt ian tears eltm FIFTY MELODIES. IN PHRASING. Thema, | Se 2S = zo FZ Sess afr a ty Sas aa Ah che d’Amore. C11 Barbiere.) Allegro. —~ 3 fae ew fe 87% op == He 7 = *- Yo sono docile. (51 Barbiere.) Moderato. Gant a placereThema, Schubert, Andante. Andante. dolce GFE! Ariel Mazurka. Rollinson . * ‘D.Cal Fin Andante from Sonatine. Kuhlan. Ande = 4gN 8 oo Paste Klose’ Methods126 Gavotte. Martins, Allegretto,”, 7 => x, mg Ro, z x z z 2 _pooy rit. TDC. Fine, 10. Clarinet Obligato, from Presioge te Weber AIL? @razioso. Rade, > 10 23 Over The Bounding Waters. Lintey. Allegretty all. a tempo, A Chaplet of Roses. (Puritani.) Bellini. Brillante Allegro Mod$? 5 et 12 G aS stetemVien diletto. Bettini. Allegro Miterato.dA0%> Z> = 13 So, == Di tale Amor, Verdi. attegrofpinaie ot. ir 4 Ghee S| 2 SSS pyco Plu moseo. oe, ae frat, Sa Canzone.J -o0.( From Trovatore.) Verdi. Allegretto. ty ys 2 15 Cavatini, Ernami Involami Apdantino. 16 ‘otto voce. bo oe amTs Tutto Sprezzo. ( Ernanis’ Verdi. Allegro con B. ei uv vi 7 the de iim $ 7; Con Grazia. Ballad.( Come Back Annie.) Hatton. a tempo " = PP Tacciam Carole, @ Grovinetto, (From Miretto. Allegretto 19 > dim f Barcarole, (From La Muetto De Porti =Du Pauvre Seul Ami Fidele. Auber, Aadunte gon moto Qt P O Moment Enchanteur. Auber, Allegretto. mgd lib. o Song. Lintey. Allegrett® Grazioss. > poem 23 tems ==P Annie Laurie. Andante,Be Gipsy March, (From Precioso. Moderato. . _ 25 Weber, Theme & Variation. Andante quaei Allegretto. Beethoven, 26% ie, olee mu con bri eVirie. ver Andante. SS Rollinson. Andante. - 27 Romance. Andante gon mote, dolee. > hoy > boos “?P‘The Danube River, Tempe dé nearer 29 eae forte gy tres lento. Robin Adair. Larghetto. 2 x a tempo, 30 ae og St inten 3t Mazurka. Weibig. fa 2 $Stee ote te102 Polka. Wundentorg, Henee Begone: (Liu Vivace. 35 = : a G Fortunes Fickle Frowns Betrayed. Donizetti. Meyerbeer, 2 A Mlusta Yoce Sold. Huguenots. Altegr Moderate, .. 37 Alice Where Art Thou? Ascher, Andante. koe1 Have A Thought. Abt. Andantino, 40 Song. Smart. The Broken Ring. German Song. Andantino. 42 P Mich Flichen Alle Frenden, . Paesietto. Agdunte, Home So Blest. Abt. Madenato. My Sister Dear. (Masaniello. +134 0 Calm Forgetful Slumber, (Otello. Andunte express 46 = P aT _— From The Time Of Earliest Childhood. (Martha) Larghetto, are Pp aq Libs The Light Of Other Days. The Maid OF Artois.) Moderato: ae 48 a= I> Oh! That I Never More Might See. (Anna Bolena.) Moderato. 49 Ne > Pat a 3 ‘ a iF corer Poor, Though My Cot May Be. Retly Moderato. a 50 P‘The black date @ are cloved holes. ‘The zer0s 0 the open holes, ‘The numbers on the keys indicate the holes that must be opened orc ‘The lettor BR indicates duplicate key 8 seed by fat finger 2 placed over the notos indicate the fingering to b 5. 9,17, 20, 25, 87,89, 64,08, 61,64, 67 68,76, 88, avoided excepting in rapid pasages. Close the hole used by the thumb, ass ees To = al Gi Copyright MCMV by Harry Bettoney,30 Hanover St-Boston,Mass.u EE EE saes 88 8 Fee Bo uNeN wenese wobbeh Ge & bbe & BEE abe lebbbbs bh bine i bible thir Whi WB Be b ke & & te Eb Alto Gazophone and Pane, Bites. aati Sas ‘& bees BB ve te Y hike Ge & betes: beh bh i bhi Bb Soprano or Tenor Sanoptons and Pane,