ByCLARINET BOOK 1 CENT on HIEVEMENT::. Acomprehensive band method that develops creativity and musicianship Dear Bane Student Congratulations on deciding to become @ mombor of the bend! There is a specal kind of enjoyment that comes from performing with @ musical group that can be found nowhere else, As @ skilled band musician, you will be able to play 0 \wide variety of musical styles from symphony to jezz, from contemporary pop to marching bend. With regular dily prectice. there's no limi to the exciting musical experiences waliing for you! We wish you the best of ‘success in echieving your musical goals ORLA, Pyrh Whb tine John O'Reilly Mark WilliomsGermine Reavy To Pay |. Garinets play best when the rad is thoroughly moistened, Sook the thin end of he eed in {your moth while you aro ascombling the rect of your insturnnt 2. Avply eal quant of cork gross to each cat, 2s noceesan: 5 Piacthesppne saci isthe pale af yo dt hond. xing you ingore to press down tho tono hole sings Grasp the bottom ofthe lower sec- tion nea the cok, so that the tone les ore Facing te your sight Lino up the tere holes on both sanions, and gery fastback and fonh unt they Fi togetor. Be sire thatthe upper bridigo ky is doe on top a tho loner bridge kn, 44. Holding he lower section, gon twit on the bal Hold the upper section and add the Dar, ‘always using @ twisting motion. 5, Romero the mousthpioe cap and ligature, end insert the moutpiece. ing up the lat pat of the mouthpiece with the reistor key ond thumb tole on the beck ofthe sli te Hick ond ofthe wood betweon it and the mouthpioes. Center the red sa that ony a ny ser of tho mouthpioc is vibe ebovo the reed. Gonly then the Higatuse scrons ut snug sant. Adé the igure and exe Ciariner Care 1 When you ore fished playing, the aff the yeed and place it in a rood holder This allows tho oa 10 dy ‘ropely and tates it last longer. 2, Uo tho clasinet swab to dy tho inside of each section, To avid get ting the swab such, alnay pul it trough inthe same dveton as tho fw i lor top 19 hota, 8, To beep your keys shiny, wipe therm cl with oi loi 4, Stor onl those tas in your case thatthe ove is doskgnd fa hold Forcing music orate obo ito our arinet case can cause prob ome wih the instrument‘Cueck Your Paving Position Sit om the ont haf of yur chair Keep your feet fat cn he floor Sit up stright an tal “The righ thu is placee under tho thumb rest neer the base of he thumbna. Fingesswmeln cured, even hon net protsing down fing o: kos,Propucine Your First Tone |. Practice tching fl beat, filing the bottom ‘of your lunge 0 that your stomach eande Then fl the top of your kngs without rasing your shoulders, With gontle pseu, exkele ‘ormpotly. Avays using fl breath while laying helps to produce Fong ill ones 2. Our ft tore wil bo produced wsing just the ‘mouthpiece and barrel, Hold the assonblee ‘mouthpiece and bail sections. form an ‘ombouchuro snd tae a al both though the comers of your mouth Lt your tongue slighty ‘0 thot i comots the reed. Now stot eaele fd then race tho eed aif saying “Teo.” Make the tone laste long as psi Nest, produce severe notes on ono bath by touching the sed with your tongue a6 if saying “TosTooTarToo—" nhile exhaling. Produce as ‘mony notes a» ponible on one broath wail you un out a ae Formic THe Empouchure Embouchure (ab-autsure) a French word used to descibe the way you shape our ‘mouth while plying. Hore ie how to form a 008 embouchure: 1. Turn your lowor lip ght over ycur bot tom teth to provide a cushion for the red 2, Place the reed on your lower lip >that it ‘eats about Yo inch Ito your moet ‘9, Place your uppe teeth on top of the rmouthpivee. 4. Tighten the comers of your mouth while saying “oo.” Suoich your chin so that t rocvsine pointed and le Practice Tips 1. Tey to find a place wih @ good, fam chair whore you wil not bo intewptod. Uso mesic tard to hold {our muse inthe corret poston for paying. 2. Occesionlly we difforont reeds 20 thot you will says hs mote than one tod ead fr pero: 8. Stat by ployng long tones. This builds your lemouchre and improves your tore. 4. Always include some aleady leaned “ion” pices 10 that you continue to improve and pect your por foxmnes 5. Spend a concentoted pid of tine onthe most di cult port of your muse. Avoid the terpttion to play ony the easy pars. 6, To make rour practice evan more enjoyebe, ty play ing along with Uo AeeseY on Aeriaa soooenpni iment CDs or cassettes‘The Starr S lines and 4 spaces sod for wring music Treour cuer Also called det, The second tne of tho stall othe rote ©, The endot 2 section Bae Live Divides the st Time Siennrune The dstonce Tells us how riany beats ave in @ mensite and what kind of note gots one beat. etwoan B40 bor ines ‘The Musicat ALPHABET The musical alphabet ses ony the lates tough G. These ote used = 1p name the notes on the sie in = == LUNE-SPACE-LINE-SPACE order eo ABC DEFGAB a. From bottom to tp, The lines an be remoutbeced ‘There ar sles thet help us ‘he spaces spell FACE. ty aang the Wal lee gach romember tho names ofthe fines word inthe sentence ‘ad spaces ofthe so Every Goad Boy Does Fine, Lepoer Lines Used to eatend the st“Tine SiewaTuRe: ‘Wnous Nove = Recehes 4 eas Indicates 2 whee in fm. measure of sence First Notes ano Rests alt amt TR2EDKGK TA2EO REE Goine UP. Lines ano Spaces Warcn Tuose Rests Up ano com We Two oF a Kino (Accent ow uistemnc Listen eazeull tothe sok, then match the pith ci)‘suggested place ath ‘Quarter Nore Ss Goop.NeicHeors Duer ‘composition with pate fortwo pave Mix ‘em UP Four In 4 Row 10 Passinc Nores (Bust) Turee-Nore Samana 3 Alccent OW THEORY Fn in 00 note names, then fin the fingerings = i. t |Teoagees vipeanee Recsies 2 boots Receives 2 boots in ftime in} tne Hav Fuut or Hatr Empty ipuct) 16]| “cane 1ezesess| taresnan. Hor Cross Buns Engh Flt Song ‘Au Caine DE LA LUNE Frerch Fol Song Jincue Bes Tetons! Coe » Alccewr on usrewmna 1. Play “Mary Hod @ Litte Lem by 2, Wie in the missing noes io complete ts son, 20| Quanten Resr Recsves 1 boat Repear Sicw |] in and ftir. Play the music egein fiom the besianeay. Tiwe Stonatuae _ Roun Playing the camo musi Daginning ot foram tenes, Q= 2 baw n each measure = quarter nate receives 1 beat Hanoctapper's Marcy a Berrer Tan tHe Rest Clap fist. pay Goon Kinc Wencestas Traigont Carl 2 Donkey Rouno o Amnian Fok Song 24 Drevot, Drevon Trait 25 Accent on carer 26 7 For move individual technique practice, see page 42, 1Key Siemarure. Indicates notes which are to bo ft or sharp. Your fat oy eignatro container ate orshorp. eins two nes of the same pi 10 ‘Tempo Marxines raake ona fg note rae Moderato Allegro Madu tompo Fee! tempo 2 © * THe Score Is Tico wuct) Mary ANN Mi ; Ain Fak Song Acceur on THEORY: On the Bridge at Avignon Name tho notes, then ploy. ”‘Alcewr on rersoenauce a] Houpay Samper ‘by Joho ORelty fond Mad Nisam Allegre &)Etortn Notes . ‘Vaaiavion Recsive Mi beatin na Changing the rythm ranks a tone BES Tempo Marking 10 cate waren. ‘Andante vase Moderately stow tempo EichTH-Note Express Ruytam Ripte (lop fra, ton poy Bue THem Cassace Down Allegro America File Tune a a Surprise SympHony [=> ~> past: est Frans septate ‘Andonte ‘aes AlcEwT ON CREATIVITY: Variation on Lightly Row Crate your owe vation by changing some of the quarts notes eto pats of eighth metas, Germin Fol Song 36IwTeRWAL REPEAT Repeat ont the music botween the ers. “Ter anD 2p Ewomnes 1 2nd ie: skp the st encng eet Cumeinc HicheR play the second, 37 More Eich Notes 38 Lonpow Brince (wut) 10 Erglbh Fak Song StopoLa Puma Cave Fak Song ‘Allegro ae : 40 Ski ro My Lou Moderato Americen Fok Sora First CHORALE Andante a2 (Alcent on cneer 8 For wore individual echoiguo practice. see pago 42, #2Divist Some players play the — tp nokec ule ches =t play the het nctes,— =—B—= Dorrep Har Nore d= d_J Toe Cannas etes of liforont pitch “Tongue only the fit note Tune SioNarURE ‘A 6ot following 9 nots increasos 4s length by 14 its eiginal vale tn and & me, a dotied hai note roost 9 boots. boat i oach manearo jater nota vecaves | Boat Swurs ano Dors Turee-Four Duet Sournern Roses ‘rues. Moderato (9e25-1109) Mexican Jumping Beans -& he wi (variation on CHAPANECAS! ie ° 4 Allegro Meer Flt Song Acceur on rucony rw the comet bar lines, hen play “ile 2 SSS | = * ee‘ShaR> Reise the pitch ol 9 note tne hal te. Key StonaTure: [AI shouldbe played 2s FE tioughout, Dynamic Mankines tf P orte-toud —piano-sof Two Ways To PLay Ir - ‘ 49 ‘Aura Lee (Duet) Andante vmricon Fh Song Fire Jacouss (rounc) Moderate ® Franch Fak Song F oS oS Morninc trom tet Gieg Fndante (03-1907 52 p< Alccent on crearwiry: cmptowa Races Stophes Foe ’ t (82-1034) [Add your wn dynaniec morkngs, them periem, ai a =I 53| Prex-up Noves Rrrarcanoe rt Gradually slew down ike tempo. Notas that precod tho fist tal eieacue | Parrerns with Pick-ups ares ft URE Carnival oF VENICE tan Fat Song Moderato i184 55 ads 1a Jouy Oto St. NicHouas Allegro Teacionl Cre 36 Sf t # f THe SNAKE CHARMER Andante 57 == Pox Bi Grocan’s Goat Allegro Amesicen Fol Song Fer move inevidualtecheique practic, see page 42, #9 8 4Alcceur on rerrormauce Eacte Summ March Jet Oy ond ‘Allegro ‘Mes Willers= Ker Siowarune a {UO sho bo played = 5 Lowen tie | sch tmomboat pit of» nate ‘ne hall sep. Another New Note 6 P WHEN Love Is Kina Ini Fl Song ? f Joheanes Brains THEME From “SympHoNy No. 1” ‘tensa Allegro i. eo 62 ‘Oueen kan (Hawa ns-1817) ~ Minka, Minka Moderato sino oll Song 6a t ® - Atcewr on rHeonv KEY RINGS: Cie all notes changed by the key signature, 65nger Cueewuanel ‘OncHestRaTiON sharp until the Choosing which incturrents ‘st bat in, play a sotion of music Te Key Maxes THE DIFFERENCE 66 oS f , Pp soa ron Ep a7 ee <4 Sa oe a Bives Apvenrure (Duet Allegro S (Alcenr ow ceeanre: rs o1 wan Asian Fak Song (Choose your ewn arhestation fr this melodySince Eicumn Nore ano Eton Rest Eock ros 12 beat in H Land dine Easy Eicutis 70 P t Pouy Wouy Doone ‘Rises Amarin Fok Song Magch From “Ronoo Auta Turca” % ogng Moser Moderato (786-1701) aes Mesicn Folk Sons Accent on c.aeimer ” op es For more tnidasltechniqun peacic, ‘se page 62; 5,Tero Mancino Vivace Yer est erp Opposite Directions 7 fe Accipenrat Encounter 78 ee? f Cuester Wii Bi ‘Andante (176-1000 n Neer rr Beta Bimea ain Fale Song Moderato — e Cuopsricks (ouet) Tadioral Vivace ae JECEWT ON THEORY Fit the note names. then fli the Hngoings. 4 4Dynamic MaRenes t 2 more forte-medie loud wv ont 1294i2ase ‘mp secre plana-metian sok Fapinc Away at f pe Oe Exrenpeo Rests (nuet) # Finate FROM “ORPHEUS" (can-cani ecu Onbach Vivace ‘si¢-1000) we site af frrt |CCENT OM CREATIVITY: Rbrthmic Improvisation Inmprnise your own shyhas in each measure using only the pices shown(Accent on Peerormance Gaactic Episope < John "Ry and Andante P ie iio . 2 2 * odin 1Staccato J pay te pte ts © rel nh dds dad Tone Bunge - a f A Suorr Story 87 wf Wiuian Tet Overture gen Gceesn Rest vr ‘Vivace Havixvan Andante ial Nato Atha Minuet Jenn Sobaton Bach Moderato 11605-1750) Alccenr ow ciaerwer a ASG é wp eas? UE For more india! technique proctoe, see page 43, #6 & 7Dortep Quarter Note é J d- LS) Tere Tete Jin 8. Sand 4 time, « dott wil ate revane tal Dorreo Quarters : 92 Giuseppe Vert Anvit CHORUS from “IL TROVATORE” (Duct Wa) Moderate nae Vivace Frere Conndian Falk S009 suuen ER 9 Z ae SF oy a a , me ew WeariNG OF THE GREEN ‘lego von 6 : toe Acccewr on rHeony ‘TAKE A REST: Complete each measure by aéng the comect rs. then waite inthe counting ard cep pe LL LE98 Ir's Ramm, i's Pourme Tn at Ruytam Anrics 109 Lone Time Aco Allegro aE eet Fall Song 110 a Zz Hau, THe Conouerinc Hero (nue (eowe F. Handel Moderate "635-1759, Foux Festiva Moderato 12 7 the zi 7" g eo ** F We Wish You a Merry CHRISTMAS (Duet) Be Taina at Accent ou rucory 114. Avange the falling tampo markings ieverdor Wom sles! to fstost Moderato, Allegro, Andani, Vivace. LargeAlcon eseroenauce Waren THe Sars Go Marcuine In t 4 = a by oho OR Large Allegro ‘ond Mak Nilo s_ 2 4(Crossino THE BREAK To movo easiy botaoon high and low rogitor, Hight hand fngors- o. oan bo lot doan on ‘Crescendo Dinnuenno ——<—— set louder gredually get solr grad Crossine THE BREAK ii lad dogg oon sear 16 va a7 ‘F 5 ‘Trumpet VOLUNTARY (Duet) Moderato hap 24 don 107 shan Stalive Andante 1955-1067) 18 — =? “mp — af mp =p [Alccenr on cRearinry exis oon conpston ening «tlre fui and vy 19 1. Gopy the fist mo measures rt measuies 5 a 6 1 erate unity. 2 Compose new misc for the remaining maces #240 aro 3. Play your composition.Time Sicnarune @ CConminon Tine-sarme a Steenern's Hey (uct) alegre Aton Fk Som m a of Reusen ano Rachel (Round) vee @ ‘adione 12 o i Amazinc Grace Andante Amicon felt Sona 123 Pp ~~ —* Accewr on ciariner ie oe 128 of — » ——F For move inevitultecheique practice, soo page 43, #9, —FMore Srncoparion dM )-JL Syncorareo Ruytamas eh ceae oa se Russian Saitor's Dance Res reel Glare oder 185.1955, 125 Ye Banks ano Brats of Bonnie Doon iouen) Scot Fak Sono Andante E & ALCCENT OW THEORY —Aecange te fotowing dynamics inorder frm sot wo loudest ae back: mfp. tp 29 ————Key Stonavure ‘ALB and F's shoul be played Goo Bh ond 6 thoughout Moan’ Ir Ue 130 uf On Tor or O10 Suoxy SSRN ‘Ameicen Fok Soon 1a Peta | Teeth March Sav (120-1099, large him 132 mp Las Mafanrras Moderate Mien Ft Song 133 PP ————————_ 5 ———————— P Pomp ano Circumstance Andante (157-1934) 134 For ove incvidnl technique practice, see page 43, #10.(Cuaaier sovo To a Wito Rose from WOODLAND SKETCHES bord Vacant 1000-1308 ‘Andante conn PianoUso coat nguing le pogo 42. #4)Alccent on perrormance Joh Pap Soesa aast_1933) 2a. by soi Oily ‘od Nort Wits Sousa SpectacutarAccent on scaues Masor Scate AND CHorDs (concert el) G Masor Scate AND CHoRDs (Concert F) ae F Masor Scate ano CHoros ‘concert eb) Bb Masor ScaLe AND CHORDS ‘concert 1 (C Major Scate in Tiros (concert a) cteltns: 4 ndddd. ddd SMenbtons: Ld J, ddd G Masor Scate in THiRos (concert Fi F Masor Scate in THIRDS (Concert Eh) B» Mayor Scate m THIRDS (concert ah 4 =} & to = Se a Al Curomanic ScaLe ad Use ana ageing (0 Fngeing Chart on page 45,(Accent on ravrams 14d Jd pd 1gd 1 Dt Oy i qt Dl 4 i pn i ey sgitiy. --—_J0 J J JJ 4 0 o44 D0) Oy oo omy 141i ny Aon, Alfio, MLO on | Olona, spa ayAlcceur om rests‘Accent ow cureerAccent ow coonaes Concerr Bb Andante Concert E> andante = = pea =F mp oa tHe Concert Ab Andante e'LOSSARY Accent (=) Ploy the net stronger Auzcro Fest temvo AnonwTe Moderately slow ternpo Back, Jowann Senasrian Goumn composer (1585-1750) Baz Live Divides the sil nto mesures Bass Ch (2) Aso cle F ck. The uh fe of team ene Becryoven, Lucu VAN Conon sgoutr irro-tiany Baines, Wat Amen compose (746-1800) Besse Jonaunes Gomen comps (1823-1897) Brea Man) A suse lc ote «beh Canes, Jenin Engl cen (1574-1707) Counow True) Save fn gti Cresceno0(—=) Geis eda BiG. (Da Cara) a Fine Go bck ooking en lye ne Diunenoo (=—) et sor gedaty Drust Some players play fe top nots wie ots lay the boston notes Dovete Bar (]) The end of a section of msc DIS. (Dn. Secti AL Fie Go back tothe sign ‘nd play an Fine usr A composition with pats for to playert Dvcita, Aron Cnc ceepser (1841-1908) Drrwanc Magninas Srrbois tht indicate lxudnoss for schness ofthe musi Evear, Eovaro Engish composer 1057~1994) Fenmara (7S) Hold tho sets longer 1st AND 2No ENONCS Phy the Ist ending is cine ‘yeugh, then en the repeat. ship tothe Dnt nding Fiat (h) Loses ihe pitch of note one haf step Forre(f}) Low Foster, STEPHEN Anorcan composer (1825-1864) Gusse, ReIMHoto Ressen compose (1873-1856) Grec, Eovato Norwojan composer (1849-1907) Hawost, Georce F. Engith composer of Garman bith (1695-175) Havon, Franz Joserd fusion compo (1732-1806) Huupenomex, Enesteesr Gaman composer (1954-1091) lereenar REBEAT Repeat onl the muste baween the signe Key Sionaruee Indicates nets wbich are tobe ated oF sharp Hvoughour Lasoo Yer slow Lepette Lines Used to vend te tat Lu'voxauan: Hawaiian compose (1898-1917) Measune The dtnce Stseen xo ba ne Mezzo roare (af) edu loud Mezzo mano (xp) Medium sit Moptearo HsSum tonpo Mozasr, Wotecane A. Avstion compoer (756-1781) Mocnpus Measure Rest lndizaes muxe than one nro st Narra (6) Cancel ator ar he Orrenanen, Jacoues French compost (1818-1800) OncicsreAnen Choosing which inuments ply 9 ‘caton of mio Prana (p) Set Prca-ue Note(s) Nou) preceding te fist fal moat Rersar Sion Poy the music again For the besioiea Rrrarcanoo (Rr) Gradually slow down the tan RRossna, Gioacentno lian compose (1782-1868) Rouno Playing the seme musi binning at ite ines Shiner (8) Raises th pth of erate one hal ste Steau, Jean Fnnsh composer (1855-1057) ‘ue Connect reteset ph S010 One person playing Sousa, Jou Piain Anion composer (1854-160) ‘StacenTo |) Pay the note % its normal length STARE 5 lines and 4 spaces used for wing mss Sreauss, Jonan Jk. Austion composer (825-1689) SeucoPanon Stating a note thet one boat or longer on Tevnacovee,Peven . Rusion composer ‘1840 1889) Teweo MARKIE Terms which inate the sped of the mie Tie Joins to noes of he same pith to mate one tong note “Tae SteMATURE Incas now many bets ae in ‘raat ang what kind anole roses cn Dat Terme Cuse Q) Aes cated ( oi The seen ne ‘ob tl the note © YVaaumow Changing th thm or note of there te ‘ao iy Vex, GUSEEPE lllan composer (1813-1901) Vivace Vir fest tmp or onl the next(Cuanimer Funcenine chart rine thr es (8 = eres down geet Bee, ot hur ol: © Gtr ines finer GQ—er aes finger —} Otc tinge Cee Goreme toe oa SS conyeed ‘a Yorsieeageeteoog | a _geeoey _geeieos 5 1080 -_g°ape0 feHome rescrcerecono Neck Dots] ASSUGWMENT 20 21 22 23 Ey 25 26 27 28. 2 30 3 32 3 34) 35 36 Mon Tue