E fu/a Yass George Hamilton Green's Instruction Course for Xylophone Introduced and Edited by: Randy Eqles and Garwood Whaley ap fool louse Fee fel Ee WO * oun *MIGUEL A. ORERO® CHESTE 1992 Copyright ©1984 MEREDITH MUSIC PUBLICATIONS, 170 N.E. TIneznational Copyright Secured Made in U.S Florida 33334 (4latredaetion During the 1920’s George Hamilton Green wrote a series of ity lessons that contain the best two-mallet-tcchnical studies ever ‘written. ‘The genius of these studies lies not only in the exercises themselves, but inthe method that Green suggests they be prac: ticed, In 1926 each lesson, consisting of three pages of music ae instructions, sold for $1.00—~a sort of “private” leseon with the world’s greatest xylophonist. The amazing result was that fifty dollars and fity lessons later, the student beeame an excellent mallet percussionist (provided that Green's instructions had been careful followed), Filty dolars was a lot of money in 1926, but even then, it was a small price to pay for such a wonderfal end result. “Are you occasionally striking wrong notes? If you ae, slow down the tempo until every note can be struck correctly. This is very important.” This Green quote is good advice. People have such a dificult time learning to practice slowly that Green tells us thirty. four times in the rst twenty pages to slow down and play the right notes. Green doesi’t use the word velar until Lesson Bleven yet itis obvious that he intended the wrists fo be relaxed. Early in the book he suggests such things as “repeat this exercise three minutes without stopping”. ..“do not strike any wrong notes”...."“do not pound—play soflly.” All of these instructions would be impossible with stif wrists. A particularly important aspect of developing relaxed wrists is found inthe repetitions that Green sug. gests, To help tine your exercises use a kitchen timer, a stop watch, three minute “hour glass," or a cassette that you prepare yourself. On the cassette announce thee minute segments and every thirty seconds read one of Green's instructions, "Strike both notes precisely together" is another of Green's favorite reminders. The double stop should not sound lke fams ot grace notes. In order to accomplish this most players willnced to raise their lef hand higher i order to match the height of the right hand, Use a mirror or video recorder to check for equal height. Also remember, no forearin motion and “the litle finger of each hhand should almost touch the keyboard. ‘The first two pages of Lesson One are of great importance. These thirteen exercises should be played in all major and harmonic ‘minor keys, In addition, jazz buffs should play each exercise in melodic mine (using ascending form), dorian, mixolydian, and focrian, With these six scale forms and twelve pitch levels each exercise can be played in seventy-two different ways, OF course ost of the exercises in the hook coutd be played with these variations and many others, In fact, many of the exercises are simple to ‘memorize and can be easily transposed, Es transposition however, is ot necessary because Green uses keys that are com. ‘mom in popular emusic, Note that the frst (welve exercises of Lesson Thirty-eight corabine well with the thirteen exercises in Les. son One. For studenis who have a hard time getting excited about a “technique” iwok, have them start with Une ragtime exercises in Lesson Two—t's fun! For information on ragtime performance practices that relate to the ragtiae exercises inthis book, see the introduction to Xylophone Rags of George Hazsillon Greza, also published by Meredith Music Publications. ‘As you explore and enjoy this great book, keep in mind the following important concepts: 1) No wrong notes 2) Double stops struck together 3) Relax 4) Lite fingers close to the keyboard And remember, if you have trouble with any of the above, slow down. dnstruction Course for Xylophone by George Hamilton Green has indeed become a close friend that well deserves its permanent home on my music stand. It is my sincere hope that your own playing wil steadily improve as a result of Greeo's outstanding About George Hamilton Green Born in Omaha, Nebraska on May 23, 1893, George Hamilton Green, Jr. was a piano prodigy at the age of four. His grandfather, Joseph Green I, began as violinist and violin maker in New York City-—later moved to Omaha to work as conductor end baritone horn solcist with the Seventh Ward Siver Comet Band. In 1889 George Hamilton Green Je.'s father (George Hamilton Green, St.) followed bis father's footsteps becoming comet soloist, arranger, and conductor of the Seventh Ward Siver Comet Band—playing weekly concerts to audiences of 7,000-10,000 in the 1890's. Coming from such a musica background, itis not too surprising that Gcorae Je. was already being called the “world’s greatest xyiophonist” when he was only eleven years old! The next four decates of recording and composing provide documented evidence to justify the til. in 1915, a review in The United Musician stated: “We has begun where every other xylophone player left off. His touch, his attack, hhs technique, and his powers of interpretation in the rendition of his solos being far different than other performers. ‘To tay his work is marvelous and wonderful would nat fully express it.” G. H. Green, Jr. recorded his first solo record for the Edison Co. in Februery 1917—-the beginning of an incredible recording career 2s asolo xylophonist, He recorded hundreds of records on virtually all cord labels of the era—including the big three cormpanves Edison, Victor, anc) Colombia, Groups that he recorded with include: Patrick Conway's Band, American Republic Band, All Star ‘Trio, Green Brothers Novelty Band (his brother Joseph Green Il was also a xylophione soloist, composer and percussionist), Bart Fuller's Rector House Orchestra, Fred Van Eps Quartet, Imperial Marimba Band, Happy Sb, and the Yerkes Jazzatinia ehestea Randy Byles Jn 1928 Lew Green, Sr. (much younger than his brothers George, Je. and Joseph [D joined his brothers to hit the “big time.” Lew played percussion bat favored the banjo and guitar. The three Green brothers were the original sound music crew for the fret three ‘Walt Disney cartoons. in 1946, G. HI. Green refited from music and began a second career as a commercial artist, ilustrator, and cartoonist. Itis sad that George Hamilton Green, jt. passed away in 1970—just a few years before a greal revival of interest fn his ‘music, and before his 1983 indoctrination inin the Percussive Arts Society's Hall of Fame. 3EEE EE George Hamilton Green’s 9 be MIGUEL A. ORERO CHESTE 1992 Instruction Course for Xylophone = “fl A Complete Course of Fifty Lessons he & Introduced & Edited by: Randy Eyles & Garwood Whaleyaera aac George Hamilton Green's = Tips To The Xylophoniet (This inelades Marimba and Vibraphone} “MIGUEL A. ORERO® CHESTE 1992 Rules for Practioe 1 ERR Spur music stand cect in ron of the center ofthe instrument aad aus the stad so dhe musi is aboyt two inches above the keyboard, 2 When practicing keep the hands LOW. When playing, te te finger of each hand should eimost touch the keyboard, 5. Always strike with the WRIST. Do not atteynpt to strike with Wrist action only. The forearm should nof move, ‘arm movement, When raising a hammer to strike a note, use A Aivavs Keep the hammers LOW. This is absolutely necessary in order to obtain speed. When stiking a note, do rage the Hammers iy ker chan necessary. The lower you keep the hanmers the bette, Kementie,k kes ors ea ee the hammers six inches and bring them hack, than it does to raise them only thres inches EADY ‘EMI | ena £fch noe and each measure the proper emount of IMB VALUE, For example, you have one measur in {time coun ot ae yet and the flowing measure containing a whole note, both measures shold tecove cease Te ee proper amount of tee Tene Many puis, other anxiety to play fest, form a habit of not ging the sustaned sree Proper amount of time. This is a mistake which MUST be avoid 7 Whe practicing, bear in mind that EVERY NOTE MUST BE STRUCK CORRECTLY. Iealze that neatly every Xylophonist Ips desire to play fast. However, itis positively waste of time to attemp to play fast at the expense of striking wrong notes, trove oa aeeurate laying nothing else than a thorough knowledge ofthe hey eee ata ain a compleve tecomalge of the instrament by striking every note corrects, ata tempo sow enough to permis yoni ene as you become better acquainted with whatever you may be playing, you al be able to weal ea tempo, and STILL, strike each note correctly 5. Always keep 2 § PO. This is very important. # Tea cugets 8 Player lies in your ably to practice, To obtain resus you MUST practic, and the more you practice, the } acter the tesuts. PRACTICE MAKES PERFBCT isan old cliche, ut tis Wel to booed ieee er oe To develop footpaths, decide on just how mach te you can set aide fr practice BACH DAN, een ifppossible, select the same rove dy I you practiced to hour inthe moming and one inthe aternoon, ts woeld bean eas routine to follow, Eich ever Ge YERY DAY. Ifyou ape engaged during the day at some other voetion than acre practice ae cei nd one ht hoar each momng before busines hours would be ine The mais den on the time pos Shle tasted proctice, and form a habit of doing the sate amount EACH DAY. and de no les ae ee interfere with your Feautg, | hve #W#YS advised pups to practice amisimum of two hours, Fort 2 ROUTINE: wed on vill gain the quickest resuits, 1 8 Ais feof bars continng the SHARPS and FLATS on the xylophone shoud be RAISED shove the row of bars containing the Behe RAL, You willbe able only faster and more accurately, because it rng the Sharpe se Meg ‘to you, and you the ba an reac for them, When striking the brs contain the sharps and fags ape te extreme end of crepe aearest you This will enable you to develop greater speed and acturaey. Vou wil Rel eek ee just as clear at the erie ora pu te medal, When sustaningaaote witha ral, put one hammce on the aale vige bers ‘ther hammer othe cee ne bar flowed this system inal of my paying, including my work on phomreph see 1 strilang the bars ‘on the ends give an inferior tone, it surely would show up of the reevede pc evoke a your study to POPULAR or JAZZ al the expense of sacrificing the echical studs, Remember, in order to Ge ein eopalr or jr mus, is necessary to havea thataugh keowledge i the Neate this cam be obtained only Uhrough gond legitimate exercises and studies 1 Develop proper hammering. If some marked out hammering seems awkward to you, do not change it, a8 itis written for the purpose o dest perc etme a BOTH tae , 12 eet fa ould we ia ol work, Ldn he gh ofthe ramets be THIRTEEN INCHES, wit 0 i Catal Manele oe tr shat be asf nro pe mae ae Tc ih a ONE : 1 Tele clear, Ave one ar excel deta they nya aa eg reno Soe” CE a a desing toe ear. totes nec gare ha een eee amgy 404 halhard ball or softer for practice. Select hammers that have good balan Tre age be too heavy or i) dlumsy, .Contents Meter Exercise) Page 4 Scale, double stops 22.0.0... See G *Scale, chord, double stops ............6...06... 9 3 F major t *Scale, chord, double stops ...... oo i | 4 D major 4 Scale, chord, double stops . . Peete ~ 5 Bb major 4 Scale, chord, double stops . 18 4 ~ 6 Eb major 4 *Scale, chord, double stops ...... 21 7 Amajor g *Scale, chord, double stops . . 7 24 \ 8 Bo major 3 Scale, chord, double stops ...... 227 9 C major q *Speed studies Sete settee 80 - 10 D major 4 Speed studies (single notes/double stops).........33 - HC major 4 Double stops Pree tht ag! - 12 D major e Scale, chord, double stops ..... 39 | — 13 C major i Chromatic... es... a 42 14 Ab major 4a Scale, chord, double stops cee AS | 15 C major 4 Grace notes oe eee eens oe A8 : | 16 Db major 4 *Scale, double stops ..... SL {| 17 Aminor a *Scale, chord, double stops ...... St 18 Bb major 4 “Scale, chord, double stops .. 5? 19 C major 4 Double stops, accuracy....... ar 60. | | 20°C major 4 Speed, ragtime (melody form) ..........602....68 ) 21 Bb major a ‘Major 6ths . 66 I C major G Chord variations. sete ee eter eeen ee + 69 yo 23° Bb major q Sight reading, ragtime... 2.2... ee 72 ! ) 24 C major 4 Technique & “smoothness” se ! 25 D major i Chord variations. lelectra - — ta ) «bt fe rk ttn en ened ot | L Copyright 1484 MEREDITH MUSIC PUBLICATIONS, 170 N.E. 3304 Sueet, Fl Lauderdale, lord 45334 Intemational Copyright Sccured Macon USA. All Rights ReservedLesson Key Meter Exercise é Page fe 26 E minor 1B Scale, double stops, broken chords.............. 81 27 F major 4 ‘Technique, sight reading 84 i 28 C major g Chord inversions, double stops see 87 29 F major 4 Sight reading. eee ee HO 30 C major 3 Technique, sight reading... peaeeeet | ' 31 C major 4 Diminished chords ...... eee 32 Eb major 4 *Left hand development fea ere 33 G major ¢ Ragtime. «102 34 F major 4 —-*Right hand development . 105 35 Ab major 4 *Right & left hand development. +108; ~~ 36 C chromatic a Chromatic double stops. lll 37 G major 4 Triplets & dotted eighths....... ceveeedld 38 All major keys ‘4,9 Chords: major 6th, diminished .............2.... 117 39D major & “Right & left hand development. . . 120 40 C major 4 Chord variations with chromatics 123 : 41 F major 3 Grace notes (applied to sustained melody) ........ 126 42 C, G, Bb, Eb ¢ ——-*Right & left hand development eeaeeaahoo 43 G, Ab, D, F ¢ Ragtime rhythms sence nee es IBZ i 44 C, Bs, GF 4 Developing “hot” playing ideas. Eo HIgs. 45 C, Bb, G ¢ “Blues” (in ragtime). .....ceeeeees seca eee 138 46 C major 4 Four mallets... : cee ll 7 F major 4 Four mallets. seve dd 48° CF, Bb BG od “Trick rhythms” (in ragtime) ...........- cee AT 49° C major ¢ “Breaks” (in ragtime) ...... 6.2... - 150 \ 50 C major ¢ Improvising (in ragtime) vo... esses sees eee eee 153 Final Instructions ....... esate : alee 160 ~ |6 : LESSON ONE This lesson Is written in the Key of C major, in & time, and the exercises cgntained herein are | composed of eighth notes. It is very important thet every aote contained in thesp exercises must be struck correctly, Keep a steady tempo slow enough so that every note can be struck correctly, If Recessary at first count four beats to each measure. As the exercises become easier to you, cotint two to each measure. Then in order to gain more Speed, give one count to.each measure. Lepoat this exereise threeg O) =z A, imitates wetigut stopp OG ed oop a sendy tong Repeat his exercise threo Ry minutes without soon | Sretdy tempo, Repeat thisexereise sweaty» ZR 3. tnve withost stopping \ : Repeat this exercise wl ary Ai. since without stoppion \”) OS oe ei nh Repeat this exercise tw 5. times without stopping, S ork TELAT 0 an a 6, fragt guarieg ten \ GHE percases = REEL WL Repeat this oxeroise ten times withost stopping. PaaS *. ete Ropeat this exercise te 8. times without stopp A Sericetasio andes Sina Low ae er, & € Every ote muat be strvek 40. correctly, so govern speed iy. Keep asteadyPlay thisexercive through once in strict tempo. Then AL, makea brief stop-Then Pinyit again, continue this ~@f ‘yey for tea times, 2, sihtck precisely together. "Shep a steady tempo, not tee fast (: Famer e © 2 Repeat this exercise ten g_ times without stopping. 4B. Strike both notes precisely fogether. Koop hammers LOW, Pig this exerci ten tes bs last a8 possible withoat 44. Stuiking aly wrong actes. Keep a sleady tempo apgesese & sek e ptr ee ee TRERCEE % eee ARE YOU KEEPING YOUR HAMMERS LOW?8 LESSON ONE.~ RAGTIME Ragtime- Key of © major-& time, Keep a stéady tempo. not too fast. note the accents carefully. If you are able to memorize these different chythms, by all means do so.Count four to each measure if cecessary until the accents and hammering are worked out. Then practice by giving two counts t each measure. Play tgs exercise ten. TR. Lins. Keep tempo, Note the sceeut ho te — Play this exercise ten p RAR, tenes, Siehke Srey hots berrectiy. = Play this exercise ten umes, ine the same count tothe measures “= BLR, contiining tie whole BAR. Totes aa fou gates Slghth notes MS Se ieee tes 4K, Ploy thisexercise tes = = waa = tan Pn ea Sasa oe i = csLESSON TWO ‘phis lesson is written in the Key of G major in 9 ime. In this Key the note Fis always played as Fsharp, unless otherwise written. Count two to each measure until familiar with each exer- cise. Then increase the tempo and count one to each measure, Strike each note correctly. Keep a steady tempo. Strike every F sharp on the end of the bar. Repeat this exercise three = Jiutes wither! stopping. Keep hammers LOW. repeat this exercise threo Ep << ; : meer RT c TEER RL RR RRC SS ee TRRL ee weet PRSFS eas 1 RR DERE Iinutes withost stopping . 2ufuare atvoustze Febarp = Repeat thisexercise two 8. ininutes without stoppite. instead of Puataral each time, Play this exercise ten tines, B Steady tempo. Follow the ham Sea ope is figst wo ee A etes in tho bog aning of eaclt Z measure are with the RIGHT RRL HAND. Repeat this exorcise to nates without stopping, 5. Play fast, bot not 100 fast that you strike any wrong notes. Repost this exercise teen, tintes withest stopping. This 6. exercise is very important and should be thoroughly memorized."¢ Repeatthis exercise ten times Pu vg, without stopping Ase you keeping a steady tempo? gar gi a! baie SCRE R LAL RERLRERL Big th RRL eh e upset Dike = pas ape oe rgr ueee SE 8 SESE ES ick ecerel steady tempo. FReP nnn p Ben hiner TRE RERR_ r = Prt e lars L = . Ob Satan ete gepearls sttreek, z B ef oF 8. Pieeerecee teeterStrike ail Fy notes on the extreme end of the Bar, and not in the center. If you wish to sustalna note with a roll, strike one hammer in the center, and the other hamuaer on the end. But for all Single notes strike the end of the Bar. This will enable yuu to attaia greater speed and more.ace curacy, Phy thisexereise sixtines DB a 7 : 9. Menor etesas Gr Sage eee Bd Fy Pe page tag : Repeat this axercise tem times witheet stoppisg 40. Playas fast as possible ‘out sciking any wrong iss withost he Both notes pres her 22, Seen elon oF eg ae NO notes in between ars struck heein LESSON TWO.- RAGTIME. Ragtime- Key of G major- (time. play the same as 4% time. Keep a steady tempo, not too fast. If necessary, count four to cach mesure until you become familiar with the different rhythms, reer ete, thea increase the tempo until similar to a Fox-trot tempe A played for dancing, and hroughout unless otherwise Writ- ieee ee tno to each measure. Be sure to observe the F sharp th ‘tes witout OPP ER LR. Rodis eet ota Nes iene ee Freie en Forerag Cre ph peer’ 4 epeat tip exctne O40 = = a nese Shakes step 2 iz > g jg, Strike ery aste corre RRL Ghat the Fsharp wien = fever it appears. opeat this exercise 80 mies without stopyns 3.x Thee three exercises Bn Mota bethoroasnly “gp ru anon atin > gam, Connie se ath @ tempe. Tocteend Loleted, = LR ER FoR pr Frey" r Irepratikisesercise ten

9 See = Repeat this exercise t = Fe ALR, minutes we thuat stopp i Zz Keep a sivady tempo. : KLERLERL ReLE® eae ee TROUReT EER RERRLED eee eee a Repeat this exereine two B _ telnvies witht stopping. aR. ete the aveents i a 2 Repeatthis exercise two 2 BAR. iinutes whet stoppis Ty Sts every note correctly. pate Play this exeroige ten tines. Give the sance cout tothe sneasures oostaining the ALR. Swhote notes an yout fo Ue measures cdbtaining the eighth notes, Repeat this exercise to minutes without stopping, BAR. Be sure aud cbyerve the qaarter- notes, Cow four ‘breach ineasuee if neceseary. Gur, BEyiniscxerisetmntines Z L Boyne L ‘Ate you occasionaly striking wrong notes? Ifyou are, slow down ihe tempo until every acte cas ye struck eorveeth This te very imspoctant . ” - Meet‘ LESSON SIX a ‘This lesson Js written in the Key of E FLAT MAJOR in 4 or G/common TIME, When first playing over these exercises, keep a SLOW, STEADY TEMPO, until you become somewhat fa- miliar with them, Remember that in the Key of B FLAT major, the notes B,E and A should always be played as B flat, E flat and A flat unless written otherwise three minutes withest Repeat thive minutes without stopping. Steady tempo fefie nh RCRCRCEL RLRL Repeat thive minutes without B. stopping. Not too fast peat three minutes without A. sopping. Paral Seer recone L COUNT. 1-2-3 - 4 Play this exevoise ten times 5. Count four to each measure. Repeat ten times without 5, stopping. Strike both notes 8. Srey gees Play this exervise ten times, a7, tthe every note correc + Read RULE NO7 in RULES FOR PRACTICE.)Peer rt tit Pei ti ee eee following wservine man excellent study to develop 4 swv0th tee ow Uecome faznitiur with this exercise, Stetke « Keup a Slow Steady Tempo at fest unit gardiess of how slowa tempo you will be se ecsreetly to keep. Keep the haan LOW. Strike the sharp: TRERERLEN CRERERLR Eo T c * i j nent b—pept peel afi eer Eten, eremPtnehtenttatt = f Eo SS: LESSON SIX. RAGTIME. 23 Ragtime- Key of E Flat major. Keep a steady tempo, not too fast and note the accents care- fully. Play slow enough at first so as to be able to strike each note correctly. If ne four beats to each measure. essary,count ‘Repeat ton times. This ex- gee forthe ina, velopment of the rig AR. Gnd ele band. Note the itumer ing earefalty. BERR RRR ER RE ROW we R RGRE GE H epee ita teteteett & RLEECLEL LRLDBLL bb th bt it Lb Tee eee nee Repeat this exercise threo 2.R. talavies without stoppioK Note hasnering Play ten tues, Memorize if BAR. possibie, Steady tempo, i he 6 = FS NOTE- When practicing ragtime exercises, do net strike the awcented getes too hard, The ascents are malel¥ to bring ‘out the rhythm, and should be steuck only a wile never than the other tescas LESSON SEVEN ‘This lesson is writien in the Key of A major in § time, and the exercises contained herein are composed of eighth notes, Strike every note correctly. Do not attempt to RUSH the tempo.Remem. ber, that the notes F,O,and G stiould be played F sharp, Csharp and G sharp, uniess written otherwise. Mee, dy \ Regt tig neste tice Sh dt ‘bats wt! stopping: Cont obs fo fac RLRLRL Jie counts oa Repeat tliree minstes with= e 2, out stopping. Do not strike any wrong notes Repeat two minutes with - . out stopping. Strike both notes toget Play this exercise ten tim A, Strike the sharps and fats (on the ends of the bars. Repeat thi exercise three inutes without stopping. 5. Play thin enti on times. 3 6. Koopa steay toad. Nomorse peer,28 Remember, when practicing, always strike the sharps and flats on the ends of tha bars, This wilt give you greater speed and more, accuracy, Keep hammers LOW. 320 ©. oe 17, Play this exercise ten times. " Strike each note correctly. ‘The following exercises below are excellent studles for the individual development of each hand. Note the hammering carefully. Exercise 8 is all RIGHT HAND practice and Exercise 9 is all LEFT HAND practice. Keep a steady tempo, and do not attempt to play them too fast. Strike each note correctly and the same time maintain a STEADY TEMPO, no matter how slow. oe Play this exercise ton times, 8. Memorize, i siz Play this exeroisn ten timeo, o ‘Memorize, = RLLE LL Si beer Saas beeg se e i Did you read the RULES FOR PRACTICE before starting this lesson?6 ' LESSON SEVEN ~ RAGTIME Ragtime - Key of A major in $ or € (common ) time, The exercises written below contain TRIP- LETS, and dotted eighth notes, “A TRIPLET is a group of three notes, played in the time of two of the same value. Count four to each measure, if necessary, until you are familiar with the time value of the triplets, (eer eee epP ae? Sy fy on Soe bay en ine. Keen a | LR stony tempo, Rot 105 io BR UTR Nas. LRLR' rast an MMe pie Piast coR LR toeach measire, if neo- escary, BR Eby ton tines, BR Heth hammers low. his exercise is similarto arsgtime melody. Memo- ALR rivet and ploy it inastrict danoe tempo, Observe the ist snd gid endings. R R LREL RLRL R R Are you devoting all the time poasible to Practice? The more you pratice, (he quicker you will gain results RLRLR RLRE RL ILESSON EIGHT 1 * _ This lesson is written in the Key of B flat major(two flats) and the notes contained herein are SIXTEENTH notes. By giving THREE counts to each measure, each group of four sixteenth notes will receive ONE couat, Remember when playing in the Key of B FLAT major, the notes B and E must always be played as B flat and E flat, unless written otherwise, Play these exercises SLOW at firstsa as toeaet!’ “ov t «t-te each note correctly. Then increas the tempo as you become more fatniiiar yp with 2 = 426 COUNT’ 9 or ses) Repeat this exereise three 4, mines without stopping, Pbrg * Keep 2 stoady tempo.Count THREE. 2 Hesarigtne 2 Tener ae ae Repeat this crc the ‘inates without stopping. 3. Sie these double polos precisely together Play this exercise af feast fends Count THREE A. toeach measure ‘the Ramamers and hands LOW. Std eo ERERLRLRERER bn t Repeat this exereise fifteen this exercise, each note MUST be struck correctly, so gorern speed avconlingiy, fine wot stopping. fain Ue proper sree ee peer28 ‘The following exercise is one of the best studies ever written for the Xylophone. By all means memorize this exercise, so that you can look down at the Keyboard and work up a fast speed. Count THREE to cach measure, Keep a steady tempo, Strike every note correctly | COUNT H2-8 4 a 8 } Practice SLOW the fist G.A few times untit te exer q ise becomes familiar, BLELRLELRERE & & ® Es F- al 2-3 @prn RERLRERL 3 up Keep hinaes 10 8 Sera : DRLURLRLALRER :LESSON EIGHT- naGTIMg ea Ragtime - Key of B FLAT major~ @ time, play the same as % time, Keep a steady tempo -not too fast. Observe the B FLAT and E FLAT throughout. Strike the FLATS on the ends of the bars. Mem- orize these different rhythms, as later on, in the lessons which follow, you will be taught how to im- provise and apply them to different melodies, so obtain a thorough knowledge of them first. Repeat THREE mia AR ines without stopping Play this exercise -R TWENTY times POX-TROT tempo, ‘The following exercise will give an idea as to how this ragtime rhythm can be applied to melody form. This idea can be applied to any sustdined melody which contains whole notes in any Key. Sim- ply get your melody note, and which ever note below may harmonize, then instead of sustaining the ‘two notes witha ROLL, apply this ragtime rhythm. MELODY ,R Practice TWENTY times) Samemelody in RAGTIME,30 seine three 4, minutes without stopping, as fast as possible, Steady tempo. ie Repeat tee ayinates withe 2, ont stomping. Count fout {Seach messi 33, pon tise webu. + ca none 54 Pay this exercie fifteen A, simes, Bo sre togiva tie * HALE-NOTES the proper time vale or count BY Play this exercise fifteen Sime. Give each measure the same amount of tine value 12 7 cOUNT 14 EE gOUNT 4 : LESSON NINE ‘This lesson is written in the Key of C major’ in © or 4% time and the notes contained herein are THIRTY-SECOND NOTES. This lesson is to develop SPEED and the exercises should be practiced as fast as possible without striking any wrong notes, To obtain speed, the hammers must be kept LOW, and flexible WRIST must be employed. Read rules 2-3-4-5-6 and 7 in the RULES FOR PRACTICE bs fore starting this lesson. When practicing these exercises, give four counts to each measure. LRLRLRLRL COUNT! —__ 2s, if 1eeade31 6.-This exercise is for the development of speed and accuracy, Count four to each measure, Practice es fast as possible without striking any wrong notes. When playing this exercise fast, there is a tendency to MISS the first note of each group, Watch this carefully. Memorize this exercise if possible, 62 . counts ye The above exercise may also be practiced in the following manner. This will give more practice to the LEFT IAND. 2% Ga ote, trae ob ok ob & Ob Oo32 LESSON NINE - RAGTIME Ragtime, Key of © Major -.C or % time. The followii each measure contains the saine formation of notes an ly at first and memorize, if possible. This exercise mu: the best results. The more practice you devote to thes apply these different rhythms to melodies later on, ing exercise is written in melody form, and | \d the same rhythm throughout. Practice slow. ist be played many times each day to obtain fe exercises now, the better you will be ableto } Ena. (Give Talk count) wlLESSON TEN 33 This lesson ig writen in the Key of D major, and the notes contained herein are SIXTEENTH NOTES. These exercises are to develop SPEED, so first memorize them; and then practice them as fast as possible, at the same time striking every note correctly. Do not attempt to play LOUD, as loud playing retards the speed, due to.the hammers being raised higher. Keep the hammers LOW and play soft, and more speed will be gained. Count four to each measure first, and then as you. in Leygsount Repeat this exersve thee 4, minates without stopping Stendy tempo oe 426 Repent thinness thee 2, Mies wile gine ence DOM t 4g, Repeat three minutes wit. dea ‘The following exercise is an excellent study in broken chords, and this exercise should be practiced until it can be played perfectly smooth, and at a very fast tempo. A good way to memori=s this exer- cise is to take one measure at a time until each measure is thoroughly memorized, ‘Then put them to gether. cOUNT 4— COUNT 13 Play this exeroise twenty — A, times. Do not strike any wrong notes, LRLRL L L L cL count 1 — a COUNT 12 ag Play this exereise twenty tines. Be sure to give the 5. HALP-NOTES the proper time valuo oF count, | rages DRLRERERY. A L34 The following exercise should be memorized, and then practiced as fast and as smoothly as possible The mark x at the end of every two measures is to show that the last note in every two measures (the note under the x) must be struck with LEPT HAND, After memorizing these exercises, it isa good Plan to close the music and look at the instrument, But make sure that you are right before doing this. Play this exercise at least fifteen times hefore going to the next. Ht gute Hae HSH EE 100 UNE be Bh ‘The following exercise is an excellent study to develop SPEED in double stops. First memorize, and then play as fast as possible. Remember, the two notes must be struck precisely together. Thare must be no evidence of SEE-SAWING. Keep the hammers LOW, and strike the sharps and flats on the end of the BARS. counrt —— 2 5 4__ as Oe Play this exercise fifteen "Y, mes, Avoid all STIFF. NESS. Strike overy note correctly, READ THE RULES FOR PRACTICELESSON TEN-RAGTINE aa Key of D major—% time, The following exercise is written in melody form, and is to develop the ' RIGHT HAND. The rhythm is the same throughout, Note the hammering carefully, Memorize, \ Rapat his excl out Seedy Ere ee Se > Togas eal ge ages Jog goa ease cn fr te ele gba oacinataa na Oped senieheseedsie i excise Below, RRRBRERR R RR BR ARR RRR RR 2 fa = tous eo eet fief OTL eS JAR, Not too fot ated tg igagsay | eA ON prrpenpr fhangeg ar an ko eR “Give full count me36 This lessor is written in the Key of C major in @ TEENTH notes, in THIRDS. (Double Stops.) ‘The o stops. First memorize these exercises and then lay them as fast as possi precisely together. Keep a steady tempo and the ‘wrong notes, Strike each LESSON ELEVEN two notes (Double Stops) or %q time. The notes contained herein are SIX- )bject of this lesson is to gesetop speed in double. DI e, without striking any hammers MUST be kept LOW, in order to attain speed. If the arms and wrists become tired after continuous practice op these double-stops, it is because the stroke is too SLOW down the tempo, and the tired feeling will disappear. Repeat this exercise three minutes without stopping. * Do not POUND play soft. ly. rites without stopping 2 keep a sendy tempo Repeat this exercise three minutes without stopping, B- Strike the sharps om the ‘ends of the bars. Play this exercise fifteen times, The HALF NOTE AL inthe fourth and eighth measures must be given full time value, Play this exercise twenty B+ timés, Memorize, Keep 2 steady tempo. eFe 4g count IRF. Relax the wrists and COUNT 1 tat37 ‘The following exercises, 64 and 68, should be memorized first, and then work up a fast tempo. Fol. tow the instructions given on the’ preceding page. My opinion of Double-Stops is that they are the best exercises that can be practiced. If you develop a perfect technique for Double-Stops, you should be a. bie to play anything else.slow.y at first until memorized. Then practice them as fast as possible without striking any wrong notes. Keep a STEADY TEMPO. Where the accents are marked, a short, quick roll is the best. If you LESSON ELEVEN- RAGTIME 7 0” C MAJOR~ © or 4% time. The following exercises, written in THIRDS, should be practiced attempt to linger too Iong on these notes, the ROLL will run into the next note following, and the rag- time effect will be spoiled. Strike both notes precisely together on all double-stops. Count four to each measure, if necessary. Otherwise count two to each measure, Repeat fifteen times with =f -R, QR. BR. @ * ont stopping. Play this exercise fifteen * simes, f _f Ge full count Play this exercise fifteen Sms oc G ad,LESSON TWELVE 39 Key of D major- 1% time. The notes contained herein are eighth notes.In 12g time each meas ure should contain twelve eighth notes or the equivalent value to twelve eighth notes, The follow ing exercises MUST be practiced smoothly, and the tempo MUST be steady. Do not attempt to play them too fast at first, Remember, speed can be acquired only after you gain a thorough know. vor watt are attaronting ta nlay, Memorize each exercise, if possible. Give four counts --<) 1 necessary. count counT— Ropoat at least {teen times — IN’ STRICT TEMPO whith 1 out stopping Stike ailaharps Ch he andoet th bass os RURLRLR OL ‘Repeat at feast fiftezatiines Q- whichout stoppingKeep the hammers LOW. fim wie ee me 240) B- stepping. Strike toth tes precisely together, \_ae b= foqh cotter Play this exerciee ten times. 4 Count four to each measure, Steady tempo, not 100 fast. Repeat at east fifteen times, B> Play slow enough so that every pte can be struck correctly. Repeat ot least fifteen times. G- Do not attempt to RUSH tt tempo. Keep it STEADY, RLRLRER OL RLRLRLR L40 EXERCISE 7. The following exercise is an excellent study to develop technique and accura: i cy. This exercise can be easily memorized by memorizing one-line at atime. Bear in mindto | always strike the notes F sharp and C sharp on the ends of the bars. Keep tie hammers LOW, Keep a steady tempo throughout, and do not attempt to play too fast. When practicing any of ] these exercises, always bear in mind that EVERY NOTE should be struck correctly, always keep the tempo slow enough so as to enable you to do so. This is the surest and Way in which to improve your playing ability, as this will give you ACCURACY, accurate before you can hope to devolop SPEED. The followi ny times each day. therefore, quickest and you must be ing exercise should be practiced mas CounT—1—2— a4 - Pea LRERLERL RL . a See oe Ee SeeLESSON TWELVE - RAGTIME 41 Ragtime - Key of D major - ¢ or common time. The following exercise is in Melody form, and fhe 7th and th measures are to be filled in by using the “BREAKS” written below and nembord from 4 to 8. This will give six different breaks to use in the 7th and sth moasures Momecine all Six of these breaks, and each time you repeat the exercise ise a different break. This will clon you to reveat this exercise six times and use a different break eac : An Wie peo wei i! ee, a L im i ep a Sho oe Sas ee Sas = e LR LR R LR LRR LR R LRLE LR : i counn—f-s UE ell the “BREAKS” written below and numbered 1-2-3-4-5 and 6 are to be played in the 7th and Sth measures of the above exercise, These breaks are all written so as to fit into the above mel. ody perfectly. Use them one at a time. The first time use No.1, the second time use No® and 40 on. You must’ memorize these breaks so as to be able to keep a steady tempo, oO, ®, EVRERLRE RERLERER LRLR RL R LR OLR : FLRELRE ® = ' © URLE 3 RLRERLIR LRLR R RoR RLRERLR LLRLRIR fre following breaks, No. 7-8 and 9, are to be used only in the last two measures of exercise EE: The second ending.) This will give three different ways in which to end the melody, By all means merorize these breaks us they oan be uaed in neatly any popular ence makin ' 1 = @. ® ® e ae TETURR OR RERL RL LRERLRL RL RRERR eter LoL42 LESSON THIRTEEN 'y of C.major in 3% time and the notes contained herein are This lesson is written in the Ke: SIXTEENTH NOTES. This entire lesson is based on the CHROMATIC SCALE. The following exercises afford excellent studies to develop the art of striking ALL sharps and flats on the énds of the bars. (See Rule No.9 in RULES FOR PRACTICE.) To gain the proper results from these exercises, you MUST keep a steady tempo, and every note MUST be struck correctly, When playing a chromatic scale, there is a tendency to RUN AWAY with the tempo, This MUST be avoided. (See Rule No.7 in RULES FOR PRACTICE.) Repeat twonty times, in 4- STRICT TEMPO, Keep the hammers LOW. call equa menemesmerie Repeat ten times. Sirtke B- doth notes precisely to- ether aca eee Repeat twenty times. No wrong notes The following exercises (No.5 and No.6) are excellent stud: of both hands. Number 6 is all RIGH’ toeach measure and strike every not es for the individual development 'T HAND, and Number 6 is all LEFT HAND. Count three te correctly. Repeat each exercise fifteen times, cen Rare 2 3—— pe pp AERP ltt ABR RR p counti__._ 2-5, Awa RERR Ban z PEER nae a - SLE LLL Prat) © The above exercises (0,6 and 20.6) are the best type of studies that can ean devote to these two exercises, the quicker y be offered to you, The more practice yoo 4 | fou will gain results, ‘B ‘The followitig exercise (number 7.) should be memorized so that the entire exercise can be played without looking at the music. This will enable you to develop SPEEDand at the same time retain ACCURACY. Strike every note correctly, Keep the hammers LOW. Keep a STEADY TEMPO, and strike all sharps and flats on the ends of the bars. bf cours 2 7 SSS o serie gta a oa RERD RE ROR LE LS \ > > ote the two df feront 4, ' Ways hanates dhs ———— Hecerteere topes ~ txereise: Practice E ! cosh ny ten fines joe! 7 [ + WnhfEgee'ceeay & 7 2 eT ATT attr atin ) 40i LESSON THIRTEEN-RACTIME Ragtime - Key of C MAJOR- ¢ time- Play the same as 4/% time. (Fox-Trot Tempo.) Be sure and observe the DOTTED EIGHTH NOTES throughout in order to bring out the proper effect of these exercises, Give TWO COUNTS to each measure and keep the tempo similar toa Fox- ‘Trot tempo as played for dancing. count 1 Repeat twenty AER, times without =e poeta 5 stopping. SRE RL OR WEE L ‘The following exercise is written in melody form, and showld be memorized ‘and played as if you were playing it for a dance number. Repeat it at least eight times and take the first ending EVERY TIME until you decide to stop, then finish by taking the 2nd ending. ROR OL couNT 4 pee % counts —_—__—- ® pL B Sar AL TR L % t. 2 2 a SHS I Le ‘The following exercise is written in melody form. Memorize thoroughly, and then play it ata strict dance tempo (Fox-Trot,) Repeat several times, always taking the ist ending. Use the 2nd ending only when you decide to stop. Both exercises (no. 2-2 and 3-R) are based on the CHRO- MATIC SCALE, and constructed in melody form, BR.LESSON FOURTEEN 45 | This lesson is written in the Key of A FLAT MAJOR (our Flats) In © TIME. (Same as % || time) and the notes contained herein are SIXTEENTH NOTES, When playing in the Key of A FLAT MAJOR, the notes B, E, A and D must always be played as B FLAT, E FLAT, A FLAT and DFLAT, unless written otherwise. Always strike the sharps and flats on the extreme ENDS OF [THE BARS. ‘Keep an absclute STEADY TEMPO, and when meking the REPEATS, always se. peat in STRICT TEMPO. The short exercises contained in these lessons should be repeated many times IN TEMPO in order to get the desired results. This Is very Important. coun’ counT. Repeat twenty times [4 Setesteceuy tae, EVERY NOME corecty. Repeat twenty times Re withost stopping. Keep { the hammere tow. Repeat twenty times withon! stopping. MEM ORIZE thivexerciee > R RLRLRLRLR R l Repeat treaty times 4 eh FEF ae hess \ ti eakelop oe tae RR RURLALE © Ri Bee ote) Devote all the time possible to exercises No.8 and 4, Memorize each one THOROUGHLY. Then look down at the instrument and work them up for SPEED. These two exercises can be applied to a melody in the formof a variation VERY EASILY. You will be taught how to do this in the lessons that follow. Perfect these two exercises NOW. count eget ten tne ‘ a Parents eel Bee eats i Repeat ten times, Strike the COUNT. sharps sad flateoathoENDS 6- OF THE BARS. ‘This will give you moro SPEED. Re- : member, NO WRONG NOTES. ee46 EXERCISE No.7- This exercise is an excellent study of the-A PLAT scale. Devote all the practice you possibly can to it. Remember, the more you perfect your SCALE TECHNIQUE, | the better you will be able to play VARIATIONS. A variation is nothing more or less than a group of SCALES and ARPEGGIOS constructed so as to harmonize with whatever melody is being played. By all means MEMORIZE this exercise, then look down at the instrument and work up SPEED. Remember though, every note MUST be struck CORRECTLY. So gov- ern your speed accordingly. Keep a STEADY TEMPO. count———1 2. count ——~1———2—_ s 4 ages 3 TRERE SERLREREEER ERE RD RLRL RERL 2 R DO YOU STRIKE ALL THE SHARPS AND FLATS ON THE ENDS OF THE BARS? YOU MUST DO 80 IF YOU WISH TO DEVELOP SPEEDLESSON FOURTREN - RAGTIME a7 RAGTIME-Key of A FLAT MAJOR (our Flats) in © TIME Game as % time.) These two ex- ercises below, written in Melody Form, will give an idea as to how the exercises No. 3 and 4 can be used in the form of a VARIATION and MELODY. The 18t and 284 measures of exercise 4-R on this page are of the samie construction as the 15t measure in exercise 8 on the other page ‘The only difference is that the notes in the istand 224 measures of exercise 1-Rare NOTTEN Fieve": OPES, whereas’ the notes in the 45t measure of exercise 3 ‘ower page) are Sik ~ TE#NTH NOTES. The notes in the Sth and 6t2 measures of exercise 1-R are of the same construction as the 244 measure of exercise 4. (other page.) count ————-1——2 count — 234 — Memorize this exercise, JER Repeat many times Ob. serve the DOTTED EIGHTH NOTES. £h + aft RERCRIRE R - ® ® R-ERLR RB LRLR R R Only use the SECOND END- ING to finish with. Each time you repeat, use the FIRST RERLE RY RERR pnpike, RURIRRL R R The following exercise (2-2) will give an idea as to how the construction of notes contained in exercises No.3 and 4 (other page) can be used in the form of VARIATION to exercise 1-R The more practice you devote to exercises No. 8 and 4, the better you will be able to play these two exercises (Vo. 1-8 and 2-R.) ocae then work op NOTES) RER a ee pee eae ee Play this oxercisotwen- &, ty times. Note the ' tthe GRACE NOTES. See that you get them RIGHT.count —1 2 “te aa 49 FLAY 5. TEN TIMES. URRLRURRLR LRRLRURALR LRROLRROLRR A i LR IeDeREMLLRL ial iRbiatiabin,? Sub iach abe i aia ae aes spepisiss Note where the COUNT or BEAT falls in these exercises, Be sure that you are RIGHT on this,fa LESSON FIRTEEN~ RAGTIME RAGTIME - KEY of C MAJOR- © TIME (same as %q time). The exercise written below will givea good idea as to how GRACE NOTES can BUILD UP a melody and make it sound MORE ELABO- RATE. The melodies written below are exactly the same. The top line(SWAZLE NOTES) contains tte STRAIGHT MELODY. The bottom line (LARGE NOTES)contains EXACTLY THE SAME MELODY with the GRACE NOTES added to give more COLOR and more“PEP" to the melody. This example will show what a REMARKABLE DIFFERENCE a few GRACE NOTES can make. Study this ex. ercise carefully and note how the GRACE NOTES are applied to the straight melody. One of the most important factors of playing RAGTIME is the player's ability to properly apply GRACE NOTES, The most simple melody can be made to sound FULL OF PEP with the proper use of GRACE NOTES. Keep a STEADY TEMPO. (NOTE) If your instrument is only THREE OCTAVES with the note © being the lowest note, play this exercise i ONE OCTAVE HIGHER than written, FIRST, MEMORIZE THIS / STRAIGHT MELODY. Thea Dprectice the bottom line om: fining the grace notes, Ro peat several times, aR © This exercise MUST be played SLOW, so that the pager ene dines he (R= LEE MMATE noes ant COE pees see NOT on the grace notes RL Rt oR L IRL' RL'bR IR ROR WEacun WORRL gta, RLAL RES 8g ‘ (NOTE) Tho 2h ending of this exercise (LOWER L/4#) can be used as a TRICK ENDING for almost any dance mele ody onding in the Key of C.LESSON SIXTEEN 31 ‘This lesson fs written in the Key of D FLAT MAJOR (Five Flats) in © time (same as ¥, time) and the notes contained herein are SIXTEENTH NOTES. Remember, when playing in the Key of D FLAT MAJOR, the notes B, E, A,D and G must always be played as B FLAT, E FLAT,A FLAT, DELAT and G FLAT unless written otherwise, Exercise Nod is written in quarter -notes and should be practiced SLOW until you are thor- oughly familiar with the D FLAT MAJOR SCALE. Memorize this exercise. If you are thoroughly familiar with this exercise (No.4) the other exercises will be easier for you. Keep a STEADY TEMPO throughout this lesson. Count FOUR beats to each measure, and strike all notes con- taining the FLATS on the ends of the bars, DONT rush the tempo at the expense of striking WRONG NOTES. Practice this exercise until you are thorough - ly funttiar with the Scale of D FLAT MAJOR. count Repoat twenty times. g- EVERY NOTE nust= bo struck correctly. FERLELRES WLELe ae ROR \ count a. Repeat twenty tines. g- Keep the hammers LOW, No WRONG NOTES, Play this exercise ten timos, Strike both ~ Hotes precisely toget ex. Keep a STRICT TEMPO. Observe the COUNT. Repeat fifteen times. Memorize and strike B- both notes together. DON'T SEE-SAW, Rags WBRBRROA RENE Repeat tea times, Ob RRARRRERREEE Ruee serve the hammeriag —Q oh ‘tet = Sa 6. cusetally, Fhe = F fceuth= netes are a zt for the RIGHT HAND) p Pact ery L F 2 EPee, Repoat fifteen times without stopping. oh ~ Memorize thoroughly a STEADY TEMPO, = BLADE82 Observe the hammering carefully in the following exercises, (110.8 and no.9) They are excel- ent studies to individually develop both hands. When first playing over an exercise, play 1 VERY SLOW for a few times until you become somewhat familiar with it, This will enable you to strike EVERY NOTE CORRECTLY. This is very important. Play this exercise ten Umes. Keop a 8> STEADY TEMPO. MEMORIZE Play this exercise oSee Hire, ieee on Se a BANPERRERRELAREL Se une BOR ne Pa [GIVEFULL count] f xeLESSON SIXTEEN-RAGTIME 53 Ragtime - Key of D FLAT MAJOR (Five Plats) in © time (Same as 44 time) Practice Exercise 4-R until you are thoroughly familiar with this rhythm, This will prepare you for Exercise 2-R which contains exactly the same rhythm, with the exception that it is applied to different notes. Keep a steady tempo, and when practicing these Ragtime Exercises try to imagine that yor 272 playing them with a Dance Orchestra. After you do.this for a while, you will notice a certain STEADINESS to your ragtime that you did not notice before. Strike all notes containing the FLATS on the ENDS of the BARS. count Repeat this exercise jf ry Ray times. Memo- ee =a FR ee ae Cm ad LoL The following exercise (No. 2-7) is written in melody form and contains the same rhythm as in Exercise No,4-R, The 7th and 8th measures of this exercise are left open and these two meas- ures are to be filled in as a SOLO BREAK. The BREAKS written below, (No.4-2-3-and 4) are to be played in the 7th and 8th measures of this exercise. Memorize these BREAKS, and then apply them to the 7th and 8th measures of this exercise, Each time you repeat the exercise, play adifferent BREAK until you have played all four breaks. Always play the FIRST ENDING when repeating. Only play the 2nd ending when you decide to stop Memorize this exer- | igo. Pay at about BR. 'a FOX-TROT TEM- PO, ‘S XTRAS Igy Peaae ee] for ameararen, DON'T Chace the Temper CER RRL it ® Te Ewet Eee. Be al Dae Itis understood, of course, that you play oaly ONE of these BREAKS inthe 7thand éth measures of Exercise No, 2-R each time you repeat it. Play BREAK No 4 the first time you play Exercise No. 2-R, then when you repeat the exercise play BREAK No 2 the second timé, and so on. In order to properly apply these BREAKS ia STRICT TEMPO, you must thoroughly memorize them first, ft ee anzax oa Sora MEPAK No r ev Ree PRTpR LR eRe Peueipene Sag eee ea: BREAK No.8 eae eeuieaies Aleee ve = va oa peta) Pairs SURLAUR DELRE EL ®34 LESSON SEVENTEEN ‘This lesson is written in the Key of A MINOR in %% time. In music, there are TWELVE MINOR KEYS as well as TWELVE MAJOR KEYS. Every MINOR scale receives the signature of the major scale LYING A MINOR THIRD ABOVE IT. Thus, the Key of A MINOR receives the signature of C MAJOR, due to the fact that C MAJOR Lies a minor third above A, and so on, Exercises No. tA and 1B are called the EN-HARMONIC MINOR SCALE. It will be observed that this minor scale ASCENDS and DESCENDS exactly the same, the G sharp being retained throughout. Practice this scale until you thorqughly memorize it, The minor scales should be studied until you are able to recognize them whenever you hear them, PLAY SLOW 41-4. es RR The following exercises, No. 2-A and 2B are called the MELODIC MINOR SCALE. It will be observed that this scale retains the notes F sharp and G sharp in ASCENDING but omits them in DESCENDING. Study this scale carefully. Always play F sharp and G sharp when ASCENDING, and always play G nat. ural and F natural when DESCENDING. rt oa oy PLAY SLOW 2-A PLAY FAST 2-B ¥ RL RL BR RLRLB BERL BOTLR ‘The following exercises, No, 3-4 and & are constructed in MINOR FORM, and should be played smoothly and without effort. Every note must be struck correctly. Count —4__2 Count — $e 3 a Repeat twenty times with out stopping. (A, Repeat twenty times with cout stopping. oRUALR L ALRER 7 2 i ge \ LRLGSPCRLR 128 Le BUR ‘The following exercise, No.6 is the EN-HARMONIC MINOR SCALE in THIRDS. Strike both notes precisely together, and play as fast as possible without striking any wrong notes, 2 ost stopping. wo uetaeie > Play fifteen times 6. Strike both notes exact. Ty together, | t of | : & i i { |35 ‘The following exercise (No.7) is an excellent study to develop individual hammering with each hand, ‘This exercise can be hammered two different ways, namely, two lefts and one right or two rights and one left. If your left hand is the Weaker of the two, pratice this exercise by using two lefts and one right, and if your right-hand is the weaker of the two, practice by using two rights and one left, Fol. low this hammering throughout, memorize and practice until this exercise can be played smoothlyand without effort, Keep a steady tempo. This exercise contains TRIPLETS in % time. Count four beats teach measure. 79 gevelop the LEFT HAND, use this hammer: For the RIGHT HAND, use this hammering For the Loft Hand LT56 LESSON SEVENTEEN- RAGTIME RAGTIME - Key of A MINOR-%4 time - ‘The following exercises are written in melody form and are constructed in MINOR form. The idea of these melody form of exercises is to get ‘you accustomed to this style of ragtime playing. Memorize these exercises thoroughly. Once you become accustomed to this style of playing, the ordinary popular melody will be easy for you. These melodies will gradually : ox. difficult as you go along, so the betier you perfect these exercises, the easier the follow. ing ones will be. Keep a steady tempo, about the same tempo as you would play a dance number (Fox. Trot) Try to bear in mind that you are playing these melodies in public with an orchestra. A lot will be gained by this Goont —1_____2____ 1 Repeat about ten times, ale ‘ways take tho 23t ending AR when repeating, Take tho 2nd ending only when you decide to stop. HURLLRERR LERLERL RLRELLARLR R 2 : a LERLERL RLRLERLRR LL RURAL RERLLRLRL BL R LRT, 8 3 RURLLRLRR LLERERRL RLRLLRLRR LLRLERL REL RLLRIRR Ly 2.3 2 LL RLRRL RERL RLRLR L LROR RLRLRERER & LBLR \1 then have them play the accompaniment with you. This is tho best possible way that you can prectice ragtime, You will be nurprised what a difference it will make ia your playing. Repeat about ton times, al- gg 809 take the 18 ending, 2R pray this exeroise similar to'@ dance-number. 2 TR LR ER OR Tf you have some one in your home who ean play piano, hava them arrange a simple aoooppaniment to these melodiesTee eee ee LESSON EIGHTEEN 37 This lesson is written in the Key of B FLAT MAJOR in% time, and the notes contained here in are SIXTEENTH NOTES. The object of this lesson is to help develop SMOOTHNESS and FREEDOM OF MOTION. Practice these exercises.as fust as possible with out striking any wrong notes. The tempo must not VARY. Where the exercises are marked with REPEAT SIGNS, always repeat them INTEMPO. Keep the hammers LOW and memorize as many of these exercises as possible. Once you memorize them, you can then look down at the Key- board and work up SPEED. counr_1___ ssenieseey QQUND era aeteereceergereeereeerly z ,, Repesttols exercise tnenty tined, iv TEMPO. goog —- — * Strisoauniate ontheade of the Bars, += ee RELRLRERER R RLRLR R R&R RLRLALRLR Repeat this exercioe twenty timea,IN TEMPO. R. Seliue every note cones RURLRLRLR The following exercises, No. 8,4 and 3 are excellent studies to develop TECHNIQUE in poth hands. As these exercises contain only two measures each, they can be easily memorized in a few moments, then look down at the Key-board. And repeat each one many times without Stopping, at a fast’ tempo. Note the hammering in exercises No.5 and 6 3, Strike both aotes 3B precisely tosether. Note the hammering A, All RIGHT HAND. onthe sixteeath notes Le Note the hunnering = a5 : NILES == 5 = DEE Notes BE a rere wi LLLLLULLLLLLLLLE LLELLELLLLLLLL ELBRLALR R ANE YOU STRIKING THE FLATS ON THE ENDS OF THE BARS? — iLESSON EIGHTEEN- RAGTIME 59 Ragtime Key of B FLAT MAJOR - (TWO FLATS) -¢ TIME: (PLAY ata FOX-TROT TEMPO) ‘The object of this lesson is to show how a comparitwely easy melody.can be built up by apply. ing a ragtime rhythm that FITS the MELODY. Exercise 1-R contains practically the same rhythm that is used throughout Exercise No. 2-R Memorize Exercise 1-R so that you can play it at a fairly fast tempo, WITHOUT STUMBLING. You must first learn these rhythms before you can apply them to a melody. : tines withett - R. stopping. Play from FOR eo ‘The following exercise is in Melody forma, and is to show how practically the SAME MELODY can be played in Ragtime form, First, memorize the straight melody (TOP LINE, SMALL NOTES) This will help you to play the LOWER LINE, (large notes.) Repeat this exercise many times, always taking the ast ending, MBLoDY (i Q-R. saue vasoor | in oni Pon LROLR ER LR LR ‘TAKE TH]S ENDING TO iP beLESSON NINETEEN This lesson is written in the Key of C MAJOR in © TIME Game as 4, time) This is an excel- lent lesson to develop accuracy. In the lessons that follow, you will be given different forms of arpeggios and variation forms of exercises. The more practice you devote to the technical form of exercise, such as contained in this lesson, the easier the arpeggio work will be for you. Me- morize these exercises and strike every note correctly. Keep a steady tempo. Follow the Ham- mering olosely. det count 4 2 4 Repeat this exercise tsi dimes Se te the fiat mete of cara a group is struck cor - Fectly. Do not vary “RL RL E So hae ipsa £ 2 é This exercise ito de velop te LEFT HARD. Repeat many times, >and follow the lian - mmering closely, dec yo # BWrn bt Lye, LLLGt bf bLbb Lobb Lel Lb a The following exercise is to develop accuracy and at the same time train both hands so. that they Work together. Memorize this exercise and then look down at the Keyboard and develop speed. Strike both notes precisely together. 3 === times, We diegde Br61 ‘The following exercises, (os. 4 and 5) can be easily memorized by taking two measures at atime and memorize. Take the first to measures and learn them thoroughly, then take ‘the next two measures, and so on. My reason for advising the pupil to memorize these exer- cises is that by looking down at the Keyboard will enable him to develop more speed and at the same time play accurately. Memorizing will not affect sight reading at all, as you are comr'"” "‘o read the exercise many times before you are abic you are getting the Practice of sight-reading as you go along. eal ‘| 62 LESSON NINETEEN-RAGTIME i Ragtime- Key of C MAJOR- © TIME (ame as 4 time) Play the same tempo as a FOX-TROT ' played for dancing. The following exercise (no. 4- 2) will give a good idea as to improvising. The upper line of exercise No.I-R is the melody. (Small notes.) The lower line of exercise NoA-R (Large —_| notes }is the same melody in an improvised form. You will notice that wherever the melody in the up- 5 per line is sustained by whole notes, (See Measures 3 and 4-7 and 8-10-12-also 4st and 2nd end- ings.) A ragtime rhythm has been applied to give a ragtime effect. This idea can always beappliedto any selection where the melody is sustained at different places for,a measure or more. When you») come to these sustained parts of the melody, instead of applying a ROLL to sustala, apply a rag- time rhythm instead. Study this exercise carefully and you will soon get the idea of this aX Practice several ues and Keep 1K, a steady tempo. Memorize both Nines RLRLR L LR LR rR¥ TR LER L ‘The following oxercise (no. 2-R)is based upon the same melody as above (Ex, No.4-R Upper JéneJout has been improvised in an entirely different manner, You will notice that in measures No.8 and 4-7. and 8-10-12 and in the tst and 2nd endings,a VARIATION effect has been applied instead of a Ragtime Rhythm. You will also notice that the RAGTIME RHYTHM has been ap- plied to the remaining measures of this exercise, whereas in Exercise 4-R (Upper dine’ these same measures are written in QUARTER NOTES, which is the melody, This idea can be appliedto almost any number you play where the melody is occasionaly sustained 2 faa SEVER LRL WL EERE RY seo epst ort gue See let RLRL Rok “OW 6B 2. Z 2 2 $RLRERL RoR CRD ES, L 2LESSON TWENTY 63 Key of © MAJOR- © TIME (same as 47 time.) This exercise should be practiced until it canbe played at a very fast tempo, and at the same time retaining 2. STRICT STEADY TEMPO. This exercise MUST BE MEMORIZED. Take one line at a time (4 measures) and Keep repeating it until you are able to look down atthe instrument and play it from memory at a fast tempo, then take the next line and treat in a similar manner,and so or.. After you have thus memorized each : tho foom wonery, Practice this exercise until youare able to - sv auu strike the sharps and flats on the ends of the bars Preparatory toexer~ COUNT £ — 2-— porsiery s— Che Re-t. Repeating ——— og. 2y tines, SLOW AT GE Sepniel FIRST, tal youre 0 Struesions eG BLE COUNT ¢ Le a = 3S ‘You will wotice that the ROLL on the WHOLE NOTE (rd measure of each fine) starts with the LEFT HAND. This is to get you accustomed to always start the ROLL with the LEFT HAND, whenever poseible,64 LESSON TWENTY- RAGTIME (MELODY FORM) The following exercise (wo: 4-R) is to show how the BLUE RHYTHM contained in Exercise 2-R and 3-R can be applied to a melody. The upper line (Small notes) is the melody and the lower line (large notes.) is the SAME MELODY, using the BLUE RHYTHM contained in this lesson, This example is to demonstrate how easily you can“RAG UP THE MELODY” by applying these dif- ferent rhythms. But remember, you must FIRST learn these rhythms before attempting to apply them, After you have thoroughly memorized exercises 1-R~ 2-R and B-R then study this page | By memorizing the upper line (melody.) you will find that the lower line will come much easier. 3S Both the upper and lower lines afford excellent practice therefore, devote all the time possible to. them. Keep a steady tempo throughout. oe OBSERVE THE DOTTED EIGHTH NOTES ' MELODY NOTE HAMMERING Sas : 5 ALL RIGHT HAND, Re ee an koe ne wee i PES ENE Weng Meee \ EXERCISE 4. } OBSERVE THE STRAIGHT EIGHTH NOTES. LOWER LINE BLUE RHYTHM = fo RLERRLRRL RERLRRLR p be! bor L Boob Ree ee Are you devoting all the ‘time possible to | practice? The more you practioo the quick fer you will gain zest | ci DPPR ERT EL B L L RRR RRRLR RRR RR RL R.A BR ete LogoLESSELTE NEE OSCE ETA LESSON TWENTY- RAGTIME-BLUES 65 ‘The Ragtime rhythm contained in the following exercises is in the form of BLUES, and is one ofthe most commonly used BLUES that can be played on the Xylophone. Thic BLUE rhythm can be Nery easily applied to almost any melody written ina major Key. Memacin, thes Without ct ey and Keep practicing these rhythms wntil you can play them absota without stumbling. Strike ail double - notes preci these exercises, COUNT TWO to each measure fe exer. tely smooth and COUNT 12 Repeat fifteen times IN TEMPO without IR, stopping. Memorize and playata FOX TROT TEMPO SS Repeat fifteen times COUNT: 4___ IN TEMPO without ——— 2K HC ss Bua a Fy note correctly. ot LR -R, PLAY FIPTEEN © SR ahs.66 LESSON TWENTY-ONE I Key of E FLAT MAJOR Tiree Flats) in Ctime, (Same as% time.) This entire lesson is written in MAJOR SIXTHS. Too much importance cannotbe given to the practice and study of DOUBLE - STOPS (outie notes) Double Stops will give a perfect technique quicker than anythingelse,Itisthe best material for the pupil to practice. In this lesson, be sure and observe the three flats( B FLAT, EFLAT and A FLAT.) Strike all the flats on the ends of the bars, Keep a steady tempo and count FOUR to each measure. Strike both notes precisely together. Do not attemptto play this lesson TOO FAST. Much more will be gained by playing slow enough so as tobe ableto strike every = note correctly, AT A STEADY TEMPO, This is important. twenty times 4, without stopping pa STEADY TEMPO. When playing the following exercise, be sure to strike both notes precisely together, Form the habit of doing this whenever you play double. stops (Double- Notes) Always keep a STEADY ‘TEMPO. if your instrument is only 3 octaves, with the note C being the lowest note, play this ex- excise oge octave higher than written, (dso exercises NP 8-4-5-7 and 8 of this Lesson) couNT_ 2 — Repeat six times without stopping. oe In order to develop SPEED when playing these exercises, Keep the hammers LOW,and strike all the sharps and flats on the ends of the bars. Then play as fast as you can IN TEMPO and at the same time, STRIKING EVERY NOTE CORRECTLY. Memorizing these exercises will help youto play them fast and also accurate,as this will enable you to look down at the instrument. Repeat fifteon times without stopping goat A, Repeat fifteca times Br without stopping LRLRLALAL LoL Lb LRLRL COUNT. 128, 4 128. Repeat fifteen times without stopping notice the COUNT.or ‘The following exercise (2a) should be memorize smooth and without effort. Do not. RUSH THE TEM. measure. In order that you may always strike every note correctly, suggest the following method, When first playing over any exercise, play it very, very slow and at an absolute steady trace Then gradually increase the tempo euch time you repeat it. Then keep & tilyou are ,.0y1ng as fast as possible without striking TEMPO, and continue to practice. Excellent results and then practiced until it can be played PO. Be sure and give four counts to each any wrong notes. Then STAY AT THIS ‘will be gained by following this mothod. count. 1294 When practicing the following exercise (792.) Roll on every note, look down at the Keyboard, Strike each note with a FIRM ROLL. Better results will be gained this exercise by not attempting to play too fast.In making the jumps from one note to the next, See that no notes in between are struck, Favor a short ROLL on each note counr___t_23_4 ol Memorize, so that you can Repeat 3 7. TEN TIMES, ‘The following exercise (95) is similar to a chromatic willfind that this exercise can bé played faster than most down at the instrument. Keep a steady tempo. count__1 oa Scale Construction IN SIXTHS. You of the others. Memorize, and then look 2 3 4 Repeat eight times witout Stoppinge 8.68 LESSON TWENTY-ONE - RAGTIME Ragtime. Key of E FLAT MAJOR (three flats.) G time (same as %4 time.) Tae following exer. cises are to give an idea as to how a melody can be retained throughqut IN SIXTHS.Double-stops offer excellent material to practice on, as both Lands are taught to work in unison. In exercise N9-R you will notice that the ith and st? notes in each measure are tjed together and the twonotes are sus- tained with a ROLL. Make this roll SHORT, otherwise it wil] be carried into the next note, and the effect of this rhythm will be lost, Wherever a similar construction ocours.this rule holds good. HeeRE EEL ‘The following exercise (179 2-2)is writtenin melody form. Memorize, repeat many times IN ‘TEMPO, and always play the Ist cnding when repeating. Only play the 2ndending when you decide to stop, Strike all sharps and flats on the ends of the bars. And strike both notes together. REPEAT “Rg, TWENTY aoe TIMES. at en 1 | ‘The following exercise (Wo 4-R) contains atrick rhythm that can be used very effectively in many different foms.of melody. Memorize this exercise thoroughly, especially the rhythm contain edin the Istana 2nd measures. Roll only where the notes are marked with a roll. Count TWO in each measure. Keep a STEADY TEMPO. count. BR. (aS ——= —LESSON TWENTY-TWO 69 ‘This lesson is written in the Key of C in %4 time. The exercises contained herein are in the form of a VARIATION. These exercises, when once memorized, can, witha little practice, be applied to almost any melody. This form-of variation is used more than any other, and it is al. 80 one of the easiest variations to play. The following exercises, (No. 1A, 2A, 3A, 4A, and 5A) gives the chord, and the variation to fit the chord. This sameJorm of variation can be applied in the same manner to any chord, and inany Key, and the same hammering will prevail. Repeat these exercises many times,until you are thoroughly familiar with this form of variation. Then try them in a different Key. You Will find that it is easy, once you have the idea of it. This form of variation can start or stop on any note in the chord, so long as the variation retains the TEM - PO. | a I-A. CHORD. VARIATION, Appr Spt te eRcRL RE SES ere i : ix 2A. CHORD. VARIATION. Se ==—— sbgereraas ER RPE a BA. CHORD, VARIATION. @SBE f eee EY ® 4A. CHORD. Sg=ee == EE VARIATION. ae VARIATION. 5:A. CHORD. & a ‘The following exercises (No.1, 2, 3,4, and 5) are the same as Exercises No.JA,2A,3A, 4A, and 5A, with the exception that these exercises take in TWO OCTAVES instead of ONE OCTAVE Practice these exercises until they can be played SMOOTHLY and WITHOUT EFFORT. Strike every note correctly. MEMORIZE. You wili find that this form of variation becomes very brill- jant and pleasing, when played fast, in tempo, and with every note struck correctly. Practice until youcan do this. 2. z Repeat + A. twenty E Snes RehrkieL eR ECECRTRT See g Repeat fbiPeene 2. Ny feleead | Repeat Be twenty Repeat Ae tet70 The following exercise (No.6, is to show how this form of variation can be applied to a mel- ody. You will note that this exercise is in 3% time. First, memorize the melody (UPPER LINE, SMALL NOTES) Then memorize the variation, (LOWER LINE, LARGE NOTES) This will give you the idea as to how easily this form of variation will fit a melody. Keep a steady tempo, and strike every note correctly. Practice until you are able to play this variation perfectly smooth. 4 ileal = 6. cou VARIATION tf The following exercise (No.7) is constructed the same as above, except that it is inverted | or reversed. Instead of the variation form ASCENDING, this variation form DESCENDS. It ‘ will harmonize with the melody given above. Play SMOOTH and IN TEMPO. Note the ham- i mering. Each measure begins with the LEFT HAND.LESSON TWENTY-TWO - RAGTIME at Ragtime - Key of C major, € time (Play at a Fox-Trot Tempo.) The exercise given below is an excellent study to develop accuracy in playing Ragtime. This exercise can be madeas difficult tyne Pupil may wish, by simply increasing the tempo. However, always bear in mins the fol- lowing:- Do not attempt to play so fast that you strike wrong no‘es Teen correctly, and the entire exercise MUST be played IN TEMPO, in order to gain the proper re. Suits. Devote all the time possible to this exercise. Strike the evbie-notes precisely together, Memorize, if possible. Observe the hammering. The hammering is the sane throughout the en. tire exercise. PREPARATORY. A lope qn tigen un Tis Sep & poviare thervagiiy ae. Que ge a fat ote quainted with this thy tem fee ce LE Te LR LR ing paras of