2 Fingering Chart for Basses footnote) N. W. HOVEY THIS LINE FOR BB} ONLY BOTH b “ee 1o ro 7 (open) 2 At Bb BG © ck Db D DEE E Fb BOTH omen) a '@ sa a@@ ton 2 @ F Ft Gb G Got Ab A At Bb Both @ T ren) 1a 2 @ ‘open (open) open a BG c ch Db D De jo ‘THIS LINE FOR Eb ONLY = @ © @ @ (pea) In this chart and under each new note introduced in the following lessons will be found the fingering for both BB} and E} Bass. ‘The BBs fingering is indicated first, followed by the Eb fingering in parenthesis. yyright MCMXXXIV by Ruban, Ine, Chicago I International Copyright Secured Copyright Renewed8 Whole Notes and Rests LESSON 1 N.W. HOVEY (F) oot) (Bs) ‘open (open) 3B 2(@) (G) é 3@ (Es) = iGpen) (©. Copyright MCMXXXIV by Rubank,Ine.,Chieago, Ill. : International Copyright Secured Copyright RenewedLESSON 2 - Half Notes and Rests 4@)5 Half Notes and Rests ©) LESSON 3 open (@)LESSON 4 U Quarter Notes and Rests quarter resta LESSON 5 Quarter Notes and Rests footnote The sign % indicates that the preceding measure is to be repeatedLESSON 6 8 Key of Eb Note: All exercises provious to this lesson have been in the Key of Bb in which B and E are flatted. This lesson introduces the Key of Ep in which B, E, and A are flatted. Form the habit of looking at the key signature before you play each exercise in the following lessons. (ay) = 4)9 LESSON 7 The Tie; Dotted Half Notes {stor 2nd valve? Why? 6 —= Practice softly. Learn to conserve the breath so as to get maximum tone with minimum effort. Practice daily ‘on slow, even, sustained tones,LESSON 8 10 Three Quarter Time see footnote The sign ¥ is called a “natural”, It cancels the effect of the A flat in the key signature, for one measure only. Occasional sharps, flats or naturals not appearing in the key signature are called “accidentals!”un Highth Notes Rhythmic Patterns to be practiced. Repeat each several times. LESSON 9 fand 2 and 3 4 1 2and 3 £ and 1 2and 3 and 4 and 1 2 8 and 4 and 1°@) Sand 4 and fand2 ands 4 (ahbreviation) ©) ‘open () Turn to page 44,n0.1, 2 and 3 for melodic material.LESSON 10 12 Eighth Notes a == or crescendo (usually abbreviated cresc.) gradually louder. = or diminuendo (usually abbreviated dim.) gradually softer.13 LESSON 11 Eighth NotesLESSON 12 4 Key of F (one flat — B) (& aturad 1 Note that key signature calls for B flat ondy. 2Q 2 3 4 (B natural) 1, “Oo16 Dotted Quarter Notes Rhythmic Patterns to be praticed. Repeat each several times. a. b e LESSON 13 1:23 band 122 6 and 129 band Bh Scale* 7 eo . = oy *Be certain before proceding with lesson 14 that you can recognize and define the Key Signatures youhave had thus far, (namely, F Bb and Bs) and have memorized the three major scales.LESSON 14 16 Dotted Quarter Notes “band 8 4 and Turn to page 44, n0.4 and 5 and page 45, no.6 and7 for melodic material.17 Eighth Rests Rhythmic Patterns to be practiced. Repeat each several times. a. 8. LESSON 15 4 and 2 and 7 and 2 (and) 1 (end) 2 and a. e. f, a Dand 2 and 1 and(2)and 1 (and)2 (and) CD) and (2) ant h, J 1 (ands 4 1 @) Gand 4 and 1 Band Sandsand18 LESSON 16 Fighth Rests (accent) 219 Key of © (no flats or sharps) LESSON 17 (B natural) (B natural) to) 3 If you have memorized four major scales (C, F, Bb, E) procede with the next lesson; if not, review lesson 18, No.1, Lesson 13, No.1, Lesson 14, No.7 and Lesson 7, No.1-20 LESSON 18 The Slur2 LESSON 19 Alla Breve (cut time)LESSON 20 aa Alla Breve8 LESSON 21 Alla Breve b, 6 4 and 2 and 1 and 2 (and) 1 (end) 2 and ; a. f. %. 4 and (2) and 1 (and) 2 (and) L(andX2) and CD and 2 and () 7 open) Play lessons 4,5,6 and 7 in ¢ for additional practice.LESSON 22 ea Key of Ab* (four flats—B,E,A and D) eo 2b Taba upper tie (D8) ts vate forth Taba sso ER 1 Ss = (BE) 3 tor Beh Taba 2 3 4 2% *) After completing this lesson the pupil should be able to play 5 major scales from memory,(namely C,F,Bb,Eb and AB).25 LESSON 23 Six-Hight Rhythm Practice cach of the following 6-8 lessons beating siz to a measure emphasizing or slightly accenting counts land 4, (128 4 § 6). Then review each lesson beating #wo to a measure, so the first beats falls on count one and the second beat on count four, a 234 5 6) eee a) 7 23 £90) 770) 450LESSON 24 26 Six-Eight Rhythm $23 45% 1 2 OOOH 1@2f 86 1@ 3 £6ea LESSON 25, Six-Kight Rhythm TTaer ass < 7 Turn to page 46 0.9 to 12 for melodie material. dam24s28 Key of Db* (ive flats—B, B,A,D and G) LESSON 26 * After completing this lesson the pupil should know six major scales from memory, namely C, F, Bb, Eb,Ab and Db29 LESSON 27 Sixteenth Notes (see footnote) tand — 2_and 4+ and 2_and 4 and 2_and fan-da 2 and one-da anda 2 and a Number 1is a rhythmic exercise. Play both lines and compare. Notice that any eighth note may be replaced by two sixteonths. Invent some rhythmic patterns of your own.LESSON 28 oo) Sixteenth NotesLs LESSON 29 Sixteenth Notes seen see soon (Review no.5 using articulations above.)32 Key of G+ (six flats—B E A D G and C) (os) @ LESSON 30 Teler to Tesson 27 » After completing this lesson the pupil should know seven major scales from memory. (Namely, , F, BhBb,AbDhand G)- LESSON 31 Dotted Eighth Notes84 LESSON 32 Dotted Highth Notes Turn to page 47 for melodie material.bd LESSON 33 Additional Rhythms in Alla Breve 4 anda 2 and Toda anda 2 and =f (and)(2) and Play lesson 14,n0.1in ¢.36 Key of G* (one sharp—F) LESSON 34 ») After completing this lesson the pupil should know eight major scales from memory. (Namely, G,C,F,Bi,B},AD> and 8)a7 LESSON 35, Chromatic (Ch) fingered tke Bk. @ ° In the following exercise, breathe deeply, play slowly. Keep the crescendo and decrescendo even. Each line should take but one breath.LESSON 36 88 Chromatic a be e. a. ee Satie vie sie Shes Use following articulations vie + te 7a ots Ps39 Key of D* (two sharps—F and C) LESSON 37 (FF) seo tesson 84 SS SI +) After completing this lesson the pupil should know nine major scales from memory (namely D, G, C, F, BS,ES,Ab, Ds, and G4).LESSON 38 ao Syncopation Incorrect Be certain the accent is on the correct note. A common error is committedin playing syn- ‘copated figures as follows:a LESSON 39 Syncopation = Triplets In previous lessons you have divided the quarter note into two equal parts (d= JJ) and into four equal parts (d+ FFF it may also be divided into three equal parts. 1:17) a ey NL equal value. A common error is committedin playing Be certain you play each of the notes in the triplet figure, the figure in this way FT]. Do not rush the first two notesLESSON 40 oo Intervals These exercises should be practiced in two ways. First, starting each note with a definite attack and second, slurring from the first note to the second, (hires) (Fourths) (Fitts) + (Sixths) (as) (Sevenths) (at) = (Qctaves) ) (open) open. Turn to page 48 for molodic material.43 Seales for Reference a oo Chromatic Chromatic (G#) Hogered tke ab ne4a Melodic Material Doxology fowl Moderato mp rit Duke Street Moderato 2 tS eo Abide With Me WM. H. MONK Blue Bells of Scotland Scotch Folk Song’ Andante Moderato 4G) —_, Adeste Fideles Grandioso Traditional46 In the Gloaming Andante a A. F, HARRISON O Canada Maestoso C. LAVALLE America the Beautiful Grandioso SAMUEL A. WARD46 Drink to Me Only With Thine Eyes Andante Moderato English Air mf Sweet and Low Larghetto J. BARNBY 1 DB 3 = = : cad The Old Oaken Bucket Andante S. WOODWORTH uw = It Came Upon a Midnight Clear RICHARD WILLIS Moderato mpa7 The Minstrel Boy Moderato ; : Irish Air 13 nf’ Love's Old Sweet Song J.L. MOLLOY Moderato 4 P “ = __-—— == — P Rocked in the Cradle of the Deep i J.P. KNIGHT = Moderato mp4s Old Folks at Home STEPHEN C. FOSTER Moderato In Hay ts . PY Moment WALLACE Andantino a7 P eee Scenes that are Brightest WALLACE Moderato 18 P