‘Bb Clarmet BELWIN ELEMENTARY BAND METHOD By FRED WEBER Edited by MLO W. HOVEY Published for CONDUCTOR Bi ‘TENOR SAXOPHONE C — FLUTE Ep — BARITONE, SAXOPHONE Dp ~ PICCOLO Bp — CORNET (Trumpet) Bp — CLARINET HORNIN F Bartocsgner — | Meo, Clarinet = French Hom) oy Bas eer TRORBORE BARITONE ioesee BARITONE (Treble Clef) BASSOON, BASS (Tuba) Eb ~ ALTO SAXOPHONE DRUMS Cony 195 bby BELWIN ING. ~ New York -US.A Intrnatonal Copriaht Secoed » 3) Pa by oy, cree” BETS WZIIN| ROCKVILLE CENTRE “Le, New YorkTO THE STUDENT ‘As each new principle in this book is introduced, it will be numbered, the umber appearing inside a square. Any item you forget the meaning, look up this number in the index on pages 38 and 39, and you will find the explanation. Bach time a new note is introduced, it will be marked with a star. Everyone who has ever learned to play well has had co practice regularly each day. For best results try to sec a regular time to practice and then let nothing interfere with your practicing at this time, When you practice, try to do the things your teacher told you to do in your lessoa, Don't just sit down and “blow.” Practice carefully and work for results — don’t just put in time, Thisty minutes of careful practice is better than hours of careless work: Practice regularly every day. Don't work hard for a few days ot weeks and then “let-up” for a few weeks. It is regular practice day after day without failure that makes fine players. Some Valuable Suggestions to Young Players 1, In order to produce a good tone or play in tune, yon must have a GOOD INSTRU- ‘MENT, in GOOD CONDITION, and equipped with a good MOUTHPIECE, 2. You must be able to narne the notes rapidly at sight. 3, NO RESULTS SHOULD BE EXPECTED UNLESS YOU PRACTICE THE REQUIRED AMOUNT REGULARLY EVERY DAY. 4, Remember that your tone and ability to play in tune are the two most important items in Ieatning to play and the hardest co acquire. 5. Be sure to COUNT AT ALL TIMES — while practicing at home or in your lesson. 6, Asticulation in music refers to the way you tongue and slur, It is very important that ‘you learn the cotrect way t0 tongue from the vety first so that you do not develop ‘wrong. habits. Your teacher will explain the proper method of ronguing. 7. Be careful to breathe in the proper places. A phrase is « musical, sentence. In English ‘we puncruate with commas and periods — in music wwe punctuate when we take a breath. breath, don't enc them off with your congue. le 9. Be sure to-hold your instrument in the correct position at all times. Sit erectly, and be sare that the hands, arms, and fingers are in the correct positions, Without correct position, ‘one cannot develop the other important points. 10. Keep your instrament clean, especially the mouthpiece: 11, Control of the breath is very important co wind instrumentalists, Many faulss and troubles ‘can be traced to improper breathing. 12, Always try to keep relaxed when playing; especially, keep the fingers relaxed and never “puffout” your cheeks. : ‘Be careful not to stop your notes with your toague. Stop your tones by stopping. theasso ate Eogdng char, I wil ae vou mich eouble whee you focgee & Engsiag. "The six dow oe ciclen under each note fet to the sie finger holes, When 2 dor i given, Slow the corsponding hole. A eels eisns tS leave open, “The Jerr" mags dae the daumb hole io but of the casings to be elosed. The Jewee SR meant to poet the tpkcr Lay above the smb ole me notes cap be Angered more has Gat way. When ra aseriogs ae 1 Ieaea the cop See bist. When s number ie given ‘th dots, refer tothe picture of te instruent fad nd the fey with shat aunber “Bas apd Alo Clarinet payors boing aidouble seer Be on ib meen seal ok he factor [or ao exploration of the nie of the cond boy, nl t i lle BAL: 179 & D E zt G A. a oe | 73 | s/s] 3 848] 8 2a Ss fe {Re [Re Re tae URE FBI 3] 8) é| 3 ala or| or i i i Sharps and Flats Ak& Bb C#ED) DA&E> PEAGD GHaAy ASE 1 3 | gt] Re s| Ele g) 2] 3 e Gb ne DBF Eb ga gis BS + . IB R * 3 & KB iy Copyright 1947 by BELWIN, Inc, New International Copyright Secured Lithographed in U. 8A, York, U.S. A.4 When a new note jis first introduced, it will be marked with 2 # above it, and the fingering will be given. Memorize the fingering and the name of the fote. ‘As each new problem is introduced, it will be numbered and a square placed around the number. ‘Any time you forget the meaning, look up this number in the INDEX on pages 38 and 39. BBA x key 1 only Roll 1st finger from A to E and back ‘key L only} ‘thumb only. Keys Land R = The Breath Mark “’” 2oe) Intervals 2 2 ye i _C-Time Signature za Tryout Number 2 d a @ Half Notes and Rests 28 x ount:1 238 1286 72s4 1236March Melody 2 Bi Enharmonic Tones 3) B 4 84 Keys 1 and R Bb B at ‘same fingering as Bb x Marching Along 2 Thirds BL. 179,Scale Tryout Number 4 os Low Bb lowGo Slow March play tow notes if possible = $l The Tie One O'Clock Waltz Tryout Number 5. H.17920 Quarter Notes @y a Bw Skipping 63. Stair Steps 64 Higher and Higher 65 E.L.I7)66 67 Mm Endings eG, : Sera i Tryout Number 6 Jingle Bells Lightly Row 72 Tryout Number 7 = ca HoldThe Plowboy Counting Rests EeLs179Twinkle Twinkle Little Star if ‘ine 4 D.C. eS we Volga Boat Song Tryout Number 8 om Good Morning eb. 179Gliding Skaters Waltz w Rolling Along 400: be bet7e404 i “Yankee Doodle _ 102 : ne In The Hammock oa ar eee Church Hymn 405 Tryout Number 9 406. Old McDonald | 7 : Lr ed 407Marines Hymn as Blue Bird Waltz Sola for Bh Clarinets \ Piano Accompaniment in Conductor Book (sy: AA YON * DAA 4 Valse moderat E-L. 17917 Nam Grade. Music Test Number 1 1- Write the names of the notes on the lines below the staff in 15 seconds. 2-Write the following on the staff: 4 - Clef Sign 4- Whole Note 7- Quarter Rest 2- Sharp 3 Flat &- Half Rest 3- Time Signature 6- Half Note 9- Natural Sign 10- Whole Rest @ ® @ @ ® [o) @® @ 3 - Draw the notes called for, on the staff below. D A B G FE c D A G 4- Copy the first line of “Jingle Bells" exactly as it appears on page 11 in your book. Use staff below, 5-On the staff below write the ONE note needed to complete the measure 6- Do the following things on the staff below: i 1+ Divide it into 4 measures with a double bar at the end, 2- Fill ineach measure with notes or rests so that the measure has the corfect number of counts 3- Make the line repeat, : —— 7- Draw the sign that makes a note “fz step higher .. Draw the ‘sign that makes a note Vp step lower -. Draw the sign that takes away the effect of a sharp oi flatHigh Register When a new high note is introduced, the fingering is the same as for the low note preced register key is added. G ¢ 18 it exeept the 110 3 AR M2 413 clea 445 > ‘Tuning now 116 aay 48 49 Tryout Number 108 4 Abide With Me 3 A122 ei Abide With Me caguin) Tryout Number 11 A124 125 126 Fingers ready 427 Fingers ready 128 4120 EL. 17920 This page for Clarinets only RH. down RH. down Drill for correct use of Ist finger of left hand. R.H.down ———1 “EF” scale Key signatures are used by the full band on the following page. “RP” Arpeggio —Gi) = ‘Ask your instructor to suggest various articulations for the scale and chord exerewses. Roll that Finger RH. doen . OR Heap E.L.179Key Signatures a bx Key of F-all B's are played By Key of C-Nosharpsorflats Key of G-all Be are played Ft Merry Widow Waltz ry 434 A a= 132 Billy Boy—Tryout Number 12 133 Melody Bicycle Built for Two 436 SZbs 22 Key of Bb ail Bis and E's are flatted When © (third space) comes before or after (4th space) Eb, finger C with the left-hand. See fingering chart on page 3. Eb 487 * 138 139 440 Skating aaa Music Test Number 2 1-Write the names of the notes on the staff below in 15 seconds 2- Write the following on the staff: (use staff below), 4- Quarter Note s~ Repeat the preceding measure sign. 2- Breath Mark 6- Hold Sign 2 Dotted Half Note 1- Tie two notes together a+ Repeat line Marks 8- What does D.C.mean? ® D @ @® oO 3- Write the notes called for on the staff below. Boe A c D 6 RUE B D E 4- In each measure below, write the ONE REST that will complete the measure. =e ——! eS eS) Ba - On what count does the piece below start? 5c-In the measure below, is the Srd 5b_ What is the name of the piece ?.. note like the 2nd or the ist?. Es, 179Harmony Section = See Index numb {5} Part 1 442 +4 f\>== oP Teel mY | Part 2 ia Double Notes 143 Christmas Tree Waltz 1A Andantino Part 1 445 Part228 Chords See Index number 53) a 446 Choral Seo Index number 4a7 Eastport Marchi] i Marjorie Bel. 1793 Accompaniment 25 4150 My Bonnie 454 Playtime Waltz@) i d. |—, 152 — Shirley Waltz E-Ls179 axe 4 Accompaniment 154: Hungry Five 455 Chuck and Bill Counter Melody Eagle Scout d BL. 179Eighth Notes az a” 160 bie Pees 4161 462 Ro 4 Og-Reys R and Tonly Tryout Number 13 (65) Polly Wolly Doodle (or eee ea 16% Ee 6S * & a —— it ttre ete ted Sade 465 =H :. 166 BAL. 179,28 AS? RH. down ———_+ Yankee Doodle | (Harmonized (B-Part) 168 Rhythm Variations | i i i | i ' | College TuneTryout Number 14 Staccato E.L.178a Dotted Quarter Notes America the Beautiful (B-Part) larmonized) Silent Night (B-Part) (Harmonized) Alma Mater (B-Part) (Harmonized) E.L-179an Page 30 is the last page where a fundamental is introduced and developed. The following four pages are intended only as a presentation of the fundamentals introduced oneach page and not for complete development of the various problems. Supplementary material should be ubed for the development of these problems. Alla Breve— (Cut Time) See Index number [57 @ d- 2 tocach count d= 4 count ©-2 counts Happy Days Hand Me Down Play page 28 in Cut Time. EsL.17932 Sixteenth Notes FFF 3 - 1 count 199 Mocking Bird 200: 203: Maryland (B-Part) (Harmonized) 205: EL. 179§ Time s 2)-rcount d= counts “d.-2 counts 4-6 counts 7 207 61 8 Time 209: Venetian Melody 210 Syncopation See Index number{22] 2 ae : : niles] 218 3 = simile Nobody Knows the Trouble I’ve Seen (B-Part). (Harmonized) Raa eb. 179oT Z Triplets : 8 JF ~ 1 count dd) 4 count a iS Row, Row, Row Your Boat Play also as a Round ® ® © 4 pin » 2 O g Time, ® Beats to the Measure d--acount d--2 counts ddd —scomt dd) ~1 count > 2. R18 For He’s a Jolly Good Fellow 2 2 De 220) key A Hunting We Will Go Spee RA B.1.17935 Separate page for-Clarinets only “This page is intended as supplementary material and is devoted to es which will develop finger dexterity. The clarinetist must possess considerably more technique than many of the instrumentalists and such studies should be considered absolutely essential A Chromatic Scale~ Kk | | L ‘Ack your instructor u» suggest various articulations for above exeicives E.L179ET Scouts on Parade March ~* a4 id > d os J 3@Graduation Day i Andante © Overture" r nite —_—_—___ @ 41 @1 ds, . d Be & @Alieers B2.179as Index of Musical Terms.and Fundamentals Staff a. $ Treble Clef sign 3-F Bass Clef sign Time Signature 4-7 a-4 counts in each measure b= each @ note gets one count Bar -dis 8 staff into measures, yf Double bar Marks end of section ae Measure 8-@ Whole Note ¢- ===] wore newt 10-b Flat-lowers a note % step. ‘Leger lines - Used for notes “a. “ higher or lower than those in cad —" Be staff, 42-d_d Tie - combines 2 or more notes, 48-9. Breath mark 44- Interval - distance between 2 notes 2 15- ===] est 2 fll measures 46- {} Sharp - raises a tone % step 41-© Connon Time has same effect ax 4 time guar, 48-d Half Note 19- Half Rest 20. sf Repeat dots Repeat section between 2 sets of dots. 21- D.C, Da Capo - Go back to the beginning and play to “Pine? 22- Fine - Finish the end as- 3 ime Signature 2-2 counts in each measure, b~d gets one count. 24-d. Dotted Half Not The dot adds half as much timeas the note Itself gets. a5. d Quarter Note 26-2 Quarter Rest 27- Fermata or Hold - Give extra time, _— ‘A lat or sharp remains in effect 28. (ES=SSE] eLoughout the entire measure une feos cancelled by a natural. 2. % Repeat preceding measure, ist and 2nd endings. Play ist ending the ist time - Then repeat strain and play the 2nd ending. si. & Coda Sign . Jump to Coda. 2 ‘Time Signature. Ba a-2 counts io each measure. ‘b-d gets one count, 83- 4 Natural-Cancels the effect of a sharp or flat. Slur-Don’t tongue the second note. 85- “Pick up Note”- Start on the number of ‘count necessary to make the Ast note of the first full measure come on the count of f, 36- Sign 87- DS, “Dal Segno- Go back to the sign and play to ‘Fine’! 38: Lip Slur- For brass instruments astur from one note to another with the same fingering or position is called a Lip Slur. 89- Scale - A group of notes progressing ac- ‘cording to a certain pattern of kalf steps and whole steps. 40: Arpeggio-A group of chord notes played one after the other,‘44 - Alternate fingerings - Another way, other than the regular way to finger 4 certain note. 42- Key Signature - Flats or sharps, placed atthe beginning of a section that indicate certain notes that are sharped or flatted throughout entire section. 48- Harmony-Different notes played at the same time that sound well to the ear. 44- pp Pianissimo - Very soft 5. p Piano + Soft 46- mp ‘Mezzo piano- Moderately soft 47- mf Mezzo forte - Moderately loud 8. f Forte - Loud 40- ff —_Fortissimo - Very loud §0- === Increase volume 81- === Decrease volume 52- rif, —_Ritard - gradually slower 83- ral —_Rallentando- gradually slower 64- aoced, —_Accelerando- gradually faster 5B- crea Crescendo - gradually louder 56- dim -Diminuendo - gradually softer 57- Chromatic Scale- A scale that progresses by half steps, 58- Chords - Different notes played together that sound well to the ear. INDEX continued 89- Choral - Slow piece with emphasis on chord progression. 60- March - A piece suitable to be played for marching. 61- Waltz - A dance form usually in 2 time, 62- d) or bd Eighth notes 63-7 Eighth rest 64- d,___—-Staccato - Short and separated o- 7 Divide into eighth notes: playing thé number of eighth notes that equal in time, a quarter note, 65-d- Dotted Quarter Note 67- ¢ Alla Breve or Cut Time, : - 2 counts in each measure. b- d receives one count, 68- Nord sixteenth Notes o- d. Dotted Eighth Note 70-8 Time Signature, 3 ign a- 8 counts ineach measure, b- @) gets one count, ng Time Signature. = a- 6 counts in each measure, bo) gets one count. 72~ Syncepation ~ Process of beginning a tone ‘on an unaccented beat and sus taining it through the next ac - ented beat. 138- > Accent mark. Play with force, 74- simile Continue in similar manner. B- ‘Triplets, Three notes played in ‘the time of two, i oeBAND-ette BELWIN FOLIOS By ACTON E. OSTLING FOR STREET — SPORT — MARCH — STUNT — SHOW AND CONCERT INSTRUMENTATION ToBePleyed By CONDUCTOR ~ tee PART IN DS (Melody) = "Db Pieces tue PART IN C (Melody) ° C Fes lit PART IN Bb (elody) Fine Comes Tie PART IN Bh—8 va. (Melody one ecive higher, except where ie would ‘0 above High D, when i has been rearranged) Flee Clarinets dad PART IN Bb (Fist harmony pat). “Seoad Cores 2nd PART IN Bb—8 ve, (Fist harmony part one ocave hi ‘where arranged to correspond with the let Part—# v8 3nd PART IN E> (Second hermony part) 3rd PART IN F (Second hetmony part) Bid PART IN Bo-—Optial (Second harmony par. USE ONLY if necded {0 augment the 31d Parts in Hb end F) Third Comes "TREBLE Basiones T.C, Tenor 4h PART IN CLE (Coumtermeloy) cua sae 4in PART IN BASS GLEE (Counsel) soo Battones BC, Trombones Sth PART (Bass part) : Basses, Bvitone Saxophones (Goh PART (Rbydua) “Percusion, Drs, et BELL LYRE ... oo 7 PRICES OF ALL BAND-ette FOLIOS —‘except “CONCERTIME” Enoch Part, 50c Coriductor, $1.50 nal Parts for CONC 2ad PART INC Oboe, Flares {dh PART (A a B in Bb) ve eb Hors th PART (A 2 Bin F) “F Mores 7 PART (B & C in Bass Clef) Tromboos: PRICE OF “CONCERTIME” Each Port, 75¢ Coriductor, $2.50BELWIN BAND METHODS | SUPPLEMENTARY MATERIAL | FOR THE DEVELOPMENT OF FINE BANDS PRE-INSTRUMENT MATERIAL SUPPLEMENTARY TRAINING MATERIAL | BAND ENSEMBLE FOLIO. Joln Kinyon | PREINSTRUMENT. METHOD. Fred Weber | WUNDAMENTALS OF BAND I SING WHILE THEY PLAY. Fred Weber PERFORMANCE ‘Mark Hindsley L NOTE SPELLERS— FOR ALL INSTRUMENTS, Fred Weber READING AROUND THE NOTES... Acton E. 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