"OMPLETE

3 INCLUDING VOL.I and VOL. 2 FOR ALL INSTRUMENTS

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15 West 53rd St., New York, N. Y. 10019
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 Preface
"DEVELOP SIGHTREADING" establishes itself as a vital contribution
i n music literature. T h i s study material, technical i n nature i s indispensm
able for it stimulates, coordinates, and stabilizes one's mental and physical
ref lexes.

These writings present an adventurous challenge into the land of

musical and technical intrigue.

A strand of musical genius i s weaved throughout these musical pass-

ages of unusual originality. By atuning one's thoughts towards a grouping
of phrases expressing each phrase as a beautiful musical thought, one w i l l
respond )o he iRy3iratEenal beauty that the authors so cleverly highlighted.

Two of the MUSIC WORLD'S most respected artist-performers and

teachers GASTON DUFRESNE and ROGER LOUIS VOISIN, members of the
BOSTON SYMPHONY ORCHESTRA, also faculty members of the NEW ENG-
LAND CONSERVATORY of MUSIC, Boston, Massachusetts and the BERK-
SHIRE MUSIC CENTER are credited with this work.
An unprecedented rise to musical fame came to GASTON DUFRESNE
after receiving the highest honors ever awarded at the NATIONAL CONSER-
VATORY in FRANCE, MR. DUFRESNE has contributed many fruitful years
to the world's greatest music, from the CONCERTS COLONNE i n PARIS, t o
the CHICAGO SYMPHONY and is presently one of the senior members of the
BOSTON SYMPHONY ORCHESTRA.

The e d i t 4 m n s u l t a n t advisor, ROGER LOUIS VOISIN'S family

tradition stems back for generations i n the WHO'S WHO IN THE MUSIC
WORLD. MR. VOiSIN i s continually elevating this tradition to i t s well de-
served musical greatness. A f u l l fledged soloist and a permanent member of
the BOSTON SYMPHONY since the age of sixteen, MR. VOlSlN enjoys the
success of being one of the world's most celebrated soloists.

T o h i s credit are the following recordings of which MR. VOlSlN can be

heard as a featured soloist:

Brandenburg Concerto, Bach Victor

Poem of Ecstasy, Scriabi n Victor
Bach Festival Columbia
Music of Jubilee, Bach Columbia
ElLl EILI, Boston Pops Victor
Bacham, Manna-Zucca Victor
Trumpeter's L u l laby, Anderson Victor
The Toy Trumpet Victor
 . Moderato

Copyright 0 1972 by CHARLES COLIN - 315 West 53rd St., New York, N. Y. 10019
All Rights Reserved International Copyright Secured Made in U. S. A.
I Andante
Allegro deciso
 -
my-
A1leet.o con fuoco
Alla Breve J. S. BACH
Alleero deciso A
-
I. d m -
Allegretto
Adagio h
76

Allegro risoluco d=92

>
The beat unit in the 6 first bars is the eight as represented by the notation = 76 --
On bar 7 the half-note is the beat-unit s = 92 - On bar 22 the quarter is the beat unit J = 184 -
Starting the 7/8 time on bar 41 thc eight has the same tempo as in the preceding 3,/4 time -'
The 3d beat of bar 41 has the length of one beat and a half of the preceding 3j4 -
Bar 42 has the First beat longer by one eight than the preceding 3/4 time -
Bar 44, resume tempo of preceding 4 , -- 92 - Bar 45 - Same a s bar 41.
 Andanre deciso J =84

On bar 23 take 2 / 8 tilnc twice faster than the preceding 314 (keeping the same tempo eighth
B a r 32 - 9/1G should I)c 1)eatcrl in 4 - same tempo per beat a s of the preceding bars in 2/8
f o r eighth b=b
time, however the 4th
).
bcat should be longer to play the 3 sixtc~cnthsa t the same r a t e of speed a s the preceding 5 notes (avoid triplets on that
beat) -
B a r 36 same a s har 32 but 3 bent tilnc -
B a r 37 heat twice slower than preceding 2/P anti 2 firs1 bcats of bar 36 - Last 3/8 bar twice faster than 3/4 -
Moderato I =72

con anrttla
 Beat bar #(i a s previous measure f o r 3 I,c..ts, in t h c 4th hcat give the bent enough time t o play the 6 notes a t t h e s a m e
*peed you play the 1 6 t h ~in the I s t , 2nd a n d 3d h a t s -
Salnc* ol~servation on I J ~ #I 7 and on b a r 2.i
-
T a k c Irar 27 it1 cut tinir r . - B a r 29 twice f a s t e r then prcccding OIW -
Back t o c u t time on b a r 30 In the 5 t 4 ume
otl 34 krcp the tempo of the Xths exactly as i n p r c r e d i n ~rncasure, beat in onc a n d play the five notes exactly alike with
;~cccntuatic~ti otl 1st otlc of each bar.
B a r :IN (i.'8 time, krcp still same speed of the eights.
S a m r otl I ~ a r.i(i; u ~ d47 ( f r o m I,ar 27 to 47, always same tcmpo of eighths. )=) )
 Bar #3, 1st and 2nd beat same a s beats of 2 preceding measures but the 316 beat should have the
length of 1 and 1/2 time value of 1st and 2nd beats J J))J
Same on Bar 17 (do not play the 3rd beat like triplets).
Bar 32 - keep the speed of the 5 1 6 t h ~a s in the preceding measures.
Bar 41 - Same time for 1 6 t h ~a s in preceding measures.
Bar 42 - keep same note value a s in the preceding measure.
 Andante J=76 37

Starting Bar #22 beat twice faster than previous measures - Bar #23, the 3rd beat has the value
of 3/16ths (not triplets =
Bar #26 beat twice slower than previously.
Bar #27 beat twice faster - Beat bar #28 as bar #27 giving a longer 3d beat -
Same thing with bar #35.
 Moderato J 166-72

In first bar the 5 notes in the last beat should be equal - Avoid or - Same in
bars #5, #8 and 9 - a
In bar 13 speed up (accellerando) to have the last note (El establish the speed of the 3/8 time fol-
lowing -
In bar 30 beat twice slower than previous measure -
Bar 42 has a longer 3d beat (avoid triplets) -
Same with bar $--j,
k
$&
Bar 52 as :-
Andante J.=76
 Moderato J =69

J con anima

On bar e 2 3 play 3/4 time in one - Bar &27 beat in one the measure having the duration of two
quarters - On bar 46 beat in two keeping the Fame value of quarter and eighths - then proceed beating
in one up t o the 4/4 time.
 Moderato d = 66

In this lesson the quarter has always the same value, measure in 2/2 or 3/2 should be.beaten faster -
I would recommend to study the exercise at first in subdividing the 9/4 time in nine - 12/4 in
twelve - 2/2 in four and 3/2 in six - and . . later on playing the whole exercise without subdividing.
 Beat in two (cut time) beat third measure in onc - Beat 5/4 a t #10 in 3 and 2 twice faster than
preceding measures - Bar #13 should be beaten in two in a slower tempo -
Bar #15 beat in 3 twice faster -
Beat bar #32 in one -
On bar #53 beat 3/4 twice faster than previous measures and twice slower on bar #55 -
Moderato h 92 43

Subdivide (beating the eighth) from Start up to bar 17 -

Then beat in 3 (vivace) beat bar #24 in 2 with the 2nd beat having the time value of three eighths
At #35 beat 3/4 time in one -
 Andante J=76

At measure 25 beat .7/8 a s 3 / 8 and 2/4 - Beat measure #38 in 3 and 2 - On measure 39 the beat
is twice slower than in the previous me*
.I sI I ~ P
 Subdivide beating the eighth up to measure 40 -- On measure 40 beat 3/4 time in. 3, every beat,
having the time value of two eighths.
 Beat measure #23 two a n d three.
On measure #26 beat twice faster.
On measure #31 beat 9/16 in f o u r the f a u l t h beat having the time value of three sixteenths - On measure #32
beat ir. four with the f i r s t beat having the time value of three sixteenths.
On measure 41 beat like 3 / 8 with the third beat having thvee sixteenths -
Same with measures #42, 43, 44 -
-
Be s u r e t o avoid playing the three sixteenths like triplets
On measure #46 beat in 4 a s in beginning of lesson.
 Largo J=62 -

w -
On Bar 36 (3/$ time) beat twice faster than previous 2L4 measure - From then on keep same value
of eight regardless of difference in time signature -
On Bar #40 beat in three with third beat 1-1/ 2 time a s long a s previous 2 beats - Same on bar #45
where fifth beat has time value of 3 1 6 t h ~ .
' ~ l l e ~ r e t tJo4 0 4 Con spirit0 6
At Bar 017 beat 3/4 twice faster than previous bar in t (keeping same value of quarters) -
At bar 56 beat 5 beats as indicated by dotted line (twice faster than 6).
At bar $85 keep same tempo of the eights as in the previous 3/4 -
Beat the 5 . 4 time in two as indicated by the dotted lines.
Cont'd
 Larghetto 0 = 66 <-

Beat unit is the whole note. Do not subdivide. When going from 3/ l t o 12/2 (Bar 19) do not change
the tempo, the last beat of Bar 1%already establishes the 12/2 meter.
A t Liar ::7 Iwat twice faster than bar before, then twice slower at #40. Same a t 52.
A Andante >=76 - 80
 First 8 measures sh(')~tI(II)e pl;iyccl freely (Recitative)
From Bar *30 to ?he entl krcp same value to the eighth - Beat bar rq41 twice slower than previous
one RJ
 Suhdivitlp the 12'8 as ititlirated
(Rreitativo) -
,h = 100 - ..At hal. ~ 7 314 in one
1 heat - Number 25 should be interpreted freely
A t hav 43 Iwat one to a measure -
RHI. GR i t 1 o t i ( \ ( I / : { R ~ ~ O I . ~ Cthan
I. previous or follow in^ bar) -- Same on Bars 71, 76 t o 78.
A t ha]. 99, keep ci.ght in same tempo u p to bar 11118, (beat.5/8 in two)-
 At #I19 beat 3 / 2 in three, 5. 4 in two, 31'4 in one, 6 / 4 in two, 7!4 in three always the same. v ; ~ l u c011
~ thc
quarters up to bar #I39 - A t bar 110 14Y8 timr should be heaten in four as indicated ,
=PO.