MELODIOUS and

cYJ.O!f'{}ddlVe
FROM DEMNITZ
NOCENTINI
BAERMANN and KAYSER plus Maior and Minor Scales

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BOOK 1

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SAXOPHONE

t;diftd by
DAVIDHITE
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B 379
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Price 9.95
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SOUTHERN MUSIC COMPANY
Publishing Division
SAN ANTONIO, TEXAS 78292

,

18 EXPRESSIVE STUDIES
B-379
B-380

(based upon scales)

FRIEDRICH Transcribed

L'Il J--- J] J

Allegro rna non troppo

J =80

CMAJOR

DEMNITZ (1845-1890) Dresden, Germany and edited by DAVID HITE

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'ttMl)

p

sostenuto

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mf

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1151 a tempo

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-- - - - - - - - - -

I fIfflfl t
pesante

r ttl

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cresco - - - - - - - - - -

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II

ClCopyright 1988 by Southern Music Company. San Antonio. Texas 78292 International copyright secured. Printed in U.S.A. All rights reserved.

GMAJOR

3.

'~Il t@a cil liTIf
Andante

J =76

mp dolce

- - --

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t

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Allegro energico

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I

5i~ II

4.

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rrif

r

with firm drive - rather brusque

tttr

J =:152

lED-, ~~ IE ttrrl [ f'l ~~I tente I
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EMINOR

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B-379 B-380

DMAJOR 3 * Learn to emphasize the sixteenth notes as you develop the style of this etude. B-379 B·380 .

-.--. 'Inifatt&lhOD¢j1 .._1 F# MINOR .#fI~ r' P p PM-I F+. 'I S3 Ff:5iJ3 I I '1 GJ m m'l rit. gt*" ~A 8-379 8-380 .. .~ ~ ~.~#!~f71IEr ~ur J.??PUti" ----I r S-itA9 'I Moderato assai J =84 7.. well sustained and with warm espressiori iP- -J-j #m . f [151 ~j## • mp IJn2JU. !If ~~~ ~..=50 . li2#JJ I biC" Ere I r' r p~cu arIF -==== 'J.4 A MAJOR ~j ~ . ~~ .mll Poco len to J. ~~# t UQettyU 'I~ @'lJ ~ mf lively and agressive aaLWrettE rut 'I IT] Wi Itna p dolce ~~# f rc'ty lett ~ con brio I f@!fW .~ /h at.00b). p n"J ..JiP atC-fal bdttrE f I (git} " I -----.. ~ dtai(jt I 8.

Taa. t.5 '~ft#@fe'al @@CEt I tuma -== 'If m (8 W ~ '~I (Ef@ml mf nt.YAH Taa B-379 B-380 .Y AH Taa.tdJ fdQ I a Oq ========-_ eft ~ ~II *Be sure not to lose your sound on the sixteenth notes.Y AH Taa. I @..

6

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ll'~ll arwf ~
Moderato) =104

Ab MAJOR

......-::-.

mf

lively, always moving forward.

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ERCH CUr

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B-379 B-380

7

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FMINOR

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B-379 B-380

8 Allegretto grazioso

13.,b\2 [Co; I J~o ~iJ-o I (lE"!CIrJ[£F) I D3'dr~1 J"""J. j

J =116

Eb MAJOR

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Vigorous" and alive

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*The manner in which you emphasize the sixteenth note will style this etude. Experiment with different degrees to make it gracious and vigorous.

CMINOR

- mf f~b& ff:JEmtr " '~Ir_to-ipfi PerF f rit.9 f .. I II 8·379 8·380 .

10 GMINOR FMAJOR B-379 B-380 .

11 .

~ . mp - - . ! :1 4 3J#. tJ J 0 iJ J q 'I iJ)0 r9. I ttt ill II:EF tJ 8¥ t FIB' [!Q] ~ i_ ..~ ~ti~ t.12 18 EXPRESSIVE STUDIES (based upon chords) 1 'II 6J P f? t r If? r FE Molto moderato CMAJOR - F.llilr?r r f? rr If' U ff r r I FE tr jJ n I 19n F F I J >- 4 dJPt t I~JJ~L'! IPPtr'! I [2tr'l 4 'Pc r Pf 'f I rr t t f1 t r Fa J 0 u: H I rr t r D ~~I . FF r p [1r r I hE r [L IT] . f mf ~~===== f -I B·379 B·380 .r r I (r r t ff r f FD JJ Ct ~r I . r t 11901 r! ranaer I DJh 4 '1ta)Jfnpl 4 [? rr f i I dJ J J [rr r I f? t PE'.. tj P r r Fig tT3=E£ L[ I Ll Et W . ~'. ~~ I ~1· .r tJ [FEt I r 'n ~J? J I f1 r FE? ttl E 'p ~J? J I i j cresco FRTrr.~ t~· .~ . DEMNITZ (1845-1890) Transcribed by DA YID HITE J =112 I P gentle and facile I En U t1 tot 18))0 g • '1 . ~. I dJ P t r I ~JP r I ~ f ~ . ~ . I LEU E I [1 t F W ..

. 41! &9 QJ Fk 3 3 ~ Andante con moto J =80 . I i_ j p tac:r1~ i I cU[J11J]c:GI Cc..~ .ffltu m/ gil 4 ~~ meaf .::P - nJ~I90Q]tnVJI90rn?Jffll .. mig ~. I E1f1]j c:tfI c ~.:=.miPI mWJ i ~ II B-379 B-380 . 81 I ffltu fflt tt I ~~ ~ 4 tUM J J3Jtt! I...13 A MINOR 2.~ .::p :. rer wf TTlf flowing and with charm J J J J J TF 'I QJ J lJ 4 LJ J LJ' I :=.. wOO §JDJ I mfflDJDJ F89@WF 4 m@ cfFt In(CtQt. 80J1Ji Cit I mf 4 Eb BOWeU I@ roJ I Jfi5iri 01..:.~ • .:=• :=.. I 1m [ill".

--....-~!i~-~' t _r-r- ~_ ~ . =54 3... mp 1 always moving forward... t~~~-~~~-~~f.J_-======= f t P__' - . --." .. - -- - . __~_'1_~!~-============~== __==1=====--=== f= .._ . r - -- .14 FMAJOR Allegretto ~=132-J. ._.--..J~ I!!!I~I====~= --_ -.JI mf • B-379 B-380 -~-. _ 'p p f - " 1351_ - - pp . - mp " • tJ - - 1 1I mp :. ====1 . jovial - I . - - " -. ~ ...

. .~ ret g E U w.'=~ ~" t r 'B ~J m.IDrrrrUr '1no1nfJJOHJJ I (J I [t . J J~Ja .d I:Q ~ r I r f~ ~ 1151 ~ml F .Eft. npCOtrl FFtFr. a tiJ I II . a F1 F g r E . &b &b &b #Q J - rJ8.unrushed IR (J J =66 ~J Ij I p@. . .J # I [!ill '~0r 71ff Tempo di Gavotte steady and elegant . FE U U J p fin]Dr ' ! 'b r9 ~J --- 'b t '.EO l~ L tt I t .~ I UH t t t =====. . ~ 'nifA 0 'JJ J Bi tQ r I. ~ ' EtJ .& J '. .~ t ft r a = ~. r ~-'i) J J to r I #n~p J - 'Et tip. cr g ="F . ._ . I aY ~qE1tJ.rEt.. r-~. J J 31 .DMINOR 15 4. . ~--. J i ~--~. fJ 1JF a irrc. jjJJJ't '. . .a ~] 10 J 'tt"r/F 'eJ ' rp. . r r OJ = .IfF rift p j) [ffi B·379 B·380 .f p .

16 BbMAJOR ::::==.P B-379 B-380 poco ri t. . .

IT] ~ 6.t ~ 1 ..----:----:: ~--. ~_I P1Er '* JJ?81'1Qj?. [ill~ '~'WRr I E!!BO 'pUCtr-'5 @ I 0 QJ lPE& 1 '* Jt'V+) 1t9?4 IJ#W IptQ..-----. I 1 mp urgent with unlabored motion ~ Uill. - - - -- mp. _ __ • 1 a tempo ....17 GMINOR Animato '~iP it SF FErF IECJ f1J Elf EEt'I"'EuEU c I 'f ttrw I iWJ IJ LfRFccE ILEt cd I2iW I J =96 ~ ------.~ EEFlU I#ffl dril ~~[ill~ urnr Itbtlf IJ IJ ~~~~ ... ~ '! ~f1 B-379 B-380 ! F@ f r F I CU c:: p m to J e Ipp mf EtE~ ..t J2_UP I U F13it Woo IEf}ffl I_I -=~f 'I ~~ 1 '~F Gill ~ '! ~UIfflH1I'mlp-IL&l5)1 ~ ....$1 tIIID IJ IlflliJ fff(g ::=0~ #::=0-::=0- nt. ! 9 ._ 'j ..I f r FEeF: w m I csnet'I r:&tEtj =====::0--.

.j).]1(r'r I [JefF EJI Cf&arJl = bold and firm J =104 /\ P .-- 8-379 8-380 .18 EbMAJOR Alla marcia maestoso 7. 'Wtll fJ. a. F' p@J.

ij .CMINOR 19 8.=IJ19Hqm ImaniitCtl Andante con moto J.JdjJErrFFfl ~~JjmEcEfP ~ I B-379 B-380 .mJJ~JFu 'Ftfin:[ii2! ItEJJ'c§U flowing with animation mp l .4"iiriLf[cCftdff&1J ~~ 4JJJ3rrrFf [illr& ~ ~ i 7 ~ ItjjJ 3 raitl I . . =54 .~Wtgi3JjU.

"I. I .._.m.. :=:0. ..._. -' .!:.. . ~ I ~ - -_ -rn [I]_t _.1 1 __ .... ~ . • JL B·379 B-380 . ~-· ...-... ~ _lL_ M_ ~ ~- -- J..... .20 AbMAJOR Andante ~ j J -76 ____. [ill~ ......~ _a.---- S!.~ -3 espr... .... - L ~ t"I.I .. -J ._.. - -= - I 1 J- _a L':: tJ Ai mY.-.J . - 1'-~ I =- mp tend~rly .. ......1 ~Jl.. _l .... · .ll [ill P ... . [ill~ '-"-J .. - ~==mf J -116 I Animato ~J ... - . .... 1"""""'J" " ._ pI I I [ill ~ I --.. J.._ _-- ___ -2:_ 9.........---.. -r ~- !t_l ~ • a I -f I10ooIo... _l . __ · ..."I I..1 ..II . ~_l tU · "!':gile 'and lively I ...1 ~ ~ a. . .. ~ .....1 -_ '--.... . '\ _l fi PiUdJ-l~ L ___ - .J ri t. .

~ flfEO Itff "1/1E&.~ rfF dJ I ruItS 1~1fEWI E@'¥! FWffJ I I:~ol ______ tEl [0= 'Ig:r @ Iill E6 IEu '[fi Ir IT ~ 5ri'l f a tempo ~ ~ - .iG'l ~f .'wJJJ I mea IECfJjJ IE6rfr 16~ f . .FMINOR Agitato 21 lo.~.tv Qgjg9 I'-}ill FEEfP? Ii?fi!1 rom Irum 'Wi Gjm F1¥Efr IWlEF IIDttl Ic£PtrF I_I ~=============== a tempo f I~ ~ I m4JIr~nl [!Q] .Im ® Iggtpll $9 Sf ..I 11 B-379 B-380 . - '$ .dVe ID ED I QJ_lV I @ ttJl ID tiE IUlEfl I mp fluid and moving along J =112 [I] .rt1E@J)nl ~ 'l I I f rit.tv [fluE IEffIU Itg)'! I Ell to: ~{DijWl 'Wi @ W I eo @ Im tEE IEf1ffI 1BfJIf& 1 1 ~ '@@\¥Im::mIWilllrfijJ=I'-r.~wro c rit.--- -- .

.J'" mf I ~ I I ~ ~.. .. -I I .__ --I I1 <.n ::---. .. I .--. • ft If tt~ ~n -mp :--...> ~ I . I I ._._~ f ~ G:QJ . I mp . ~ ~ ti..-:...-_ I I L j ~ 1.. I • ~ H.J mf .. 1 1 I ~/"_ ... II I I I r I r .. I t mf ~ --1351j" T ft ~ . I I I . . <... ... I • -. ~ . 12.. I fill- • -----. ~y ~ I 1. 4 ... . ~ . t lo0o.. . . 12...... -------r . B-379 B-380 - t •• ./ I I I fI U ~.22 EMAJOR mf ft ~ ti.. n ..._ .. -.11 ... . ----... _..0oi . _--mp @J I r <. I ... ~ H. ~ ._ - r I I r -. ... t) I . .. ~ .

~~ riiMFNI .1Tl m)) " .~~ J~~ 8-379 8-380 1 I__ I _iFF- II .~~atr.111 .~~ tiP [eEr 1.'~~11 mf E@J J@!__@J I 3£3 319 3E3 e9iJ I spirited with animation J =84 .~~ ~] ~ I ill3 J~3 Ji?3J) '1 I .an~ ~6ill ID am " r .~~0aEff IT.~_ an QUS011 EID em F£fjl " . @J f Fit I ¢t r cOO @F @ I E .'l IPif&@?J1 .~p tIDetlfifl rFFFoor_FbiWrbiirl @@tfJ It!tiUWWrfil .~ ~'_~tuii.c# MINOR Moderato 23 12.

. - - - - B-379 B-380 .24 A MAJOR Tempo di Gavotte 13. p Fro I @J $ [iQJ rit.y r ' rm aIr c t Q (Fijr FEFt EOOl '~.'%#~ rFU I rfErE P buoyant and dignified J =69 t I Q rID I @J r I L'rIDl .Ur r tID I Z119 tW I01]) m} IItt? r r rFI #12.j @W 'reEr r bErS~ ------ ~~-F.. .- r~ I I I @] '4HJ1 IJ ~ I morendo - - - - -. ~ ~ ---- '"~=tfrrrEfrlQr7rr~r'rnF Ir¥tf=WrI .rtirm I FfFr c r I A a tempo .

F# MINOR 25 B-379 B-380 .

26 DMAJOR f 8·379 8·380 .

BMINOR 27 B-379 B-380 .

28 GMAJOR B-379 B-380 .

EMINOR 29 B-379 8-380 .

(1848-1924) Florence. f allargando . Italy Transcribed and edited by DAVID HITE 1 mp mJ f .30 9 MELODIC STUDIES EMINOR DOMENICO NOCENTINI. mp . B-379 B-380 a tempo .

BMINOR 31 B·379 B·380 .

rit.. (EmIL~ . =-==-. '&"9 'I mp flowing nicety.- pp mp expressive p B-379 B-380 ._ ..32 GMINOR Andantino mO.=_sso.:_J_" ==_76 3. and with affection attr _ IF' #J.

J ------========= B·379 B·380 f~ .CMAJOR 33 .. .

.P 1251 'I ~ I .~C" ~ ..a J J d J J ~ 1201 __ "'-0.~ ==WCU I L:::".---. mp with longing and beauty 7G c!p r F r I r ~~'~ ~ 72Sr r L I a temp~o _- ______ 'S" r'r r ( r [DJ ~ allargando 0 rk F C· ~~.~.--- j-' [I mf r .-__ ILL =::==-pp 'F I F L' p Lrt r Pc ~--- I .Pigf. !~1!I ( i AdagioJ....-r: ------~ Ir _--==-------_ ------.. ErattY I fiT.Yqf[FrdfiF& I JJlJgrrrm!g!rcCtbr:~ lively and unlabored f &~-~WEU B-379 B-380 I J.=60 ----.11iiiIiiiiIiiil I .34 FMAJOR 5.

35 GMAJOR B-379 B-380 .

J mf pleasing.rl}JJtB I r~" ! 'II ~ atempo_~ 1 rail..I ~t£!m ¥ .±..Eb I Bk. I B"-----itdf) I Elf FL ~ I r: ~. moving ahead always r I WEd I C"t 'II d'h? I t:. 0~ r r- I 'I ~~ ffl6fnl " ~I¥rir& Ftctm I~C" !1!iWDl ~~bEWV I r----f.In_adUm I Frtt. I IbCrifler_ ~ 4~£ffT4mftimE!?1 [tt~an~raOOrf d r b 4 mc£ma il fliU I£?r I ffl(iil ! ¥I 4#~:ffi I W" I mEiili" '! ~11 dd1 I mtiIf?t" 'I t& I iID=~~UJ5TiJjQj . = 'j ~ ~ ~~ ~r1if1lffih~~" '1 ~ ~ 'l I !J tl~l J § [ttti ~I(3rfitWT) IGNitiii mf"==" ~ 4#:1 #6 '#~t srtiifiig IbC-JJt1fi) bp It[.36 GMAJOR 7. _ _ _ _~ mf ..:iefTr~'1 ~ Fc£i. [ill_--== 8-379 8-380 .I ~. Pi' F c:Er I r i!B Andantino mosso =84 ~.

"gaD! ~.37 DMINOR & '~eJ.~ rtf m Q ~ GL 'I ¥ tw v I F ~ 'I.~~jjtiffrlp ~ t?liMlrrFrtfl m'= ~f'.~ dol" illI F r bE I Ht [1r I '~1' ·rCill afi)' frf ItEr Fir I biFm I .'I a tempo 'I Y * 7 .~ Rtrtcril I c11Jr E E rijQ I @ ±J9 Q991 'b e::~JJ ]JJ3jJ ~ 1£11) m = ~ g B·379 B·380 .~ q6H B l~tOt 3flt1W )iT] (4CTit· ~~ [i[I [ill f .~r' [ill .)l'y . '1$11J OE I fA IErtl I ~ 'I :tt ~--- t.G7F (If lL i ifrCiiW ' ~ 67ft I rail . £j ~ .h ffi I FE r3 Eb 'r IW J] .Jl'. I e1Cm:1 EI -#JlZP @j I J. ~ ~ b--------- 'Q ~ MJ) I ~ {. tJ tB rnr rim Andante J. =66 mp cheerful I ."''''' If: ~" Id:rLrE --:-----.r?fE[Ir (it CD) .

.38 DMINOR 9. .. mf rm .. 8-379 B-380 . '~fFrUEH f E 0 Allegretto brillante J =132 mf I 't vigorous aDO} I (CreE r f?r~. iJ~ I ~ mp smoothly and fully .

39 dim. q..tt&tJ ~ t -i_ ___ I[ ~ ~ ~~ 1 #@ t j I r Fe EE F F're I W ~ ~j . 1 _ _ _ . 8·379 B-380 I J~J f ===== =-- . =======~ Tempo__ 1 p ~~I@ rail. ErtEiJ]" rtfEkU EHl 9 mf mp --- [ill f rr t r I ==LrFrCrE I ~~ 't!2!_J).Ire _pp _ _ _ _ I - "rrrrHrUI mf spirited -- __ i~~nr M = ~ l. _ _ _ 1701 - 17s1 ~~ 1 B~rJ1m Hr r fa) ~ r~r1fi"FrCE7] lj I ~~ ~ .MrCf£fJ Ie ~J I aT rr r iJ: I I at.

1 mp placidly mf mp [ill. mf ~===== f =======-=--B-379 8-380 mf' . Germ Transcribed and Edited by DAVID .40 14 MELODIC ETUDES Opus 63 CARL BAERMANN (1810-18 Munich.

I 'J i_ !!j! 02 alar .rtf ::.~ fit! F ..! L ~' I L====-.41 CMAJOR ~ p. IF EtOtlC DJD tEtFIE ~ ~ g r- ::. . I mp legato InJJJOIQ IhH ~ 41 Q I " U I[fJ) [illa 1m· ~I gracious and smooth B-379 B-380 .' 14 at IfF Li IE f 0 If e ~ tJIEFrtt:t .- ::> J .

. 8·379 8·380 - - ===- .42 3.e A rill A MINOR Andante con moto ))=96 &t 'rit.

43 A MINOR B-379 B-380 .

I ~ J =92 EJir '. and always J Jft.#E tlt3 t ti@ I ~ .till ~ forceful. W I tbt . .! F bin IRJtJ .. B-379 B·380 . ..U Eat! t Sir '~ ~Et1C ~ tJW' E df Ok fLEd\.. ~. .44 EMINOR Allegro con moto 5.

P~' ~ I 71 . .! B-379 B-380 [!Q] ----- ¥-' I! ~Il~' FItJJ'Ii'l-' P dim.::::== )" V f' mp tenderly Adagio sostenuto J.. -:i i~. =63 ~' 3 I t!-~ F F' 1 ¥1 p'~ l'~ I:E --.:.~r r I~r {Ohl..45 FMAJOR 6.

~-!pr--Ci I flirtatiously Allegro moderato J =112 rsu I r P@ I r ===- . I .._tWt:M I g'! d B·379 B·380 ..._.46 GMAJOR 7.....fztiel Ir . fz fz 1 I P II ~ i E i Jffl £9 ~ t I t.....

f If trill( B-379 B-380 . . 'VI t II . r-f:' ~~ ...# er =t .47 ff ::>-~ .« F tOO sempre :if .::...fz . r I fi::: P -- tim G:QJ poco cresco p---==== poco a poco piu cresco 'I f p ~ . PP sempre pp e legato CPt I r I I IT p ffEfr br: '~ I i:~J -=-:....fp piu cresco ~frtt Pluf IE fz ~====== tan I rwr WJ1J -=-sempre DOl fz ~r.----:----:. rrFrrhrfttfl Uffttmci @t L .

4~1I _-r-g-!Wr Iifirrsrmat-'IB.tffffFFffFff. mp - ~ b q b b b B-379 B-380 .!iJjl . I b poco nt.ir'1 err /trwD . ~fiiG .~_JJ#O-I cirp'e itirfFfr F F JJJJrggJJ4J] 4 riJQJJtlJjiOrJiuj4JhjSQJWJI @J..@trrrmtm=1 Andante rnp malta legato ~ ~ J =58-66 4~ rtrffturt_'FWfco-dfWIWEOrt_ ' 4~ jillfiF. r &4tJ mol '~6flJrotbtr"biI j eii~[yIt IE&!!ftqm.gJjJJjfMi 4~#jj-jJb-D-~--¥Fd:rerrDFRr" wOOgan=l 4 tfdeufliU'l ~6iahtif.J 'pmtf ef5'1 EfysdfW?J'1 Jij]JJJeErrr@1 4 e ricfFrrfrrjJJJ~ 'W!l @ I .err 4~~ @)__ i CtC!fJ~[Wjtl 4 frE?3JJJ#ttcm'Jltcfai ~'..48 DMINOR 8.&_1 4 .

~ MidUb(UQI @fAairF~_ -iti-.I#r f + fir: t r r 110'e ~ m &"~ r r r t legato tranquzllo I#r ttr ~~ IkrG 'F ir 1IT" iTl . ~~i~ ~~ • . 1 GitrmtfiCiirl morendo [NOn' ===-==: mp J .ul'WFrwi@1 ¥@2[Zfl§Ut'.flrf:?s¥.~-- ~'Pl .WI __ [ill _-- qpj"ffrrr '---- ~ __ .~ ~I [Err.I (Ctr?1 -==:: :::::::::- pp B-379 B-380 .BMINOR Andante 49 J =76 '~-------- '#ft rf f7-C--id-=EJ-(-ll~#-EJr [!Q] a tempo _----- ! 1 't~nr ~ r I r UJ Afl ~ f rrr II r I#r ('Ir ~'% I p &1 (r~1 p _1 .~r r:r' r:---.

50 A MAJOR B-379 B·380 .

.. .~ upliting but not rushed I aoqfEJf I . mf dim.=92 ~ ~ . - - - - - - - - - - - mp 8·379 8·380 ..'.51 A MAJOR Allegro grazioso 11 ~U # #! mp erE! c:r r' . e rit... ~ I J .

J 'Bi8 W ~1Zkftt1FE ! .Wf ~ j·. a tempo=---_ == L~ poco ri t.ft B-379 B-380 .'W!l r-== ~ r 00t: ---iJ jIb uE~Q I r F' I~ .tfllps. ~.52 BbMAJOR Moderato =72 12. J 't :P malta cantabile I @] ~~1 ~U¥ I Er ~hf= ~sJ []_Q] 7tUf~]t-==e-IJG p . [ill __ ---_ ¥JifNuE"J'j'llr===-r' lliJ f 'ft~ff p9uC'11 !~t·~. ~ ttral ffU rp#€ I (71tfil con espressione mp--===== I J<tf Ef I r ol2Eiw' [m ..

'~ Adagio 11 mp Sustained and with fervor :.53 GMINOR 13.E nt..J J =58 e tall. cresco ' rr-f I f FI [ill~' . I II .:-------r7fF22tE! 0 I J?.. PP accel: -============ mp B·379 B·380 sft rail..

54 Eb MAJOR 14. ~+ 4 ~ i r I flO mp cantabile Adagio J =63 P r ---===:=:::== B-379 B-380 f pp' smepre PP .

55 B-379 B-380 .

Germany Transcribed and Edited by DAVID HITE B-379 B-380 .56 4 PROGRESSIVE STUDIES Opus 20 HEINRICH KAYSER (1815-1888) Hamburg.

:r1 =========-- Ebert I ~ row Bj UO) I pib!5. ff .W ftE rEW I Etf r r E WID I ~ ~ ~ "'f ~f'!J~ P ~r:rb:W-1 U -~-~======== .~ztiJJa EtFJJJ ~ f 1]J:Jg#rfrtr.10 a€S j q:t'l iJ!JJ ooM err I cqrr Ft ri:rOEtE I .ao'1 :>:>- W . 1551 I 11- ~ II .b .lW.-====== .:::- "Hfl=-~I 'Wt 1¥blJjO I t r t r J ~ ) ~ rih.Co liD.. ?iOO'WWI nrfUCO&J I I q~ F33 ~.W.~ r'tCftttrrfw i~ lfwctc'OrECtP'lt:C. dim"Irlli ~.~ m sa j~Erim I~dt ierJOttl_ 'I JO'! mEr L ---=======fz :>-" mw Id"W&QbCt ~ =====~ em I cFrw #3S1. =====----====:::= f CCL4cE!W I :::-~ :::~ i~lz WfflPbtRl B-379 B-380 ~~ :>-.~ I ffldrtCUblFl f . .~ ... b.57 .

m...... c a tiT I. E. Use rythms: B·379 B-380 m . I JJJ . ~. ~ ¥J¥ I tElF . . i:_ if B~Ldf - ~~~~~.. 0€~~~~ staccato sempre I ~L rr £J J I J 3J (rJ IU'l t ~ ~ ICrt mf E~ ~ 4 I G tF CEll [ill ~.' .Fr1 . along with coordination.. ...tfJ . ~ b:f4J f 'y I.rn .. as the tongue becomes strong.. IL£LCuk ''1 ~ ..0U lierI ill 1"1.a-~ .au IJ JJ~tU Ittu ra rt c±I [7J.58 *Tempo commodo (convenient speed) ... [r ib..ftE ~~~ .if I ItF!n:t IrEtlcLc ~rJ:rr$1 ~ ..=====:::==== mf This is a very important type of daily exercise that is needed for the development of the muscles of the tongue. . LEttE! I L r r WI £l3 c:U Ie r r ~ .~ .... .. '1 I r L F rEr I 1351 ~ .-' E I ErEftr ICe:r Ell Ir& ~ ==~==========---p ~ rOli reEl Wi @]:b ij L(J C r:1 I c::g tJ J I nQ JWO I J§JP eLF I crt C 0-1 b. Firm hard strokes of the tongue should be used to develop strength..3.=66-144 2. I r F r i4J. Er.1. err no I ill in: I £j J (fJ I J tJ crJ I E ~ L!1='lrEt"ru .H L#L I [9Et E~EJ I C L r ~~ I F CUI [ E r 53 I Ira i JJ I [E ft F ~ ~ ~~'~~~ . Nimble speed will develop._ ~T .

poco rit. .

60 B·379 B·380 .

.

62 .

.~tiiiI ITt IwCClfcEt Iarru rt I .0 I Eli/frEfI EertCCa .~ 6iftitt Iftf-tUFf I DE g- '~'$_J~ McJertfl EtMeta I £jYh}]}11 I Jj Jj I ffjjj) ------=-------- :11 e B II II II II .J]W53isJ:11 ..MAJOR AND MINOR SCALES 63 &1 jg.J:J .~ _IIY~ B-379 B-380 bb IartttCfI ¢drrcFbtI .:a:II_ II Iqhtu ~ Jj I mj_:11 Jj _ .._tf rrrrfFrr I I nhJ.. "<T II . :11 a II II II II nUiJiij:11 " "0" .: ~15cr_le¥rrE£rtl Bb .

JjwiJiti.'~. . .".• .64 G~ A eb I ~ . i~ I cHThi. .. ~ 1.~. ~ - • ~~'"I' ..._ :1'-.." p .....H* A~ "ti. .0 0 ~ ~ ~ B II II II II II 9 I II B-379 B-380 .... __ '& ~_..rel Cfe! bEe! I ... . IL d# I . • .j..LI. .

. . 20 .CONTENTS Book 1 18 Expressive Studies (based upon scales) F. . Germany.. As the tongue is somewhat fatigued on a daily basis. Germany. . .. Scales in all keys have been included in the final pages of the book for continued foundation study. . . .. .. deep breathing can be emphasized and related to the musical phrase. . 1. Page 1 12 :30 40 56 63 COMMENTS Music for this first volume of Melodious and Progressive Studies for Saxophone has been carefu llyselected based on two criteria: First. .' Heinrich KAYSER Major and Minor Scales . The remaining Kayser studies (Nos. . The progressing saxophonist has here an ideal musical challenge. and :3) can be used simultaneously with the earlier studies in the book for the development of the muscles in the tongue. provide the saxophonist many joyful hours of musical performance. . allowing for concentration on tonal development. Good sound is dependent on proper breathing. and will.. .. Tonal inflection for rhythmic emphasis as well as for melodic line can be developed. 4 and 5) will help develop finger control and speed. Op. Playing too long on one breath not only destroys sound. Op. Germany. Italy.. the student will play the pieces at just the right tempo automatically. All the composers were artistperformers and teachers who lived in the nineteenth century: friedrich Demnitz (1845-1890). Carl BAERMANN 5 Progressive Studies. Munich. the muscles will grow stronger. F. DEMNITZ 18 Expressive Studies (based upon scales) . . just as a fine conductor knows instinctively the correct tempo for any musical setting. Either too fast or too slow will destroy the mood and style objectives. Hamburg.. Domenico NOCENTINI 14 Melodic Etudes. There is great value in practicing these studies at slower speeds which require careful control. Florence. quality musical sources that arc both attractive and ideal for students. ... Carl Baermann (18101885).... mood and ~ style. . DAVIDHITE B 379 . it is taken from proven. as well as at faster speeds to achieve nimbleness. The metronomic indications have been marked carefully to guide the student in understanding the relationship between tempo. the materials are of medium technical difficulty. but also generatestechnical mistakes and breakdowns.. 63 . An oxygen-starved system does not support an alert mind! The careful mastery of these studies will certainly make solo repertoire more accessible.. Secondly. Domenico Nocentini (18481\)24). The Kayser studies (Nos... . resulting in a cleaner. and Heinrich Kayser (1815-1888). well coordinated articulation technique and a good routine initial release of the tone at all dynamics... . . DEMNITZ 9 Melodic Studies. Dresden. in the mean time. Breathing marks are included so that wellpaced.. .2. . After becoming sensitive to these objectives. first in smaller intervals progressing into larger leaps.

Myers. He received his musical training at the Dresden Conservatory. for whom Von Weber wrote most of his clarinet compositions (the Concertino. Carl was born in Munich in 1810 and died there seventy-five years later in 1885. basset horn and piano. born in 1848. At the age of25 he was engaged as a theater violinist in Hamburg where he played until 1857. he now resides in Ft. He served as Professore di Clarinetto at the Royal Conservatorio di Muska di Firenze. Italy. It. Opus 33. Hite became president of David Hite. He then became an independent violin teacher in Hamburg. B 379 . the great clarinet virtuoso Heinrich Baerrnann.Heinrich Ernst was born in Altona in 1815 and died in Hamburg in 1888. Ohio. was for the Baermanns that Mendelssohn composed the two Concert Pieces for clarinet.BIOGRAPHICAL SKETCHES DEMNITZ. the f minor and Ebmajor Concertos. a company devoted to the development and production of high quality clarinet and saxophone mouthpieces. and the Clarinet Quintet). His violin studies became standard with violin teachers internationally. Among his works for clarinet are the 24 Melodious Studies. and died in Dresden in 1890 at the age of 45. opus 63. KAYSER. After living for three years in Englewood. Daniel Bonade and Rosario Mazzeo. HITE. Many of his compositions were included in his grand method for clarinet. died in Florence. He taught woodwinds at Capital University in Columbus. the Variations. Mr. from 1954 through 1979. Together with his wife Jean. David (192:3) studied clarinet with Fred Weaver (Sousa band clarinet). Inc. NOCENTINI.J&D HITE and PREMIERElines ofrnouthpieces which are distributed worldwide. and a Fantasia. In 1868 he joined the orchestra at the Court ofMecklen burg-Schwerin. Like his father. Friedrich. he produces the . 40 Duets. Dominico. in 1924. was born in Wunschendorfin 1845.After a career of teaching and playing professionally in Ohio. BAERMANN. 50 Studi di Meccanismo for clarinet. New Jersey (near New York City) where he conferred with the world's great clarinetists. Carl was a prolific composer of clarinet music. Carl was also a basset horn performer and gave many duo concerts with his father. He was appointed Professor or Clarinet at the Dresden Conservatory that same year. published by both Breitkopf & Hartel and Peters. and in 1875 became first clarinetist in the court orchestra of Dresden. Florida. He became internationally known for his Ctarinetten Sdtule.

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