CLARINETE - MÉTODO - Rubank - Nível Intermediário

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RUBANK EDUCATIONAL LIBRARY No. 52

MÉTODO RUBANK

INTERMEDIÁRIO CLARINETE

Inicie os seus estudos sempre com o acompanhamento de um professor de Clarinete.

“A música exalta o espírito humano, é criativa, auto-expressiva e permite a expressão de nossos pensamentos e sentimentos mais nobres.”

METODO DE CLARINETE RUBANK NIVEL INTERMEDIARIO

RUBANK

/

.... /

EDUCATIONAL

LIBRARY

No.

52

I

CLARINET

J. E. SKORNICKA and ROBERT MILLER

---

A FOLLOW UP COURSE FOR INDIVIDUAL OR LlKE-INSTRUMENT ClASS INSTRUCTION

Instrumentos de sopro Naipe: Madeiras Instrumentos de sopro do naipe “madeiras”, embora feitos de madeira ou metal como o saxofone, algumas vezes têm plástico ou metais na composição da estrutura e de seu corpo. Seu som é produzido pela vibração do ar em um tubo oco. O ar vibra, soprando-se no bocal, nos casos da flauta e a flauta pequena ou flautim – ou através de uma palheta simples – no clarinete e no saxofone, ou de uma palheta dupla, no caso do oboé, oboé d’amore, corne inglês e do fagote. A altura do som (a afinação) desses instrumentos pode mudar abrindo-se ou fechando-se os orifícios feitos no corpo do instrumento.

EscolinhaMusical.com.br Materiais didáticos para estudantes de música, músicos, organistas e regentes. Explore o site para baixar estudos musicais. Colabore ou solicite o que você precisa no e-mail: [email protected] ou siga-nos no Twitter: @artigosmusicais DIVULGUE ESTE PROJETO – ASSINE SEU E-MAIL E RECEBA INFORMATIVOS – CONTEÚDO NÃO-COMERCIAL:

http://www.escolinhamusical.com.br DEUS SEJA LOUVADO

Fingering Chart

(Simplified)

by

ROBERT MILLER The purpose of thi8 chart is to acquaint the pupil with the correct fingerings in particular passage: '--'

and keys, and its simplicity is conducive to quick comprehension. This chart is built on the assumption tha the pupil already knows the standard fingerings for practically alI the tones on the clarinet, and needs only ~ eas~

guide as to which one of several he should use in some particular passage or key. This chart makes it

to mark the fingering on the music without drawing a picture of the instrument, and if the pupil will refe: to this chart at every opportunity, he will find that it is very easy to memorize in a very short time. '--"

As indicated on the chart, the upper half of the clarinet is played with the left hand and the finger

'-'

ings with that hand are designated by means of nU1nbers, while the lower half of the clarinet is played witl

'--"

the right hand and the fingerings are designated by means of letters. 18:

All that the pupil need remembel

LEFT HAND-NUMBERS, RIGHT HAND-LETTERS.

Since certain tones may be fing ered by either the right hand synchronized thus: Key~

'--"

the left, the numbers and letter8

ar~

1 ar · A wiU produce C# upper register and F# lower register.

Kt"Ys 2

'-'

01'

01'

Keys 3 or

B will produce B uppei· register and E lower register.

e

""iH produce C upper registe,· and F lower reg-ister.

Either numhers or letters wiIl appear above the notes \,\'hen a pa rticular finge ring is desired, allo thel it will be aparant which hand i8 to play that particular tone ano what key i8 to he used. '--'

In some ca8ef

both a number and letter "vil! appear over a note, signifying that both such keys are to be used in the pro duction of that particu lar tone. x

g

wiU he used over the high Bb and Eb -1st line thus: .­

~bX x

o o

EXAl\IPLES

'-'

.....,

'--' ........

\....­ \,......

~ r C

3

2

B

F I

A

r r I #r

5

F

F I bj

j

1

j I br

~

2 '-"

B

~ r?f rª C

C

olR

3

I b" qr Copyri~ht

195

Ccpyright Renewed

3

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r r Ir D

MCMXXXV1 by Rubank IIlC., C h icag-u, li!. lnternationa l Copyri g ht S e cu r"rj

b

4

b

r

6

!,J

F

B

3

7 8

x

f I

r

D

"r b5

f

EssentiaI PrincipIes of

GOOD CLARINET PLAYING

1.

Good TOJ).e

is necessary in order that one's playing be a pleasure to the listener as well a s the player. Good tone can be produced only when the instrument is in good playing condition, equipped wit h a good mouthpiece and reed, and played with a COI-rect embouchure.

2. Intonation. When two successive tones of different pitch are produced, it is necessary that each tone be in tune with the other, relative to the interval being played. 3.

Tune.

-i.

Note Values.

5.

Breathing and Phrasing.

6.

Expression M arks.

7.

Relaxation and Proper Position of Bodyand Hands.

8.

Sufficient Time for Practiee.

9.

Proper Care of the Instrument.

10.

Mental Attitude of Teacher and Pupil.

The player must develop and train his ear so that a difference of pitch can be distinguished when playing with others.

The player must develop a rhythmic sense so as to give pI'oper value to tones a s represented by the written notes. Each is usually dependent on the other. Since teachers of wind instruments differ 011 the methods of breathing, no special method is advocated, but it is evident to all mu­ sicians that in order to get good phrasing, it is necessary to breathe properly. It is always to the advantage of the pupi} to spend much time and effort on this phase of clarinet playing and take seriously all sugge s.­ tions given by the teacheI'. Expression marks are considered as valuable to the playing of music as punctuation marks are to the reading of prose and poetry. Good phrasing is the performance of mu,.,i(; tha t has been properly punctuated . ExpI'ession marks put character into a mass of notes and if properly ob­ served vvill produce satisfying musical effects. \Vhether playing in stand­ ing or sitting position, ít is necessary that the body be erect but relaxed. Relaxation i8 the secret to the accomplishment of success in many otheI' pI'ofessions and trades. The arms must be relaxed, the elbows a­ way from the hody, and the hands aSi::iuming a restful position on the body of the clarinet. Since different pupils require different types and lengths of practice periods, the objective that every pupil should estahlish is: aI will master the assigned task wheth­ er it takes 'h hour or 2 homs." The accomplishment of a task is far more important than the time that it consumes. Carelessnei::is in the handling of an instrument is the most preva lent handicap to the progress of young players . No pupil can expect to produce good results if the instrument is in poor playing condition. The clarinet must be handled carefully and when a disorder is found, have it remedied immediately. Constant attention to the candition of the instrument wiIl pay divi­ dends in the end.

In order that the results be satisfactory, both the pupil and teacher must be interested in their task, and must have a perfe'ct understanding of what that task is. The teacher must understand the leaI'Iling capacities of the pupils so that the pupils in turn will get the type and amount af instruction that they will understand and be able to master.

195

5

LESSON 1

a. Have instrument in good mechanical condition, and the proper lay on the mouthpiece so that a f'ouno and full tone \:viU I'esult. b. One of the important essentials in the playing of an instf'Ument is a rhythmic conception at sight, ano a cOlTect evaluation of note and rest valueso c. In playing thfl sllcceeding studies, special attention should be placed on the proper adjustment of emhouchl'e ano the pl'oper evaluation of notes and restso , 'lfAndante -

1.

B

Keep the tempo steady.

';7J7N'

'llf/,- Natural

~ I F F I F' 01'

~

IFF

r

F

IlGll'mal tone,

I

-

r'

--

r r I F'

~ Ir ~

~ I

r Fr F I

-

4 rnlnr'ITr Ir r I F" IEF Fr I r Fd IrUfo li! 4 r--:t=~tt=t=lr r I r Ir r I r~~l I r ftlFFn 4r E rtftl I Cco r I r I C r r I E Cr I rat· I 1

3

1\

1

1

11

1

11

1

'll!t

1

4

1

1

1

'li

r unirE llrcrr WllC·ucrrrr HWrt'ICr11 'llif

4r ur r I rrjH;cr CC I r llr Ef'r EIr rr:r r IerrE· /11 +±r 1 t@!f Itr 1 1 U Ir" 1 ICn Q3rr - I fi U CIa 1 I fr 1 1 Cf Ifi - h@ 1 EJ IF" 1 I r l I a ÊB a I (Dl 1 I 5

li!/,

Note: Evely pupil beginning \\"ork in this hook should he ahle to sight read all the studies

011

this pageo

}JyelY pupil is I'equested to pl'o\ide a music note hook for the ptll'pose of \\Titillg' rhythms ano melodies that tbe tcachel' m,lY regui I'f'. l'IS

Copyright Renewed

Cupyrig-ht l\ICMXXXVI by Rub"nk Inc .. Chicag-o, 111. Internatiunal Cupyric;ht S"cured

6

Marks of Expression and Their Use

LESSON 2 Pianissimo ----____ w _____ Very soft Piano ________________ p _______ Soft

Fortissimo ______ ff--------Very loud Forte -----------_-_ f ______ ._Loud MeZlO forta _____ nif---. ___ Medium loud' (Normal tone)

Mezzo Piano_____ _mp______ Medium soft

In playing a tone on the clarinet (unless otherwise marked) the tone should be held at the same leveI of volume, without increasing or diminishing the volume of sound. This type of a tone wiIl be indicated hy means of parellel lines, thus: = = = = = = =

The distance between the parellellines wiIl signify the difference of volume to be used. Thus: pppmpnif f .ff - - ­

mp

p ==========

=&" T'u?T7" Td J -

I :----I::..--......... I : -----J Ij~-

7

1

n

-&-~-&--------&---

mp

=========================

4E:I:~2q'

. ~~-------

p

­ I

HARMONY p = mp==nif'=====f----p= 7111'

2

'I; C 52D âp

"'!-- ---- ~~===-----====== , "'4>"·4;;;1>51 F 3

~ Il mp

€i?~Gf

i

I

p

j

J IJ

-----.

I

I J~J

P'=============

, I J""r I

l>GD'(I?;;Q2 ~ - I

I

I j~J

mp j

I j~J

p============ mp=======

r' , I (35Iw

mp==========mp============ p

I

­

pp=======

f------11if============== nif

4j-LJJ 95

nr/==========

r-r±r' , I (Tir'

I

I CF

De

pp'==== ~f!:-'

Ir f I t=

J

I 7

Studies in Expression SOUND GRADUATIONS

LESSON 3 Crescendo (cresc.) -

GraduaIly louder.

Dimin~endo (dim.) - O:~~:rlly

Decrescendo (decresc .) or

In playing a crescendo or a diminuendo the pitch of the tone should not change. tendency to become flat when playing loud and sharp when playing soft1y.

The clarinet has a

Rinforzando >- (r:f) is placed over a note for the purpose of bringing out that note more strongly than the other notes in the same sequence, and is commonly known as an accent.

In order to play the sound graduations ar nuances correctly, it is necessary that the quality of the tone is not affected but retain its rich and mellow fullness. Oniy the volwme slwuld clwtnge.

When a note is followed by one ar more shorter notes, the shorter notes are played with one half the volume of the Ionger note. There are exceptions to this rule, but it is a good pnlicy to learn to play alI phrases as mentioned, since the great majority of music played in this way will be properly pcrformed. A player interested in the pl3;ying of solos wiIl be greatIy aided through adherence to this rule.

2

,., F

U I F (J I r lr I r tU I F lr I r Fr I r

ff f

f

l1U

3

f

l1if lIif mp

rrif mp

mp· p

1 r' F I F' FI F r f

lIU f

rrif f

f

p pp

l1if

u I r' crEr p

lIU mp

f

BLUE BELLS OF SCOTLAND

f

rrrifr

I

r ruI!

11

f"'lf mp

Scotch

11 J u Note: Refer to lines 2 and 3 for patterns used in the song

BLUE BELLS OF SCCYfLAND.

Write the volumes, namely, mf, f, mp , p etc. in all the measures of this song with the patterns in sec­ tions 2 and 3 as a guide . 195

8

•• •• •

Studies in Accents and Expression Marks The rinforzando (>-) is placed over a note for the purpose of bringing out that tone more strongly than the other tones in the same sequence and is commonly known as an accent. The accent punctuates the im­ portant notes of a measure ar sequence.

LESSON 4

MELODY

Give each note and rest its full value.

-i.

>

>-

,2 i J J I r r I

1

f

>

>

rr r I r 1I 3J ti Ir

>

>,

>

>-

r I r r r I li 1 I

>

>-

>

> ,

,

~

>

>,

~

>

>

~rEr Itrr IFEr IFr r IFEe IErr IEEr IFrr I ~:;7

:;7

>

:;7

>

,raa li j a Ir; r lErE IEEE I=EE Iraa 1;11 1

ª

Observe carefully all marks of expression and p]ay with a steady tempo

~ ~

2(' p

J

j j -

I ~F· ~ I ~ F r F I r~=E ~ I ~r Fr I ~ ~r ~F I ~r ~t2J ='TTff P = n!ft=-P vu

-1. ~ j. J I J J J I t· ===- mp P nif >

:;7

-J:.

r----========f r r I r· >-

~

:;7

>

>

>

>

J

>

Ir :;7

J

-=-

I r F r F I F r J I r F F I r· F=t P =vft-:::::==-p n!! >,.. fi'- f:

F r I F r c ~ I r r r I F Ê J I

;;

=

>

mp~mf

f

>­

~~~

~ ·

r r ft:

I~ FF >-

vif=

~

3

r

IF Fr I >

mp=

=rr

p

==-

r F r I ;71t· = I

>

f~

---->

J

II

pp

LEGATO ETUDE ~ ---,>-

~

~

@"rRIFFt IgErlrEr 1F1HIEF Erl kE Fifj f~

vif

p

-w ' CU I F (r I f F t ~

>

f=

-, f- r f -::

vi!

ar

,..-...

,~

:?

I E1 F F I r Df F r A f

ff=======-­

.ff

GJtr

I

v1f

,>

=====- -=::::::: ~nif========--

I rEr E li '(TE I mp =f=

~,17ft rfLt 195

>

= mf

í fFEr EJR'd = I

f

I

Oi

I rj]2'r

f======--­ Jaa

p=----

~

;;p

11

9

~ J

Articulation and Expression

LESSON 5 Moderato -

1

Play with a steady tempo.

~

B

iJ Rr3J] I tE Fi tE Cf I cC E1 te cri iJ 33:i:) UJ

~Il

I

"fi c

2

B

B

~filnEEr;ldEfrrCf 1i]3J f3J9ln JJ crrP I

c

c

c

, cfc rtcE; IccEi Ec Ei In n iJ JJliJ f1 ccf; I 1

, Play above study with each of the following articulations. Observe all

-e-

accents~

, ~

;;:>~ ~-

1-;--

~ Uo~~ In

-....-/

:>

-

r

;;:>

-Ir r L I

"!f

,

':É',

;;:>

,

~ :>

:>

6J

a kg::EJ- I Dn::::---h I cifra --------

Play daily for tone production.

•

~

j

1

I

P

Andante

3

195

'11 rUf- r Ir (R2 íFff F I H CF I r rJJ I J fl1BgJ f

and

p -

even volume all the way through.

10

Daily Studies for the Development of Technic LESSON 6 The studies on this page are intended for daily home practice. These studies,if practiced diligently, will develop a clean and fluent technic. Most of the awkward intervals in the key Qf C major are in­ cluded and every finger gets the opportunity to develop independence of action. Playeach study with a steady tempo, slowlyat first, but increase the tempo each day until every study on this page can be played fast or Allegro. Breathe as indicated by the commas, whether you need to or noto Breath marks may be skipped if two complete phrases can be played in one breath.

4 cu; CRt I (fijCE[r I ~r I c1fêfFEC1 1 11

1

mf

.

(iêrcrrr rir r li &tEu fi I rB c nu I @r rm I Frih :11 ---------------2 411 cir crU I OH I JJJJJ3 I tilitiFi:1 1 í r~t I fii1}

I

I

j

F

.

JJjJ J

J

Keep right hand down when going to the lower register.

~---~ , J3~~ JJ J J J J I JZJ J JjJj I J J J J J JE I rl r mf

3

tê

:11

Em rv IGr fÊ?bl ~ 11/3] J Jilll ar F ar I 8ft! &r? Itwt :11 ~ 11 E@ ErU I ri rRV I

E

Keep right hand down for alI lower register tones except E.

4

5

C

'1\ r1fi CfU 16 Cem I m; (dI I riiR?t :11 mp

Play fast and briskly.

6

7

195

~ i)âhrMrcrrl@fdVICEErl_lcFrrljff01 r- I

&2f HlrrErl@iàlrEErl_IRdiWIr- 1

11

Legato Duet

LESSON 7 Moderato ~

~

::-----.

>---­

~

p ::;...--­

~

~

..flf~

..

p

l"'"

~ ..

.----­

--.......

~-~

::>

::=:::=-

,.

::>----.

=

- !L'

-./=

4

~f=

fl

..; f) t.

~

. f)

, 195

r-­ ..

-r'""-r

--­

p::>

-

>-

..

-

~'

-~-~

..

mf--­ f=

---­ =--=-­

= 'T1!Íy" p ­ --­

=

p

:­

/..fL.,...~

_____ A

~

~

-

1nP

-

I

---,...,.,.

--.......

,

= ====­>­

====-

,

---­

..

f f

-r-~

.---:

~

>-~. >-.........----.

p

-

>­

>­ .- .-

-

~

= 1lff-;;---. ---=----. ~--. "'If

..

~A >­

-:::::::=­

~

~

~

P~

-

p ;:;;:­

.--..

--::::::.

.ff._~

-

p

>­

P >­

-.,. _H- .,.

----­

-=::::::::::.. "fI" =

,

-

1F •

- --==

-----

::mf::--------=-­

mp~

-::.... ~

.

~

>-p

.....-: -

,-

I

:­

"""!

===-p~

• r-

~

~-m,~-

~

~-~_:-.

~

..;

~

.­

•

- -=..

::---­

f _____ ..---====== f ==-=-===­ mf --mf

::>

I'}

--­ -

::>::::=-P

~

..

>­

~

'11if- =::=f ~

--­

mf -

::>

~

>­

..

-

--­

p

-

p---­

-

:::-.

rrif

>-

-........=....­

-

===- p-"

:

..

-

::>

=====­ 1,

~

: f-;::;;_ _

-

.....---x

":;7

-

>-~

~

J. E.S.

A

~

--­

-

..

.

::>

~

fl

,

::::=-p

::>

fl

'"If

>­

-

A

::>

~-~. ~

-

--­

mf

..

c

:::: 2 C

~

>­

~'

f >­

f 12

Staccato Studies

LESSON 8 ~

1

® A.s wn"tt en

..

As played

~

.

.

~

2@~

.

.

. r

r

~

®

.

T

Accent the first and third beats of each measure Moderato

lJNW '444441 4 I JJª400 J I PJJp4 'JP4iP I ~

1\

'liif'

'lití cresc.

&&

-../

JJOJpJ 'UH O\$P4'JPh I 'JJ4,:;P. 4 14 ~JmJ

J'Op,J ~& n:;r@pJ

IHJmJ

-J-

jtL ~1'

&&

IJl4)Pl

1

-'

144Ml IJJ@up' J IJH)pJ IjO;JO~J '9 P ?NH '?#OJJ ';"

~~

=

I :

I ­

p. aFt 'LEU RJ] IJil? aFt IS­

.

==---..-...

---.

--..

::>­

f-

~

==--­

:?

==--­

==--­

.

==--­

:?

==--­

. ..

--..

. I

==--­

:?

.

I

f-

I'}

==--­

:?

:?....--.,

==--­

>'....--.,

==-----..

==--­

==--­

:?

::>

>'

::>

t.

~

==---­

:?

::>

::>

r

I

f-

\-...

.. ..

A\legro

SYNCOPATED MELODY F

'--' ,,'~ i ~ C ~ I r EE r I PC P I ~ r Cr I ~ r P- I PEt Ip-f f I L I

'--"

5

~& pFp IlUr IPC p I~rp 1ft ÊltrU I~E Ê Ir I \....;

~ ,~HPIVEV-lffflr'IHPIHP;lfffl~'M

-i. Allegro

SYNCOPATED CHORD MELODY

5@! Jla J I la F Il F F I f I~ r v IlU J1IJJ '-"

~ \....;

'# 195

J I J1 J IJ a dll p E

i IJ

~ IPr p Il U ;1 J a J I; ~

14

LESSON 10

t

Studies in G Major

+

~q ~B. p~ gff f@ ê~ == Il~==I~twl~=~I=§~ 1 =i ~. ­

~

ti G MAJOR ÇH7~oB:

'-'

,ü Eij] fUJ I @J @D IJW Pl f Ifr@3I J. = ,ti:\:tiIilip IJGÔ ~ ijJ I rffffjtt d1 r ii?tt I ­ J

11

2

2

,ti te?JJJi~lrGãEjal dftit{)

Iu I

~

THE USE OF THE F# IN VARIATION FORM li

5 195

,'I&!4@J~®'~'®JJ~J§Y'- :11 ­ ~1l&:,r~1 tftêp[ID I~ léPffF :11 = 15

Daily Studies for the Development of Technic

LESSON 11

The purpose of tms lesson is the sarne as lesson 7, only that an entirely new set of keys and finger­ ings is concerned. When you see a letter or a number above or below a note, refer to the chal't 80 that you might be acquanted with the key intended to be used in the various passages on this page. Increase the tempo after each playing of the studies on this page. The use of the E key.

& r5ffl r tnr I @f'r rU I r~ I áfiFEiU I

f

Il

11!1

4_

tféi ErO I 6ct-cU! I 'irm

c@ I

:11

The use of the F and G keys. F

2 &15 ePJJqQ:JIi@)J~ggAli@~le:ft3JqY31

~ ~ I V 3ft J @J I QWqJJ§J I@; :11

Low F# as fingered when played chromatically.

4(\ J~lJJJ#jJIJIDJ I~JIJEtJ :.

3

~

Low F# fingering as played diatonically.

4 JJiJJJiJ IJiJJJ 'JJiIJJiJ'JJiJJ ÜII

4

~~~~

:11

4 (fíffIrQ I~1iffih I(fêiftlEr Irêijt = ~ rrrtEt:h Irêfti]H Irêfr1fF1 I tífCtr :11

:

D 11

5

I

D

RAPID FINGERING ETUDE

~

Alleg~

6

..

~

...•

~

.•

~. i iw~,.rrltrrrl,Ff1rrttlrrrfl bJ±n~r: ItCrr

I

mf

'--'

~ &ü :

aitlW I r ,rJiri@1 tttt Imrfij}lttEt1

&» c1i nrCU I Q1f1ffEICf I (fif(Ul I U r :1

195

16

LESSON 12

Studies in F Major

,~:\ ~1FiP IrE9 eU

f

,~

195

I

../

6íE tij I fffi Gir I ­

Êft) QgJ IQD~ IfB9 6fIlae~ IJ. ~ I

17

'--"

~

Daily Studies for the Development of Technic LESSON 13 The purpose of this lesson is the same as that of lesson 7 and 12. Accelerate the tempo each time that a study is played. Tbe use of the E key.

1

'~~:@;ll!@I~JJJ!J I@~I~' I

~ '~· @J~lil~J 1@4 J O!ljIJ1V} :11 "-"

Keep right hand down until the last measure.

~

2

'~~rf{@{hqeªI@"3JJ@ l@njJtlHIEftUf) I

The use of key F.

~

~

.~~~~

5

"-"

v

,~llfrt;E~ltlrrertrr IfrtrEeC;ICEr:ftLF:11 1111'

6

~

=

7

,~ :;, ?EdQ J JitJ I

é!39 .I i@ fg3 18 3W.r :11

Left hand study

,~II Aif9MJ~rl@qJJJ 1~iJ] rldiMiPJ.lJII 1111'

Duet

LESSON 14

MAlAS

Andante

~

mp

.-

~

~

.--'

-

-

4

-

f)

..

4

~

....

~

-:# ... ~ ...... ~ ~ ~

;t~~ .~ ~

t.

I

~ ~

f)

,

.

.

~. ~

r::;

.. ...... ~

..

=

---=----==:: -

~

...

~

~

-.

~

....

f

~11ff

-

.~

,.r---..

q1f-'

'..:.J

~

dim

-.......

f

-

® .~ -

~

~

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::--..

@

Fine.

...---:--,.

======­ mf

dim

...

F

---

ti

::::::::=- mp 1":\­

~

-

T

rnf

@

~

.-:.

,,--...

~

-

I

~E • ~ .~

-

C1YJ8C

...

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--

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I

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@

~

mp

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1=

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f)

t.

2

.---......

~

~

~

-

-

.---...... C

===- I

==-=--

"---

= -

-

c.-t

I

.

mp Dc.dl Fine

::=::::=~

----- .-

-

-

T

= ====--­

1":\

mp DOal Fine 19 _

6/8

LESSON 15

Rhythms

Play as a duet, and count carefully.

:&~ ~: ~: I ~ f~: I rui II J:

d: d ti ffid: d fi ti ~: rui d: I ffl fi I ~ iu: Igi Uiji II ~: I

_E' id~: m I

fl

... •

I

-

.JI17

17if

-­

::>

B

-. ­

~o

~

®

. ~

::>

no

.L

B

. .

rrif

-

. ®

~

.

::>

2 C~

.

-r

-

~

::>

~::>o

>

-

o

::>

..ll

>

.­

~

t,

C

.-

::>

o

-

..IJ'!"l>:

fi

2 C

>

C ©

:::>-

-

o

-

>

~

::>

::>

. .o

::>

>

o

-

-..... .,

o

o

,...,...,

......

B_

,....",

>

-::> o

.

::>

>

.

~

~

o

t.

o

B o

o

o

-->

4

t.J ~

>

........

fi

.......

>

- -~

B

.-...

~

>0

...

.

~

>

@ O

B.-.,

o

o

>

>

>­

>-

>

.,.

.

~o

>­

f)

......

~

>-

.

>-

.~

-®

.

~_::>

2

fi

• 195

I

.

C

-

~.

.­

.-

>­ o

::>

.

'-..J

..

.

>-

2 C C

.

t. C >

-

--

o

t.

.

::>

.

......., ........

.

.

o

-

l.L

::>

--

~

-

~

~

. ::>

2

Il 'J7

::>

~

Jil

t.J

DUET IN 6/8 TIME

-

Moderato r--.

l

::>

.

::>

.

.,.-

::>

.

•

>-,...!.,..

-~

::>

-. ..--

I

20

Triplet Studies

LESSON 16

Example: Similarity between % and ~

2/4

tempo when the triplet is used.

. .

.

.

~

1

~

tJ

195

3'

-

'3'

3'

3'

3' r

-

7

-7 -

r

-

....

r

21

~

Bb Major Studies

:::

~ ~

LESSON 17

x

,~TrpriP!l3 Imiê @ ImorrúJl E11 mtéN I v ..:Y

,~ fQffi E1J ,tU EU QJ, ID QJ QJ '~j

I

,~i;Pi:itQf!Y,6E.fiflqttu I EtCJn I J]1J;g 1

'~·p~,@iIldDlE4tEfI_IJ.1I B~

195

MAJOR CHORD ETUDE

LESSON 18

Articulation Studies

Practice each line until played smoothly and fluent1y, then accelerate the tempo.

x

,~' Eiq 195

An I JjJU nn IlJJ$ ÚH I ati fOi Ir

11 23

~

'-'

'-'

Danse Negre

LESSON 19 Allegretto

fll

,

~

fJ

I

tJ

fl

~

•

1if- •

.

F

•

-

mp

T .'-: ~

.111

.­

-

j.~~it

-

-.------....

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- .... .. .

•

P

---.

.

-

"­

- ..

-,J. P,

.

,

-...

®31.

.

•

~.~

.:. L'

MAZAS ,

p

=

®

: ­•

.

- ..

®

. .'1

,

L

I

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,

y­

•

mp

fJl

F

~ ~ ~ ~ ""t.';"~-fI- ® .

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.

mf

5

.

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,

.

•

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t)

IJ

p

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fj

I

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,

I

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@ G P

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rit

ri! \.....,..

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195

•

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-

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,

,

1

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CD

- '.:.

'-F- f-II' .

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f

f

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marc. x

~

lJIarc. 24

D Major Studies

LESSON 20

Observe ali fingerings as indicated.

CHORD in D MAJOR

t

~



:4*Do ~6rnlaat&-IÊfufmIEfÕQn I

'T S1~ ~ ~·ft @J€1j I :mf!J21 eL;LEIb!W Er Ef 1-

11

DAILY STUDIES FOR THE DEVELOPMENT OF TECHNIC

,~I' r1êfii7! I r1dEIêr I~ I EM ~

!!,l Ddt4i}ated

fingerings.

25

Etude in D Major

LESSON 21 Moderato 1!:.

~

~ .l:.

1!:'"

.

Wohlfahrt

~~ftJ.tftft Ipfr I #h I mete IEcr J J 3IpJ ÊrfJ

1

m ,Cf

,~ cUQr I mqJ I fJ:J rÊrlrP EEEI jll ErEl Cu I ~~ alEte I#eg cc: IE6 er:eltrOe cr I ccrefe I l ~ ~ rfr [ ~-r I aO j EEI r:Ji- cte Ifel Er r I WiJ. J I J. * '11 PETITE DUET

Andante ~ ~

t

2

----------- --~ .

•

~

1lff

~~

--

'--

I

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fJ~

.

.-#i­ ~~~.-.

---=== 1lff ---.

41

.

=

~~

~ ~

~

~~

~. ,4

~~

li fl~ tJ

195

#-'.

•

_

•

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=

==-=-­ •

.+

mf

.,

.

.

./

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cre.~c

.... mp

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====­ ~

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:

=•

.-­

_-:--...

~

: :=:::::::=­

~

.

~

.~ 2 A

,...

~

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...­

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cre.'~c

. ...

I_n~

:

"~

~

mp

~~ ~

===­ p .,.---;---;,.

~

~

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~

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1""

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=

-----­ p - ===--­

f:::::=­

•

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.

-==== "'!Í

4

-

=---f

~~

. '.

-

=f

..

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4:J

..,...

li

J.E.S.

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r-.-.-.

-

-==:::::::

==--=­

'-.

=

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'.:::::::::::=

.

-

~

=f

---~

U·

26

LESSON 22 R

Articulation Development

hmic patterns of 2 sixteenths and an eighth.

1

2

,~E nJJ IhJnlJU JOJ I J I J ±lU In nU I JjjU Jnl J I ~ MODULATING ETUDE

J 3

Allegro

• S . ~ .. . t=::t F9. ~ .. . @~! Q$j;F IE etc Ir qtr 14ZR~ I$;qr I c I F Eftt I tJjJd

~

tJJJ Iffl r I arE! IUu IJ:e13 Ime IGEre 9"1 rbr a: I

~

Ftr

mp

,~

simile

,~[ONU ItctE Icera late IwUICttE Itrio: IEEtjY

'~c:GQ'lcr'rr IbeaaltUr Icct'b[!ICarI L "EdlbC(f1 ~ ,~d nDlbCd'r InriJl~;JJ I~J:snlbEEfr ICCl!BliJl>JI ~

,~

ma IJJt3 ro I~ma II'CEtro I ;n~JJ Iil!lr I E=rtc li Ikf I POLKA Allegro

4

x ,.

,~!ralW:E! IS'EÚlr "Ndlr I"FUICEEm

'lf'UU l!refl Igr cf I r r I gtrg! 199 r ~ lQ":fi! I r I F

era IeFFea IcêlfE.r I crer I JfiJ I &IfJjjJJjlI '" JJ IJ:lJj11 J I p.J mI$l gr I C&E 6t1 ID q

@lfl!f!f! I are P'I",Ú I E

)(

195

27

'--'

Dotted Eighth Note Studies

LESSON 23

......,

Dotted eighth note patterns

.

fj 7'1 Uft.

n

-­ . ............­

~J..l

1

-v

-

~

~

~~

"

.

.

........

.

-

MELODY

Md O erat O

.

-

.

-

. .

-­

.

.

-

.......

@~ JJ.flIJ 3 IriJ.) la IJJ j. j lU J IJjj.j I j lJ.jJ.JI

2

......,

~ ~# 13 b.44.,1 j lJ.jFJ IJ J InJ la IDt.,lr FI[lf:1 ~

,# F r IC1ftlftfil[It';l

In tJlr E 1["{f:IE

Ê

rI

'-"

~ ~D C"tfflf;C"I Ird~Ê r IL1f~Ê r IEit u IrIU IJ J la I

. ... . .... .. .-:--...... ­ . . .

DUET

fj

Andant e

J . E S.

~.~

••

I

~

7

~

~

3

1lJÍ

fj ..it-

fj

.

.

~

·-•

.

·

-.

f}

t.

5

~

r

~. ~

I

..

-

~

f}

tJ ~

tJ 195

. . -

-­

.

~

....·

~

·.J-.=t-.

.

...

-

-

.....

··

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:>

:::.. I

.

f

."

.

...

. ~

.

. looo.iII

fL'

-

1*- •• ~1'"' _ . . . .

.

.

F

.fL'# ...

..-.­

~

.

-

. · · . -

-

.

f:

I

.

r

,..o!!!I

~

:::..

I

1

·· . ·

_.

:>

.~~

.

·

I

.P-

· ·

I

"1

o-

d1mo

f~

....... :>

.

.

.

· ·

. .ÇL

:>

I!t.

n!í :::..

F

dimo

.

•. ~f'-'. H.~

.

.

.

.

.....

F

~~'-

-t.

4

.

. cresc

t. ~'4.~

-

cre.

nif

1.

==

C1"eS(,

f

dim

@

dim

vif

C1"eSC

fl~

®

.-oII!!!!I

.,

.. ~

~

"­

.~

.-­

~.u ~ -~

.-oII!

~

*..:;

..

I

. .

-.

*-/' .

;::..

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;::..

-.

...

•

. . . .j

•

:>

r-.~ ~ ;

.. I

;::..

:>

r.-.. r.-.. ~

2

195

35

LESSON 81

Chromatic Scale Studies

: : 'C H lir r ! qr li! Iekf rr r

195

J

I Ê E~rE IrE 2 C

c

1

rli F I r"E tf f

I

E

36

Grace Notes

LESSON 32

There are two kinds of grace notes, short and longo Long grace notes are seldom used, but the short are used quite frequently. Instead of using long grace notes, it is more practical to write out two notes of equal length. In addition to the single grace notes there are double and triple grace notes,811dthese are usually writr ten out and played quick1y either on the beat or before the beat, the piece of music played determining which it shall be.

EXAMPLES OF GRACE NOTES

Long As written f)

1

.

Short

I

I

b

"

~

'"

,..

-

O

IJ As pl~ed

-

t.

fl

-

.

.........

- - -­

- .

EXAMPLES OF GRACE NOTES (Double and Triple)

...

As written (A.head of the beat)

--­

(On the beat)

.......-=

-~-

- .

-

~

t.J

2

f)

t.

As played (Ahe, d of the beat)

_.

.

-

-.

(On the beat)

- .-

......

-

.

-

.

-

~

.

DEVELOPMENT OF THE GRACE NOTE

fJ

""

'"

tJ

f)

~

··:k

""

!.

··:k

~

'"

~

t-

Il t.J f)

}r

-

- .:k··

k

]>r

]>r

L~

.,br

l~.

. k

:~

.

k

~'0

,..

]>r

!r_

·

1};.

l~_ _fr~ __

.

i'

I':)

k~

k,..

~

.

~ .../

.

. br-

!r~

···

.1r• • lk.

..Pc

...

~

..

:

~

.1.

·· :

~

..

llr••• ••• 11>r___k-__ 11>.

. :­ .. .~~__ ]f .tt-l~ .~ L~~~.lr.~.l k ..•.)r_~~ L", .-Jr. ·

~

··

: I..

~

ti

THREE SHORT GRACE NOTE ETUDES 4

jlll rr 1& r?: 10& I$jr 1% rj IFffIrlrJl'Er EIn III

5

'11 yft IW IfitE loor IrÊr EIlErE lyEt EIftlli

6

&if(?@IErF lt?ulEír Ifi&lur IlrUFUft

1%

37

. . . .,

Grace Note Etudes

LESSON 33

TEMPO DI MINUET

~~injaie% IU-aE! 1[1 [ Ir J 1% }, t (ti*lrt [ Ir J :1 ~~ yUtt Ir tÊ Itiiifi Ir r ÊlíttW}éiilil It.r@

2

mp

~~ triEJi31J tA te I&iili:! IFt r Ir It ~ llirtID: -i @~ r,. FIr UE! t11~ I;JílJ Ij la t.J t.J l@g I J

}f

...

J

J

~d ~ J lU t.J t IJ ~ t léítrCht J J I~ I:!J J la III

DOUBLE GRACE NOTE ETUDE

3

~

1!:1 Fr I.[rl 'I~r E1tal~::fJ I l!ir r F IM rr I

Andante

::>

~ aUêfrllltfr

::>

ªº

uJ loJlk:ll I J.) ia I ~ &s II~j ;u I&-@ IJjIlJIJJ.JIU eu I~;J; J I ~ tDl J P IJ1pl r r Itir (f I dk r '!k F I §r r t r Ir {in r I ~ r& [ r IFru JJ I; (!JJ J IJê ibl r IF~r ~t r If I Ff I~ I

J

ItU

J

195

38

Triple Grace Note Etude

LESSON 34

'fl f=?iJ anUE M!B --- --diii?!'tO lW Andante -Playvery legato

1

~~~

I

J I

Wohlfahrt

Ij J ~ I ~

---~ ~ ~ I @fIf Ifkr:/jJjJjJ91 QJ3JJ . , I

i ,

~

'jfi J J jJlI r~~ ~ I

J~-p úU I t1idf~ I {fI! em I F rfWêr I

F~ttD I t1§4P:J

~ Fidt4Jd9I~;l.----..... I tl1ME!0

IJ J ~

~

CiPrw I tfà ~ If kriJijjfpJ I d2flgJ J ~ ----=----~ ~ ~ l F t2!dm3 I F lmaf!lrrr l C =OL® I fb­

'" ....

r J::±:i~~ -~7 ~ ==-­

-..;;;;:z

.1, '

-­

{.\

-.:

~

rL.= ~

-

:;

•

-

T I

Menuetto fi

I

.~

~I

mp

mp~

~

fJ,

v

--

Moderat o

FROM PIANO SONATA

-

o

--­

I

~

,,, .--::. . .

.-.­

--===

...

...

•~

~

..

~

kl~

.--.......

B ee th oven

-­

--.....

- ---===

~

-"""'!I 2 ,....

====-­

~'--- . -~

I

q

7J

mp

~?F

P

C'l'8sc.

p

C1YJsc.

-.

4­

--­

~:-.

'-----------------------­

-~. ~

ff 51

Menuetto (Cont'd)

=

p C7YJsc.

~ ~

fl

b~ ~~.b~

I

mp I

~

(j L

"­

-

J~

I I I

--.

flJ ~

cresc.

..

::::=-p

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.....

l'---"'"

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I

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,

~

./

I

-

cres~

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I

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.... ---.

.

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.. -....;;:.

I

.-J

I

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J1J

v

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p

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~

19 5

-

cresc.

~

)r~.-...........

cresc.

~ I.

...

----

,

~

~

...

~

'--"

-ri

.--..... cresc.

P

. ..

?J

7:f

~

p

cresc.

(j L

~

.tn

~. ~'1it

mp

~

~·~qf~

cresc.

-

-­

l'-" #fI-.

creso.

rito

=i

1":\ ~

'"""rito

... ....- . . ---

..".

.. ,

.. 1":\

~ ..... ~ : •.• ~r*~y

-.....-.::

--

52

Clarinete Soprano em Sib texto de exemplo

12 Escalas Maiores e Arpejos Séries & Tonalidade

Escala

Arpejos

1 2 3 4 5 6 7 8 9 10 11 12

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