CLARINETE MÉTODO Rubank Nível Intermediário

Prévia do material em texto

RUBANK EDUCATIONAL LIBRARY No. 52 
 
 
Inicie os seus estudos sempre 
com o acompanhamento de um 
professor de Clarinete. 
MÉTODO RUBANK 
INTERMEDIÁRIO 
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 
 
EEssccoolliinnhhaaMMuussiiccaall..ccoomm..bbrr 
 
Materiais didáticos para estudantes de música, Materiais didáticos para estudantes de música, Materiais didáticos para estudantes de música, Materiais didáticos para estudantes de música, músicos, músicos, músicos, músicos, organistas e regentes.organistas e regentes.organistas e regentes.organistas e regentes. 
Explore o site para baixar estudos musicais. Colabore ou solicite o que você precisa no e-mail: 
faleconosco@escolinhamusical.com.br ou siga-nos no Twitter: @artigosmusicais 
 
DIVULGUE ESTE PROJETO – ASSINE SEU E-MAIL E RECEBA INFORMATIVOS – CONTEÚDO NÃO-COMERCIAL: 
http://www.escolinhamusical.com.br 
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. 
 
 
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 ~ 
guide as to which one of several he should use in some particular passage or key. This chart makes it eas~ 
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. All that the pupil need remembel 
18: LEFT HAND-NUMBERS, RIGHT HAND-LETTERS. 
Since certain tones may be fingered by either the right hand 01' the left, the numbers and letter8 ar~ 
synchronized thus: 
Key~ 1 ar · A wiU produce C# upper register and F# lower register.
'--" 
'-' Kt"Ys 2 01' B will produce B uppei· register and E lower register. 
Keys 3 or e ""iH produce C upper registe,· and F lower reg-ister. 
Either numhers or letters wiIl appear above the notes \,\'hen a pa rticular fingering 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 particular tone. 
g ~bX 
x wiU he used over the high Bb and Eb -1st line thus: . ­
x 
o 
o 
EXAl\IPLES 
'-' 
....., 
'--' 
7 6 b4 C 3 B 2 A 1 5 F 8 
........ 
 r F I r r I #r F I bj j j 
x 
I br !,J r "r 
D 
\....­ ~ 
\,...... 
~ 
2 B bF b5 
'-" C C B 3 3 3 
r?f olR rª 
II b" qr F I r 
D r f I r f~ r I 
Copyri~ht MCMXXXV1 by Rubank IIlC., Chicag-u, li!. 
195 Ccpyright Renewed lnternationa l Copyrig ht S e cu r"rj 
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 with 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. The player must develop and train his ear so that a difference of pitch can be distinguished 
when playing with others. 
-i. Note Values. The player must develop a rhythmic sense so as to give pI'oper value to tones a s 
represented by the written notes. 
5. Breathing and Phrasing. 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 sugges.­
tions given by the teacheI'. 
6. Expression M arks. 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. 
7. Relaxation and Proper Position of Bodyand Hands. \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. 
8. Sufficient Time for Practiee. 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. 
9. Proper Care of the Instrument. 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. 
10. Mental Attitude of Teacher and Pupil. 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 - Keep the tempo steady. 
1. B ';7J7N' ~ I F F I F'~ I F F r F 
'llf/,- Natural 01' IlGll'mal tone, 
I r' ~ Ir - ~ r --r I F' ~ Ir Fr F I 
-4rnlnr'ITr 1 Ir1 r I F" 1 IEF Fr IrFd IrUfo li! 
3 41\ r--:t=~tt=t=lr 1 1 r Ir 1 Ir 1 1 r I r~~l Ir 1 ftlFFn 
'll!t 
4r E rtftl I C co r I r 1 I C 1 r r I E1 C r I rat· 1 II 
4 'li r unirE llrcrr WllC·ucrrrr HWrt'ICr11 
'llif 
4r ur r I rrjH;cr CC Ir llr Ef'rEIr rr:r r IerrE· /11 
5 +±r 1 t@!f Itr 1 1 U Ir" 1 I C n Q3rr - I fi UC I a 1 I 
li!/, 
fr 1 1 Cf Ifi - h@ 1 EJ IF" 1I r lIaÊB a I (Dl 1 II 
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'. 
Cupyrig-ht l\ICMXXXVI by Rub"nk Inc .. Chicag-o, 111. 
l'IS Copyright Renewed Internatiunal Cupyric;ht S"cured 6 
Marks of Expression and Their Use 
LESSON 2 
Pianissimo ---- ____ w _____ Very soft Fortissimo ______ ff--------Very loud 
Piano ________________ p _______ Soft Forte -----------_-_ f ______ ._Loud 
Mezzo Piano_____ _mp______ Medium soft MeZlO forta _____ nif---. ___Medium loud' (Normal tone) 
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: pp- p- mp- nif f .ff -- ­
p ========== mp . 
7 
----- ..--......... -----J 
1 =&" n T'u?T7" Td J - I: I:: I : Ij~-
-&-~-&--------&--- ~~-------
mp ========================= p 
4E:I:~2q' ­
- II 
HARMONY 
p= mp==nif'=====f----p= 7111' nr/========== 
2 ­'I; C I52Diâp €i?~Gf 
"'!-- ----~~===-----====== p pp======= 
, "'4>"·4;;;1>51 F l>GD'(I?;;Q2 ~ - II 
f------11if============== nif mp 
3 ~ Il j J IJ I I J~J I I j~J j I j~J
------ P'============= p============ mp=======4mp j-LJ. J , I J""r I r' , I (35Iw I ICF De 
pp'====mp==========mp============ p 
~f!:-'I t=Ir-r±r' , I(Tir' Ir f J II 
95 7 
2 
Studies in Expression 
LESSON 3 SOUND GRADUATIONS 
Crescendo (cresc.) - GraduaIly louder. Decrescendo (decresc .) or Dimin~endo (dim.) - O:~~:rlly 
In playing a crescendo or a diminuendo the pitch of the tone should not change. The clarinet has a 
tendency to become flat when playing loud and sharp when playing soft1y. 
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. 
,., F U IF (J Ir lr I r tU IF lr Ir Fr I r r r 11 
ff f f l1U rrif mp mp· p p pp f l1if f rrif 
3 
f l1if lIif mp 
11 r' F I F' F I F r u I r' crEr I r ruI! 
f lIU f rrif f lIU mp f p f"'lf mp 
BLUE BELLS OF SCOTLAND 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. > >- > >, >- > >- , 
1 ,2 i J J I r r I rr r I r 1 I 3 J ti I r r I r r r I li 1 I 
f 
> 
> > > >, ~ > >, ~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 
Observe carefully all marks of expression and p]ay with a steady tempo 
~ ~ ~ ~ ~= ~ ~ ~ ~ ª ~ ~ 
2(' J j j I F· ~ I Fr F I r E~ I r Fr I r F I r t2J 
p - ='TTff P = n!ft=-P vu 
-1. :;7 > ;; > > -=- > > ~ j. J IJ J J I t· J I r F r F I F r J I r F F I r· F=t 
===- mp P nif P =vft-:::::==-p n!! 
-J:. >- :;7 >,.. > > fi'- f: 
~ r r r I r· J I r :;7 F r I F r c ~ I r r r I F Ê J I
----========f = mp~mf f 
>­
~~~ >- > > > 
~ t: r r I ~ F F r I F F r I =rr I r Fr I ;71t· J II 
· f- vif= mp= ==- p =f~ pp 
LEGATO ETUDE 
~ ----> ~ ---- ,>- ~ ~ ~ 
3 @"rRIFFt IgErlrEr 1F1HIEF Erl kE Fifj J 
vif f~ p =====- -=::::::: ~nif========--
~ > ,> ,..-... :? ,~
-w 'CU I F (r I f F t I E1 F F I r Df Fr A 
f= vi! f .ff ff=======-­
-, f-r ar IrEr Eli '(TE I GJtr Irj]2'r 
f -:: mp =f= f======--­
~,17ft I rfLt í fFEr I EJR'd I Oi J a a ~ 11 
v1f = mf = f p=---- ;;p 
195 9 
Articulation and Expression
LESSON 5 
Moderato - Play with a steady tempo. 
- ~ B 
1 ~Il iJ Rr3J] I tE Fi tE Cf I cC E1 te cri iJ 33:i:) UJ I 
"fi 
c 2 B B ~filnEEr;ldEfrrCf 1i]3J f3J9ln JJ crrP I 
c c c 
, c fc rtcE; IccEi Ec Ei In n iJ JJliJ f1 ccf; I 11 
, -e-
Play above study with each of the following articulations. Observe all accents~ 
,<aflp €1J·li~fiíi15lJ ~C~1J #ª ªta It)g~ sJO II 
;;:>~ -....-/ ;;:> , ~ :> • 
;;:>~ ~- :> ;;:> :> 
,
1-;-- - -- ':É', 6J ~ Uo~~ In r Ir r L I a kg::EJ IDn h Icifra j 1 I 
"!f ~ - ::::---- --------
Play daily for tone production. P 
Andante 
3 '11 rUf- r Ir(R2 íFff F IH CF I rrJJ I J fl1BgJ
f and p - even volume all the way through. 
195 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. 
111 4 cu; CRt I(fijCE[r I~r Ic1fêfFEC1 1 
mf . 
í r~t Ifii1} I(iêrcrrr Irir j rli 
&tEu Ffi IrB c nu I@r rm IFrih :11 
.2 411 cir crU IOH JJjJ I J JJJJJ3 J I tilitiFi:1 1 
Keep right hand down when going to the lower register. 
~~ ~---~ 
, J3 JJ JJ JJ IJZJ J JjJj I JJJJ JJE Irl rtê :11 
mf 
3 ~ 11 E@ ErU Iri rRV IEm Erv IGr fÊ?bl 
Keep right hand down for alI lower register tones except E. 
4 ~11/3] JJilll ar FCar I8ft! &r? Itwt :11 
5 '1\ r1fi CfU 16 Cem I m; (dI IriiR?t :11 
mp 
Play fast and briskly. 
6 ~ i)âhrMrcrrl@fdVICEErl_lcFrrljff01 r- I 
7 &2 HlrrErl@iàlrEErl_IRdiWIr- 11 
f 
11195 
LESSON 7 Legato Duet 
Moderato J. E.S.c A 
~ :::: 2 C ~- ~ .. ~ ":;7 :::-.>---­
~ mf 
--­~ 
.. ~ 
~.::-----. 
-
p '"If 
=====­, 
--­
-
1, 
-
::;...--­ >­ - ~ 
.....---x 
rrif 
mf -
--­
A ,~ ::> 
-
l"'" .. ~ .. ~ >-~ = >- >­
.. flf~ 
.. ::> ::::=-p 
p : f-;::;;__ p---­
- - -
::> -........=....­ p::> """! 
-
--­
-
-=.. 
::---­ I 
:­ >-p 
fl .----­
~ 
--....... ::> 
- -
::> 
: ===-p-" - - ===-p~ 
.....-: -::.... 
-
~-~ 
--­
~ - .,.. ~ _H- .,. 
.. ::> p ::>::::=-P ~ ::=:::=- ----­
>- .>­::>----.fl, . ~ • r- -~-~ .. >-~. >-.........----.
- !L' 
.. 
'11if-=::=f ~ mf--­ f= p ~
---­
-­
->­ >­
.-.-
.. ::> f _____ 
..---====== f ==-=-===­ =--= p ---mf mf 
I'} • .­ ~ ~ 
-----
~ 
-
4 
-./= ~ ~-m,~-
= 'T1!Íy"p ­ = 1lff ~ ~-~_:-. ..~' -~ 
--­ ~--. -;;---. ---=----. 
..; ~f= mp~ ::mf::--------=-­ 1nP -=::::::::::.."fI"= "'If 
fl -r'""-r r-­ .. 1F • 
-
, ~A.. >­
..; 
--­ =: ­ p -
I 
-:::::::=­
f) /..fL.,...~ ---,...,.,. --....... , ~ --::::::. .--.. 
-t. 
--== 
P >­ >­ ~ - ~ 
~ _____ A ~ >­ , .. -r-~ .ff._~ ~ ~' 
.. 
= ====­
f P~ f 
f) 
- - .---: ~ -
, >­
---­ f >­p ;:;;: ­====- f 
12195 
~ ® A "tts wn en ® 
. . . . 
1 .. 
~ As played 
. . . 
r r T 
Staccato StudiesLESSON 8 
~ 
Accent the first and third beats of each measure 
~ Moderato 2@~ 1\ lJNW '444441 4 IJJª400 J IPJJp4 'JP4iP I ~ 
'lití cresc. 'liif' -../ 
&& JJOJpJ 'UH O\$P4'JPh I 'JJ4,:;P. 4 14 ~JmJ 1 = 
-' 
&& J'Op,J IHJmJ 144Ml IJJ@up' J IJH)pJ I : 
~& n:;r@pJ IJl4)Pl IjO;JO~J '9 P ?NH '?#OJJ II ­
-J- Allegro B' jtL ~1' ';" ~~ C • '-' 
3 ;- ~p.aFt 'LEU RJ]IJil? aFtIS<t18JJ In 4ªEla I ­
~ . J' . 
~ ~ . .~&. Stttma Itm uttl5WdJJJ IgOP. u!dJlCfttlJ)J I ­
. ----- . ~ 
, .. 
&~ t@P ull G:tt8JJ1 TI Pfrtt Imo JYJ)I nOº ErItt l ­
.. fi· ~ 
&ü Oft D. IWR fitt Iar ctE(f Ittu fft; 104 5JO IJ. Jj ­
MELODY 
195 13 
Syncopation
LESSON 9 
@he longer note of each measure is to be accented. @ 
I'} 
- -
t • 
I 
~ ==--­ ==--­ ==--­ ==--­ :? ==--­
f­ - ---. 
1'\ ==---­ ::>­ ==---..-... ::>­ --.. .. --.. 
. 
. 
f- I 
~ 
==--­
:? 
==--­ ==--­
:? 
==--­
.. ==--­ :?
. 
. 
f- I 
I'} 
==--­
:? :?....--., 
==--­
>'....--., ==-----.. .. ==---­ :? 
t. 
~ 
==--­ ==--­
:? ::> >' ::> .. ::> ::> 
f- I r 
SYNCOPATED MELODY 
\-... A\legro F 
'--' ,,'~ i ~ C ~ I r EEr IPCP I ~ r Cr I~ r P- I P E t 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 
SYNCOPATED CHORD MELODY
-i. Allegro 
5@! Jla J Ila F Il F F I f I~ r v IlU J1IJJ i IJ 
'-" ~ '# J IJ1 J IJ a dll p E ~ I P r p IlU ;1 J a J I; ~ 
\....; 
195 14 
LESSON 10 Studies in G Major 
ti G MAJOR ÇH7~oB: ~q ~B. p~+gff f@ ê~ '-' 
t == Il~==I~twl~=~I=§~ 1~ =i ~. ­
,ü Eij] fUJ I @J @D IJW PlfIfr@3IJ. J 11 = 
2 
2 ,ti:\:tiIilip IJGÔ ~ ijJ Irffffjtt d1 r ii?tt I ­
,ti te?JJJi~lrGãEjal dftit{) I u II ~ 
THE USE OF THE F# IN VARIATION FORM 
li ­,'I&!4@J~®'~'®JJ~J§Y'- :11
 
5 =~1l&:,r~1 tftêp[ID I~ léPffF :11 
195 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. 
f Il& r5ffl r tnr I@f'r rUIr~ I áfiFEiU I 
4 _ 
11!1 
c@ I tféi ErO I6ct-cU! I 'irm :11 
The use of the F and G keys. 
F 
2 &15 ePJJqQ:JIi@)J~ggAli@~le:ft3JqY31 
~ ~ IV 3ftJ @J I QWqJJ§J I@; :11 
Low F# as fingered when played chromatically. 
3 4(\ J~lJJJ#jJIJIDJ I~JIJEtJ :. 
Low F# fingering as played diatonically. 
~ 4 4ÜII JJiJJJiJ IJiJJJ 'JJiIJJiJ'JJiJJ :11 
~~~~ 
: 5 4 (fíffIrQ I~1iffih I(fêiftlEr IrêijtD11 I 
= ~D rrrtEt:h Irêfti]H Irêfr1fF1 ItífCtr :11 
RAPID FINGERING ETUDE 
Alleg~ .. ~ ...• ~ .• ~ 6 ~. i iw~,.rrltrrrl,Ff1rrttlrrrfl bJ±n~r: ItCrr I 
mf 
'--' ~ &ü aitlW I r ,rJiri@1 tttt Imrfij}lttEt1 
: &» c1inrCU IQ1f1ffEICf I (fif(Ul IU r :1 
16195 
Studies in F Major
LESSON 12 ../ 
f ­,~:\~1FiP IrE9 eU I 6íE tij IfffiGir I 
'--" ,~ Êft) QgJ IQD~ IfB9 6fIlae~ IJ. ~ II ~ 
195 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@4JO!ljIJ1V} :11 
"-" Keep right hand down until the last measure. 
~ 2 '~~rf{@{hqeªI@"3JJ@ l@njJtlHIEftUf) I 
The use of key F. 
~ .~~~~ ~ 5 ,~llfrt;E~ltlrrertrr IfrtrEeC;ICEr:ftLF:11 
"-" 1111' 
v 6 ,~ :;, ?EdQ JJitJ Ié!39 .I i@ fg3 183W.r :11 
~ Left hand study 
=7 ,~II Aif9MJ~rl@qJJJ 1~iJ] rldiMiPJ.lJII 
1111' 
--
---
Duet 
LESSON 14 
MAlAS 
~ 
::::::::=-mprnf 
Andante 
~ .--' ~.-
4 
f) 
4 .. 
mp 
-
-
-:# ... ~...... ~ ~ I - T ~
-
~ ,,--... .-:. ::--.. 
....~ 
- ti 
~-- ~ 
@ ~ 
~ ;t~~ 
~ ~ 
t. I 
1":\­ @ 
.~ ... Fine. ....... F f 
...---:--,. ..~ -
= ---=----==:: -
'..:.J q1f-' 
f 
,.r---.. .~ 
~ 
.... 
..~. r::; ~ ®.~ 
-
~ ~E • ~ .~ ~~ . ~ 
mf
======­
~ 
~ 
dim 
f) 
~11ff -dim C1YJ8C I I 
, .. ~...... ~ ... -. - "'j ... -- ~!:=====-­
@ 
mp ~ 
2 
.
-
mp DOal Fine 
- ==-=-- - - - .- ====--­
~ .---...... .---...... C tc.-
'- -
I I 
-
1= 
-==:::::: ===- - = ::=::::=- mp Dc.dl Fine 
f) ~ 1":\ 
t. ~ - T~ 
"--- ---
-
= 
19 _ 
--
--
LESSON 15 6/8 Rhythms 
Play as a duet, and count carefully. 
:&~ ~: ~: I ~ f~: Irui II J: d: dti ffid: d fi ti ~: 
_E' Iid~: Imrui d: I ffl fi I~ iu: Igi l Uiji II ~: I 
DUET IN 6/8 TIME 
Moderato 
::>
. 
® ::>
.fl r--. ::> ::> B ::> - . . 
... 
.JI17 
- ~ ~• 
-
17if 2 2 
C~B ~ ~::> 
.
Il 
Jil -­
. .
. 
.o
-rt.J 
'J7 
~o -. ­
rrif 
® ~ ::> . ~ ~::>ono > 
-
-::> > 
o o 
.L o 
~ ~ - - -
~ 
-
::> ......., ........ ~ 
. 
l.L 
o . 
t. ::> > ::> - ..o > 
2 C ©C > ::> .- :::>- ::> ::> ~ > ::>> C..ll .­
. o o 
o o
-
o
..IJ'!"l>: 
~ 
.,
t, -.....-
B_ ,...,..., Bfi ,....", ...... 
o 
o o 
-->4 > > ~ > > -
@OB.-., .,.fi ........ 
 ~ .-... > ~. .­>- >­
. 
o .
...
t.J ....... 
 --~ 
> B >0 .- ::>o ~o~ .~ >­>­
oo 
. 
t. ~ ...... '-..J 
f) 
t. 
fi 
• 
195 20 
>-
2 
. >-
-
~_::> -~.. >- C C ® . . 
. 
-2 
C 
> C ::> .,.- >-,...!.,..::> ::> 
. • 
::>
.
. 
. 
I 
-
-. ..-- I 
Triplet Studies 
LESSON 16 
Example: Similarity between % and 2/4 tempo when the triplet is used. 
~ 
. . . 
~ 
1 
~ 3' '3' 3' 3' 3' 
tJ -
r 
-
. 
-
7 7 
-
r 
r 
-
.... 
195 21 ~ 
x 
Bb Major Studies 
::: LESSON 17 ~ ~ 
,~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 IJ]1J;g 1 
'~·p~,@iIldDlE4tEfI_IJ.1I 
B~ MAJOR CHORD ETUDE 
195 
Articulation StudiesLESSON 18 
Practice each line until played smoothly and fluent1y, then accelerate the tempo. 
x 
,~' Eiq An I JjJU nn IlJJ$ ÚH Iati fOi Ir ~ 
195 23 '-' 
11 
Danse Negre
'-' LESSON 19 
MAZAS5 F ® . . ,Allegretto 
, . ~ ~ ~ , .fll , 
-
-
~ ""t.';"~-fI-
" ­
~ 
fJ I mf F 
tJ 1if- • • .. .. • y­ - .. 
fl I 
-
® 
... 
mp • --J­ ..'1 -,J. - .. 
fJ I L , -!L. P-.------.... :­• .:. L' , . , -... 
~ 
-mp 
= 
p 
fJl 
-
®31.® 
T 
.'-: -
~ .­ - • .... • .. .. 
j.~~it ~.~. 
• • 
.111 P ~~~t:- ~~~~~ ---. . 
~ 
t) p 
IJ I , • .f­ ---... G ~~'. 1 , ,
@ 
.LI .­
~ 
~ 
- P 
~ I 
- -
-
.LJ 
~ 
~ • ...~ .. .~p • ~ 
fj I ~ .,...-. '.I ' , 
..~--~ .-:...•. CD, - '.:.® 
..I. '-F-f-II' . 
~ 
... 
./J I 
-
f F .;: 
'-: 
."~ 
...­ • .. .. • .• -~-: ' '""!" 
- fQ) 
-­
\"....I 
.-/ marc.
"--' rit x 
~5
'-'" 
lJIarc.ri! 
\.....,.. 195 24 
'--' 
'-'" 
I 
LESSON 20 D Major Studies 
Observe ali fingerings as indicated.CHORD in D MAJOR ~ 
t :4*Do ~6rnlaat&-IÊfufmIEfÕQn
'T S1~ ~ ~·ft @J€1j I:mf!J21 eL;LEIb!W Er Ef 1- 11 
DAILY STUDIES FOR THE DEVELOPMENT OF TECHNIC 
,~I' r1êfii7! Ir1dEIêr I~ IEM 
~ 
!!,lDdt4i}ated fingerings. 
25 
-----------
------
LESSON 21 Etude in D Major 
Moderato 1!:. ~ 1!:'" ~ .l:. . Wohlfahrt 
1 ~~ftJ.tftft Ipfr I#h Imete IEcr JJ3IpJ ÊrfJ 
,~ cUQr ImqJ IfJ:J rÊrlrP E EEI jll ErEl mCu I 
~~ alEte I#eg cc: IE6 er:eltrOe cr Iccrefe I,Cf l 
~~ rfr [ ~ I aO j EEI r:Ji- cte Ifel Er r IWiJJ I J * '11
-r . . 
PETITE DUET J.E.S. 
Andante ~~ ~ ~ • 
t 1lff 
~~ 
~li 
--
..,.... 
=f 
.. 
-
~. 
~ 
mp 
I_n~ -". ~ 
4:J I '-- .... mp11!Í --=--- =f 
- ~ 
2 
~~ 
41 
fJ~ 
4 
~~ . 
. '. .-#i­ ~~~.-. ..,..~ ~ ..~~...~ ..,..f:. 
---=== 1lff 
= ===­ p ====­ = 
---. ~~ _-:--...~ .-­ •
. 
. 
-==== "'!Í -----­ p - :=:::::::=­ ~ - ===--­ : 
~ ~ 
~ 
~~ 
• 
~. ,4 #-'. • _ • 1"" .,.---;---;,. ~ ~ ...­ -.... 
f:::::=­
= 
: ~ 
~~A, 
. 
==-=-­
., .. "~ ~ .... ~ .... 
: :::: 
~~ 
li 
fl~ 
tJ 
195 
• .+ ~ .~ r­... ~ r-.-.-.. . 
mf cre.'~c ~---. -~ f-==::::::: ==--=­2 A 
- = 
.
,... 
./ 
--­
... 
---­
'-. ---~ U· cre.~c = '.:::::::::::= 
26 
1 
Articulation Development 
LESSON 22 
R hmic patterns of 2 sixteenths and an eighth. 
2 ,~E nJJ IhJnlJU JOJ IJ I J ±lU In nU I JjjU Jnl J I ~ 
MODULATING ETUDE 
AllegroJ • S . ~ .. . t=::t F9. ~ .. . 
3 @~! Q$j;F IE etc Ir qtr 14ZR~ I$;qr IcFtr IF Eftt ItJjJd ~ 
mp 
,~ tJJJ Iffl rIarE! IUu I J :e13 Ime IGEre 9"1 rbr a: I ~ 
simile 
,~[ONU ItctE Icera late IwUICttE I trio: 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 II 
POLKA 
Allegro x ,. 
4 ,~!ralW:E! IS'EÚlr "Ndlr I"FUICEEm 
'lf'UU l!refl Igr cf I r r I gtrg! 199r ~ lQ":fi! I r I 
F 
@lfl!f!f! Iare P'I",Ú I Eera IeFFea IcêlfE.r Icrer IJfiJ I 
)( 
&IfJjjJJjlI '" JJ IJ:lJj11 J Ip.J mI$lgr I C &E6t1 ID q 
27195 
'--' LESSON 23 Dotted Eighth Note Studies 
......, Dotted eighth note patterns 
fj 
7'1 . . . . 
Uft. 
~J..l 
n -­ - -­
-v 
1 . . . . . . . 
~ 
~ 
-
........ ............­
- - -
....... 
MELODY
Md t~~ O era O 
" 2 @~ JJ.flIJ 3 IriJ.) la IJJ j. j lU J IJjj.j I j lJ.jJ.JI 
......, 
~ ~# 13 b.44.,1 j lJ.jFJ IJ J InJ la IDt.,lr FI[lf:1 
~ ,# F r IC1ftlftfil[It';l Ê In tJlr E 1["{f:IE r I 
'-" ~ ~D C"tfflf;C"I Ird~Ê r IL1f~Ê r IEitu IrIU IJ J la I 
. DUET J . E S . . 
n an eA d t 
7 
. 
dimocre.<;c 
-
.
. . 
-
.
. . 
fj I •• ... ~.~ .. - .-:--...... . ~.... 
­. 
~ 
~ 1lJÍ3 fj ~ 
.
.~ 
..it- I . ..... cresc d1moo-
F 
t. 
f} 
'4.~ -~ 
· 
fj 
- • . 
•. ~f'-'. H.~ 
· · 
.P- _. ~ f: ..
.
. ·· 
· 
· 
:::..
-
f~ ~ 
· .J-.=t-. . 
.. 
It. r I 
. 
..... I f :> 
5 F 
~ ~. ~ .. ~~'- ... I!t. :> .ÇL .~~ ~ fL' 1*- •• ~1'"' _ ....
. 
-t. 
~ 
-
....... :> 
_..... 
. .
. . . .
. 
· 
. . 
4 -­ - - "1 I - -
f} ~ ." ... .fL'# ... ~ 2
F 11 
. 
· 
. . . 
· · 
· 
. 
· 
tJ n!í 1 r jr7 o 
~ .... :::.. :> :::.. ,..o!!!I ..-.­
-
......... 
·
· · 
. 
· 
. 
· 
. . 
· 
. 
· 
. 
·. 
tJ - I looo.iII 
-
- I rzt. 
195 28 
Etudes On the Use of Eb and Bb Fingerings 
LESSON 24 y.. CHORD ETUDE x 
~ ~~ Modera!o ~ ~ ~ • 
1 i =~ ft 3JJ tU Ii rr '-3 J13 JJ W IZ Er 4 J.IJ JJ coE t I 
F F x 
:'w rU lJ 3IJ3J c:F r lÊ E:t a J 13 JJ brF Ircr E~ I 
x x x ;J 
:~V! ÊrF rCf IfJ J FÊ FIf j nir r Ir: f r j r rI j ErF· 1I 
)( x x x x Ê x 
" cFi rri If E1 FÊJ IccJ rcnIcrcÊFr IÊrrr Ô 
195 29 
195 30 
La Verginella 
LESSON 26 ITALlAN MELODY 
Moderato ~
. 
@ 
~-----
----­
--=-=­ ==--­
)( x 
-------­
------­mf--­
x )( 
5 
F 
--==~====t==== f====-mp 
(';\ 
dimF 
G 
ri! 
5 5 
dim ri! 
195 31 
Andante . . WALTZ 
4 ,~~ i f F r I r- r I Ê r I tU Frr I F: r I F FrI F- * 
rnp ­
4 
,~~.~ FrrIrr L I U cc Ir tH Irr r I rr: L I r rL I r , 
mf cresc fi 17if cresc 
~ ~~~~ L r r I r- r Ir r I r-. I L F r I r- r IEf r Ir * I 
LULLABY 
Andante dolce Bohemial 
~ 1C C1 ~ 
5 Wj,~ i k a=n I !l:e.g I L r r I r I L Eí7& I Qh q 
3A C 5~ 1C ~~v L aoI J * I(f~. ~ ILf~· ~ IW· ~ I LFiflBi I L ® d ' mP crese - - Im - - cre/;c :/ 
i ~ 3A~~b&~?Jd!1gILLr I WI~fL!EJlfln;rIL eOI J * 
195 
DAILY STUDY FOR THE DEVELOPMENT OF TECHNIC 
2 
3 
DEVELOPMENT OF RAPID TONGUING
-J. AlIegro F 
4 &~~ijJOOJ IUJ;;; IpJjlJJjlJ ~ I:V??J IbJ:11 1 
~ '-.! ~ o o 0000 0011if 00 
,~jJJJ?nlJ i IjjOOJJJJ1âJJUJ44 IP4jj$$1i14'b4J I ­
o • 
33195 
Studies in A Major 
'--' LESSON 29 
v 1 
 '~~:;ijUÍP I@JZª, I(U~ IruE ~ Iur fr? I 
. 
o /4 ~~H~ W t1F~ 10 {lj IQJ Q@ InO E1 (-1 14 -4 
~#-I~ ií@9? IdifirrrIUfüfu Ifiin I4~ I
2 _Y~ : :0 
-;- o 
4#~ ~~ 'oo 
w)t tUilllJ 11~ 
• 
I 
o 
Qu JUiJ 14l1!4 11 
TECHNICAL ETUDE IN A MAJOR 
Allegro ~ ~ ~ 
3 , "# ! J,lUái Ireg Iütrrrcr Irw Irfã,ill'n:rr I 
· 5~ ~~~~,
'"#dker U Ir ~ IkFtCCrrEIcrrrf Itrrrt I""ti] 
'"# @rfGrlurtf IffuWi 1f t lúã~ Irf 11 11 
4 '1 @l!?J I@j I~ I&tU 14@@JJffl9ªr I 
'"# gs:r!W IJ ~ I@JJ]J IaRE liH 3if ligo JJ I 
,~# @JJWI@;IQg;JWIJ~ I@@IJ ri; 11 
ARTICULATION ETUDE 
~ "Moderalo 6 B A 
5"W 1\ uJn8jJ IJJ9J8J:J IJ~JlljQ I.LEa IEÊttfcÊMfu .. ' ~, '. ~ .. 
.. r.......~ "'
'"t êU;Ête; A . • ~. ~~. Iflft rrE IcC . ., ~A.Êj' Ar? rr IErtc rr t FI~J " 
195 34 
Duet 
LESSON 30 
 MAZAS 
AlIegro modera~o. :> 
1. nif 
== 
C1"eS(, f dim 
@ 
dim 
vif 
C1"eSC 
® 
­
• :> 
.-oII!!!!I .-oII! r-.~ ~ ; r.-..fl~ ., ;::.. 
-­. .
. . .
. 
~ ~ .~ "­ -
~.u ~ .- ­
-
;::.. 
-
;::.. :> r.-... 
. 
. .
. . 
-~ ~ *..:; I *-/' . ... • ....j I ~ 
2 
35
195 
Chromatic Scale StudiesLESSON 81 
::: 'C H lir r ! qr li! Iekf rr r J IÊ E~rE IrE rli F I r"E tf f II 
2 c 1 E 
C 
195 36 
2 
Grace NotesLESSON 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 Short 
f) I I b ~ .. ,..
-" '" 
t. 
1 
O 
IJ As pl~ed 
- -.
. . 
-
-
......... 
- - -­EXAMPLES OF GRACE NOTES 
(Double and Triple)
As written (A.head of the beat) (On the beat)fl ... 
--­
.......-= 
-~- ~ 
-
t.J 
f) As played (Ahe, d of the beat) (On the beat) 
-
~
- - -. .
. . . . 
t. 
-
_. 
...... 
- -
DEVELOPMENT OF THE GRACE NOTE 
fJ }r ]>r ]>r !r~ ~ i' k,.. ..
k ,.. '0 I':) k~ ~ ~
"" .../'" 
.tJ 
. 
·· 
f) ~ ~ ·:k br- L~ .,br l~. !r_ 1};. .1r• • lk. ..Pc ~ .. : ~ 
t- . · . .· . .
· · . . · 
· Il !. :k k :~ ]>r l~_ _fr~ __llr••• ••• 11>r___k-__ 11>. .1. · : ~ ~
"" 
. . · . . :­t.J 
- -
·
· 
· . . 
· 
·
·
.:k k .~~__ ]f .tt-l~ .~ L~~~.lr.~.l k ..•.)r_~~ L", .-Jr. : I..f) ~ ~
'" 
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 
2 
 ~~injaie% IU-aE! 1[1 [ Ir J 1% }, t (ti*lrt [ Ir J :11 
mp 
~~ yUtt IrtÊ Itiiifi I r rÊlíttW}éiililIt.r@~~ triEJi31J tA te I&iili:! I F t r I r J It ~ llirtID: 
-i }f ... @~ r,. FIr J UE! t11~ I;JílJ Ij J la t.J t.J l@g I 
~d ~ J lU t.J t IJ ~ t léítrChtJ J I~ I:!J J la III 
DOUBLE GRACE NOTE ETUDE 
3 
Andante ::> ::> ~ 1!:1 Fr I.[rl 'I~r E1tal~::fJ I l!ir r FIM rr I 
~ aUêfrllltfr J ItU uJ loJlk:ll Iªº J.) ia I 
~ &s II~j ;u I&-@ IJjIlJIJJ.JIU eu J I~;J; J I 
~ tDl J P IJ1pl r r I tir (f I dk r '!k F I §r r t r Ir{in r I 
~ r& [ r I Fru JJ I; (!JJ JIJê ibl r I F~r ~tr If I F f I~ II 
195 38 
---
Triple Grace Note Etude 
LESSON 34 
Andante -Playvery legato Wohlfahrt 
1 'fl f=?iJ anUE IM!B J Idiii?!'tO lW I j J ~ I 
~~~ ~ 
---- -- ~ ~ ~ I@fIf Ifkr:/jJjJjJ91 QJ3JJ . , I 
~ 
i F~ttD It1§4P:J 'jfi J J jJlI r~~ ~ I 
, J~-p úU It1idf~ I{fI! em IF rfWêr I 
~ Fidt4Jd9I~;l I tl1ME!0 I J J ~ 
.----..... ~ 
, j CiPrw I tfà ~ If kriJijjfpJ I d2flgJ J ~ 
----=----- ~~ ~l F t2!dm3 IF lmaf!lrrr l9 C =OL® Ifb<D I 
48M3 rmrtlfJàU r If~r1d IrE. 11 
FOLK MUSIC Bohemi an 
Valse Lively . . 
2 4~2êJJaalar laaalf1 J Ir_lttn 
1fIf Shorten and soften the second eighth note ofeach beato 
195 39 
TrillsLESSON 35 
A trill is produced by alternating the given or written tone and the next scale tone above in rapid sue 
cession. As an example, if the given or written tone to be trilled is E in the key of C Major, the scale tone a 
bove which will be used in the trill is F natural. If, however, it is the key of G Major, the tone above E wi 
be F#. Thus, in the first case,the trill would alternate between E and F natural while in the second CasE 
the trill would alternate between E and F#. 
The approximate number of notes usually pllWed on a tone that is to be trilled is shown below. Thi 
is not always the case, becanse sometimes on long tohes, the trill starts out slowly and accelerates in rapid 
ity to the end of that tone, however, the examples will show the number of trilled notes that are to be usec 
f} 'Ir 'Ir V­
I' 
1 
~ ~ 
----­
-::-­
--­ -
.... 
- - -
::--.. 
, 
On long tones, a trill is usually closed with an additional tone which is the tone directly below the gi, 
en 01' written tone. In pllWÍng trills on short tones, this closing tone is not used because of the rapidity witJ 
which the tone following the trill, must be reached. If the trill (Ir) appears over a long tone, the closinl 
tone is the next scal~ tone down from the given ar written tone. 
~. V­__________. 'Ú' 'Ir 
-
'Ir 
I. I 
2 
11 ..--:-:---­
-­ --­
-­
I. =-=== liiiiiiiiiIiiii lIiiIiiiiIiiiI lõiiiiiiiiiiIii 
____ liiiiIiiiiiIiii liiiiIiiiiiIiii 
I 
Sometimes it is necessary to alter the pitch of the closing ton'e, and this is done by indicating below th 
trill thus Cf) ct) cn as to what that particular tone shall be. The key in which the trill appears , deteJ 
mines as to which one of the three symbols is to be used, although the purpose of these symbolsis the sam! 
namely, to have the closing note either a half ar whole step from the given or written tone. 
# 
V­ 'Ir V­ V­
I) 
-­ -­
ii __ 
- I ~-----. #--­ lL 
3 
11. 
f} 1_~.
-
----­
:11_ I:f:::. 
I. lii!iiiIiiiiiiI --- iiiiiiiiiIIiiii -
Where the closing tones are to be emphasized and ritarded, they are usually written in to make sure ti: 
they will be pllWed. This is done especially in case of long tones that serve as a closing to a phrase 01' a c 
denza. 
t. 
~ 'Ir..-­ ~ F1. • ~ F9. 
" 
~ ----., .•..•....... -.. ~ -:;;:;-:---; 
=== === =­ ====t. 
195 4 
1 
2 
Trill Chart 
LESSON 36 
It is a good policy to trill for long periods on each of the given tones so as to become acquainted with 
the proper fingerings and also attain the desired nimbleness of fingers that is necessary in the proper play­
ing of these trills. The first section wiIl concern itself with the trills that are fingered in the normal way 
01' fingered diatonically, while the second section will be concerned with the production of trills through fin­
gerings not normaIly used in the diatonic scale. 
Trills in which the natural or normal fingerings are used. 
concerned. 
, b ir 
:~~ 
" o 
D" 
~~ V 
~o ~ FF GG 
~ ~ 'Ir 
~ - - - -
-u .e­ u 
- -
-u -9­u -9­
'Ir 'Ir 'Ir 'Ir f) 
-
'Ir 'Ir 'Ir 
..... fi -& ..n 
• 
In order to trill on certain tones, it is necessary to designata certain fingerings not normaly used in the 
diatonic scale. These fingerings are indicated below each note and have reference to the production of the up­
per note of the trill, since the written 01' given note is fingered normally or diatonicaIly. 
AlI trills between the double bars are fingered the same, even if the different registers ofthe clarinet are 
b b#~ 'Ir 
'Ir 'Ir b #'Ir ~:t b -&- '-' 
F 
b" II II J &! ; II ! II E #~Z o F FFE 
'Ir '-" 
'Ir -9- 'Ir 'Ir 'Ir V 'IrIr b 
II II ' II bn II ~o II #1' 11 
'-' 
6 oI' '0 II 'o6 H 7 H H H 
ETUDE 
3 JIJ201 J j ~ I J J 
'Ir 
I V-f7f?F1 
~ 
f ~f t I~ I 
# 
'Ir 
I j 15 J 1l5J ijJ I11' tê &J6J I 
195 41 
v 
Articulation EtudesLESSON 37 
~ Móderato UAPID TONGUING ETUDE 
1/1,3 1Opn ti IJ;1JJ J * IJUlHOJ IJ 333S J ~ 
snnzle 
~ JiJJH9 r Ir 'EÇfr~ Illr iEiFUlsrr+_U1IL "~dL I 
'P1;r.Ú tlr Urrar IL5Htp Ir crr;á t I(Hum * I 
@'.r b(Eir I;HrSCUr fi ErEFU CEru ICHcrrc!Gr:cn I 
, dtrá 'Feri::! I'l' ifPF~ --- ' 
r IJjJst1 JUBj IJ;JJJJil bjOJ I 
, i§J'J) ;Jjaa InBPJJnJ IFrrrEF Oicrtr IQ:g!Qj5J 11 
CHORD ETUDE 
19.') 42 
-----
4 
LESSON 38 Duet Brilliant 
Allegro J. E.S. 
~ ., . --... ;. . . .---.........
-----
~ 
mp1l!Í 
.fl 
. 
.
. . . 
-- .-
.. ..... 
­
.t: --­mp 1l!Í ----------~-----------
~ ~
-
---
-- .fi 
--------
• -'~,. _ 
. 
~1l!Í ...... mp 1l!Í 
~ - -- .--. 
. 
iJ mp • • T:!!. - - ~ mp
--
.. .." 
11/Í mp 
... 
__~________---­ mp 
mp mp 
" 
..... ~ • • 
tJ mp ........ - - ­
~ 11if.. 11!Í 
li --­ - .-;­ - m ... -" - • "'-iJ-" • ­ ....p 
~~ .-------. .1#'......_ ~ ....---: .~. 
-=--­
- f ...... ,.........
-
. ... f--- ~ '--.-.-,t .. ~- ---.J 
--------
• ---fi 
4395 
4 
LESSON 39 Articulation Study 
Alleg!"0 > > x :::> :::>:::> > 
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44195 
Etude for Technic Development 
LESSON 40 
AlIegro 
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195 
Major and Minor Scales LESSON 41 
Observe fingerings carefully. 4 
FM 
-& 
A 
Dm 
MELODIC 2 A C 
Drn 
'--' 
'-"......... 
5 
C 5 
B~M 
Gm 
\.....­
u 
'-" 
C C 5 
Gm 
"'õ 
E 
5 C C 
EM 
'-' 
HARMONIC 2 2 
5 C C 
CC 5 
'-" Cm 
......... 
'-" MELODIC 
em 
\.....­
'--" 
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'-' A~M ~ 
-t: 
'--' 
fl 
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v 
Fm JI. 
t 
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195 
'-'" 
'--' 
fl 
MELODIC 
~... 
-
............ 
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-.;t ~ 
HARMONIC C 1 
-
I 
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-11 ....~ ~ -,T *--.--- • '1 ­ ~ 
MELODIC 1 C,..,...,.. 
~I C I 
'V" ,.#jf~ -,T.....~.~ 
-& 
4 
'-../ 
'-" 
Major and Minor Scales LESSON 42 '--' 
Observe fingerin!s carefully 
'--' 
•DO 
2C 
'-' 
GM 
""(T 
'--' 
3 BB3 F 
~ 
Em 
'--' 
""(T 
2B t c 
Em 
o 
-.../•
• 
o 
DO• 2~ _.# f:. ~.,... _ A2 A 2 
~ 
~~ 
DM 1. ~ 
~ 
t. . --
-
- . -. 
.*-r 
u 
fi ~ HARMONIC 2 A .~; ~~!. A B '-' 
Bm ~u: 
t 7 .,. I .. I .-# n 
MELODIC 2 A 2n~ A .~. ti: ~ b..b. _ 
Bm 
LL 
t.J I I ... 
-u 
'-' 
2 A 
'-' 
AM 
-& 
F 
G 2 A G 
'--' 
FIm 
-e­
'-' 
HARMONIC 
F 
G B 1 E A 2 '--' 
FIm 
-.../
-e­
1 B '-" 
EM 
O · 
•o 
c F 
Clm 
"-' 
-& '--' 
MELODIC c 1 B F 
C#m 
-e­
"-' 
195 47 
-----
--
--
--
v 
Maggiare from Piano Sonata 
Moderato Beethovell 
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---­• 
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t.J -­ I c:::::::: 
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P d~----------- ---------­
!J n....--.....~ J.+ -rr----:' J.+~• 
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" · 
· 
t. dim. T - .. 
fJ 
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· 
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· 
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-
t.J - I 
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195 
----
---- -
Andante 
GluckAndante 
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195 
Andante Cantabile 
Flowing melody 
Oancla 
1a tempo 
--­o _:To .. ~~ .. _ "';".-.- ..
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.. °7~°'1l a ÚYf(tportt. 
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r 
-.....,...., -
-=-= =-=. 
r 'I 
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= 
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o 
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t.l 1l . ~ 
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o 
ad lih. II r+.~::j:~" ,--,JT 
-....: f.\ 
-
Risoluto ed aitimato 3
mt1Ircato 3 3 
-3 • 3 . 
50 195 
Andante Cantabile (Cont'd) 
fi espressivo 
..­
~ 
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~I 
-
-
~ 
.:J ~~o~7~f) :-0 o 
. 
.J.J ~ 
~ LL 
~ 
-
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r
.J ro. 
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-.: liiiiiiIIi7 
0­ o ! o !'o 
mil. 
I 
mll. 
fJ I""T"I 
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iJ Tl - -~ .,-­
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-
I.~ o o 
o~ o 
a tempo 
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I 
.... -­ - :; • -
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FROM PIANO SONATA 
B thee oven 
-
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-
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p C1YJsc. ff 
'-----------------------­
51 
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o . 2,.... 
--­
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q 
v 7J ~?F ~ .. -. 4­
----
---
---
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-
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~ cresc. cresc. -mp p
fl I 
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~. ~'1it ~ 
~ 
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(j L 
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(j L - )r~.-........... J~ l'---"'"
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-
cresc. ::::=-pflJ 
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... ~.... .. ..~ ..". ... =i 
-- 52195 
v 
 
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Materiais didáticos para estudantes de música, organistas e regentes. 
Instrumentos Musicais, Naipes e diversos assuntos relacionados com música. 
CCllaarriinneettee SSoopprraannoo eemm SSiibb 
texto de exemplo 
Séries & 
Tonalidade Escala Arpejos 
1 2 E s c a l a s M a i o r e s e A r p e j o s 
1 
 
 
2 
 
3 
 
4 
 
5 
 
6 
 
7 
 
8 
 
9 
 
1 0 
 
1 1 
 
1 2 
	00-28
	29-37
	38
	39-40
	41-42
	43-44
	45-52