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BLCLARINET Book 1 CENT on HIEVEMENT Acomprehensive band method that develops creativity and musicianship Doar Band Student: Congratulations on deciding to become a member of the band! ‘There is @ special kind of enjoyment that comes from Performing with « musical group that can be found nowhere else. As a skilled band musician, you will be able to play @ wide variety of musical styles from symphony to jazz, from contemporary fop to marching band. With regular daly prectice, there's no limit to the exciting musical ‘experiences wating for you! We wish you the best of success in achieving your musical goals. oy ORAL Wk. Wiha John O'Reilly Mark Williams Gerrinc Reapy To Piay octal play best when the rod is thoroughly ‘moistened. Soak the thin end of the ood in your mouth while you ae assembling the rest of Your inskument 2 Apply small quantiy of cok grease to each cork, a8 neces. 5 lac the upp ssi inthe pal of your Tat hand, using your fingers to pss down the tone hale rings. Grasp the bottom ofthe lower soc- tion near the crk, so that the tne holes a facing to your right, Line up the tone holes on both seaions, and gently twist back and forth ‘nll hey Bit together. Be sue thatthe upper barge ky is oct on top ofthe lower bridge ey. 4, Holding the lower sation, gontly twist the bol, Hold the upper section and add the bowel, always using a twisting motion 5, Remove the mouthpiece cap and ligature, and incort the mouthpiece, lining up the fat par ‘ofthe mouthpiece withthe restr key and thumb hale on th back ofthe instrument, Add the ligature ond cartlly slid the thik end ofthe reed bebween itand the mouthpioc. Genter the toed so that only a tny sliver of| the moutpices is visible above the reed. Gently ighten the ligature serous until snug Upper Section Lowen Secrion Ctariner Care 1. When you are fished plying, tee of tha reed and place it in rood holder, This lows the rid to dry properly and makes i ast longer 2, Use the clarinet swab to dy the inside ofeach section. To avoid get fing the swab stuck, abras pullt tvough in the same diaefon asthe fw of at, om top to botom. 8. To hoop your keys shiny, wpe them off th a sot loth, 4, Store only those items i your ease thatthe caso is dosgned to hold Forcing musi or other objects inta ‘your clarinet case can cause probe Jems with the instrument Cneck Your Pavinc Position Sit on the font half of yeur chai, 2. Keep your foot lt on the Noor. 8. Sit up stoight and tl, 4. The sight thumb placed unr the thumb rest ner tho base ofthe thumbaal 5. Fingers remain cured, even when not pressing down ings «keys, Propucine Your First Tone 1. Practice taking fll broath. filing the bottom of your lunge so that your stomach expends, Then fil he top of your ngs without raising your shouldus. With gentle pressure, exhale completely Aiways using fll breath wile playing hops to prduce long ful tones. 2. Our fst tone will be produced using just he ‘mouthpiece and batl. Hold the assombled ‘mouthpiose and barrel soctons, form an fembouchure and take ful breath through the commer of your mouth. Li your tongue slighty 0 thot it contacts the reed. Now sat to exhale 30 the 100d a8 i saying “Too” Make the tone let as long os possible "Nest, produce several tes on one brath by touching the teed with your tongue os if seying “TooTooTeoToo while exhaling, Produce ax ‘many nots as possible on one breath atl you un out of ae fad then a Forminc THE EmBoucHure [Embouchure (ah-but-sue ie French word used to dosctibe the way you shepe our ‘mouth while playing. Here is how to form & {good embouchur: 1. Turn your lower tip slighty over yur bot {om teth to provide cushion for the reed Place tho ree! an your lower ip 59 ‘extends about inch ito your mouth Place your upper teeth on top ofthe mouthpioce Tighten the comers of your mouth while saying “oo.” Stretch your chin go that t Practice Tips Ty to find a place with good. frm char where you il not be interupted. Use @ music stand 1 hold ‘your music inthe orrect position for plying. Occasionally uso iforont reeds so that you wil shaays have more than one eed ead be pron: Stat by playing long tones. This builds your ‘mbouchure and improves your lone [Aways include some aloady lamed “reviow” pic that you contiouo to improve end pafaet you pe foumance ‘Spend a concentrated poiod of time onthe most di cult ports of your music. Avoid the temptation to play only the easy pars. To make your practice even more onjoyeble, ty pay ing olong with the Aczn on Acmereuarscompari ‘ment CDs or cassettes, THe Starr 5 lines and 4 spaces sed for writing music Treo.s cue Douste Bar The ond of Aso called G eel. The second line of the stall ste note ©, Bar Line Divides the staf Time SionaTURE The stance botwoen two bar ines Tells us how many boats are in @ measure and what kind of note gets one beat ‘THe Musicat ALPHABET The musical alphabet uses ony the — lets A though G. These ate used 1o name the notes om the staf in LINE-SPACE-LINE-SPACE order oe oe (8.C,D.E.F,G,A.B, oto) From bottom w top, ‘Thore ar rales that hap us the spaces spell FACE. remember the names ofthe lines The lines can be romesrbered by using the first eter of eoch word in the sontenee and spaces ofthe ta Every Good Boy Does Fi Leocer Lines Used to extend the staf A/B/C/D/E/F/G/A/B/C/D/E Time SioNATURE 4= 4 boats in oach measure Ree er 4 ‘SoL0 worter nate recehes T beat ‘One person pling Te2aseen Teaag ate Rocaives 4 boats Indicate a whole in time. meso f slence First Notes ano Rests =e Porrirryrenrerciers Goine UP. Ss Lines AND Spaces Warch THose Rests —— Up ano Down Two oF a Kind Accent on ustennc {ston carefully to the soit, then match the pith ‘Quarter Nore peep ars fore players Goop-Neichsors Mix ‘em UP. Four in a Row Passino Notes (Duet) Taxe Five 2 ¢ ‘Turee-Nore Samea [CCENT ON THEORY Fi in we not names, then fil in the fingerings. 4 4 4 1 tt i Taaeanes vazagaee Receives 2 beats Recehes 2 beat in ftine inf tine Movin’ on Down, e@t. SS ll Har Fuu or Hatr Empry (ouet) 16|| “com: 209008] rezeanan, » Hor Cross Buns Engh Fok Song Au Cuaire De La LUNE Frorch Fok Song Jincte Beus Tena Carol (Alccenr on usrewinc 1. Play “Mary Had a Lite Lamb by ea. 2. Write inthe missing notes to complete the song, 20 [Ounce er | pant SSS sae Bowne Playing tho same music beginning at iferet times Revear Sion |] Pray the music agin from the beaina ns, Time SIONATURE B= 2 boats n eoch measure = quaner cote roceves T boat Hanpciapper's March Fo ne Berrer THAN THE Rest (Clap fist, then ay Goon Kinc Wencestas Trio Coa Donkey Rouno = ° Amotian Fok Song 28 Drevot, Drevot Teton Honus Song 25 2 Accewr on ciariner 26 For more individual technique proctic, sea page 42, #1 Key Siowarure. Indicates notes which oe 1 be flamed ee sharped. You fist hey signature contsine no Nats or shor, Joins n90 tes of ihe same pizh to ‘Tempo Marinas rmoke ane long nate tage Moderate Allegro Medium tempo Fst tempo Fo o THE Score Is Tie (puet) Mary Ann Moderato Jemslcan Folk Song Ae . i Aman Fok Son ° Accent ow tueory: on the Bridge at Avignon Name the notes, then lay 3 Alccent ow perrormance Houpay SampLer Arb John O'Rei ‘and Mack Nts Allegro o 2 i | toe pas EichTH-Note Express Variation Changing the rythm fnotes ofa theme to ceate vai Tempo MARKING ‘Andante Moderately slow tempo 32 Ruytam Rioote Clap fis, thn play. 33 Bue THem Cassace Down Allegro Amoson ida Tune ‘Surprise SYMPHONY ee FroneJeoph Haydn ‘Andante (0732-180) Alccenr on créarivity: variation on tightly Row Create your owe variation by changing some of the quarter note into pairs of eighth notes, Gemen Flk Song Repeat only the music Deen the signs ‘Ist AND 2no Ewomes 2nd time: ship the frst oning ard Cumaine Hicker play the second 7 More Ect Notes 38 Lonpow Brince (ouet) Moderato Fgh Fak Song 29 Srovota Puma Conch Fok Song Allegro Sea! Skip To My Lou ‘Moderato Americon Fak Song First CHorALE ‘Andante a Accent on ciariner 4B = For more individual wchnique practice, see page 42, #2 Divsst Dorreo Hatr Note Some players ploy the ve Linas Connects nets of dierent pth Tongue only the fit not, ‘dot atoning a ote increases Tie SionATURE is long by 1 org! vole B= 3 beatin each measure In and tne, « dot hat A= quarter note rots | beat note rocses 3 beats Sturs ano Dots Turee-Four Duet 45 ‘SourHern Roses Johor Straus, Moderato 125-1600) 7 a Mexican Jumpinc Beans nde oF (variation on eaPaNeeas @ SS eeers Allegro 7 a Acccenr ow ruzory Draw the comet bar lines then ply. «fy BSS ‘SHARP Raises the Key Stonarure pith of note A should be played ‘ne hal tp. 28 FE thoughout, Dynamic Marxines| P {forte-loud —piano-sot ‘Two Ways To PLay Ir 49 ‘Aura Lee couet) | Andante American Falk Song s0| rine Jacques (Round) ne a French Fk Sng 31 i P f P ® ® L P f P Monwinc trom “Peer Grr” alg Andante (reo. 5 oop ie Atccewr on ceearwiry: ‘Stophn Foster |Add your own dynam markings, thon peso t (1824-1868) imptown Races Fermara Rrraroanoo | Hold the note longer. th. Gradually slow down tha tompo. Parrerns wit Pick-ups 54 1 2%% a Sf a Carnivat oF Venice alan Folk Song Moderato 1k 55 Joty Oto Sr. NicHowas Allegro Tetons Carol 56 f - vy ? 2 THe Snake CHARMER Traditional ‘Andante = 7 oh ae Sea But Grocan’s Goat Allegro mein Falk Song Accent on ciarmer 59 "F ESI, For more indicus technique practice, soe page 42, 9 & 4, Accent on perrormance LI Eacte Summit March Joho O'Rei ad Allegro Mosk ian Key Siowarure. Fea se tne | Al Bs sould be played = b Hae sate | 88 Be throughout fe hal tp. AworHer New Nore 60 P Wuen Love Is Kino _ Moderato ith Folk Song “1 & = Lf P f Johannes Brahms ‘Teme From “SymPHony No. 1” tus3-1807 Allegro RR 62 f ‘Qveon Luka ani (awa 1698-1917) Altona ‘OE Andante ~ Minka, Minka Moderato Ueno Folk Song eal) f Alccenr on rueory KEY RINGS: Gite oll noes changed by the Key sgnatore 65 ‘Accent > Ploy the not ranger ‘ORCHESTRATION Cancels a ator sharp uni the et ar line. Choosing which instruments play 8 seton of musi ‘Te Key Makes THE DirFeRENcE ; Ss St P ae a ; “ohn Oia — ae” Oe Buues AbvenTure (buen JECENT OM CREATWITY: This old man Asian Fa, Song Choose your wn ort x Since Eicura Nore ano EicutH Rest ack rcnives 4 beatin Pin Easy Eicutas 70 P t t Potty Wouty Doonte Allegro Americ Folk Song March From “Ronbo Atta Turca’ Wolgong A Mora Moderato 750-1791) n t La Bamea Allegro Micon Folk Song ‘Accent ow cinemer " ? —— For more individ. tochnique pactice, see page 42, #5, Opposire Directions B PR Accipentat ENCOUNTER Chester itm Biiogs ‘Andante (17-1300 ” : = GS Kooan Fok Song 7 ree nf SES » Ope To Joy trom "SymPHONY No. 9” Loca on stone Allegro % rosie) 101 a f Fine DS.at Fine = Accent on creariviry: Free improvisation Using the fie pitches shown, improvise your cin mlody ‘using any thythms you know. You may ploy these notes Jn any order. reat nots or use ress. 102 ‘Tempo MarKinc Largo Ver saw D.C. (Da Capo) AL Fine Go back tothe beginning and ploy unt 103 ae = ‘Tueme From “New Wortp SymPHoNY” an Aetonin Dok Largo, 2 (1904) o—, 5 Faw P Fine DeatFine “SF Na 3 ae of Sonc oF THE Voica Boatmen ‘Andante Pin Fe Sm mp Liza Jane Vivace oF ae rae be © os Hanset ano Greret CHORALE Moderato 107 G mp ‘Alcent on cianmer Se For more indkidua eehnique practice, see page 43, #8 ‘SYNCOPATION terion dd fh orlongoron"&” Tk 2e Re Ruyram Antics 109 Lone Time Aco ‘American Fk Song Allegro te S~—~sd 110 ars a Haut, THe Conouerinc HeRo (ouet) “ait Bices arg. Handel 1 Han Moderato i) mf mM > of aad Fouk Festivat Moderato Ww id ’ We Wish You a Merry Curistwas (puet) Vivace mp Tena Carol af uf Accent on tueory 114 Arrange the following tompo markings Imorder rom slowest to fastest: Moderato, Alegro, Andante, nace, Lago Accent ow perrormance WHEN THE Saints Go Marcninc In = — Any ohn Oy ‘i ot Waa (Crossine THE BREAK To move easly between high and low registers, ight hand fingers car be Tet down on Crescenoo Dimmuenoo —=———————— et louder greduely get softer gradually Crossinc THe Break 15 Kum Ba Yan ‘in Fol Song Large : 116 et aces Trumper VOLUNTARY (Duet) rs Modea10 sap Rtn -—- > torsion 117 of . wl nf f ™ Fintanoia son Ses Andante ween 18 —— —— ae mp ——nf = mp =P ALCCENT 0M CREATIVITY Crate your ann composton contin a bslanca of unity and aay 119 1. Copy theft two measures into measures 5 and 6 to creat un 2 Compose new music forthe remaining measures to ad vail 3. Play your compostion. Time Sicnarure © ‘SHEPHERD's Hey (Duet) Allegro nash Fok Song Borany Bay . ‘tata Flt Song wa nf mp’ me Reveen anp RACHEL (ound) vce @ dona 122 St Amazinc Grace American Flt Son ‘Andante J 123 P Ss, 7 (Alcent on cranwer =F 128 af —— m ——— fF =— Ff For more individ tochnique practic, age 43. #9, More Syncoranion MN dL { Syncopateo RHYTHMS Russian Saior’s DANCE Reha iow Moderato ars-1996) 126 ‘ 7 ss t+ ? Ze 2 Ye BANKs AND Brags oF BONNIE Doon (puet) Scots Fok Song Andante ap Ra. ou i % Allegro seni Falk Sora 128 ay v2 AGcENT OW THEORY —Arang0 te following dynamics in order from soest to loudest and back: mfp. fom. 129 —-— - = All 8's and E's should be played ‘9s Bo and E> throughout. Moan’ Ir Ue 130 op < ‘On Top oF Oto SmoKy SSS Allegro American Fok Song 131 ng Marcu Stav Par Ty Largo hi 1 132 © mp Las Mafanrras Moderato Micon Flt Song Pomp ano CiecuMsTaNce eee Andante 871989 134 (Cuanmer sow “ fe To a Wit Rose fone —- kom Clr Pano Use atmate ging (ne poe 42, #4), ‘Alcenr on revronuance John Philp Sousa (0854-1932) ‘by John Reity nd Mack Wins Sousa SpectacuLar Allegro Accent on scars Masor Scate AND CHoRDs (concert eh G Masor Scate AND CHorDs (concert F) F Masor Scate AND CHorps (concert eb) Bb Masor Scate ano CHORDS ‘concert ab) C Masor Scate In THiRDs (concert sh Cheslotons Id dd. dddd. ddd ddd G Masor Scace in THiRDs ‘concert F) 2 F Masor ScAte IN THIRDS (Concert £ © Bb Masor Scate In THiRDs (concert ab) Cromaric ScaLe sez ‘Use atomate gating 6 Fingeing Chor on page 8), ‘Alccenr on rurrums eee Jigii iylsd 4 sg) 1 Oy Li Dy i ny spe a ny ope yy Aly gett get py 644 TT 1 Oy OO oy (pl DL oy A oy OL 000 Dy, ay any pO 4d yl nom, op Oy yy yo dy wf ON I gp J ib oy w gtd STO dL od i bb TTT ofM Nd pe by w PM My ly wot DM DOJ dM dy Mo ON On wo ed bi DD) DTT yy dL dl by Thy ‘Alcent on cisnner ee ahemeta ngetng ‘Accent on crornes Concert Bb Andante Concert F Largo P “_@_”” Concert Eb Andante LOSSARY Accewr (=) Play the note stronger AsoR0 Fost tempo AnoaNte Moderately slow tompo Brox, JonAnN SEBASTAN Gorman compose (1885-1750), Bar LINE Dies the staf into measures Bass Cusr (2) Aso called F lel. The fourth tne of the sai the noe F Beernoven, Low van Geman compose ‘ir70-1e2n : Bunce, Wain Arica composer (1746-1800) Bravas, Juanes Gora composer (1829-1897) Bream Manx 9) A siopse lcs to tke broth Cuanve, Jere Engl compone (1574-1707) Common Ti (2) Someone got Cresceno0(—=) Get ie al D.C. (Dn Capo) a Fine Cio boc oto begining ‘and poy tl Fine Dasesreo (=). at safer gradual Drv Sone payee op noe ie thors oy he baton ote Doume Ban (1) Tho nfo section of mic DS. (DA Scone) a Fine Co ck te sign ‘pay nt Fine Durr A compotion wth prt for tn payers void, Arron Cich compe (1841-1904) Drnainc Mansmcs Syrbosthatinct loess rates te ma Evcar, Eowano Frglsh compo (1857-1954) Ferra (>) Hold ho not ng “sr an 2x0 Enos Phy the It edge hgh tenon the pet pth 2nd ing Far ()) Lowers the pitch of a note one half step Fore) Low Fore, Srerven Anson compos (1826-1864) Guns, Ramo. Rien compo (1875-1955) Gree, Eovaso Norwaien compose (1849-1907) Hawoet, Gronee F.fagish compost of Gorman ‘i (1885-1739) Haron, Franz Jose fstion composir «rT 1809 Huurssomex, Enceunerr Geman composer ‘ress breana REPEAT Rept only the mic wan whe sn Ker SovTuRe Insts nots which aw to be en sored eaghost Lasco Vi sm Leooer Lives Used to extend the staff Luvvoxauamt Hawaiian compose (1888-1917) [Measure The distonce between two bat nes (Mezzo rorre (my) Medium loud Mezzo ano (mp) Medium so Mooeesro Medium tempo Moran, Wourcane B. Austian composer (1756-1781) Mucrpts Measure Rest Indicatos more than one measure of eet, NNarurat(b) Cancels a flat or sharp until the next bo ine Orrensach, Jacoues French compose (1819-1080, OrciesrRATION Choosing which instruments ploy 2 ‘section of misc Piano (p) Sof Precur Nore) Nob) pricing the ft Tal masta Reve Son Pay he musi agen fom the begining Ranoanoo (Ri) Gindal slow down tho tengo Rotem, Goaccnno alan compost (1792-1869) Rouno Ping th eno musi bain ot “re in ‘Snare (f) Reiss the pitch of» note one hal stop Smuvs, Jean Finish compe (1865-1957) Stu Connects nots of font pch Se10 One pono plying Sovea, Jorn Prturneicon composer ‘iaset9a ‘Staccato (+) Play the note 16 its normal length SSF 5 lesan 4 epoe wd fr wing mesic Sreauss, Jonas Je. Kntian composer ‘1825-1600 SSncopaTon Sintng oro thai one bat olga cn “ennnove, Pere, Rossin compose ‘igs0~ 180 Tero Mannines Toms which nate the spond of “The sine totes Fhe same pith to make one long mie “Tee SoWATUREInicots how many bats arin sch rose ane ind of not aos one ban Sa ieee aie ithe st th note G Varanon Changing te thm or oes of heme te Vert, GUSEPrE lan composer (1819-1901) Vivace er ft np tH Ls (Cuariner Fincerinc cart 2 z Fi al ail j < 8 ngiend Beoviees Heseiee: Boosie _geaigee geoicce _grapoo a ie Lgeotovo “geeipoo /, ee ‘Home practice reconp | lWeek Date] ASSIGNMENT | Mon Tuo Wed Thur Fi Sat_Sun | Total