\ KLose’s | MUST EOD FOR THE CLARINET, EDITED AND COMPILED BY T. H. ROLLINSON. Mili ty J. W. PEPPER, Vhs ts S. W. Cor. Eighth and Locust Sts. BAND, ORCHESTRA AND SHEET MUSIC DEPOT.EDITOR’S PREFACE. In compiling this Edition, T have divested it of nothing that could be beneficial to the Student, I have erase six exercises in impracticable keys, and also the accompaniment part for a Scoond Clarinet. My apology for taking this liberty is, that I considered it superfluous matter, and of no practical benefit. 1 assume this theory from the fet that this work is a text book for home study and practice, and therefore an accompaniment is a costly and useless appendage, I have added fifty melodies for the study of Phrasing. ‘They are carefully selected from the works of the best composers, and I trust will be considered as a valuable addition to the work. Practically, this Edition is a complete work, and superior to the original Edition, as it contains more material. Hoping it will meet with a favorable reception, T remain, Yours Respectfully, ‘T, H. ROLLINSON.He COMPLETE SCALE FOR CLARINET WITH 15 KEYS AND 4 RINGS WITH EXAMPLES SHOWING THE USES OF SIDE Bb KEY, PATENT C# KEY AND CROSS-FINGERINGS NOT IN GENERAL USE. Open the thumb hole Close the thumb hole and raise the 13th key. = = | 48.38.98. 48 GOTOH—_———— + oe qq Ff, COMPLETE SCALE. FOR CLARINET ~ WITH 15 KEYS AND 4 RINGS ‘WITH EXAMPLES SHOWING THE USES OF SIDE Bh KEY, PATENT C} KEY AND CROSS-FINGERINGS NOT IN GENERAL USE. ie ie 16 ie a p 8 | Giose the thumb hole and raise 48th key. b ae tebo +o —preboopese 2 o_jobe 2 _teho — bebeterate377098 CHROMATIC SCALE “THE ORDINARY-CLARINET —- 3 KEYS. Ast Register Or Chalumeau. hister Or Medium, rd Or Upper. Register. icra wiare ig wesisete tee tae tere Close the hole under the Loft thumb. 9 oPRo $99; gene 399 i Bt MADE Kor! for which therea ee ae ‘4 Ul “ae D a fy to G |) om Farrage Fa 3 ced ges S ir ager a Liha 104 3 7 7 j I : S intaw in 5 [Key ehut; open,it makes Bb with the harmonte( rat) 7H, [Hole open; making AL with the harmonto (1244) pt Key shut; open it makes Gb or AYywith the harmonio(i25)bf or WP and in the upper: Hole open; making BY with the hari = [Key open; ssaking GY with the harmonte (12!%)b.. Key shut; ov: ee 't makes Ff or G, and by op: Key open; maxing wh or Fh ana their harmonter of 12 ‘The Clarinet with rings on the lower joint aly, THE, Be ey 20 bel WIy(be be shat wh 6 Tygersend 10 are cloned Se ee erenerax 1s 203 anpiziut exanjent (ies gBiaa The ordinary Cherie Pisesed wih 18 hessatMeh Sey ee segarlye be det TASC No acpi erry ‘Key P50 on the Albert Olerinctand this being stopped by the ordi fon of the second or third Finger of the right hand greatly faeflitates the production of th “Thin ewe made The Keys 30 The Key HED tet ‘The Key 5a is over an open hole betwe attached tothe Finge under the second and Uhied fing of visues af thote fingers. ‘The Koyt E68 and il are taken with the flest £1 The Rey NO 7 Tecahen with the thied finger oft Bye Key 5 ith the cccnd flager of he FQ is eke Sieh ve fire tines orth The Key N? 12s taken with the Chumb of the Sete3 sl a ; ma E 3 E a = e s 2 S cA 2 a eye HT] = = * So a * a Kae, | or Keys ute, 3 | wit, RH. ard cm, oO ane : . | aed ¢, RH. lf gs 4 | : ESF He ox Bey: roe ie | : hen ! = : wt Le, aL vas Pp a. i ma BS a : : and 4mu. =< <4 3 8 z OE: BE ¢ Ww 3 = : - i fy} a| z f| ae uw El a | 4 = i| = So i a a} 3 eo }| $ =e il =: Ee &| ¥ = ile So 3 3 = i| ~ iB 4 , 4 4 6 2 RIGHT HAND:1\ METHOD FOR THE CLARINET OF THE QUALITIES AND COMPASS OF vHE CLARINET. ‘The compact of the Clarinet is nearly four octeven ext nding ‘chords of the high register it loser conside To the last y;the neter are severching disagemralleto the ear and newely alwaye detective: ‘hose who apply tRemselver tov much to the practice of those notre husiup Pusnese a good tonein the low register chalumess # senronable Limit of the instrument, ‘The Clarinet iedivided intod regitersthe fog deepest neteroaa ietenesatstontne ls Ga % tom? Gat refitter Medium, trom BE ea fo 3 and the 38 register,in altjoummences ut Cf &S a eeconds to he hight s POSITION OF THE PLAYER N18 BANDS AND FINGERS ee cesentio} in playing UneCharine Lo place yoursele sa 8 convenient and easy position. The body should be upright, with ite woighe upon the Lefe log,the right Leg being a Little Inatvance. The chest well expended facilitates the Play Urthe Lungsyand allows the Performer to bring out eounds both long and well sustained. The arme should Fal} naturally, tong tne body, ‘Yhe hands mastboheld without vonteaction ee eieidltg upon [ adviteythen no pasting above the high @ + Clarinetsthe Cingers «Little bent must follow the = YW ondicular of the instrument and fall rather than teike uy the holes lec « onehpice frame Mouabpissositovioe 14 teupou the thawh of the sight hand thatthe weight hum placed under a hook mspportstheClanintanaprevent feo hitting. ‘The left hand oocupice the upper partof the instrument « the vt att ana st fingers are placed upon the Gro elas nd the Nolen the frontywhile the thamb ia used for cloring os cpening the 1 oy Phe Kee Ginger in extended to touch emily the keys N2TI,2,2 and 6 + The right Mand oeeupier the Lower part of the Sratromnt, ‘The 1820 and a! fingers stop the holee placed under the ‘ieee singe,the Vtele Finger must be alwaye extended v0 a8 40 ‘ily the keye NPf 3, 4.3 and ¥. OF THE MOUTHPIECE AND THE REED. in evident from ite neme ie that part Placed in the mouth for” the oF the Instoument should principally cert thi the hore at whe back touch The mouthpicce of the Clarinet which parpore uf playing the ‘The Reed is « #lip of cane attached to the mouthpieer, which is made to vibrate with the tongue,and produc the sound, ‘The part of the mouthpiece upon which the Reed fa Placed te called the Laysit is formed of a rmooth rurtace which at the distance of a Tine and « half fromthe Sigature, sounds off elightly to the top,s0 that the end of the evra Leaver an opening of about the twentsfifth part of an inch. i and,ehove all,food reods.Tt ix with an exoellent rod ny £0 Procure sgood mouthpives a olutely neces by ite perfectly correct placing upon the lay of Phe that fine quality of tone frour of pleating hir audience, after. mouthpiece, that one obtal which every arttrtd ought to envy and laghtureOF THE ADVANTAGE OF PLAYING WITH THE REED UNDERNEATH. ‘The three following advantages with the reed below. L.A much otter and wore a&reesb! Zhe tongue bring en «much greater fai ute trom paging one is obtained. aturally placed under the reed, ty oF artionlati masner of playing appears more Braceful, giver creater powers of execution,and fe much lets fatiguing. POSITION OF THE MOUTHPIEOR IN THE MOUTH. Insert nearly half the mouthpione into the mouth the reed being underneath. The Igwer lip in Little draws da 0 arto cover the teethithe upper2ip mart be slightly pressed downwards to prevent the teeth biting the mouthpiece and Asinaging the quality of tone. The mouthpiece being thus sure of both'Lips,the atreannot weare thithe reed eguthen act freely and perform its rigeat(ons with all desirable facilitguit on the contrary the mouthpiece ie too tightly compressed in. the mouth the reed hes no longer #ay play;the Lips become ined and we only obtain « poor and ansf#2ing ton: oF THE EMBOUCHURE. ‘The ombouchure is the interpreter of our sensations and of our musical ideas. A good embouchure ir therefor: ble, and all oo Laboure must tend to this result « hia end we must possees the two constitutive elements of the Finest embouchure.which eresdelioncy of tone and Lightness of tongue iapens OF souND AND THE MANNER OF PRODUCING IT ‘The round of the Clarinet is produced by the tongue whieh sends the time causes the reed to vibrate, To produce the sound ant quantity of a into the instrument by a short strok of the tongue, r into the instrument and at che same we munt take in a nuff wd force it Once the sound is peuduced we must aostain it and diminishing it, We guide it more by inoreasing th ai degree of Foren, The finest tone is that which combinue aweetnen with brightners, and as the Clarinet possessce thir corn in the eound.quality sonorournest 0 and Precious advantage we must Deeseeve it by applying Aves closely, from the commeucement, to the Production of sounds buth ful! and eoftygiving them at ‘the same éime both Force and roundness» To obtain a quality of tone perfyetly equal over the whole extent of the instrument;te bs able to modify 2 PAs ’moroeau” or the no to forts according to the requi caprioe of the performers ‘or feom Forte to piano always P full tonesthat 8 "4 Foam Pi tho end wo meet atrive to attain ‘The practice of the slurred erates and the sustains to thi notes wild eas reealte The student of the Albert Clarinet is recommended to study with attention the following 14 pages, With the ald of the previous tables he will readily porrotes und appr on the Bum principles 2 the few differences between hix Inetrument and thatEXPLANATION of the Chromatic Table, of the knowledge of the Keys,of the fingeringssand the manifest advantages of the Boehm Clarinet . To muke the fingering of each note more ily under = stood shall use the signs ordina oF Sealer. the ly employed in Tables x hole or rings on the front of the instrument, WiLL be stopped or closed by the gf with thete position. \gere of wach hand Jn must be opened « ‘The black «pot @ the holes which must be closed « ‘The short Line across which separates the black or white Pointe denotes the ion of the two hande~ The Figures denote the Keys ‘The lerters the double Key# ‘The hole or ring placed at the back of the instrument must bbe closed by the thumb of the left hand. This hole must always be stopped except for the following noter« pd ob Gd ‘2oehooe 2! Wey wilt no longer be indicated beyond the BP. Bae ow Key is always open in the recond register oftdhe Olarinetsit fe saftictent to explain it here once forall, Tn secking a fingering we shall only have to attend to the six principal holes or ringesthe numbers and theKey ecollecting that the 12! Key must be shut or open according to the position of the ante in the seal ‘The Clarinet is divided into thr called Chaba BP in the steve registers; the Firat, ween at the Low E and ends at the beyond this BY the Key NY 12 romaine constenthy-open and indicator the second registonor Mydigmsthie register commences at Bh and ends at Cl beyond this last uote the first finger of the Left Temains always open in alt, ‘The Keys are counted upwards Like the stavesthe Letters are taken In the same order X for 1,¥ for 2,2 for 3. It will be observed in the four Keys which are at the place of each Little fingersthat the Keys XX and @ arg only the repetition of the Keys Nf 1,2 and 3320 ax not to confuse the fingerings.T have marked them with thorelet~ 1 the third register,or notes ‘ters, The employment of there double Koya is of great util ity in'Paoilitating the scales interval in thi art of the instrument were not to be made cr only h the greatest a boy the parsegos amperet KEY NO dandX (Key opem ALL the holes or Jes ab the front and back of the instru ‘ment being stopped jand the thumb of the right hand being placed under the huok by whieh the ted, you shut with the Little finger of the Left hand the Key NOI and thus get the low Ei (you oan dispense with the use of the Tittle finger of the right hand uponthe Key N23) This note onn equally be produced by placing the little finger of the right hand upon the Key X placed under the Key N? 3,it being understood that in this cas the little finger of the left hand need not be placed on trument ie suppor= toning Key NPL you get ae the nceding notte Be This key the BE with ured for trilling on the B with Fd and inthe 121! KEY ‘NO 2and ¥ixey shut) The holes (or rings) being stoppedby placing the ite. finger of the Left hand on Key N@ diyou cbtain the tow Fd (ne neversity for touching Kay NY3 with the little finger of the right hand) The Ff is equally produced by plac- ing the little finger of the right hand apon the Key ¥ placed beneath Key N84 (the little finger of the Left hand no longer required upon Key N°.) by opening Koy 8042 yon gst ee tt this Key serves to tril Ff with @ an NOTH-To thake on HY with Ff you must press the Little Finger of the Left hand upon Key N@t-and trill withthr Litele fh Koy X with the little finger of the elght hand and teill with the Little finger of the Left hand upon theKey 9 2. or of the right hend upon the Koy Yior pres KEY N@ Sand Z cxey open ‘The holes or rings being stopped you will press the Little Finger of the right hand upon Key N@a_ and make the Jow Fl this note ix equally mado by preesing the [ttle Finger of the Lert hand upon the Koy (or Spatula) ™ of the right hand need not remain upon Key N23. in the Latter Fingering the Tittle FingerBy open ect che wether cena a ‘Thie Key te used to"trilt FY with Gland in the hf with DE KEY NO 4 (ctosedd The holes(or rings)bcing stopped sprees the Little Finger of the right hand upon Key NY t,and you have Low GY or AP.Thie Key rorver tu vustain the ment when sou plas in dhe aff reyetater( i alt) Gay ay, his Rey to used co arti FG with Of and GF with cil in tho HEFCE with Dfhand DE with BP. NOTE. To shake on C4 with Df, ev D2 with BP you must Iolece the 1ittle finger uf the Heft hand on Key 822 and toil with the Little finger of the right hand upon uy N24. RIGHT HAND 8 'd finger (open hole) ‘The holes on the instrument being stopped you have the low Ghund raising the 30 Finger you fet the low Ab fy 49° reer pee @ By ralsingte idhinger of jctofehand yo obtain nance Fora «Finger the Gi end A2,GH and al) nthe ND] with BH, DE with Rfvand in alt HfwithCforC]with DD, RIGHT HAND 224 or Middie finger (open hole) ‘eens trill with thie finger AT with AS(orB?.) To che LYE RE with BfCor PE) And in ate C$ with DE. KEY N°5 (Closed) 7 + Koy in taken with the third Enger of the right hand and gives the low BY. opening ther and sis ey yin get FB tiest tanger tee 7 eft haney DE orto. z This Key serves to trill A$ with Blin the 124 BS with Ff and in olt Dj with Df (or BD.) RIGHT HAND #8! finger or Index (open hole) The holes sbove being stopped and the Fest fingor oF index raiscd, you obtain Low Ch. opening he and ruining te SSI cc yoneulces, fisttingrrat te i (eietandyuene + ‘You trill with this Finger BY with Of, with Gland in alt DE with BI, KEY N°6 (Closed) This Key Us tak n with the Little Finger of the left hand and gives the Low Cf or DD, - ota, Hatehtis g S Tati sie erg teat bo gp oe 2% ‘This Keg serves to trill CL with Cf(oF DPD in thet with GE (or AD) in alt BE with Phyand the high AZ with BD. LEFT HAND 314 finger (open hole) The holes above bei re hand raised 1 stopped the 3 give the lew Dz. by opening wrath fa Key yonbtuin Ad. You tri with this finger Cf the ntl 3 with ad, af with ab Dt with nd in ICES with FEKEY NO Gand This (Closed) The Key NG is taken with the First Finger of the Wight hand and gives Df or EB). No abi hand and aleo gives Df or BD, le taken with the third finger of the Left Pa By opening the sey yout Ag orb By rataine tert hand youyeeed don 2 4 Keys serve to trill DY with DE ov BP in thet with Allor Bb)and in alt Ff with G2. ‘The Callowing are sume instances in which the Key N27 is indinpenenblo for accuracy ana fucitity 6€ fingering. ge fte tie ‘erg ru Set sxawruss. pS gi ead ghee ‘The Koy NQ7 bie [+ ured in the fame manner erinct with 13 Keyes the LEFT HAND 24 er Middle finger (open hole) ‘The holes above Being stopped, and the eecond finger ouised, you obtain Bi of the Ciret octave, inet rogiaters ty openingene g 42 andby pinching é i With this finger you trill Df with m9 and in thera! ak with BI, LEFT HAND 1 fingeror Index ( open hole) ‘The thumb-hol at the back of the instrament being Htop- ped,you get Pi of the 1 octave 18 register. = 1 make it twosharp. Key you gee ‘by stopping the Mi Finger ang opening the Chumbhele yuu make, With thin finger you trilL Hf with hs Rh with@y and in the 1208 BH with CE. ‘ hole serves to produce the sounds of thest? ity Kloset menor u LEFT HAND Thumb (open hole) othe holding of the instrument sou may clots the hole of the Left hand third Finger. This will not injure the accuracy OF the other notes - NOTH, The thumb-hole will mot be maeked in Oe tabloes you will know that wbote FE it ix always open as far Bb; with the exception however of the FY take Mtl Keysand the shake of FE with G3 which the ot! Key with the trittea sith In there twe cases the thamb-hole must be stopped . KEY NOB (Cvosedy ‘This Koy ia taken with the Firat finger of the eleht hand end makes FY or GPsit fe used principally for trilling, NOTH. The thumb-nole mast be always stopped whenthis Koy ix eed. Byponingwe age wbtinuerotine #72 ay orontnging Rahat Bea enka Stsingesce orbs? nathan 5 ae xg (samchandy S Gietinedorab. oootet| BP with CC, BE Ch, BE with Cf or Ch with DPyand in alt FE with KEY NO 9 (Closed) Phi maker Gf or AP. This Key ia taken with thes the Chest anx( joint) of ingen of the Left hand a Rey. a | fy opening er pi i Dhie Key server to trill WE with Of PY with GZ,and a with ad in the 124 ie te only used to KEY N° 10 (Closed) ‘This Key in taken with the Firet finger of the Left hand, 22 phalenxsand gives AU: by Pressing Uw would open Key NO.2 By opening tv 12 Youmbecastty KEY NO 14 (Closed) a i hand and is only employed in'trills,rhakes oF turns i : ‘The Key N20 te always opep when this one is weed, Keg ts used to trill AY with B, BE with CE up with Fh, mi with FY. ne ool This Key serves to trill Gf with Ad, and @f withags in the12!? D with ED. KEY No 12 (Closed) RTO ore This Key fe taken with the thomb of the eft hand KEY 10 bis > and makes conjointly with Key N@ 10 A3 or BD. ‘This Key is takon with the f hand and makes AD; in conjunction with Key N@ 10 Finger of the right it giver an excellent BD. coo\pos, 2 colooe w q nite the 2 weed to make the 1 sand to pa i i later where It semaine constantly opens ar else i ; 2 ath rogister(in alts) in the table we do noe mark fe : shove the Af or BP, ‘This Key serves to trill @Y with At; Af with BY, or ‘This Key is-used to trill AD with AB( or BP) This Bp with OP: in the tail OF with D- trill be 4 difficult one te do well ‘The fingering of the Boshm Clarinet differs from that of the Clarinet with 1 Keys only in the forked noter ich are got rid of, The other fingerings remain the tame. ‘The forked notes on the ordinary 13 Keyed Clarinet are the following T oaiare| Puttyane [Too sharp Eo Paygabres | BE) Te stare marmtoosir) ane teebies | R e : z i $F 3 + Ae srhythesovetaletha hese are oly ane notes of dh ropands the P sharps thay er tabn elmantinch shtshanetingeinglechangesiormoreroperigapeaningoniy. | same sayiehe ete sap ty only eaiagene finger ited of Mquineetheutkeessremaletnthetearpestionpanneyy | teetheyaremade pen the Bohm heroes tn the ennese 2 rame " same a: Fingering fingering] Chatumean Soo [Cralamess ohn \ main be Fingering =F chatumens osoleed By suppressing the forked notes we gain the follow ing shaker and Darragen: Litete practised andbad spin thot Keyed Carine *oridsnenetiese finger of the Lele bonduponpeeeloee Jeooteoo. 19 eoieees 14 13 sooie00 sure 20 tk We shall be convinced of the advantage of this Instrument. by the exercises which will be found in this work‘a TABLE OF TRILLS AND SHAKES 'BOEHM. AND THR VARIOUS FINGERINGS FOR THEIR PRODUCTION, ‘The sign t indieates the finger or Key with which you make the trill or shake. The sign 8 denotes that the first finger of the Jeft hand, should move upon its ring without unclosing it, and upon the Key which is situate between that finger and the second. KeopKey % | closed with tho Hiete finger of the lofehand ‘Telll Key X yer swith he titele ad ver 2tr XH | Not Tell Key Nos wih the!No1 Teil with he! Fingorofthe | Keeping ey Not clon! 1itte finger of the right hand No? Withthe tle fingeroftherghthal, we Key ight hands No.2. Withehe tte finger | NotThelitdefingwrofthovightandmst f the Left hand. ot remain upon Key NOS during thetsill, 5 3 Ur hete fiat. bt tr . a au ae | open opend ioe i ‘eeeping itopens | Till withthe vfinger | "Keep open Key Nod « | Trill withthe ite finger jot che righthand. Trill with the sa.finger, lo Ua ight hands vee io Nol Novg Nos g Note Noog r aftr é oom 3 ‘Phe sit Nae murt be i reid Key 5 peenonty bed! made by keeping Key 8 | ‘Trill Nod ixbest. ‘ingseo€ the righthand, ine plan passage, Ttmusthetilla open wlth esd finger of | ‘Trill NaS. good, wast “scenes withthe Ginger ofthe Ifthaa the righthand and tilling! Lips for the OF ‘withthe latingers oe MONS weo.e Nene Do or te ¥ wr 8 a rhe ° 2 — Nutemlaxthelipea | Noelle dio btfingorot thle Bath ways argo | Meetctomabeiearenentes [andpanths ber whichis beteren ~ a hat and 2g tr wih bl Fingers. Novneae dh tips a itheSynonyme. Ber 2 ojooe i ‘Tue 248 tinger of te eght ir sppare ae doer Ieee 1601 eh wih ame eh 592, leave the thm om the rote ane Nah the Key, chase the ktm, pen Key 8 ITH wih Kor, rLinohie WORE : " a ° i 0}, Open Koy9 and ei with ‘wars Malanx of he finger. not fn ting mst he ajisted y x02. Cooderatuer sharp. 30 2c fry Rey See ken wh SUS,Llute syed | acco plane othe fen ager anal sche firsepnionx nd de om eet. | Above this note key N® 12 is constantly open, 7 REN? 1s const ap. Syne 5 SgeeeieeeSynonym sy nenyme be) synonyme. Ke ba bt Ssnongme, Pp Darr od ee Semone wD see Date ad 1 8. ‘4 bs Synonyme. oD ef seoolg! | seceteod a ues e (a eB e es 208 roge oyeTABLE OF TRILLS OR SHAKES BOTH MAJOR AND MINOR. " THEIR RESOLUTIONS AND DIFFERENT FINGERINGS. ‘The sign U- indicator the finger or Key with which you make the teil! or shake. The cign 2 denoter that the first Cinger of the Left hand shovld move upon ite ring without unclosing i and upon the Key'which i# situate between that lager and the second one, orb winore 4 eed by rosa in v8 acer’ in FH ajors SymoigIMe Ty ED minersajor and in hininers in Bb minors fm tb maforand ih Eater! indy pare in B minors in Abmaior. in 6 major. mee in Dooajar. Sn Bomber ee5jo00 Weeeioce 1# £at000 ino minors eeestoce yeoio00 leeestooo " soolboo ) seeriooo eolooo Seeesoos fe koloco ) soo\o0o soojooe ifsc, 7 eae Sinton, 2 goj008 y socloo0 tn nai seesjo00 ith ReyS ang ane | in B majors in pbminor, in pomajors in D miner. Ei: EIR goo Zojo0, = ES ii Sloot: . ~ josgjoeo= 2. sFotcooe E21. __fpftjpeciooo- 2B) cg MDa ezoc0~ 22 || | fbocotooee 2B): Fitleooico0~ LF lt eee = Inde minors poolooe, Heooisoo leeojo00 geste? ‘Tritt thm19 00 o00~ ‘001000% 5 in be ).ootooo~ ) and ), Is cojooo~ loo jooo~ , Fooowoos ) ,e2eic00 leeojoo 8, Leave tc thumbon hele nderdliwreucattney. 0 #looo. soe ooo. FINE 3 oo olooo~ eooeteoo = Tits) : 1 ffppeectooo~ sooleoe come00 ) looojoor §, ) major '200|000~ Sooejooe. laootooo~ Byncnyiae . f00 jouw é i] 2081000 Neoclooo deetoco, ) | | loootono~ %001000% JFeoojo0oe eoono0% 2001000 jzoco\so0~ 1800) 000% 13 on01000- e in A major, oooio0e~ | gootooe= Io o tooo jooosee en eseoreee S ccotoooe h Inphmajor and inBominor, inG majerand in minors Lroowlooo ooelooe oo elooe, Ssa0elooo i 200000 co elooo le2eoe\ooo gooelooo. 1g ooalooe in Ab minor TnBajor in B minors in major Ln F majors tn Pete Ta Ghmajor« eejeees ee e000 90 #1000 zooeleoo. 12 oo @\000 Boao, & 3, o0e\o00 jooo goe\ooo 12 00 #1000 = |nooe\o00 12008\000 gre\noo e08\o00 ie Sooo eine 10 12008I000 [290200 cosjooe Zoceiooe : Epp tbleeyeoes a : 5 Mi eoecioce 000\o00 esieee> ool 2 00 \o00 in 85 minors In A major eos loco ee \eeenn 1000 1008, € o ee\eoe: in A minor, in Wminors Sooe oo S008 jes, 5 ie atte 4in& Pmajorana in 8) miners inc miner- jer. inal ine) majorane onyme 85 iniesjrene0Eminon ImA7 minor» in D minor, hick » de B yee no Tand 2 jeeisee beiSeo sieve je Fiooe e(e0o F1S00 \o00 Foe 1000 es090Hgnatigialy. Es\ooo, elooo jetooo, lelove olooo olooe Is\ooo Jovooo letooo Joo lojooo jooe \s*\000 lelooo F\o00 joteoo. 2. weno T lolooo lelogs ees Is*\ 000 Joyao® 15 0 tooo. le" 000 A, i Ae Iw Fe ‘The 4h Key oan be used to support the instrument, p Dk A lotooo~ lotooo~ Jotoco= yoo" Joloooe plo00 lolooo~ lojooo~ loyoooe lolooow joooo~ loo 00% loicoe Zojooo tooo lolooo looe letcoe. I 900% | al loooe lootoooe 451! looor \ooos \oooe jiooo oloooe jolooo+ oioce~ If!OF FINGERING IN GENERAL. Ths perfection ofexecution depends to agreat ex~ tent on that of fingering. ‘The Clarinet having made immense progress dur- ing the past few years,the music written for it offers every instant new passages of which the fingering cannot be determined by fixed rules,but although | the greater part of these fingerings depend upon thetaste and ability of the artist,he must not too readily depart from ordinary rues: na itis good to admit in principle that the most simple finger - ings are nearly always the best - In order to avoid being stopped by any passage, itis necessary to have a thorough khowledge of the fingering of all the seales; that study is indispensable for acquiring a rich and correet fingering. OF ACCENT OR EMPHASIS . In order to oatchquite easily the rythm of apivee it is essential to define the mensure or beat of the dar from the commyncement; when the accented notes are well marked the ear is satisfied , and follows with greater judgment the rest of the piece. When # Bar of common time consistsof two minims the accents are at the heginning of ench note; when | it is composed of four exotchets.or eight quaversor sixteen semi-quavers you must emphasise the begin- ning of each one fourth of the bar;this accentuation is absolutely necessary in solo passages.and in ar peggio accompaniments, The accented notes are usally marked thus — to denote the emphasis. OF THE NOTATION OF CLARINET MUSTC ‘The music fok the Clarinet likethat for the Vie] in, i Flute ete.is written in the,G Clef @ and the Key | or seale in which youareto play is “indiented by the signature placed at the commencement of the piece. In Kalian music, however, you meet with a large quantity written in the Clef of C onthe fourth line FE Clarinet and play as if the piece were written in the G clef. It is also found written inthe Clef of © on the fivst line $e then you must take your A in this ease you must take your Bo rinet in the G and play as if (he musiowere written let, 23 STUDY AND PRACTICE Few persons derive from their labors all the advantage they expect; this arises from the want of knowing how to direct their studies.not having had.a sure guide to conduet them. Without insisting on a rigorous rule give my advice as to employing the time devoted to practice; I will state then.that four hours day ought to be sufficient if disposed of in the following manner. The first hour should be bestowed on the perfect production of prolonged sounds overthe whole compass of the Clarinet s0 as to acquire roundness of tone and softness of execution. The 27 hour,the practice of seales and of distributed chords in the different keys 80 as 4o gain a knowledge of the mechanism and equal ity in the fingers The 3° hour, the practice of articulation and of thé various degrees of light and shade piano and forte, The 4th hour should be employed in recap- ituloting the preceding studies,and in practising the execution of the best works written for the Claiinet Whatever may be the time which the pupil can devote each day, he will do well to regulate it according to the above arrangement, taking care at all times to adapt it to his age and his powers of endurence ADVICE TO BEGINNERS. 1 would strougly recommend topupils who have an earnest desire to attain proficiency that they read with attention and at once put inpme- tice the prescribed rules upon the manner of breathing. of emitting. and continuing thé sound: they shonld practise: slurring and sustaining the notes.rendering their fingers quite indepen- dent of cach other:making them fall with pre - cision on the holes and act with » simultaneous and equal movement, since it is frequently nee essary to raise or fall several fingers at onceaa FIRST SOUNDS TO BE PRACTISED, ‘The first Isbors of apupil must be directed towards the practice of plain sounds, He must attack the note with a sharp stroke of the tongue,and completely sustain the sound in all its power, and without undulations to the end of the notes value, He must never jerk the notes nor leave perceptible gaps between a note and the one which follows, when there are several under thesame slur. ‘The notes ought never to be intermittent: they must have the same intensity. and the same power, whatever may be the intervals between them « ‘The movement (speed) of the following examples is at the pleasure of the performer. The pupil who would learn to pitch the sounds properly, will begin slowly, bearing in mind what I have before mentioned. Minor ududoscentings Major Wdsascending, Minor iddeseending. Majer id,ascending > Sue 2 SU an Le Benfoot theascending. — ee Prefect sth, ascending Benfeat sth descending = = SSS SSS i ee ee Major th. arconding ths dercond a 7. = ce = iajor 7th. asc Kloaws MethodsPREPARATORY EXERCISES FOR THE CHROMATIC SCALE. ee Se ee — ee _ ee _ na ake these notes only when the Bimbouchare fe woll Tormed id co TS Se em ‘The sound ofthe Ist.Note must be well cartied to the 2nd. aif you were making But one nate» Ze FETE Fr & Ao Ve Te26 THIBDS. & = = VRS SES FE Gt FET ull! FOURTHS7 (ONCE fre Us Peer tee ag ste OCTAVES. 12 +7 =OF RESPERATION, DEMI RESPIRATION, AND THE MANNER OF BREATHING, Respiration consists of two actions, namely, aspiration which is the inhaling or introduction of air into the chest and expiration, the expulsion of the air from the chest. In these two movements the hmgs act like abellows . Considered in relation with the art of playing the Clarinet, respiration consists in accomplishing the two phenomena of aspiration and expiration, without taking the mouthpiece from the lips . ‘Demi respiration consists in scarcely half opening the two corners of the mouth, inorder to renew the pow er of continuing the execution. You ought never to respire at the end of a bar, unless it is the termination of a phrase. To respire completely, you must await arest, a finish of a phrase, or a cadence. ‘Demi respiration is effected most frequently upon detached notes, orafter having taken the first noteof'a bar. _Mtisavery great fault to respire at each rest, particularly in broken time . When you commence playing, you must not hasten to take breath; it must be done slowly and imperceptibly: because such apparent effortsare as fatiguing to the player, as they are disagreeable to those who listen, Demi respiration, denoted by a comma, — == rn You can respire on the beatof the bar, when the sense of the phrase terminates with the bar. Demi respiration considered as a pleasing effect, in taking a little slower, certain notes to which ‘one wishes (o give a particular shade or expression. f eeerae oF a128 68 EXERCISES OF MECHANISM. 29 The exereises of mechanism have for their object the formation of the fingering hy habituating each fin- -ger to act separately or simultaneously, By these exereises may be acquired that equality of fingering and that purity of tone which are the finest qualities of an Instrumentalist. In the following exerciseswe must accentuate the sound upon the first note of each division of the ber. Each bar or each sketch should be played eight or ten times and as a finish play the note after the datted double bar. All the notes should be shirred, ascending passages played ereseendo, descending passages diminvendo,PRACTICAL EXERCISES upon pussiges which ure only executed with digpiculty on the V8 Keyed i Clarinet, but which become simple and ecsy on the Rockin Clarinet (with rings.) These exercises are adapted to familiarise y -iring equality of the fingers. They are principally intended for the exereise of the little fingers The first 88 exercises should be played also in the 12th8( Harmonies) that is to say, by opening the12t) Key, or the 132 on the ordinary Clarinet. Repeat each phrase several times until it is played with equal in order to acquire # good tone. __ = = PVF STST with the new mechanism, wid are iadispensoble for acgu- and eelerity, always shir the notes5 == el $0 == ee ES >= = Pipa as sail pate 2S aSTABLE OF ALTERED OR LEADING NOTES AND THE DEGREES ON WHICH THEY ARE FOUND. We call the Leading note, that which is a semitone below the Tunie or Key note. Td not mark the natural fingerings but only those fingerings which render the notes more or less sensitive. * athis sign denotes that you must place the finger on the edge of the ring. Fe mara fingerings are preferabie 1 0 mut mark th 1 cootoenfl| +) ‘Synonyme. 2 lee 201 Attiney can te wed 40 support the faye pie NT conn ere cea ") 2 ez = : 3 33 22 638 23 3.3 $3 33 Ned a3 83 $2? 34 $3 33 73SCALES AND EXERCISE 3 Observe that eacli scale is followed by the distributed notes of the perfect common chord and the Aominant seventh, C MAJOR. s Common chord, Dominant. 7"! 6 Common chord qa 4 qlG_ MAJOR.Bb MAJOR. 8) 6 ee = e > 7 Common ahord. Dominant 7? ste, a 1% D MAJOR. 20 | Common ehiord. Dominant 71!Eb MAJOR. 24 Common chord. Dominant ‘7 2A MAJOR. 28 F Q soe = _{ommon eherd Dominant 7B gatesDominant 72 E MAJOR. 35 o Lemmon chord, £2 Dominant 7!Common chord. Dominant 7 B MAJOR. 42 = we Common chord, Dominant Tb e 7 Zi altGb MAJOR, 45 a Common cherd. Dominant, 7th w 3 ze—— , _ AT 2 | a oe e =} ao i SEE ge st Po PP 48 Common chord, # | Deminant,7t!C2 MAJOR. 53 x : > Comnien chord. BA eee ¢ Z aeeion 3 F ‘There are contain effects very agreratieupen tinged struments (Woo exanyle) the change of Fingering on he sume note. Tv work this effect, which ie rary mre with (unt which shuld be known fo as tobe wb td it sehen requireditisesratial dl the changes of Gngeing do not cause the slightest rteeruption i the vibration given im the fest note. Moderato, +TASTE AND EXPRESSION IN MUSIC, OF THE CADENCE. 16 ates Uhat the measure is suspended. tant allows the singer to diay is taint of wocaliation al the instru ntlict the beillncy’ of hi rate ‘The cadence it @ nepone whieh in ‘The codence diverts the inmginat ood tate ig the only rule tobe evmelted that ane will denate whether Uhe movement Ahold au ov fests whether the cadence ehould be (OF lene cr short duratio Guxenan Keun. ‘host Detween whe KEvith of the cadence and the Phoase which ccmes after ‘When the cadince is not tied to the phraswhich follows,it isin good taste to leave an dnterval rather Jung then OF THE TRAIT OR PROMINENT PASSAGE, abiliey_ of the plays; for this rearon he most strive to perform n of the trait that we recognise and estimate Uh He in bn th very devienble nentness, ‘ve well ed and well egcentedyin onder to catch ea ig the designs in ts comporition. ‘The first bare oF the trait ms ‘The finish ofa trait aways equines an amount of epinit. aul dash to bring it to a happy twranasion, OF ARTICULATION, ‘To artieutate,# to make heard distinctly with uetnces end preetaion all the notes of a fait phew or vther Piece adding thereto the proper amount of ehading end inflexion, ‘There are two torte of articulations the slureod and the detached, But there two anticoations are combined of a dhoustnd styles, ss the most beautiful results, As it would be difficult t and it Wo ky a happy mixture of slurred and detached notes thet we obt ive here all the various form of articulation (for frequently they depend on the capsice and fency of the player) I have arre. ongrtAS exercises on those which are meat ie use, 5 EXERCISES UPON DIFFERENT COMBINATIONS OF ARTICULATION, Bear litte on the fictt note ofthe slur end Tighten the last cn where the bind fiithes: ‘tnoton uered ard 2 detached, 3 wa usred and 2detached. 5g _ aN 22Same execution as the preceding. = Strate é Execute like the 18 bar separating the notes 2 by 2 and attacking the first of each Pair with a shert siroke of the tongue, ; Ee Se eSBs 6 Gara wwsee are ae apne = _ => Generar Rein, The first ante of each division of the bar must always be more accented than the others. 4 notes slurred. Tee SR Beansa cs 14 notes slurred and 2detached. Press ni the commenesment and gradusliy diminish w the end of the slur.To be played in 2 ways Shir every = two— Slur the whole bar. ate 2,2 2420,a > = = a te, ae 3 aoe 22 a Mark well the first of eneh triplet. a me > > = a ores SS =: fren gadevesies Nee yt mor it f rye= Ee = —., s geeseSlur thé Snotes. et phasising the firstof each Graplets youn _ az “Gh Get at eg See eae ee SS eet Bett Be: 40283983 ah e824 5S 8s FoR ett ate ae pees Sees36 a eae a 1 fe we —= =~. OF POINTED NOTES. When the notes are simply pointed, you exeente them hy a soft stroke of the tongue, taking eare to have full breath always at your disposal; the strokes of the tongue must be given in the sound. When the pointed notes are surmounted with # bind or tie, the stroke of the tongue must be softer, and not quite so short as in the simple point Moderato, poee mallentOF THE STACCATO, The staceato for wind instruments, corresponds most ustially with the short bowing on the violin, when each note is struck firmly and with the end of the bow. It is that effect which we must endeaver to obtain, by attacking the note vigorously, and leaving a alight interval between each stroke of the tengue. Execute all through in the style of the first two bars, | Seer P oittaates ——59 OF THE PROPER RENDERING OF THE SOUND. Ase general principle the first note of « trait, passage, group ete: ought to be firmly given and a trifle longer than the others; this particular accen is often indicated by the mark= plaved under that note which does not mean that you are to attack the note with force, but render it with sume decision,and. use it asa leaning point forgiving to the other notes an‘ impulse of & warmer and more animated character, Grazioso. P Kéowe's Methodou SYNCOPATION, A syncopated note is bhe whose valtte as greater than the notes before and after it. {niwsthe played somewhat boldly from forte to piane, without easing to be felt the beat er note upon which it end Carv must be taken not to confound syncepeted netes with those which are tied: sy ncopation always goes aguinst theba This lesson must be played by attacking the syncopation with a stroke of the tongue, without however in- -tersupting the sound from oxe note to another. This effect is preduced by dexterity in raising the fingers. Con agita tiong te dolee. OF CUT OR INTERCEPTED NOTES. These are notes slurred two by two,and separated hy a rest from those which follow. You must slightly accentuate the first. of thé two, and at once diminish the sound in going to the seeond which must he a little shorter. Generally when several notes are included under the same tie, the Jast upon which the passage finishes, isan intercepted note even when there is no following rest. It is by the dexterity of the fingers that you will sucoved in executing these passages. It is the finger, which as soon as the note is heard, euts off the sound and as it were throws it back into the instrument, Allegra moderato. 1 Hester Pures legirement61 Andantino, - 2 SWELLED AND DIMINISHED SOUNDS, Swelled sounds are made by attacking the note with » soft stroke of the tongue, and augmenting the sound little by little wntil it attains @ ressonable force and fullnes; arrived at its fullest point the same progression must be adopted in diminishing it. When you blow into the instrument eare must be taken to preserve always the full column of air at its dis - ~ posal. Lento e espressivo,ce OF THE APPOGGIATURA. The Appoggiatura is & grace note which takes its value (or duration) from the note which follows it; it is simple or double. In the first ease it is above the real nate; in the second it is below at the distance of asem- -itone. Hts duration is the half or two thirds of the note upon which it resolves itself, uecording to whether that note ix pointed or not pointed. The word Appoggiatura signifies to leun; because this note being foreign to the chord in effest leans up- -on that which follows. RULE. You must always make the Appoggiatura note well marked, and diminish the sound so that it ts resolution with softness. makes Mouvl, de Valse. —, S Pp SS —- OF THE GRUPPETTO OR TURN. ‘We give the name Gruppetto to # collection of four small notes joined together, and the value of which is taken not from the note which follows them, but from the one preceding. ‘The Gruppetto is very frequently denoted by the signs beneath which is placed a # ora > according to the alteration to be made in the third note: The # denotes that the third note is sharpened; the > denotes that the highest note is to be flattened. always advise the Gruppetto to be made with the lower semitone; The effeot is softer and more agreeable to the ear. Many of our modern Authors have adopted the practice of fully writing out the trill and the gruppetto, instead of marking them by abbreviations. The following lessons are written on that system. It is bad to hurry the Gruppetti or other graces of musicel style. ° CAUPPETTL WITH THKEY suTeS As written, i Tu he played thus As written, 2 "To be played cy aedenced ty signe 4r8 ra be emote KE 9182 ak defray yin am make th ‘he taming losin sev oeranged for the, pease of the Grup6a Oo THE TRILL OR SHAKE, ‘The trill or shake is the rapid emission of two notes of conjoint degrees. Its duration is always equal to that of the note which bears is denoted by the sign of abbreviation tr: ‘The will frequently employed in music, it is essential to have it brilliant, supple, brisk and light; qual - ities without which it would only disfigure the melody. To trill properly you must allow your fingers to fall without stiffness; practise at first slowly; then by degrees inorease the rapidity, swelling and diminishing the sound, until the fingers have acquired all the desired flexibility and lightness. ‘The trill always commences with the note which bears it; ocoasionally by caprice or for particular reasons, authors use it differently and.make it begin with the note above or the note below; in those cases they indicate it by small notes. ‘When several trills succeed each other in descending, we suppress the small notes at che end exeept those of the last trill, because then the commencement of the second trill acts asa sinish to the first. ‘There are several ways of preparing and finishing the cadence; the following are some most inuse: their proper employment is purely a matter of taste. Andante afpettuoso, Ve is t Coa ra poco rallenteOF THE MORDANT. 65 The Mordant, indicated by the sign » is very short trill, The Mordant must be made by pressing upon the note which carries it, in suck a manner as (o ace- -entuate that note more strongly than that which precedes or follows it, EXAMPLES OF VARIOUS TYLES OF MORDANT.CF UK ORNAMENTS OR FLOURISHES IN MELODY. Kralian music Cless profound and sertous than German aud not 0 dramati¢ as French music) obtains the greatest number of adi it is pretty certain sere, Without wishing here to support or Oppose the reasons for this preference at they are indebted for it to the very free and facile nature of their song, “and sbove all to the flourishes or ornaments which they wld to it with so much grace and taste. A knowledge of harmony would be of great assistance in enabling one to distinguish and: separate em- -bellishment from simple and primitive melody: these ornaments ought not, to adopt a particular shading other than that of the note on which they are placed, for fear of altering the sense, and injuring the character of the melody. EXAMPLE OF ORNAMENTS ADDED TO A MELODY, Cantabite No 45.ARPEGELOS, * Gi Like all wind instruments the Clarinet can ouly play the notes of a chord by disiributing them (Arpeg gin) You must pass rapidly over the different notes of the arpeggin in order to make it entirel single breath. If the fingering is heavy and unequal, if the sound is eut at-each note, it is no longer Arp- -eggio; it is only passing quiokly over several notes. with & Moderato tw S piu demAndintino. 17 PE FF natc® stent 4 DAILY PRACTICE ¥ DIATONIC SCALES MAJOR AND MINOR AND EXERCISES ON PERFECT CHORDS, DOMINANT SEVENTHS, DIMINISHED SEVENTHS ow.CHROMATIC EXERCISE. This exercise ought to be played both slurred and detached; the Performer cun afterwards give to it the articulatian he pleases. ° = tetedete Hehe be orew- Set tues, =Bite Se = FE Feet ~ sale 2 pase ee 2 4 & ~ + EXERCISE OF SCALES IN THIRDS, MAJOR AND MINOR. T recommend this study us being one of the most important.72 ber aT Ie pipe Se yaa eaeKlose mothot74 EXERGISE ON PRE PERFECT CHORD, MAJOR AND MINOR, IN ALL THE KEYS, + BESS QEa Gee 42> F En a at fit tin ty 2 — see 2B15 EXERCISE ON PERFECT CHORDS. ostae EXERCISE ON DOMINANT SEVENTHS.SINE EXERCISE ON DIMINISHED, SEVENTHS, Gk tip F18 et BEDS IS> E> EXERCISES ON SIXT These should be transposed into all Keys.feb este, tet teleste tootOrTAVES. a. Klose methods81 15 GRANDS MORCKAUX. Mederato, ven) aea5 Brilliante na. van GtaModerato. 4-100 Targemen? tKlose’ Met hom.RONDO. . Allegro, Mou Vv daleet = Klose’ Methoa.93 Coca Moderato G2)46aft== SS Se ee104 SS eco vite dolce, = 28_— go 22 Py 2 2,28 38m Be, are fp. .3By, aha gPitesten 2 as... Eee 5.SS _ Adagto. it Pltoa Allegro con amabile, : #: 12 — Klowes Method,SS Se —S AdaigoPRELUDES IN THE FORM OF PERFECT CADENCES. nr . aN 3a Klose Methodsne 22 EXERCISES ON LOW NOTES. (CHALUMEAUD Well mark the siret note of each group. 1 # OO ea ghd ghey ied aU SETTS TSN ETS GUTEET GF TPT Serie’ Ss s¥e= EF Pa Pee tae eae eee etang Clarinet accompaniment in La Gazzu Ludra with different transpositions to awit the singer. Clavinet in BP as widen ty Roe FS ! t va 45 ‘i of ¢ » * i ( : Pattee) Poe OL IS Ping Bos ne SEES EE Ss Wan Mecho sNa This lesson can be pluyed im F major; you merety add a 9 and reud the same notes. Hee RSE BU Oe $3 =e 5 Geir = FOE Pari i pace al 13 i Op Cen Contin leg Cegneaneg eg Menor se Se eel415 pe View. teyato Stent Te’ SS ss et VST ete ¢6 Pa E eae 20 Se aa Op ta =e + ae FT PS SS AU slurred, gecenting the firet of each group. 24 eS Se f = as High stat ata? Zeta te? aa ee 3 Paar petee SSF $= ag Slee eae + Sse = oz ve Pore Pps ae 412 ETUDES IN DIFFERENT REGISTERS OF THE INSTRUMENT. Molto legato. | Agitato, a GR IE IES Wa Z peg ent tag ee aeass Leggieramente, a lows MethodMuderato. Andante, 6 ; : EES La Laces Sn Seen Snes tate: cs = =e = oS Saag ag mm Bp, Klose Method,421 Povo Allegro.123, Allegro moderato. # ATigrid Adenine a tt ge i = aig lp == Eitri = rear Be: ees ae oe ee Ppgliests ae toate Sa EF DS duet. a ae = et OOS om tees ey het ian tears ltm FIFTY MELODIES. IN PHRASING. Thema, | eS SE — Ah che d’ Amore. IL Barbiere.) Allegro, —~ 3 fae 2 idk fe 87% op == Ee 7 = *- Yo sono docile. (51 Barbiere.) Moderato. Gant a placereThema, Schubert, Andante. Andante. dolce GFE! Ariel Mazurka. Rollinson . * ‘D.C.al Fin Andante from Sonatine. Kuhlan. Ande = 4gN 8 oo Paste Klose’ Methods126 Gavotte. Martins, Allegretto,”, 7 => x, mg Ro, z x z z 2 _pooy rit. TDC. Fine, 10. Clarinet Obligato, from Presioge te Weber AIL? @razioso. Rade, > 10 23 Over The Bounding Waters. Lintey. Allegretty all. a tempo, A Chaplet of Roses. (Puritani.) Bellini. Brillante Allegro Mod$? 5 et 12 G aS stetemVien diletto. Bettini. Allegro Miterato.dA0%> Z> = 13 So, == Di tale Amor, Verdi. attegropinaiel ot. ge ir 4 Ghee S| 2 SS ee pyco Plu moseo. oe, ae frat, Sa Canzone.J -o0.( From Trovatore.) Verdi. Allegretto. ty ys 2 15 Cavatini, Ernami Involami Apdantino. 16 ‘otto voce. bo oe anTs Tutto Sprezzo. ( Ernanis’ Verdi. Allegro con B. ei uv vi 7 the de iim $ 7; Con Grazia. Ballad.( Come Back Annie.) Hatton. a tempo " = PP Tacciam Carole, @ Grovinetto, (From Miretto. Allegretto 19 > dim f Barcarole, (From La Muetto De Porti =Du Pauvre Seul Ami Fidele. Auber, Aadunte gon moto Qt P O Moment Enchanteur. Auber, Allegretto. mgd lib. o Song. Lintey. Allegrett® Grazioss. > poem 23 tems ==P Annie Laurie. Andante,Be Gipsy March, (From Precioso. Moderato. . _ 25 Weber, Theme & Variation. Andante quaei Allegretto. Beethoven, 26% ie, olee mu con bri eVirie. ver Andante. SS Rollinson. Andante. - 27 Romance. Andante gon mote, dolee. > hoy > boos “?P‘The Danube River, Tempe dé nearer 29 eae forte gy tres lento. Robin Adair. Larghetto. 2 yy a tempo, 30 ae og St inten 3t Mazurka. Neidig.102 Polka. Wundentorg, Henee Begone: (Liu Vivace. 35 = : a G Fortunes Fickle Frowns Betrayed. Donizetti. Meyerbeer, 2 A Mlusta Yoce Sold. Huguenots. Altegr Moderate, .. 37 Alice Where Art Thou? Ascher, Andante. koe1 Have A Thought. Abt. Andantino, 40 Song. Smart. The Broken Ring. German Song. Andantino. 42 P Mich Flichen Alle Frenden, . Paesietto. Agdunte, Home So Blest. Abt. Madenato. My Sister Dear. (Masaniello. +134 0 Calm Forgetful Slumber, (Otello. Andunte express 46 = P aT _— From The Time Of Earliest Childhood. (Martha) Larghetto, are Pp aq Libs The Light Of Other Days. The Maid OF Artois.) Moderato: ae 48 a= I> Oh! That I Never More Might See. (Anna Bolena.) Moderato. 49 Ne > Pat a 3 ‘ a iF corer Poor, Though My Cot May Be. Retly Moderato. a 50 P‘The black date @ are cloved holes. ‘The zer0s 0 the open holes, ‘The numbers on the keys indicate the holes that must be opened orc ‘The lettor BR indicates duplicate key 8 seed by fat finger 2 placed over the notos indicate the fingering to b 5. 9,17, 20, 25, 87,89, 64,08, 61,64, 67 68,76, 88, avoided excepting in rapid pasages. Close the hole used by the thumb, ass ees To = al Gi Copyright MCMV by Harry Bettoney,30 Hanover St-Boston,Mass.u EE EE saes 88 8 Fee Bo uNeN wenese wobbeh Ge & bbe & BEE abe lebbbbs bh bine i bible thir Whi WB Be b ke & & te Eb Alto Gazophone and Pane, Bites. aati Sas ‘& bees BB ve te Y hike Ge & betes: beh bh i bhi Bb Soprano or Tenor Sanoptons and Pane,