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COMPLETE EDITION e ose CELEBRATED METHOD for the CLARINET Revised and Enlarged by SIMEON BELLISON CARL FISCHER» Street, New York, NY 10012 65 Bleecker: ISBN 0-8258.0051-x CONTENTS Rudiments of music General information on the clarinet and its care First sounds to be practised Preparatory exercises and the chromatic scale. . Respiration, demi-respiration and the manner of breathing. Solvejg’s Song (Grieg-Kent) 68 Exercises of mechanism............ Fifty progressive duets for two clarinets. . Practical exercises easy on the Bochm instru- ment... Table of tonics, leading notes and dominants Table of altered o leading notes and the degrees on which they are found Scales and exercises Change of fingering on the same note Articulation. 45 Exercises upon different combinations of articulation Slurred notes Nw37 10 “4 1s 16 18 “4 49 50 SL 4 15 16 88 Pointed notes. . The staccato ‘The proper rendering of the sound Syncopation Cut of intercepted notes........ Swelled and diminished sounds \ The Appoggiatura The Grupperto. . Gruppetto with 3 and 4 notes. . The trill or shake The Mordent..... Ornaments or flourishes in melody Arpeggios fee Love Dreams (Liszt-Kent). From Mountain and Valley (Kent) Stephen Foster Songs... Serenade (Drigo-Kent) Puppé Valsante (Poldini-Kent) List of principal words used in modern music 89 a1 92 94 96 98 100 102 104 105 107 109 110 3, 14 Lis - 8 ug 120 Rudiments of Music Before the student commences to play any musical instrument it is advisable for him to become acquainted with the rudiments of notation. Music is written on or between five parallel lines, called the staff: ‘The symbols indicating the pitch and duration of the different musical sounds are called notes, ‘There are seven natural tones in music, named after the first seven letters of the alphabet in the following order: C, D,E,F,G,A,B. These seven tones are repeated from the lowest to the highest register. To determine the name and pitch of the notes, a sign called a clef is placed at the beginning of each staff. There are several clefs. The music in this book is written in the treble(or G) clef placed on the second line of the staff and naming that line G. ‘The names of the lines and the spaces in treble clef are as follows: Lines Spaces Notes in succession seep et = —— Sar + EFGaAa BCDEF The above notes are not sufficient to cover all the tones of the instrument's full range. For this rea- son it becomes necessary to go above and below the staff with the aid of short added lines, called leger lines. 5 Above the staff g fet Below the staff oe S t¢igu CA PCDEFCS The time value of a note is shown by its form: © whole note, d half note, J quarter note, Dor in groups J JT Id ) eighth note, A (or in groups dd ddd) sixteenth note, etc. ‘The duration of a note is measured by beats or counts. COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES A beats A Whole Note, is equal to 2 Half Notes, or or 8 Eighth Notes, Count: or 16 Sixteenth Notes, Count or 32 Thirty-second Notes. NOI NI037 Count: 1 2 RESTS The symbols indicating silence are called rests. For every note there is a corresponding rest having the same time value,as shown below: whole ¥2 %4 Ye ‘Ke Vo2 io aes 4a(6r more) One or more full measures: Written music is arithmetically divided into measures by bars drawn across the staff. Each measure contains the same time value. How many beats each measure shall contain is deter - mined by the time signature placed after the clef, (2/4, 34, 44, 9a, Sf etc.), The top number gives the number of beats in each measure and the lower number suggests the kind of note that is to receive one beat, ie. 2/4 means two beats to the measure, one beat on each quarter note, The time signature most frequently used is 4/4 or common time, also marked ©. This time signature indicates that each measure contains four quarter notes or their equivalent. The double bar indicates the Y cidot'a strain of movement, iS count 2sate2e2 S « feasatseesat bar bar var dgubte ==3] means to repeat the preceding, == means to repeat the following, =f means to repeat both the preceding and the following. ment, measure means the end of a composition or move- ACCIDENTALS A sharp (#) placed before a note raises it by a half step. A stat (b) placed before a note low- ers it by a half step. A naturat () restores a note previously affected by a sharp or flat. These symbols are called accidentals and they affect all the notes on the same line or space throughout one measure only. Gt BB, CH Cb, Hep Example: KEY SIGNATURES ‘When the tonality requires that certain notes be sharp or flat for a considerable number of meas ures or throughout a composition, the sharps or flats are grouped together at the beginning of each staff, forming the Xey Signature; they affect every note of the same name throughout the compo - sition or until a change is indicated. Boab Hy Chee Sct, BES Bb Eee. Bh Ab By Bamps BARE Zeprhtfetrse INTERVALS An snterval is the difference in pitch between two tones, in other words the distance from one note to another Cto D Cto E Cto F Cto G Cto A Cto B Cto C - SS] Second = “Third South = “hitth Sixth “Seventh een , or betare In the above example the intervals are counted from C, the root of the natural scale, but they may be counted from any note. 919 Nios? SCALES G A. scale consists of seven consecutive notes between any note and its octave, separated by in- tervals of 8 wholé-tones (major seconds) and 2 half-tones (minor seconds). There are two kinds of scales, major and minor. Counting upward in the major scale, the half-tones are between the Srd and 4th degrees and between the 7th and sth degrees, whole half whole whole __whole half whole Sh Th Sth e 6h z Bra Bed oo Starting the major scale on any other note it will be necessary to either raise or lower some of the notes to make the half-tones fall between the 3rd and 4th and between the 7th and 8th degrees. ty ip Scale of A major 3 sharps in the Key signature : + SE Scale of Bb major 2 flats in the to — a= Key signature Following this procedure on every note within an octave, we will have twelve major scales, with key oe as follows: : =e : aaa = i = Db = We o 7s Bb. ee = : THE SLUR AND TIE The stur (—~~—), a curved line drawn under or over two or more notes of different names, indicates that these notes must be played smoothly (legato) without any cessation of vibration. When this sign (— or) connects two notes of the same name it indicates that the first note is to be sustained for the value of both. In this case the sign is called a fe. THE DOT A dot to the right of a note or rest increases its value by half, and each succeeding dot in- creases the value of the preceding dot by half. des dod; dus deded onusing tie deeds 4 daz dade dS THE DYNAMICS The varying and contrasting degrees of intensity or loudness of tones are indicated by signs or letters of which the following are those most frequently used: ft S. = Forte: loud mp = Mesopiano; medium soft Df = Fortiasimo: very loud P = Piano: soft If = Mesxoforte: medium loud Pp Pianissimo: very soft ———= or Cresc.= ereseendo: the intensity of tone or tones is to be gradually increased. ==— or decresc. = decrescendo: the intensity of tone or tones is to be diminished. dim.= diminuendo: decrease the intensity. Nie Pf or afs= Yorsando or sforsato: give a sudden emphasis to the note. THE CLARINET ‘The invention of the clarinet is attributed to Johann Christoph Denner (1655-1707), an instrument maker of Nuremberg, Germany. At this early stage the instrument was quite imperfect, especially as regards intonation. Realizing the beautiful tonal coloring the clarinet would give to the orchestra, the best musicians and instrument-makers of the eighteenth and early nineteenth century set out to improve this new instrument, and through their untiring efforts the clarinet was nearing perfection. In 1810 Ivan Mueller was making a thirteen-keyed clarinet in Paris. In 1842 Klosé applied the Boehm system to the instrument. ‘The present-day clarinet is a cylindrical pipe of wood, usually made in the following sections: the MOUTHPIECE, the BARREL-JOINT, the LEFT-HAND or TOP JOINT, the RIGHT-HAND or LOWER JOINT, and the BELL. Clarinets are made in various sizes; the length of the instrument determines the key in which it is constructed. Clarinets in general use are built in B-flat, A, E-fiat, Alto in E-flat, Bass in B-flat. Clarinet in C is now more or less obsolete. The technique is the same for all clarinets, Example showing how the written C will sound on the various clarinets. Written inC ip Eb inBy inA Alto Clar.inB} Bass Clar.inBb Sounds on Clarinet ‘THE COMPASS OF THE CLARINET ‘The compass of the Clarinet is nearly four octaves, extending from the low E Fe up to C in 3 altissimo. €4 The very high notes are, however, screeching and disagreeable to the ear, so that it is advisable not to pass beyond the high G & the reasonable limit of the instrument, The Clarinet is divided into 8 registers: the tt or deepest register, called chalumeau, extends from he tow Bk EE to 8b, GIFT te at cgi, ettam, tom DY BIE to Ch ES ane # the at rogistr in attycommences at C$ HSE] and ascends to the high Cf Ss MANNER OF HOLDING THE CLARINET The pupil should strive to acquire a graceful manner of holding the clarinet. The left hand controls the upper part of the instrument. The first, second, and third fingers are placed upon the two tings sea the hole tn the front whilg the thumb is used for closing the hole at the back and opening the twelfk key. ‘The little finger is extended to touch easily the keys numbered 1, 2, and 6. The right hand controls the lower pare of the instrument. The first, second, and third fingers stop the holes placed under the three rings; the Keele finger is extended to touch casily the keys numbered 3 and 4. The thumb is placed under the'thumb seer and supports the instrument. Both arms should be kept a few inches from the body. THE REED ‘The beginner cannot be expected to make his own reeds, and it would be a waste of time and energ; for him to try until he has some command of the instrument. What every clarinet-player should know how to adjust the reeds which can be bought. Some reeds are too thin; a little bit taken off at the point with a reed cutter will improve them considerably. If a reed is hard-playing, it has to be thinned down at the point. The success of a clarinet-player depends mostly upon a suitable reed. THE MOUTHPIECE ‘The mouthpiece is also an important part of the clarinet, Mouthpieces are made of various material ebony, hard rubber, crystal, and plastic. The part of the mouthpiece upon which the reed is placed is called the LAY. The reed has to be adjusted to the lay with the greatest care; neither too large nor too small a space must be left between the reed and the end of the mouthpiece. The reed is kept in place by means of a metal LIGATURE. TONE PRODUCTION ‘When preparing to play, draw the lower lip lightly over the teeth, insert the mouthpiece with the reed underneath, and put the upper teeth firmly on the upper part of the mouthpiece about 1 of an inch from the point. The corners of the mouth must be tightly closed so that air may find no other escape except into the instrument. The cheeks must not be inflated. Do not press too hard on the mouthpiece as this would prevent the reed from vibrating. The higher tones require a little more pressure; for the lower tones the lips should be somewhat relaxed. The tone on the clarinet is produced by the tongue which sends the air into the instrument and at the same time causes the reed to vibrate. To produce the tone the player must take in a sufficient quantity of air and force it into the instrument by a short stroke of the torigue and by pronouncing the letters T or D according to the quality required. To attain a good embouchure, i.e. the complete control over mouth, tongue and mouthpiece, the player must posess the two principal aids for gaining the finest embouchure: delicacy of tone and lightness of tongue. HOW TO PRACTISE Set aside a regular time for practice—each day if possible—and try to have nothing interfere with it. Do not attempt too much at first, and do not get discouraged if the first studies prove tiresome. Cease practis- ing when the lps begisi to grow tired. To utilize the time while lips are resting, do finger exercises without producing tone from the instrument, Practise sustained tones for a few minutes every day. This strengthens the lips and greatly Improves the quality of tone, Do not sacrifice tone for technique. A good tone is a per- former's most valuable asset. Let your practice be mostly in the medium and lower registers; the higher register will take care of itself. In producing tones, especially in rapid passages, the fingers and tongue should work in perfect coordination. In order to avold belng stopped by any passage it is necessary to havea thorough knowledge of the fingering of all scales. THE ACCENT It is necessary to accent certain beats in every measure to make the rhythm of a composition more easily felt. The primary accent (THESIS) falls on the first beat in every species of time; the sub-accent (ARSIS) falls on the third beat in triple or compound double time. An irregular stress laid upon any tone or beat at the composer's pleasure is the AESTHETIC accent, indicated by signs (A> sf.) or by the interruption of the natural rhythmical flow, as in syncopation. BREATHING To play a wind instrument well, the control of breath is essential. Breath through the corners of the mouth, Take breath according to the length of the phrase to be played. Do not inhale more deeply than ‘necessary; a small breath will sustain quite a long phrase. CARE OF THE INSTRUMENT Be careful to keep your clarinet clean inside and outside. After playing always run the swab through the barrels. Dry the joints, remove the reed, and dry the mouthpiece. After drying and cleaning readjust the reed to the mouthpiece. Never allow anyone else to use your own mouthpiece. ‘Tying a weak beat to the following strong beat (both of the same pitch) and shifting the natural accent of the strong beat to the weak one results in syncopation. NI037 FIRST SOUNDS TO BE PRACTISED The first labours of a pupil must be directed towards the practice of plain sounds. He must at- tack the note witha sharp stroke of the tongue and completely sustain the sound in all its power and without ‘undulations to the end of the notes full value; he must never jerk the notes. nor leave Preceptible gaps between a note and the one which follows when there are several under the same 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 example is at the pleasure of the performer. The pupil who would learn to pitch the sound properly, will begin slowly, bearing in mind what I have before mentioned. 4. a a Minor 2" descending Major 2°4 ascending Minor 34 descending Major 3 ascending gx j = si EE =| 2 = ie 4 eee cut oF Cosue.s oS — le ae cei . E Perfect 4% descending Perfect _4* ascending — aaa! = Perfect 5th ascending Perfect 5thdescending = = = oc = EenAdNAE EAE a Major 6 ascendiny 7 So Major 7! ascending. 5015 NIOs7 0 PREPARATORY EXERCISES FOR THE CHROMATIC SCALE CHROMATIC SCALE see ojo ba ‘Make these notes only when the embouchare Ts well formed. bs io = is k ‘The sound of the It note must be well carried to the 24 as if you were making but one note. 5. 27 5015 NIO37 ee 5016 1037 2 SONS eS ee eee Fer SIXTHS 2 » , Ne eo 7 FS NS SF , aac eee SEVENTHS MAZE 7S SEF iu. EE ee. Sots Ni037 Seven see eee =e” ee te eee SVS ag gee a OCTAVES _ 504s NI037 4 RESPIRATION, 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 lungs act like a bellows. Considered in relation with the art of playing the Clarinet, respiration consists in accomplishing the two phenomena of aspiration and expiration without taking the mouth piece out of the mouth. Demi-respiration consist in scarcely half opening the two corners of the mouth, in order to renew the power of continuing the execution ‘You ought never to respire at the end of a bar, unless it is the termination of the phrase. To respire completely, you must await a rest, a finish of a phrase, or a cadence. Demi-respiration is effected most frequently upon detached notes, or after having taking the first note of a bar. It is a very 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 efforts are as fatiguing for the player as they are disagree. able to those who listen. Demi-respiration, denoted by a comma. — ai ‘You can respire on the beat of 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 to give a particular shade or expres _— Ke a 5015 Nu037 Solvejg’s Song 15 from Peer Gynt Suite, No. 2, Op. 55 EDVARD GRIEG Arn. by HR, Rent Andante (a7) a Piano aan a if — aay) re _ 10 atempo = D% ee poco rit. = inf —— p P DSal ® 9 ® Andante 2a a af ber Coprgh 190 by Cok Fiche, ac, N.Y Cape 128-182 Nioo7 16 68 EXERCISES OF MECHANISM The exercises of mechanism have for their object the formation of the fingering by habituating each fin_ ger to act separately or simualtaneously. By these exercises may be acquired that equality of fingering and that purity of tone which are the finest qualities of an instrumentalist. In the following exercises we must accentuate the sound upon the first note of each division of the bar. Each bar or each sketch should be played eight or ten times and as a finish play the note after the dot. ted double bar. All the notes should be slurred, ascending passages played crescendo, descending passages diminu. endo. a ee 5015 NI037 Ww 5015 Ni037 Fifty Progressive Duets for two Clarinets Revised by Simeon Bellison eee Exercise in Whole notes for sustaining the tones Measure of 2 beats Joseph Kiiffner, Op.80 1. ——P he Mixed with Half notes 8200-26 Ni037 19 Half and Quarter notes The rest on the first Beat 8200-26 NIG37 2 The rest on the 224 Quarter Beat The rest onthe 8" Quarter Beat Exercise on the slur 3200-26 Ni037 Vis; To detach the first note and slur the three others e * - = 10. f oe, TE apg cotta er leas 3200-26 Ni037 22 To slur the notes in counter-time (A_form of Syncopation) ll. SS Ane te ee Soa: Half notes (2 Quarters) in contrast to four Eighth notes (2 Quarters) 12, 3200-26 Ni037 | | } { | Same as N912 with Eighth notes coming first 2 of ee > 18. ica : aa Slur the first three notes and detach the fourth — — — 3200-26 N1037 * D§S.al Fine a Waltz D.C. al Fine Allegretto 5 . SS 49, P 8200-26 Ni037 P orese. <> Si Polonaise (Bolero _) > 8200-26 N1037 8200-96 Ni037 “4 PRACTICAL EXEROISES upon passages which are only executed with difficulty on the 18 Keyed Clarinet, but which become simple and casy on the Bochm Clarinet (with rings.) These exercises are adapted to familiarise you with the new mechanism, and are indispensa- ble for acquiring equality of the fingers. They are pricipally intended for the exercise of the lit- tle fingers. The first 33 exercises should be played also in the 12th (Harmonics) that is to say, by o- pening the 12% Key, or the 13%" on the ordinary Clarinet. Repeat each phrase several times until.it is played with equality and celerity, always slur the notes in order to acquire a good tone. J ayges'geae ges” s ee ee gereze Feeaies B 24. eee 23. = peeererse no _t 5015 NIOs7 25. 2s. 45 “ Bites ete etre A [a 5015 NI037 poe sea es 55. 5018 Ni037 5018 N1037 EERE i een NL a eT ee TE aT ee Pn eee 7 6 : a is g a “I, Ua, * = z _ 138. 0. ie 42 015 NI037 TABLE OF TONIOS, LEADING NOTEs, AND DOMINANTS ‘The tonic is the first note of the scale; the leading note is the sharp(or major) seventh; it is always a semitone below the tonic. This note should be full sharp to the ear particularly when it resolves into the tonic. ‘The dominant is the fifth note of the scale. The tonic, the leading note,and the dominant are the same in all scales, major or minor, Inc major In F major In ab In xb ‘Tonic Dominant Ton, og Leading note Tonic LN. Dom. LN. Dom. In.4b In Db In @b Inch Ton LN, Dom. LN. Dom. LN. Dom. LN. Dom, Inémajor In Dmajor Ina Ing LN. Dom, LN. Dom. LN, Dom. LN, Dom, ny InB Fy ‘Ton. Inc# LEADING NOTES We call “the leading note” that which is a semitone below the tonic or keynote. ‘The leading note always tends to approach the tonic, particularly when its resolution is into the lat- ter note; in that case it must be made to sound as sharp as possible. The leading notes of melody must also be always heard as sharp as possible in a concerto, or a solo; but when playing with an orchestra and this note is doubled with the flutes,hautboys,or bassoons the leading notes must be made with the regular fingerings in order to avoid making discords with the oth- er instruments. ‘The following is a table of different fingerings for leading notes, and Irecommend the pupil to learn them by heart soas to be able to apply them as occasion requires. 5016 i037 50 TABLE OF ALTERED OR LEADING NOTES AND THE DEGREES ON WHICH THEY ARE FOUND Ido not mark the natural fingerings but only those fingerings which render the notes more or less sensitive. *o This sign denotes that you must place the finger on the edge of the ring, ooo\ooe] ‘200\e09| cooleoo) oodles] 8 8 000) S guinwne F ge Bs Sf. o63:)6US ge 8 Binrwne 8 GG 8 § 88 FS 8s ting without cloningthe ote, rr fe Se)CGeCUES 8 8 38 8 8 8 88 3s 88 oe 44 4 44 4 44 4 3 —~ € 8 8 : i ‘The 4th Key ean be used to support the instrument. 4 a ‘ee ee cee tie) 5015 NI037 51 SCALES AND EXERCISES Observe that each scale is followed by the distributed notes of the perfect common chord and the domin. ant seventh, C MAJOR Common chord Dominant 7% 5015 NiOx7 5015 N1037 44, 5018 N07 eet G@ MAJOR Fa Common chord Dominant 7 5015 NI037 56 Dominant 7‘ Common chord ots NI037 Bon NI037 58 D MAJOR Dominant 7% Common chord 018 NI037 Eb MAJOR Common chord Dominant 7th 5045 Ni037 A MAJOR 31. 5018 NI037 5045 NIO37 Dominant 7 62 Common chord Dominant 7‘ ili a i a ia ak tis a 5015 NI0s7 = = = a aa a a= ene ae cee eee ee ONS E MAJOR —. NS Common chord Dominant 71 ots NiO 41. 5018 N1037 Db MAJOR Common chord Dominant 71 = 5016 NIOS7 Bors Common chord NIO37 B MAJOR Dominant 7th 5015 NIO37 Common chord Dominant 7! 015 NI037 Ss & int ied ed ic iia HLA 5016 Ni0s7 0 Fi MAJOR Common chord S015 NIOs7 n aera EAT RE ObMAJOR Dominant 7 5015 NIO37 Soin Nim yy 5015 Ni037 a CHANGE OF FINGERING ON THE SAME NOTE ‘There are certain effects very agreeable upon stringed instruments which with a little aptitude can be rendered upon the Clarinet: such as (for example) the change of fingering on the same note. To work this effect, which is rarely met with (but which should be known so as to be able to do it when required)itis essential that the changes of fingering do not cause the slightest interruption in the vibration given on the first note. Moderato 501s ood N07 o YE ENR ER a I Pees) Nu037_ Articulation ‘The following section contains 45 valuable exercises designed to improve articulation. To properly articulate means to bring out with neatness and precision all the notes contained in a run, passage or phrase adding the proper amount of shading and inflection. There are two kinds of articulation: the slurred and che detached. But these two articulations are combined in thousands of different ways. It is by a happy mixture of slurred and detached notes that we obtain the most beau- tiful results. As it would be difficule to give all the various forms (for frequently they depend on the taste and needs of the player himself), I have arranged 45 exercises on articulations most frequently used % 6 45 EXERCISES UPON DIFFERENT COMBINATIONS OF ARTICULATION WITH STUDIES OF SIXTHS, OCTAVES, ETc. Bear a little on the first note of the slur and lighten the last one where the bind finishes BY H. KLOSE Edited and revised by 4 notes slurred and 2 detached ‘Simeon Bellison oN see 2 notes’slurred and 2 detached (articulation much used) Press-the 1% note of the slur > > _®. ALM: Same execution as the preceding te 5015 NiO37 Slur two by two, The 1 note of each slur must be rather more emphasised than the second. ~ een ~ eareoeik eee Bast OP. Bae Execute like the 1! bar separating the notes 2 by 2 and attacking the first of each pair with a short stroke of the tongue. ad co mo 3 notes slurred, one detached. Mark always the first note of each group. pn. bate nee Zoe. cok Same execution cS" . > - ‘ * . ae oe Bo1n NIOs7 8 2 notes detached and 2 slurred. Mark always the commencing note of cach slur. GENERAL RULE: The first note of each division of the bar must be always more accented than the others. 4° notes slurred _ 12. Ne’ 5015 NI037 14 notes slurred and 2 detached. Press at the commencement and gradually diminish to the end of the Bois NI0s7 To be played in two ways_— Slur every two_ Slur the whole bar £ f2¢ on - — —————— an Take firmly the first note of the slur, and well emphasise the long note (the eighth.) 17.3 18. be alee pet of = > yl 5015 Nio37 ; ; _———— Mark'well the first of each triplet ants Legirement 5015 NI037 a ee ee NR yf = B0t8 NIO37 besd 5015 N1037 os NI037 TRAE cee a 2 = slurs. Slur the 3 notes, emphasising the first of each triplet; you must always take breath between the >>> > =e E> ous N1037 leila a i gL aL SRE SUDA ES B01 NIO37 SLURRED NOTES To bind the notes it is sufficient to set well the first, and by the same impulse, to produce the others without allowing to be heard the slightest separation. Sometimes the fingering of the in- strument presents intervals difficult to slur, because those intervals require fingerings which, in spite of the player, leave intermissions in the sound, That inconvenience is then only got rid of by the ability of the artist. Sa dh i aah hh aaa 5045 N1037 Nasaaaiaias 99 POINTED NOTES When the notes are simply pointed, you execute them by a soft stroke of the tongue, taking care to have a full breath always at your disposal; the stroke of the tongue must be given in the sound. ‘When the pointed notes are surmounted with a bind or tie, the stroke of the tongue must be sof- ter, and nat quite so short as in the simple point. Modersto = poco rallent. ‘8045 Ni1037 ERTS EL ete cee gee em NK = poco ratlent. ¢ dimin. 'N1037 5015, a1 THE STACCATO The staccato for wind instruments corresponds most usually 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 en_ deavor to obtain, by attacking the note vigorously and leaving a slight interval between each stroke of the tongue. Execute all through in the style of the first two bars Andantino | : e he staccato Ft To 5015 NIO37 92 THE PROPER RENDERING OF THE SOUND ‘As a general principle the first note of a trait, passage, group, etc., ought to be firmly given anda trifle longer than the others; this particular accentuation is often indicated by the mark > placed under that note which does not mean that you are to attack the note with force,but render it with some decision, and use it as a leaning point for giving to the other notes an impulse of a warmer animated character. Grazioso 5048 Ni037 Sa la ait ik deh ob an |e ih etek ff aaa gas Cea are any 5018 NI037 on SYNCOPATION ‘Tying a weak beat to the following strong beat (both of the same pitch) and shifting ; the natural accent of the strong beat to the weak one, results ia syacopation. analized are As written Agitato 5018 N1037 P - Poa Bois NIO37 Tempo di Valse CUT OR INTERCEPTED NOTES 4 These are notes slurred two by two, You must slightly accentuate the firs second which must be a little shorter. and separated by a rest from those which follow. # of the two and at once diminish the sound in going to the Generally when several notes are included under the same tie the last upon which the passage fin- ishes, is an intercepted note even when there is no following rest. It is by the dexterity of the fingers that you will succeed in executing these passages. note is heard, It is the finger, which as soon as the cuts off the sound and as it were throws it hack into the instrument. Allegro moderato “a_i —~ = 018 i037 5015 1037 98 SWELLED AND DIMINISHED SOUNDS Swelled sounds are made by attacking the note with a soft stroke of the tongue, and augmenting the sound little by little until it attains a reasonable force and fullness; arrived at its fullest point the same progression must be adopted in diminishing it. ‘When you blow into the instrument care must be taken to preserve always the full column of air at its disposal. Lento e espressivo << ——_ | | | Hatin ertwpit Sots N1037 w——|=7 | >—= SS | Se a | S— } p00 rattent, ra 6015 NIO37 - ' THE APPOGGIATURA 2 The Appogiatura is 2 grace-note which takes its value or duration from the note which fol. lows; it is simple or double. In the first case it is above the real note; In the second it is be- low at the distance of a semitone Z Its duration is the half ur two thirds of tne note upon which it resolves itself, according to whether that note is pointed or not pointed. The word Appogiatura signifies to Zean; because this note being foreign to the chord in ef- fect deans upon that which follows RULE: You must always make the Appogiatura note well marked, and diminish the sound so that it makes its resolution with softness. Tempo di Valse ors 1037 5018 NI037, ial 102 get THE GRUPPETTO (or turn) We give the name Gruppetto to a 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 sign beneath which is placed a 4 or a b according to the alteration to be made in the third note: The# denotes that the third note is sharpened; the b denotes that the highest note is to be flattened. I always advise the Grup- petto to be made with the lower semitone; the effect 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 Eruppetto, 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 musical style. i ak aa GRUPPETTI WITH THREE NOTES: Gruppetti ascending ee As written: To be played thus: Gruppetti_descending Taree ere As written: = To be played thus: Another manner of writing where they 3 are denoted by signs. wei a a ae NP 3 can be executed like N91 or 2;that is to say you can make the Gruppetto both ascending: and descending. ‘The following lessons are arranged for the practise of the Gruppetto with 3 or with 4 notes. Poco adagio Se CSG Ee AAS 3 i ; 2 015 NWOT fishies Uakiiil idliel Gd ae aera ad Bois NIGS? 104 GRUPPETTO WITH 3 AND 4 NOTES Moderato i a i ca NIG Ria ah ie a a 105 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 it; it is denoted by the sign of abbreviation The trill being frequently employed in music, it is.essential to have it brilliant, supple, brisk, and light, qualities 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 increase 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; occasionally by capricejor 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 the and except those of the last trill, because then the commencement of the second trill acts asa finish to the firs There are several ways of preparing and finishing the cadence; the following are some most in use: their proper employment is purely a matter of taste. Andante ——;,, & 5048 N1037 x : ; RTT TRAE RE PRR a 107 THE MORDENT ‘The Mordent, indicated by the sign — is a very short trill. The Mordent must be made by pressing upon the note which carries it,in such a manner as to ac- centuate that note more strongly than thdt which precedes or follows it. EXAMPLES OF VARIOUS STYLES OF MORDENT _f 5018-95 Nt037 ¥ 5015 NIO37 109 ORNAMENTS OR FLOURISHES IN MELODY Italian music(less profound and serious than German and not so dramatic as French music)obtainsthe greatest number of admirers. Without wishing here to support or oppose the reasons for this preference, it is pretty certain that they are indebted for it to the very free and facile nature of their song,and above - all to the flourishes or ornaments which they add 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 char- "acter of the melody. : EXAMPLE OF ORNAMENTS ADDED TO A MELODY ce eens i 2 Accomp. 5015 N1037 0 ARPEGGIOS Like all wind instruments the Clarinet can only play the notes of a chord by distributing them (Ar. peggio) You must pass rapidly over the different notes of the arpeggio in order to make it entirely with a single breath, If the fingering is heavy and unequal, if the sound is cut at each note, it is nolong. er Arpeggio—it is only passing quickly over several notes. Moderato gage sia die Leda h ae fe t "ft P 5016 NI037 =——? ‘iid RY umd aioeti BR ‘5048 N1037 SS SS 112 Andantino : 3 P sostenut 5015 NW037 Love Dreams us (Liebestraume) FRANZ LISZT Con moto (d- = about 72) Arr, by H.R. Kont = Sao ’ ; = SS == ¢ t p— ee SS 3 = CCopjrighs 1941 by Cal Fischer, Inc, N. Yo, Int. Cop. Se. 29428-1037 a ” Ce 4 From Mountain and Valley Medley of American Folk-Songs Allegretto Arr, by H.R. Kent Piano Sourwood Mountain ye = fe tet.) 2 Oh, My Darling Clementine 2nd time a 1 Sf Pine 8 ’ oo =A estes SS = She'll Be Coming ’Round the Mountain Moderato ’ 20138-Ni037 us Allegretto Billy Boy Andantino Red River Valley Bs Par! iy ° — 7 r foe f : SSS ! oS pep? oe ptrernEfl atta — = =—— P Little Brown Jug Moderato mf aoiga~Ni037 16 Stephen Foster Songs* Selection Arr. by H.R. Kent R Andante =x i i) Old Folks At Home: o y P ntehin 7 Ae cantabile Allegretto ) ‘Oh! Susanna es we ae 2S See A eee 7 amen q—7147 > > a a 7 2 o nf Poco adagio 01d Black Joe = — ee ee Allegro moderato d molto ralk Noe? Canptown Races OT ee te * Bach song is complete and may be played separately 2ni2a-NI037 Copyright A941 by Carl Fischer, Iac., N. Yuy Int. Cope. See. 7 etter 2. nee ef te z 2 i 1 St mf Allegretto 1 swsiana Belle 2 . oS = aS Sy zi G2] > 3 2 a 2 Gee qi t ‘poco allarg. IF Beautiful Dreamer Andantino a > "ir TL = —_ —_—- FS th eS Allegro moderato Of! Lemuel ' 118 Serenade from “Les Millions @’Arlequin” R. DRIGO Allegretto cantabile (J-s40) cha iy HR. Kent Piano Time ‘only P wy - — — 9 Pitt sostenuto i DGed tb, ? trangutllo (B) a z oe et J SS Be aaa | T T —— dim, (Copyright 199 by Carl Fischer, Ine. N.Y, Het. Cope, Se. 29128-Nu037 Poupée Valsante ad (Dancing Doll) Maer by WR Kent OTE erty HR. Kon a anes a % te i a. p schersando oo it 2p 20128- NI037 E = _—— 5 (Copyright 1991 by Carl Fischer lnc. N- Yop Ha. Cope. See. E E 120 A List of the Principal Words used in Modern Music WITH THEIR ABBREVIATIONS AND EXPLANATIONS “etna te) | Geatayinceaig te oped | argos || read aa slow “tne nonin | | | “Tete apie eave eae ee oad aes se doves 2 Attonntey cies Tae eames tertnate. | | Tapes Iodine, “Meteraniy ago mont etry at Gaieoge |_| | Apps tnrotven ta ebetitant | Ansrinat. ty ty Cenantie. | | | te aniague Pane he “satty depres. = | | Aeomottonstvosaremueatiea| ie | | Mars dere Mor sy goin |). ST Antiing movement fs cm eee “hina Orvmrnd va). | | Graal oer Pompose | | “Pompean rad pearl em re. | | “Yatra Aero De tape (6). | | rom te begasag Zretndo a ratcly sort bet Sere (0.5) | Rom te spa Aigtrandos pet caphes ervey tvrne) Decenag stag Biantonte i) Shetmiog sere Dintesnde ltd» rtely ter mae rai ieee Doe nn Serge ete deenee rag th tee Duar ertso | | | | Aemmperiion te two petrmare | Gehrtade | | “Papel oeriney drones. eget peat femes | | “Poor cnt gle ipeates © 2) aie got Semon | | “singe anaectely Cereitne on | | tayemiely wih epricn | inset) 1 | “hues Se erin, Wie at roe ates Spreads Gy “Turin wise epuens ees Sie “Ate oe saa We Ht ‘rover (i) « ent wi eae ts Spires: | | “api Oo Spr, Pretaly ae Stacento . . . Detached, separated Forsando (fi)... Accentuate the sound ere eee cial rococo fe wih Se mee veeay owe pins “as wf Gute... Sty ntti “ut frie fa ye Grandioso. . . . , Grand; pompous; majestic . Rapid; swift; quick ; Grave . . . . . . Very slow and solemn «With vivacity; bright; spirited geno 1)! other Gareenonce | Sep teeta vp Fee out 8) Tern oe euely 24248- NIT CONTENTS Major and Minor Seales............200005 ee Chromatic Exercise...... 00.0.0... Scales in Thirds, Major and Minor............0...002.005 Broken Chords of the Tonic....... Various Patterns of the Tonic Chord Exercise on Dominant Seventh Chords............ ee Exercise on Diminished Seventh Chords... Exercises on Sixths. . Octaves.. Fifteen Grand Duets (Klosé-Bellison) ec Preludes in the Form of Perfect Cadences. Exercises on Low Notes..........00000005 ee 12 Studies in the Different Registers Twenty Studies 183 Exercises (Kroepsch-Bellison) Bellison).........2.. Air Varie (Rode-Bellison)....0.000....000000c0. Song.Dance of the Shepherd Lchl from the Opera (Rimsky-Korsakoff-Bellison). Oriental Song (Rimsky-Korsakoff-Bellison)........ Nig 172 ‘Snow Maiden’ 123 124 126 - 128 ag 130 131 +132 134 136 202 203 208 216 - 256 Russian Dance from the Ballet "The Lake of Swans’ (Tchaikowsky- s 289 291 » 293 LTR ETE TET eT ENE ATER 123 MAJOR AND MINOR SCALES ‘Much of our instrumental music is composed along scale and chord lines. Perfect command of all fingerings of these scales and broken chords over the entire range of the instrument helps to overcome diffi- culties even in the most complicated passages. In order to enable the student to memorize them more easily, I have written the following scales with- out changes of key-signature. ‘These studies should be memorized as they form the basis for a flawless instrumental technique. Many pupils have difficulties in understanding and playing a minor scale. The following examples will, T hope, make them less difficult. DAILY PRACTICE OF DIATONIC SCALES (MAJOR AND MINOR) AND EXERCISES ON TRIADS, DOMINANT SEVENTHS, DIMINISHED SEVENTHS, Etc. © Major a minor ———__ F Major Ld 5 __ Bb Mejor a a 7 Ab Major be Db Major og ie ———_ aa (Copyright MCMXLVT by Catt Fischer, ne New York Ternational Copyrigh Scared 124. CHROMATIC EXERCISE This exercise ought to be played both slurred and detached, the performer can afterwards give to it the articulation he pleases. teiebe abe ‘8ae6-108 NIO39 406-108 NI099 126 SCALES IN THIRDS, MAJOR AND MINOR Considerable time should be devoted to this exercises the author considers it to be one of the most im- portant studies. © Major 3 bao e taba ta ss Bb Minor B Major___—_ GY Minor OF Mine __—— A jo — F4 Minor B Minor << ed @ Major 466-108 NiO 128 BROKEN CHORDS OF THE TONIC AND ITS INVERSIONS IN ALL KEYS 501s Nio# VARIOUS PATTERNS OF THE TONIC CHORD IN ALL KEYS Bois Ni099 130 EXERCISE ON DOMINANT 7th CHORDS First appearing in originel form, followed by 4st,2ud and 3rd Inversions* Original Ast luv, andav. rd Inv. 8468-108 N19 PRE ere y Rea vane Tete 8408-108 N10 = ™ DIMINISHED 72 EXERCISES ON SIXTHS These should be transposed into all Keys Baee-t08 NI099 Be se B 5 ° ° 486-108 NiO 136 FIFTEEN GRAND DUETS Preliminary studies to more complicated concert pieces H.KLOSE. Revised by Simeon Bellison ( ia aa aR ae Dt ed ca de 2, = Copyright MCMXLVI by Cal Fischer, ln, New York Terational Copyright Secured 138 5045 Nios. 5018 NiO ? doles. 5015 NiOs9 5015 NiO (com J) Andante. 2 ROMANZA, Con Variazioni 5045 NiO“ Ist Variation a 5018 NiO 2 2» ee Brillante . ns 2nd ™ Variation) 9 5015 NiO% OLS NIO89 ee Ne eee EERIE TE RCT ORAS aT ey ee — ( ) , Allegretto 5015 NiO 146 ee — IE. 7 P crese. tf 5015 NiO 149 —= SS | BS SF OF EC SS OE ES te = 5015 NiO 150 Moderato @=100) v= > P = = 5018 Now 151 5015 NiO 152 Bot NiO% 154 P dolce. Car eee ! ! ee Me = ee = 185 5015 NiO 136 5 ANDANTE Sostenuto 158 Tempo di Valse —> 6 RONDO Allegro — A at : ; —~ Lagerement, vet" aN 501s NiO ‘p| dolce. —>?_ - —— Fa P 5015 NIO39 160 e 5015 NiO << , P — cima a “tee | | | fC | | | S015 Ni0% 164 Moderato (d=92) sos nites He ee # 165 P tS 5018 Nios 166 501s NIO89 501s NiO 5015 NIO® 170 © ee Ey Th EY a < = = < 5018 Nio%9 ee aS ee ee ae T= fois “1099 172 Andante grazioso 5085 NID p/ Se eee ee NS i So _——~» \Oa UBS Ns OT 5016 NI0%9 m4 Tempo di Polacca t aS Rs . a ¢ | te | | 501s NiO. 178 Moderato itotce. poco _ritenuto. 5015 NiO 5048 NI099 181 Dy ; = ete Legerement Se EUS ———— 5015 NIO% 5016 NiO~ dolce. ! | ¥ =, =~ =. ns 016 NiO59 5015 NiO» Boss NI0%9 Allegro 5015 NIO89 187 5015 NIO% 188 fi Bots Nio% —_ 189 50i6 NID 5016 Nios P 191 Bots Nios9 3192 5015 Ni0% 5015 NID 193 194 5015 Ni059 196 Adagio. 015 NI099 5015 Now 198 Allegretto grazioso S018 NiO» 199 5015 Niow bes ls [oes I Noes pst | 5015 N10 es 202 PRELUDES IN THE FORM OF PERFECT CADENCES. —_ —— z = A F MAJOR. = BS D MINORS 6S G MAYOR. 7. E MINOR: ——, —, = 22 EXERCISES ON LOW NOTES (cuazvms.v.) a Accent well the first note of each group. By H. KLOSE, + 3 - wT Se > 7 Ze eee meg jo Eee ee ee #! Fed i8s: ge IY Fa FF Ia I aS oF 88 208 Fae F Se oie ose eS se 018 Now ( ( t & ¢ t 204 Clarinet accompaniment in La Gazza Ladra with different transpositions to suit the singers. Clarinet in Rb ax written by Rossini, Esai eee eae ee the A Clarinet you must play it in D with the Bp Clarinet 205, This lesson can be played in F major: you merely use a one flat signature and read the same notes. 206 Vivace. 15. coeae eee, Legato. eee < tenn dad |: aaah aenanee # ee” paemieee temeee, 1. dolce legate. 16. a Soe 5 fo eo z —_ SPS SG All slurred, accenting the first of each group.) (ANI slurre ing gi Stat se 3 a 3 eave vis Wanistiet ster geipyaretatar oa 208 42 STUDIES IN THE DIFFERENT REGISTERS OF THE INSTRUMENT. Molte legato. = = ee eee | Agitato, ~ ; e BI See ———— #___ re i = s a SI a a “2 Meg BE Ea Allegro. —_ Leggieramente, pe Sas E E wae se a 210 Moderato. fu mosso. zr Re I 22 Allegro moderato 5018 Ni099 214 Allegro moderato. _ <> Se = 5015 NO Allegretto ben marcato. = = fer ite + Al i F | f974-114 NIO89 216 TWENTY STUDIES Allegro. (x. d=126.) By H. KLOSE. Revised by Simeon Belson [ieee tS ane per gseeeea| ~ 5o1e-40 1059 ight MOMXLVI by Catt Fischer tn, New York oor rane Coppige Seed crese. S018-40 NIG 218 nie non troppo. (xu. J~02) s016-40 NIO% ————— * 220 AMIE vivo. (na. ds 84) — ——— 501-40 NiO 221 6016-40 iow Allegro. (M.M.¢. :t00) 5016-40 NiO99 223 2 of E ee Allegro..(M.M.d 118) Bo1e-40 NiO 226 Allegro moderato. (4.¥. 6s) — =— =—— Reais yy — jet ae 016-40 NiO ANL9 non troppo. (MM. 4-72) re Nee so1e-40 Nios | % | } i | E f i | | | i | | i i mf ~ SS eS ae Tempo I. (J-92) 8016-40 Ni089 mf 230 Allegro. (x. J -100) =. 8. 231 ai i a Sanaa 232 Allegro. (M.M.d: 112) —=_ eo PP PPee te. P te creas ——_==_— o§ ———— aR A ER EI MTSE PE EN 233 ra e Soret sonia —_== ss ? 234 Allegro agitato, (MM. d=120) 5016-40 NI099 236 Allegro. (M.M.dzt32) — s0t6-40 NiO All? moderato. (M.M.d=108) B016-40 NiO gaan Sass Hanes SE 2 c BS a Se a All® molto vivace. OtM.d.-98) ed F686 of haste cele Sos oe — — 4 ———_—o facie tition —_=== a x ee mes Mineur. 242 All? moderato. (MM. 4:02) = 016-40 Now Fe sted ine, La ete a tet te, tot Calne, ANL® non troppo. (MM. dos) > —— toue-40 nye F 3018-40 i099 246 Allegro Oem. 16. 010-20 NO 247 — os —=>= ._ a — OO so16-40 NIG aim = OPP 248, Allegro vivo. (ma. J =t52) 34 bees op 250 Allegro vivo. (4M. é= 50) — 5018-40 NIOW® P I i | i 5016-40 NI059 252 Allegro moderato, (m.x. J —1) 19. f = = ee — ee ae Allegro. (= 120) = ———_—— So1e-40 NI089 <= —— ——<— 5016-40 NIOo aaa 254 Allegro moderato. ( u. J =72) ov so1s-40 N10%9 diminuendo. 236 183 EXERCISES FOR THE CLARINET FRITZ KROEPSCH EbMa jor. Revised by Simeon Bellison 8 er te ~ 43 paige mas ge Zt. = _> 7 ; E 16%, das ais _ ey ee 75. . “ 4 a gee —— Ee] a= fe Peng te = = P=" of SH 6225.29 Rov SS Cooyright MCMXLVI by Car isch, In. New Yerk Cort Meena Coppa Scared NIo09 6335-20 P 258 C Minor. 182. _— 183. 2. ¢ . __ fate a ares ss==2 5 =a a= SSS = 0 AR: es sea ashe ttt de = oress. —== _ 6385-29 Nios 260 6835 29 Ni039" ot Ni059 ea35_29 20'7,C# Minor. deoreso ett Gte athe == pet $F 2 6 = F Fe fF 2 Pee we ow Ws 2 225. xe So ce oh of _———— S— 226. ey A ; Ee fees... + rele eae ie FT a 2 —— = e vs a <2* « cen ~ do. Sf 6355.29 NiO» I i k | Ik beat — de ~crese 6325.29 NIE” 266 QBRF Minor. ease P ———SS. SI _ 234, Sete Ketabice, etere of —_ _——— ny 235. —- 7 a pas? - : ¢ 236. 2. of ea 6835.29 NIOW Ni pe hi +33 6335.29 Greece 268 2462 Major acti a oe ets eres eZ - ~e 0. S = ff tie SE es ete, i e i= fs <5 “ FS 6385.29 eG 223 t— of —— te 3 ——_———— P 6336.29 Nio» 3s5_20 NiO of ———— —— —_—_— 6335.29 NIT 274 2853) Minor. 292. pesivis toes Ca eets? rare ai = anne ee2ce, eo scat aes 3 : mene do ft S=_ * cle ett te Bere" ——— SS 6335.20 NI ebb Poe a PEE E? === ti esee 276 298.F# Major. te~ 6525.20 NIOW a 3 g astsasnion Bo ore eh a, =—=>>= Pee Bae ee 7 ores S - o¢ : 6835.29 NIO% oad —_-_ 2 EE 6335-29 NiO Eftleles ces. — of SSS SS Sl 328. 2 — , ree Peete ame aS ee 2 SF 829. bee un et KER SSF P "eres cen - t Ka. er Gove Clete spree IT 330. 6385-29 Nio» de — eresc. 6335.29 NiO» 633529 NiO® 284, Exercise through all Keys. 6335.29 NiO» Russian Dance from the Bailet Clarinet in B} “The Lake of Swans” P, TSCHAIKOWSKY Arranged for Clarinet and Piano ‘by Simeon Bellison Moderato, _— i er ‘pos @ poco crescendo Allegro EZ t==*> Lat nt nt Se? "poco @ poco rit & _ eS On adem = Phas S_? Poco « jpo00 acceletende 6 oress we — lpm # Coprnighs i964 by Cant Plath, Tats New Zork orrsigh 1041 by. we Jase ee "90% 20196-12 NiO» ‘Tnternational Copyri CLARINET in Bb Andante semplice = _—— vy = p 3 2 20485-12 NIO9 CLARINET in BS 27 | | | | | Allegro vivo > a 2ptn6—12 N05 CLARINET in Bb B. Rode, Op. 10 ee » Revie by SIMEON BELLISON | | | AIR VARIE ” | f ry : Published 1940 by Carl Fischer, Ine., New York Penta USA Clarinet in Bb 7 Un poco Adagio. Var. 3. PP oslenuto e dol. ReeG eer ee | Song-Dance of the Shepherd Leh! Clarinet in Bb from the opera “SNOW MAIDEN” N. RIMSKY- KORSAKOFF Arranged for Clarinet and piano Sy Simeon’ Beton Allegretto giocoso ‘ 3 Piu lento Piano = S ee rs og ee y ‘ oO a tempo ¥, go. 20842-7 NIO® 292 CLARINET in Bb Allegretto giocoso —_— |. =. —=—=—~~ eS See wo To Piii lento, maestoso sae eet 2142-7 NiO sen nanen er aneemnenernen ec nemenenminscmcninrecnsneanetnctene nil Oriental Song Clarinet in Bb Andantino poco languido N. RIMSKY- KORSAKOFF Arranged for Clarinet and Piano ‘by Simeon Bollison : pte re RES fo > poco rit ry RF Bp dolce RN SO I_O SSS = co Copyright 4964 by Curl Fischer Inc., Kew York 2otdi-s NiO Taternasfonal Copyright Secured