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t 11.

99

G A
/ A
T
I / I
T ^ T T T ?
J J / X V

CLARINET
METHOD

Book 1

by
A v r a h m Galper

with accompaniment chords by


Rob Carli

ISBN: 0 - 88909 - 171 - 4

PUBLISHES
351

M u s i c CO. LT*.

5.995 by WATERLOO MUSIC COMPANY LIMITED. Wafcrloo. Oncano. Canada


Internafonai and Umtcd State, copyngh. secured. AJ1 Righu Reserved.
HOW TO PRACTICE
Here are some basic rules for practicing properly. Ask you teacher for help in setting up a practice
routine that's good for you.

1. Set up a daily practice routine and stick to it.

2. Know what you want to accomplish in each practice session.


It is better to practice WELL than a lot of time carelessly.

3. Do not ignore difficult passages - practice them SLOWLY until you get them right

4. Warm up on the low register Tone Development Exercises.


A well developed sound in the low register is the key to a beautiful clarinet tone.

5. Play with a full sound - make sure the air stream is steady through
constant abdominal support

6. Listen to good clarinet players in concert and recordings to acquire a conception


of a good clarinet tone.

7. Use good quality reeds and change them often.

8. Keep fingers curved and near to their respective keys and tone holes - practice
in front of a mirror to correct finger position problems.

9. Learn the fingering combinations in this book - the command of many fingerings is important

10. Always LISTEN TO YOURSELF to make sure that what you are playing is in time and in tune.

Fingerings are presented with a chart and picture of their own in most cases. Pupils should learn these
carefully. Knowledge of different fingerings will become invaluable. Here are explanations of some of
the signs used in the book:

a) I 1 TOGETHER, play the notes below (or above) this sign, TOGETHER. Use the fingering
shown
b) Although there are other notes between the first B and C, play the first B and C TOGETHER
without removing the fingers for the notes in between.
c) I LEAVE ON. This sign means to leave the C key depressed while playing the note B.
1
d) I This sign is a combination of two LEAVE ONY

YOUR NEW MOTTO: PRACTISING PERFECTLY MAKES PERFECT!


LESSON 1
To start the sound: (1) touch the reed lightly with the front part of the tongue. (2) blow into the mouthpiece and pull
back the tongue AT THE SAME TIME. Remember: without blowing, there will be no sound!
Start the G with the air and tongue movement AT THE SAME TIME. Do not stop the sound with the tongue.
J - four beats to the bar. ' - take a breath.

III SBL > (Q


TP"
1 2 3 4 1 2 3 4
1 2 3 4 -e-
1 2 3 4
• •
1 2 3 4

o No fingers o Close the left • Close the left 5 Close the left • Close the left
o_ on the noles. _o_ hand thumb. o hand thumb and • hand thumb and • hand thumb and
o o o~ index finger. ~ first two -~ first three
o o o o fingers.
o o o o fingers.
o
o
A half note Jd equals 2 beats; a whole note o equals 2 half notes.
CD Start the slur N • with the air and tongue movement AT THE SAME TIME. repeat sign
(a) Keep blowing to support the sound.
-4 r— 7 7 7 7
1 rl
Jf f / T T " .a h—— 1 J1 1L 1
L_e 1 di L 1
J
o 1

(b) 12 3 4 1234
7
3T 3t 22

2 34 1234
(c)

d *

12 34 1234

o=J+J+J+J Your First Notes


Bb Eb Bb 9 Bb Eb Bb/D F Gm Cm F Gm

2E 1 J J | J
J J J ^ i J J ^ ^ ' J J i ^ i J u ' J J ^ 1 J ^
Bb Bb 9 Bb Eb F $ Bb/D Eb F Bb

J J I J1 II
m
w m * a

Your First Tune


Try clapping the rhythm while counting out loud. Ask for your teacher's help.
Bb Dm Gm Cm F . Cm F F/A Bb

' ^ a — 4 —jpi —(S j j ~


J J J J IJ ^

Gm D Gm y Cm F ? Cm Eb Bb/D F
LESSON 2
As you descend, make sure the holes you cover are completely closed, or else the instrument will not "play",
or it might squeak.

> (B) » (A) ' (G) — — —

.CpL_ . — —
,

• All left hand • Add the middle J Add the first two All the finger
• finger holes JL finger of the fingers of the holes closed.
g closed. o right hand. • right hand.
o o o

J . - the dot after the half note indicates that its time value is lengthened by half; therefore J. = J J J
[~4~] | - three beats to a bar.

J j ' J J j U . ' J J J N j j i j j j

1
J 4 J J U

Folk Song
fs] Support the sound.
F F ? F/A Gm C F

Gm Dm Am C7

-^7

Study On The New Notes


Play with clean finger movement.
Bb Gm Bb _ Bb/D F Gm

Cm Bb/I) I t> ( I Cm 1 Bb

4 ! 3 3 ' £ f r J I J -f J I j j j I J - - f J J J i j j j I j p i ^ p
LESSON 3 Review of Notes You Know
m Do you remember the names of the notes?
1
— Write the name below each note. Listen for steadiness in your sound as you play.

i
Vi 'i ' J ' j 'j ' i ^ F i

A slur from one note to another of the SAME PITCH means that they are "tied".
The player does not repeat the "tied" note again* but adds its value to the first note.
\ - two beats to a bar.

J 1
J Jj U U

JjljJUjljIjll

j . n A quarter note equals two eighth notes.


7

1A2A 1A2 A i A 2 A !A2A

The Bee
10 c r* c c C F C F C F

t
F c F
» 1
| • | I | ||

Christmas Carol
Observe the separate and slurred notes.
n Gm Eb D Gm

D Cm Bb Gm

-^—r ^ ^- J u j j JU- i
Bb Dm Gm Bb Dm Gm

4 mm
Study on A
Open the A key with the first joint of the LEFT hand. A and G should be
12 played louder than the other notes. Play many times.

HE
P

Study on Familiar Notes


13) Keep the air well supported so that the notes are well connected.
7

_4 al

Au Clair de la Lune
Play notes G and A louder than the other notes. Articulate ("tongue") the notes not connected by a slur.
Breathe only where marked.
14 Eb/Bb Bb Eb Bb Eb Eb Eb/Bb Bb Eb Bb Eb
Eb

T T
IK HE

Bb F Bb7 , Eb Eb/Bb Bb Eb Bb7 Eb

a m
m 3E

Polly
Play this tune slowly and sustained. Think of a good tone and try to produce it.
15 Bb Eb F Bb
Bb Gm

p * * m

Bb F Gm Cm Bb Bb/D Eb F7 Bb

^ 1

Melody
16 Bb Bb/D Cm/Eb Bb . Dm Gm Eb

Bb Bb/D . Eb Bb Eb F Bb
LESSON 5
There are rests, during which you do not play, but count time.
one beit
17 four beats two beats (quarter
(whole bat) i half bar) bar)

<• 1
^ 1
". '1.1 ^niii - ., Z« la n - "i ^

1234 1234 1 2 3 4 1 2 3 4
18

j ^ . j ^ ^ - j - p E p ^ - j — Z — j J j « - ^ | «i j ^ j j j j J •^^--J-j^.-J-.^——
1 2 34 12 34 1 2 34

Try not to breathe at each rest Take a breath where the breath sign is: '
19 Clap die rhythm before playing.

f c
J JJ iJ J J * ' J J J * 1 Jjj> » I J J J ' I M J ' i j J l B j

iiPP
Long, Long Ago
"D.S. al fine" (Dal Segno al fine) means "return to the sign & and play until
you get to the word 'fine', (pronounced 'fee-nay') which means 'the end*."

m BI,
i
F7 F7 Bb $ B b

* 1,1 J j j M j j
D.S. $ al fine
F7 Bb fine Bb F7 Bb Bb F F7 Bb

3*

Bb/F F Bb
LESSON 6 Low Register Bb Warm-Up
A flat (») lowers the . .
note a halftone. |22| A flat (b) or sharp (jl) applies to the same notes in the bar. Play this exercise 5-10 time*
7

Support the sound.


Sostenuto (sustained)
23 Eb Bb Bb7 Eb 9 Eb

Fm Eb/G Bb Eb Fm Bb Eb
1 11
• r f 1" • *m | — >
ij
i u j v«U JJ
Fm Ab
Ab Bb Eb
B Ab Fm Bb Eb Fm Bb Eb

Hickory Dickory Dock


Observe the rests.
24 Eb Bb7 Eb Eb Bb7 Eb

3 ~ *
1 2 , r

Cm Gm Ab Bb , Eb Bb7 Eb

~B * ^ **
1 2
Study in Waltz Time
Support the sound in this study.
Learn it in a slow three. Then, when it goes well, try it in one, as if in a waltz rhythm.
13 Eb Bb7 Bb7 9 Eb

• -wt. -m w •

Eb G7 G7 Cm
9
• il MJ I s * r J ^ aj'

Cm Fm/Ab Eb/Bb Eb/G Bb7 Eb Bb \\

llP •m—w I I I I l " l


LESSON 7 Low Register Warm-Up
|26| Play this low F study with a well supported sound.

St. Paul's Steeple


[Tfl Play with a sustained sound.

- 1
1 ~
•4

7
l i t
1 , 1
J ii 1
t to
Ariafromthe Opera "La Traviata'
Verdi
I 28 Bb7 y Bb Eb

Eb Bb7 ^ Bb Eb
I

Ab Eb/G Fmin Bb7/Eb Eb Bb7 Eb Bb7 Eb

J ' J J J U j ' j ^ J ' i J ' ^ R J i f f P


Nursery Tune
29
Eb Bb . Bb7 Eb

Eb/G Eb Fm Bb ? Eb/G Eb Bb Eb

L7
LESSON 8 Low Register Warm-Up
30 Play slowly. Siiipport the. sound in the large i nterv als.
(Bb) 7 7
Jp a h i— **i
1
J - J -

ir rn
7

J
^:
__, 1

rjjj You have to open two keys for the Bb. (keys 10 and 12)

•J —

__J_J LJ #LJL_
i

4 » ' I J J J ^ l 1
— i>JTJ j - j -
9
II 1

More TIED NOTES. See lesson 3 for the explanation.


33 Eb Cm Ab Fm Bb Bb /D Eb Cm Ab
»<© j mJ I - h i =s = s = : a
-—
r - *• a

4^4- 3-

Bb Fm Bb Bb/D Eb
LESSON 9 Low Register Warm-Up on Low E
Before each practice remember to warm up with these low register exercises.
You will get a better tone by warming up in the low register.
(E) 7

TJT

* 3 4J T I 1i 1

-n
Golden Slumbers
Watch the counting in the last four measures.
Bl» Ek . Bb

•9 r
Cm G7 Cm Bb Bb Eb F Bb

Jfc j l j J l j J Ij p p
J_2^3 1 2 3 1 2 3

Landler (Austrian Country Dance)


33 Eb Bb Eb Eb Bb7 F7 Bb

Bb/D Eb Bb 9 Eb Bb Bb7 Eb

Review on Low E
37

( l 1
f*4444 4
L E S S O N 10
Play this warm-up slowly and repeat many times.
38
(F#)
7
- J —
.j *

7
—— —

TZ. * J.
-m- Tm-

I ""I F# Warm-Up

j j J J~J J J $az^zlzi: ^ # » i o
-cr
7 ,,
m n n i = ^1 1 j j p
vy j 1

Most of the notes are articulated (not" legato" or connected)


S3 F Bb F Bb F C F 9 F/A F Bb 1

* — * J M ^ J I J J J J l j j I M l
Bb F C F ? F Bb F C F/A Bb C I

v—v i i Ij j ^ 'J J J J J j j ' j

|41 j Tell your teacher what you think is different about this tune which you will recognize from before

I N

m *—zx • 'i j j i 'i J j m


English Country Song
42 Bb C F F/A Gm/Bb C F

. . * * 4 j J 'j j i
mf ^ ^ T • 7»»
Bb Gm C F/A Gm/Bb C

P i *—zr—zr w" ^
LESSON 11
Eb (»)
f j !!",!, J!!"" _
| *
' w M
'll
* * WW "

^ 7o
o -J*—
0
• T T •F H "T=*f 1
o
o
J , . »• • J" • m
s ^ 1
W ^ #
^
Eb Warm-Up
HI] Play many times!

m
Here We Go Gathering Nuts In May
S3 Db Bbm Ab
Db . Eb Ab Eb Ab

m R R
J |J
Db Bbm Ab Db Ab7 Db

9 * # M\ * — »
H0±

4 6
Al> Eb Al » Eb Ab Fm Bb Eb , Eb Bb7 Eb Bb7
J J ' 3 r

n J J»#

m m
1

R R * -d

Eb Eb7 Ab Ab Eb Ab Eb Ab Ab Ab

Early One Morning


Play the sluirs as iridicated. This piece is in Bb major, play Bb andEb.
4 7
Ab Ab/C Db Ab \b/C Db Eb
—Ez! - I I I - I I I
J JJJ « a
J " J I •
J
L E S S O N 12 Remember the Warm-Ups, lessons 6-11
The Dotted Quarter
J.=J J> +

Oo you remember what a dot after a note indicates? Look it up in lesson 2.


In this lesson you have quarter notes lengthened by half. Ask your teacher to help you clap this rhythm.

Count: 1 A 2 A 3 A 4 A
Home, Sweet Home
Ab Db Ab Eb Ab Ab Db Ab Eb Ab

A M * , f*1

Ab Eb Ab Ab Eb Ab
5 35t i—j^—^ZZ^- J "-^ 3t

The Merry Peasant


Follow the articulation marks carefully. The key of Bb major has two flats: Bb and Eb. R. Schumann
[50] E>b Ab Eb Ab Bb7 Eb
111' » -4 —H
—J
r 4 -4
Eb Eb7 Eb Eb7 Eb Ab/C Eb Ab/C
Jr+- 1 K—
— — mY *
r I S
/ ^ — -
r r
Ab Db Ab Eb Ab Eb Ab-

Deck the Halls


HI Ab 9 Eb
Eb Ab
Ab Db
Db Eb
Eb Ab,
Ab, Eb
Eb Ab

L | : J 1 l :
¥ * - ^ J j J J j j g u - j>li j j " i J J J I J . H p
R R
Ab Bb Eb Bb Eb , Ab , Db Ab/C Ab/Eb Eb Ab

NJJJJ^J>Ij j j II
[52] Listen for smooch connections in the large leaps.
7

|53] Repeat this warm-up on Ab many times.

f t* ri JfJ j j l II I Ij I 1
*" J J J W J * J J ' l y j J J J y
] j I I ji H
1 J t J J Jg" J J J
l-ij 1. J ' " j n
i w j w^J J
I :

Lullaby
Bb7 9 Bb7

Study on Ab
Practice this study slowly and repeat many times.
LESSON 14 There are many warm-ups in previous lessons (6-U and 13). Play them before the new maicnal |

Warm-Up on C#
56] Practise this warm-up many times.

J'ai du bon tabac


Alia Breve: two beats to a bar (the half note gets one beat).
LUI ft
^ G D7 D7 G Em
' Am D7 G , Bm Em Am Em

l l l l
f *jJ|ij JJfi'JJ |ii jJfij JJ|J a 0'

a Bm Em Am G G/B Am/C D7 G G ^ D (i
^ i 111 , , 11 i il | , , i , i 11 i I I I I \]-=\]

Oranges and Lemons


P 7
i i ° f O G t D7 (i

Thanksgiving Song
G# is the same fingering as Ab.
G C D G Bm Em 1)

^ 1J ^ J a —<i a y ^JV J- ~j J ^ • ^ < ^ - j $ ^ E E ^ »•

v - - =f#=j —]
^ —
} 1 1 , , | . ;l
J J1—J1—L :
|

*
I LESSON 15 Warm-Up on Low F#
1st and 2nd endings: When you reach the repeat sign under the 1st ending,
RETURN to the beginning and play again. This time, skip the 1st ending
60 and play the 2nd ending.
(Ft)

P i

Coventry Carol
62 Fm Db Bbm6 C Fm Bbm Fm C7

IP'
R R

Bbm G C ^ Fm Bbm Fmaj

1
i tJ'j J ' j F l
H — — R K
63 c
c G7 G C
7
i
# 3 * * * y ^j J J
1
j. 1 LJ I j ll J?'

1
L E S S O N 16 Warm-Up With Low G#
Triplets: Instead of playing two notes to a quarter beat, you now play three.
(G»)

m *
M I
— 1
— 1
4=- - #—
r

Swedish Song

PL

English Song
c G D D G G A7 D C G/B
t_
i 5

Am D G Am/C D G C D G

I J Z J 1 4 Ij^jjJJ. " j ^ T O i I I P

Ole King Cole


Gm Eb D Bb F
*
6 7
Gm Eb D7
*
_L|__^- _... J J 1
i - i1 0 ' J g ^ 1^
LESSON 17
The low register you have been playing until now is sometimes called the chalumeaux ("shall-u-mo").
The chalumeaux was an instrument that existed until 1690 when it was improved and turned into the clarinet
by Denner. You should develop a good low register by practising the various warm-ups during these lessons.
This will enable you to play the upper or clarion register with more ease.

/T\ - fermata (pause)


Play the low register note strongly and ease into the clarion register by opening the speaker key (#12)
slowly and gently. Yon may have to increase or decrease the blowing to suit the transition.
You also need a good reed for this. Listen for a well focused sound. Hold fermatas as long as possible.
Now name: (F) ^ (GL /* (F) ^ (E) _ (D)

69
c. P~1 mr m~*- E." m 1 m—i m—#

r*—
—1_ ——t—

2SC

Your First Tune in the Clarion Register


L E S S O N 18 More Clarion Notes
The low register notes should be played slightly louder than the higher ones.
72 (D) tB)
3 B i — ~f* * s: ^ » > — t — - —
, i — i — i
—4 ! 1—>\

P / * i >

—^-fg—^.rf^-^i
jp 0 -«•= • —
0 0 m • "
JF *f—mt 0 •
_ P — . — p _ .
r ' r

—» 0 • #' j | —
- ^sS!SS
^ r r f r ' r 1
r T r r 1
r r r 1
4- 1

Slowly Connecting
74] Gm Eb Bb Gm Gm F
_* • p ,» . _~ a• -
"• • TITS -M—0—_——
* "
:
±=# —F~f-
F Cm F j^k. Bb
7

0j-
pi
Study With Right Hand Clarion Notes
75] Bb Eb Bb Eb Gm gfc. Cm F Cm
w.

E__^Bb Bb Eb Bb Eb Gm Eb

0=W * f rr f jc
Bb Gm Cm Bb

r r i Q r r r r r > ii

The Tree
76 Bb F Bb/D Eb Bb/F F Bb
fine
—y—-y—' MMp> >i| mi M*MM. JL«w H M H H • m' ' 'MMMM
y^^^p——^^WMWMMH^M-MMM
III MWMM. »' '•• -"-^^MMMM—H ^ M M M M H M M M H ^ ^'"^ '" 1

^KBM > M
«2lMH0Ka HI IM
M .
—M IM
M
'•"» " ^ B * "
M MHHH M MMW ^
a
W MMH M
1

M M
•MJ
M K
HMWMM B
M
0^m*mwg-40m
M
K ^ ^ B H . KM HIWH P M —MI IKMMJMHMM M
M MMJKJ! — I M ^ H a HMM MMMMJHEIH MM
WM ^ w ^ p H H P MMM.
I » — M M M M MM MMM
N MO
T
M M
N MMXMBLM IMMMMW M
—i.n.n*
M M MM I MM M
MMM M
tmm mm•ii—..
IMMpajwHiM ——.i HL M
MMM K n w n J ^ M n n
M MMMMMJKMM MMM^LM I fiff B,
1 1 1
LM} -- - U " j U M U \ U ' [ 1 ]jj 1
' | 1
J '
1
~ m
'' [ I I ' [
I LESSON 19 Preparing to Go Over the "Break"
Where the chaJumeau register ends (at the Bb) and connects with the clarion register is called the "break

I fM W
ftj * J * d J • If
« 0
I
j J j ll
I* ± 'V-

When crossing the break downwards (B to A) make sure not to lift the LEFT hand index finger off the
tone hole BEFORE opening the 'A' key. Keep the RIGHT hand fingers down plus the little fmgers of

t! m both hands pressing on their respective keys. Play the note 'A* louder.

r i
f l If If If I* If l*=tf a

• Farewell, Winter

79 p Dm C7 ^ ^ F Dm Gm
m m • m—3T" -m

ffi * f—f—^— T r J 1
if r i if L T r i

Dm Am C7

m ft j f f If ' J f If f f
L R
J L

First and second endings were explained in Lesson 15, if you need a review.
80

Oranges and Lemons


81 F C7 F F Dm Gm C F
in 1.0 . 0 _ — _
—0 £—~ 0— .'1
$4-l--f—
f=Lk lj» J J«* 1
r *

ll c C c Ajn Dm G C
1 J l Jl | • 4 * - , f=f=f= =f=mr--
j=
ll y 0 \—m

0
a
7 " ^
J
J JJ1 * ,
0 U. I'
L E S S O N 20 Warm-Up with Low E Left Hand Little Finger
rs
How E)

j J J J J J 4 J 4 L U j i j i j J j U i ' J J J ^ f
_L L ^ L — . —

Girls and Boys Come Out to Play


Play A and Glouder i. '2.

— — |j j |
-r--
« «_—1 j 1"TBI—^
I
a

-fl —•-
r'
L R
a

k=4± L R
1

g4 Wheneverpo!ssible, lca\'e the little finger keys depressed whien crossin]I the >rcak.
7
—ar—IT M ~ ^ ^ _K | ^ m
P « J' ^
-(Jk t" P P a r T * ~e

85 p F F/C C F
Jr ^ v x —n - v = r r ^ i ;.—-M 'i *P
-# J—*—p— a) ' a _ .....
w r r f I I i r ' 1
t = H =
F C F C C |dim
C F

$
Jf i 0
P m
r r J 1 J
1
' '
1

r
lL
^
K
0 '9
i
ij
a
j .
a f
j i_h, r-J
4-
i j
e r r
P
J aJ M
f Fi m m

Dm G C F F/Eb E b/D Bb F/C ^ ^ C F


r-*^" • • - - ^ i
— ~ m m A l l . —a
# vj* J r 1 r r r r 1 r
m\ P a r —4
LESSON 21 Over the Break Studies
HI
These notes are sometimes called "throat" notes. Generally,
Tf5— n they should be played slightly louder than the other notes.

4
fc9.

Leave the little finger keys depressed when you can.

4 87

S I
4 * L L r J J J |
c x r

4 Swedish Song
4 88 F/A BbC7

I C7 F F 3k C7

4 CCf'IfLf JljjjJJJ m

The low notes you see are the equivalent of the clarion register notes. This shows you the kind of jumps
you have to make when you cross the break. Practise first with the low notes, then with the upper notes.
i

Little Piece
R. Schumann
90j Bb
f Eb Gm Bb C F Bb Bb/D F _ Cm Gm Bb F7
A m m m i f- v. 19- m—m-m—
I
Bb F Bb Gm Bb F Bb I °_ Cm Gm Bb F Bb

I 5
L E S S O N 22 Over the Hills
1
<F*)
I
V v c r*r r i M r iirtfi
12
# • > ml * • p f , 1 —^_iL_5?—
1 ,gt
1
11
mi f T • " L J M i •i = B1
I .
Over the "Break" Review

3
I [J 1 I 1
^P R R 1

1
111 1
^j^^^jMT ' """"" """" ' ' ' ' ' p^""™" ""'""""** ***""*" """""""" • mmm
" M™™™"*^^" M ' • •MIIWMIIII

o
o ^ if
L L R
I
- 6 beats in a bar. Mozart Theme

93 F/A C OE F/A C F/A c cm


I
3=3 j» Qpj» "J | p- pp |*" | J . *t=^~
L R L R R.L L R
F/A F F/C F Bb Bb ^ F F C E F/C C II

1
L R
F F/A C _C/E F/AC F F/C C F F/C F

Tarantella
|
Learn to play this dance slowly. When you know it really well (and your teacher says it's OK),
play it a little faster. Always, though, practise it slowly.
(l
II

1
LESSON 23 Low E - F# Transition Warm-Up
H| [95] Keep the little fingers VERY close to the keys. This will smooth out the technique.

^1m t 3: if.

m 1

m ^—i^if 5
w I* IP * a
9 7
7

N Sing a Song of Sixpence

ft Em C D

R L

>
-Hs 1—f=—• 1 \
. J f f i J1 1——
j J—J—J—J
1 1 • J ' -01 I • 0M l

Over the Hills


Alia breve: in two
7

:
C D C D
ft

R L R

Scottish Song
If
G O C D

q
4 'j U4 j j ' J J 3 i zQ'J J i ^ * 3

R L
• I ^ Em Bm Am C G C D G
* ff '

q
R L
L E S S O N 24

In a quarter note there are four sixteenths. J-J7J3 Sixteenths do not denote fast playing.
Practise these exercises slowly and then slightly faster (with your teacher's OK).
99

1A 2A 3 & 4 A 12 3 4

cur \fj

1001 Practise slowly


T f f rIIIB— rnnT rill—in p^^^ P*PS
m
' p— jJ ^. 0 ' 9 0 "

zzz B B B B B F P B M T T I I

Remember the previous lesson - practise slowly and keep the little ringers close to the keys.
1011
A
Play MANY times. • • • • • •

l
& f7J3f|» r|J' JJjJJL llj i j ' j J j i ^ l J ' W S J J J ' J I j 11

Warm-Up
LESSON 25 Warm-Up With Right Hand Low E
103
E) 7
I .(low

/XL f 1
7

* R L
L ' —

'
1 j B J j ^ j l ^ j j j j U^W=
I
Blue Bells of Scotland
I i l o w F#)
104 D G

-fa r
-JJ
.

I D G D/A A D , D/F| Bm

tap
fljj A E A D G D G D/A A D

i
Merry Widow Waltz
Lihar

C D G Em C D B ^ Am D G E m C D G

zr-m

When low E preceeds or follows low Cf, play the E with the RIGHT hand litde finger.
Learn the use of either litde finger to play tow E.
106
L 7 L
I 1
J _. - J
w w P
i':
jU w w -w 1?
^ R R L L R -5 R R
L E S S O N 26 Over the Break through Bb ii

b
1
When crossing from throat Bb to the upper register, leave the 'speaker key (#12) open.
Make sure you keep the LEFT hand thumb hole closed.
107
m

3E
+ m? my P

ii
Rondo

J J J J L
7 b
Eb Bb Eb, Gm Cm :m Ab Bb _ E b
s

_ ' L L_,

1J-, T r J J
nr r r i[ ' J J '1 4~B 1
k

Drink To Me Only With Thine Eyes


Andante ( 7 - eighth rest)
109 Eb Ab Eb _ai. £h. i . Eb [fa

m m m » 3e
r P ' U L T
h
"^Eb Eb Ab Eb Bb Ab Eb Eb/Bb Bb

m
* m k
D.C. aifine

The Lorelei
Moderato (in 6)
110 Ab Eb Bb Eb Bb Eb Bb7 Eb Ab
Eb
S—m ' . 0 m 0—0
M
# j # 7 p |_=z~_ |_ I —
1 2A 3 4 5 6
Eb Bb Eb Bb Eb Bl> Bb/F F

S i
•urn
Bb F Bb Eb/G Ab Eb
1
^jj 1 1
."'Ti'*' '' '^ ' • •• wn.i.™.j^M«gSflr^ I

""^ pTr p — ••MP

fe

fc
LESSON 27 More Clarion Register Notes
Practise the higher notes the same way as in lesson 17 and 18.
Warm up on the low register exercises you have encountered so far.
(A) * (Bi, /*

/ p
I l » j N
/ 9
f
> l 8
o
1
/ p
Hi!
o
o
You need a good reed for higher notes. rr1. ' r'2.
1

L R

Nowell
Moderato
1131 Bb

Blue Bells of Scotland


Bb Eb Bb Bb Eb Bb
114 Gm F Bb Bb/F p

mm f r r i r r t f

Bb/F F Bb
.h*li![ifrll r
¥n.^Mn.nX X^T
l
t
H^T!^—.-. mmXmmmwmtm+m-mgmm^ \m«a n i •• 11• 111L^l— • • n- m\\ i J^nim I |II LNIM "" » fl^ •• " ^ ^ ^ .. " ^ ^ ^ "fn^T

[-z* m z-p: I [ faaz: 1 | q^fc-p-[, 1 H—1 | - j — | U


New World Symphony Theme Dvorak
115
(2nd X only) 1. ir
(A) Bb C7 C

3T « ' O

Bb C F/ABb Bb C Bb Bb C F/ABb Bb C

Dmin F/C C7
C7 F C/E

i t
LESSON 29
121
^ Practise this warm-up many times. ,

1221
T T B — j [ ( j f $ f TP- *V f l 1
1 J

J - i - j ' ff^y - J L44=T*

RL R L R R
Marche Slav Tschaikovsky
723] Cm Cm Cm Cm G7 Cm G7

Musette J.S. Bach


D A D D G LVA A/C#
D
(D#)

f* (G#)

D D D/Ff D G D G D G A D
^ ^ ^ ^ ^ ^ ^ ^ | pMMMMMy r-^.

Bless This House


125 G C G C G P G G C G C G D ^G

i / i Jim r r
~iff f ) ; i
P fi'p J « J 1

G C D C G C D G C _G D
M \%& P tf i $P PJf, ^ p » p » - WW——Ml All m—«MILWM^ p — — w
*m \ * m |» j * P^pj HE
I
L E S S O N 30 Study on Eb
"f26| Play Eb with the little finger of the RIGHT hand.

Sonate Geminiani
127 Fmin Rbmin At Gdim Fmin Dbmaj7 C

p err igffr if pNijar P


fSP" 1

Ab Eb Db Eb Db Eb Ab C/E Bbm7 C7 Fmin


7

C with the Left Little Finger


1281 Bbm Ebm
*5
p p : jft f i r ff
L L L
Ebm F Bbm Bbm

L L
Ebm F Ebm F Bbm Bb
1
is*-

The Steeple
129 Ab Db Ab Eb Ab Db Ab Eb Ab

Cr
* irr[fir J M j p
Eb Ab Db7 Eb Ab Db Ab Eb7 Ab

* 1 r* i » 1 L
ML
iir
j j g E i l i
LESSON 31
Practise the low register warm-up many times.

Greensleeves
HO Ia6 Bbm Ab Bbm Gb

Bbm Gb F Gb Bbm
I • , It

Andante
Play slowly and expressively. Eb Ab Ferling, arr. Galper
132 Ab Cm
• T F m

Cm Bb Eb Bbm Eb

^ T f F9+ Ip Jvp f z|E


* i r per [f N ^ c j r j "
^ Db Ab/Eb Eb7Ab

L L
uTj-i[x£fJCpr t*"
My Sweetheart
At first, play in 3 - one eighth note to a beat Then play it one beat to a bar.
L E S S O N 32
M
\*'Ll each hand. The note produced by this
ipper register. Ask your teacher to showfl
Ii3 properly. rked" or "one and one". While intended!
X S ?or practise wim the "X" fingering is slighUy sharp in the
o low register

* - Gb is the same fingering as low Ff. ** - A t is the same Fingering as low Gf.
o
o_ Upper Bb played with the "X** fingering. This is a very good and useful note. Learn it well.

o
o
Eb Bb

Play the low note mezzo-forte (medium loud). Although the upper notes should be played a litde softer,
try to get a nice "ring" to them.
A Ak7
Db/F.
•0-
^ Ebm Eb7 ^/^6k /^6i.
l 1
— hd r —j—w~f—I—-frp-T —jrd
• » • ' ———4gpj—— ' ' "~WMW~~ [ l^* " J^mi———
X
r J
Db Db
/^^M. /^$M. . /_%m. /^fei> ^T^'^'f* ^^4*-
j i »/•' TrT[ iI ii r#rr ' i Ii iI Tx T r' i Ii . r T T l . f r i
L 1 . f
m + U 1J uJ 1|>J U 00
— —

-« • R =^===^—1^- R—NLfc
LESSON 33
llifl Play all Ekj with the LEFT.
• • $ „ r l• f T T
JJ
Bo'* JU '-jrtMP'
i r r 4
r» I.
Eb with the LEFT
is very useful.
Work on it.

Marche Slav Tschaikovsky


B9|

4& J—J •1 1

~i r -111
— W-—J-—i J^J J J —^— 'J. *

The Huron Carol


140 Ebm Fm Bbm Bbm ]Ebm
— 4 • j —j—z 1 1 . 1
.11 J J , j 1 jr-i r-
ffi* I i1 ^ _ _ L
*"jr. -4— J-W—--

7
1

# 4 r -B'
' J J J W 1

J i i Jy i J j ^ ^ L
Study on E
b
b —..{. • • "* j 11 1
**J.* » 1 _ w
w
r R R w
# W
R R r R
1 R R vl.^ L

1^ 'I,,! I I I , T R
LESSON 34

Exercise on Eb
144
b b »b b b

^ bb > b b b b
^ ' J l l J I I i J I I1 J I sI I*
» 1 S ""M s R R
„ Gl./(F»)

Chromatic Study
50 Use the Gb (Ff) key (key 5) with the third ringer of the Right Hand
o Ab Ab
145] Dbm A Dbm
0 m • M0 0 i \m^mW0
m
LESSON 35
-•=r: is the symbol for CRESCENLX) which means: start softly and increase the sound gradually,
146 is the symbol for DIMINUENDO which means: start loudly and decrease the sound gradually.
j f Wk — —-

ml — ^o- - 1
'

22 -0 w a ^ w

Play the CRESCENDO or DIMINUENDO at the middle of the bar.


Slowly
147 Bb Cm F Bb

jj? J ^ J ^ g
Bb F7 Bb F7 Bb

22 Jjljjjjljjjjlpl

Start the CRESCENDO or DIMINUENDO at the middle of the bar.


Andante (slowly)
148 Bb F F Bb F Bb

Bb F7 Bb Dm Gm Bb/F F Bb
9 7

j j i j ^ ' i y i j j j j l j . Ml

Study With Triplets


Bb F Bb F ^C^ F ^ Cm Bb/F p
149
31 7

f 1 cTftiriifLD y QJ U J rni I T rn^j ^


C m
Bb Gm F Bb Gm Cm p
41 1—T I » -^"ai
L E S S O N 36
Staccato means "detached" or "separate". The procedure is as follows: 1) Lightly touch the reed with the tongue.
2) Blow arid move the tongue away from the reed at the same time - the sound will start. 3) Lightly touch the reed and
the sound should stop. Touching the reed should be done with the lightest touch and with the front part of the tongue.
Play staccato with a lot of air. Generally speaking, the value of staccato notes is halved as shown below.

150 j J J J S Pkyedlike Jlf

Twinkle Twinkle, Little Star


ED BP Eb Bb F Bb F Bb
7
Bb Eb Bb F Bb F Bb

1
Jk ' J J
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J.—
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J.J.
j 1 a a — —^J-—<i >
• — :
f f 1
m m

£ 11I m
M j - J > i _ _ _ _ _

—m—a j ^
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ i —

~W— * a a ' m m g J
0— JJ*
Mixed Slurs and Staccato
1521 Bb Gm Eb Bb F Bb

J 4J l*» IIfr* |r
~ T # 0-
c c 'r
F/A Bb Bb

J
4 II Mi i^rj.
0-

9 __£__..
8 r f#f= =£- L
7 r— #1 ma
1_ 1• — f p j
_ j _ _
J —

#
*
~
_ -._ .
4=
m

L ' R 4=-
Eb Bb Bb/1D _JEb F _Bb Eb/G Bb /F Bb
F
1 J i l l m =ff= 1 T—r~\
'R
J ' •LJ. 1 J i ±£= -J— - — <

'R

M e n U e t
WA M o „
153 Bb F/A^ F Bb_^ Cm/Eb Bb/F F Bb
P 0

Li * I—H
r /A C- F F/A JtSb _ F C/E F Gb F
c
m
r*¥lf 1 h f •
r_L_|
f l Tf**r
— -1 I ' I1 i

Bb G C A Dm F7 F7 Bb C:m/Eb Bb/1F F Bb
fc S * p t = 1*T K ^
- :fz
—Iu_. _,_jL-__" r f "
5
1
^ 1— h#-
~Tr _ T