Se ee ee ee ee ee Gaston HAMELIN Gammes et Exercices pour la clarinette (Glee Slop eeies) rine taster, Alphonse Leduc, 1s, fut Sit Hon, Pais aanPOCUCUUUU UU Ue eee 8 oo 8 eee GAMMES ET EXERCICES POUR LA CLARINETTE Gasrow HAMELIN Jo crois présenter ici un travail entitrement nouveau, ‘Tous Tes rereiees sont doigtés ass sinylement et clairement que possible. Un cotarmaton de a Chvincte agate Bak permet ubtenir tune diffrence entre Jai done classé ces doigthis, Los Lettres plueces au dessus des notes sont pour Uéilitinn Fi 1° 6 cganchey Dedrnites 3° exewption dourche ty Classification pour indie tablatwres tablature Klosé). Le chiflre 2 ion & phieve sur evs notes in SS yol5 —invdique qulil faut conserver tes deux pe tits doigtappuy sur los els. ae potit doit gauelw apni sur la elé d’une'de eos 4 notes ot Insdrvit appuiie sur la eke = Ly choix des doigiés PY po iment par be fait quis sonnent Pacis, ALPHONSE LEDUG Baleons lsloglen, 15: rue St Her? Copyeighe by Alphonse | At in B major and B minor for preswes the bry of one of the rement pls bust queG et D. | explained because it sounds rifts highs thot Lo R ’ 4 | ifte hig SCALES AND EXERCISES FOR THE CLARINET. Guston HAMELIN Lam presenting here a stuly which I think is entirely new, Ail erercises are fingered as sinply and clearly ax possible The structure ofthe Behm aytem clarinet pernity he plage tlie ifn ben eS ay et U have therefore classified the fingerings. The letters placed below the mater are for the English edition Legh 2-Rerighty Be Brooptian PL fork 0 rte Fate steamprin Ped (Tablature of the Klose Méthetes tout or teome tablatures 2 Pe F york» The fingering Fa is employed where are sonsitive notes. (72 of the chord.) Allin B major and B mivor for te he fo. The indication Pifork) plaved below these notes cur. = responds to & Kloxe tablatures The figure 2 tudi- $B Me inticn pce bl hve Si be wales that both litle fingers must remain pres eget the keynciThe lil finger of the ft. hand ‘note andthe lithe finger of the right hand. rants on The choice of the fingering Ft for $= fs eowily Lape ec! Tous droits texcontion de reproduction, ae ‘te eupacription et dadeptationsensibles sont doighés R2. parce quils sonnent plus haut que Pi et rendent ainsi plus effective Puttraction de la note sensible vers la tonique. Ge qui. pent paraitre aride & a Iveture de cvs indications de viendra clair apris quelques jours d'stude, GAMMES MAJEURES ET MINRURES Vécriture des gammes en permet de jouer chacune Welles trois fois avec des points dappul différents Les gammos éerites sur une stendue de 3 netaves sont combi- des pour eonserver ces mémes points appui. Remarquer les points plaeis av dessus de chaque nouveau mouvement ascendant, a gama minoure dite mélodique,tavee la sinte majeure) oa pes dtd “erite ici, ear oes passages carve sist majeure) existent dns les gammes majentes. Chaque ga ensuite répetce do grave 4 Prigts donnant ainsi Phomogéndité sur toute Pétentue de Tn Clarinette 34 sur une étundue de 2 octaves, if semsilve are fingered F2 beeause they sound @ teifte higher than FA and make more effietive the attraction of the TE tothe fonie What may oppear ambiguous in reading these intientions will be. come clear after a few days practice The writing of sealer in Yep, over a compass of 2 ocloves permits the plager-to play each one 3 times with a difforent fulerum. The sealer written in @ range of 3 octaves are combined 30 that the fulcrum is preserved. Netice the inlioation placed over each new ascending moveme) | ‘The melodie minor sale ls wot been written here beonuse the pas. | MAJOR AND MINOR SCALES ges (with major sixth) exist in the major sales. Bach scale is then repeated fram the low Co high register, thus giving to the tehale range of the clarinet a perfect homagenconsness. er eoeaenenea ee en-@ eee © Of 8 fe 8 eee eee 8 Re RE |“bauer es 3 vert ea laa & oe Se eee =r > > > 2 > = > > 2. > > = 5: > . = == = | = 2 = =) = 2 2» 2 = == = == = J =ya se sf eh wason ¥ Puur le-repos sur la tonique % prifirahle & Bt ene eee ee eee eneeeenea nen aneannaan ean ee @- |oo Ape Settee SEE frltess, ae € T R edger R uh Gases gos ener’ sym og =e tb anon ¢ aS O00 6 6 6 6 61608 © 6 6 6 666 © 6 6 ele ele 6 636 ee 2soubmautor 3 Gh mtsOR ca GRA Tsk sou sineu RRREREERE REE! aeeeeneneeneanenneO78) 6 0166 6 6 6 6 6.6 6 6 © 6 6 6 66 © © 6 66) 8) 6) eee © og wincon cf minonI rue ewee eee eeeeeeeseeeeeeessesesuvess teeee,. Chor # Ete Seri0 GANMES CHROMATIQUES Quolques exereices rythmes différents empl gammes chromatiques suffiseut,.Les s ie, dennent nne réigulurité poraite Remarguer que tons les sont doigtés G, La rxison vat,qnv los games chromatiguesFeritesiet sant tenis a "vie done exéoution rapide. Hl reste donc ent dans an passage chromatique dan mowvenvnt made los CHROMATIC SCALES A few chromatic stubios are sufficient, Brom the different rhytins employed here cnn he wblained a perfect regularity. Netioe that all the we fingered LL, The reason fag that the chromatin nenlon given here are to be studied with api eceeution in mind, Homever, it remaine enteral fingered Bor B2 if the notes are sesitveand th ill he fingered sor B ascording to the note: which ether pre eden of fellows ne aermaaneaneeaenennerrrarAnAHAAntet |4 } EXRRGICES RYTHMIQUES RYTHMIC EXERCISES sur toe on the GANMES MAJKURES SF MINEUNGS | MAJOR AND MINOR SCALES These exereines must he played Alugio,feom Ded to D=104 imazinuom. Thie i indispensible in order Im give fo each nole its erect place. Cos oxercices doivent tre jonés Adagio de daw a dete maximum. Geci est absolument indispensable pour donner 3 cha, que note sa place exact. Bxemple de la Aivision des temps Beannple in the ‘ivinion of tha Beate S9eeeeevueaeeeeseeeuseeudve os. eevee| S Sh | | | PRPARRAARARHARHRAARARHRAHHRHKRARAKRRARAR RA AAE : ve wes b s Seay = bee obais = ~ S eS, |> 3 A ° 72 =, bebe peed : t = fuee aes =o ED We Ge \ ; = are a “F se bebe be be 7 ? 2 ice ale Eset rybubebere ech EBbebaberei ur ot nN Dy pep bebeberere peer ERE Pee hs otets Sy 2 655 pe = SSS pe] = : = A oo ee 2 Sai 2 == = = Pr = ce Toda pee a =» => == Se rte D _—__ ———— fee SS SS = ioe i = | | L| | | edeael N www ta tatetal e's alata calaralalenetalalalanaleeee esd ee eee ETKEKSEEKOSKHKEKSTHTHHHTEES EXRRCICRS DE VELOCITE eT D'ARPEGES | EXERCISES IN VELOCITY AND ARPEGGIOS regularity grande égalité nt nine grande in déplacement. d'embouchure rt a ee sft ree *J ns cteartieette oefeee = ——— ce TTTrTrrrcrrrrrrrr rere rer ee eeee i- hy a | sl 4 : | ff FS == wR etieeet otf epenaaenanneneneneneeeeneeneneneeen ee @ “| @ 7dpaed | bie debiest ieee tee Peter ay / ; PPAR MAARRRAAOMAHMHRRARHRRARARe |SEES SETECEKEEHEHTEVEES | (BERBER EEE | | 4 |= | PPAPPMPAARAAAAARRATRAT HOH AHA ens :&@SFSseeses | weeebe eee eeeeeeeee5 555 e rele P spe oe eee at| i STTELELEECEEEELELIEin aephp bpcbacachpmrgg te te tecte—ecie tem te leecde ray He] t 7 c we eee ee ee b5 FFF SSF SSEESEHEHEEESS | —_ — pewsalto be studied in 94 © e€ e — \ex . | Teaernaaannnnenmnrean bb 3 ‘ Sos, ee 5 ‘ fp S= SU iene |ph A atey dette see = ffeks abet tey 64 | oy ey uae Foe as | (fag See Ea HEM. Bo osprey fe pete ais Stee ta a webeweseeeseeeeeseeeeseeveeseest? 7foe #egihe sibmn, Fy ea ‘TRILLES _ EXERCICE RYTHMIQUE TRILLS —_RYTHMIC EXERCISE cot ipplique & tows les trilles, méme a | . This portioulor exereize applise to all ills, even those co nbtenus par des dnigtss faetices et doot la justesse west | tained by factitious fingeciags of which the pitch is not always nique exercice pas parfste _ pecficts as Eviter tovjours te trille nerveux, rechercher surtout la ré. | Avoid always the nereous trill, and aboce all, seck regularity grlarité des batlements of the alternations, Jouer lentement Lento