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BOSTON UNIVERSITY
COLLEGE OF LIBERAL ARTS
LIBRARY

Gift of the Author

 BOSTON UNIVERSITY
GRADUATE SCHOOL

Thesis

AN INTRODUCTORY IvIETHOD FOR CLARINET

(BOEHIvl SYSTEM)

by

Bernard Edwin Williams

(Mus.B., Boston University, 1937)
submitted in partial fulfilment of the
requirements for tiie degree of
Master of Arts
1947

BOSTON UNIVERSITY
COLLEGE OF LIBERAL ARTS
LIBRARY
 Approved
by

First Reader
Professor of

Second Reader
Professor of /\/J
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INDEX

Page

Practicing 1

Care of the clarinet 1

The reed 2

Mouthpiece 4

Playing position 5

The embouchure 6

Position of hands on clarinet 7

Beginning tone with tonguing b

Breathing D

Names of notes 10

Time 11

VkTiole notes and rests, with ”D” and

fingerings 15

Half notes and half rests with and

fingerings 14

Quarter notes and rests 15

Low ”B Flat,’’ ”A, ” ”G” and ”F” fingerings .... IS

Third line ”B Fiat” fingering 20

Low ”E” fingering 26

Eighth notes and repeat marks 2b

Slurring 28

Register change and fingerings for high ”G,”

”F,” ”E,” ”C” and ”B natural on the staff 31

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Suggestion for improving register cixange

fingering o4

Eightn rests 37

Fourth line "F Sharp” fingering 3y

Lov/ ”B Natural” fingering 3y

First line ”F Sharp” fingering 40

Dotted quarter and eignth note rhytiim 42

Fingerings for nigh ”A,” ”B Natural” and ”C”

above staff 45

Fingerings for high ”B Flat” above tne staff,

”E Flat,” first line, ”E Faat,” fourtn

space 48

Cut time 50

Articulation (Staccato) 55

”8va” 58

Legato tonguing 56

Fingerings for ”C Sharp” belovy staff, ”G Sharp”

above staff and ”G Sharp,” second line 60

Fingering for low ”G Sharp” 61

Fingering for ”C Snarp” on staff and ”F Sharp”

below staff 64

Compound time 67

Triplets 74

Syncopation 76

”C” to ”E Flat” on tne staff fingering

problem 79
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Sixteenth notes 80

Chromatic fingerings 84

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 Preface

This Introductory Method for Clarinet is

an attempt to demonstrate tnat an instrumental

method can teach the basic techniques of an instru-

ment and still be interestingly enough written to

hold the attention of the average fourtn or fiftn

grade child.

Experience has sxiown the writer ana doubtless

others, too, that the many good methods now in

existence have not been specifically written with

children in mind. The many technical exercises,

scales and arpeggios are very valuable as such but

tend to be meaningless for the young beginner.

Playing sometning familiar and understandable adds

immeasurably to incentive for tne young beginner

to v/ork and progress on his instrument.

This method is predicated on the hypothesis

that by introducing technical problems one step

at a time and illustrating these problems through

the use of familiar but not hackneyed melodic

material, continuous and rapid advancement can be

made and the various technical difficulties can

be systematically mastered.

As many self-helps as possible are utilized,

so that the student can read about the steps to

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be covered and revievif material the instructor

has been over in class. Many suggestions and

ideas are incorporated that, to tiie best of

the writer’s knowledge, have not previously

appeared in print. In particular, the presenta-

tion of the fingerings in tne method endeavors to

simplify this quasi-mysterious part of learning

to play the clarinet. Charts and pictures may

be understood by the initiated but they still

have to be interpreted by tne instructor before

the student can understand what is meant. So

in the present metnod tnis interpretation has

been reduced to English text by tne writer in tne

nope that it will facilitate learning correct

fingerings

In general, the approach of tne metnod is

that of teaching a beginner on an instrument with

largely the same series of pedagogical steps as

are used in teaching elementary grade students to

sing. Every new problem is applied in a ’’song”

and facility in playing is acquired by playing a

diversified selection of ’’songs.” This serves the

double function of maintaining interest and build-

ing a good foundation of fundamental technique.

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 PRACTICING

What do you supi-ose is the quickest way to

learn to play the clarinet and get to be able to

play in the school band or orchestra? The ansv^er

is very simple —by practicing regularly, at least

half an hour a day at first and later an hour or

more every day. In school, we learn to read by

reading books and in tne same way we learn to play

the clarinet by playing it every day.

Perhaps you can make a chart and post it on

the virall at home to keep track of now many minutes

a day you practice. And remember that the more

you practice, the quicker and easier it will be for

you to play.

CARE OF THE CLARINET

Some of us play metal clarinets and others play

wooden clarinets but we take care of our instruments

in generally tne same way. First of all, we must

keep tnera clean on the inside. This is done by pull-

ing a chamois skin swab tnrough the clarinet each

time we are tnrough playing and before we put tne

instrument back in the case. Be sure the swab

isn’t bunched up when you pull it tnrough. Your

teacher will show you how to keep the inside of the

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 2

clarinet clean this way.

And, too, your teacher will show you now to

oil tne little moving parts and the springs of

the clarinet so tney will not get rusty. A very

small drop of oil on the springs and screws about

every six nicntns will help keep your instrument

in good playing condition.

You will notice that there are several strips

of cork around the clarinet at tne "joints.” Tnese

should be kept greased with cork grease so that tne

parts move easily.

Ask your teacher about oiling tne wood of your

instrument, if you have a wooden clarinet. You

should be careful not to use too nmcn oil, but oil-

ing is very necessary to guard against splitting or

cracking of the wood.

THE REED

The reed which makes the tone on the clarinet

(and the other reed instruments) is made from a

I special cane plant which grows best in France. You

will notice that it is very thin on the tip, so it

needs to be handled very carefully. To make your

playing easier for you, try always to use a reed

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that works freely and is easy to blow. Your

teacher will help you with picking a good reed at

first. When you look for a good reed yourself,

pick one that is nice and yellow in color. A

greenish colored one will not play well very long.

By iiolding the reed up to tiie light, you can see

horn- it is ’’cut." There should be a darKer section

below the very thin part which looks liKe an

upside-down V. You will soon learn to piCis. out a

good reed for yourself.

' Softening Reed

Sometiines you will get a reed tnat is too hard

to blow, or too "stiff." You may soften it by

placing it flat side down on a piece of very fine

(No. 00) sandpaper and very ligntly sanding a little

off the entire surface of tne reed. Keep testing it

and then sanding it until it is easy to blow.

Stiffening Tne Reed

If you have a reed that is too "soft" (or cut

too thin near the tip) and it is hard to get tne

high tones with it, you may stiffen it by using a

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T’reed trimmer” to snip a little off the end of tne

reed. Keep snipping and trying tne reed until it

is easy to get all the tones you can play on your

clarinet. It helps if you sand tne reed ever so

lightly, after you clip a little of tne reed.

THE MOUTHPIECE

The mouthpiece you use on your clarinet

should be as good as possible because tne hind of

mouthpiece you use makes much difference in how

easily or how hard the instrument plays. Your

teacher will help you check to see that the mouth-

piece is all right.

The mouthpiece is usually made of hard rubber

and so must not be handled roughly. This prevents

chipping or breaking.

The most important part of the mouthpiece as

far as playing goes is called tne ”lay.” It is tne

flat side of tne mouthpiece that goes all the way to

the tip and on which the flat side of the reed is

paced. The opening between the reed and tne mouth-

piece must be just right — not too wide and not too

narrow.
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VWien you get tnrougJa playing your clarinet

each day, the mouthpiece should be dried out iftith

a cloth or your clarinet swab. Don't use anytning

that would scratch the inside uf tne mouthpiece.

THE LIGATURE

The reed is held on to tne mouthpiece by an

adjustable band of raetal called a ligature. When

the clarinet is not being used, the ligature should

be kept loosened.

When you put the reed, ligature and mouthpiece

together, be sure the tip of the reed is even with

tne tip of the mouthpiece and the sides of the reed

exactly even with the sides of the flat part of the

mouthpiece

PLAYING POSITION

You will remember tiiat it is much easier to

sing well when you are standing or sitting in a good

position. It is just as important to have g»-od

posture when playing a wind instrument. Stand or sit

erectly, with both feet flat on tne floor. The

elbows should be away from the body and tne forearms

almost level witn the floor. The clarinet is held

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away from the body but not too far out.

ElfeOUCriUKE

(pronounced — oin ’
-boo-snure)

Many of tne words connected witn tne clarinet

were originally French words. Maybe sonietiiue you

will learn to speak and read French. Then you will

find tnat txiis word eiobouchure comes from tne French

word ’’bouche,” which means ”mouth.” Tne wnoie word

means tne manner in whicn you put tne raoutn piece in

your moutn to make a tone on tne clarinet.

Generaxly speaking, the lower lip is curled bacii

over the lower teeth, the upper teeth rest lightly

on tne upper part of the moutnpiece. Exactly how far

tne moutnpiece should be put into the moutn vanes

with individuals but snould be the position in wnich

it is easiest to blow a free tone. It is usuaxly about

three-quarters of an inch. The lips should be neld

very firmly around tne mouthpiece in oraer to keep the

vibration of tne reed under control and tnus to prevent

squeaks.” One of the best ways to rememoer how your

lips should be held is to imagine you’re wnistling

This makes a tight band around tne mouthpiece and makes

control of tne tone much easier.

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 POSITION OF THE HANDS ON THE CLARINET

The clarinet probably looks like a very com-

plicated instrument to you. But take a good look

at your clarinet and tnen look at the ten fingers

you have on your hands. Tnere's a place for each of

these fingers on your clarinet and you are going to

learn, a step at a time, that it is very easy to put

your fingers in the rignt places. Perhaps your

teacher v/ill demonstrate to you how naturally tne

keys and holes of the clarinet fit under tne fingers.

If you can remember a few of tliese suggestions

about fingering, it will make it much easier for you

to play the clarinet well:

Don’t ’’curl” your fingers too mucii.

If your hands are small you may nave to

do just tne best you can. But it’s

much easier to play if you keep your

fingers almost straignt and let tnem

act like little haimiiers moving from

the knuckles of your hands.

Your right hand thumb should be

placed under the thumb rest so that

you can push up firmly with it. IVith

real small hands this may be a little

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 —

hard to do, however.

Your left-hand tnumb on the

thumb -hole should be held at a forty-

five degree angle to tne clarinet.

Try not to put your thumb straignt

up and down tne clarinet. Tnis

cramps your playing very much.

BEGINNING THE TbNE

Your playing v/ill sound much better from the

very beginning if you start each tone you play in

a clear manner . Tnis is what wind instrument players

call "tonguing.” The easiest way to remember now to

tongue is to imagine you are spitting a bit of tiiread

off tne end of your tongue. If you think of it tnis

way, you will see that just the tip of tne tongue is

moved so as to get as quick a motion as possible. If

you are interested in knowing just where tne tongue

hits tne reed to start tne tone (actually tne tone is

begun when you pull your tongue away from tne reedj
it should touch the reed about a quarter of an inch

from the tip of tne tongue. Another way to tnink of

the tonguing is to make your tongue go as if you were

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 9

saying "too.”

Take just the mouthpiece of the clarinet and

practice with that until you can get a tone on it,

BREATHING

Breathing when playing tne clarinet, as witn

any other wind instrument, should be done as easily

as possible.

Remember that we breatne tnrougxi tne corners of

tne mouth while still holding tne mouthpaece firmly

in the mouth.

You do not need to gasp for breath, opening the

vmole mouth.

You do not need to breathe through your nose.

This is a very bad habit to form.

Do you remember how you were taught to breatne

when singing — sit or stand up tall and breatne deeply?

This is called breathing from the diapnragn] and is

just the way you should breatne wnen you are playing

the clarinet.

Don’t make playing the clarinet a nard job. It

shouldn’t be, at all. If you have to blow hard to get

a tone out of your instruiflent , ask your teacner for

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 —

10

help. Perhaps you aren’t blov/ing correctly, or

maybe your instrument is out of adjustment or

the reed needs changing.

NAMES OF NOTES

You will find that clarinet music is written

on a five-lined staff like this:

which has a treble clef sign at the beginning of

each line like tnis:

t
and each line and space has a letter name.

The names of the lines and spaces that you

will use wnen you play clarinet are given here. You
will learn some of the very high notes later on.

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TIME

V/hen we play music v«re keep our place and Keep

togetner with ethers by following the right time .

Music is written in different ways but it can be

divided into beats no matter how it is written.

And since we can’t count the time aloud and play at

the same time, we count the time with tne foot.

Think of the beats as being ”down-up, down-up,

dovvn-up, dovm-up, etc.” and let your foot go "down-

up, down-up, down-up, down-up,” very evenly to keep

a steady beat. Eacxi time the foot comes down is a

b eat

FINGERING

You will find a chart of diagrams for fingering

the different tones on the clarinet in the front of

many instruction books but usually it is rather

difficult to understand so we will learn to finger a

note at a time by just using written explanations.

To begin with, the right hand thumb is placed

under the "thumb rest” so that tiie rest is between

the nail and the joint of the tnumb. Txien the left

hand thumb is placed on the hole ( "thumb -hole, ” it

is called) above the thumb rest on tne same side of

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 12

the clarinet.

And taen if you put your left hand first

finger on the uppermost hole on the opposite side

of the clarinet (directly across tne instrument

from tne thumb hole), you will know how to play

the first tone to be tried on the clcirinet. It

looks like this when it is written:

This first note to be played is called

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 (Four beats of tne foot for
each wnole note or rest)

flEH Thumb and first finger of left hand

O - (whole note) 4 beats
- (whole rest) 4 beats
7 »Too”

Si -Q —o O ^
”D’’ - Thumb and first two fingers of left hand

) - Breatn mark

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”G” - Take left nand tmimb off
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(Third finger of left hand may be held
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f

Half rest

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T'A” Roll first finger left nand up on
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 Quarter Notes

Austrian Folk Tune

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(Quarter rest)

Here At Horae

Hungar an MelQgy
3=t=r ±±± \ . i-iLd- j I I
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(Be sure you are using tiie side

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 LEARNING TC PLAY MCRE NOTES
We can play on down ”the scale" by closing
the holes for the rjignt hand fingers. Step by
step it goes as follows:
,
1

Tniiinb and 3 fingers ’

1
1

of tne left nand. Right nand

' ' Right nand 'Rignt nand
(Keep these down for| 1st finger • 1st & 2nd (1st, 2nd & 3rd
lovi/er notes) <
'
fingers (fingers
»C" "B Flat"
'
'

"A" '

"G"

Just at tne tl^ce vmere tne rignt nand little finger

would naturally fall are four oval shaied "Keys." There
are two of the keys "upstairs" and two "downstairs."

To play the next note "F," v/e put tne little finger
on the "upstairs" key furthest away froa you toward tne
bell of the clarinet, (with all the otner holes closed,
of course)

t
(The "flat" in the key
signature neans tnat
every "E" is played
"B Flat")

^ ^^ i^ S
i

Make sure your fingers cover all tne holes tightly

sc there are no "leaks" of air. "Leaks" cause
"squeaks." The third fingers of eacn hand are usuaxly
the ones that slide off the notes. Think of thenil
(
 19.

t=i
Repeat sign
play again
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In Old Warsaw

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— ^ Hid a
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B flat To play this Flat,” keep the ”A” key open

and, witn the side of the left nand thumb, add
tne register key whicn is just above tne open
Slowly thUiiibhole

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Little Pierre
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 25 .

To play this note "E,” we keep down tne "

fingering and add one key »vitn tne left nand

little finger. You will find four keys near vvnere tne end-
of that little finger coxjes. We mignt even call tnese
^ u stairs” two and ''downstairs^' tv/o.
p Tne ney is txxe
highest of tne ^upstalrr^ keys - the-fuTtnesl aivay. from j
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Put tiiat kct down and tnat is -
the lowest note on the clarinet.

M Slowly

9 O
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Down in the Cellar

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 24 .
Waltz Song
Ligntly Yugoslavian Fol±\. Tune «

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Toss tne Ball

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1
2CT 2? 31^ •

rit. (slower)

I
Way Down
> Deroan Folk Tune

=1 ^ —
^
:sz-. 1: 1-i — ^
T r-l-^

Frc-m Old
( I J^-t~
Bavaria
^3 1
1
1 All
-
n-
-

Allegro
—h- Derzian Folk Tun^

±
UiJ_L

MB
 25

(Down-up — shows beat of foot)

—/ L *r
1
'
—ttt
* • * * —<—
i—
f
' ^ i 1

11 ^ '
Tl
^ ^
— —^ —^ —^*
TTTF
i»
y—\ \ 1 < A

J'JJI I jJU.fia7 ( mM

The irjarkfT! I means "the first ending." Wnen play-

ing tne repeat, skip the "first ending" and take the
"second e ndin g" A t
 German Folk Tune

— ^ — —
—f- —
^

^ M
i i1 : f 1 i 1 1

i SI J j ^
J > f 1 1 <
W m * • » • 1

Zoom, Zoom, Zcora

Ffr » r- « ^ •
.

*
1

1
1

] 7
1 1
^
1
'
1
' (I \ 1

1 ^ ^
^ 1 flf
r»
\
s^\ i 1 ^
1 ) 1 M » -I t igii

Melody

/7 Largiiettc (ratner slowly) ^ Handel

y
ly si

^ ^
\ ^
\ (f
iL
T 1

"7^ ~~
1 1

^^
1
1 ^ 1
O i

^
\
\j
\ f
1 d~ -f-
-
1

mf (rnedium loud)
^
0 > )

c K K
ryy i : — —n^ i .

\Ps ru i*T_I 1 i \ ri L 'i

I rdi • 1
’
1
1
1

1 ^ /

'

-v) eresc. (gradually louder) f (loud)

 27 .

Song
,
Yugoslavian Folk Tune
Allegretto grazioso (Gracefu±-uV and ^not tec slotf)

B ±
mp (medium soft)

Country Dance
Ga ily Hungarian, Ft . i k Tu na

f (loud)

—
-• ••

mf

I
> TT

Gavette
r
 Irish Foil! Dance

V <
^
3% 1 /
1
/
1
/ 1 { t i
r” 1
/

^ 1 1
^
1

^ mm ^

1 ^ r
-if
'
.
If 1 ,
^

/
1

n If 1 T 1 1
1 1 f f 1
^ ^ •
1
-
'
^ m

vij
.(>
'
,

1
V
1
;

j
i

1 1 r^\
— ^

^^1
^ V/

SLURflING

is a slur luarK. We tongue tne note at tne

beginning of tne slur and raise or Ic^er tne fingers for tne
next notes witnin the slur witnout stopping tne sound.
nToo**
r
 2i:>.
Skatine

Austrian FpJ.^ Song

i lA A L_ t±=t I

j> 1 I I

Melody of Old Vienna

lowly

^=t=F

Swiss FoIk Tune-

iH »*
ii ^ I

p (soft)

t
•n j.ijj,
The Pipers
ij- 1^.'; Uh^
Not too slowly — ? ^Scotcn Tune
1
P''"f n U-ln .
£1 ^^; 1 Ij i
n
inf

•
a / 1

1
r.L_
1
1
-H
f_l_4-
j
— rl 1-^
/ —*J—
1 — Pf

-T^—
^ (1> 'J ^ n- J

-A ^
^ ^^ -
-L i I
^ -r JT-
~t
m
.

A Ai~
1
1 1
f
f
 NEW TONES TO PLAY ON THE CLARINET

The "f ingerings” for many of these new tones are very much
like fingerings you nave already had. Before we find out now
taese tones are played, however, tnere are two tilings to
remember to help you in playing these new tones (and all tones
on T.riP p 1 :

1. Always keep a firm upv;ard pressure with

your right nand tnurab under tne thumbrest

2. Keep your chin forward enoagii to give tne

rppd «nd rru.n t n jii ppp gtjnri sn^ pf^rt.

You Y/ill find tnat these suggestions will nelp greatly,

especially in stop] ing ’’squeaks" and in getting tne "nigh
tones •"

For our next new tone, let’s first play ’’middle C”:

Noy^tkeep your fingers in exactly tne same position and roll

tne side of ycra r left-naiid tiiuifib uf) slri^dLly so Lnat you opevT
•
'

t:ie ’’r e gister key” but still kee TT- tne thumbhole closed. - -a nd
~ ~
-

a higher ton e should r e sult . (If you caTr t open tne r egiste r
-
*

key easily this way, it should be adjusted so tnat you can do

This new tone is r»a1 1 pd (high)

Play the next line very slowly. (Remember: to play the

nev/ tone, we just open the register key.)
”G”
 1 ( i 1
1

Si,

— _
i
. - ,
- - - - —
1
-
—“

ij 1

1)
f —
To play the next new tones, we siruplv add one finger at a
time (just as we did for the low tones) keejing the tnui:;b and
tnree fingers of the aeft hand in the same position as for
”G”.

t?pn tTE^ ”D^' ”C” "B Natural”

iSL q~ O
Add 1st 1st & 2nd 1st , 2nd Add ’’upstairs” Add nighest
finger fingers & 3rd key nearest ’’upstairs”
of of right fingers bell of key with
right hand of ~ clarinet with little fin-
hand .r-igri-t- littl e fi nger I g or—le ft
-

hand rlgut aan u. : iiand. (Just

“( Ju s:t t n e the" sad's

same as fin- as finger-
gering low ing low
”F”) ” K” )

r ^ —w — w CD o — 1

T w 1

(\Vhy is ”B” ncitural

instead of fiat?)
r

#
 as.
3J

i
i£ Melody

*’''^
fir ±=t l r''*i'
Folk Song
German Folk Tune
XT ^ y * ? > r &
,’
o
r— 4=n
sm Dlf
3=t -( — I- >=!=F

Tiie Question
Litiiuanian Fol^ Tune
a ^ » St—Q- _Q_

t-4-ht ' I T I tzt a i

±
mf

p Il±lt

Gathering the Harvest

£=F4 ?~~r
i
? Slov/ly Ukrainian Folk Tune

^ I

mf
(
M ^3 :
—
Song of Joy

Hungarian Folk Tune

g—
4 f
mf
+-
3=P t

-&T •
t=|: o i
^
\ r o
>
{
 Tyrolean Carol

-w JL UlI
% t=

SUGGESTION

When you plav frcn^ t£t ^”B Natural”

^ ~
=^4
it helps very much if you keep the fingers of tine rigiit nana and
the key for Natural” down on both notes. Tinis is anso good in
playing froni any of the ”throat tones” (G, A, B flat on the staff)
to B Natural above.

Try it verv slowly:

—r
0
U
^
.
^ ^ ^ 1 >
W
u
\ ^ . / a
^ -
^ V G ^
\ Q w / *7
1_
f
(•'
 35 ,

36 In Poland
*>
Polisn^Fclk. Tune
XZ±
i ±z±
1 M ( / I I

— y
i
1

—• 1

— |---
•
_«
r w
L_ 1 ( 1

1
.

—t— r 1
—=
Wooden Siioes

) ^utcn Folk| Tune

± T=t
1=^ I=t 4=t

±±
±-t y «
m
In Gypsy Lane
Hungarian Folk Tune
5i 251 H=3 — :bc

mf
I
l=±=±=t=i±=t ^ ^
I

i XU 0--.g- -
r »
I

I
O O
T T
I

I
» -
7 7 - J
I I

\ J
r

' '
MT/fr)
The Olive Trees

- ’

i
o
I n T t'litr ±±
IT

>^ a» w 9
7 1* 1 • i* * 1 1 \
m ^ 1 1

'
-7 -1- - - 1 X
1 1 '
^ i J .
j

mT

1
f
I

Seng of tne Wends 36 .

%enaisn Fgik T,ime

~
*/ ) t I \ • •— I
rr^T^ ^ I

ffif

±-j-^
!3
* ^ g-l-t^ t=t i
Little Duet
 57.
31

EIGHTH RESTS
(1) is the sign for an eighth rest. It is equaj. in value to
an eighth note ( ^) - Do not play on tne rests (tuat s vmy t^iey ’

are called rests l)

Play the following lines several times until you get used to
the proper counting of tne time:

1 ‘I .n .0
-t -4/
I .q . 1 1 n
^
r1
4^ ‘V
1 n
^
.
4^
'~
7
'f
1 .1

J rT 1 r |-n 7 c 7;*" U I
I 1 J" 1 1
; J
4. /b 4' f 4/ 4 't'
The Rose
Very slowly Robert Franz
An^^.r77 i:j 1
-
^
n T?=F%
m
i
I
. T
mp

( . m r
-g T r 1 1

Old Tune

-I
— t
^ ^ «-
^ . ( >

d
y •*#!* - " m U
A— T *%>

mlr
1

11
T
^
0 -1
" '
^

1
'
1

i
^ Tt
1 If
tfr::: izi zz=

msiiixikj
V

c
 2
) 8.
Pastoral Tune

• » u
T—7 r 1 I
i
Tj :

yj-—^ O5 '
3 :

Cj ^ I U^" 'Ll 'D '\J^

r ^ t? 7? I
^ 7 ^
V/alk Along

Dutcn Fork Tune

Jfc ML

mp

\ Englisn Foj.k Tune

£

mf
T : lu- Tp m
7 5 l u' T ttrr fa=^

Cuckoo
Old Song

is mf
Pt. w
c-ncl«'~ rrgrj
 Round the Mountain Ob.
Cornin’

NEW TONES

To play from ”G’’ to ”F Snarj-"

P
— yrS |j

-ff
t
J1

^
7^ 1
a
-

we just add tlTe 2nd finger of 'the right hand to tne ”G” fingering,

This same finge ring except v/ith tne register Key closed sounds
1

— ^
lov*^ ”B Natural
7f
— t
i

*
ti

Play very slowly^

^ ^
^ ^ 7 O
CJ
O
^ o
7 V Y : 7 V 7 7 T

Dj
•r
*±
4/
'
1
'
i
1
•
/
1
J

1
'
/
'
' /
' i

1
1
• III
—
\ 1
I
^ 1

;
'
1

^
ill
t
1

7.1t7=
r

r-r-

r
r

(t
1

40 .

This ”F Sharp” is played witn just the first finger of the

left hand on the top tone hole.

Frencn Folk Tunp

If

I. I I
Lj. I.j ±=t s +=i=t

Melody
 41 ,

HI Where, Oh Where?
German Foii^ Tune
33: -&-r

4 raf
t=P I
I
M >

:Ii_L
—^ —
^—
/y. 0- ,
,

-p “/
_ , (
( ...

T"
no ^
i

»
L.I 1 1-J.
{
-
_! ^
I
1 1 1 T=^
Left, Right

German Folk Tune 1

I
5 r > [
T Si T 5. t ( r-T
0-t..-l:4 FFFf
*m A L
mp

A La Frangesa
Italian Folk Tune

t= =F^ m

.1
 1

4fc.

—
—
A NEW RHYTHM

Play the next line very slowly and get the beats just rignt;
—
A
m
^
vl 1
u
T ^
1

'
(m
n ’

^
( —
-T
-cr
'*
^
i
1
r ^
1
'
^
1

—
1^1
* 1
1

' r(
' «
i 1
(

*
1^
—
—
—

^ ^ fj
.
. h- =
—
'•b i J
1

J P.
f

1
1
—»—• 1 \ A
—m ^
^
V t

m m
V
m—
\ j

A quarter note tied to an eignth note thus receives one and a haxf
beat s •

These notes may be combined and written as a dotted quarter note

( J.) but tnis note still receives the same number of beats. Remem -
ber A dot is equal to one half the value of the ncte before it.
:

Thus the next line is played exactly the same as tne second line
of music on tne page:

" > r ^ ^ =F '

X- -
—«—
1 i
1
^—m «A A
,
V
—•-*—«
t t \
( \

P--4 ^ «•
O' 1

Theme

j-

Y.-ih
:
( \.fr 1
vr -• —•—5 —&
1
,
=f=^ -4
1

— , . 11'
1
'
/ j
JS
mp
 44
H

Song of the Fjords

Norwegian Foxk Tune

T
raf
^
=F=f^
07
i
:p=l=t
±=± i=f- MM :

t X

Folk Tune
 45 .

is- ,
/

NEW HIGH TONES

In tiie same way that we played up the scale from low

vie
4 J '
m
can play up tne scale from hign "G” by raising one finger at
a time, keeping the register key open, of course.

"B Natural" "C"

— p
"G"
-C>.- ^ -- -

\
k
^ Thumb and Thumb and Thurdb and Thuiib and
3 fingers 2 fingers 1st finger register
of left key only
hand

Try the next line very slowly until you are sure of the nigh
tones. (Remember to push up with your rignt hand tnuinb and keep
your chin forward I

=t±
 46 .

T=T d=t^.
4-

Passing By

ia a
Quite slowly very sciooth ly Purcell-
^
* *-*-
± ± ± i ±=t
mp

±=£ 1==^
It 3=C ^=1:

Hymn Tune

a T=F+
o
+=R
•
Gregorian
lo: 1
— r~t
X2:
mf

i o
T±
aPF O I O
T=Ff
Jzzt a
Hymn Tune Gregorian
a J3L^ ^ :±^ ^
^ T
T
/ i I T I ( I I a I
I I I I
'-<
sx.
fcct

m
-a- ^ =a ^ ^
-’ -^
I I I I 1 1 II I
w
H7

Irish Folk Tune

P^-77 SS-f
1

n
i^f 1
— — '^S
—— f
——
— — ...J
-

— \
1

__{_—
i

v!7 * Ti
1

j ^

i H3 ^ j -

U5
~r T u*
W—
r ^
• Tj
/ri A
w/
•

O m
, 1
J-U-
-W>
^11
' • 1

U
{ , m I

1
^
1
^
Ti" -
t i \

)cj-
1

M / r
*
u
t 7^

/r> )
-jCL;
±==

—7 0-— —— i

FT-
d‘ 11
-

Little Air

0
MT
r—
S
^
^
w
i
^
-
^
r-1 7
1
LmJ
/
^ j 7
'
"Ti* ——
t~i
UmI
T
L L
,.-Q^
*
V# 46.

MORE NEW TONES

High "B Flat” is played by holding the ”A”

fingering and adding the first ’’side key” just above tne first
finger of tne right hand, with the second joint of tnat finger.

Play very slowly

-eCXia-
' u 1 T 1
7 ' « '
1
' 1 1

V
{
»
I
J
i i . :

Low/) ”E Flat” s plaved tne sar.-je as nirn ”E Flat”

y//
/

with the register key closed.

Slowly

4 I

t>J I
j U

——
”E Flat” on
*‘£i rXctU KJLX the 4th
OlA spaciS
WCLKJnf

--
d
i
/

fingering down and adding the rignt hand ”upstairs j^ey” nearest tiie
other fingers. This new key is operated by the little finger of the
1
is
j-s rlayed
k;j.a.y eu by
u.y keeping
—
ivtsejj xiin the 0
fa

.
”h”
O F=
rignt hand, of course.
 49 .

Let’s see if you can play all of tnese new tones combined into
what is ca.^led the "B Flat Major scale.” Notice tue "key
signature.” It will always tell you v/hat notes to i lay snarp or
flat

m
•fl-

=F=F

God of the Earth

heetiioven
:h± I
u g J inJ
i mf . r-l
1
~cr ST

dzzx J riT: r±
is
Cnildren of Kildare
> Irish F(^k^Tune
^=t
t 5z: ^=F

#
tg'U - T M-- . H "T
I
,
mf

J! 1 ^=F& ^• O
i ^
-1 L-l-T-^.
#
 50 .

A. Sailors’ Life

ir
t
T I
_L ^ U‘ I
^ I I i I I
* *

T ^ — ^ !_^ o ^ ^ o 3-^
M
(? -i-- I I v
^ * -t—
is
^
^ *
^ )
T TJ 1 li

•
. a o ^
P5=^ (
i
^ I

CUT TIi/K

Time signatures tell us xxov/ laany beats tnere are in a measure

and v/hat kind of notes receive one beat. Tne upper number tells
how many beats in the measure and the lower number teals what kind
of a note receives one beat. For instance time means ’’four
beats in a measure .ind a quarter note recei ves-...une beat.” Tnis
is a very cQm ..on t i me s i gnature and can oe ind l catecl hy a. la rge
i 1
as in the last two folk song.q- ~
^
Frequently a time sij^nature like this (T is found. This is
’’cut time” (or alia breve ) and means the value of tne notes is
cut in two, so^that the half notes receive one beat. It mignt
be written as £ time. It l5"U s ed'~verv f reuuently for fast ~ ~ '

-selecticns, especially mar c hes. —

•)
Play the following lines counting two beats to a measure:
——
1/

— 1
C5 o o o —23—^ Of
^T /r
< K LL
. . — ——1

— —i1

\
1
1
o
1

\
^ m ^ »
~T~ i T
1 1
1 1
\
«
»
\
n
— —A— A
T>
1
1
a I

1 :
4
1
 51 .

Z"' W -|"
-iTT'
—
~i • — —
1
—1 —11
p^-t — —^r~tO ^
—
i
1
— — m
1
yf , 1 1
? Ly -•
1 1
#
1
1 • *

w
1 1 ! 1 1 (

-w>

— ^ ^ m m m ^
n m-mK’ ^
'
1

U m • » ^ • .
"*• 1
.

/ (
.

L^.
r.z-v i 1^ i L#> 1 1 1^ 1 __J
1

3 1 1
«
L !

pnSTON university
LIDtRAL AHTi^
nOLLEm^ OF
r
 52 .

Billy Boy
Old Tune

/kif J 1 Y f t-l t.A'i I 1 — -H-

iTITl
rai'

i -1
I I
t

n
-t -
t
i --1 \
< I i : g---:~r

Senor Jose
too fast
±Not ^Si-anisn Folk Tune

4 r» ,.Uj^ :p=i=t t—
raf

± t=± O
-V
— ->--
i -
f- r -p ^ 4
<-
(-
ZX I t 1

—
> ©-

Lumberjack Song
I ;:!arcnliK:e Fr ftncn-Canad ian Fo i
-Toin^.

4— r-
i5=izt T -
c: t ir -t^
IT 4/f^^ 'T'

raf

±-5 :
j.sj Ij l r-1^-^4

r- ,
t-
-7 ;-

-* * -
4 p .
r
1 ^ 1
j
c»J.r
J
^
1

g_J m
-1

J-
f
 53 .

Fair Giulietta

hai_.ijy style Italian Folk Tune

o a
izzh

Cj
1

u
1
— G_1
1 ,

^
—
» *
K. (

m'
^
l
. X
1
__ ,
— 1 ^

1 .
~ /
~
/ lit '

c7 h ' \
1
^ r
/ 1

Is

p
^
{
/
f
1
\ <
i
/ jj M
• J
(
(
\
/
1 - -1
g > - -d '

1
=

--L fS
• LJ ^ h
WT ^ h m ^
11*1
T *7 •
1

f - t' T 1 5 1
• T
,
mh
(_t-,L
i J1
:
^ ^ »
i
1 : j.. < 1
1

-ITV a 1

1
A^ ^
i
‘

»
1
r* —r psT- 1 1

'
/
^ — i

t
-
—
1
m '
1 i
\
o

Red River Valley

^
No^t too fa^t. Arneriflan S (} ng
>

td=t
t±
mp
 Ho, Marinka

\ r I
-r I ^ ^ M ^
t;- r-x rl n
I
«
. ..1 ±zzt

* —>-
f» I
r- » I

1 <- r ^ \ I

is (
r!:=t

-A
J I
T ~-5
f
 The Little Mouse 56 .

You have plaved this Hungarian Dance befi.re. See if you

p.an play it faster new and Lit in the accents tue staccato
i^cirhs —
make iL really sound liKe a lively l^vust tune;
Gypsy Dance
Quite fast Hungarian Foiis Tune
^ 5^
*^ »^
i ¥ 7 ^ 4^ ^ -
-?-s- ±3EEtS . t

> >
7 ^ y
m=t
i *
±zl T

=t=
liLi (
^ -o-
€
 Slavonic Dance 57 .

F=y

- Lmerican Song
y? K—
Hot too fast

» — 1 —1—
1
i
» <
^ 1 \
/

—J X—F^—
f—
VL^
CL
!>

^ IJ
W J
T J .
1

m>
* *
m
»
:
i
1

9 « *
• 1 1
£ £ ; —
: :
w~sr~
e —: ^ ^ #

mf

till
1 1

1 \ 1 1
% • • • \

1 v> \
^
\

•
_
fT“ r
1 1
j

: • • Cl
 5b .

”8va»'

Sometimes music is written witn tne sign bva ever cr under

tne line. When it is simi-ly Sva it stands for t.^e Italian
word ottava and means play tne music an octave, or b n^^tes,
higher. If it is written bva bassa it means play an octave,
or Q lower . T rv p i. n ing "p^^ny, Tvoiry-- r>i,bni rat hotii^^

w—
an uclave hl^iier and an ocLave lov/er Lo find, out '.nrat '

Qifference in sound rs' made.

LEGATO TONGUING

Legato tonguing is another kind of articulation and is

almost exactly the opposite of staccato - we tongue eacxi tone
but nold the full value of tne tone until tne next tone, witn
no space between the two, Tne sign for this is a dasn (-)
ovpr nr nri^pr tnp> n^'+’-'=^, lik^ tiiis*

Tne Beautiful Trees

Ojf-
— —• —
Softly and /ery sroootnlv
t—
H * •
1—
^

—^ 1
f
I
1
—
1

c ^
1 ftr

i
jili
/ /
—
o / ;r —
Norwegian Folk Tune
t-
i ^-1
1
—
i =t

=t
 The Wear in 59 .
^‘1 » of tne Green
Irish Folk Tune
Not too fast

mf

j 1 ^ Z ^ ^ t ^
Home on the Range
Very smoothly ^
f r ) S Cowbo y
-r J “
mSm
:

O _"V
T
J t
-
t

i y » I * -r=t: =3=
:
Uc if I f

rap

1 — ^ .g r—^
— ^ i~i
—?—»
1
J
V#
O Fl^ m f -i -t-
'

—
. ,

—
- V 1 g= » ^

r < -
» ^ f
7- \
i

1
Id— i

'
t
1 1
-•
i jI-

(Try "Home on tne Range" 8va hassa )

1
a
 6G.

NEW TUNES

Tne next new tone "C shar; is ('laved bv kee inc^ . the
A
1 — k
X>— U
//
^
”C" fingering, cr thufc and three fingers of tx^e left xiond, down,
and adding v/ith the fourth finger the "C sharp Key’’ vmicxx is tne
left hand ’’dovmstairs key" nearest tne tmrd finger tone ncle.

Play the next line very slowly:

0
'
>
("C snar X " and "D flat" are
played iixe same way)

High "G sharp" is played witn tne same

Q .

fingering as the above "C sharp," with the register itey o. ovm,

^ it P
¥rj—
5 i("G snarp" and "A fiat" are played
the same way)

"G sharp " on the stafi is played

O ii
witxi the "G sharp key" — tne
key beside tne "A key" and is played —
witn tne inner part of the same left hand first finger with
wnicn you play "A."

S^Qwly.

—
_[/
:

1 (1^ . ± A\
U'j- ALU
Jb G A7 ,
A
(
»

*
(T‘
 I

61 .

»G sharp” below txie staff is played

fE
it O
with the same fingering as ”E flat” (or ”D snar],”) above

except the register key is not opened.

In Copennagen

Danisn ^Vlelodv
t S -f
J- X
(same as F natural)
 5

ii
 6 ^.
Ancient Hebrew Melody

Dance of tne Buffoons

nj. Lively )
RirosKy-Korsakow
1^ ; I
•
,=t -
4 c! » I » q=#
.g- :i=:=F

mf

m
te 43:

•
T - Tf
nnj ,n j yirr
 63
65 Minka
,

Allegretto (not fast) > Russian Folk Tune

i
L
*
1
1

• • 9 m
1
1
(
t
/
1
/'II
* - • •
^ 1 7
^
1 (
\ }T
»^
1
1
i
\
i
\
m^ »
\
\
“t1 ^ c ^

m m ^* \*
m m
\S
ji’ 2 0 ^ mm ^
rnf

\r}-\ J J - f f—f
1 '
t T
\

0 ..».. ^ 0
'
'
^ t
t
IT-
.

Minka

P Allegretto

—^14 ‘
-L-L^A
mf Simile (in like manner)

i I
I (

•
I

ar-r T «
(~rT

MORE NEW TONES

You may have noticed

tnat you can play v/itu the rip-nt ncinc) jittl(^'
—————— -

a.
7^ T— J L^—
gQ
fxnger off the key7 'It makes no difference xf tnat finger
is dovm er not. If you can not ilay this ”B” easily witn the
rignt nand little finger off, your clarinet needs to be
adjusted
 (
/ 64 ,

Play very slowly (moving just tlie left hand little finger):
P —a 9 o 9
'

1 9
"C sharp" between these tv/o tones is j>lctyed by adding
the right hand little finger to tue ”C sharp Key" for this
tone, which is the "downstairs Key” nearest you. as you
play (keeping the "D" fingering down, of course). This
right little finger' must be taken off .vnen playing "h,"
howeverT-

^
Pla^^lowly^ ^ ^
y -Jt-V-— O — o -
^ IT

11 I 1

^ — />*T^ #/ ^d. rj
Gf
^
T W
-S
7> T J \ 1 —L_ I
‘^7
1
rj

1
LOTft
^P
"F
— sham " is rlaved witn the
^
sai;ie

d
i

^k 1 1
:

fingering as the above "C snarp," with the register Key off.
f
 The Eeautiful Trees 65 ,

(with a different articulation and hey)

Very s lovJly Norv;e Foih Tune

I I T g \

mp

ly
S r>.= "oLl j ,—
1
1
|
1

Happy Days
Yugoslav) Folk Tune
> » J
mf
J
-
H S i- T 4=^ ±=F
±

T=T
is i=l
gy
x=±

Lullaby

J Slowly Erarims

i • - • «_ t=F i— ; ii (1

simile

mm a rr
j-fT' • •
MJ.— •r-L
i
•
J ^ -
fl
wzr
t -1 r
1:
simile
(Practice both parts)
^Jr
Ei
^9
r»r 'i.
1

mp
ga ± 4=t

4-
fri-r•
( I
I
1—
• J- • •• «r * O »*
 €
-V
*1
*1
r

(
 O ( .

COMPOUND TIME
!

Z Q p
i
)

y p
j
g —
)
The above tirae signatures are in coiui ound tiii/e. In
compound time we give a dotted quarter note ( J. ) (or
notes or rests equal to it) one beat.
— — - -

1 —
Play slowly
^
— t
^ 4 ' -y ^

A dotted quarter note ( ••) is equal to tnree eigntn notes )

so three eighths togetner receive one beat in ccnipound tiine.

2 mf m » — — a» i
v' -Z'

And a dot,ted quarter ( i*) is equal to a quarter and an eignth

( Ji^).

•
f r
• — Iff r
*
I I
•-* U-
-P

A B C»s

— — —
• —4 — French rFoliv
rrexiex^ Tune
:
<fst> UJ •
/ .T3 i.
•

mf
(
 66
Pepita

Not too fast ^

Spanish Folk Tune
3=F iLLlii :

rap

The Mulberry Bash

) Old Singing Game

^ »
^ t
^ *
i
I 1 I v' I

t^v~* 1 F=F

Farmer in the Dell

z: ^ •
..

If
• • «
' '
h
-ITT-*
^ ^^ t r
# ? f
C" ’

- —
'
'Y
U > ni • J» ** T
J..^l
f hH
—
4' 'y
Welsh Folk Tune

4 ^' r I r ^ r ^ 1 ^ iij I p*‘ i

raf

P It r <^r
4-
^
V I

EEj^ • I ^

P^_; a 4 I

r ,> ( C-
Ld'
^ ^ zz

I t=t
« Lazy Mary
 f

I
 69 .

m
In Finland

rigiitly- Finnisn FcIk Tune

lU T
I i=jz
mf

— 1
CfS
-y: 1
^
^ 1 r
— r.*— >
^
M *
i ^ ^
/ . ^
^ ^
I" f ;*
!,,Lr.
r
T..^— ^V
^
1
K

\ \ I- =E=Z Mr '
a T i> LQ‘
Lucy Locket
Not too
m
fast
»
> Old Melody
“• m T I* #
~nF't-u-
mf

•
1 ^ .
i..:;:

mf

^ » ? *>

G T I me t K I fr'

1 1 ^ : i

I I r
f

i
 (

V.
1! 71 .
Pop I Goes The Vveasel
ively Traditional Arnerioan
r-f^(
m —
#- • : ^ j
* j + \ r I r
m 0

i. 1 t ^ \ <
\ • V' • » I [T T

J T J I y' n ri ,
>

compound time is played slowly an eighth note receives

lYhen
one beat and in p time, for instance, there would be six beats
in each measure.

Beautiful Snow

Very slowly Radio Motiv

i R-
•V -y ^ -V

Drink To Me Only With Tnine Eyes

Very slowly (in six beats)

mf
IC=C^

uJ/ lUl
.
^ t p
I m » Z T

> r T=[= ^ * |~^

^ ' • *4
lli* I .« r I * I
[£ i

?4f> J.
I
iT7F- r jT! I
,rrs
I
ifea
(Also play octave lower in 6 Deats)
 7£

Scherzo

In strict rhythm (5 beats) .

Salieri ry

§— —r
It a- :
-f-rf- irff

/n
* — —
1- Tpr »
‘f'f r 1 Ty,
* — •-
*_H

=l3=f: =tv=£
^ X1 Ah>

p
rv
-y1 ^—
\> o ‘ f tt r- r> 1 n H *r '
.

^ a g. -m ft_ zftfte: • * *

Fine

A rrs

mp

m
ii
mp
1-g^ ft
&
yjzniz a *
< 1

rap D. C, al Fine

"D, C. al Fine” means ”go bacK to beginning and play to

v/here it says ’Fine’” which — means ”end.”

I
 Down In The Valley 73,

73 Slow (9 beats) and very smoothly

^=t=F m t
Ke^t\:^Ky Tune?

mp

m • »

mp
#
— I
• -r
p'j^t
-
I > fT?^
=f

M •“
< rn _• » » ; J -.

• »
mp

3
Z r^ -FTT
T a*
£
TT -n
>

TT «TXU
mp

fh^ rf.\r.. la: 4=4:

iz

I
i ^ : — ^
-
#
1
9
h
4

t= ( ^
^1
(TT ^~r
•
 74 .

TRIPLETS

In Simple Tiine (as, for instance-/ tiii.e), taree notes may

be written to a beat in tnis manner ( .Tl) and are j.iayed tnree
equal tones to one beat in tne same wa^as you i-layed taree
equal tones to one beat in Compound Time.

strict Riivtam
/j

ir
—mm* 9 m m • mm* • O
lli —
If

i \ t
)J1 =yi= lU > 1

V^
^
^
^
###
m rr
*
*7
*
fp : ["**
.a- m— *
00
^
m mmm -SJj • « •

Siberian Snow
)
, Slowly Russian FolL^Song
fT
0 J^ ^ T i
•\ m ^
I
I
w f V

5*

3=V
« «
1 3=I=f 7 ~ » g H

3 =T 1=S=E
> I

» cyr -<-( I / (

O —pr
 k

mu
 75.
Melody
Slowly
i C 7
mp
T"
4=1 y—1-4^
V • '

^ 7 : ^uU
m Handel

^3 K f >1 -

J 7 J .^7 I
I
>
> [ ^ -I

£ zz V=4 ~~^ - -

g j^ u r j[^ • r

c
A A 9 —1 •— :

—s —
^
1
i 1

•: T7
.

T
r T?^ IJ If (T
== 'i
IT
X 1 >
7 * 1
\
ill
1
’
^9 Z O’
'

Three quarter notes may be written as triplets ( and

are equal in time value to two quarter notes.

^ —A ^ ^ ;3 — 3
Z’ » /T^ 0_.0_ o ••

Once to Every Man and Nation

Slow
0
—— — 7 ^ Welsn Hymn Tune ^
1
^
j D fi r r~\ \ rv » ^ m ^
nl-v VD T 3— _r~Ti * • ^
'
'

• * 0
'

(
v^-
if
ifc? tr fcr
-S' m-
= ^— t k
——
* •
^ j
1
V U*
1
^ &

mf
(4 beats in a measure - J r one beat)

\
^

5 ±—»: ±±=t

<
P-(r^ C- ^ »
T 7
< a
(— -^97 — Q -i" l
J 1

<!^=J •*
[
1 1
‘1 a o >t
' = ? > 1
•>

I
4 .-^....^.
n - —r
.

*
1 <7 , , . / 1 1 ~i t
1 I- / r ^
^ T
1

arr—
1
.. ./ K' A •
o A r ^
* *
•
/
^ m
'
d » r\
\
{ 1 ^
.

1 V ] • e*
 7 ?.

7?

Goin» To Shout

Negro Spiritual
f-c^ on 0.^0 Cl ^
— y A»
U^
'
7 • • *
^ L

^ (h ^ I' T ^ \
-0 1 - 1 1- ty= i
I

I
t

LlXi
4

^
1

mf

m ^ ^ • L ,-rt
— <<1 L-> ex »
-f^- c^. (1 C:
——
-i

7 f i*
I*
k1
u *• *
k: — 1 1

/Ll^
LU-1 u
.
r-
'

^ 1 u* -
— \ » g
"
fl J
y -
1
^ •
t
— ; T h

Shortnin’ Bread

Not too fast Plantation^ Song

7 U
“77 *r • rT ^ M -
» #
1 ,
•r VI
Lp 7
( &/ '• * ^
r* \

*-'
—y;•
i /
«*'«
•
\
*’* \T f
—
t 1 L* ^ ^ V-i-
mf ‘Ir

J
 7L.
'
I Couldn't Hear Nobody Pray
78
Slowly » Negro Sriritual
-g-7.-L
PU * J * J *
S a-
L i K <
;
mf

^c, ni^q j rJ'rM .Q n»

<»
>
m
r
m
<
» •
? tznrt

A
3

iS V r I

^T -r -7-

— _U

tjV W *
sa.

^ m
~n'
Ill >r 7\ * tr^
=\
,
-s
-
rr
n
9 •
1

« •J X
1

»
1
I
L
1

• • «

— V.J
4 i
a
C3
1

> •
7
• ^ « ffc 1 —o
i
I
.y—
~r ^
f=» _|SS
V \
»* 1

\
f—i^
1
Li
V . ft^.

^ 7~i ^
'

/~h T •
rs
*
r» n (a « ,•
r
'
T-
>
r*'
c> •
f
\
r
1
X- 1 I
» ^ • _4 i_L
9^
1 1
(tt 9 *
y
m V • ’
_J LX
»
4 •
ffif

T'
P>
1 '
\
- -
TT
r>

r T*
/-r ,
1
f” “1
Cf
—n~ » V
C
3
r
O 1
* • • \ \ c
^
• • • > •»• c ^
.

• ^

rs
—•—>—V - ^ h {
J2r
-o^

i tztt=t Z-i T TL -

^ ai=—'
rT~M
» •»
V
• *
^ —n
^ 4==^
 79 .

A NEW FINGERING

To play from "C" to "E Flat"

AIJ
A. ^ \
1 y
r r
—
7 n
}
n
- xan V. N II

\ with tne regular i*ingering you will find tnat ^it is necessary
to slide or jump from one Key to tne otner. To avoid tnis,
wuenever you play these two tones in succession, take tiie
extra "C" key which is tne left-hand "downstairs" key wn^ch
you nave nnr. n<?en ii-nT.i nov/, j,iayen v/iT.n r.tie iir.r, le t inger ot
i

tnat .hand » ^

Left hand
little finger
on key

The same fingering would apj. ly to low and "A Flat"

Left hand
little finger

English Folk Melody

Allegretto
 SIXTEENTH NOTES

n^e ( J ) into
In the same way tiiat we divided a quarter
tv/oequal parts and obtained 2 eiii:ntn notes (•T) to a beat,
so we can divide a quarter note ( ) into four equal parts
and get four sixteentn notes ( to a beat.

Play tne following lines slowly and in very strict rirytiiEi:

i y-
-I't
I 1 1 1 I LI
4-
u
^
g
-4 <•
a
-4
-1''^

i t
^ t
Fisher’s Life

Breton Folk Tune

fa; fi
i 5
mf
33=c 1
i

By tying the first two sixteentn notes toge tne r (< ) we

get the ’’eighth and two sixteenths” rhytniB ( .

1 I fe-1 1 Ii4 I (-F

Ten Little Indians

Strict rnythm Old Song
• »
)
»* ,_

-
V --
B -

i I
,4.

I 1 r r
mf

J*T |-gr
 bl.
Volga Boatman

Rhvthiuicallv and slow Russian-^Folk Song

rr - •j- ix
•

<i 3T qF
rxjj.
mf

±=zf!^ ±=t

1 .' .<1
^ 1
: jv: j 1
-

1
M-

Rv tying tho last two sixteentiis togetnei^^* *44 ) vje get

the ”two sixteenths and an eighth’^ ruy turn ( i ).

A *—fr ii-5—
f T • * • • * V • •
(
'

Ilia .111 .111 .ill * jUL !

In The Far East

Slov^l: ^ Oriental Tune

:Sz
y-
b
>
-LI- .q-l-v .: 1

I
n J I.*!
•?! I
n

n. - T : Ua .g^s—|_ri,T^ ^^m—= | r
5T

Skip To My Lou

^^ —^—R*T—gd -?j
3-
^ r=r~ ^
i

n 1 . 1
. 77-f^-yTr^ ifT-
^ Mi|

J] n^ 1

mf

-j - j I I .Ofr
:
rr ±zzt;
 82 .

>

By tying tne first three sixteentns togetner ( ) we get

tne "dotted eighth and sixteenth" rnytxiii] ( J7J ).

jaL± m 9
<
1,
4 ^ "4—
, L ^
Mary Had A Little Lamb

n Not too fast Old Song

^ ^ • I
^
Y U TJ [-0- -^^
I jJZLh.l
raf
The BlacKsmith

Slowly Mozart

ii.f
1/7 t
FF*?* I
f/* {

— y r r1
* j * j ••r.-
J p*
—•tL-*— — 1
»
1
7 », d) 1
^ , , =1

Jolly Coppersmith

^
With spirit Peter

mf

i-- *

=7 ^^
f
-----
1 1 ij
P=^ -fy hthrr» -^4-
-

h.:ii-td-
(1
1 1 (
1 rr ^
( ^ M —
,^9
y
-(—MZ
r

(J y y y y

L 1 J 1

— * » Ir-M Ui '
“T’T'T
LI i
T7 r^—'i *
znjiii
j

> > >

0L
III** .. • O
A
^ ^
u — r (
 83 .

The Old Gray Mare

American Folk SonR

bu; lilj' M- ,-177/ 1.- /|T u

nif

j ' j r< id u' : I Li~ T I

P I IT/ i
4ij^

r 1 (, ^^1 i ( j i-i y u- 7 T e p
Oh, My Darling Clementine

Montrose
r=t I I

:S=C nn tt y r J 1-
k3 4 * •
I
4=t 1- f r
I
*

inf

i=t
John Peel

Englisn Folk Song

i
mf
r v—•-
lizc:
4» ••
m -i-f=^ ^ u~ I n

B-LXjT i-» ; j ,n ^
Jingle

9 Brightly 1 . Radio motiv

»• t
-f
-I-
mf
 64 .

CHROMATICS

This line ycu have just played is in tne fcrm of a ’’scale,”

and is made up of ’’scale tones,” of course. Perhaps ycu may
have learned tiiat there are other tones called ’’cnromatic
tones.” None of these chromatic tones will be new to ycu on
[hie clarlnel but the fiiiHerinH may be a little diff -er ent.

There are only three new fingerings to learn before v»e

can put all the chromatic tones together and play all the
tones on the clarinet from low ”E” to high ”C.”

To play the next chromatic tone. Keep the ”F” fingering

down and add tne left hand ’’upstairs” key next to the key
for ”E.” This is tne new fingering for ”F Sharp” (now >ou
have two fingerings for this tone).
 65 .

#
Play slov/ly and with right
ingerinei I'lngering oown and
Kee],
tills
thlfd ringer cf lire"r±^liL
Dut'.'tnh!
—
hand on t he strai ght l ust abc -

. w~
the tonn-hole f cr that third finger.
This is the new chroiaatic fingering
for ”B Natural."

i3
Play: To play the next cnrL.a,.tie tonej
~

i -el-
keei tills flngei-iriH down and
add t n e two "sid e " ker? nea r gst
'

tne first finger of tne right nand

witn the second joint of tnat fin-
—
''-Z
ger. (One of tnese keys will be
tne "E Flat" key). Tnis is the
cnroma t i c-f ingering for tnis ”F
-

Sharp 's-P
- - -

E-
O •H
-p •
1

_ ^ <4- 1
1 a 1

c. iL. *n
a ffa
I '

Now play all these chromatics slowly. Be sure to

use the extra fingerings for notes marked X.
(if
 86 .

Just the saiue as the hign scale tones were layed witn tne
i

same fingering as the low tones, the new chroxuatlc fingerings

for the low tones are used for the high ones.

y
^— L •
is fingered tne same as
^
/
aL — T
7
li
,
tf.fit;i

register
key open.
tne

Try it.

f Ing er'ed~^ne~'55Ti]e a s
'
;
witii the
(/ regislrer-
open.

Try it:
f
 67

The chromatic scale is played witn tne same fingerings

whether played up or down the scale.

”C sharp” and ”D flat”

”G sharp” and ”A flat”
”D sharp” and ”E flat”
nave the same fingerings.

So your complete chromatic scale to nign ”C” ana return will

go like this:
(Remember to use tne new cnroraatic fingerings .vnere needed)

i J-tf-J J »
It-'
*•
I
*> —t
(
• d * r#.
tzit

I
I
^ I
‘ TT"~ l>

FhFF?
 Lullaby
Slowly and sweetly <

— Schubert
^
^
/ . b U //

4 f
^c?
i
t

\ 7
-p- ^
ilti'rt

— 1
^ O
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