R U B A N K

3# /fM&QkwMm&mAMK

EDUCATIONAL LIBRARY No. 75

WIS BOOH BtLOMGS fOzrtottu CYULO

/elkocLFLUTEor PICCOLO

J. E. SKORNICKA and A. C. PETERSEN

A FOLLOW UP COURSE FOR INDIVIDUAL

OR LIKE-INSTRUMENT CLASS INSTRUCTION91616 MAIN

LOGAN, UTAH 84321752-7652

2HAL-LEONARD

L A

CORPORATIONnil ill MS W O Warn 1M1I M iv * - wi BSt 1 s

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RUBANK EDUCATIONAL LIBRARY No. 75

RUBANK*|/fyf

INTERMEDIATE

Kl/etiwd

FLUTEoi PICCOLO

J. E. SKORNICKA and A. C. PETERSEN

A FOLLOW UP COURSE FOR INDIVIDUAL

OR LIKE-INSTRUMENT CLASS INSTRUCTION

7

HalLeonard-CORPORATIONumiiii n a po bob imi* hhmmmu. w bmib

ESSENTIAL PRINCIPLESof

Good Instrumental Performance

GOOD TONE is necessary-in order that one's playing* be pleasing- to the listener as well as the player. Good

tone can be produced only when the instrument is in good playing1 condition, equipped with the correct type

of mouthpiece and played with the correct embouchure.

INTONATION: When two successive tones of different pitch are produced, it is necessary that each tonebe in tune with the other, relative to the interval being- played.

TUNE: The player must develop and train his ear so that a difference of pitch can be distinguished

when playing- with others.

NOTE VALUES: The player must develop a rhythmic sense so as to give proper value to tones as

represented by the written notes.

BREATHING AND PHRASING: Each is usually dependent on the other. Since teachers of-wind instru -

ments differ on the methods of breathing", no special method is advocated, but it soon becomes evident

to all players that in order to get good musical phrasing-, it is necessary to breathe properly and in the

proper places of a composition . It will be to the pupils advantage to spend much time and effort on this

phase of playing and take seriously all suggestions given by the teacher.

EXPRESSION MARKS : Expression marks in music are considered just as important as punctuation

in prose and poetry. Good phrasing is the performance of music that has been properly punctuated. Ex-

pression marks put character into a mass of notes and if properly observed, will produce satisfying mu -

sical effects.

RELAXATION AND PROPER POSITION OF BODY AND HANDS : Whether playing in standingor sitting po-

sition,^ is necessary that the body be erect and relaxed. Relaxation is the secret to the accomplishment

of success in many other professions and trades. The arms must be relaxed, the elbows away from the

body and the hands assuming a restful position on the instrument.

SUFFICIENT TIME FOR PRACTICE: Since different pupils require different types and lengths of practice

periods, the objective that every pupil should establish is : I will master the assigned task whether it takes

]/ or 2 hours "The accomplishment of a task is far more important than the time that it consumes.

PROPER CARE OF THE INSTRUMENT: Carelessness in the handling ofan instrument is the most prevalent

handicap to the progress of young players. No pupil can expect to produce good results if the instrument is

in poor playing condition/The instrument must be handled carefully and when a disorder is discovered, have

it remedied immediately. Constant attention as to the condition ofan instrument Mill pay dividends in the end.

MENTAL ATTITUDE OF TEACHER AND PUPIL: In order that the musical results be satisfactory,boththe pu-

pil and teacher must be interested in their task, and must have a perfect understanding of what that task is.

The teacher must understand the learning capacities of the pupil so that the pupil in turn will get the type

and amount of instruction that he will understand and be able to master.J. E. S.

REVIEW LESSON

1. 'IV.uher should Bee to it that the instrument is in good mechanical condition, namely, springs,

pads and k< \ s,

2. Rhythms m this lesson ars fundamental, and it is expected that the player will have had suf-ficient experience on the instrument to be able to read the succeeding- sections at sight.

3. B B just .is important as notes, and therefore it is important to have a sound rhythmic con-ception m order to play well at Bight .

4. Attention should he given the enihouchre at this time, so that a good tone is produced at all times .Any variation in the embouchre that produces good results must be discovered by both the teacher and pupil.

321 ^ 1

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yCopyright MCMXXXIX by Rubank Inc., Chicago, 111.

Copyright Renewed International Copyright Secured

MARKS OF EXPRESSION AND THEIR USE

Pianissimo pp Very soft Fortissimo ff Very loud

Piano p Soft Forte / LoudMezzo Piano... mp Medium soft Mezzo forte mf Medium loud (Normal tone)In playing a tone on the flute (unless otherwise marked) the tone should be held at the same level

of volume , without increasing or diminishing the volume of sound. This type of a tone will be indicatedby means of parellel lines, thus:

The distance between the parellel lines will signify the difference of volume to be used.Thus : pp p ===== mp = mf / = ff Z

#/XE IE

jyn XT XE H

-e- -e-

HARMONYP

P =P=

mp

-&-*-

mf fi

mf

mf

i

nmp

mp

ff

P

c> *

=4

/fr i f

PPr ir *

STUDIES IN EXPRESSIONSound Graduations

Crescendo (cresc.) Gradually louder Decrescendo(decresc.)or Diminuendo(dim.) Gradually softer

In playing a crescendo or a diminuendo the pitch of the tone should not change. It is a common fault

of especially young players, to play flat when playing loud and sharp when playing softly.

In order to play the sound graduations or nuances correctly, it is necessary that the quality of the

tone is not affected.but retain its rich and mellow fullness. ONLY THE VOLUME SHOULD CHANGE.

Isc f pp nip mf mf mp p pp p mp mf f f rtf mp' p

fP mf f JT ff f mf mp f nf mp p mf mp p pp pp

When a note is followed by one or more shorter notes, the shorter notes are played with one half thevolume of the longer note. There are exceptions to this rule, but it is a good policy to learn to play all phrases

as mentioned, since the majority of all music played in this way will be properly performed. Players inter-ested in the fundamentals of solo playing will be greatly aided by adhering to this principle

.

SL = E 5 zz: P^iJf f f f mf mf mP mP P P PP pp ppp

S e ??-*-/ mf mf mp mp p f mf f mf f mf mp f mf f fUsing lines 2 and 3 as patterns, write in the various volumes required in the playing of the succeeding

song. This will acquaint the player thoroughly with the sound graduations required in the proper per-formance of solos and songs.

BLUE BELLS OF SCOTLANDAndante \x Vx

1 * i f rff .P?

i r r r r i r~r Nr r r N^ r ^Vr rr i r r f

f^r r,

rr fj |r r r f | f ^

mf

/i r i I

EXPRESSION ETUDESAndante

1 fcl v mp /

P~ o ; .

P

^=Ffcr;"/ mp p mf / /

(p * feci I

Moderato

wf /

2 ^E te

J!T

^

mf jy

t. hr ltrrr f ^Wj0 Tft/* Wj / mp ~ f

*-i*-* fg-

y

He/=~ mf ==- wp =- i? ^

fc

/

ftsmug mf^t\^rum *-+ qfc#=rtif -_

mp / mf - JT

r-rf ttrrr fff f i rrff rWjO

Andante

/ ifi

^/- / wjo

rrifi

f Frnrrrrrfltil= /=-

DAILY STUDIES FOR THE DEVELOPMENT OF TECH1VICThe Btudiea on thifl page era intended for daily home practice. These studies, if practiced diligently,

will develope B clean and fluent technio. Most of the awkward intervals in the key of C major are in-cluded and every finger gets the opportunity to develop independence of action.

Play each study with a steady tempo, slowly at first, but increase the tempo each day until every

study on this page can be played fast or Allegro.

Breathe as indicated by the commas, whether you need to or not. Breath marks may be skippedif two complete phrases can be played in one breath.

i & IS m-y"if

fcfcftf w* m m * #=q* e=m

$ 00L pUm *= SI girts?E =*

l^n-^n *=*= wt= MferfJUftljif

ifrrrfrrr'irrrrrr rf^fff 1

e,

g-f frffrfr

|frrffprp

i

rff-^ frri

frf

Also play 8va

E PPP

8STUDIES IN G MAJOR

G MAJOR CHORDMgff^%^ i [rn fjn i crrrrrrr ifl^Ij^iP^rffSrf^i* /-* sSgl ^G MAJOR SCALE

ft^jy inert r f-T

^ ^ # #^# f r e

The use of the F#Allegro

jy rfryr tt#

ttr r 'ir r ^ r i /tIm* f

&=k m fc^ m 0l Vim if? i f r ft p

"rttpr y r r> .f f-ftH^t ^=*r^. ^ f ^

# ^ #|^

#ftj f^

# j^^0-F-0-

km & s

SUMMER EVENINGReverie

Andante

10

STACCATO STUDIES

PAs written

m m m

$As played

< p-p'yp-yp-lp-yp-?p- 3 e

AllegroSTACCATO ETUDE

* 3 * . # ssT* J # J J-0 m^ &M

11

ARTICULATION ETUDESAllegro

rftff i cJirricr+^?m i f ifcHf-i i-j txng *^

"//' wp ////> / ///. WJ0

$m l I CJT-T p> r > tftfT | fC^/ -=r- WjB

i c tfCr i crD,

r r4g#eh1 ^ i__y^ ^^^m 1PP =m/> 'V

|r?HHir'rrrri L r rr| iJrF? d '^M m^gS+Atfirt i crpg efc*

T

Moderato

f'^I'M'

Pfe f fffff .tt r rf f f rffi-^frirrfrQ^ijjn g

Play above Etude with each of the following articulations.

*

(a)

cLLJrr ri irt* w . V W it - - r>

^(?)

#w is*r y>. -.^^^^gg ? .

(a)'

mm'

12F MAJOR STUDIES

F MAJOR CHORD

Allegro COUNTRY DANCE

m MM i^mnf-

tii tf ifm msMi i

# 42

/-

TECHNICAL ETUDES

J771^|gUi=^ gTH4 7fol g^?WJJ*IHU

/

ffJlW | J^^J]|/J7J3J?TTjTTn?,r : ||

rfYf^ffrfirf^fyfrf

irTf^rfrf i r^ff:6 j&Rf

gi rfYfrffrirf*f

ftfF *rfr

f^ fr 1

13

ACCENTS (Rinforzando:The rinforzando or accent (>)is placed over a note for the purpose of bringing out that particular

tone more strongly than the other tones in the same sequence. The rinforzando or accent punctuatesthe important notes of a measure or sequence.

Moderato

igj feMWALTZ

f y .

f

f f i f r f i f f i f f i f f r*# M S

MARCHAllegro

! Ife^

^ ^

I' 0&0 fe

P P

fe^

ftf jyrrrir jg ^ *^EModerato WOODEN SHOE DANCE

;if

i if* rj

[* |> p^ jp j |^ I ? p

j

jryf-ji # I r ar P r arrj-ia

^ fel EE^E M_ * ^F^ine.^mmp t

mmm m -mp f

0-zr0-Tlf-^ 1 ~*"

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:/e^S-0 . + # "-#

"P=#=F

#:#

^ / D. O.

14

SYNCOPATIONThe longer note of each measure is to be accented.

Im mmI i^F^g"T-Tf PPP ^ ?mm

00v- |

f r ~ -=- p=-

Ife^#19 rj

&-*- m?

fc mm00 Pm

00z p

^z: 2 * g 2

Allegro

4 fe P^SYNCOPATED MELODY

0~, ^S# fi

prPiPrtyf-fhTTffyj=p/

i*-r-r ^r i Pf PiPfftitrcr i pEl

. ftp ?#

g i pr "T i^f ^ fffirr i pH iCf-tmrf-^=S te"^E2Moderato SYNCOPATION IN 3/i TIME

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fc-JfiffFffp .fff rfr i fffffr, p r p ff .fr

f

r^=t

:pjiii tir i ff

r

;

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15

Count 6 beats in each measure

12 3 4 56 J 23 456

P6/8 RHYTHM

r\,, ifCfir en mt 1112 12 1 2

Also count 2 beats in each measure

.

*

16

Bl> MAJOR CHORD

ee J3=^J

Bl> MAJO

+.

+ * m i*

& i

^mBl> MAJOR SCALE

H^JIJI^'^S

^-^i ^j^XLTLr^t^ #-H* ^HH4jJI

ETUDE IN THIRDSAllegro _

4 * rm in nil 1 1 > i u ' icrri ti nmn^ j/ simtLe^tlTS\tr\tttS\tr p^- Wzmm$i frrr i frfr i rE JXTiCir r i f

Allegro

*ZTp

TECHNICAL ETUDE

*-*^m-^

*

17

MAJOR AND HONOR KEYS IN THIRDS

C MAJOR in Thirds|^^N=ri : j^=^ f- *

i

r_i^UUJJJJi^

A MINOR [Melodic) in Thirds

^TftfS r #r . ttf f fzgzgtt-^% ju#ite

^

l;

E * * e * * ^ * + *. i #=F ?g^=MlA MINOR (J/armonic) in Thirds

rFFf-*

8* *tt#ff^^

Pe#*

- fffrf aG MAJOR in Thirds

=.,

j^lLlT i c i r:c* *-

* , *.J=f rrFf-f- . fff P frC te ^E MINOR Melodic]

ft,,

ii i 3= ^= Fff*TTt*iu r ? r-P-pH-r^T-P ^A%ig

*^

M +f t m f

*=^=^s& glE MINOR 'Harmonic]

si HHd m **+* At *t tii i

i 1

r

rfrrffffffT^fFte

i t * i ~l P m *1 PUPel

18

ExampleTRIPLET STUDIES

&m ^ r ? r v -0-* ' ^1 2

m 3 ^ 3^ r r r p r=?=f=? ? t1 2

ModeratoETUDE IN 6/3 RHYTHM

m frrcr^ ittrr i i:fffrf | Cfj nFtrprr i Cf-ff i t^ ttf-mrmf

***rfrn rffnffffffJ

/* *#1*

ModeratoSAME ETUDE IN 2/4 RHYTHM

a ^rrrr iffrrir^rrf |f^ntfrrrri r^fFf rrri^T T

f, rff r i f ff f .fffl i CfTr iCffr i!ffeM

ffrr/riffrr i rffrrJ'iCffr

i

Crfrr.r iHHI

G MINOR (Melodic) h- # Ij*^.

!>.. I PI-

- ll #f i ffe^s i fek^rr_r" J

G MINOR (Harmonic)

k j il

rrr

tfnrM, # *#* ? te *

f,r_Ti rfg^E

19

AKTICTLATIOX STUDIES

EgrreBTnarto'tr-iF^-itr ncrwei*r-f-re^j^tg^s^' * * m , ^ * ff

ModeratoFOLK DANCE No. I

;*ii* aftf^W fe^tT iftffigl^f/ simile Fin e.

jrfjr^Tf-rff^fff|!ff

i

r^fff^ffitefifeqz?.c.

/Y// f

.

^^g 5 ^g^fefr***- f

STACCATO DUETZ?.C.

J.E.S.

30D MAJOR STUDIES

D MAJOR CHORD

1 ^ i a * 1-e

pi r r r i ' i rrfj-n . fff i&^D MAJOR SCALE

is s ^^si? i firrTM^ ffhttt&

DAILY STUDIES FOR THE DEVELOPMENT OF TECHNIC

m *3 'a^r

ittit rTrr r f7> irr Tr rf7% ii>T7r r rrTirfrff fr -i

*P -C- _ -, _ - l

* xk

21

DOTTED EIGHTH NOTE STUDIESDotted eighth note patterns.

**\ 0lfmmt&EjkM Wm**W m m *f-fQT S?$*U U [__;[_/ m> mIU-- " err r cr ppp^

DOTTED EIGHTH NOTE ETUDEModeratomoueraxo m.

* 1

cav/frrEg E

MAZURKAJ.E.S.

Andante

Fine.

fSfori

fifirr r iCgffrrJ irff f |JES^r07rrr r iz>.c.

B MINOR (Melodic,

IMm rjf|f ff:

***%% f^e^eggpff

B MINOR (Harmonic)

Wrrjt | ff **%f*

'

# #- # #- m =mm

22

MAJOR AND MINOR KEYS IN THIRDSD MAJOR in Thirds

PH rrrrrfrf i ffffl*=^r+ #

tfrrfrf? je^-l^U ^B MINOR (Melodic)

I^ ffrftf-fcff*# iu tefitfffe

?

-ffffffff,f*frfrI-r i c_r rjr r hi

B MINOR {Harmonic)

1 **.fe *te

-JfF=

3fe UMi*-

~ -*

^fe^H'rrfT^ fr'jjrr h iF MAJOR in Thirds

. m nv,r fntflftlt1+ # ~^frlfffrfm fcz*

D MINOR (Melodic) in Thirds

>H7?3 Qg^ y-^-^ ^r*rr'f ,fPP

CiTf i r r ^ r r n=fc^=fcJTT3 J j j j u m i D MINOR (Harmonic) in Thirds

^ jjjjjTTiMirr/rri ,rrrrfr,ffy

^rLrr/ mrrr ?

23

Eb MAJOR STUDIESEb MAJOR CHORD

Eb MAJOR SCALE

mh. rTrTTT +41?-+ &m*TECHNICAL ETUDE

Moderato

foKrrrrrrrf i fiSiEi rf "luCfr i

*=p#

#

GAVOTTEModerato

^^rTf i rfffif tmm frf^^Tg

k

ftlf

'titn&Mnfttffit : p # p p # p1^1*e

^ffff ifiEyfrr| r7r^r-t^^ | f 5

ro7.

24

SHARPSHOOTERS MARCH

v

Allegro METALO

P-f

:j>

p-f

SI

*>-/P^

fi

*r f if f,

=e

t trr

m m

^

r p t r

fe^

#Me y

^

Me

i # -^

^^

i^fe ^

s ?=?=?

^ S

* ^ P ^ i

iSe f^ ^

^_

P^ ^ # ? ^

fe i^^ i-Pp#T 5 us i=tHE eJe ^e ^ feEE E^E feF 2

P ^' 7 [/ $^f ^mBE

25

MAJOR AND MINOR KEYS IN THIRDS

Bb MAJOR in Thirds

K^ J J^ #-r~y

##f >'c *

f|lff M ( ,f rr I#G MINOR Melodic) te^te tete?

G MINOR ' Harmonic

# #1 #r r=e 1 f

f

g fte gg*gfg

;

f frf ,fff r rttrrr

i tt^ *.- r^ ' jfJ^Ej MAJOR in Thirds

i^S ^j^J^i cx^ crrJ i crLi

fP . fffpf

^#^f^f-

r+frrrjsC MINOR (Melodic

JTTj-^^ m . f m rrrrr r^^f^g=

ii tr j r Cj rj Lex/ i J ^ J J^JJJ i i^hJ-JC MINOR (Harmonic,

#M \zn r r r r i ,rrrrrr'V \rPmr "'

-

"'Tf[j^.H'JJJJ < j ju,^ i

26A MAJOR STUDIES

A MAJOR CHORD

gfe tr&tf \ r c/ Lgr^r> i r u u =/n* r*m

u ^ Ir> ? ,

wU1 J*

A MAJOR SCALE

3ffi JJ^' I Cm r

>#

flftttl' Lilflr i^f rrfif?rf rff ^i^^:

AllegroTECHNICAL ETUDE IN A MAJOR

Mode rat o Also play 8vaLEGATO STUDY

fe^ S i =t feAii Pnro *- *c EXERCISINQJTHE TONGUE S? vx

--^^o.

Moderato

Nfl t

-=

p-

CHROMATIC STUDIES2/4 Time

87

5- J?' ' * i

^yr^Tri rjrpr >

i rr'Tri^^^^^4^Andante /8 Time

|^U> KX~*

Moderato2/| Time

;ira~w *=

jrqjr7

rirr

rfitfpp

fcfigif # ^ 1* b

Moderato2/i Time

*7l7 IF** il l* - *itr rj* i*j-M MAJOR SCALE

P LLU^^ ilf^nrrr iTuj i^rxu ift^BSfs ^

simile

*-+

El^JJ^M^Moderato

LEGATO STUDY

S m f m*+ *b=dmf

s^jT i fafTO i r * i ^c/r ' sj^^

&s 1

ModeratoGAVOTTE IN Ab

^ iM m Mmf

^jg ggg ^ US

# !* ^ i lg i &/Y/t /Zi.C.

fejp Si irrfr

*

1 fe &S ^Fine. f DC.

29MAJOR AND MINOR KEYS EV THIRDS

Ab MAJOR in Thirds

F MINOR {Melodic)

j^ JJT3 gj (jfTr^nrrt# m l

mj \ rT^ i hi\t~\t \+\ttt.

Tr r p r . frrr^ l^i^SF MINOR (Harmonic)f^ \\f: #*teff

Megate**

m Elftlfr . frrw ^aA MAJOR in Thirds

fe rr^-t- #f

*^

# *

is

rU MINOR (Melodic]:- m. late

^ ^^tta^Ma^fgnrf i tiifgfs

pa*1 f^f ^PPl

FH MINOR (Harmonic

)

? ##*^

** #afea

30

GRACE NOTESThere are two kinds of Grace notes, short and long. The long- grace note acquires half the value

of the note that it accompanies, and is seldom used, since it is easy to write out two notes of equallength. The short grace note is the one that is commonly used and will be used in succeeding studies .

In addition to the single grace notes there are double and triple grace notes, but these are usuallywritten out and played on or before the beat . As to which one it shall be is usually determined by thetype of music being performed.

As writtenSINGLE GRACE NOTES

As written

^TTT* >

5 1 XE~0

3ZZ-> >

ILONG GRACE NOTESAs played

SHORT GRACE NOTESAs played

^2: m io P P m m

^

As written DOUBLE AND TRIPLE GRACE NOTES-o- _o_ -- i

s

AHEAD OF THE BEATAs played

-& _o_

ON THE BEAT0^*^0'

1 P

I

SINGLE GRACE NOTE ETUDE

0. g - *TT* gDOUBLE GRACE NOTES

J J

TRIPLE GRACE NOTES

asS pfl.*#..

rr;

/** +& o

Andante

n& k^ mGrace Note Etudes

TEMPO DI MINUET

31

m aw/>

^^irr^^r'r^

i

r^^^^i^rtf&r^^

a^ /.

^TTrT-* m fr-rr^ ULj'

P?^Jr. *

*=S*=?

P*

m \P \t &t + \trf>fa

i nr^ irf rir^r i rrrffrE 3^:

4

Andante

DOUBLE GRACE NOTE ETUDE

#=#=*E

* rrr ir^ ^-*.-#

f-\f>fff;

mmJ5** * /J?4 ^

> f j-ff.^f^ J3* IJ5g JV

iii=i

TRIPLE GRACE NOTE ETUDEAndante

f r ^rfM jn.f ,,^sgel^ri ff 33b at i r^r/cflJi7?^ doIce

*

Hgl F-Hf^ejq *#

m,yp-

rcirf r

i

r^Sf r f fj

32

ABBREVIATIONSAs written

HE m12 3As played

000 mmmm up12 3As written

XE

2 As played

ABBREVIATION STUDIES

ge #

^* * r r if r

simile

/^~0.

f r i f ir-

faa^f^fH^fgf Pf , if f^m =2= aH^rf

-^=f: r?* f^T^f^

7 &^^-4r>jf^i r r r r

,

i^ r rfi^^ a__i

Allegro

|l M^POLKA

- #f i f EMVf ir r

f

^^ I r r r -i^ # ^#

t/f it-T f/

t-MF i f tj- . rif i f r ,f-^^ ^#> 1

mf

GYPSY POLKAAllegro

33

Bohemian

* m+-k *fi

$fl^f**"s

"

i ^"M ii r

ij* j* *

/

ffi^sif ^ #L ' # ^^ !e Mr

I'f fffr^M.f# MMe# # m mi f- a > #*Kfep

mf

Jr-a-g-gV

f

mmf f

TRIO ..

i

ii (Mt^^ r f f

r f f f

^

iff fr"rihp

A''i,y r f-r -fm

u-^-Jta

tf t r r Pj* r f f r pT7>TO [/ 4l ^v p 1 LJ 1

>n OMiamf

k^M??mf

MM M MM ^u M ~*~-m

f

fi

E

34E MAJOR STUDIES

E MAJOR CHORD * # **- .

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E MAJOR SCALE

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TEC EVICAL ETUDE^*

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35

DOUBLE TONGtJEINGDouble tongueing is usually applied in very rapid passages only. This articulation consists of two

Btrokee o( the tongue, one forward on the letter T, and one backwards on the letter K. It is necessarythat both of these >trokes be practiced well so that a good tone is produced on both strokes.

T K T K T K T K

0u-h rrrrr ^TKTKTKTK

4 -& ^fffr rccrxr |CftTSCALE AND CHORD ETUDE

r*0 0-0 0T0 0-0=

0-0

00

> ^af-ffla WW=F 0-0i mmUToo T K

ARTICULATION ETUDE

SYNCHRONIZING THE FINGERS AND TONGUE

36

Allegro

CHORD ETUDE

* W-f

mI^m

simile

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A *M

t^t'-i.r:^ 1-^

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AllegroCHROMATIC ETUDE

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Waltz tempo

LAENDLER

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37

KMOCH

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38

THE GRUPETTO OR TURN (eo)As written

OO oo oo

L_ L i CND ifeAs played

m r arr jgjpi gg n^^/

39

TRIPLE TONGUEINGLike double tongueing, triple tongueing is applied to very fast passages only. The tongue has to

make three (S) strokes end are produced by using the three letters TK T. The player must be carefullto produce equal tones on each of the letters.

*T~ T K T

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T K T

Single

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Double

TripleTKT

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40

USING 5th AND Bth FINGERSThe 6th finger is most commonly used, however, the 5th is used in rapid passages

^M

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W~ m.

Untir*Tft \ rfl^E MAJOR in Thirds

* - *

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i

^E

C# MINOR {Melodic)

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ptt -^JjJJ i JTl ?C# MINOR {Harmonic)

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41

TRILLSA trill ifl produced by alternating- the given or written tone and the next scale tone above in rapid

succession. As an exainple.it" the given or written tone to be trilled is E and the key being played isthe key of C major, the scale tone above will be F natural . If, however, the key being played isG major,the next scale tone above E will be F#. In the first instant, the trill will alternate between E andFnatrural and in the Becond instant, between E and F# .

The approximate number of notes usually played on a trilled tone is shown below. The same number oftones is not always played, because on long tones, the trill starts slowly and accelerates in rapidity to theend of that tone, however the examples below show the exact number of notes in a regular trill.

*

// tr iro

On long tones or tones of a slow passage a trill is usually closed with an additional tone which is thetone directly below the given or written tone . The closing tone is not usually used when playing a shorttrill or a trill in a fast passage.

Sometimes it is necessary to alter the pitch of the closing tone, and this is done by indicating thus:(jp

(TXT) ^he ^ey m which the trill appears, determines which one of three symbols is to be used,howeverthe purpose of these symbols is the same, namely, to have the closing tone either a half step or wholestep from the given or written tone. When the sharp,flat or the natural appear above the trill thus:

^

(i.) (^.) j it is an indication that the tone above the given or written tone may have its pitch altered to fitthe key or modulation intended in the music being performed.

When the closing tones of a trill are to be emphasized and ritarded, these two tones are usu-ally written out to insure their being played. This is especially done on long tones or holds whichend a phrase or a cadenza.

ir___ ^ it ir ir

E5 ^^ I B ^m ^m

42

TRILL CHART FOR BOEHM SYSTEM FLUTEWhere more than one fingering- is listed for the same trill, the first is preferred, although the sec-

ond may be more effective on some flutes.

1. The numbers, fl-2-3-4-5-6-), indicate the 6 large fingers of both hands.

2. B?-B,

Left hand thumb, 'X/ indicates when used .

3.(Gi, Left hand little finger, 'X) indicates when used.

4. (D?', Right hand little finger, CX) indicates when used.

5.(0/>Circle around number or key name, indicates the keys in motion in the production of the trill.

6. Trill keys, upper and lower, (X) indicates when used.

1st l 1 1 i i 1Hi 1

T

1

Kr

1f ]

1 1 1

s

1 1 i 1 1

V

^a

1 1

B\> X X X

B* X X X X X X X X X X X X X X X X

2nd 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 vD (2)3rd 3 3 3 3 3 3 3 3 3 3 3 3 3 (E 3G* X 01/ X X

or or or or

4th 4 4 4 4 4 4 Trill kev

5th 5 5 5 5 Trill key

6th 6 & 6 6 6 6D X X X X X X X X X X X X X X X X X X X

-flL- V k, = **-] IntJh 1Hh 1 rfnnrs twm i 1 M 1n* "m- i]mm% m iV k o o> tto^

A. *, ?o * fao o-* TlW1 i>S* giV * fto ? * qo^* o y iioi w fv.i tyu -tt^fin i

,' *_ 1V'\; w

1st 1 1 1 1 1B\> (x)

B* X S 5) (x) X X X X X X X X X X X2nd 2 2 2 2 2 2 2 2 2 2 2

3rd 3 3 3 3 3 3 3 3 3 3 3

G5

or or or

4th 4 4 4 4 4 4 4 TriU key ( 5th 5 5 5 5 Trill key (x)

6th 6 6 6 DS X X X X X X X X X X X X X X X X

43

H4 W o&* ritHV'* :^' lji -w i>o-" tt^ ft 1

1st l t 1 i i 1 1 i 1 1 1 1 1 CD 1B 1? X X X W| X X X X X X X (?) X2nd 2 2 2 2 2 @ 23rd 3 3 I 3 ,3 (3) 3 3

6| x vx x X X or or or

4th 4TVill kev 5th

TVill key 6th 6

d; |x X X X X X X X X X X X X X X X X X X

iO^ fc^ IkJ* lfe> O^ oh?

#qJM^ ^M te^ ojj s^ te^ ^1st i i 1 1 1 1 i 1 1 1 1 l 1Bb

Bt? X X X X X X X X X X X 2nd 2 2 @ 2 2 2 2 2 2 3rd (D 3 3 3 3 3 3 3 3 3 3 3 3 3G* x x^ X X X

or or or

4th 4 4 4 4 4 (3) 4 4 Trill kev 5th 5 5 5 5 5 5 5

Trill kev X6th 6 6 6 6 6 6 6 6

DS X X X X X X X X X X X X X X X X X

44

LEGATO TRILL ETUDEAndante

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STACCATO TRILL ETUDEAllegro 4r^^ ir.

Moderato

6/8 STUDY

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AllegroARTICULATION STUDY

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46

TWO-PART INVENTION

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47

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48DUET BRILLIANT

Allegro J.E.S.

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SALIENT FEATURES

WRITTEN by schooled instrumen-

tal teaching specialists with

years of practical experience

in applied music techniques.

CLEAR, open, easily read music

notation, uniformly engraved

in a format designed to min-

imize sightreading obstacles.

SIMPLE, accurate, common sense

fingering charts are included

with all of the brass and

woodwind books of the series.

POSITIVE, readily comprehended

approach to each fundamental

problem, presented in an in-

teresting and direct manner.

MATERIAL utilized is presented

progressively and logically

with ample technical founda-

tion every stage of the way.

SOLOS, duets, and ensembles are

introduced to provide stimu-

lus and to prepare the pupil

for band and orchestra work.

CONTINUOUS development tothe fourth year is possible for

each major instrument usingcorrelated courses of study.

BINDINGS are in the distinctiveRubonk blue wear-well cover,-

paper and printing d

meet the rigor'

l-f >M\

I73999 7021HL04470210

ijo}

From the RUBANK EDUCATIONAL LIBRARY

RUBANK ELEMENTARY METHODSA Series of Graded Fundamental Courses forIndividual or Like-Instrument Class Instruction

FLUTE (Piccolo) Petersen

CLARINET Hovey

OBOE Hovey

BASSOON Skornicka

SAXOPHONE Hovey

CORNET or TRUMPET . . Robinson

FRENCH HORN (feb Alto-Mellophone)Skornicka

. LongTROMBONE or BARITONE

Eb or BB[? BASS (Tuba) . . . Hovey

DRUMS YoderBELL LYRA Whistler

MARIMBA or XYLOPHONE . PetersonTYMPANI Whistler

GUITAR (Spanish) .... DePressles

VIOLIN Potter

VIOLA WardCELLO WardSTRING BASS Ward

RUBANK INTERMEDIATE METHODSA Series of Graded Follow Up Courses forIndividual or Like-Instrument Class Instruction

TROMBONE or BARITONESkornicka-Boltz

E:> or BB'? BASS (Tuba)Skornicka-Boltz

DRUMS BuggertMARIMBA-XYLOPHONE-VIBES . Jolliff

VIOLIN Potter

VIOLA WardCELLO Ward

FLUTE (Piccolo) . Skornicka-Petersen

CLARINET Skornicka-Miller

OBOE .... Skornicka-Koebner

BASSOON Voxman

SAXOPHONE Skornicka

CORNET or TRUMPET . . Skornicka

FRENCH HORN (Eb Alto-Mellophone)Skornicka-Erdman

RUBANK ADVANCED METHODSA Series of Outlined Courses of Studies Designed to FollowAny of the Various Elementary or Intermediate Method Series

FLUTE, Vol. I . . . . Voxman-Gower

FLUTE, Vol. II Voxman

CLARINET, Vol. I . . . Voxman-Gower

CLARINET, Vol. II . . Voxman-Gower

OBOE, Vol. I . . . . Voxman-Gower

OBOE, Vol. II Voxman

BASSOON, Vol. I . . Voxman-Gower

BASSOON, Vol. II Voxman

SAXOPHONE, Vol. I . Voxman-Gower

SAXOPHONE, Vol. II . . .. Voxman

CORNET or TRUMPET, Vol. I.... Gower-Voxman

CORNET or TRUMPET, Vol. IIGower-Voxman

FRENCH HORN, Vol. I Gower-Voxman

FRENCH HORN, Vol. II . Gower-Voxman

TROMBONE or BARITONE, Vol. IGower-Voxman

TROMBONE or BARITONE, Vol. IIGower-Voxman

E? or BB> BASS (Tuba), Vol. IGower-Voxman

E'? or BB> BASS (Tuba), Vol. IIGower-Voxman

DRUMS Whistler